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Speaker 1: Quest Love Supreme is a production of iHeartRadio. All Right,

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Speaker 1: my verse might be weak.

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Speaker 2: Supremo Supremo, Roll Call, Supremo, Supremo, Role Called Supremo, Something Supremo,

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Speaker 2: Roll Call, Suprema So Supremo roll Call.

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Speaker 1: I'm out of ideas. Yeah, I'm so afraid. Yeah, somebody help. Yeah,

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Speaker 1: I ain't too proud Supreme So Supreme, Roll Supremo. Roll

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Speaker 1: My name is Fante. Yeah, I ain't trying to be funny.

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Speaker 3: Yeah.

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Speaker 1: If I'm just gonna keep it real, yeah, I like

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Speaker 1: must be the.

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Speaker 2: Money Supremo Roll Suprema Supremo roll Call.

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Speaker 1: My name is Sugar.

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Speaker 4: Yeah, and I got my booster. Yeah, so I could

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Speaker 4: be here.

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Speaker 1: Yeah with this great producer.

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Speaker 2: Suprema Supreme, Roll Suprema Supremo roll Call.

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Speaker 4: It's like yeah and Jesus Christ.

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Speaker 1: Yeah that was Austin's music.

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Speaker 4: Yeah, change my life.

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Speaker 2: Roll Call Supremo, Supremo, Roll Call Suprema Names Dallas.

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Speaker 4: Yeah, I'm here for show. Yeah, I love Yeah, gonna

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Speaker 4: give you some more.

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Speaker 2: Roll card Supreme sun Supremo, roll Call, Suprema Some Supremo,

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Speaker 2: roll Call, Supremo Supremo, Roll Call Supreme.

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Speaker 1: Supremo Roll Call all right, ladies and gentlemen, this quest love.

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Speaker 1: That's Fane, that's like you, and that's a sugar Steve.

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Speaker 1: And I'm being built somewhere else to me street. Look,

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Speaker 1: I could take twelve minutes. Look, ain't you proud to

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Speaker 1: bait sweak?

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Speaker 4: Just one of them days.

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Speaker 1: After the back hit him up style Aisha. I like them, Yo,

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Speaker 1: Sammy got like a yeah yeah dog. I was not

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Speaker 1: ready for that because he still has his baby face troops.

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Speaker 1: I will always love you. The fucking motown Philly must

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Speaker 1: be the money, must be, must playground beyond playground. Where

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Speaker 1: did you get that little squeaky thing? I'm gonna ask

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Speaker 1: you all your production. I just know that this show

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Speaker 1: is more about the creative process. Please don't go wait

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Speaker 1: for my Baby's got a secret. Yo. I need some justice.

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Speaker 1: I need some justice for silly ho. I think that

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Speaker 1: that guy raftic. I'm sorry the boys mine. They don't

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Speaker 1: care about us. It's all that ship. I have so

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Speaker 1: many questions about Too Bad Man, But Yo, I was

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Speaker 1: two seconds year old. I could have sworn. I remember

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Speaker 1: when I brought Tasty and I was like, oh damn,

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Speaker 1: okay for real, yell y'all y'all, y'all hooking up. I'll

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Speaker 1: get more mature to Jawin. I didn't know he did

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Speaker 1: trick me, dude, I'm pretty What about I can go on?

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Speaker 1: What about your friends, Ladies and gentlemen. This doesn't happen often.

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Speaker 1: Is going to be a super producer episode, one of

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Speaker 1: the greatest producers. Just how do you get here? We

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Speaker 1: don't know? Did you that? This is literally no? I'm sorry.

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Speaker 1: I normally do all these long accolades take twelve minutes,

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Speaker 1: but you know that's for the seven hour Jimmy Jam episode.

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Speaker 1: You lucky. He's definitely about to do five hours. He

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Speaker 1: just don't know it yet. Anyway, Ladies and gentle right out.

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Speaker 1: That's why I'm rushing. Ladies and gentlemen. Dallas Austin is

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Speaker 1: left supreme.

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Speaker 4: Yes, yes, yes, yes.

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Speaker 1: We are here. This is our Atlanta series and uh

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Speaker 1: we we've been here for a while and just wearing

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Speaker 1: the same clothes every five weeks. How how are you,

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Speaker 1: mister Austin.

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Speaker 4: I'm good man, I'm really good.

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Speaker 1: I gotta say. The day that we're speaking is the

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Speaker 1: twenty sixth anniversary of the ill adelph Half Life release,

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Speaker 1: of which the very song we worked on was at

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Speaker 1: Dark Studios. Yeah, we did Panic and started episodes at

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Speaker 1: Dark Yep. We were just and we cold knocked. I

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Speaker 1: think we just knocked and it was like, you know,

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Speaker 1: can we get a studio room real quick? And all

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Speaker 1: I remember was you were there recording the Fishbone record,

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Speaker 1: and Joy was there too, And this is the first

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Speaker 1: time that I saw Angelo. He was very much in

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Speaker 1: love with that Therman. Oh my god, dog, if you

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Speaker 1: if you can hear, like if I had the stems

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Speaker 1: to Panic on Tarik's vocal track, you can still hear

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Speaker 1: like the bleeding through the wall, that's my memories of Dark.

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Speaker 4: But now, thank you very much for doing this with

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Speaker 4: this man. And we couldn't I didn't know what to

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Speaker 4: do with that thing. It was like you couldn't control

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Speaker 4: the there man.

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Speaker 1: So and he was just.

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Speaker 4: He was determined to use it on the record. It's

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Speaker 4: almost impossible to put it into him, dude. And that's

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Speaker 4: bleeding over into this session, dude.

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Speaker 1: Like he would just be in the hallway and like

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Speaker 1: it was like he was doing like that's just like

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Speaker 1: four hours straight your legacy. N Steep said, we're just

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Speaker 1: gonna dive right into it. Where's your first musical memory.

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Speaker 4: My stepdad played for James Brown, who was Jimmy Nolan.

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Speaker 1: And Nolan is mother. That's the show.

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Speaker 4: So this is crazy, So I'll wake up with him.

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Speaker 1: Jimmy Chank no one, Yeah, does Wynney Melboy nor this does.

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Speaker 1: I don't know have you ever mentioned this.

