WEBVTT - QLS Classic: Mariah Carey Part 1

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<v Speaker 1>Questlove Supreme is a production of iHeartRadio. What's Up Everybody?

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<v Speaker 2>This is Sugar Steve from Quest Love Supreme as we

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<v Speaker 2>celebrate the holiday season. This felt like a worthy two

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<v Speaker 2>part classic revisit. Here is Mariah Carry. We recorded this

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<v Speaker 2>in the middle of the night, but it was worth it.

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<v Speaker 2>Mariah was promoting her book and she was an open

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<v Speaker 2>book to us. This is a really free and fun

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<v Speaker 2>conversation with one of the biggest superstars of music. Part

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<v Speaker 2>one originally air January thirteenth, twenty twenty one, but this

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<v Speaker 2>is timeless. Enjoy everybody and happy holidays and a healthy

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<v Speaker 2>new Year from Team Supreme and everybody at Quest Love Supreme.

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<v Speaker 1>Ladies and gentlemen, Happy twenty twenty one. Let me just

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<v Speaker 1>start a preface that this intro might be twelve minutes,

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<v Speaker 1>but I'll cut to the chase. I consider all Quest

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<v Speaker 1>Left Supreian episodes to be top notch, some of my

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<v Speaker 1>favorite guests ever, but a few guests might shine a

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<v Speaker 1>little bit brighter. I won't even say the most, but

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<v Speaker 1>few of our guest on the shows sign just a

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<v Speaker 1>little bit brighter. As our fortune have it in twenty

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<v Speaker 1>twenty one, this particular episode will shine very bright. Notice

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<v Speaker 1>the holiday Christmas motifs I'm using. I will say that

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<v Speaker 1>for the last three decades, our guest has been Music

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<v Speaker 1>Royalty out the Gate, fifteen studio albums, seventy two singles,

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<v Speaker 1>over two hundred million records sold globally. I will say

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<v Speaker 1>that for of those records, Riot, Daydream, Music Box and

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<v Speaker 1>Emancipation have sold one hundred million copies combined. Just those

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<v Speaker 1>four she is the best selling female artist globally. And

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<v Speaker 1>she practically, she literally owns Christmas. Her her recordal All

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<v Speaker 1>Want Yes Christmas is twelve months away, but still she

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<v Speaker 1>owns Christmas. Her All I Want for Christmas is the

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<v Speaker 1>biggest selling song in the world and all parts of

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<v Speaker 1>the globe, not even just the United States for the

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<v Speaker 1>second time already. It is broken crazy records. It's the

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<v Speaker 1>all time biggest selling streamed song. I didn't even know that,

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<v Speaker 1>at seventeen point two million for streams in one day.

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<v Speaker 1>It's the first single by a female artist in history

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<v Speaker 1>to be certified five times platinum in the UK, which

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<v Speaker 1>is not an easy feed at all. She's the first

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<v Speaker 1>artist to rank number one on the chart for distinct decades,

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<v Speaker 1>For distinct decades. She reached number one this year, officially

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<v Speaker 1>on the UK Singles charts, after twenty six years a

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<v Speaker 1>gap in between. It's the first holiday song in history

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<v Speaker 1>to be number one in the US and the UK

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<v Speaker 1>at the same time. So Fuck White Christmas by bing

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<v Speaker 1>Crossby Her Apple specials number one and more than one

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<v Speaker 1>hundred countries across the world. Her book is a New

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<v Speaker 1>York Times bestseller and number one on Audible. I have

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<v Speaker 1>to say I'll be here all damn day, Ladies and gentlemen.

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<v Speaker 1>How did we get the one and only Mariah Carrey

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<v Speaker 1>on quest of supreme Please welcome? Thank you?

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<v Speaker 3>Yes, yes, thank you, thank you, thank you officially made it.

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<v Speaker 3>We've arrived.

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<v Speaker 1>Yes, we have made it.

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<v Speaker 4>No, I listen, I've been stressing out about this because

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<v Speaker 4>I know that I am not queen of technology, nor

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<v Speaker 4>am I queen of musical technical moments of discussion.

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<v Speaker 1>Look we are we are.

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<v Speaker 3>I swear.

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<v Speaker 1>We are four nerds that just like music. Like, trust me,

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<v Speaker 1>I'm not going to okay, I do. Your first question

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<v Speaker 1>is okay, so you're Yamaha Dix seven patches on your

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<v Speaker 1>first album, right, like, please don't ask me those nerdy

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<v Speaker 1>stuff that you ask about, like keyword patches and all this.

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<v Speaker 5>Oh thank god. I mean, you know, that's cool, that's it.

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<v Speaker 1>She hates that as well. How how are you today,

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<v Speaker 1>I'm good.

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<v Speaker 4>I'm good. Actually, it's we're having a little celibratory moment.

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<v Speaker 4>So you mentioned Christmas, and I just want to say

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<v Speaker 4>this is totally off topic, but I'll just say it anyway.

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<v Speaker 4>So we had an incredibleness this year and all the things,

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<v Speaker 4>all the things, but because it's COVID and I can't

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<v Speaker 4>really I haven't gone anywhere in months, almost a year,

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<v Speaker 4>just at a paranoid about the whole thing. And it's

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<v Speaker 4>not paranoid, it's just being saved. But yeah, so so

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<v Speaker 4>here I am enjoying like my first little party and

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<v Speaker 4>cheers to you guys. So cheers you have me flash

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<v Speaker 4>as we talk. But I did want to say thank

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<v Speaker 4>you for having me. And yeah, I was a little

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<v Speaker 4>bit like, clearly I know Greg filling games by any expect.

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<v Speaker 1>Nice one.

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<v Speaker 4>And by the way, I did hear when he when

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<v Speaker 4>you said, oh, the Mariah Carey Boys to men elevator

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<v Speaker 4>and he was like, well, that's the Greg filling games

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<v Speaker 4>later and I'm like that's cool, but can they pay

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<v Speaker 4>me back, like, can can they hit battery give me

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<v Speaker 4>those millions of dollars back that I used to cost

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<v Speaker 4>to record it. I'm sorry real for them. I'm sorry.

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<v Speaker 3>It is how we need to keep it. This question

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<v Speaker 3>of Supreme talk that sh.

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<v Speaker 4>No, it's nothing, it's nothing. It's just that. Really, I

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<v Speaker 4>can't even imagine how much money people used to spend

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<v Speaker 4>in on recording, you know, to record their albums or

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<v Speaker 4>whatever they recording in these major studios, Like just to

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<v Speaker 4>be in a big studio. I know how I felt,

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<v Speaker 4>because come on, just to be there, just to say

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<v Speaker 4>I'm at the Hit Factory on blah blah blah blah Street,

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<v Speaker 4>I'm at right Track, I'm at Quad, I'm at whatever.

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<v Speaker 4>But here I'm know for like I'm at Quad, but I'm.

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<v Speaker 1>Just wait, did you ever record a Quad?

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<v Speaker 4>Of course I have.

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<v Speaker 1>Yes, you went to Tupac Central.

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<v Speaker 4>Wow, I lived at Tupac Central. Yes I did, and.

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<v Speaker 5>We recorded there too. Couest love Supreme.

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<v Speaker 1>I know that, but I would expect us to be there.

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<v Speaker 5>It's funny.

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<v Speaker 4>That's the same type of thing that goes on in

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<v Speaker 4>terms of people's perception of me, Like yeah, I went

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<v Speaker 4>to Quad. Yeah, I'm not gonna.

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<v Speaker 1>Say, I'm not saying that recording at uh something high

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<v Speaker 1>level like Sony or D and D studios is beneath you,

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<v Speaker 1>but yeah, even I would prefer to be at at

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<v Speaker 1>its time when Sony was a great studio record at

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<v Speaker 1>or Electric Lady as opposed to D and D or

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<v Speaker 1>you know.

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<v Speaker 4>Like Electric Lady. We love Electric Lady, of course, and

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<v Speaker 4>the history and the whole thing of it all, and

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<v Speaker 4>I need to be the give the utmost respect to this.

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<v Speaker 4>The history of it all is everything, and we know

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<v Speaker 4>the room and the way it sounds in the rooms

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<v Speaker 4>and the way they sound and everything. We'd love that.

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<v Speaker 4>But yes, the glitzy and glamorous new like they're not

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<v Speaker 4>new now, but like you know, the head factories of

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<v Speaker 4>the world give you a different type of thing.

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<v Speaker 1>So can I ask now that you know, for the

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<v Speaker 1>last thirty years you've been recording at studios and they were,

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<v Speaker 1>you know, plentiful. In the last three decades now they're

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<v Speaker 1>almost like far and few between. I know Manhattan, there's

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<v Speaker 1>probably maybe seven left that are still up and running

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<v Speaker 1>and in good condition. Does that wear you little bit

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<v Speaker 1>that or have you adjusted already? Like have you made

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<v Speaker 1>music on your laptop yet. Have you you know Allah,

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<v Speaker 1>you know Kanye and jay Z making watch the thrown

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<v Speaker 1>in a hotel room in bathrooms, Like, have you adjusted

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<v Speaker 1>to that yet?

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<v Speaker 4>Or I absolutely have and not because they did it.

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<v Speaker 4>I started doing this. I'm going to say probably the

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<v Speaker 4>Rainbow album. Actually I'm trying to think that far back. Yeah,

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<v Speaker 4>so that's ninety nine, but yeah, I started. So I

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<v Speaker 4>went to Randy Jackson, not of the Jackson five, but

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<v Speaker 4>Randy Jackson. Randy, Yeah, Randolphin and we love him, I said, Randy,

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<v Speaker 4>I love going other places I'm recording. So me and

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<v Speaker 4>my engineer, Brian Garton, we would go wherever. We would

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<v Speaker 4>just go. He would set up a room, even if

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<v Speaker 4>I literally sang in the bathroom, he would set up

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<v Speaker 4>a soundproof situation and we would run the wires at

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<v Speaker 4>that point through he would I didn't. I didn't run

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<v Speaker 4>the wires, but if he would, you know, figure it out,

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<v Speaker 4>and we would record that way. Because I wanted to be,

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<v Speaker 4>whether it's Puerto Rica, wherever I wanted to be from

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<v Speaker 4>my own peace of mind. And like Amir, we've talked

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<v Speaker 4>about this, where you're like, I don't want to be

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<v Speaker 4>in a comfortable environment. I like to feel like that criminess.

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<v Speaker 4>And I understand that too. I don't know that I'm

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<v Speaker 4>not speaking for you and saying exactly what you said,

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<v Speaker 4>but I think I'm on the same page as what

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<v Speaker 4>you were saying.

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<v Speaker 1>Oh, that's exactly what you were saying.

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<v Speaker 4>Forward to studio, Yeah, exactly. But I spent I feel

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<v Speaker 4>I've spent enough years in uncomfortable studios, starting from when

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<v Speaker 4>I was eighteen years old, sleeping in the floor, sleeping

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<v Speaker 4>on the floor in the little studio behind it in

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<v Speaker 4>the back of the woodshed, which I talk about in

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<v Speaker 4>my book, but on the floor sleeping there because I

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<v Speaker 4>had no money to have a real studio situation. So anyway,

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<v Speaker 4>cut to ninety nine and I started kind of like

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<v Speaker 4>traveling in order to record. Actually it happened right after

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<v Speaker 4>the Butterfly album, which is like the year before, because

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<v Speaker 4>I was just trying to figure out, like where can

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<v Speaker 4>I do this, How can I do this? And then

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<v Speaker 4>I connected with my couple different engineers I was working

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<v Speaker 4>with and we figured it out. So Randy Jackson back

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<v Speaker 4>to that, he said, damn, man, I have this studio

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<v Speaker 4>that you would love and capri and it's on top

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<v Speaker 4>of a mountain. And blah blah blah. It was like

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<v Speaker 4>please like anything you have. So I ended up falling

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<v Speaker 4>in love with this studio called Capri Studios and another

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<v Speaker 4>Italian word that I can't pronounce, but anyway, I slept

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<v Speaker 4>in a little room next to the live room and

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<v Speaker 4>I would actually recorded several songs there, and then when

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<v Speaker 4>we were doing the immense I did the Chombracet album

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<v Speaker 4>there and other places. Basically we just traveled. It was

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<v Speaker 4>a traveling studio, so it was you know, pro tools

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<v Speaker 4>and just a setup on his laptop and then you know,

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<v Speaker 4>making the room so it's not super for Yeah, so

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<v Speaker 4>we had all of that, like we had we had

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<v Speaker 4>all of that together, and then I would just love

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<v Speaker 4>it because honestly, like and this is a total sidebar,

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<v Speaker 4>and I'm sure you're going to edit this however or

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<v Speaker 4>maybe not. But one of the things I learned early

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<v Speaker 4>on from Luther when we did our for our collaboration

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<v Speaker 4>on Endless Love we make yes and he was one

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<v Speaker 4>of my all time favorite people and tones like just vocal,

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<v Speaker 4>just the texture, and he felt that there was a

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<v Speaker 4>similar type of this is what he said to me,

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<v Speaker 4>type of like when you hear the harmonics sometimes within

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<v Speaker 4>the breathy tone. And he was telling me in order

0:11:49.320 --> 0:11:53.040
<v Speaker 4>to preserve that with that haven't always listened to and

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<v Speaker 4>have gotten back into it now. But he was like,

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<v Speaker 4>you need to be in a place like a very

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<v Speaker 4>warm and humid climate in order to preserve that. The

0:12:01.600 --> 0:12:05.120
<v Speaker 4>desert la everywhere else is really really bad for you.

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<v Speaker 4>Just always remember, like if you are in those places,

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<v Speaker 4>make sure you have like humidification, like all the humidifiers

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<v Speaker 4>in the land, like you need to have it. And

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<v Speaker 4>I have that.

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<v Speaker 1>Go ahead, Okay, I have a question, Okay, okay, so secretly, yeah,

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<v Speaker 1>behind all of your backs and by all of you

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<v Speaker 1>or I'm talking about singers. I I quasi eye roll

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<v Speaker 1>because I always thought that that was psychosomatic. So let

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<v Speaker 1>me let me ask the question first, okay, is okay?

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<v Speaker 1>So is that whole thing now? Just to give it

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<v Speaker 1>a little backstory, You're at the tonight show. Okay, when

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<v Speaker 1>Aretha Franklin was alive, she would only agreed to come

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<v Speaker 1>on this show if we killed all of the air

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<v Speaker 1>conditioning in thirty Rock. And the thing is, it's not

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<v Speaker 1>like one particular floor can control the temperature. So if

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<v Speaker 1>we turn off the air condition for Aretha Franklin that

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<v Speaker 1>affects like seven floors, which basically says that we should

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<v Speaker 1>modernize and update our temperature system. But whenever Aretha comes,

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<v Speaker 1>it would be a nightmare because then it would be

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<v Speaker 1>ninety eight degrees in this building and they would have

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<v Speaker 1>to turn off the air at two in the morning

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<v Speaker 1>the night before, and then her guy would come in

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<v Speaker 1>test it, and then she'd would you know, she'd come in.

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<v Speaker 1>So it's said that her voice, her throat would closed

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<v Speaker 1>or whatever and that sort of thing. Is that really true?

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<v Speaker 4>I believe it to be true, and particularly for Ritha. So, Amir,

0:13:47.600 --> 0:13:50.840
<v Speaker 4>you have me laughing because I know you read my

0:13:50.960 --> 0:13:54.120
<v Speaker 4>memoir The Meaning of Mariah Carey shameless plug. But I'm

0:13:54.160 --> 0:13:57.679
<v Speaker 4>going to say it because we talk about Aretha and

0:13:57.800 --> 0:14:04.000
<v Speaker 4>when we were doing what was the Devis Live? Yeah yeah, yeah,

0:14:04.040 --> 0:14:08.600
<v Speaker 4>so she and Ken Rlick, we love Ken r Lick. Yeah,

0:14:09.320 --> 0:14:11.720
<v Speaker 4>And knowing that if I say something negative, he's gonna

0:14:11.720 --> 0:14:13.920
<v Speaker 4>be pissed off of me like he always gets. But

0:14:14.400 --> 0:14:16.640
<v Speaker 4>you know, I'm just being I'm just keeping in one hundred.

0:14:16.679 --> 0:14:20.720
<v Speaker 1>This is what happened, Supreme, trust me.

0:14:21.360 --> 0:14:23.240
<v Speaker 4>No, no, no, you're not. But he has a way

0:14:23.240 --> 0:14:28.920
<v Speaker 4>of hearing. So I love Ken, you love him, he

0:14:28.960 --> 0:14:32.360
<v Speaker 4>did my first naked show. Blah blah blah blah blah. Yeah,

0:14:32.400 --> 0:14:34.320
<v Speaker 4>we love Ken. So but here's what was happening. So

0:14:34.400 --> 0:14:37.000
<v Speaker 4>I was like, I'm in a pop culture spiral right now,

0:14:37.040 --> 0:14:40.040
<v Speaker 4>and I can't even believe this. So I'm sitting there

0:14:40.480 --> 0:14:42.480
<v Speaker 4>and you know, I already know because I just told

0:14:42.520 --> 0:14:45.120
<v Speaker 4>you about Luther and the recommendations like that was not

0:14:45.240 --> 0:14:47.040
<v Speaker 4>in front of any camera. That was not for any

0:14:47.080 --> 0:14:49.960
<v Speaker 4>reason other than he was like, preserve the tone, right,

0:14:50.040 --> 0:14:52.200
<v Speaker 4>He was like, just do these things. And I never

0:14:52.280 --> 0:14:55.240
<v Speaker 4>knew anything about the humidity blah blah blah. Anyway, so

0:14:55.280 --> 0:14:59.600
<v Speaker 4>when I first sang with Aretha that night, obviously I

0:14:59.720 --> 0:15:06.520
<v Speaker 4>was completely intimidated and flipping out and scared and everything else. Right,

0:15:07.080 --> 0:15:11.760
<v Speaker 4>So we're getting ready to go on the stage and

0:15:12.120 --> 0:15:14.960
<v Speaker 4>all of a sudden, there's this whole hoopla happening, and

0:15:15.600 --> 0:15:18.320
<v Speaker 4>I hear, you guys are are we just really pissed

0:15:18.320 --> 0:15:20.800
<v Speaker 4>off Ken? Ken Carl comes by and he's like, she's

0:15:20.800 --> 0:15:22.000
<v Speaker 4>not happy. I don't know what's going to go on.

0:15:22.040 --> 0:15:24.360
<v Speaker 4>I'm right just gonna say, you know, wait and see

0:15:24.360 --> 0:15:27.200
<v Speaker 4>what happens. Right, So I'm like, this is a big

0:15:27.240 --> 0:15:29.240
<v Speaker 4>moment in my career, Like it's right at the beginning

0:15:29.240 --> 0:15:31.720
<v Speaker 4>of Butterflies, all this and all that. But again, Wreatha

0:15:31.800 --> 0:15:34.040
<v Speaker 4>is the queen, so everybody's waiting. We were basically you're

0:15:34.040 --> 0:15:37.120
<v Speaker 4>all there in reverence. I know I was in reverence

0:15:37.240 --> 0:15:41.440
<v Speaker 4>of the queen. So so yeah, so I said, well

0:15:41.440 --> 0:15:44.480
<v Speaker 4>maybe because he said she always does this, she always

0:15:44.480 --> 0:15:47.720
<v Speaker 4>does this, and he's like, oh, I don't worry, she

0:15:47.760 --> 0:15:50.000
<v Speaker 4>always does this. And I'm like, okay, I go, can

0:15:50.040 --> 0:15:52.520
<v Speaker 4>I just maybe rehearse with her? Because I don't know

0:15:52.640 --> 0:15:54.680
<v Speaker 4>what this, what's gonna this is gonna be, So I

0:15:54.840 --> 0:15:57.720
<v Speaker 4>just just want to have a little moment so you know,

0:15:57.800 --> 0:15:59.840
<v Speaker 4>and also you want to be I had met her before,

0:16:00.200 --> 0:16:02.840
<v Speaker 4>and we had had, you know, our moments and great moments,

0:16:03.280 --> 0:16:06.440
<v Speaker 4>and but never this type of thing. So anyway, I

0:16:06.720 --> 0:16:09.280
<v Speaker 4>guess I'm not. I don't remember exactly how it happened,

0:16:09.280 --> 0:16:12.160
<v Speaker 4>but she ended up saying, okay, we can rehearse in

0:16:12.200 --> 0:16:14.640
<v Speaker 4>her tripper. So I walk into the trailer and she

0:16:14.720 --> 0:16:22.520
<v Speaker 4>goes Mariah, they're playing games and I'm not having the game. Yeah,

0:16:22.640 --> 0:16:26.920
<v Speaker 4>so we won't so we won't be rehearsing tonight and.

0:16:29.520 --> 0:16:38.760
<v Speaker 1>Saying with the frank, yeah that was a great How

0:16:38.800 --> 0:16:40.200
<v Speaker 1>long did it take you to nail that?

0:16:41.600 --> 0:16:46.080
<v Speaker 4>No? Honest, So you know my friend Treyla Wrenz, right,

0:16:46.160 --> 0:16:53.840
<v Speaker 4>he was just saying yes, yeah, yes, Florence, South Carolina.

0:16:53.600 --> 0:16:54.680
<v Speaker 1>Home Florence.

0:16:54.800 --> 0:16:55.360
<v Speaker 3>Oh wow.

0:16:55.920 --> 0:16:59.680
<v Speaker 1>He talked about fish sandwiches in all right, South Carolina.

0:16:59.680 --> 0:17:02.640
<v Speaker 4>He told me he just texted me tonight. He's like,

0:17:03.040 --> 0:17:05.600
<v Speaker 4>he's like, I love him. He asked me about the fish. Sam.

0:17:06.680 --> 0:17:14.160
<v Speaker 6>Yes, we're all but anyways, so yes, Be and Trey

0:17:14.280 --> 0:17:17.399
<v Speaker 6>always you know, we Revere a lot of singers, and

0:17:17.640 --> 0:17:20.720
<v Speaker 6>we don't do it to be funny, like we're not impersonating,

0:17:20.760 --> 0:17:23.280
<v Speaker 6>and it's just you sort of embody them when you're

0:17:23.320 --> 0:17:25.439
<v Speaker 6>telling the story because this is how it happened.

0:17:25.520 --> 0:17:26.879
<v Speaker 1>So you know what I mean.