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Speaker 4: I don't know if I mentioned do Windy before. But

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Speaker 4: every morning I would wake up in third grade and

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Speaker 4: play guitar with him, and he would teach me to

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Speaker 4: play with my fingers like this, think think it, you know,

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Speaker 4: and I would probably smoke a little bit of a

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Speaker 4: joint and then go to school because it was it was,

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Speaker 4: you know, seventies and stuff. So my mom, my mom

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Speaker 4: owned the nightclub and in Columbus, Georgia, and during the

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Speaker 4: sixties it was segregated so that when Tina Turner, James Brown,

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Speaker 4: anybody came to town, they had to come perform, you know,

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Speaker 4: in my dad's party club, stay in that area, eating

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Speaker 4: the soul food restaurant that's right there, and you know,

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Speaker 4: so I came up kind of in the nightclub restaurant

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Speaker 4: business first. And there's a lot of seventies you know,

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Speaker 4: wanna be bands and blue shag carpet and clavinet horners,

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Speaker 4: and you know, so my mom doing books. I'm running

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Speaker 4: around playing on their equipment every day. And Jimmy would

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Speaker 4: be on the road and whenever he would come back,

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Speaker 4: then I would sit and play guitar with him, and

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Speaker 4: then I would go on the road with the Jay

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Speaker 4: Bees like when I was, when I was like sevens.

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Speaker 1: Everything literally this literally took every question out of my head.

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Speaker 1: I'm still fed up that I'm sitting next to someone

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Speaker 1: that knew Jimmy Chank Nolan. Yeah, man like hurl and

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Speaker 1: cheese and Jimmy Chank Nolan. Are I mean, the the

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Speaker 1: wonder twins of syncopated rhythm.

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Speaker 4: They're just and and I don't know why. Oh no,

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Speaker 4: I'm a mom.

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Speaker 1: You know.

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Speaker 4: I was just so so into music, you know, so

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Speaker 4: crazy about music. But uh yeah, I went on the

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Speaker 4: road with the JB's one summer and I rode the

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Speaker 4: bus with them the whole time. And we see Charles

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Speaker 4: Sinclair Maceio. I would be under the organ while Charles

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Speaker 4: is rehearsing, right while they're practicing, I would be under

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Speaker 4: the organ playing with cars or like you know, playing

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Speaker 4: a little pianos and stuff and this is how crazy

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Speaker 4: this is that it goes full circle. So Captain Bruton

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Speaker 4: had a thing of B and my. When she first

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Speaker 4: got to being My, she says, was going to honor

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Speaker 4: James Brown and we want you Pharrell, Chad Rodney Jerkins all,

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Speaker 4: y'all going to be the JB's.

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Speaker 1: Wowharrell got on drums and started for What it Is

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Speaker 1: YO called the night before. The said, y'all, I'm about

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Speaker 1: to do mind power with James Brown. This is that nice?

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Speaker 4: Is that night? So we all in rehearsal, and for

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Speaker 4: one everybody's like, that's going to be impossible to getting together.

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Speaker 4: So we all in rehearsal doing it. What it is

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Speaker 4: is what it is. I'm playing the same chinky notes

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Speaker 4: I was playing in third grade, right you know, I'm like,

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Speaker 4: this is getting surreal. It's giving me a trip. And

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Speaker 4: so by the time we hit the stage with James

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Speaker 4: and I didn't you know, I was little, so I

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Speaker 4: didn't know how much you remember me or not to

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Speaker 4: follow my history of music or not. But soon he

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Speaker 4: saw me on the stage, he goes to me, that's

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Speaker 4: Jim and Nolan's boy right there. And then they started

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Speaker 4: talking about how he knew me since I was little

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Speaker 4: used to see me under the organ and all this

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Speaker 4: kind of stuff. And but it was a trip going

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Speaker 4: on the road with them because I remember this one

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Speaker 4: time where you know, they were all lined up, the

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Speaker 4: band was the JB's and then when James in the

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Speaker 4: dress room get ready to come out, and they out

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Speaker 4: there just talking doing that thing you spoke a cigarettes

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Speaker 4: s talking trash whatever, and this dude comes out and

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Speaker 4: he walks out and he slapped the hell out of

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Speaker 4: all of them, and I was so terrified. I didn't

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Speaker 4: know what to do. I was just like, what just happened?

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Speaker 4: You know what I'm saying. All of a sudden, it

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Speaker 4: was just like he walked right through and went straight

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Speaker 4: to the stage, and then they went to the stage

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Speaker 4: and started playing. And so afterwards, you know, as a kid,

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Speaker 4: you're still just like in your own version of shock,

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Speaker 4: like what just happened? Right, And Jimmy said to me said, man,

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Speaker 4: you know he does that to get attention, so almost

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Speaker 4: like the face.

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Speaker 3: I'm sorry, we say, slapped on the face.

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Speaker 1: Yeah it was.

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Speaker 4: You know, I feel like, you know, get your attention

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Speaker 4: off the bat if you feel like he's playing too

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Speaker 4: much or you're not serious about what's about to happen.

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Speaker 4: You don't know what he'll do. He'll leave you if

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Speaker 4: somebody mess up. He lead a whole band. He wasn't

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Speaker 4: playing Soma back then. You could nobody, nobody Internet back then,

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Speaker 4: but it was it was part of what really started me.

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Speaker 4: He started shaping me into playing. You know, I started

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Speaker 4: on guitar, and then the guitar started hurting my fingers,

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Speaker 4: so I started playing keyboards. And then from that point

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Speaker 4: I was.

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Speaker 1: Just and you all self taught, like no formal lessons

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Speaker 1: or none of that.

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Speaker 4: Self taught about Cassio started with the Casio calculator and

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Speaker 4: man asked my mom to get me a big one

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Speaker 4: every Christmas, and then worked my way up to it

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Speaker 4: rolling j X three.

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Speaker 1: P went to Big Boy.

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Speaker 4: Well, it took me a while.

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Speaker 1: Sk one.

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Speaker 4: I was at the skate one, but I couldn't play

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Speaker 4: in the local bands. And if I didn't have a

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Speaker 4: keyboard for it, a real keyboard, right. Yeah, So my

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Speaker 4: brother financed it. Was twelve hundred dollars. He financed it

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Speaker 4: for five years.

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Speaker 1: Wow, he played ten thousand dollars for that.

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Speaker 5: Yeah.

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Speaker 4: He would sneaking in concerts, like because my mom's restaurant

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Speaker 4: in Columbus was down the street from the auditorium. Then

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Speaker 4: I went to every concert, so I seen the Mothership Land.

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Speaker 4: That was one of my first concerts.

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Speaker 1: Yeah, tell me about the conscerts you saw when you're

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Speaker 1: a kid.

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Speaker 4: That's one of the first ones. Because I said, Mom,

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Speaker 4: you know George Clinton, They're coming to town and probably

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Speaker 4: mean funka delic and the roof is going to open

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Speaker 4: up and the Spaceship's going to come in. And she said, well, honey,

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Speaker 4: I don't think that's going to happen. I said, you

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Speaker 4: didn't see the commercials. Look at the marcial on TV.

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Speaker 4: The space Ship's coming in. I gotta see this. So

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Speaker 4: she's like, all right, well, I just don't want you

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Speaker 4: to be disappointed. So I go to the concert. My

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Speaker 4: brother would always take me to the concerts. He would

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Speaker 4: sneak me in with a snare drum that was mid

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Speaker 4: from school, like saying it was a Zapp's drummer, and

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Speaker 4: you know, yeah, my brother was always everybody was in

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Speaker 4: with all their music. So so like when we got

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Speaker 4: to the concert and I'm watching the show and all

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Speaker 4: of a sudden start doing the swinging down with chariot

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Speaker 4: stop and I'm like, here comes, here comes gonna open up.

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Speaker 4: And I didn't realize as a kid how it was happening,

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Speaker 4: but I know the spaceship came down on the stage,

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Speaker 4: you know, and I was just like blown away from

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Speaker 4: it and all the costumes and watching Bootsye and watching

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Speaker 4: like the whole you know, I was able.

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Speaker 1: To see you got to see Glenn Goins call down

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Speaker 1: you heard.

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Speaker 4: Seeing the whole thing bro like the same one you

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Speaker 4: can watch on the old seventies fields to see it.

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Speaker 4: And when George comes out with the whole cane and

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Speaker 4: that happened, you know, And think about my Mom's restaurant,

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Speaker 4: was that I was able to meet all these people

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Speaker 4: before I ever ever worked with them and knew them.

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Speaker 1: So they would come to the restaurant afterwards, they.

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Speaker 4: Would go before and because the soul Food restaur run

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Speaker 4: and then that was the closest restaurant to the venue,

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Speaker 4: to the auditorium. It was only one place. So every

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Speaker 4: time he's Roger zapped line of Richie Commodore's wing and

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Speaker 4: fire all these people. I've seen him when I was little.

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Speaker 4: My Mom's restaurant, did.

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Speaker 3: You ever is it ever a circle back to some

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Speaker 3: of these fos.

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Speaker 4: Was a little boy, especially George. You know George has

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Speaker 4: been since the times you were there. George was around then.

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Speaker 4: That's when he was really starting to hang around us.

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Speaker 4: He worked, right, Yeah, I did Hollywood but him, Lionel, Richie,

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Speaker 4: all of them. I got Natalie Cole. They must be

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Speaker 4: so proud of you, like damn, yeah, it was. It's

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Speaker 4: a full circle trip.

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Speaker 1: You know, what was your favorite Parliament album?

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Speaker 4: I was in the Cosmic Slops album first with Maggie

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Speaker 4: Brain and you know, just because my brothers and that

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Speaker 4: was just playing over and over and over.

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Speaker 1: How much older were your brothers in you like five

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Speaker 1: years you know, so like you the middle or your baby?

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Speaker 4: I'm the baby.

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Speaker 1: Yeah, I thought that who's the hype man for another

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Speaker 1: bad creation?

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Speaker 4: Yeah?

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Speaker 1: That's that was your brother. Okay, I'm sorry, I thought

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Speaker 1: that was your brother.

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Speaker 4: That's your that's my cousin aunt son.

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Speaker 5: That was like an urban legend when we was younger,

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Speaker 5: like you know this, okay.

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Speaker 4: Right, all of us was down in Columbus, Man and

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Speaker 4: then my brother who brought the keyboard end up breaking

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Speaker 4: my off plane. Get it up one day from the time,

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Speaker 4: over and over and over and over again, because that's

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Speaker 4: how we learned how to play right. And my brother

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Speaker 4: came in one day some months they cleaned up the

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Speaker 4: room and I wasn't listening, so he picked the keyboard

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Speaker 4: up through it broke it. I tripped out, flipped. My

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Speaker 4: mom's restaurant was connected to the house we stayed in

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Speaker 4: that at that time, so it was like soul food

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Speaker 4: restaurant and downtown Columbus. So everything was going down, like

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Speaker 4: everything was going down, and it was just bad. It

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Speaker 4: was just just dark.

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Speaker 1: And so he broke your keyboard, the one he paid for.

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Speaker 4: Yeah, I tried to kill him, but I was so little,

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Speaker 4: you know, when you're little, you don't know better. So

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Speaker 4: you know, I ran down stairs my one restaurant and

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Speaker 4: get a knife, run upstairs and crying what was going on?

287
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Speaker 4: Because that keyboard was the only thing that got me

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Speaker 4: into bands with people that was like bigger, you know,

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Speaker 4: like Kevin Bradshaw and now who ended up being like

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00:14:07,960 --> 00:14:10,839
Speaker 4: Basic Black. They had bands, you know, So I wanted

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Speaker 4: to play in the band and be like doctor Fink

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Speaker 4: forar real, like Jimmy Jay and for real and now

293
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Speaker 4: you just ruin my dream.

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Speaker 3: So and how old are you now are you talking about.

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Speaker 1: Twelve, Speaking of which, we found this out recently that

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Speaker 1: Prince initially wrote Get It Up Brick for Brick. They

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Speaker 1: didn't like it. Episode.

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Speaker 4: Oh my god, I was. I was a straight up fanatic.

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Speaker 4: I was a Prince time fanatic. I was such a

300
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Speaker 4: fanatic that that's how I learned to play everything, because

301
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Speaker 4: I would go home every day and learn get it

302
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Speaker 4: Up Solo. I'll go home every day and learn cool,

303
00:14:45,400 --> 00:14:51,360
Speaker 4: go home every day like girl and all this stuff.

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Speaker 4: And I was so little that, you know, you just

305
00:14:53,000 --> 00:14:54,400
Speaker 4: sat there and did it over and over and over

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00:14:54,400 --> 00:14:56,280
Speaker 4: and over and over again. And by the time I

307
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Speaker 4: got to be twelve, you know, I was really good.

308
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Speaker 4: By the time broke my keyboard, That's what made me

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Speaker 4: move to Atlanta, because I told my mom. I was like, yo,

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Speaker 4: it's a Greyhound bus station around the street. So he

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Speaker 4: broke my keyboard. I went to the bus station. I'm like,

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Speaker 4: I'm going to Atlanta twelve.

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Speaker 3: I don't understand how that well, she.

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Speaker 4: Didn't need At first.

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Speaker 1: You ran away with you announced that you're running away

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Speaker 1: from home, and then stop you.

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Speaker 4: I went to the bus station. I'm waiting on the

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Speaker 4: bus like and it's late at night. So my mom

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Speaker 4: was like, yo, what are you doing? Like he broke

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Speaker 4: my keyboard. I can't be a big producer. I got

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Speaker 4: to get to Atlanta, and.

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Speaker 3: She was like what and what you're getting too in

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Speaker 3: Atlanta for because at the time because my auntie, but

324
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Speaker 3: my auntie lived up here and it was still not there,

325
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Speaker 3: and I knew something else could happen here, you know,

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Speaker 3: like you still had Brick and still had Cameo, and

327
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Speaker 3: you still had sos BN and like, you know, Atlanta

328
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Speaker 3: Rhythm sections and all this stuff was going on back there.