0:17:27.040 --> 0:17:29.480
<v Speaker 4>I kind of do impersonations on the side, not really,

0:17:29.760 --> 0:17:32.679
<v Speaker 4>but it's not an impersonation. It's just me telling exactly

0:17:32.720 --> 0:17:35.879
<v Speaker 4>how it happened. So anyway, back to the story, so

0:17:37.280 --> 0:17:41.440
<v Speaker 4>we won't be rehearsing tonight, and I'm like, so anyway,

0:17:41.600 --> 0:17:44.439
<v Speaker 4>we work where they got her. And here's one thing

0:17:44.480 --> 0:17:47.480
<v Speaker 4>that I always say, and this is not that musicians

0:17:47.600 --> 0:17:50.600
<v Speaker 4>don't know. This or people like you guys who are

0:17:50.800 --> 0:17:54.720
<v Speaker 4>like professors of it all. But being that Big Jim Right,

0:17:54.920 --> 0:17:58.520
<v Speaker 4>the late Big Jim Right who we love, my former

0:17:58.600 --> 0:18:03.160
<v Speaker 4>musical director who passed the way I believe it's almost

0:18:03.200 --> 0:18:07.840
<v Speaker 4>three years ago now, but he was her musical director,

0:18:07.880 --> 0:18:11.639
<v Speaker 4>Miss Franklin's musical director as well, so he was just like,

0:18:12.119 --> 0:18:13.800
<v Speaker 4>this is prior to me working with Big GYM. I

0:18:13.800 --> 0:18:15.359
<v Speaker 4>don't even know how I got on this tension, but

0:18:15.440 --> 0:18:17.720
<v Speaker 4>he was just like, you know, she takes that queen

0:18:17.840 --> 0:18:20.800
<v Speaker 4>stuff very, very seriously, so it's a real thing. So

0:18:21.359 --> 0:18:24.040
<v Speaker 4>he would say, you know when it's she's such a

0:18:24.440 --> 0:18:29.320
<v Speaker 4>such a brilliant musician and her play her skills as

0:18:29.359 --> 0:18:34.080
<v Speaker 4>a piano player were insane and people don't even they

0:18:34.119 --> 0:18:36.520
<v Speaker 4>don't even realize that. So anyway, that's one of the

0:18:36.600 --> 0:18:40.680
<v Speaker 4>things that I revere her the most about, like that

0:18:41.280 --> 0:18:44.320
<v Speaker 4>musicality she had, and I wish people and I know

0:18:44.400 --> 0:18:47.280
<v Speaker 4>it's a female thing, and I know it's because her technical,

0:18:47.400 --> 0:18:50.320
<v Speaker 4>her vocals and her whole thing was so incredible and

0:18:50.359 --> 0:18:53.280
<v Speaker 4>the whole diva persona that they don't even they didn't

0:18:53.280 --> 0:18:57.960
<v Speaker 4>even look at it, like, look at this woman plays

0:18:58.119 --> 0:19:02.880
<v Speaker 4>the musician ship and obviously when you watch, like, I'm

0:19:02.920 --> 0:19:05.080
<v Speaker 4>trying to think, was it don't play that song or

0:19:05.200 --> 0:19:09.879
<v Speaker 4>the one where she did. She she's playing live and

0:19:09.960 --> 0:19:12.639
<v Speaker 4>it's the black and white video and you see her

0:19:12.960 --> 0:19:19.520
<v Speaker 4>playing from back in the day with the whole ensemble. Yeah,

0:19:19.800 --> 0:19:21.600
<v Speaker 4>you know what it is. But anyway, you see that

0:19:21.720 --> 0:19:26.080
<v Speaker 4>only in certain moments. Anyway, so they so cut too

0:19:26.160 --> 0:19:28.600
<v Speaker 4>Deevi's live back again. So they got her a keyboard,

0:19:28.760 --> 0:19:32.040
<v Speaker 4>put it in her in her trailer and they're like, Okay,

0:19:32.080 --> 0:19:34.480
<v Speaker 4>you guys can go rehearse this right now. So she

0:19:34.680 --> 0:19:37.440
<v Speaker 4>had wanted to do dream Lover. We had a little

0:19:37.480 --> 0:19:40.040
<v Speaker 4>rehearsal I guess the day before or something, and then

0:19:40.080 --> 0:19:42.240
<v Speaker 4>she got out of there because it wasn't the air

0:19:42.320 --> 0:19:45.480
<v Speaker 4>conditioning situation wasn't right. So she was like, I really

0:19:45.600 --> 0:19:47.840
<v Speaker 4>liked what you did. I really like your sean Dreamlover.

0:19:47.960 --> 0:19:49.960
<v Speaker 4>I think that would be a wonderful way to go.

0:19:50.560 --> 0:19:53.160
<v Speaker 4>And I was just like, oh my god, she goes

0:19:53.240 --> 0:19:55.840
<v Speaker 4>dream Lover. Anyway, I was like, can we just do

0:19:56.000 --> 0:19:57.879
<v Speaker 4>Chain of Fools? Because I just couldn't. It was too

0:19:57.960 --> 0:20:01.960
<v Speaker 4>much from my heart to actually here were song and

0:20:02.080 --> 0:20:06.840
<v Speaker 4>try to do it. So anyway, tailor she she played

0:20:06.880 --> 0:20:10.080
<v Speaker 4>the song. She played, Uh, we figured out the key

0:20:10.160 --> 0:20:11.920
<v Speaker 4>and what we're gonna do and stuff, and we kind

0:20:11.920 --> 0:20:15.640
<v Speaker 4>of went back and literally five minutes or maybe maybe

0:20:15.720 --> 0:20:18.440
<v Speaker 4>ten and a couple of little moments. I never knew

0:20:18.480 --> 0:20:21.000
<v Speaker 4>she was an Aries. I'm an Ares. We're born two

0:20:21.119 --> 0:20:24.879
<v Speaker 4>days apart from each other, different years. But she I

0:20:25.000 --> 0:20:27.119
<v Speaker 4>said something she would like us. So a few more

0:20:27.240 --> 0:20:32.480
<v Speaker 4>typical larries. I she Knowlemon Areas so, and you know

0:20:32.600 --> 0:20:35.280
<v Speaker 4>Diana ross Is in those few couple of days of

0:20:35.400 --> 0:20:38.480
<v Speaker 4>Billie Holliday, Sarah vond there's a lot of these divas

0:20:38.520 --> 0:20:42.560
<v Speaker 4>that I grew up idol Shaka Khan and other areas idolizing.

0:20:43.080 --> 0:20:45.439
<v Speaker 4>And I found this out from Maretha Franklin. I never

0:20:45.520 --> 0:20:48.600
<v Speaker 4>even knew anyway. So we rehearsed a little bit and

0:20:48.960 --> 0:20:52.520
<v Speaker 4>and the thing is, there was a huge, huge issue

0:20:52.680 --> 0:20:55.520
<v Speaker 4>about the AC and she goes like this. At one point,

0:20:56.080 --> 0:20:58.440
<v Speaker 4>in front of like my whole crew, she goes, what

0:20:58.560 --> 0:21:01.760
<v Speaker 4>are these people doing that's making them so hot? Why

0:21:01.880 --> 0:21:02.800
<v Speaker 4>do we need it?

0:21:04.720 --> 0:21:04.920
<v Speaker 1>Why?

0:21:09.200 --> 0:21:11.840
<v Speaker 4>And it just I was just like, Wow, it's really

0:21:11.920 --> 0:21:14.000
<v Speaker 4>real for her. And if you ever saw when she did,

0:21:14.119 --> 0:21:17.240
<v Speaker 4>I believe it was for Barack Obama. She did something

0:21:17.520 --> 0:21:20.399
<v Speaker 4>for the second term, and she was out of window

0:21:20.440 --> 0:21:22.440
<v Speaker 4>and it was cold and it was freezing, and she sang,

0:21:23.040 --> 0:21:25.119
<v Speaker 4>I don't remember what the song was. I believe it

0:21:25.200 --> 0:21:26.760
<v Speaker 4>might have been the star slang, but I don't remember

0:21:27.200 --> 0:21:33.240
<v Speaker 4>the one of the inaugurations, like yeah, but she wasn't outside.

0:21:33.280 --> 0:21:38.960
<v Speaker 4>She she actually apologized on Larry King Live. She went

0:21:39.040 --> 0:21:42.480
<v Speaker 4>and she apologized because she had to. And by the way,

0:21:42.920 --> 0:21:46.959
<v Speaker 4>obviously it was more than fine. She just wasn't up

0:21:47.000 --> 0:21:50.400
<v Speaker 4>and down the scale doing a million whatever. It was great,

0:21:50.720 --> 0:21:53.600
<v Speaker 4>but she felt the need to tell people that the

0:21:53.800 --> 0:21:58.840
<v Speaker 4>cold air had foiled her. And I get it because

0:21:58.880 --> 0:22:01.560
<v Speaker 4>I know I've been that hell with that type of

0:22:01.600 --> 0:22:05.320
<v Speaker 4>thing and way worse. But the thing is that level

0:22:05.440 --> 0:22:08.639
<v Speaker 4>of like she knew that she wanted to actually in

0:22:08.760 --> 0:22:11.840
<v Speaker 4>her mind kill it, and that cold air was messing

0:22:11.880 --> 0:22:14.560
<v Speaker 4>with her. So you have to to me whatever somebody says,

0:22:14.640 --> 0:22:17.120
<v Speaker 4>like if you told me I can't play drums when

0:22:17.200 --> 0:22:20.879
<v Speaker 4>they don't have like a specific light shine, like it

0:22:21.080 --> 0:22:22.760
<v Speaker 4>is what it is, like that was her thing, But

0:22:22.840 --> 0:22:25.479
<v Speaker 4>I do believe it's an actual it's an actually it's

0:22:25.520 --> 0:22:30.160
<v Speaker 4>a physical situation where the throat the cords do tighten.

0:22:29.960 --> 0:22:34.960
<v Speaker 1>Up, so let me ask, because uh, obviously you're you're

0:22:35.520 --> 0:22:40.200
<v Speaker 1>world famous for your active range. What is your active range?

0:22:40.400 --> 0:22:41.160
<v Speaker 1>You're five to six?

0:22:41.800 --> 0:22:49.200
<v Speaker 4>I don't know, and neither do you say one of

0:22:49.280 --> 0:22:53.920
<v Speaker 4>our favorites, it's going to happen. Here's the truth. You

0:22:54.000 --> 0:22:57.480
<v Speaker 4>would know better than me, Like I don't know. I've

0:22:57.560 --> 0:22:59.680
<v Speaker 4>told people know this, some people do, some people don't.

0:22:59.720 --> 0:23:03.639
<v Speaker 4>My mind other was sang with City Opera. She was,

0:23:05.440 --> 0:23:08.879
<v Speaker 4>you know, she had a wonderful and still does to

0:23:09.000 --> 0:23:15.200
<v Speaker 4>this day, range and beautiful depth of her voice. She

0:23:15.320 --> 0:23:18.040
<v Speaker 4>wasn't a color to a soprano at stuck a metsa soprano,

0:23:18.520 --> 0:23:22.399
<v Speaker 4>but she has this range. So she would look at

0:23:22.440 --> 0:23:25.880
<v Speaker 4>me with my little moments and be like, you're gonna

0:23:25.960 --> 0:23:27.280
<v Speaker 4>hurt yourself. What are you doing?

0:23:27.440 --> 0:23:28.040
<v Speaker 3>Like what is this?

0:23:28.359 --> 0:23:32.040
<v Speaker 4>What? I was the opposite, and so I, you know,

0:23:32.200 --> 0:23:34.720
<v Speaker 4>we have our issues and blah blah blah blah. But

0:23:34.840 --> 0:23:37.840
<v Speaker 4>I do appreciate the fact that she didn't force me

0:23:38.040 --> 0:23:41.000
<v Speaker 4>to try to become an opera singer because first of all,

0:23:41.040 --> 0:23:43.119
<v Speaker 4>I don't think I have that in me, And second

0:23:43.200 --> 0:23:45.359
<v Speaker 4>of all, because I respect that level of what that

0:23:45.560 --> 0:23:49.080
<v Speaker 4>takes to be that and to understand that and then

0:23:49.119 --> 0:23:52.159
<v Speaker 4>to interpret really like you have to really stick to

0:23:52.240 --> 0:23:56.040
<v Speaker 4>the composer and do exactly what it is. There's not

0:23:56.200 --> 0:23:58.040
<v Speaker 4>much room for, you know.

0:23:58.520 --> 0:23:59.400
<v Speaker 3>Impro conversation.

0:24:00.560 --> 0:24:03.639
<v Speaker 4>Yeah. I love feeling like you're channeling and doing whatever

0:24:03.640 --> 0:24:07.040
<v Speaker 4>you want, particularly with writing and melodies and having those

0:24:07.119 --> 0:24:10.199
<v Speaker 4>flow through you. So I would have been stifled had

0:24:10.280 --> 0:24:13.200
<v Speaker 4>I had I tried to do what she did, because

0:24:13.200 --> 0:24:15.520
<v Speaker 4>I'm not that disciplined. I'm just not that disciplined.

0:24:16.040 --> 0:24:19.600
<v Speaker 1>So let me ask, because I know that your high

0:24:19.680 --> 0:24:25.479
<v Speaker 1>register is world famous. I know that in your your

0:24:25.560 --> 0:24:32.199
<v Speaker 1>Christmas special, especially with the Misty Copham portion, you're singing,

0:24:33.000 --> 0:24:35.600
<v Speaker 1>You're you're singing. Uh, I don't know if it's Carol

0:24:35.640 --> 0:24:37.639
<v Speaker 1>the Bells or or the Nutcracker.

0:24:38.600 --> 0:24:42.399
<v Speaker 4>It's a shape, there's an there's an exact title. But

0:24:42.480 --> 0:24:43.640
<v Speaker 4>the sugar Plump Fairies.

0:24:44.000 --> 0:24:46.160
<v Speaker 1>Yea, the sugar Okay, So you're doing you're doing your

0:24:46.359 --> 0:24:49.960
<v Speaker 1>your trademark what we call the Mariah whistle. How how

0:24:51.119 --> 0:24:54.760
<v Speaker 1>how long can you instantly turn that on at any

0:24:54.800 --> 0:24:57.800
<v Speaker 1>time of the day or do you have to like

0:24:58.000 --> 0:25:02.800
<v Speaker 1>seth Riggs work your my sole before you can reach

0:25:02.920 --> 0:25:06.879
<v Speaker 1>those levels? Like can you just turn that on at

0:25:06.920 --> 0:25:10.040
<v Speaker 1>any given moment of the day, twenty four hours.

0:25:10.680 --> 0:25:15.040
<v Speaker 4>Uh, it depends, like honestly, all of it depends, like

0:25:15.240 --> 0:25:21.240
<v Speaker 4>all the different ranges depend on sleep and humidity, mainly sleep,

0:25:21.680 --> 0:25:24.520
<v Speaker 4>but sometimes it's it's a weird thing. So I've kind

0:25:24.560 --> 0:25:29.359
<v Speaker 4>of studied it. And sometimes even if I'm completely hoarse,

0:25:29.800 --> 0:25:33.159
<v Speaker 4>the whisper as they call it, the whisper register is

0:25:33.560 --> 0:25:37.440
<v Speaker 4>even more strong and clear then if I'm not horse

0:25:37.920 --> 0:25:42.280
<v Speaker 4>because it's the it's the the upper register is sort

0:25:42.280 --> 0:25:43.560
<v Speaker 4>of like that was where it's just sort of like

0:25:43.600 --> 0:25:46.200
<v Speaker 4>when you're closing the vocal cords and it's the very

0:25:46.359 --> 0:25:49.760
<v Speaker 4>very tippy top of what you're using in terms of

0:25:50.280 --> 0:25:55.080
<v Speaker 4>those that upper upper register. But if I'm just sitting around, yeah,

0:25:55.080 --> 0:25:56.760
<v Speaker 4>I can access it. But when I'm on, when I

0:25:56.880 --> 0:26:02.040
<v Speaker 4>feel like pressure, it's less accessible than when I'm just

0:26:02.119 --> 0:26:04.480
<v Speaker 4>sitting around the house, you know and just playing around

0:26:04.520 --> 0:26:08.119
<v Speaker 4>and singing. However, like when I'm under pressure, it's always

0:26:08.160 --> 0:26:09.960
<v Speaker 4>screwed up every part of my voice, so was screwed up.

0:26:10.080 --> 0:26:14.680
<v Speaker 4>I'm sitting there because my nervousness takes over and I

0:26:14.880 --> 0:26:17.760
<v Speaker 4>really am more of a quote unquote studio rat where

0:26:17.800 --> 0:26:22.400
<v Speaker 4>I love to play around with it, experiment, do whatever,

0:26:22.840 --> 0:26:26.040
<v Speaker 4>create it as part of the melody. You know what

0:26:26.080 --> 0:26:30.000
<v Speaker 4>I mean, whether it's upper registered, lower mid, background vocals,

0:26:30.119 --> 0:26:32.840
<v Speaker 4>layering of background vocals, whatever, it is, all of that.

0:26:33.000 --> 0:26:35.200
<v Speaker 4>Even when I do the background vocals and the upper

0:26:35.240 --> 0:26:39.480
<v Speaker 4>register as a part. For me, that's my instrument. That's fun. Actually,

0:26:39.520 --> 0:26:42.600
<v Speaker 4>one time James Brown told me the only first and

0:26:42.680 --> 0:26:45.280
<v Speaker 4>only time I ever met him back in the days

0:26:45.359 --> 0:26:48.240
<v Speaker 4>at the American Music Awards, the first time I was

0:26:48.320 --> 0:26:50.800
<v Speaker 4>ever there, and they were, can I give you this

0:26:50.880 --> 0:26:54.159
<v Speaker 4>segue because everybody else, Yes, we believe.

0:26:53.920 --> 0:26:55.720
<v Speaker 1>You're already my favorite guest on.

0:26:59.520 --> 0:27:02.200
<v Speaker 4>No. No, I'm just like, this is how I talk.

0:27:02.280 --> 0:27:03.880
<v Speaker 4>We're back and forth with things, so I don't want

0:27:03.920 --> 0:27:04.240
<v Speaker 4>to be like.

0:27:04.280 --> 0:27:06.200
<v Speaker 1>All over the place, you know, you know, like when

0:27:06.240 --> 0:27:09.280
<v Speaker 1>black people eat and they don't say nothing at Mama's

0:27:09.320 --> 0:27:11.919
<v Speaker 1>house because the food are good. Like this is ues

0:27:12.000 --> 0:27:15.040
<v Speaker 1>right now, Like we're not talking over you or anything.

0:27:15.080 --> 0:27:17.199
<v Speaker 7>We're just like and these stories are our time capsules.

0:27:17.240 --> 0:27:19.119
<v Speaker 7>This is good too, you know, to remember this and

0:27:19.160 --> 0:27:21.960
<v Speaker 7>have these James Brown. Yes, let's talk about James Brown.

0:27:22.600 --> 0:27:24.960
<v Speaker 4>Let's talk about James Brown. I don't know a mirror.

0:27:25.000 --> 0:27:29.280
<v Speaker 4>If you've got the message before. When I was playing, yeah,

0:27:29.560 --> 0:27:32.240
<v Speaker 4>I was, I was.

0:27:32.600 --> 0:27:35.320
<v Speaker 1>Yeah, let's make Christmas mean something this year.

0:27:36.000 --> 0:27:39.200
<v Speaker 4>Which is one of my favorite Christmas songs, but it's

0:27:39.280 --> 0:27:41.760
<v Speaker 4>on my loop of Christmas music. We have that, and

0:27:41.840 --> 0:27:43.520
<v Speaker 4>we have Santa Claus Go Straight to the Ghetto, and

0:27:43.600 --> 0:27:48.360
<v Speaker 4>then many other James Christmas quote unquote hits that I've

0:27:48.440 --> 0:27:50.920
<v Speaker 4>made Christmas hits in my household because I just played

0:27:50.920 --> 0:27:53.240
<v Speaker 4>the round and then we get stuck on the James

0:27:53.280 --> 0:27:55.159
<v Speaker 4>my phone. I'm like, I love you, James Brown, but

0:27:55.240 --> 0:27:57.280
<v Speaker 4>I need to hear like a little mixed street. And

0:27:58.400 --> 0:28:01.720
<v Speaker 4>so when I had never met James Brown, obviously, it

0:28:01.880 --> 0:28:05.320
<v Speaker 4>was my first year in the industry, and somebody said

0:28:05.320 --> 0:28:10.159
<v Speaker 4>to me, I'm in I'm in my trailer. And this

0:28:10.359 --> 0:28:14.399
<v Speaker 4>is when I was very much sequestered under that sony

0:28:15.960 --> 0:28:21.080
<v Speaker 4>world of whatever. Yeah yes, prior to singing thing and

0:28:21.119 --> 0:28:24.400
<v Speaker 4>all of that, but anyway, under that thing. And then

0:28:25.280 --> 0:28:27.400
<v Speaker 4>so I'm shocked that they even told me that James

0:28:27.440 --> 0:28:29.240
<v Speaker 4>Brown wanted to meet me. They're like, James Brown wants

0:28:29.280 --> 0:28:34.120
<v Speaker 4>to meet you. So that's a huge thing. So I want,

0:28:34.240 --> 0:28:36.119
<v Speaker 4>you know, I'm like, oh my gosh, like, okay, let

0:28:36.160 --> 0:28:37.879
<v Speaker 4>me go to his trail, Let me do the respectful thing.

0:28:37.920 --> 0:28:40.280
<v Speaker 4>Let me walk in see what it is. So I'm

0:28:40.320 --> 0:28:43.520
<v Speaker 4>sitting there and and we just meet and whatever, and

0:28:43.600 --> 0:28:46.840
<v Speaker 4>I'm just like shocking off, shocking off, and he's like,

0:28:47.080 --> 0:28:49.000
<v Speaker 4>I'm not gonna do an impersonation of him.

0:28:49.400 --> 0:28:51.960
<v Speaker 3>But he was like this, I was waiting for that.

0:28:54.760 --> 0:28:55.080
<v Speaker 1>Everyone.

0:28:57.680 --> 0:28:59.600
<v Speaker 4>You guys can do it when I'll tell you the text.

0:28:59.680 --> 0:29:02.280
<v Speaker 4>But he was like, this is no surprise to me.

0:29:02.560 --> 0:29:04.760
<v Speaker 4>This is no surprise to me. This is basically the

0:29:04.840 --> 0:29:07.480
<v Speaker 4>success is no surprise to me. He's like, you use

0:29:07.520 --> 0:29:09.640
<v Speaker 4>your voice as an instrument. You use your voice as

0:29:09.680 --> 0:29:13.680
<v Speaker 4>an instrument. So that was a humongous compliment because I

0:29:13.800 --> 0:29:15.960
<v Speaker 4>know what he's talking about, because you can hear what

0:29:16.080 --> 0:29:18.600
<v Speaker 4>he does those like this, this screw. I'm not sure

0:29:18.680 --> 0:29:22.120
<v Speaker 4>how we how we categorize what he does with it

0:29:22.320 --> 0:29:25.680
<v Speaker 4>did with his voice. No, he knew that, Like, using

0:29:25.760 --> 0:29:28.560
<v Speaker 4>that upper register is a thing, whether you're doing it

0:29:28.720 --> 0:29:32.640
<v Speaker 4>as to accentuate something like he would do, or whether

0:29:32.680 --> 0:29:34.800
<v Speaker 4>you're doing it like you were talking about a mirror

0:29:35.200 --> 0:29:38.040
<v Speaker 4>with the car not the caroll the bells, the sugar

0:29:38.080 --> 0:29:42.520
<v Speaker 4>plung ferry. Yeah, did that as an acapella moment for

0:29:42.640 --> 0:29:45.920
<v Speaker 4>the album. Prior to this past year, which was just

0:29:46.040 --> 0:29:49.400
<v Speaker 4>a reissue of some Christmas songs, but I said, let

0:29:49.440 --> 0:29:51.360
<v Speaker 4>me do something new, and I did like that little

0:29:51.400 --> 0:29:57.520
<v Speaker 4>acapella acapella part with and the high parts on top

0:29:57.560 --> 0:29:57.720
<v Speaker 4>of that.

0:30:02.720 --> 0:30:05.880
<v Speaker 1>What is your, uh, at least your warm up ritual?

0:30:06.640 --> 0:30:09.360
<v Speaker 1>Like as far as like, is it a lot of tea?

0:30:09.640 --> 0:30:12.280
<v Speaker 1>Is it a lot of Usually if I do shows

0:30:12.360 --> 0:30:16.959
<v Speaker 1>with other guest or whatever, like, I'll look in their

0:30:17.040 --> 0:30:19.920
<v Speaker 1>dress room to see what their writer is, so I'll

0:30:19.960 --> 0:30:23.360
<v Speaker 1>see like Stevie Wonder's thing is, you know, two giant

0:30:23.440 --> 0:30:26.600
<v Speaker 1>te's and all these honey's and then Shaka Khan has

0:30:26.640 --> 0:30:30.840
<v Speaker 1>a thing where it's Aca Nation and whatever. Like what

0:30:31.360 --> 0:30:34.720
<v Speaker 1>before live performances, not before your studio stuff? What is

0:30:34.760 --> 0:30:35.320
<v Speaker 1>your ritual?

0:30:36.120 --> 0:30:38.959
<v Speaker 4>Can I just say that I used to have a ritual,

0:30:39.840 --> 0:30:46.120
<v Speaker 4>and I've been through many facets of that ritual. It

0:30:46.240 --> 0:30:48.640
<v Speaker 4>started when I was a background singer and I was

0:30:48.720 --> 0:30:51.080
<v Speaker 4>looking at what the other like the background singers that

0:30:51.120 --> 0:30:55.320
<v Speaker 4>I really looked up to, I e. Cindy, Myzell and

0:30:55.960 --> 0:30:56.680
<v Speaker 4>many other.

0:30:56.720 --> 0:31:01.680
<v Speaker 1>You know, and Lisa and all their crew, the whole crew.

0:31:01.800 --> 0:31:04.120
<v Speaker 4>But I really spent the most time around Cindy before

0:31:04.160 --> 0:31:06.000
<v Speaker 4>I even had a deal. And I talk about this

0:31:06.160 --> 0:31:09.719
<v Speaker 4>a record deal in my book I haven't even heard

0:31:09.760 --> 0:31:11.840
<v Speaker 4>from her, but I did a whole like basically like

0:31:12.000 --> 0:31:14.959
<v Speaker 4>almost a whole chapter about how much I revered her

0:31:15.440 --> 0:31:17.360
<v Speaker 4>just from looking at the credits when she would be

0:31:17.560 --> 0:31:20.120
<v Speaker 4>when she and Audrey Wheeler would do like a lot

0:31:20.160 --> 0:31:23.400
<v Speaker 4>of these background parts, and I could tell on like

0:31:23.720 --> 0:31:27.280
<v Speaker 4>many of these hop records where it clearly wasn't the

0:31:27.400 --> 0:31:31.480
<v Speaker 4>lead singer doing these parts, right, but it was with

0:31:31.680 --> 0:31:37.120
<v Speaker 4>these incredibly beautifully sacked backgrounds, and I was like, oh

0:31:37.200 --> 0:31:39.640
<v Speaker 4>my gosh, Cindy myself. So I wind up in a

0:31:39.760 --> 0:31:43.560
<v Speaker 4>session for TM Stevens. Right, I'm like eighteen years old.

0:31:44.080 --> 0:31:45.959
<v Speaker 4>I'm at this session. I know we just totally went

0:31:46.000 --> 0:31:47.800
<v Speaker 4>off topic again, but do you want to hear this story?

0:31:48.000 --> 0:31:50.040
<v Speaker 3>The on topic go on? We want all the stories.

0:31:50.360 --> 0:31:50.920
<v Speaker 1>That's my man.

0:31:52.120 --> 0:31:55.280
<v Speaker 4>It's the topic is relevant because the question was about

0:31:55.320 --> 0:31:57.320
<v Speaker 4>my writer. But I'm telling you where I got this

0:31:57.600 --> 0:31:58.040
<v Speaker 4>thing from.

0:31:58.720 --> 0:32:01.400
<v Speaker 1>So yeah, we are the Where the Rabbit Hole show?

0:32:01.480 --> 0:32:03.080
<v Speaker 1>So you're you're right on top of.

0:32:03.840 --> 0:32:06.960
<v Speaker 4>Okay, cool. So so I'm at this This is prior

0:32:07.000 --> 0:32:09.000
<v Speaker 4>to anyone ever hearing of me. I had a dollar

0:32:09.040 --> 0:32:11.320
<v Speaker 4>a day. I had to choose between the subway and

0:32:11.440 --> 0:32:15.080
<v Speaker 4>the H and H bagels when I'm living uh yeah,

0:32:15.360 --> 0:32:17.680
<v Speaker 4>for real, and I'm on above. I was living above

0:32:17.760 --> 0:32:19.880
<v Speaker 4>you know where Rascals. You guys know where Rascals on

0:32:19.920 --> 0:32:22.560
<v Speaker 4>fourteenth Street is on the on the east side.

0:32:25.320 --> 0:32:27.320
<v Speaker 2>No, but I know H and H Bagels and and

0:32:27.440 --> 0:32:30.040
<v Speaker 2>I hope you chose bagels over subway every time.

0:32:32.880 --> 0:32:34.960
<v Speaker 4>Because when I lived, when I would go to the

0:32:35.160 --> 0:32:37.520
<v Speaker 4>H and H Fagels is when I lived closer to

0:32:37.560 --> 0:32:39.440
<v Speaker 4>the Upper west Side. So the H and H Bagels

0:32:39.440 --> 0:32:41.840
<v Speaker 4>that I used to go to was the one on

0:32:41.920 --> 0:32:44.320
<v Speaker 4>seventy ninth Street, right is that that was that where

0:32:44.360 --> 0:32:44.800
<v Speaker 4>that one is?

0:32:45.320 --> 0:32:47.840
<v Speaker 1>I went to the one on the upper upper east side.

0:32:47.840 --> 0:32:50.600
<v Speaker 4>I don't know it's gone, it's gone, it's not even there.

0:32:50.640 --> 0:32:53.720
<v Speaker 4>I know they got shut or whatever. But back then

0:32:54.080 --> 0:32:56.400
<v Speaker 4>that was my meal for the day. So it was

0:32:56.480 --> 0:32:58.480
<v Speaker 4>either way subway. And I used to work at this

0:32:58.600 --> 0:33:02.560
<v Speaker 4>place called Sports Broadway on seventy seven and so I

0:33:02.600 --> 0:33:05.200
<v Speaker 4>would take the subway back and forth. But anyway, I

0:33:05.240 --> 0:33:08.240
<v Speaker 4>had to decide whether it was walking or eating a bagel.

0:33:08.640 --> 0:33:11.640
<v Speaker 4>So that's why I was when I first came out

0:33:12.120 --> 0:33:15.360
<v Speaker 4>to the public as a singer. Anyway, back to the story,

0:33:15.480 --> 0:33:18.360
<v Speaker 4>So prior to all that, I was well, during that time,

0:33:19.400 --> 0:33:23.240
<v Speaker 4>I started getting background vocal gigs or whatever, and so

0:33:23.360 --> 0:33:26.240
<v Speaker 4>I wound up after being a huge fan of Cindy

0:33:26.440 --> 0:33:29.200
<v Speaker 4>as a background singer and a ranger, and whenever, I

0:33:29.520 --> 0:33:33.640
<v Speaker 4>wound up working doing a session for TM Stevens. And

0:33:33.800 --> 0:33:36.640
<v Speaker 4>I'm sitting there next to Cindy myself, so I'm like,

0:33:36.960 --> 0:33:40.240
<v Speaker 4>oh my gosh, this is Cindy, So mind you. I'm there.

0:33:40.520 --> 0:33:43.200
<v Speaker 4>My shoes have holes in them. I'm in like one

0:33:43.280 --> 0:33:45.560
<v Speaker 4>little It probably looked like pretty much like this today

0:33:45.640 --> 0:33:46.640
<v Speaker 4>but a little bit different, but.

0:33:47.040 --> 0:33:49.440
<v Speaker 1>Anyway, like a million bucks, Okay, I get it.

0:33:50.400 --> 0:33:51.840
<v Speaker 4>My stomach was rumbling.

0:33:52.000 --> 0:33:52.800
<v Speaker 5>We're on the mic.

0:33:52.960 --> 0:33:56.560
<v Speaker 4>She's hearing my stomach rumbling. She's looking at my shoes

0:33:57.200 --> 0:34:00.320
<v Speaker 4>and she's like, you know, beautiful and perfect and everything,

0:34:00.760 --> 0:34:03.040
<v Speaker 4>and she's like, what you know, you got to get

0:34:03.080 --> 0:34:06.520
<v Speaker 4>something to eat. I'm like, yeah no. And then she

0:34:06.760 --> 0:34:08.920
<v Speaker 4>just like we're doing the thing, and I'm telling you

0:34:09.120 --> 0:34:12.279
<v Speaker 4>I did not have it together. She was such a

0:34:12.400 --> 0:34:16.279
<v Speaker 4>professional in terms of stacking vocals, getting it perfect. The

0:34:16.400 --> 0:34:19.080
<v Speaker 4>next one has to line up perfectly. You know, I'm figuring,

0:34:19.280 --> 0:34:21.120
<v Speaker 4>I'm not in the pocket. I'm all over the place.

0:34:21.480 --> 0:34:23.920
<v Speaker 4>After that session, I really like learned a lot and

0:34:24.040 --> 0:34:27.040
<v Speaker 4>learned a lot from her. But anyway, that was that

0:34:27.160 --> 0:34:29.720
<v Speaker 4>first song with Tim Stevens, and she was and Cindy

0:34:29.880 --> 0:34:31.920
<v Speaker 4>was like, just call me. And I talked about this

0:34:31.960 --> 0:34:33.520
<v Speaker 4>in the book, to just call me, you know, whenever,

0:34:33.560 --> 0:34:36.080
<v Speaker 4>if you wantnother you know, if you need anything. And

0:34:36.320 --> 0:34:38.680
<v Speaker 4>I never want to bother people. So I never ended

0:34:38.760 --> 0:34:40.640
<v Speaker 4>up calling her. Then I saw her for another session.

0:34:40.760 --> 0:34:43.600
<v Speaker 4>She was like, she said, why didn't you call me?

0:34:43.680 --> 0:34:45.640
<v Speaker 4>I said, well, I just I didn't know, you know.

0:34:45.760 --> 0:34:49.040
<v Speaker 4>She's like, no, You're supposed to call me. And I'm like, oh, okay,

0:34:49.160 --> 0:34:52.600
<v Speaker 4>I don't know the etiquette. I don't know why we

0:34:52.800 --> 0:34:54.719
<v Speaker 4>ended up working together over the years, but I will

0:34:54.760 --> 0:34:57.120
<v Speaker 4>say to answer the question and to circle all the

0:34:57.160 --> 0:35:01.480
<v Speaker 4>way back, I believe that back then it was the

0:35:02.440 --> 0:35:05.919
<v Speaker 4>maybe the Red Singer tea Celestial Seasonings tea.

0:35:06.200 --> 0:35:07.520
<v Speaker 5>I love Red Zinger.

0:35:09.400 --> 0:35:13.879
<v Speaker 4>With the Honey Honeybear and like a ton of the honey.

0:35:14.600 --> 0:35:16.880
<v Speaker 4>There was a ton like Debora Cooper and a lot

0:35:16.920 --> 0:35:18.640
<v Speaker 4>of other singers I was working with. They would do

0:35:19.360 --> 0:35:21.640
<v Speaker 4>Depra Cooper sang on a lot of the CNC Music

0:35:21.719 --> 0:35:28.160
<v Speaker 4>Factory stuff way back when. Okay, really nice person and anyway,

0:35:28.440 --> 0:35:30.960
<v Speaker 4>they used to do cayenne pepper. Do you ever hear

0:35:31.120 --> 0:35:34.239
<v Speaker 4>singing that do cayenne pepper to like clear if you're sick.

0:35:34.600 --> 0:35:36.360
<v Speaker 3>If you're sick, it gets it clears.

0:35:36.440 --> 0:35:38.680
<v Speaker 1>Like I know, Eric do use this cayne pepper a

0:35:38.760 --> 0:35:40.520
<v Speaker 1>lot in her that.

0:35:42.440 --> 0:35:45.839
<v Speaker 4>Yeah, And I would respect that, you know, but I don't.

0:35:46.360 --> 0:35:48.799
<v Speaker 4>That doesn't help me. I need like I even drink

0:35:49.280 --> 0:35:52.640
<v Speaker 4>like tea with milk sometimes, like English breakfast.

0:35:52.920 --> 0:35:56.359
<v Speaker 1>You drink milk. I thought, milk is wow.

0:35:56.680 --> 0:36:00.279
<v Speaker 4>That sometimes for me it's a coating and and it's

0:36:00.320 --> 0:36:04.160
<v Speaker 4>different than the lemon stripping stuff, so I don't know,

0:36:04.280 --> 0:36:06.680
<v Speaker 4>it's really it's really whatever. And right now we're drinking

0:36:06.760 --> 0:36:09.680
<v Speaker 4>this and it's absolutely spectac yes.

0:36:09.600 --> 0:36:11.920
<v Speaker 1>And that far I use cream cheese.

0:36:13.200 --> 0:36:17.000
<v Speaker 3>He to my My go to would be for vocals

0:36:17.040 --> 0:36:20.760
<v Speaker 3>out Always tell people mys, it saved me so many times.

0:36:21.239 --> 0:36:23.720
<v Speaker 3>Coconut water with pineapple juice.

0:36:24.360 --> 0:36:24.759
<v Speaker 4>Mm hmm.

0:36:25.000 --> 0:36:26.080
<v Speaker 1>That shit has saved me.

0:36:26.440 --> 0:36:27.080
<v Speaker 3>So many times.

0:36:27.160 --> 0:36:27.719
<v Speaker 1>Cocaine water.

0:36:27.800 --> 0:36:30.320
<v Speaker 3>I don't like the taste of it, but that shit works.

0:36:31.120 --> 0:36:35.760
<v Speaker 4>It's the coating and the pineapples really good too. I agree.

0:36:36.400 --> 0:36:38.520
<v Speaker 4>It's just I feel like you try all different things,

0:36:38.560 --> 0:36:40.840
<v Speaker 4>and I've been through ups and downs with it all. Honestly,

0:36:41.000 --> 0:36:43.640
<v Speaker 4>for me this whole year with COVID and everything, not

0:36:44.280 --> 0:36:47.600
<v Speaker 4>to sing for my supper and travel around and not

0:36:47.760 --> 0:36:50.560
<v Speaker 4>get the right sleep or you know, just be put

0:36:50.600 --> 0:36:54.120
<v Speaker 4>on this thing where there's a certain amount of stress

0:36:54.560 --> 0:36:56.680
<v Speaker 4>for me that takes away a lot of stuff. So

0:36:57.480 --> 0:36:59.960
<v Speaker 4>I'm just like emotionally like that's where I need to

0:37:00.080 --> 0:37:03.000
<v Speaker 4>be centered or whatever. But it's being off kind of

0:37:03.080 --> 0:37:05.800
<v Speaker 4>like taking off work has really helped my voice, I

0:37:05.880 --> 0:37:08.120
<v Speaker 4>think in a lot of ways, just being able to

0:37:08.200 --> 0:37:11.439
<v Speaker 4>have like stress free And so I'm just like saying

0:37:11.480 --> 0:37:12.840
<v Speaker 4>and everyone's like, oh, you got to get back in

0:37:12.880 --> 0:37:15.200
<v Speaker 4>the studio, like you got to get back to singing,

0:37:15.239 --> 0:37:15.680
<v Speaker 4>And I'm like.

0:37:15.960 --> 0:37:19.160
<v Speaker 3>I know, do you feel like getting back into it?

0:37:19.239 --> 0:37:20.759
<v Speaker 3>I know you just put out Caution, you know, in

0:37:20.800 --> 0:37:23.359
<v Speaker 3>twenty eighteen, but are you kind of feeling like it's

0:37:23.400 --> 0:37:24.480
<v Speaker 3>to drop some new shit?

0:37:25.880 --> 0:37:29.600
<v Speaker 4>Yes, but honestly a different approach. And I don't even

0:37:29.640 --> 0:37:31.400
<v Speaker 4>want to go into what it is, because when I

0:37:31.480 --> 0:37:33.919
<v Speaker 4>did Caution, I loved some of the songs from Caution,

0:37:34.200 --> 0:37:37.800
<v Speaker 4>but I don't think I was at the place vocally

0:37:38.719 --> 0:37:42.239
<v Speaker 4>where I could be now. Also, it was rushed, not

0:37:42.320 --> 0:37:44.279
<v Speaker 4>that it was rushed and I look at my best,

0:37:44.440 --> 0:37:47.960
<v Speaker 4>most critically acclaimed album, and you know, I think that's

0:37:48.040 --> 0:37:51.520
<v Speaker 4>because the critics have changed and shifted since back in

0:37:51.560 --> 0:37:53.600
<v Speaker 4>the days, like believe it or not. If you look

0:37:53.640 --> 0:37:56.000
<v Speaker 4>at those things, it's the most favoric thing in the album.

0:37:56.840 --> 0:37:59.040
<v Speaker 4>But what I was going to say is that I

0:37:59.160 --> 0:38:01.640
<v Speaker 4>didn't have the time time I would normally take, and

0:38:01.920 --> 0:38:04.000
<v Speaker 4>I really wish I did have that time to do

0:38:04.120 --> 0:38:07.520
<v Speaker 4>a few more records on that album to just, you know,

0:38:07.960 --> 0:38:11.040
<v Speaker 4>fully have that expression. But what are you going to do?

0:38:11.200 --> 0:38:13.719
<v Speaker 4>Like it was a much more of like, oh, we

0:38:13.840 --> 0:38:15.800
<v Speaker 4>got to get her back and have people know she

0:38:15.880 --> 0:38:17.719
<v Speaker 4>put out a studio, And then they screwed that up

0:38:18.080 --> 0:38:20.160
<v Speaker 4>with the way they gave away these instant grats. Oh

0:38:20.200 --> 0:38:22.960
<v Speaker 4>we're gonna do instant grats? Why just for this?

0:38:25.080 --> 0:38:26.279
<v Speaker 3>What is what's the instant grat?

0:38:26.360 --> 0:38:29.600
<v Speaker 4>What is that instant grat is when they give away

0:38:29.640 --> 0:38:31.560
<v Speaker 4>a song rather than have it be a part of

0:38:31.600 --> 0:38:33.799
<v Speaker 4>an album. So and I just learned about this two

0:38:33.880 --> 0:38:34.640
<v Speaker 4>years ago too.

0:38:34.800 --> 0:38:43.359
<v Speaker 8>So like yeah, gangster bbdes wait, I'm sorry, man, that's yeah,

0:38:45.200 --> 0:38:46.520
<v Speaker 8>I'm sorry for that reference.

0:38:47.080 --> 0:38:48.240
<v Speaker 3>Wait for record.

0:38:48.600 --> 0:38:50.799
<v Speaker 1>I love that song. I know they're trying to hide

0:38:50.840 --> 0:38:53.960
<v Speaker 1>it like a red hitad Stepschild, but I'm sorry, I

0:38:54.000 --> 0:38:54.600
<v Speaker 1>don't remember that.

0:38:55.239 --> 0:38:55.960
<v Speaker 3>I remember.

0:38:58.040 --> 0:39:01.279
<v Speaker 1>Video. Oh yeah, yeah, yeah, that was supposed to be

0:39:01.400 --> 0:39:04.200
<v Speaker 1>like their big comeback single. But because it kind of tanked,

0:39:05.000 --> 0:39:06.680
<v Speaker 1>then they try to act like we never did.

0:39:06.600 --> 0:39:09.120
<v Speaker 3>It, like and then they came back with Above the Rim,

0:39:09.200 --> 0:39:10.680
<v Speaker 3>and it was like, yeah, y'all could have just rolled

0:39:10.680 --> 0:39:11.360
<v Speaker 3>with Gangster.

0:39:11.760 --> 0:39:16.919
<v Speaker 1>Right exactly. Yeah, but yeah, labels start putting out red

0:39:16.960 --> 0:39:21.279
<v Speaker 1>carpet records or red carpet singles just to announce and

0:39:21.400 --> 0:39:23.479
<v Speaker 1>album that's coming out without putting it on the record

0:39:23.640 --> 0:39:24.000
<v Speaker 1>or whatever.

0:39:24.960 --> 0:39:28.560
<v Speaker 4>Well, here's the thing, if you do for your actual fans, right,

0:39:28.640 --> 0:39:32.600
<v Speaker 4>because my the lamily, they don't care about getting an

0:39:32.640 --> 0:39:34.840
<v Speaker 4>instant grat. They just want to see the record do

0:39:35.000 --> 0:39:38.640
<v Speaker 4>well like and they want to music. So these stupid

0:39:38.719 --> 0:39:42.000
<v Speaker 4>instant grats and this is no shade to anybody. We know.