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Speaker 1: In your mind. Like at least if I'm twelve, you

330
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Speaker 1: know what I knew of Atlanta pre Like when Bobby

331
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Speaker 1: Brown came down then I was like, Okay, something's about

332
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Speaker 1: to happen. But before then, the only person I knew

333
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Speaker 1: that like bragged about Atlanta back then was people bricing.

334
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Speaker 4: People bricon a cameo.

335
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Speaker 1: Right, But I didn't know even like not even reading

336
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Speaker 1: the labels, Like you know, I'm just saying that. Why again,

337
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Speaker 1: you're twelve, So I'm glad you kind of went next

338
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Speaker 1: door instead of like, yeah, two thousand miles away. Why

339
00:16:23,400 --> 00:16:27,040
Speaker 1: was in New York or Hollywood not on your.

340
00:16:27,440 --> 00:16:30,320
Speaker 4: Radar, because I've been to Atlanta. We would come up

341
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Speaker 4: on the weekends and they had the biggest music store,

342
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Speaker 4: like Rhythm City or something was called, and like so

343
00:16:34,720 --> 00:16:36,360
Speaker 4: you look at the Yellow Pages and it was like

344
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Speaker 4: that was the closest dream I could see for real.

345
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Speaker 4: You know, It's like, if I get up there, I

346
00:16:40,800 --> 00:16:42,320
Speaker 4: can go to the music shop, so I can do this.

347
00:16:42,440 --> 00:16:44,360
Speaker 4: I can do that. But I just knew that Columbus

348
00:16:44,440 --> 00:16:46,120
Speaker 4: wasn't the place for it. And so my mom came

349
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Speaker 4: the next day. She came said, look, okay, it's late

350
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Speaker 4: at night. I know you're stubborn, I know you're mad.

351
00:16:51,080 --> 00:16:52,720
Speaker 4: Just come on back to the house and we talk

352
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Speaker 4: about it. And no busses are leaving the night anyway,

353
00:16:55,040 --> 00:16:57,080
Speaker 4: so you know, come on back home. It's fine, we

354
00:16:57,080 --> 00:16:59,320
Speaker 4: can we can do it tomorrow. So I went back home,

355
00:17:00,000 --> 00:17:02,800
Speaker 4: woke up the next day. Was he there, Oh yeah, no,

356
00:17:02,880 --> 00:17:04,720
Speaker 4: he was going drinking, but wises by then he was like.

357
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Speaker 1: He know that.

358
00:17:06,920 --> 00:17:09,439
Speaker 4: He realized at that point, how you know what that happened?

359
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Speaker 3: Right?

360
00:17:09,960 --> 00:17:13,199
Speaker 4: And so the next day I got up during the daytime,

361
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Speaker 4: I went down to my mom's cash register in the restaurant,

362
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Speaker 4: got me like twenty forty bucks, went back to Grayund

363
00:17:18,320 --> 00:17:20,760
Speaker 4: bus station and then now it was full long. Now

364
00:17:20,800 --> 00:17:22,920
Speaker 4: it was daytime. The buses are leaving. So she comes

365
00:17:22,920 --> 00:17:25,159
Speaker 4: back around again and she was like, yo, what are

366
00:17:25,200 --> 00:17:27,320
Speaker 4: you doing. I'm like, I'm going to Atlanta. I can't

367
00:17:27,359 --> 00:17:29,159
Speaker 4: I can't say down here, who broke my keyboard? All

368
00:17:29,200 --> 00:17:30,879
Speaker 4: my brothers are like, you know, in jail a lot

369
00:17:31,000 --> 00:17:32,719
Speaker 4: like we had a lot of just jail and darkness.

370
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Speaker 4: So as me and my mom were really.

371
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Speaker 1: Close and it's absolutely not repairable.

372
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Speaker 4: It was reparable, it just didn't look like it. The

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00:17:40,000 --> 00:17:41,920
Speaker 4: two first the two keys came off the beginning. You know,

374
00:17:42,080 --> 00:17:43,399
Speaker 4: oh you mean the keyboard.

375
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Speaker 1: I thought you meant the relationship.

376
00:17:45,760 --> 00:17:49,080
Speaker 4: Yeah, the keyboard. Well well then you know, my mom

377
00:17:49,200 --> 00:17:51,760
Speaker 4: was like, well, look, if you're not determined, you that stubborn,

378
00:17:51,960 --> 00:17:54,439
Speaker 4: then give me some time to sell the restaurant. I'm

379
00:17:54,440 --> 00:17:55,399
Speaker 4: going with you. You're not leaving me.

380
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Speaker 1: Wait time out. She's willing to do that for you.

381
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Speaker 4: She did that. That's your best face. That's how I

382
00:18:00,840 --> 00:18:03,000
Speaker 4: got to Atlanta. So she came up sold the restaurants.

383
00:18:03,720 --> 00:18:05,640
Speaker 4: My dad was really he was really prominent in Columbus.

384
00:18:05,720 --> 00:18:07,119
Speaker 4: He did a lot of stuff with the city, did

385
00:18:07,160 --> 00:18:08,560
Speaker 4: a lot of stuff with the streets, and you know,

386
00:18:08,720 --> 00:18:10,720
Speaker 4: gangsters and all this stuff. He was just that guy.

387
00:18:11,359 --> 00:18:14,159
Speaker 4: So you know, I was just like, nothing's down here

388
00:18:14,200 --> 00:18:17,520
Speaker 4: for us except for legacy. He left and some problems

389
00:18:17,520 --> 00:18:19,200
Speaker 4: with police and all this kind of stuff. Let's just go.

390
00:18:19,520 --> 00:18:21,440
Speaker 4: And so we left, came to Atlanta. She got a

391
00:18:21,520 --> 00:18:23,280
Speaker 4: job at po Folks on Old National. I moved to

392
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Speaker 4: College Park, and she she didn't even know how much

393
00:18:26,800 --> 00:18:28,919
Speaker 4: money to ask for because she was always self employing

394
00:18:28,960 --> 00:18:32,119
Speaker 4: a little restaurant. So she started making twelve thousand a

395
00:18:32,200 --> 00:18:34,920
Speaker 4: year and I started going to school sometimes.

396
00:18:35,640 --> 00:18:36,240
Speaker 1: How long was that.

397
00:18:36,280 --> 00:18:38,600
Speaker 5: Period between the bus station and y'all actually moving.

398
00:18:38,960 --> 00:18:41,840
Speaker 4: About about almost eighty eight months to a year.

399
00:18:41,920 --> 00:18:42,240
Speaker 1: Oh wow.