0:39:42.320 --> 0:39:45.000
<v Speaker 4>They didn't have to do it like that. So like

0:39:45.360 --> 0:39:48.399
<v Speaker 4>the instagrats here, let's get on instagrat. Then they got

0:39:48.440 --> 0:39:51.200
<v Speaker 4>on another Instagrat. So at that point, you're like three

0:39:51.320 --> 0:39:54.120
<v Speaker 4>singles in that you gave away for free, when you

0:39:54.200 --> 0:39:56.600
<v Speaker 4>could have just had a whole experience with your fans

0:39:56.920 --> 0:40:01.239
<v Speaker 4>like this here product that's what I'm saying. So it

0:40:01.400 --> 0:40:04.200
<v Speaker 4>just came like, that's why when you ask the question

0:40:04.320 --> 0:40:07.720
<v Speaker 4>about like caution and vocally, No, I mean I recorded

0:40:07.719 --> 0:40:10.279
<v Speaker 4>that at home as well. I walked back and forth

0:40:10.360 --> 0:40:12.560
<v Speaker 4>and basically I have my own little vocal booth. That's

0:40:12.640 --> 0:40:14.640
<v Speaker 4>a really cute vocal booth that they made for me.

0:40:14.719 --> 0:40:16.960
<v Speaker 4>I wouldn't name check the company, but right now I

0:40:17.040 --> 0:40:21.600
<v Speaker 4>can't remember the name. And we take it wherever and

0:40:21.719 --> 0:40:25.319
<v Speaker 4>it's really cute. It's black and pink and don't inside there.

0:40:25.239 --> 0:40:25.920
<v Speaker 5>And we're obo.

0:40:26.960 --> 0:40:30.000
<v Speaker 4>Yeah, my little booth. But I recorded most of all

0:40:30.040 --> 0:40:38.960
<v Speaker 4>of that album pretty much there. And what's the studio Henson? Yeah,

0:40:40.080 --> 0:40:40.920
<v Speaker 4>you're the world in.

0:40:41.040 --> 0:40:45.200
<v Speaker 1>Right, Yeah, that's one of my favorite places.

0:40:46.640 --> 0:40:52.880
<v Speaker 4>Synchronicity and didn't record there too. We recorded, yeah, and

0:40:53.000 --> 0:40:56.960
<v Speaker 4>it's Michael Jackson room right where Michael like supposedly laid

0:40:57.000 --> 0:40:59.839
<v Speaker 4>on the floor and listened to those speakers. I don't

0:40:59.840 --> 0:41:01.080
<v Speaker 4>know they tell many a story.

0:41:01.920 --> 0:41:05.279
<v Speaker 1>No, no, No, he did record at Hintson, but I

0:41:05.360 --> 0:41:08.759
<v Speaker 1>gotta I don't know which project it was for. But yes,

0:41:09.160 --> 0:41:10.560
<v Speaker 1>Famous We Other World.

0:41:10.520 --> 0:41:13.600
<v Speaker 4>Was made there, Yes, and have that picture.

0:41:14.400 --> 0:41:17.359
<v Speaker 3>Yeah, I think the thing you know, when you talk

0:41:17.400 --> 0:41:20.319
<v Speaker 3>about caution, you know you saying that you didn't feel

0:41:20.320 --> 0:41:21.880
<v Speaker 3>like you were vocally kind of where you want to be.

0:41:22.520 --> 0:41:22.680
<v Speaker 1>You know.

0:41:22.920 --> 0:41:24.960
<v Speaker 3>The reason I think that record was so well received,

0:41:25.040 --> 0:41:28.040
<v Speaker 3>and what I liked about it was that you were

0:41:28.680 --> 0:41:31.560
<v Speaker 3>It's very hard, you know, for artists that you know,

0:41:31.680 --> 0:41:34.120
<v Speaker 3>if you know, have been in the game, you know

0:41:34.120 --> 0:41:35.400
<v Speaker 3>what I'm saying, as long as you have, and I

0:41:35.520 --> 0:41:38.200
<v Speaker 3>sold as many records when they quote unquote come back,

0:41:38.360 --> 0:41:41.040
<v Speaker 3>they end up trying to just copy what the youngest

0:41:41.120 --> 0:41:43.160
<v Speaker 3>is doing, and that ship up sound to corny, you

0:41:43.200 --> 0:41:44.880
<v Speaker 3>know what I mean. But I like the way that

0:41:45.160 --> 0:41:47.560
<v Speaker 3>you were able to kind of do you know, to

0:41:47.680 --> 0:41:50.640
<v Speaker 3>compete with what you know, the contemporary artists were doing,

0:41:51.000 --> 0:41:53.279
<v Speaker 3>but it still sounded like you. And that was the

0:41:53.360 --> 0:41:55.680
<v Speaker 3>thing I really liked about that record. It was it

0:41:55.800 --> 0:41:58.480
<v Speaker 3>was Mariah, but it was like, yeah, this is her

0:41:58.520 --> 0:42:00.480
<v Speaker 3>in this context, like you had the record with Dollar

0:42:00.560 --> 0:42:01.920
<v Speaker 3>and Gunna and you know what I'm saying, but it

0:42:02.080 --> 0:42:04.960
<v Speaker 3>was like, she's still doing Mariah. And I think that

0:42:05.239 --> 0:42:08.440
<v Speaker 3>you know, for your fans, you know, particular my generation,

0:42:08.960 --> 0:42:11.080
<v Speaker 3>we just you know, appreciated the way you came back

0:42:11.160 --> 0:42:14.000
<v Speaker 3>and was showing like yeah, I'm you know, I'm Mariah.

0:42:14.080 --> 0:42:15.920
<v Speaker 3>But I can still bang with you, motherfuckers.

0:42:19.040 --> 0:42:19.320
<v Speaker 9>I'm not.

0:42:19.560 --> 0:42:21.520
<v Speaker 4>This is And by the way, my fans get really

0:42:21.719 --> 0:42:25.400
<v Speaker 4>mad when I they think I shaved my own albums

0:42:25.600 --> 0:42:27.160
<v Speaker 4>or songs. That's not what I'm doing.

0:42:27.520 --> 0:42:28.040
<v Speaker 3>I'm saying.

0:42:29.520 --> 0:42:33.680
<v Speaker 4>And I appreciate you saying those things about Caution the album,

0:42:33.800 --> 0:42:36.239
<v Speaker 4>because I really do like it as an album. But

0:42:36.360 --> 0:42:38.640
<v Speaker 4>I'm saying it to put it up against like and

0:42:38.800 --> 0:42:41.719
<v Speaker 4>this is not even a fair analogy, but like Butterfly,

0:42:42.239 --> 0:42:44.719
<v Speaker 4>I had all the time in the world I had.

0:42:44.960 --> 0:42:46.640
<v Speaker 4>I went in there and did what I wanted. I

0:42:46.760 --> 0:42:48.719
<v Speaker 4>worked in Florida, I worked in New York, I worked

0:42:48.719 --> 0:42:53.000
<v Speaker 4>wherever I wanted, and really put the time into it.

0:42:53.080 --> 0:42:55.320
<v Speaker 4>But with Caution, and with the way the record industry

0:42:55.440 --> 0:42:59.879
<v Speaker 4>is now, we don't have that luxury of time, like yeah,

0:43:00.120 --> 0:43:01.200
<v Speaker 4>like some people do.

0:43:02.040 --> 0:43:06.040
<v Speaker 1>So do you believe in deadlines as in like okay,

0:43:06.160 --> 0:43:08.879
<v Speaker 1>well do you like plan the tour first? And okay,

0:43:08.960 --> 0:43:11.880
<v Speaker 1>I got to finish this album four months? Or is

0:43:12.000 --> 0:43:17.960
<v Speaker 1>the album done when you say it's done, then we

0:43:18.160 --> 0:43:22.600
<v Speaker 1>move on with the campaign. I don't know how it

0:43:22.760 --> 0:43:32.279
<v Speaker 1>is for Upper Echelne. Yeah, is it like if you

0:43:32.400 --> 0:43:35.000
<v Speaker 1>agree like, okay, we're going to tour the summer from

0:43:35.040 --> 0:43:37.480
<v Speaker 1>May to September. Then I gotta have this record out

0:43:37.520 --> 0:43:40.680
<v Speaker 1>by March. So do you are you a deadline sticker

0:43:40.920 --> 0:43:44.000
<v Speaker 1>no matter what? Or is it like, this album's not

0:43:44.160 --> 0:43:47.880
<v Speaker 1>coming out unless I'm goosebump happy about it?

0:43:48.440 --> 0:43:52.560
<v Speaker 4>Okay? So I would say that that's how it should be,

0:43:54.120 --> 0:43:56.600
<v Speaker 4>and that's and that's how it used to be. But

0:43:56.760 --> 0:44:00.239
<v Speaker 4>one also one thing that I do want to your

0:44:00.320 --> 0:44:04.120
<v Speaker 4>point about touring, I was never touring artist, and that

0:44:04.360 --> 0:44:06.960
<v Speaker 4>was a deliberate choice I think on behalf of certain

0:44:07.440 --> 0:44:16.320
<v Speaker 4>CEOs of Sony. Okay, because there was a conscious effort,

0:44:16.840 --> 0:44:19.239
<v Speaker 4>and I have no problem with this looking back at it.

0:44:19.320 --> 0:44:22.719
<v Speaker 4>I'm very grateful for it now on some levels, and

0:44:22.800 --> 0:44:24.960
<v Speaker 4>on other levels I'm like, I didn't get to kind

0:44:25.040 --> 0:44:27.759
<v Speaker 4>of like, what's the thing called when you cut your

0:44:27.800 --> 0:44:29.600
<v Speaker 4>teeth and record?

0:44:29.719 --> 0:44:29.919
<v Speaker 3>Yeah?

0:44:30.920 --> 0:44:34.200
<v Speaker 5>So I because what's the reason, Because what's the reason.

0:44:34.239 --> 0:44:36.040
<v Speaker 5>Why wouldn't they why wouldn't they want you to dour?

0:44:37.040 --> 0:44:41.320
<v Speaker 4>Because it was more financially beneficial for me to continue

0:44:41.360 --> 0:44:44.640
<v Speaker 4>to make album after album after album. Yeah, to record.

0:44:44.719 --> 0:44:46.680
<v Speaker 4>So if you look at it, and then you look

0:44:46.719 --> 0:44:51.800
<v Speaker 4>at my first album through when I left, Wow, I

0:44:51.840 --> 0:44:55.440
<v Speaker 4>was still on Sony, but like through Rainbow, like I

0:44:55.560 --> 0:44:57.319
<v Speaker 4>just did, and Rainbow was because I wanted to get

0:44:57.360 --> 0:44:59.560
<v Speaker 4>off the label. So I just did that album in

0:44:59.600 --> 0:45:01.479
<v Speaker 4>three months. And I still love some of the songs.

0:45:01.520 --> 0:45:03.920
<v Speaker 4>But I did that like super fast because I was like,

0:45:04.040 --> 0:45:06.200
<v Speaker 4>I got to get the hell out of this toxic situation.

0:45:06.440 --> 0:45:10.120
<v Speaker 4>Not because it's sony, but because of the professional intertwinement

0:45:10.239 --> 0:45:14.680
<v Speaker 4>that was going on with that situation. Yeah, sing sing,

0:45:14.880 --> 0:45:17.120
<v Speaker 4>But but in the beginning, it was like, just make

0:45:17.160 --> 0:45:20.160
<v Speaker 4>the records, make the records, make records, sing sing like

0:45:20.480 --> 0:45:22.880
<v Speaker 4>right right, you know all this stuff. And if I

0:45:22.960 --> 0:45:25.080
<v Speaker 4>didn't want to write, I would have. I'm sure life

0:45:25.080 --> 0:45:27.480
<v Speaker 4>would have been easier, but I have the need. I

0:45:27.600 --> 0:45:31.400
<v Speaker 4>love writing. To me, I'm a writer first and and

0:45:32.400 --> 0:45:35.279
<v Speaker 4>and I love being in the studio. But I never

0:45:35.600 --> 0:45:38.440
<v Speaker 4>The first tour I did was really aside from like

0:45:38.520 --> 0:45:43.280
<v Speaker 4>promo tours, from the very beginning with just the incredible

0:45:43.480 --> 0:45:48.160
<v Speaker 4>Richard T and you know Trey and Patrick McMillan and

0:45:48.280 --> 0:45:49.080
<v Speaker 4>the old.

0:45:48.960 --> 0:45:51.839
<v Speaker 1>Time Richard T was your touring keyboard player.

0:45:52.880 --> 0:45:56.920
<v Speaker 4>Richard T played on song Vanishing from my first.

0:45:56.760 --> 0:46:00.600
<v Speaker 1>Album as in studio, yeah, I love okay and that.

0:46:00.800 --> 0:46:06.799
<v Speaker 4>Is the and then he was an incredibly I mean

0:46:07.320 --> 0:46:11.359
<v Speaker 4>just mammoth in terms of his legendary status, and we did.

0:46:11.600 --> 0:46:15.239
<v Speaker 4>He did come out and do some shows with me,

0:46:15.880 --> 0:46:19.719
<v Speaker 4>and then it wasn't t obviously Yeah, but these were

0:46:19.920 --> 0:46:22.480
<v Speaker 4>this is before there was like people filming. There were

0:46:22.520 --> 0:46:25.600
<v Speaker 4>people filming and that type of thing, like I he

0:46:25.960 --> 0:46:28.320
<v Speaker 4>and then I don't know if you ever saw this America,

0:46:28.400 --> 0:46:32.120
<v Speaker 4>the beautiful performance that I did for the NBA playoffs.

0:46:32.120 --> 0:46:33.960
<v Speaker 4>I know nothing about sports, so I'm saying it wrong.

0:46:34.000 --> 0:46:38.040
<v Speaker 1>But like my first first time that you debuted before

0:46:38.280 --> 0:46:38.720
<v Speaker 1>I went.

0:46:38.600 --> 0:46:41.640
<v Speaker 4>On our senior Hall, which was my first like TV appearance.

0:46:42.120 --> 0:46:44.920
<v Speaker 1>Yea, the entire world saw that.

0:46:47.120 --> 0:46:50.560
<v Speaker 4>Every the NBA thing where if you look it up,

0:46:50.600 --> 0:46:52.640
<v Speaker 4>and it's not only my real fans know it, but

0:46:52.840 --> 0:46:55.040
<v Speaker 4>Richard T did the piano track. I went there with

0:46:55.120 --> 0:46:59.040
<v Speaker 4>a track to Detroit. I know nothing about sports whatever

0:46:59.560 --> 0:47:02.319
<v Speaker 4>in record respect him, like, oh, those kids they said

0:47:02.360 --> 0:47:06.439
<v Speaker 4>I would not map tied nothing. They were watching those

0:47:06.680 --> 0:47:09.520
<v Speaker 4>jocks from the school they were watching. So I had

0:47:09.600 --> 0:47:11.480
<v Speaker 4>I had to do my own hair and makeup. I

0:47:11.560 --> 0:47:13.880
<v Speaker 4>had my one black dress. I walk in on the

0:47:13.960 --> 0:47:17.040
<v Speaker 4>thing and it's Richard T's piano track. You can find

0:47:17.080 --> 0:47:21.680
<v Speaker 4>it right now. I'm here and I found it on

0:47:21.800 --> 0:47:24.520
<v Speaker 4>the piano and we worked it out together. I sang

0:47:24.560 --> 0:47:27.400
<v Speaker 4>it with him prior to going there and performing it,

0:47:27.520 --> 0:47:30.520
<v Speaker 4>but we like did it together in terms of the arrangement.

0:47:31.040 --> 0:47:33.560
<v Speaker 4>And then I had his piano track and that was it,

0:47:33.640 --> 0:47:35.640
<v Speaker 4>and I had to go sing and nobody knew who

0:47:35.640 --> 0:47:38.560
<v Speaker 4>I was, and they introduced me ladies and gentlemen, uh

0:47:39.080 --> 0:47:45.680
<v Speaker 4>Columbia recording artists Mariah Carrat to like and then but

0:47:45.840 --> 0:47:48.279
<v Speaker 4>then at the end of it, it's the Shining Sea

0:47:48.440 --> 0:47:50.840
<v Speaker 4>and the note, and it was like the most of it.

0:47:50.960 --> 0:47:53.120
<v Speaker 4>Who was the man? I love him. I don't even

0:47:53.160 --> 0:47:54.680
<v Speaker 4>want him to ever hear this and think I don't

0:47:54.680 --> 0:47:56.680
<v Speaker 4>remember his name, but I'm so bad with sports. The

0:47:56.840 --> 0:47:59.600
<v Speaker 4>announcer and you'll see it if you look it up,

0:47:59.640 --> 0:48:02.640
<v Speaker 4>and he's like lo Palace, Now, how's the Queen? And

0:48:02.719 --> 0:48:05.040
<v Speaker 4>the goosebumps will continue? And I talk about in the book,

0:48:05.080 --> 0:48:07.680
<v Speaker 4>but I didn't. I would love to name check him.

0:48:07.680 --> 0:48:10.600
<v Speaker 4>I'm just so bad with sports that I always forget.

0:48:12.360 --> 0:48:14.080
<v Speaker 5>Marvin probably.

0:48:15.560 --> 0:48:18.560
<v Speaker 1>Probably mar Alt, Yes, I think I.

0:48:18.719 --> 0:48:20.680
<v Speaker 4>Know that's not his same, but he's famous. I can't

0:48:20.680 --> 0:48:22.160
<v Speaker 4>think of it now. But anyway, that was Richard T

0:48:22.520 --> 0:48:24.560
<v Speaker 4>and Richard T played a really big part in that

0:48:24.760 --> 0:48:27.400
<v Speaker 4>early part of development.

0:48:28.000 --> 0:48:30.719
<v Speaker 1>That's that's impressive company. Because Richard t' is a legend.

0:48:30.920 --> 0:48:32.600
<v Speaker 3>I was going to ask, did you have to fight

0:48:32.680 --> 0:48:34.520
<v Speaker 3>to write your own material? Because that was something that

0:48:35.080 --> 0:48:39.440
<v Speaker 3>pop singers, you know, they damned they weren't permitted, you know,

0:48:39.640 --> 0:48:41.840
<v Speaker 3>to write their own stuff. So what was that like

0:48:41.960 --> 0:48:42.120
<v Speaker 3>for you?

0:48:43.239 --> 0:48:45.960
<v Speaker 4>Well, okay, so that was to me, that was the

0:48:46.080 --> 0:48:51.279
<v Speaker 4>one thing that I really held tight onto starting out

0:48:51.280 --> 0:48:53.560
<v Speaker 4>as like having my first demo. So my first demo

0:48:54.080 --> 0:48:55.960
<v Speaker 4>and some of these songs are not my favorite, and

0:48:56.080 --> 0:48:58.400
<v Speaker 4>I just I like the demos better. But I was

0:48:58.440 --> 0:49:00.640
<v Speaker 4>always writing songs from the time I was a little love,

0:49:00.680 --> 0:49:03.960
<v Speaker 4>I vote poetry, I heard melodies, I did all that.

0:49:04.440 --> 0:49:08.680
<v Speaker 4>But so when I got my after like working with

0:49:08.760 --> 0:49:10.759
<v Speaker 4>a few different people and I started working on my

0:49:10.800 --> 0:49:15.360
<v Speaker 4>first demo. By the time it got into Tommy Mottola's hands,

0:49:16.280 --> 0:49:20.040
<v Speaker 4>that demo had well, it ended up the demo ended

0:49:20.120 --> 0:49:25.600
<v Speaker 4>up being Vision of Love. The demo version Someday Alone

0:49:25.680 --> 0:49:30.640
<v Speaker 4>in Love and ultimately vanishing like the original demo had

0:49:30.880 --> 0:49:34.839
<v Speaker 4>had at least had one number one song, which ended

0:49:34.920 --> 0:49:36.800
<v Speaker 4>up being some Day. But you know, that's like my

0:49:36.960 --> 0:49:39.359
<v Speaker 4>least favorite song. But I like the demo, I hate

0:49:39.360 --> 0:49:39.800
<v Speaker 4>the record.

0:49:41.840 --> 0:49:44.600
<v Speaker 1>I told her. I told her this last night. Some

0:49:44.840 --> 0:49:51.640
<v Speaker 1>day might be inadvertently responsible for my career.

0:49:52.200 --> 0:49:58.920
<v Speaker 5>Oh Chocolate, No, No, yeah, exactly, no, I kind of.

0:49:59.040 --> 0:50:06.720
<v Speaker 1>Well no, Well, in short, uh, I was auditioning for Tarika,

0:50:06.719 --> 0:50:08.600
<v Speaker 1>and I went to New York to audition. I went

0:50:08.640 --> 0:50:13.480
<v Speaker 1>to audition for colleges to uh Julliard and the News School,

0:50:14.480 --> 0:50:16.960
<v Speaker 1>And on the train ride home, some girl thought that

0:50:17.080 --> 0:50:20.560
<v Speaker 1>I was Chocolate playing the bucket drummer.

0:50:20.800 --> 0:50:23.720
<v Speaker 3>That Chocolate ride had the bucket drummer on the video.

0:50:23.760 --> 0:50:26.920
<v Speaker 1>Right, and also in Spike Lee's well you know, he

0:50:27.080 --> 0:50:30.600
<v Speaker 1>was also in Spike Lee's Levi's commercial, so she thought

0:50:30.600 --> 0:50:33.000
<v Speaker 1>I was the Levi's guy, when actually I was the

0:50:33.000 --> 0:50:38.720
<v Speaker 1>Motown Philly guy. So the next the next day, Tarik

0:50:38.960 --> 0:50:41.759
<v Speaker 1>is in my living room and after a commercial, uh,

0:50:42.600 --> 0:50:45.520
<v Speaker 1>we're watching Soul Train and when that Levi's commercial comes on,

0:50:46.400 --> 0:50:49.200
<v Speaker 1>Treik was like, yo, that girl thought he was the

0:50:49.280 --> 0:50:52.759
<v Speaker 1>Mariah Carey guy anyway, so we might as well just

0:50:52.840 --> 0:50:56.719
<v Speaker 1>do that. And then wow, four hours later, the Roots

0:50:56.760 --> 0:51:01.920
<v Speaker 1>are doing their first show on South Street. So yes,

0:51:02.560 --> 0:51:04.279
<v Speaker 1>thank you to Someday. Yeah.

0:51:05.400 --> 0:51:07.560
<v Speaker 5>I used to always tell people y'all came first.

0:51:15.280 --> 0:51:17.719
<v Speaker 3>All right, so you talk about those demos? How did

0:51:17.760 --> 0:51:20.680
<v Speaker 3>you cut those original demos? Because you if you was

0:51:20.719 --> 0:51:23.640
<v Speaker 3>couldn't afford, you know, to eat, How did you How

0:51:23.680 --> 0:51:25.279
<v Speaker 3>did you afford it? And how did you meet Walter?