400
00:18:43,160 --> 00:18:45,120
Speaker 4: By time when she was like, all right, let me situated,

401
00:18:45,200 --> 00:18:46,680
Speaker 4: let me figure it out. Where am I going to work?

402
00:18:46,720 --> 00:18:48,960
Speaker 4: How do I sell this? How do I you know?

403
00:18:50,160 --> 00:18:53,480
Speaker 4: Because my father he got killed in front of us

404
00:18:53,520 --> 00:18:56,640
Speaker 4: when he was when I was two, right, because he yeah,

405
00:18:56,800 --> 00:19:00,200
Speaker 4: he had his nightclub and his restaurant and just who

406
00:19:00,640 --> 00:19:02,160
Speaker 4: had a dream or something and he was a friend

407
00:19:02,200 --> 00:19:04,160
Speaker 4: of his that my uncle beat him with a pipe

408
00:19:04,200 --> 00:19:06,280
Speaker 4: or something crazy. But just some craziness, and he came

409
00:19:06,320 --> 00:19:08,160
Speaker 4: down to shoot my uncle at the restaurant. My dad

410
00:19:08,240 --> 00:19:10,680
Speaker 4: was standing in the door, so he shot him first

411
00:19:10,960 --> 00:19:13,120
Speaker 4: and then came in where I was playing with my uncle.

412
00:19:13,240 --> 00:19:17,480
Speaker 4: Came in and shot my uncle and then jetted, So

413
00:19:17,720 --> 00:19:19,040
Speaker 4: I mean they called him. He went to jail, but

414
00:19:19,160 --> 00:19:21,000
Speaker 4: then my dad didn't end up making it. My mom

415
00:19:21,080 --> 00:19:22,840
Speaker 4: had to take over the club and take over the

416
00:19:22,960 --> 00:19:26,520
Speaker 4: responsibility of the nightclub and the restaurant. Now the nightclub

417
00:19:26,640 --> 00:19:29,240
Speaker 4: is full of all the politicians I know now in Atlanta,

418
00:19:30,600 --> 00:19:35,119
Speaker 4: heemps Street, Twustler, Jean Griffin, like all you know that

419
00:19:35,440 --> 00:19:38,320
Speaker 4: Jean Griffin, That Gene Griffin's bottomne growing up too with

420
00:19:38,440 --> 00:19:38,760
Speaker 4: my dad.

421
00:19:39,760 --> 00:19:43,960
Speaker 1: What was Jene Griffin exactly? Besides the name that always

422
00:19:44,240 --> 00:19:47,240
Speaker 1: was in Teddy Riley's place place. I don't know what

423
00:19:47,320 --> 00:19:49,680
Speaker 1: he looks like. I just know that I've seen his

424
00:19:49,840 --> 00:19:50,360
Speaker 1: name a lot.

425
00:19:50,960 --> 00:19:54,440
Speaker 4: Geen Griffin was one of the most notorious the gangsters

426
00:19:54,480 --> 00:19:57,480
Speaker 4: back then. He was the sugv oh Beyond. They wasn't

427
00:19:57,520 --> 00:20:00,880
Speaker 4: playing him and Bill Underwood. Who's to the Johnny guil

428
00:20:01,560 --> 00:20:03,040
Speaker 4: out of New York they had? They had New York

429
00:20:03,080 --> 00:20:04,960
Speaker 4: on lock that was back in the in the you know,

430
00:20:05,560 --> 00:20:08,040
Speaker 4: post Frank Lucas, Frank Lucas Day. That was all during

431
00:20:08,080 --> 00:20:08,400
Speaker 4: that time.

432
00:20:08,480 --> 00:20:10,800
Speaker 1: So was Atlanta his base, and he would work out

433
00:20:10,800 --> 00:20:12,320
Speaker 1: in New York or was New York his base, and

434
00:20:12,440 --> 00:20:13,800
Speaker 1: then I got some shit down south.

435
00:20:13,640 --> 00:20:15,520
Speaker 4: To Columbus in New York was his base. So they

436
00:20:15,520 --> 00:20:17,199
Speaker 4: would take it from New York to Columbus and then

437
00:20:17,240 --> 00:20:20,880
Speaker 4: distribute out through Georgian, Atlanta and every everywhere else, heroin Coke,

438
00:20:20,960 --> 00:20:23,200
Speaker 4: whatever they were they were doing. And so we knew

439
00:20:23,320 --> 00:20:25,080
Speaker 4: Gene Griffin when when I was a little I knew

440
00:20:25,119 --> 00:20:28,320
Speaker 4: Gene from being married to my Auntie and being gangster

441
00:20:28,440 --> 00:20:30,120
Speaker 4: and them showing up with Meet coats on and Meet

442
00:20:30,200 --> 00:20:33,080
Speaker 4: Hats and Maserati's and you know, guns and just the

443
00:20:33,200 --> 00:20:35,679
Speaker 4: whole seventies. You know what you what you're doing at

444
00:20:35,720 --> 00:20:38,760
Speaker 4: the time. It wasn't until so Jane went to jail

445
00:20:39,240 --> 00:20:42,120
Speaker 4: right for for a long time. And during that time,

446
00:20:42,720 --> 00:20:45,560
Speaker 4: Andrea got Teddy and Guy, but Teddy was already signed

447
00:20:45,600 --> 00:20:48,639
Speaker 4: the Gene before that were kids at work. Okay, So

448
00:20:48,720 --> 00:20:51,480
Speaker 4: when he got out, he came out saying, Hey, I

449
00:20:51,600 --> 00:20:53,680
Speaker 4: want my guy, I want my I want my producer back.

450
00:20:54,440 --> 00:20:56,440
Speaker 4: So his a little episode with him and Andre because

451
00:20:56,440 --> 00:20:58,200
Speaker 4: he because they were in guy and he didn't want

452
00:20:58,200 --> 00:21:00,720
Speaker 4: to give him guys. So Joe Buzzy was like, yo, okay,

453
00:21:01,720 --> 00:21:04,439
Speaker 4: let's stop the turmo. You take Teddy God stays over

454
00:21:04,480 --> 00:21:06,920
Speaker 4: here with us and then we'll So that's how Teddy

455
00:21:07,000 --> 00:21:09,240
Speaker 4: ended up being producing with Gene. Ah.

456
00:21:09,600 --> 00:21:10,480
Speaker 1: So mom, let him go.

457
00:21:10,640 --> 00:21:12,280
Speaker 4: Now check this out. My mom's at work at pos

458
00:21:12,280 --> 00:21:15,760
Speaker 4: Folks one day right now, I'm up here. I did

459
00:21:15,960 --> 00:21:18,640
Speaker 4: Hey mister DJ with Joice everybody, and so now I'm

460
00:21:18,640 --> 00:21:19,919
Speaker 4: not like my sixteen you know.