0:51:26.120 --> 0:51:30.160
<v Speaker 4>Walter came later. Walter was I met through Naught and

0:51:30.239 --> 0:51:35.239
<v Speaker 4>Michael Walden and was doing a lot of production for

0:51:35.400 --> 0:51:38.600
<v Speaker 4>him in that I'm trying to think of the name

0:51:38.680 --> 0:51:40.920
<v Speaker 4>of the actual area and it's like in the Bay

0:51:41.040 --> 0:51:45.960
<v Speaker 4>Area kind of up in that San Francisco, but beyond Thomas,

0:51:46.200 --> 0:51:47.480
<v Speaker 4>I'm trying to think of the name of the studio.

0:51:48.040 --> 0:51:50.360
<v Speaker 4>You could, you could find out what it is. But anyway,

0:51:50.800 --> 0:51:54.680
<v Speaker 4>so Walter was working in that world but prior to that, way,

0:51:54.760 --> 0:51:57.640
<v Speaker 4>prior to that, and also Randy Jackson was around there.

0:51:57.800 --> 0:51:58.800
<v Speaker 4>Like that's how I met.

0:51:58.680 --> 0:52:00.879
<v Speaker 1>Everybody that started his whole crew.

0:52:01.120 --> 0:52:03.640
<v Speaker 4>Yet his whole crew, and he had a lot of

0:52:03.760 --> 0:52:10.360
<v Speaker 4>really great people, musicians, support system, whole thing. But anyway,

0:52:10.440 --> 0:52:13.440
<v Speaker 4>that's like when I first before my first record, everybody

0:52:13.560 --> 0:52:15.360
<v Speaker 4>was like, oh, she would go work with an order

0:52:15.840 --> 0:52:20.080
<v Speaker 4>now in order to answer the question to preserve my

0:52:20.200 --> 0:52:25.320
<v Speaker 4>ability or to ensure my like just being able to

0:52:26.120 --> 0:52:28.560
<v Speaker 4>be a writer, and not to be forced to do

0:52:28.640 --> 0:52:31.600
<v Speaker 4>other people's songs. When I saw my idea, like I said,

0:52:31.600 --> 0:52:34.000
<v Speaker 4>I already had that demo that had, you know, songs

0:52:34.040 --> 0:52:35.880
<v Speaker 4>that people could look at and go, oh, she's she

0:52:36.040 --> 0:52:39.560
<v Speaker 4>wrote this, Okay what I worked with? At first, I

0:52:39.680 --> 0:52:44.399
<v Speaker 4>met Gavin Christopher, who did I'm coming wanstead up.

0:52:46.880 --> 0:52:50.080
<v Speaker 1>I've had I've had three legendary arguments with singers on

0:52:50.200 --> 0:52:52.359
<v Speaker 1>the internet, and Gavin Christopher is one of them.

0:52:53.200 --> 0:52:56.920
<v Speaker 4>Sorry, I haven't seen him since way back then. I

0:52:57.000 --> 0:52:59.560
<v Speaker 4>haven't seen him since way back then. And he wasn't

0:52:59.600 --> 0:53:02.120
<v Speaker 4>even really like She's the next star, Da da da,

0:53:02.200 --> 0:53:04.719
<v Speaker 4>but he was cool enough to work with me and

0:53:04.840 --> 0:53:07.000
<v Speaker 4>blah blah blah. And then from him, because I was

0:53:07.040 --> 0:53:08.960
<v Speaker 4>in high school, I was like sixteen years old, So

0:53:09.080 --> 0:53:11.920
<v Speaker 4>then from him I met this guy named Ben Marca.

0:53:12.040 --> 0:53:14.560
<v Speaker 4>Lee's blah blah blah. It's all in the book. But

0:53:14.960 --> 0:53:18.879
<v Speaker 4>we worked in his dad's studio, which for the time,

0:53:19.480 --> 0:53:22.719
<v Speaker 4>I was lucky to be at any studio. But it

0:53:23.440 --> 0:53:27.000
<v Speaker 4>was a small studio in the back of a woods shop.

0:53:27.800 --> 0:53:30.880
<v Speaker 4>And you know, they I guess they must have had

0:53:30.920 --> 0:53:33.839
<v Speaker 4>some money, because I surely didn't. They were like twenty five,

0:53:33.960 --> 0:53:36.480
<v Speaker 4>twenty six, and I was a kid in high school,

0:53:36.719 --> 0:53:41.080
<v Speaker 4>so I was just happy to be there working and writing,

0:53:41.640 --> 0:53:44.440
<v Speaker 4>and then I would get up. I would stay there,

0:53:44.440 --> 0:53:47.840
<v Speaker 4>and then I would try to drive back to the island,

0:53:48.080 --> 0:53:51.160
<v Speaker 4>try to drive back to Long Island, which I hated

0:53:51.440 --> 0:53:54.200
<v Speaker 4>that whole experience, but whatever, I would wind up lost

0:53:54.280 --> 0:53:57.719
<v Speaker 4>in Brooklyn by myself. You know, it's no cell phone

0:53:57.920 --> 0:53:58.960
<v Speaker 4>people at cell phones.

0:54:00.360 --> 0:54:03.839
<v Speaker 9>And GPS, and I was just like in this piece

0:54:03.920 --> 0:54:08.480
<v Speaker 9>of crap cutless Supreme from like whatever, nineteen eighty or something,

0:54:08.719 --> 0:54:11.120
<v Speaker 9>and I'm sitting there driving getting lost everywhere.

0:54:11.200 --> 0:54:13.719
<v Speaker 4>But it was worth it because I would get there.

0:54:13.719 --> 0:54:15.840
<v Speaker 4>I would always be late to school. I would you know,

0:54:16.080 --> 0:54:19.239
<v Speaker 4>make my fake forged notes and get to school. But

0:54:19.400 --> 0:54:21.239
<v Speaker 4>really the reason I was late I could do my

0:54:21.320 --> 0:54:23.879
<v Speaker 4>mother's signature perfectly. The reason I was late is because

0:54:23.880 --> 0:54:25.880
<v Speaker 4>I was working in a studio. But that's so I

0:54:25.920 --> 0:54:28.520
<v Speaker 4>started working with Ben and we made this demo with

0:54:28.600 --> 0:54:30.160
<v Speaker 4>a lot of songs that we wrote. And this year

0:54:30.200 --> 0:54:33.239
<v Speaker 4>when we released the Rarities, there's a few of the

0:54:33.360 --> 0:54:36.520
<v Speaker 4>song well really one song that we wrote together called

0:54:36.600 --> 0:54:38.600
<v Speaker 4>here We Go Around Again, which back then I love

0:54:38.680 --> 0:54:41.400
<v Speaker 4>the demo, but when we went on to make the album,

0:54:41.600 --> 0:54:43.920
<v Speaker 4>they just tried to reinvent the wheel because the demo

0:54:44.120 --> 0:54:47.800
<v Speaker 4>was better anyway. So I had these songs and people

0:54:47.880 --> 0:54:50.040
<v Speaker 4>felt that they could be hits. The label felt they

0:54:50.040 --> 0:54:52.239
<v Speaker 4>could be hits. So when I was signing my deal,

0:54:52.280 --> 0:54:54.360
<v Speaker 4>even though I signed it like the worst deal in

0:54:54.600 --> 0:54:57.840
<v Speaker 4>history because it was through that production company, the PA,

0:54:57.960 --> 0:54:59.319
<v Speaker 4>I don't know if it the worst deal in history

0:54:59.400 --> 0:55:02.320
<v Speaker 4>is pretty bad. But the one thing, thank god, I

0:55:02.480 --> 0:55:05.560
<v Speaker 4>didn't do was sell my publishing for five thousand dollars.

0:55:06.000 --> 0:55:11.160
<v Speaker 4>That was yeah, that was presenting me as an option.

0:55:11.320 --> 0:55:15.080
<v Speaker 4>So five thousand dollars sounded like five one hundred million

0:55:15.120 --> 0:55:18.240
<v Speaker 4>dollars to me at that point. And luckily I didn't

0:55:18.239 --> 0:55:20.600
<v Speaker 4>because I had seen a documentary on the Beatles and

0:55:21.080 --> 0:55:25.439
<v Speaker 4>their whole thing, okay, yeah, and what they gave away,

0:55:26.000 --> 0:55:28.359
<v Speaker 4>so I knew better than to do that. But when

0:55:28.400 --> 0:55:30.279
<v Speaker 4>I did sign my ideal, the one thing I said

0:55:30.320 --> 0:55:31.880
<v Speaker 4>to the lawyer because I knew I was kind of

0:55:31.920 --> 0:55:33.920
<v Speaker 4>giving away a lot, but you don't know, as a

0:55:34.040 --> 0:55:36.680
<v Speaker 4>broke kid that grew up with nothing, you don't know what.

0:55:37.280 --> 0:55:40.000
<v Speaker 3>You don't have leverage to negotiate for anything better.

0:55:40.960 --> 0:55:42.640
<v Speaker 4>Yeah, And plus I was too young to even be

0:55:42.680 --> 0:55:46.200
<v Speaker 4>signing my own record deal anyway. So I was like,

0:55:46.400 --> 0:55:48.520
<v Speaker 4>you know, and my mother didn't know. She came into

0:55:48.520 --> 0:55:50.560
<v Speaker 4>the room and just trying to help. You know, I'm

0:55:50.600 --> 0:55:53.239
<v Speaker 4>here as the guardian, but she didn't know. So I

0:55:53.400 --> 0:55:55.319
<v Speaker 4>just said to the lawyer, I said, the one thing

0:55:55.400 --> 0:55:58.280
<v Speaker 4>I want to make sure is that nobody can force

0:55:58.400 --> 0:56:01.360
<v Speaker 4>me to do somebody else's song, Like, I just have

0:56:01.480 --> 0:56:03.480
<v Speaker 4>to make sure that they can't force me to do that.

0:56:04.120 --> 0:56:07.160
<v Speaker 4>So even when they would direct me to work with

0:56:07.480 --> 0:56:10.680
<v Speaker 4>producers over the day that they wanted me to work

0:56:10.719 --> 0:56:13.239
<v Speaker 4>with for whatever Warren or.

0:56:15.040 --> 0:56:15.480
<v Speaker 7>No or.

0:56:17.520 --> 0:56:20.000
<v Speaker 1>A name at the time, they.

0:56:19.920 --> 0:56:22.839
<v Speaker 4>Didn't force me to work with any songwriters. They they

0:56:23.360 --> 0:56:27.120
<v Speaker 4>suggested that I work with, be it Rett Lawrence or

0:56:27.239 --> 0:56:31.200
<v Speaker 4>not to Michael Walden or Rick Wake or whoever it was.

0:56:31.600 --> 0:56:34.760
<v Speaker 4>It was like, you know, work with these people because

0:56:34.840 --> 0:56:36.520
<v Speaker 4>we believe this is going to happen. But then the

0:56:36.640 --> 0:56:38.879
<v Speaker 4>ones that I loved the best were like the Richer

0:56:39.000 --> 0:56:40.800
<v Speaker 4>t Moment or do you know what I mean, Like

0:56:41.000 --> 0:56:46.759
<v Speaker 4>things where it was a collaborative musical experience and where

0:56:46.840 --> 0:56:49.719
<v Speaker 4>people of that statue were giving me as a kid,

0:56:49.960 --> 0:56:53.520
<v Speaker 4>as a young woman, which is really difficult, you know,

0:56:53.760 --> 0:56:56.800
<v Speaker 4>really difficult, particularly being female. To get any kind of

0:56:56.880 --> 0:57:00.640
<v Speaker 4>respect and all the obstacles, you know, just to be

0:57:00.719 --> 0:57:02.960
<v Speaker 4>able to be like, okay, I don't I'm not being

0:57:03.040 --> 0:57:05.000
<v Speaker 4>forced to work with writers. So that was one thing.

0:57:05.160 --> 0:57:07.359
<v Speaker 4>Nobody ever submitted songs to me, and if they did,

0:57:07.400 --> 0:57:09.960
<v Speaker 4>I didn't hear them. So that was one thing that

0:57:10.120 --> 0:57:10.960
<v Speaker 4>was grateful for you.

0:57:11.560 --> 0:57:12.960
<v Speaker 5>Now I was going to ask it they ever.

0:57:13.280 --> 0:57:15.120
<v Speaker 7>Did they ever ask that you write songs for some

0:57:15.239 --> 0:57:18.640
<v Speaker 7>of the other ladies coming through or anyone. No.

0:57:18.960 --> 0:57:21.080
<v Speaker 4>At that point I think it was like, you know what,

0:57:21.520 --> 0:57:24.960
<v Speaker 4>this is our we believe in this girl being me.

0:57:26.080 --> 0:57:29.560
<v Speaker 4>Let's get done. So it took like a year to

0:57:29.720 --> 0:57:32.880
<v Speaker 4>actually take what were demos and then the new songs

0:57:32.880 --> 0:57:36.040
<v Speaker 4>that I would write or do to be this finished product.

0:57:36.080 --> 0:57:38.280
<v Speaker 4>And there was a conscious effort like because I was

0:57:38.320 --> 0:57:41.080
<v Speaker 4>sitting like when is this going to be done? Like

0:57:41.200 --> 0:57:43.840
<v Speaker 4>you know, it's just like that, and they're like, it's

0:57:43.920 --> 0:57:45.920
<v Speaker 4>fine because we and there was a vision that it

0:57:45.920 --> 0:57:50.240
<v Speaker 4>would happen and begin in the nineties, not like before that.

0:57:50.360 --> 0:57:52.720
<v Speaker 4>So that whole year of figuring it out, I do

0:57:52.880 --> 0:57:55.200
<v Speaker 4>think it was a smart move to not have it

0:57:55.520 --> 0:57:58.320
<v Speaker 4>out until that decade began.

0:57:59.120 --> 0:58:02.440
<v Speaker 1>I was going to ask, does when you were working

0:58:02.480 --> 0:58:10.560
<v Speaker 1>with Narada. Does he always talk in that mystical voice? Yes, yeah,

0:58:10.840 --> 0:58:14.240
<v Speaker 1>any anytime Narda, anytime he talks to me, I always

0:58:14.240 --> 0:58:16.160
<v Speaker 1>feel like I'm being hypnotized at the moment.

0:58:16.920 --> 0:58:20.920
<v Speaker 4>You know, he he's very said, you know what I mean,

0:58:21.200 --> 0:58:22.440
<v Speaker 4>Like he's.

0:58:22.000 --> 0:58:25.280
<v Speaker 1>Too saying I get scared Narada and Eric about your

0:58:25.520 --> 0:58:26.680
<v Speaker 1>two people, and I don't want to look in the

0:58:26.720 --> 0:58:28.040
<v Speaker 1>eye for more than five seconds.

0:58:28.520 --> 0:58:30.480
<v Speaker 4>So as well.

0:58:31.120 --> 0:58:35.120
<v Speaker 1>Yeah, Eric Erica has a very hypnotic quality that will

0:58:35.240 --> 0:58:37.760
<v Speaker 1>have you wearing crosy pants in about a year or so.

0:58:38.440 --> 0:58:44.000
<v Speaker 4>Stop that he's an artist and she's sensitive. Word.

0:58:45.080 --> 0:58:49.440
<v Speaker 3>I was gonna ask what was working with Walter a fantasy?

0:58:49.600 --> 0:58:51.800
<v Speaker 3>Like what was he like in the studio? I always

0:58:51.880 --> 0:58:54.960
<v Speaker 3>admire like one of my favorite, my favorite songs of

0:58:55.080 --> 0:58:58.080
<v Speaker 3>yours is Can't Let Go, And I just thought that

0:58:58.240 --> 0:59:01.200
<v Speaker 3>that's just that sound that you and him had together.

0:59:01.240 --> 0:59:04.440
<v Speaker 3>It was just a very pop like super clean and

0:59:04.880 --> 0:59:07.040
<v Speaker 3>you know, just just the sine that he would have

0:59:07.160 --> 0:59:10.800
<v Speaker 3>on those records. Like when I heard God this the

0:59:10.840 --> 0:59:14.360
<v Speaker 3>Bruno Mars record the Vasati on the floor on right,

0:59:14.600 --> 0:59:18.040
<v Speaker 3>I was like, Yo, this is him doing Walter. Yeah,

0:59:18.040 --> 0:59:20.760
<v Speaker 3>I mean yeah, but but nah, I just want to

0:59:20.800 --> 0:59:22.680
<v Speaker 3>know what was he like in the studio, because he's

0:59:22.760 --> 0:59:25.520
<v Speaker 3>not someone i've you know, really read or know much about.

0:59:26.440 --> 0:59:30.120
<v Speaker 4>Okay, well, first of all, thank you. We can't let

0:59:30.240 --> 0:59:41.600
<v Speaker 4>go that. Walter was a great writing partner. I would

0:59:42.240 --> 0:59:45.600
<v Speaker 4>always try to sneer thing more and they can't let

0:59:45.680 --> 0:59:51.640
<v Speaker 4>go direction because because it was a little bit slightly

0:59:51.840 --> 0:59:57.320
<v Speaker 4>more R and B than black other things translation black,

0:59:57.760 --> 1:00:01.400
<v Speaker 4>so slightly more than that more there. But you know,

1:00:01.480 --> 1:00:04.720
<v Speaker 4>we could also do these big sweeping things like till

1:00:04.800 --> 1:00:07.200
<v Speaker 4>the End of Time, which only like the Lambs would know.

1:00:11.640 --> 1:00:14.160
<v Speaker 3>Yeah it was it was the next the last song

1:00:14.240 --> 1:00:16.160
<v Speaker 3>going your first album, the.

1:00:19.400 --> 1:00:19.960
<v Speaker 1>End of Time.

1:00:20.680 --> 1:00:23.840
<v Speaker 4>Yeah, that part, that was when I got to really

1:00:23.880 --> 1:00:27.480
<v Speaker 4>express myself on the outros, on the on the you know,

1:00:27.640 --> 1:00:32.280
<v Speaker 4>doing the background vocal parts, like doing those arranging that stuff.

1:00:32.480 --> 1:00:34.880
<v Speaker 4>But I really liked working with him in that way.

1:00:35.000 --> 1:00:40.080
<v Speaker 4>There were some uh, incestuous situations where let's just call

1:00:40.120 --> 1:00:45.120
<v Speaker 4>it the record company and the publishing situations where I

1:00:45.160 --> 1:00:47.440
<v Speaker 4>don't want to get into this various specifics. This is

1:00:47.520 --> 1:00:51.520
<v Speaker 4>not i' to say it, but really it was too

1:00:52.840 --> 1:00:56.160
<v Speaker 4>how do you call it? It was? It was a

1:00:56.240 --> 1:01:01.400
<v Speaker 4>bit incestuous because people were like, how do I say

1:01:01.440 --> 1:01:02.440
<v Speaker 4>it oh loood?

1:01:03.800 --> 1:01:06.479
<v Speaker 3>Was it was? It like the label had a piece

1:01:06.520 --> 1:01:08.120
<v Speaker 3>of Walter So like baby.

1:01:08.440 --> 1:01:10.720
<v Speaker 4>Wouldn't want to go saying that because I don't know

1:01:10.840 --> 1:01:13.880
<v Speaker 4>for sure, but I'm just saying certain people in my

1:01:14.040 --> 1:01:19.440
<v Speaker 4>life had that other connection and so there was extremely

1:01:19.640 --> 1:01:22.800
<v Speaker 4>talented but some but for the most part, when I'm

1:01:22.840 --> 1:01:24.960
<v Speaker 4>coming up with melodies and I'm singing it to somebody

1:01:25.080 --> 1:01:28.400
<v Speaker 4>like hey, can you play this? That happened on several songs,

1:01:28.840 --> 1:01:31.720
<v Speaker 4>and then we would take it to another place because

1:01:31.800 --> 1:01:34.920
<v Speaker 4>I won't think of if someone plays accord, I'll be

1:01:35.080 --> 1:01:37.040
<v Speaker 4>like no, like I hear it in my head and

1:01:37.080 --> 1:01:38.520
<v Speaker 4>then I'm like, that's not it. I don't know how

1:01:38.520 --> 1:01:41.760
<v Speaker 4>to articulate it. I'm not there going can you really inverted?

1:01:42.280 --> 1:01:43.960
<v Speaker 4>Like I don't know how to say that. I just

1:01:44.080 --> 1:01:46.959
<v Speaker 4>know how to hear it. So so I'll be hearing

1:01:47.040 --> 1:01:49.560
<v Speaker 4>something and until somebody gets it where I'm hearing it,

1:01:49.880 --> 1:01:51.800
<v Speaker 4>I'll be like no, no, no, no, and then we

1:01:51.920 --> 1:01:54.200
<v Speaker 4>get there and then from there he and I I

1:01:54.280 --> 1:01:56.760
<v Speaker 4>will say I had a really good flow with putting

1:01:56.760 --> 1:01:59.600
<v Speaker 4>stuff together. So it's no shade towards him. I wish

1:01:59.720 --> 1:02:02.440
<v Speaker 4>him well whatever, but I will say, like, you know

1:02:02.560 --> 1:02:04.400
<v Speaker 4>that was a that was a moment in time, and

1:02:04.480 --> 1:02:08.520
<v Speaker 4>I'm very thankful for it. And also talking about people

1:02:08.560 --> 1:02:11.920
<v Speaker 4>that have been great writers writing partners with me, Big

1:02:12.080 --> 1:02:15.160
<v Speaker 4>Jim Wright with Fly like a Bird and Circles and

1:02:15.240 --> 1:02:19.160
<v Speaker 4>all those songs for me. Me also James Poyser. Now

1:02:19.200 --> 1:02:26.720
<v Speaker 4>everybody says it's poisoning that we actual pronunciation of his name,

1:02:32.680 --> 1:02:35.560
<v Speaker 4>and I don't understand it, but I love him and

1:02:36.120 --> 1:02:42.640
<v Speaker 4>so when we I love working with incredibly talented musicians

1:02:42.720 --> 1:02:45.040
<v Speaker 4>because when I can sing back and forth to them

1:02:45.040 --> 1:02:46.800
<v Speaker 4>and we can figure things out together and then we

1:02:46.880 --> 1:02:50.439
<v Speaker 4>can go to another place, that's something that I feel

1:02:50.640 --> 1:02:52.800
<v Speaker 4>is a gift. When I'm sitting there coming up with

1:02:52.800 --> 1:02:54.520
<v Speaker 4>stuff by myself, I love it, but I know that

1:02:54.600 --> 1:02:56.320
<v Speaker 4>I need to articulate it to somebody to put it

1:02:56.400 --> 1:02:59.360
<v Speaker 4>down unless I'm playing, which is the worst thing ever,

1:02:59.440 --> 1:03:03.200
<v Speaker 4>although sometimes it's turned out to be to my own

1:03:03.480 --> 1:03:05.880
<v Speaker 4>benefit because I don't know the rules, so I don't

1:03:05.920 --> 1:03:06.600
<v Speaker 4>have to follow them.

1:03:07.400 --> 1:03:10.480
<v Speaker 2>So besides big joy question, can I just say I

1:03:10.600 --> 1:03:11.960
<v Speaker 2>love working with James Poyser?

1:03:14.560 --> 1:03:17.280
<v Speaker 3>James, I said.

1:03:17.200 --> 1:03:22.400
<v Speaker 5>Poiser, Okay, his name, Mariah, say his name.

1:03:23.240 --> 1:03:26.080
<v Speaker 4>I'm just saying, I said, James Poyser because everybody else

1:03:26.200 --> 1:03:29.400
<v Speaker 4>goes it, says Poisoner, and then they and make me

1:03:29.480 --> 1:03:30.640
<v Speaker 4>feel like I'm a stupid one.

1:03:32.160 --> 1:03:38.600
<v Speaker 1>It's pains. I created James Poisoner Twitter account just a computer.

1:03:40.600 --> 1:03:42.800
<v Speaker 3>The real the real secret is James Poyser is just

1:03:42.880 --> 1:03:44.200
<v Speaker 3>Nelson George's side project.

1:03:49.360 --> 1:03:53.040
<v Speaker 4>No comment, no comment. But When Christmas Comes, which we

1:03:53.200 --> 1:03:55.600
<v Speaker 4>wrote together, is one of my favorite Christmas songs and

1:03:55.680 --> 1:03:58.439
<v Speaker 4>I really have I really feel like it's a much

1:03:58.520 --> 1:04:00.800
<v Speaker 4>more look we love. All I want for Christmas is

1:04:00.840 --> 1:04:04.479
<v Speaker 4>you and I thank the Good Lord above. I really

1:04:05.960 --> 1:04:10.600
<v Speaker 4>sat there coming up with a like And then when

1:04:10.640 --> 1:04:12.520
<v Speaker 4>I did sing that to walderhat and he's been on

1:04:12.640 --> 1:04:14.440
<v Speaker 4>record as saying it, why are you trying to do

1:04:14.680 --> 1:04:15.760
<v Speaker 4>scales as a song?

1:04:15.920 --> 1:04:15.960
<v Speaker 7>Like?

1:04:16.040 --> 1:04:17.840
<v Speaker 4>Why is that? Why would you want to do that?

1:04:18.040 --> 1:04:20.919
<v Speaker 4>Like he didn't hearly as a thing.

1:04:21.600 --> 1:04:22.960
<v Speaker 1>How long did it take to record that?

1:04:23.280 --> 1:04:23.760
<v Speaker 4>Which fire?

1:04:24.600 --> 1:04:25.320
<v Speaker 3>No the song?

1:04:26.640 --> 1:04:29.960
<v Speaker 1>I have a theory about mega songs. Every mega song

1:04:30.040 --> 1:04:33.600
<v Speaker 1>that's larger than life take seconds to do. So like

1:04:33.680 --> 1:04:38.680
<v Speaker 1>how long did it take to write, not executing record,

1:04:38.760 --> 1:04:41.880
<v Speaker 1>but just to write the general song that we know?

1:04:42.600 --> 1:04:47.400
<v Speaker 4>So the idea, So there was an idea do a

1:04:47.480 --> 1:04:52.080
<v Speaker 4>Christmas album and at that point at twenty two or whatever,

1:04:52.120 --> 1:04:55.680
<v Speaker 4>I was like lily little early and then I said, Okay,

1:04:55.800 --> 1:04:58.000
<v Speaker 4>well I love Christmas. I always have, you know, let

1:04:58.040 --> 1:05:00.600
<v Speaker 4>me think about it. So you you know, I was

1:05:00.640 --> 1:05:03.880
<v Speaker 4>sitting in this house in the Hillsdale, New York as

1:05:03.920 --> 1:05:07.360
<v Speaker 4>I came at hills Jail, and just started thinking, like,

1:05:07.520 --> 1:05:09.680
<v Speaker 4>what are the what are the things that I loved

1:05:09.720 --> 1:05:12.120
<v Speaker 4>as a kid with Christmas songs? And what are all

1:05:12.160 --> 1:05:15.360
<v Speaker 4>the things that made me feel christmasly even amidst the

1:05:15.440 --> 1:05:18.800
<v Speaker 4>bleakness of my childhood. So I started sitting there and

1:05:18.840 --> 1:05:21.400
<v Speaker 4>there was this keyboard. I believe it was some sort

1:05:21.480 --> 1:05:24.280
<v Speaker 4>of some sort of really really cheap like CASSIEO keyboard

1:05:24.360 --> 1:05:28.000
<v Speaker 4>or something. And again I'm I'm not playing, I just

1:05:28.120 --> 1:05:31.200
<v Speaker 4>write a lot. So I was in there and I'm like,

1:05:35.200 --> 1:05:37.760
<v Speaker 4>I just started like channeling and trying to figure out

1:05:37.800 --> 1:05:39.439
<v Speaker 4>how to play it. So by the time I brought

1:05:39.480 --> 1:05:42.080
<v Speaker 4>it to Walter, I had done everything but the bridge.

1:05:42.920 --> 1:05:46.440
<v Speaker 4>Oh lots of USh shining, you know, because I honestly

1:05:46.960 --> 1:05:50.000
<v Speaker 4>couldn't probably do that transition like as a as a

1:05:50.080 --> 1:05:53.320
<v Speaker 4>keyboard player, which I'm still not. But so we did

1:05:53.400 --> 1:05:55.480
<v Speaker 4>that part and then we brought it back to the oh,

1:05:57.720 --> 1:06:00.160
<v Speaker 4>so I would say the writing my part. I had

1:06:00.200 --> 1:06:03.400
<v Speaker 4>the lyrics done except for the bridge. I had everything

1:06:03.520 --> 1:06:05.680
<v Speaker 4>done really quick, like it was just immediate, you know.

1:06:05.800 --> 1:06:09.640
<v Speaker 4>It's it's like with Hero. I had a They explained

1:06:09.680 --> 1:06:11.640
<v Speaker 4>the song that I'm sorry the movie there was a

1:06:11.720 --> 1:06:15.880
<v Speaker 4>movie by Dustin with Dustin Khoff and whatever. Tommy Mitella

1:06:15.960 --> 1:06:17.800
<v Speaker 4>came in, Hey, Luther's doing a song for this movie.

1:06:17.840 --> 1:06:19.880
<v Speaker 4>They want you to write this song for Glorias to Find.

1:06:20.280 --> 1:06:20.440
<v Speaker 1>You know.

1:06:20.640 --> 1:06:22.800
<v Speaker 4>It's about a guy that says people on a plane.

1:06:22.840 --> 1:06:26.000
<v Speaker 4>That's pretty much what I heard, right, And I was

1:06:26.160 --> 1:06:28.200
<v Speaker 4>never alone at that point in my life, and I'm

1:06:28.440 --> 1:06:32.120
<v Speaker 4>pretty much I rarely still am. But anytime I would

1:06:32.160 --> 1:06:34.480
<v Speaker 4>walk to the bathroom and I wouldn't be followed by

1:06:34.640 --> 1:06:37.320
<v Speaker 4>somebody's goons or whatever, I would walk in. I had

1:06:37.360 --> 1:06:39.720
<v Speaker 4>two minutes. I go in there and I'm and I

1:06:39.920 --> 1:06:44.000
<v Speaker 4>start hearing that, and then here comes along like the

1:06:44.120 --> 1:06:48.160
<v Speaker 4>melody and the piano part, right, and so then I

1:06:48.320 --> 1:06:51.640
<v Speaker 4>walked back and like, well this is how it goes. No, no, no, no,

1:06:52.720 --> 1:06:55.280
<v Speaker 4>carry me on, right. So I'm like I'm like all excited,

1:06:55.320 --> 1:06:57.320
<v Speaker 4>like just write this, dude, this dude. And then I'm

1:06:57.360 --> 1:06:58.760
<v Speaker 4>like I'm like, so, wait, who do they want this for?

1:06:58.880 --> 1:07:01.880
<v Speaker 4>They wanted for Glorias to right, and Tommy's standing there

1:07:01.920 --> 1:07:04.000
<v Speaker 4>and he's like, I think you need to keep this

1:07:04.160 --> 1:07:08.640
<v Speaker 4>one for yourself. So it was a similar thing with

1:07:08.760 --> 1:07:10.720
<v Speaker 4>All I Want for Christmas is You, except that I

1:07:10.840 --> 1:07:14.040
<v Speaker 4>was by myself in the room at first, and then

1:07:14.120 --> 1:07:17.760
<v Speaker 4>wrote those lyrics down and then went and sang it

1:07:17.840 --> 1:07:19.760
<v Speaker 4>to Walter and we finished it from there. But the

1:07:19.840 --> 1:07:22.200
<v Speaker 4>actual recording of the record took a while, and it

1:07:22.400 --> 1:07:25.800
<v Speaker 4>was a collaboration, and you know, I'm not taking anything

1:07:25.800 --> 1:07:28.960
<v Speaker 4>away from him, but there was a concerted effort to

1:07:29.080 --> 1:07:31.919
<v Speaker 4>make it feel like a classic, which I've noticed people

1:07:31.960 --> 1:07:33.720
<v Speaker 4>have adapted that type of.

1:07:35.880 --> 1:07:40.280
<v Speaker 1>Yeah, I like the phil Spector, I love the Phil

1:07:40.360 --> 1:07:42.760
<v Speaker 1>Spector ones of it. But I would like to note that,

1:07:43.880 --> 1:07:46.800
<v Speaker 1>you know, when I woke up this morning to prepare

1:07:46.840 --> 1:07:50.160
<v Speaker 1>for this interview, I was listening to it. All I

1:07:50.240 --> 1:07:54.360
<v Speaker 1>Want for Christmas is You is probably the happiest song

1:07:54.520 --> 1:07:58.600
<v Speaker 1>with the most minor note keys in it. Like there's

1:07:58.680 --> 1:08:03.280
<v Speaker 1>so much dark chords and minor chords in the song, but.

1:08:03.520 --> 1:08:07.880
<v Speaker 4>Like, because people don't expect it to go.

1:08:08.040 --> 1:08:13.680
<v Speaker 1>There exactly like it's it's it's a very unlikely because

1:08:13.720 --> 1:08:18.559
<v Speaker 1>usually Christmas is associated with I mean, every Christmas song

1:08:18.640 --> 1:08:23.760
<v Speaker 1>practically has like happy chords, happy major chords. And I'm

1:08:23.760 --> 1:08:26.320
<v Speaker 1>trying to figure out how did this song manage to

1:08:28.439 --> 1:08:31.519
<v Speaker 1>jump over the pack because it's it's there's so many

1:08:32.600 --> 1:08:37.640
<v Speaker 1>chromatic and and and dark chords in it that are

1:08:37.760 --> 1:08:42.360
<v Speaker 1>more blues based or black, you know, like black chords,

1:08:43.960 --> 1:08:47.679
<v Speaker 1>yet it works and I'm trying, like that's a hard

1:08:47.800 --> 1:08:51.800
<v Speaker 1>thing to achieve because you know, I know that most

1:08:51.920 --> 1:08:55.600
<v Speaker 1>pop hits have some sort of major chord element that

1:08:55.680 --> 1:08:59.960
<v Speaker 1>feels inviting. And not to say that blues chords don't

1:09:00.160 --> 1:09:02.760
<v Speaker 1>work and aren't successful, like you know, there's plenty of

1:09:02.800 --> 1:09:06.960
<v Speaker 1>them out there, but usually in Christmas songs it's like that,

1:09:07.160 --> 1:09:11.559
<v Speaker 1>like as far as like structuring the song where they're

1:09:11.640 --> 1:09:16.360
<v Speaker 1>back and forth and sort of you know, conflict as

1:09:16.560 --> 1:09:20.679
<v Speaker 1>in to how bright the song should be as opposed

1:09:20.680 --> 1:09:24.240
<v Speaker 1>to how it came out, because it's it's an achievement

1:09:24.320 --> 1:09:29.640
<v Speaker 1>that is such blues based. But still I don't know

1:09:29.680 --> 1:09:32.680
<v Speaker 1>if I'm saying it the right way. I know what

1:09:32.800 --> 1:09:33.040
<v Speaker 1>you mean.

1:09:33.080 --> 1:09:36.360
<v Speaker 4>And it's interesting because Mark Shaman, when we the incredible

1:09:36.400 --> 1:09:40.559
<v Speaker 4>Mark Shaman or Kestel Genius, who I worked with.

1:09:40.680 --> 1:09:42.920
<v Speaker 3>Starting on he wrote the south Park movie. That's like

1:09:43.000 --> 1:09:44.160
<v Speaker 3>my favorite thing he's ever done.

1:09:44.360 --> 1:09:47.760
<v Speaker 1>Yeah, I love him and he is.

1:09:47.840 --> 1:09:52.759
<v Speaker 4>The most irreverent, just hilarious person and super talented and everything.

1:09:53.080 --> 1:09:56.200
<v Speaker 4>But when we first got together, he was like, don't

1:09:56.240 --> 1:10:00.840
<v Speaker 4>think I didn't hear. I just want like, you know

1:10:00.920 --> 1:10:04.479
<v Speaker 4>that little that was hot. Yeah, but I don't think

1:10:04.520 --> 1:10:08.000
<v Speaker 4>I didn't hear that. So so here's the thing, because

1:10:08.160 --> 1:10:10.240
<v Speaker 4>like I said before, I don't know the rules. I

1:10:10.320 --> 1:10:12.320
<v Speaker 4>don't follow the rules. I just know what I hear,

1:10:12.640 --> 1:10:23.720
<v Speaker 4>and specifically on that one, it was just like like

1:10:23.840 --> 1:10:25.560
<v Speaker 4>I don't know, I just heard it, you know what

1:10:25.600 --> 1:10:27.599
<v Speaker 4>I mean, I didn't do it like here, I am

1:10:27.760 --> 1:10:31.200
<v Speaker 4>trying to be bloozy here, I am trying to I

1:10:31.280 --> 1:10:34.519
<v Speaker 4>don't know. And I think that's why Walter was like,

1:10:34.600 --> 1:10:36.639
<v Speaker 4>well why and that he said in that interview, which

1:10:36.640 --> 1:10:38.760
<v Speaker 4>I don't know. I'm sure it can be geguiled, but

1:10:39.000 --> 1:10:40.960
<v Speaker 4>you know, it was like these scales and she's trying

1:10:40.960 --> 1:10:42.600
<v Speaker 4>to this. I wasn't trying to do anything like that.

1:10:42.680 --> 1:10:45.519
<v Speaker 4>I don't even know how to break it down and

1:10:46.520 --> 1:10:49.400
<v Speaker 4>explain that. I just know that that's what I heard,

1:10:49.800 --> 1:10:52.599
<v Speaker 4>and I heard it with the with you know, the lyrics,

1:10:52.640 --> 1:10:54.879
<v Speaker 4>and then wrote them down. But it was very specific

1:10:54.960 --> 1:10:57.120
<v Speaker 4>to me, and I recorded it on my little tape

1:10:57.160 --> 1:10:59.639
<v Speaker 4>recorder that I had that you know, the mini tape

1:10:59.680 --> 1:11:02.920
<v Speaker 4>recorder and you just help it kind smaller than an

1:11:02.960 --> 1:11:06.439
<v Speaker 4>iPhone but like thicker, and so I had that and

1:11:06.520 --> 1:11:09.519
<v Speaker 4>I recorded it on there, and I don't know, like

1:11:10.040 --> 1:11:13.320
<v Speaker 4>I agree the when it gets poppy is the oh

1:11:13.479 --> 1:11:19.439
<v Speaker 4>name made? You know what I mean? Like that part's

1:11:19.479 --> 1:11:24.080
<v Speaker 4>poppy because the backgrounds were such incredible singers, and because

1:11:24.200 --> 1:11:26.240
<v Speaker 4>the way we range it, like you're fine with the

1:11:26.280 --> 1:11:28.920
<v Speaker 4>poppiness of at that point, the whole thing, unless we're

1:11:28.960 --> 1:11:32.000
<v Speaker 4>getting analytical about it, is pop. But you're right, those

1:11:32.200 --> 1:11:35.559
<v Speaker 4>changes came from me because I didn't know any better.

1:11:36.000 --> 1:11:37.880
<v Speaker 4>I didn't know. Oh, let me just make this like

1:11:38.240 --> 1:11:41.719
<v Speaker 4>oh and happy and festive and we won't darker. Course,

1:11:42.040 --> 1:11:43.840
<v Speaker 4>But like in the book I talk about how my

1:11:43.960 --> 1:11:46.800
<v Speaker 4>Christmas is as a kid, I always wanted them to

1:11:46.880 --> 1:11:48.600
<v Speaker 4>be perfect. I always wanted them to do great, and

1:11:48.720 --> 1:11:52.840
<v Speaker 4>I have these ex family members who really destroyed every year.

1:11:53.400 --> 1:11:56.880
<v Speaker 4>So I think when writing the song just by myself

1:11:56.920 --> 1:11:59.599
<v Speaker 4>in the room, not dissimilar to where I'm at right

1:11:59.680 --> 1:12:03.080
<v Speaker 4>now looking at the Christmas Tree by myself, just thinking

1:12:03.160 --> 1:12:06.519
<v Speaker 4>about stuff, kind of feeling whatever's happening in the air.

1:12:06.680 --> 1:12:08.519
<v Speaker 4>And I do feel like when you're writing, if it's

1:12:08.560 --> 1:12:11.280
<v Speaker 4>a real, if it's a connected moment, you are channeling,

1:12:11.800 --> 1:12:14.519
<v Speaker 4>you know. And I know that's that's we know that,

1:12:15.120 --> 1:12:17.280
<v Speaker 4>but not everybody understands that. I'm not saying with some

1:12:17.520 --> 1:12:22.120
<v Speaker 4>genius revelation, but that's what happened. So it was just like,

1:12:22.280 --> 1:12:24.360
<v Speaker 4>this is what I'm hearing, you know, and this is

1:12:24.439 --> 1:12:26.519
<v Speaker 4>what I think would be good. I never was like,

1:12:26.640 --> 1:12:29.040
<v Speaker 4>oh and then blah blah blah, you're so now we're

1:12:29.080 --> 1:12:30.599
<v Speaker 4>going to break the Spotify record.

1:12:35.040 --> 1:12:37.680
<v Speaker 1>So I've learned ever since I've gotten to know you,

1:12:38.240 --> 1:12:43.559
<v Speaker 1>I know that there's a term called Mariah hours, which

1:12:44.439 --> 1:12:46.760
<v Speaker 1>ladies and gentlemen out there. This is the one of

1:12:46.800 --> 1:12:51.960
<v Speaker 1>the first episodes that we've taped, the only the only

1:12:53.840 --> 1:12:55.280
<v Speaker 1>most of our episodes are done.

1:12:55.680 --> 1:13:00.120
<v Speaker 7>And I'm sorry and listen not to not to be

1:13:00.200 --> 1:13:04.600
<v Speaker 7>your daddy, but even when we did Quincy Jones, Oh Jesus.

1:13:04.400 --> 1:13:08.920
<v Speaker 5>Christ, it was out of respect.

1:13:09.280 --> 1:13:12.680
<v Speaker 1>Yeah, Quincy was just was in this late like right now,

1:13:12.920 --> 1:13:20.840
<v Speaker 1>it's it's two in the morning where we are. But hoologizing. Nah,

1:13:20.880 --> 1:13:24.320
<v Speaker 1>it's all good. We on COVID time anyway. Ain't nobody sleeping? Yeah,

1:13:24.920 --> 1:13:29.240
<v Speaker 1>I got a new job. What what I want to have?

1:13:29.400 --> 1:13:33.360
<v Speaker 1>You always kept Mariah, like when do you wake up?

1:13:33.439 --> 1:13:34.920
<v Speaker 1>When do you wake up in the morning, Like what

1:13:35.080 --> 1:13:37.760
<v Speaker 1>is your daily routine? Because I know like three in

1:13:37.800 --> 1:13:40.200
<v Speaker 1>the morning is sort of like you're twelve in the afternoon.

1:13:42.439 --> 1:13:44.800
<v Speaker 4>Yeah, you're right, And I don't have. I don't have

1:13:45.160 --> 1:13:48.160
<v Speaker 4>when I'm working, which when I say working, I need tramo,

1:13:48.880 --> 1:13:51.840
<v Speaker 4>not in a studio. When I'm in the studio, you know,

1:13:52.280 --> 1:13:53.680
<v Speaker 4>And the best place for me to be in the

1:13:53.720 --> 1:13:57.719
<v Speaker 4>studio is wherever feels the best. So, like we said,

1:13:58.920 --> 1:14:04.000
<v Speaker 4>Capree the Bahamas, wherever, it's just on the schedule of

1:14:04.120 --> 1:14:06.439
<v Speaker 4>when now I'm not I don't mean writing. If there's

1:14:06.520 --> 1:14:08.479
<v Speaker 4>like a whole like what I would love to do again,

1:14:08.560 --> 1:14:10.760
<v Speaker 4>there's a whole bunch of writers get together. We're in

1:14:10.840 --> 1:14:13.240
<v Speaker 4>a place, we work at a respectable hour, whatever that

1:14:13.439 --> 1:14:15.960
<v Speaker 4>is for everybody, a little the better, But you know,

1:14:16.160 --> 1:14:18.720
<v Speaker 4>we all get together. We come up with stuff. If

1:14:18.760 --> 1:14:20.920
<v Speaker 4>we're doing that, like I did that on this song

1:14:21.000 --> 1:14:24.960
<v Speaker 4>called Subtle Invitation in the Bahamas. We're working at Compass

1:14:25.000 --> 1:14:26.479
<v Speaker 4>Points Studios, and.

1:14:27.520 --> 1:14:28.800
<v Speaker 1>You know one of them still around.

1:14:29.960 --> 1:14:33.040
<v Speaker 4>I don't know this is back. This is early mid

1:14:33.200 --> 1:14:35.320
<v Speaker 4>two thousands of the Chambre.

1:14:35.479 --> 1:14:39.240
<v Speaker 1>Compass Point world famous. We're Sli and Robbie and Grace Jones.