461
00:21:21,040 --> 00:21:22,320
Speaker 1: Time you did that at sixteen?

462
00:21:23,040 --> 00:21:23,280
Speaker 4: Yeah?

463
00:21:23,640 --> 00:21:25,520
Speaker 1: Wow? Wait? Was that you were in the Batman shirt

464
00:21:25,600 --> 00:21:26,080
Speaker 1: on Soul Train?

465
00:21:26,400 --> 00:21:32,560
Speaker 4: Yes, exactly. I was also in some got into some

466
00:21:32,800 --> 00:21:35,280
Speaker 4: contracts with her that will work for higher contracts. But

467
00:21:35,400 --> 00:21:37,080
Speaker 4: she was the first one to really get me to

468
00:21:37,800 --> 00:21:40,520
Speaker 4: Jerald Buzzby into doing troop and doing stuff like that

469
00:21:40,600 --> 00:21:42,920
Speaker 4: at that age. Found out it was I was in

470
00:21:43,000 --> 00:21:45,520
Speaker 4: some work for higher contracts that wasn't good contracts, right.

471
00:21:45,920 --> 00:21:48,480
Speaker 4: And so one day my mom's at work at Pole

472
00:21:48,520 --> 00:21:52,119
Speaker 4: Folks and she gets a call from Jean Griffin. Okay, oh,

473
00:21:52,680 --> 00:21:56,560
Speaker 4: and she's like, she don't understand right because the Gen

474
00:21:56,640 --> 00:21:59,879
Speaker 4: Griffin that she knows was in jail was gangster, was

475
00:22:00,200 --> 00:22:01,720
Speaker 4: running with my dad and him back then. So she

476
00:22:01,840 --> 00:22:04,640
Speaker 4: knows that Gene, but she had no idea. So he's like, ball,

477
00:22:04,680 --> 00:22:06,320
Speaker 4: I gotta get in touch with Dallas. He needs to

478
00:22:06,400 --> 00:22:10,120
Speaker 4: understand I'm doing music. And she's like what, And then

479
00:22:10,200 --> 00:22:12,720
Speaker 4: she calls me and said, oh no, Dallas, she ain't.

480
00:22:12,720 --> 00:22:17,840
Speaker 4: Griffin called. I said, who, said, Gene Griffin? What do

481
00:22:17,920 --> 00:22:20,359
Speaker 4: he want with you? I said, I don't know. What

482
00:22:20,720 --> 00:22:22,359
Speaker 4: do you want with me? She said, I don't know.

483
00:22:22,400 --> 00:22:26,160
Speaker 4: He said something about Teddy Rally and I said, oh wait,

484
00:22:26,400 --> 00:22:28,440
Speaker 4: because I was always seeing Gene Griffin's name, but I

485
00:22:28,480 --> 00:22:30,720
Speaker 4: didn't know it was him. I thought it was somebody

486
00:22:30,760 --> 00:22:34,840
Speaker 4: else together. And then when I did, I'm like, oh man.

487
00:22:34,920 --> 00:22:36,960
Speaker 4: So I called him. He's like, Yo, if your dad

488
00:22:37,000 --> 00:22:38,520
Speaker 4: knew I was letting you out be out here like that,

489
00:22:38,600 --> 00:22:40,280
Speaker 4: you turn over in his grave. Boy, I got to

490
00:22:40,280 --> 00:22:41,920
Speaker 4: come back and protect you, you know. So it turned

491
00:22:43,080 --> 00:22:47,000
Speaker 4: into that, and so then they moved to Atlanta. He

492
00:22:47,119 --> 00:22:50,359
Speaker 4: was the first one, really like, you know, getting Teddy

493
00:22:50,920 --> 00:22:54,160
Speaker 4: one hundred thousand dollars a track was unheard of. Getting

494
00:22:54,200 --> 00:22:56,840
Speaker 4: producers that much money was just insane. He was first.

495
00:22:56,920 --> 00:22:59,200
Speaker 4: Teddy was the first one getting that kind of money

496
00:23:00,000 --> 00:23:02,719
Speaker 4: because because of Gene, you know, and what he did

497
00:23:02,760 --> 00:23:05,679
Speaker 4: that was really smart was he was trying to when

498
00:23:05,720 --> 00:23:07,359
Speaker 4: Teddy got really big. What he did was he did

499
00:23:07,440 --> 00:23:09,840
Speaker 4: production deals everywhere, but he never did a label deal, right,

500
00:23:10,359 --> 00:23:12,880
Speaker 4: so he could keep putting them at different places. Well,

501
00:23:13,280 --> 00:23:18,600
Speaker 4: Gene owned Sony Music. It's called Sounds of New York. Right.

502
00:23:18,680 --> 00:23:21,600
Speaker 1: I was wondering how that. I remember when Teddy we

503
00:23:21,680 --> 00:23:23,360
Speaker 1: had today Yes.

504
00:23:24,119 --> 00:23:27,400
Speaker 4: Really want hand, right, that was on Sounds of New York.

505
00:23:27,720 --> 00:23:31,720
Speaker 1: Right, I was wondering how Sony allowed that to happen.

506
00:23:32,119 --> 00:23:32,679
Speaker 1: They didn't.

507
00:23:32,720 --> 00:23:35,520
Speaker 4: That's why they came in and disrupted him and Teddy

508
00:23:35,560 --> 00:23:37,960
Speaker 4: and everything else because you know, he had to write

509
00:23:38,000 --> 00:23:39,920
Speaker 4: to Sony Music because it sounds of New York and

510
00:23:40,240 --> 00:23:43,119
Speaker 4: so they were Columbia back then, and so he was

511
00:23:43,160 --> 00:23:45,280
Speaker 4: so disruptive with everything he was doing at the time.

512
00:23:45,480 --> 00:23:48,760
Speaker 4: He was like sugar so but he was he was

513
00:23:48,880 --> 00:23:51,399
Speaker 4: real real with it. So you know, they kind of

514
00:23:51,440 --> 00:23:53,600
Speaker 4: wanted to separate them and Teddy and get Teddy away

515
00:23:53,600 --> 00:23:57,280
Speaker 4: from under him, and so people Teddy to Virginia.

516
00:23:57,640 --> 00:24:00,800
Speaker 1: But does that stop a cat like Gene is Atlanta,

517
00:24:01,000 --> 00:24:03,080
Speaker 1: New York, and that like I can easily get to

518
00:24:03,560 --> 00:24:04,200
Speaker 1: Virginia Beach.