1:14:39.479 --> 1:14:43.680
<v Speaker 4>Everybody record Club Tom Tom Club, and I.

1:14:43.760 --> 1:14:47.400
<v Speaker 1>Believe anybody on island records like practically recorded down there.

1:14:48.280 --> 1:14:49.320
<v Speaker 1>So continue.

1:14:49.680 --> 1:14:52.519
<v Speaker 4>So you're there, and you know whatever you're working on,

1:14:52.600 --> 1:14:53.840
<v Speaker 4>whatever the time schedule is.

1:14:53.920 --> 1:14:55.799
<v Speaker 5>And now what I've.

1:14:55.640 --> 1:14:58.519
<v Speaker 4>Realized with recording vocals, so that's the only thing for writing,

1:14:58.560 --> 1:15:00.479
<v Speaker 4>but recording vocals, I just have to get up and

1:15:00.600 --> 1:15:03.200
<v Speaker 4>luckily my engineer is cool enough to be like, okay,

1:15:03.280 --> 1:15:05.920
<v Speaker 4>we're working on MC time. Okay we do. I drink coffee,

1:15:06.200 --> 1:15:09.400
<v Speaker 4>like give me two hours, lea, you know, heads up,

1:15:09.920 --> 1:15:12.280
<v Speaker 4>I'll get my two three hours. You know, we'll do

1:15:12.360 --> 1:15:15.880
<v Speaker 4>a thing where it's like not before ten, so we

1:15:16.040 --> 1:15:19.080
<v Speaker 4>know that usually means midnight, but you know, we know

1:15:19.160 --> 1:15:21.800
<v Speaker 4>it's not gonna be more tense. So he sleeps, I sleep,

1:15:22.280 --> 1:15:24.120
<v Speaker 4>and we just get up when my voice is ready

1:15:24.160 --> 1:15:28.439
<v Speaker 4>to work. But in terms of like Mariah hours, this

1:15:28.600 --> 1:15:31.000
<v Speaker 4>started for me when I was six years old because

1:15:31.080 --> 1:15:34.560
<v Speaker 4>my house felt very unstable and there was always like

1:15:35.040 --> 1:15:40.400
<v Speaker 4>teenage people and whatever happening, you know, freaking seances, whatever

1:15:40.439 --> 1:15:44.320
<v Speaker 4>the hell was going on was happening, and it felt unsafe,

1:15:44.680 --> 1:15:46.760
<v Speaker 4>and so I would lay in bed and kind of

1:15:46.800 --> 1:15:49.640
<v Speaker 4>be scared and I wouldn't be able to sleep. So

1:15:50.160 --> 1:15:52.320
<v Speaker 4>over the years it just became like I stayed up

1:15:52.320 --> 1:15:55.479
<v Speaker 4>because I had to develop this kind of like person

1:15:55.600 --> 1:15:58.360
<v Speaker 4>in charge, like here's my reflexes, like in case something

1:15:58.439 --> 1:15:59.320
<v Speaker 4>has to happen.

1:16:00.040 --> 1:16:00.639
<v Speaker 1>This mechanism.

1:16:01.160 --> 1:16:03.840
<v Speaker 4>Yeah, defend, I'm the grown up in this scenario, like

1:16:04.000 --> 1:16:06.439
<v Speaker 4>something may happen and I'm going to be awake to

1:16:06.640 --> 1:16:10.000
<v Speaker 4>handle it. So that started as like a six year

1:16:10.000 --> 1:16:13.320
<v Speaker 4>old kid, and it's all detailed in the memoir. But yes,

1:16:13.520 --> 1:16:16.280
<v Speaker 4>that's what happened. The reason I say that is because

1:16:16.280 --> 1:16:19.439
<v Speaker 4>I'm not explaining it as eloquently as I would like

1:16:19.840 --> 1:16:22.200
<v Speaker 4>for people to hear it and to understand, you know

1:16:22.240 --> 1:16:23.800
<v Speaker 4>what I mean. But answer the question.

1:16:24.000 --> 1:16:25.679
<v Speaker 1>You know, I'm going to get on that next because

1:16:25.720 --> 1:16:27.160
<v Speaker 1>I didn't even start with the book yet.

1:16:27.280 --> 1:16:30.360
<v Speaker 7>But but wait, can I ask about the time things

1:16:30.400 --> 1:16:33.280
<v Speaker 7>that she did mention the time, because I mean, You've

1:16:33.280 --> 1:16:34.640
<v Speaker 7>been mentioned in the book a little bit, but in

1:16:34.720 --> 1:16:36.639
<v Speaker 7>the book you do talk about like your whole concept

1:16:36.720 --> 1:16:39.840
<v Speaker 7>of time and acknowledging and whatnot, and not to go

1:16:39.960 --> 1:16:41.599
<v Speaker 7>over it because, like you said, it's in the book,

1:16:42.040 --> 1:16:45.000
<v Speaker 7>but I was curious. I was, like, the one thing

1:16:45.040 --> 1:16:47.960
<v Speaker 7>you didn't mention was when you developed this concept of

1:16:48.120 --> 1:16:50.759
<v Speaker 7>not acknowledging time. It reminded me of something my grandmother

1:16:50.880 --> 1:16:52.760
<v Speaker 7>used to say, because people would always ask her how

1:16:52.760 --> 1:16:54.800
<v Speaker 7>old she was, and she would say, I'm too too

1:16:54.880 --> 1:16:56.240
<v Speaker 7>old to be young, too young to be old, and

1:16:56.280 --> 1:16:56.479
<v Speaker 7>that's it.

1:16:56.600 --> 1:16:57.519
<v Speaker 5>Don't ask me anymore.

1:16:57.920 --> 1:16:58.800
<v Speaker 4>But oh.

1:17:00.680 --> 1:17:03.519
<v Speaker 7>But but that being said, like when did that concept

1:17:03.560 --> 1:17:06.360
<v Speaker 7>to you start developing? Like I don't need to acknowledge

1:17:06.400 --> 1:17:07.960
<v Speaker 7>this time thing at all.

1:17:08.120 --> 1:17:11.240
<v Speaker 4>Let's just I turned when I when I was eighteen,

1:17:11.560 --> 1:17:15.960
<v Speaker 4>prior to getting my record deal. Right, Yeah, I had

1:17:16.000 --> 1:17:18.840
<v Speaker 4>a I guess it's a boyfriend. It wasn't really like

1:17:19.080 --> 1:17:21.400
<v Speaker 4>that deep of a thing. There was no actual whatever.

1:17:21.680 --> 1:17:26.000
<v Speaker 4>La la la lah. You'll you'll get to know. I'm

1:17:26.120 --> 1:17:28.560
<v Speaker 4>very prudish. I'm very prudish. People don't know, but I

1:17:28.600 --> 1:17:30.720
<v Speaker 4>don't talk about certain things. That's just how I am.

1:17:31.479 --> 1:17:35.440
<v Speaker 4>But you know, and then that's really as a response

1:17:35.560 --> 1:17:38.320
<v Speaker 4>to like people I saw growing up that were the opposite,

1:17:38.400 --> 1:17:41.320
<v Speaker 4>that were very promiscuous that had all these situations going on,

1:17:41.600 --> 1:17:43.880
<v Speaker 4>and I just never wanted to be like them. But anyway,

1:17:43.960 --> 1:17:46.439
<v Speaker 4>so when I so when I was eighteen, I cried

1:17:46.800 --> 1:17:51.160
<v Speaker 4>and my boyfriend, you know, god lesson for tolerating my prudences.

1:17:51.520 --> 1:17:55.479
<v Speaker 4>But he was like, why are you crying? And I'm like,

1:17:55.640 --> 1:17:57.800
<v Speaker 4>because I didn't. I don't have a record deal yet,

1:17:57.920 --> 1:18:00.200
<v Speaker 4>like this is supposed to be happening. When I was, well,

1:18:00.680 --> 1:18:03.760
<v Speaker 4>what is going on? And I didn't understand it? And

1:18:03.880 --> 1:18:07.440
<v Speaker 4>I was I was so my work ethic was insane.

1:18:07.760 --> 1:18:10.640
<v Speaker 4>People don't understand. Yes you can be borned, Yes you

1:18:10.720 --> 1:18:13.360
<v Speaker 4>can be born with whatever the look is or whatever

1:18:13.400 --> 1:18:15.960
<v Speaker 4>it is. But if you don't have that work ethic,

1:18:18.560 --> 1:18:21.680
<v Speaker 4>unless you have somebody that shines down upon you from

1:18:21.720 --> 1:18:26.040
<v Speaker 4>above and does all the work for you, it's really

1:18:26.120 --> 1:18:29.400
<v Speaker 4>not most likely not going to happen because you just

1:18:29.560 --> 1:18:31.920
<v Speaker 4>have to have that Like I'm going to do this regardless.

1:18:32.000 --> 1:18:34.200
<v Speaker 4>I believe in it and I know it is going

1:18:34.280 --> 1:18:36.479
<v Speaker 4>to happen. So in terms of like doing it, when

1:18:36.520 --> 1:18:39.160
<v Speaker 4>I was young, like I was, I just had this

1:18:39.320 --> 1:18:41.320
<v Speaker 4>thing where oh my gosh, like this is supposed to

1:18:41.360 --> 1:18:44.560
<v Speaker 4>be happening. This is a young person's industry, like and

1:18:44.680 --> 1:18:48.080
<v Speaker 4>this is me as a kid knowing this. So I'm

1:18:48.160 --> 1:18:50.120
<v Speaker 4>very thankful though that it didn't happen when I was

1:18:50.200 --> 1:18:52.439
<v Speaker 4>much younger, like that, I that I didn't get those

1:18:52.840 --> 1:18:55.320
<v Speaker 4>Broadways show things I wanted to be in as a

1:18:55.640 --> 1:18:58.519
<v Speaker 4>ten year old because I was quote too tall. But

1:18:58.640 --> 1:19:01.000
<v Speaker 4>we know, we know someone it was.

1:19:03.400 --> 1:19:07.440
<v Speaker 1>You, you see, that was like one of their excuses.

1:19:08.240 --> 1:19:10.000
<v Speaker 4>That was from Annie. Let's face it.

1:19:10.120 --> 1:19:13.320
<v Speaker 5>We know I wasn't Oh no, you wasn't sorry boo no.

1:19:17.280 --> 1:19:18.080
<v Speaker 3>Not life for real?

1:19:20.400 --> 1:19:25.920
<v Speaker 4>No, no too dall. But I but I realized, like

1:19:26.200 --> 1:19:28.640
<v Speaker 4>in retrospect, like I mean, I'm not putting myself in

1:19:28.720 --> 1:19:31.360
<v Speaker 4>this category in terms of talent of God getting talent,

1:19:31.479 --> 1:19:34.120
<v Speaker 4>but when you look at Michael Jackson and you look

1:19:34.439 --> 1:19:37.880
<v Speaker 4>at how he really never had a childhood, like and

1:19:38.000 --> 1:19:42.439
<v Speaker 4>then he became this hugely you can't even call it

1:19:42.520 --> 1:19:45.360
<v Speaker 4>what it was. But I mean, like I was just

1:19:45.479 --> 1:19:49.160
<v Speaker 4>thankful at least I had somewhat of a childhood dysfunctionalised

1:19:49.200 --> 1:19:53.400
<v Speaker 4>it was that wasn't a famous person's childhood, because I

1:19:53.520 --> 1:19:57.840
<v Speaker 4>feel like that really screws people up beyond repair sometimes.

1:19:58.800 --> 1:20:01.040
<v Speaker 4>But in terms of like how did it make me

1:20:01.120 --> 1:20:06.080
<v Speaker 4>feel to just not acknowledge time. I just decided, you know, anniversaries,

1:20:06.240 --> 1:20:09.479
<v Speaker 4>no birthdays is what it is. Keep a pushing. I

1:20:09.479 --> 1:20:09.760
<v Speaker 4>don't know.

1:20:10.840 --> 1:20:15.280
<v Speaker 1>Okay, so Mariot, I guess I should say. I was

1:20:15.320 --> 1:20:17.680
<v Speaker 1>about to say, I guess that's to start with, but

1:20:17.840 --> 1:20:22.879
<v Speaker 1>it's ninety minutes into it. So our good friend Eleana

1:20:22.960 --> 1:20:28.360
<v Speaker 1>Diaz of Rock Nation former Fallon Night now she's probably

1:20:28.400 --> 1:20:32.519
<v Speaker 1>going to be president in ten years, sent me a

1:20:32.640 --> 1:20:38.280
<v Speaker 1>box with your book in it, and it came with

1:20:38.840 --> 1:20:42.000
<v Speaker 1>tissues and I was like, okay, that's interesting. What am

1:20:42.040 --> 1:20:44.160
<v Speaker 1>I supposed to cry when I read this book? Whatever?

1:20:45.880 --> 1:20:46.160
<v Speaker 4>And so.

1:20:47.760 --> 1:20:50.360
<v Speaker 1>I took the book home, and this is like prime COVID,

1:20:50.400 --> 1:20:52.680
<v Speaker 1>where like one of the one thing I stuck to

1:20:54.360 --> 1:20:58.600
<v Speaker 1>was my promise to read more books, Like I just

1:20:58.680 --> 1:21:03.479
<v Speaker 1>stopped reading books pre like March twenty twenty. Maybe I

1:21:03.560 --> 1:21:06.040
<v Speaker 1>did like one of two books a year, and this

1:21:06.200 --> 1:21:09.519
<v Speaker 1>year I'm like, okay, I'm gonna just run everything dust off,

1:21:09.880 --> 1:21:13.240
<v Speaker 1>you know, sixteen books whatever. So you know, I said,

1:21:13.280 --> 1:21:14.760
<v Speaker 1>all right, let me let me read the first three

1:21:14.840 --> 1:21:18.720
<v Speaker 1>chapter see if I'm gonna learn anything about it about her,

1:21:19.920 --> 1:21:23.880
<v Speaker 1>And you know, about chapter three, I was like, wow, okay,

1:21:24.400 --> 1:21:26.600
<v Speaker 1>just engaged and I'm let me, let me see what

1:21:26.640 --> 1:21:30.160
<v Speaker 1>the next three year into. So when I got to

1:21:30.280 --> 1:21:34.960
<v Speaker 1>the fifth chapter, I crept in your DMS and I

1:21:35.040 --> 1:21:38.400
<v Speaker 1>was like, yo, you you write a good book. And

1:21:39.400 --> 1:21:43.439
<v Speaker 1>the thing that in Laya actually texted me this last

1:21:43.560 --> 1:21:47.360
<v Speaker 1>night she said, and I sent you what she said,

1:21:47.640 --> 1:21:52.160
<v Speaker 1>uh Liyah said that the way that Mariah describes food

1:21:53.280 --> 1:21:58.400
<v Speaker 1>is making me hungry. And I was like, yo, And

1:21:58.520 --> 1:22:01.800
<v Speaker 1>I showed Layah my first text to you, which is

1:22:01.880 --> 1:22:05.519
<v Speaker 1>basically I was like, yo, I've written two books about food,

1:22:06.360 --> 1:22:13.120
<v Speaker 1>and no one has described Ritz crackers so eloquently that

1:22:13.320 --> 1:22:13.640
<v Speaker 1>you have.

1:22:14.880 --> 1:22:15.320
<v Speaker 4>And then.

1:22:16.680 --> 1:22:18.960
<v Speaker 1>And then I was like, all right, well I had

1:22:19.000 --> 1:22:20.840
<v Speaker 1>to take this like long trip to Philadelphia, and I

1:22:20.840 --> 1:22:23.360
<v Speaker 1>was like, all right, let me get the audiobook listen

1:22:23.400 --> 1:22:27.439
<v Speaker 1>to it in the car, and hearing you narrate this

1:22:27.640 --> 1:22:31.640
<v Speaker 1>audio book was almost like your own podcast. And I

1:22:31.720 --> 1:22:32.880
<v Speaker 1>was like, well, now I got to start at the

1:22:32.960 --> 1:22:37.040
<v Speaker 1>beginning again. And I had to say that this was

1:22:38.320 --> 1:22:40.840
<v Speaker 1>for me like sleeper Surprise of the Year, Like this

1:22:41.000 --> 1:22:45.320
<v Speaker 1>book has humanized you in a way I didn't think

1:22:45.600 --> 1:22:47.400
<v Speaker 1>it was possible, not that I thought that you were

1:22:47.520 --> 1:22:52.639
<v Speaker 1>subhuman or supern like most most black people, especially black

1:22:52.720 --> 1:22:55.479
<v Speaker 1>achieving people. They're either like, you know, on the high

1:22:55.600 --> 1:22:59.480
<v Speaker 1>level of you know, credit to their race and they're superhuman,

1:22:59.640 --> 1:23:03.320
<v Speaker 1>or there's up human blake. We're never like, we're never neutral.

1:23:03.680 --> 1:23:07.400
<v Speaker 1>And I love the fact that this book puts you

1:23:07.680 --> 1:23:10.360
<v Speaker 1>as a black person in a space where black people

1:23:10.360 --> 1:23:16.320
<v Speaker 1>are rarely allowed to bleep be which is human? First

1:23:16.320 --> 1:23:18.160
<v Speaker 1>of all, I would like to know, because most most

1:23:18.320 --> 1:23:22.880
<v Speaker 1>memoirs are autobiographies, I don't trust them. That's why, like

1:23:23.080 --> 1:23:26.120
<v Speaker 1>oral history is better because you at least get a

1:23:26.240 --> 1:23:30.360
<v Speaker 1>taste of everyone's opinion. But what made you want to

1:23:30.400 --> 1:23:37.040
<v Speaker 1>be so transparent and blatantly honest in this book? Because

1:23:37.080 --> 1:23:38.599
<v Speaker 1>that's what I wasn't expecting.

1:23:39.680 --> 1:23:43.839
<v Speaker 4>Well, I've been wanting to write this book for years,

1:23:44.479 --> 1:23:49.200
<v Speaker 4>Like I think, first of all, I just wanted when

1:23:49.240 --> 1:23:52.439
<v Speaker 4>I when I first so I had the opportunity to

1:23:52.520 --> 1:23:56.160
<v Speaker 4>work with a very big like probably the biggest publishing

1:23:56.240 --> 1:23:59.439
<v Speaker 4>house that there is, when I was pregnant, Right, that's

1:23:59.439 --> 1:24:01.400
<v Speaker 4>what I wanted to write the book. I'm like here,

1:24:01.520 --> 1:24:04.679
<v Speaker 4>I am, I can't go anywhere. It's basically like COVID,

1:24:04.760 --> 1:24:06.880
<v Speaker 4>but it's not COVID. But you're pregnant with twins and

1:24:06.960 --> 1:24:10.439
<v Speaker 4>you're on bedrest, and and I was like, all this

1:24:10.600 --> 1:24:14.240
<v Speaker 4>all my life, Oh my life. I wanted to, you know,

1:24:14.600 --> 1:24:17.640
<v Speaker 4>write this, write my book, write my story. So I

1:24:18.040 --> 1:24:19.600
<v Speaker 4>so I wanted to do it at that point. And

1:24:19.720 --> 1:24:25.479
<v Speaker 4>I really had this great relationship, very just beginning on

1:24:25.560 --> 1:24:29.040
<v Speaker 4>a relationship, but I felt a kinship with Mikayla Angela Davis,

1:24:29.439 --> 1:24:31.760
<v Speaker 4>who I wanted to work on the book with. Right

1:24:32.240 --> 1:24:35.800
<v Speaker 4>and then this publishing house, the person at the top,

1:24:36.200 --> 1:24:38.680
<v Speaker 4>she was the editor in chief, and she said, I

1:24:38.720 --> 1:24:41.000
<v Speaker 4>don't want you to collaborate with anybody because I believe

1:24:41.080 --> 1:24:44.040
<v Speaker 4>that your voice is going to transcend. You know, you

1:24:44.160 --> 1:24:46.320
<v Speaker 4>need to have it be your voice. I'll be your

1:24:46.439 --> 1:24:49.320
<v Speaker 4>editor and you just do it. And I was like,

1:24:49.800 --> 1:24:52.720
<v Speaker 4>you know what, that's huge, and I thank you for

1:24:52.800 --> 1:24:55.640
<v Speaker 4>believing in me on that in that way. But I

1:24:55.720 --> 1:24:59.080
<v Speaker 4>really want to work with Mikayla. And so I didn't

1:24:59.200 --> 1:25:02.040
<v Speaker 4>do the book at point, but I started just putting together,

1:25:02.160 --> 1:25:03.360
<v Speaker 4>like some of the stories and whatever.

1:25:03.720 --> 1:25:05.120
<v Speaker 7>Can you just tell us I'm sorry, I don't mean

1:25:05.120 --> 1:25:06.920
<v Speaker 7>to apolog you, but can you just tell people because

1:25:06.960 --> 1:25:08.439
<v Speaker 7>I'm a big fan of hers, but can you tell

1:25:08.520 --> 1:25:11.200
<v Speaker 7>everybody why you were so adamant about Mikayla.

1:25:11.720 --> 1:25:16.400
<v Speaker 4>Well, we okay. So michaela Angela Davis is a brilliant

1:25:16.400 --> 1:25:21.879
<v Speaker 4>writer and she we first met when I did The Essence,

1:25:22.400 --> 1:25:27.240
<v Speaker 4>my my first and only Essence magazine cover, which ended

1:25:27.280 --> 1:25:29.920
<v Speaker 4>up myself just to make that happen at that point,

1:25:29.960 --> 1:25:34.760
<v Speaker 4>because there were so many quote unquote issues with my

1:25:35.120 --> 1:25:39.240
<v Speaker 4>image and how black women would perceive me and how,

1:25:39.400 --> 1:25:42.400
<v Speaker 4>you know, could it happen and is this gonna happen

1:25:42.520 --> 1:25:46.200
<v Speaker 4>and whatever, And it was a really important thing for

1:25:46.320 --> 1:25:49.240
<v Speaker 4>it to happen for me because being black and of

1:25:49.400 --> 1:25:53.719
<v Speaker 4>mixed race, there's always been this, you know, the stigma

1:25:53.800 --> 1:25:57.160
<v Speaker 4>that that white people have. But then there's this thing,

1:25:57.840 --> 1:26:03.080
<v Speaker 4>this thing where the lightness is perceived as privilege, privilege.

1:26:03.360 --> 1:26:05.560
<v Speaker 4>But really, if you were put in the situations that

1:26:05.640 --> 1:26:07.519
<v Speaker 4>I was put in as a kid, where you're only

1:26:07.600 --> 1:26:11.439
<v Speaker 4>in white neighborhoods and this is nothing, they can't help it.