519
00:24:04,359 --> 00:24:07,000
Speaker 4: Well he he he, you know, he was still it

520
00:24:07,080 --> 00:24:08,679
Speaker 4: was dispute where it's still be getting money. But then

521
00:24:08,720 --> 00:24:10,439
Speaker 4: Jean said, Okay, fuck it, I'm gona go to Atlanta

522
00:24:10,800 --> 00:24:14,240
Speaker 4: and he started Basic Black to be his a new guy. Remember, yeah, yeah,

523
00:24:15,400 --> 00:24:17,399
Speaker 4: so that started up. But by the time, you know,

524
00:24:17,640 --> 00:24:19,760
Speaker 4: he's he's Gene, He's rolling in all the Teddy roll

525
00:24:19,800 --> 00:24:20,120
Speaker 4: of money.

526
00:24:20,119 --> 00:24:24,440
Speaker 1: Anyway, Now, can we assume that, hey, mister DJ, was

527
00:24:24,520 --> 00:24:27,120
Speaker 1: your first debut as a producer.

528
00:24:27,880 --> 00:24:30,040
Speaker 4: Yeah, I mean I did a couple of little things

529
00:24:30,080 --> 00:24:32,440
Speaker 4: before that, but that was the first one to get

530
00:24:33,040 --> 00:24:35,840
Speaker 4: on the level. Yeah. And then Dougie Fresh said my

531
00:24:35,920 --> 00:24:37,400
Speaker 4: name in the record. I thought I was just gonna

532
00:24:37,480 --> 00:24:40,440
Speaker 4: die like Joe Dallas, It's time to rock, right, And

533
00:24:40,600 --> 00:24:43,840
Speaker 4: I was in. I was on Mahland and some Renner

534
00:24:43,880 --> 00:24:46,600
Speaker 4: card like sixteen seventeen would work with Joyce and I

535
00:24:46,640 --> 00:24:48,200
Speaker 4: heard her on the radio and I heard my name

536
00:24:48,240 --> 00:24:50,920
Speaker 4: and I was like, God, this is it this. I've

537
00:24:50,960 --> 00:24:52,439
Speaker 4: been waiting to do this all my life. And then

538
00:24:52,640 --> 00:24:54,760
Speaker 4: so and then every time from that point I had

539
00:24:54,800 --> 00:24:56,280
Speaker 4: a record, I would go to mahul into the same

540
00:24:56,320 --> 00:24:58,200
Speaker 4: spot and listen there.

541
00:24:58,840 --> 00:25:06,120
Speaker 1: Really yeah, what gear were you recording on at that time,

542
00:25:06,359 --> 00:25:07,880
Speaker 1: you make that Joyce Findarella, every.

543
00:25:07,800 --> 00:25:09,840
Speaker 4: Dude, it was an r ex. It was the Yamaha

544
00:25:10,280 --> 00:25:12,560
Speaker 4: drum machine that just came out with back then, and

545
00:25:12,800 --> 00:25:13,880
Speaker 4: did it sounded really thin.

546
00:25:14,640 --> 00:25:16,119
Speaker 1: I was gonna say, when you get to the bridge,

547
00:25:16,840 --> 00:25:19,920
Speaker 1: like what I remember the song like the verse was

548
00:25:20,000 --> 00:25:22,119
Speaker 1: high powered and the course is. But then when you

549
00:25:22,160 --> 00:25:25,560
Speaker 1: all get to the bridge was a sonic difference without

550
00:25:25,600 --> 00:25:27,119
Speaker 1: the samples and stuff on top of it.

551
00:25:27,440 --> 00:25:30,040
Speaker 4: So I had and you know, back then sampling, you

552
00:25:30,040 --> 00:25:32,520
Speaker 4: can only sample this long, so it's on like clafter this,

553
00:25:33,400 --> 00:25:36,040
Speaker 4: uh one too, James Brown, That's only that's all the

554
00:25:36,080 --> 00:25:38,320
Speaker 4: sample link that you had, so it's going clapter this clap, clap,

555
00:25:38,400 --> 00:25:41,720
Speaker 4: claffter this over and over. But it was like, you know,

556
00:25:41,840 --> 00:25:43,600
Speaker 4: it was the closest thing to swing at the time,

557
00:25:43,800 --> 00:25:46,480
Speaker 4: the new Jack swing. And then when Joe Buzzby heard that,

558
00:25:46,920 --> 00:25:50,320
Speaker 4: he said, uh yo, man, I got this group don't

559
00:25:50,320 --> 00:25:51,800
Speaker 4: want you to work with but I don't. I don't

560
00:25:51,800 --> 00:25:53,200
Speaker 4: think Joyce should work on with you. I think you

561
00:25:53,200 --> 00:25:55,919
Speaker 4: should do it by yourself. I said, okay, you had

562
00:25:55,960 --> 00:25:58,720
Speaker 4: to call boys them men, says Mike Bevans group. But

563
00:25:58,840 --> 00:26:01,359
Speaker 4: I think you're influence is better without her, you know,

564
00:26:01,359 --> 00:26:02,960
Speaker 4: because she would come mix the records and stuff too.

565
00:26:03,040 --> 00:26:05,560
Speaker 4: So listened to like I Will Always Love You from Trube.

566
00:26:06,000 --> 00:26:08,120
Speaker 4: It's a lot dinner to meet and than other songs

567
00:26:08,160 --> 00:26:10,600
Speaker 4: I was doing after your trademark was my drums and

568
00:26:10,760 --> 00:26:11,000
Speaker 4: got the.

569
00:26:11,600 --> 00:26:15,199
Speaker 1: Leg From my point of view, like as a fan listening,

570
00:26:15,840 --> 00:26:19,879
Speaker 1: it was impossible at least back then ninety ninety one

571
00:26:20,000 --> 00:26:23,680
Speaker 1: to escape the bomb squad. Oh my god, how influential.

572
00:26:23,680 --> 00:26:26,560
Speaker 1: Because the thing is is that even though they did

573
00:26:26,840 --> 00:26:30,640
Speaker 1: an awesome job on the Poison record, which is basically

574
00:26:30,840 --> 00:26:35,639
Speaker 1: like seventy maybe eighty percent samples and whatever, but you know,

575
00:26:35,680 --> 00:26:37,879
Speaker 1: I mean a lot of this stuff was atonal, but

576
00:26:38,080 --> 00:26:40,240
Speaker 1: I mean you just took that shit to the hilt.