1:26:11.720 --> 1:26:14.840
<v Speaker 4>You're put in this situation where you're not you're not

1:26:15.120 --> 1:26:18.680
<v Speaker 4>dark enough to scare them into not saying anything, or

1:26:18.720 --> 1:26:21.760
<v Speaker 4>even remind them, oh, let me not say this because

1:26:21.800 --> 1:26:24.160
<v Speaker 4>it might offend this person because they're strictly looking at

1:26:24.200 --> 1:26:26.720
<v Speaker 4>it like that. But then when they're all around you,

1:26:26.840 --> 1:26:28.960
<v Speaker 4>like I talk about it in the book. Whatever you do.

1:26:31.200 --> 1:26:34.320
<v Speaker 4>I think it's important that people hear it in the

1:26:34.400 --> 1:26:38.120
<v Speaker 4>way that it's described in the book, because to just

1:26:38.200 --> 1:26:40.280
<v Speaker 4>flippantly talk about it, it's why people were like, oh,

1:26:40.320 --> 1:26:42.759
<v Speaker 4>what did you take so long? And know you're embracing

1:26:42.840 --> 1:26:45.479
<v Speaker 4>your blackness, and like there was never a non embracing that.

1:26:45.600 --> 1:26:47.040
<v Speaker 4>What did you expect to do?

1:26:47.720 --> 1:26:48.200
<v Speaker 1>I can't.

1:26:49.200 --> 1:26:51.439
<v Speaker 4>I can't tattoo it on my fore I guess I

1:26:51.520 --> 1:26:54.120
<v Speaker 4>could have. I mean, maybe I should have. I don't

1:26:54.120 --> 1:26:55.040
<v Speaker 4>really want to attach it.

1:26:55.000 --> 1:26:57.080
<v Speaker 1>On my forehead, but you know, like you have the

1:26:57.160 --> 1:26:59.840
<v Speaker 1>vision to collaborate with old dirty bastard. That's the black

1:27:00.240 --> 1:27:00.880
<v Speaker 1>move ever.

1:27:01.800 --> 1:27:05.240
<v Speaker 7>But it was an interesting question as you listen to

1:27:05.320 --> 1:27:07.080
<v Speaker 7>your story in the book though, because that's what I

1:27:07.160 --> 1:27:08.960
<v Speaker 7>kept thinking to myself as I listened to you talk

1:27:08.960 --> 1:27:11.280
<v Speaker 7>about how like your dad and you didn't really talk

1:27:11.280 --> 1:27:13.040
<v Speaker 7>about that kind of stuff that much as I know

1:27:13.160 --> 1:27:15.599
<v Speaker 7>about like your mom didn't talk about that stuff that much.

1:27:15.640 --> 1:27:17.960
<v Speaker 7>And it's getting to know you and understanding that, like

1:27:18.280 --> 1:27:20.240
<v Speaker 7>this has been an interesting journey for you in that

1:27:20.439 --> 1:27:24.639
<v Speaker 7>way of that side of your life. So I always

1:27:24.680 --> 1:27:26.080
<v Speaker 7>wondered as I was listening, I was like, so, I

1:27:26.160 --> 1:27:27.800
<v Speaker 7>wonder what was that moment because I haven't gotten to

1:27:27.840 --> 1:27:31.160
<v Speaker 7>it yet in the book where you were like maybe

1:27:31.200 --> 1:27:34.080
<v Speaker 7>it was then the Bronx cousins or whatever, when you

1:27:34.120 --> 1:27:34.880
<v Speaker 7>were like, this is me.

1:27:35.360 --> 1:27:35.920
<v Speaker 1>I'm proud.

1:27:36.000 --> 1:27:39.360
<v Speaker 5>I see it, you know, and there's a pride there.

1:27:40.120 --> 1:27:42.720
<v Speaker 4>Yeah, what happened was there was never a lack of

1:27:43.560 --> 1:27:46.320
<v Speaker 4>I see it, I'm proud. It was always you take

1:27:46.360 --> 1:27:50.759
<v Speaker 4>a child, you don't explain to them how to understand

1:27:50.760 --> 1:27:53.760
<v Speaker 4>who they are. Right, you have a bour family with

1:27:53.840 --> 1:27:57.760
<v Speaker 4>a black father and a white mother who was from

1:27:57.840 --> 1:28:02.559
<v Speaker 4>the whitest place where the KKK born in Springfield, Illinois,

1:28:04.400 --> 1:28:08.479
<v Speaker 4>and you have her family that had disowned her. Well,

1:28:08.479 --> 1:28:10.639
<v Speaker 4>her family didn't even know she married my father. Only

1:28:10.680 --> 1:28:16.000
<v Speaker 4>her mother knew, so she didn't tell anybody. And that

1:28:16.920 --> 1:28:22.120
<v Speaker 4>imagine how you feel like because of who my father is,

1:28:22.280 --> 1:28:26.000
<v Speaker 4>and ultimately that means because of who and what I am,

1:28:27.080 --> 1:28:29.320
<v Speaker 4>and my siblings who went on to talk to whatever,

1:28:29.640 --> 1:28:33.559
<v Speaker 4>because of what we are, we are considered sub human

1:28:34.080 --> 1:28:37.120
<v Speaker 4>to them, so we don't exist and they don't even

1:28:37.200 --> 1:28:40.040
<v Speaker 4>know that we exist. Actually, because that's how big of

1:28:40.120 --> 1:28:43.200
<v Speaker 4>a that's how big of a thing it was that

1:28:43.360 --> 1:28:45.320
<v Speaker 4>my mother did this. So it was the ultimate sin

1:28:45.360 --> 1:28:49.200
<v Speaker 4>against her whiteness to her family and to her world.

1:28:49.800 --> 1:28:52.439
<v Speaker 4>So to be honest with you, like she was very

1:28:52.479 --> 1:28:55.439
<v Speaker 4>into civil rights, according as the story go, and she

1:28:55.640 --> 1:29:00.200
<v Speaker 4>marth with doctor King before all these things, but which

1:29:00.280 --> 1:29:02.200
<v Speaker 4>I heard more about that from her than I really

1:29:02.240 --> 1:29:04.240
<v Speaker 4>heard from my father, because I feel like my father

1:29:04.400 --> 1:29:08.479
<v Speaker 4>was always trying to in his own way assimilate understand

1:29:08.560 --> 1:29:11.920
<v Speaker 4>who he was and what he went through because he

1:29:12.080 --> 1:29:15.240
<v Speaker 4>was very like he you know he was. He just

1:29:15.320 --> 1:29:17.599
<v Speaker 4>didn't really feel like he fit in it in any

1:29:17.680 --> 1:29:21.680
<v Speaker 4>place either. So we never had a conversations till he

1:29:21.840 --> 1:29:24.160
<v Speaker 4>was on his deathbed. But back to the thing about

1:29:24.240 --> 1:29:26.479
<v Speaker 4>the book and why I felt I wanted to write

1:29:26.479 --> 1:29:30.600
<v Speaker 4>with Michael was because we had these conversations in a

1:29:30.680 --> 1:29:34.639
<v Speaker 4>way that I never had a conversation with another, certainly

1:29:34.680 --> 1:29:39.400
<v Speaker 4>not a writer previously, and we connected on that level,

1:29:39.479 --> 1:29:42.479
<v Speaker 4>and we couldn't get into every detail. How can you talk?

1:29:42.600 --> 1:29:47.240
<v Speaker 4>How can you encapsulate a lifetime of experiences in a

1:29:47.760 --> 1:29:50.479
<v Speaker 4>twenty minute interview with the magazine where the editor is

1:29:50.520 --> 1:29:53.240
<v Speaker 4>going to then give you what they wanted to look like?

1:29:53.680 --> 1:29:56.080
<v Speaker 4>How they what's the angled? You know? What I mean?

1:29:56.640 --> 1:29:58.040
<v Speaker 1>Is Mikayla is she mixed race?

1:29:58.080 --> 1:30:02.320
<v Speaker 4>As well, I'm down the line. But she's you know,

1:30:02.479 --> 1:30:06.400
<v Speaker 4>her family's black. She likes them, She's very Mikaela Angela David.

1:30:06.479 --> 1:30:08.280
<v Speaker 3>You know what I mean, like she yeah, yeah, I mean,

1:30:08.320 --> 1:30:08.720
<v Speaker 3>I got it.

1:30:09.720 --> 1:30:13.040
<v Speaker 4>It's a different struggle when you're placed in an environment

1:30:13.160 --> 1:30:16.040
<v Speaker 4>that you don't belong in, so you're you're like fish

1:30:16.080 --> 1:30:18.960
<v Speaker 4>out of water and with people saying stuff around you

1:30:19.040 --> 1:30:22.679
<v Speaker 4>that they would neverver say, and you have to figure

1:30:22.720 --> 1:30:27.360
<v Speaker 4>out you have to figure out how do I handle this,

1:30:27.720 --> 1:30:31.479
<v Speaker 4>how do I how do I come back this, how

1:30:31.560 --> 1:30:34.840
<v Speaker 4>do I exist? How do I survive? Without anybody giving

1:30:34.920 --> 1:30:39.200
<v Speaker 4>you the talk, without anybody you know, and so.

1:30:39.280 --> 1:30:41.840
<v Speaker 3>There was never a discussion about racing your house. There

1:30:41.920 --> 1:30:43.760
<v Speaker 3>was never no one ever set you down and was like,

1:30:43.920 --> 1:30:46.680
<v Speaker 3>you know, listen, you are a black girl and this

1:30:46.880 --> 1:30:48.679
<v Speaker 3>is what that entails. Wow.

1:30:49.120 --> 1:30:53.640
<v Speaker 4>No, No, it was your intucial and that's what you

1:30:53.800 --> 1:30:56.479
<v Speaker 4>tell everybody. I'm like, but we don't know what that means.

1:30:57.479 --> 1:30:58.519
<v Speaker 3>What is that mean?

1:30:59.000 --> 1:31:01.960
<v Speaker 4>They don't know what this means. That's why, Yes, my

1:31:02.120 --> 1:31:04.120
<v Speaker 4>cousins were always like when they were my cousins from

1:31:04.160 --> 1:31:07.000
<v Speaker 4>the Bronx CC and Chris who we love, you know,

1:31:07.520 --> 1:31:09.560
<v Speaker 4>on the few occasions when I'll be at my grandfather's

1:31:09.600 --> 1:31:11.840
<v Speaker 4>house in Queen's and the kids would be like, that's

1:31:11.920 --> 1:31:14.120
<v Speaker 4>not your cousin. She's white, and they would stick up

1:31:14.160 --> 1:31:15.920
<v Speaker 4>for me and they would be like, no, she's not white,

1:31:15.960 --> 1:31:18.240
<v Speaker 4>this is our cousin. She's black. She's our cousin. Like

1:31:18.560 --> 1:31:21.200
<v Speaker 4>that was the only time there was like that unified,

1:31:21.560 --> 1:31:24.320
<v Speaker 4>like we got you type of a thing, you know.

1:31:24.479 --> 1:31:29.559
<v Speaker 4>But it was difficult because there's also the thing about

1:31:29.680 --> 1:31:32.240
<v Speaker 4>money and not having money. So I think if it

1:31:32.360 --> 1:31:34.719
<v Speaker 4>was like a family unit where the parent don't forget

1:31:34.760 --> 1:31:36.400
<v Speaker 4>my parents divorce when I was like three or four

1:31:36.479 --> 1:31:39.599
<v Speaker 4>years old, So there's that, and there's my father living

1:31:39.640 --> 1:31:42.680
<v Speaker 4>in the neighborhood and me and my mother living in

1:31:42.800 --> 1:31:47.680
<v Speaker 4>like fourteen different places without the siblings, without anybody else

1:31:47.760 --> 1:31:50.439
<v Speaker 4>to connect to say we got you, like no matter

1:31:50.520 --> 1:31:53.679
<v Speaker 4>what these other people are saying. And again they didn't

1:31:53.760 --> 1:31:56.839
<v Speaker 4>know how to interpret it. They also it was considered

1:31:56.880 --> 1:32:01.479
<v Speaker 4>their biggest insult to say to someone it's your father black,

1:32:01.640 --> 1:32:05.000
<v Speaker 4>like this was they would say behind my back and

1:32:05.080 --> 1:32:07.720
<v Speaker 4>then ultimately took my face when you you know, in

1:32:07.800 --> 1:32:10.640
<v Speaker 4>a different way, when you read the book, did you.

1:32:10.680 --> 1:32:13.439
<v Speaker 7>Ever play again with that little girl? Becky that ran

1:32:13.600 --> 1:32:16.240
<v Speaker 7>crying when she saw your dad. Did you guys ever

1:32:16.439 --> 1:32:16.880
<v Speaker 7>meet again?

1:32:18.840 --> 1:32:20.240
<v Speaker 4>No, m.

1:32:22.960 --> 1:32:24.880
<v Speaker 3>There was a girl named Becky, and I'm sure she

1:32:25.000 --> 1:32:27.599
<v Speaker 3>was white. So what your name? Becky saw your dad

1:32:27.840 --> 1:32:28.479
<v Speaker 3>started running?

1:32:29.280 --> 1:32:31.800
<v Speaker 1>Oh I believe that Becky knows who Mariah Carey is.

1:32:31.880 --> 1:32:38.479
<v Speaker 4>Right, Yeah, I'm sure that incident really impacted upon her,

1:32:38.880 --> 1:32:40.679
<v Speaker 4>like it was literally she had never seen a black

1:32:40.720 --> 1:32:44.920
<v Speaker 4>person in her life before. So yeah, So when we're

1:32:44.960 --> 1:32:47.560
<v Speaker 4>in this lily white neighborhood that my mother chose to

1:32:47.640 --> 1:32:49.800
<v Speaker 4>live in, and then this was my friend and there

1:32:49.840 --> 1:32:52.240
<v Speaker 4>were no questions asked like what are this and that

1:32:52.360 --> 1:32:55.760
<v Speaker 4>I think that's before my hair retext yourized, so I'm

1:32:55.800 --> 1:32:59.720
<v Speaker 4>still really you and you know, we go to my

1:32:59.800 --> 1:33:02.000
<v Speaker 4>dad house and I talk about it in the book obviously,

1:33:02.160 --> 1:33:06.920
<v Speaker 4>but she just was frozen and then she just broke

1:33:07.000 --> 1:33:10.320
<v Speaker 4>down and then my mother like escorted her. For some reason,

1:33:10.400 --> 1:33:13.120
<v Speaker 4>my mother knew to like linger. My mother escorted her out,

1:33:14.520 --> 1:33:17.920
<v Speaker 4>and it was just like, I'll never forget it. I'm

1:33:17.960 --> 1:33:20.400
<v Speaker 4>sure she probably remembers it, but maybe she blocked it out.

1:33:20.439 --> 1:33:29.240
<v Speaker 3>I don't know, Darling, how much control or well, well,

1:33:29.320 --> 1:33:31.240
<v Speaker 3>from from the context of what you said earlier, so

1:33:31.479 --> 1:33:34.320
<v Speaker 3>you had like really no control. But you know, when

1:33:34.400 --> 1:33:40.200
<v Speaker 3>you're when you first signed to Columbia, who or how

1:33:40.280 --> 1:33:43.000
<v Speaker 3>did you decide or what role did you play in

1:33:43.200 --> 1:33:46.720
<v Speaker 3>your imaging in your package because they marketed you very

1:33:46.880 --> 1:33:51.639
<v Speaker 3>much as you know, like just the pop kind of girl,

1:33:51.800 --> 1:33:54.160
<v Speaker 3>and like, you know, they kind of just marked you

1:33:54.200 --> 1:33:57.080
<v Speaker 3>as a white woman, not us. You know, we could

1:33:57.160 --> 1:33:59.960
<v Speaker 3>look at you and we knew you know what I'm saying,

1:34:00.760 --> 1:34:04.120
<v Speaker 3>Like we was like I hear what y'all saying.

1:34:04.240 --> 1:34:07.960
<v Speaker 5>But you know, like so like we knew something smells familiar.

1:34:08.760 --> 1:34:12.920
<v Speaker 1>Yeah, yeah, I see, I see them curls, you know

1:34:12.960 --> 1:34:13.280
<v Speaker 1>what I mean?

1:34:13.560 --> 1:34:13.960
<v Speaker 3>I see?

1:34:14.080 --> 1:34:14.320
<v Speaker 1>Yeah?

1:34:14.560 --> 1:34:17.400
<v Speaker 3>So yeah, what was what took us through that process?

1:34:17.520 --> 1:34:21.439
<v Speaker 3>Like just kind of your identity being formed for you

1:34:21.560 --> 1:34:23.320
<v Speaker 3>in a way that maybe you didn't have any say

1:34:23.360 --> 1:34:25.040
<v Speaker 3>so over, I would.

1:34:24.800 --> 1:34:28.040
<v Speaker 4>Say that the marketing is its own thing. If you

1:34:28.320 --> 1:34:32.000
<v Speaker 4>look at the actual first album cover in the back

1:34:32.080 --> 1:34:36.760
<v Speaker 4>of the first album cover, my first album cover Marine Kerry, Right, Yeah,

1:34:37.000 --> 1:34:44.000
<v Speaker 4>what you have time to display my blackness differently? Just

1:34:44.080 --> 1:34:46.679
<v Speaker 4>tell me, like visually it was just your face because

1:34:46.720 --> 1:34:48.840
<v Speaker 4>it was just your face in black and white. Yes,

1:34:48.960 --> 1:34:52.640
<v Speaker 4>it was my natural hair, you know, additional curls put

1:34:52.720 --> 1:34:57.760
<v Speaker 4>in it and then the black cover it curvature and

1:34:58.000 --> 1:35:00.360
<v Speaker 4>stuff like that. Like I'm just trying to asked, like,

1:35:00.479 --> 1:35:02.920
<v Speaker 4>how do you think that I could have made it

1:35:03.080 --> 1:35:05.760
<v Speaker 4>more clear other than telling people that my father was

1:35:05.760 --> 1:35:09.439
<v Speaker 4>black my mother? How how could we have unless it

1:35:09.520 --> 1:35:12.040
<v Speaker 4>was should I have adapted a different hairstyle?

1:35:12.640 --> 1:35:13.479
<v Speaker 1>Shouldn't be.

1:35:15.800 --> 1:35:18.880
<v Speaker 5>No, that's that's deep. No, you're right, you're right. No,

1:35:19.080 --> 1:35:19.880
<v Speaker 5>you're right, that's deep.

1:35:20.160 --> 1:35:22.320
<v Speaker 3>And then asking that question, I wasn't like it wasn't

1:35:22.360 --> 1:35:24.360
<v Speaker 3>a blaming of you or anything like that. I was

1:35:24.479 --> 1:35:26.760
<v Speaker 3>just it was just something that like we all just

1:35:26.960 --> 1:35:29.080
<v Speaker 3>kind of notice it's a conversation.

1:35:29.720 --> 1:35:31.920
<v Speaker 5>Yeah, because people did, but you you're right, Like I

1:35:32.080 --> 1:35:32.439
<v Speaker 5>was just me.

1:35:33.560 --> 1:35:36.960
<v Speaker 4>No, I was me honestly. It wasn't even like on

1:35:37.120 --> 1:35:40.639
<v Speaker 4>that album cover, I had like straight hair and blue

1:35:40.760 --> 1:35:44.439
<v Speaker 4>contacts and you know, none of that, Like it's the

1:35:44.640 --> 1:35:48.519
<v Speaker 4>same nose. It's the seem like you I can't help.

1:35:48.560 --> 1:35:49.960
<v Speaker 4>But I talked about in the book, I don't have

1:35:50.560 --> 1:35:52.400
<v Speaker 4>an upper lift that you know they told me. The

1:35:52.520 --> 1:35:54.519
<v Speaker 4>black people would be like, oh, your lip is too small,

1:35:54.640 --> 1:35:58.040
<v Speaker 4>but white people were like, your lip is really full,

1:35:58.320 --> 1:36:04.040
<v Speaker 4>and I'm like yeah, but you know, I think the marketing.

1:36:04.280 --> 1:36:07.960
<v Speaker 4>Marketing wise, they definitely skewed it pop. They definitely wanted adult,

1:36:08.160 --> 1:36:11.200
<v Speaker 4>temporary pop. There's no question in my mind. But at

1:36:11.280 --> 1:36:14.559
<v Speaker 4>that point, how the hell do I know the different charts?

1:36:14.600 --> 1:36:16.000
<v Speaker 4>I don't know. I mean, by the way, Vision of

1:36:16.000 --> 1:36:17.960
<v Speaker 4>Love was number one on the quote unquote R and

1:36:18.080 --> 1:36:22.120
<v Speaker 4>B charts before the pop charts, So I often refer

1:36:22.240 --> 1:36:25.120
<v Speaker 4>to that because that makes me feel a sense of right.

1:36:25.400 --> 1:36:27.760
<v Speaker 7>But there wasn't like a black music department at that point,

1:36:27.840 --> 1:36:30.519
<v Speaker 7>with black music department thing a thing, or it wasn't even.

1:36:30.400 --> 1:36:36.160
<v Speaker 4>At your point. They really skewed me away from that.

1:36:36.320 --> 1:36:38.400
<v Speaker 4>But I did work with the Black Music Department, and

1:36:38.479 --> 1:36:44.560
<v Speaker 4>that was when Rodriguez was running Oh Ruben.

1:36:46.479 --> 1:36:51.080
<v Speaker 1>Ladies and Gentlemen and lambs. That concludes part one of

1:36:51.160 --> 1:36:53.640
<v Speaker 1>our special two part terview with the One in the

1:36:54.280 --> 1:36:56.760
<v Speaker 1>for Ria Carrey. Make sure you come back to part

1:36:56.800 --> 1:37:01.479
<v Speaker 1>two of the Question of Supreme special with the One

1:37:01.520 --> 1:37:11.720
<v Speaker 1>and Riah carry all right, see Oven, Hey, this is

1:37:11.760 --> 1:37:12.360
<v Speaker 1>Sugar Steed.

1:37:13.479 --> 1:37:15.599
<v Speaker 2>Make sure you keep up with us on Instagram at

1:37:15.760 --> 1:37:19.400
<v Speaker 2>QLs and let us know what you think and who

1:37:19.439 --> 1:37:20.880
<v Speaker 2>should be next to sit down with us.

1:37:21.840 --> 1:37:23.960
<v Speaker 1>Don't forget to subscribe.

1:37:23.520 --> 1:37:25.360
<v Speaker 3>To our podcast.

1:37:34.560 --> 1:37:41.640
<v Speaker 1>Quest Love Supreme is a production of iHeart Radio. For

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