577
00:26:40,960 --> 00:26:45,560
Speaker 1: And I always wondered your level of just chaotic production

578
00:26:46,920 --> 00:26:51,879
Speaker 1: without without sort of a linear melodic thing like I

579
00:26:51,960 --> 00:26:53,879
Speaker 1: mean I had to the Back is a great example,

580
00:26:54,280 --> 00:26:56,480
Speaker 1: like there really is a melody there. So it's like

581
00:26:57,320 --> 00:26:59,600
Speaker 1: when you're writing this stuff, and again, I know, the

582
00:26:59,720 --> 00:27:02,399
Speaker 1: cha to form of production at the time, especially with

583
00:27:02,560 --> 00:27:07,600
Speaker 1: like Teddy doing more nuanced steady New Jackson, you know,

584
00:27:07,720 --> 00:27:10,120
Speaker 1: by the numbers thing, but you were just like the wow, wow,

585
00:27:10,200 --> 00:27:12,879
Speaker 1: West with it. How hard was it for you to

586
00:27:13,040 --> 00:27:15,280
Speaker 1: convince not the acts, because I feel like you and

587
00:27:15,320 --> 00:27:17,200
Speaker 1: the acts were like of age and all that stuff,

588
00:27:18,000 --> 00:27:19,639
Speaker 1: but like the buzz bees of the world, like the

589
00:27:19,800 --> 00:27:23,000
Speaker 1: older I'm assuming these guys are at least forty years old, Like,

590
00:27:23,520 --> 00:27:26,959
Speaker 1: how do you convince them that cram and forty two

591
00:27:27,040 --> 00:27:30,680
Speaker 1: gazillion samples in something is like that's what they want?

592
00:27:31,760 --> 00:27:33,720
Speaker 4: Yeah, it was a lot of samples, bro, Like I

593
00:27:33,760 --> 00:27:35,040
Speaker 4: wanted to be I wanted to be in the Bomb

594
00:27:35,040 --> 00:27:37,240
Speaker 4: Squad so bad. Hay shockoling them. I was like I

595
00:27:37,280 --> 00:27:40,160
Speaker 4: was going down the Green Street like studios and I'll

596
00:27:40,200 --> 00:27:41,800
Speaker 4: see Mike Bibbins and then working with them, and I

597
00:27:41,920 --> 00:27:44,320
Speaker 4: was like, man, the Bomb Squad. It was just so

598
00:27:44,440 --> 00:27:46,680
Speaker 4: incredible how they would take all these samples that was

599
00:27:46,800 --> 00:27:49,080
Speaker 4: just like out of nowhere and make sure that they

600
00:27:49,119 --> 00:27:50,560
Speaker 4: were out of tune and make sure that they had

601
00:27:50,600 --> 00:27:52,240
Speaker 4: nothing to do with each other, make sure they was

602
00:27:52,640 --> 00:27:55,000
Speaker 4: So I would take that same formula right now, I

603
00:27:55,000 --> 00:27:56,760
Speaker 4: would do that, but then I would write a regular

604
00:27:56,800 --> 00:27:58,359
Speaker 4: song on top of it. Like so if think about

605
00:27:58,359 --> 00:27:59,639
Speaker 4: just took all that other way and then write a

606
00:27:59,720 --> 00:28:01,320
Speaker 4: song I had to the back right or what about

607
00:28:01,320 --> 00:28:03,480
Speaker 4: your Friends as a song because I always knew that,

608
00:28:03,600 --> 00:28:05,560
Speaker 4: Like production is a vehicle, but you got to have

609
00:28:05,640 --> 00:28:08,080
Speaker 4: a song, and you gotta cram that song in three minutes,

610
00:28:08,240 --> 00:28:09,920
Speaker 4: and you got it usually have two hours to tell

611
00:28:09,920 --> 00:28:11,639
Speaker 4: it in the movie. You got like two minutes now,

612
00:28:11,680 --> 00:28:13,520
Speaker 4: but three minutes back then to tell a story in

613
00:28:13,600 --> 00:28:16,760
Speaker 4: the song. So then if you took all the way,

614
00:28:16,760 --> 00:28:19,400
Speaker 4: you can hear the song, all the keyboards, all the strings,

615
00:28:19,520 --> 00:28:21,240
Speaker 4: everything's on there. And just like I had to ignore

616
00:28:21,280 --> 00:28:23,320
Speaker 4: all the samples and don't think anything about them.

617
00:28:23,760 --> 00:28:27,160
Speaker 1: So how hard is that if you have a singer

618
00:28:28,119 --> 00:28:32,280
Speaker 1: that doesn't have something to and the thing is like

619
00:28:32,480 --> 00:28:34,159
Speaker 1: I'm here in the final like we're here in the

620
00:28:34,200 --> 00:28:37,040
Speaker 1: final mix. Yeah, but I'm certain with like ain't too

621
00:28:37,080 --> 00:28:39,440
Speaker 1: Proud to Bath like it was just like not completely mixed,

622
00:28:39,480 --> 00:28:40,520
Speaker 1: and there's.

623
00:28:40,400 --> 00:28:42,760
Speaker 4: So much noise in that song, Like right, radio wouldn't

624
00:28:42,760 --> 00:28:44,160
Speaker 4: play it because they had so much noise in it.

625
00:28:44,200 --> 00:28:46,080
Speaker 4: At first, it was just like there was like no

626
00:28:47,320 --> 00:28:49,480
Speaker 4: it was like when they when they first took it

627
00:28:49,520 --> 00:28:52,000
Speaker 4: the radio, they were just like no, it's like what

628
00:28:52,280 --> 00:28:54,280
Speaker 4: is this. No, it's too much noise. It's like it's

629
00:28:54,280 --> 00:28:56,040
Speaker 4: just too much noise. And then she said she was

630
00:28:56,040 --> 00:28:59,360
Speaker 4: saying two inches of yeah, I rock. It was like no,

631
00:29:00,120 --> 00:29:02,640
Speaker 4: just know. And so then Lamon Bolls came back. He

632
00:29:02,720 --> 00:29:04,120
Speaker 4: used to work at a face and he was just like,

633
00:29:04,240 --> 00:29:06,440
Speaker 4: you know what, they got to see the girls first,

634
00:29:07,120 --> 00:29:08,800
Speaker 4: trying to take them in through this. It's too there's

635
00:29:08,800 --> 00:29:10,640
Speaker 4: too much noise. It's too they don't get it. It's

636
00:29:10,640 --> 00:29:15,040
Speaker 4: too oh yeah, they went to radio first like usual,

637
00:29:15,120 --> 00:29:18,160
Speaker 4: but then radio is like, nah, too much noise. And

638
00:29:18,240 --> 00:29:20,200
Speaker 4: then when they shot the video and he said, yo, Mike,

639
00:29:20,320 --> 00:29:22,040
Speaker 4: check one too one too. If we saw the video,

640
00:29:22,080 --> 00:29:24,480
Speaker 4: everybody's like, oh, we get it now, and that's what

641
00:29:24,640 --> 00:29:27,920
Speaker 4: really set the girls off. And then but like sample

642
00:29:27,960 --> 00:29:31,200
Speaker 4: clearances hadn't came in yet. It's kind of like the blockchain.

643
00:29:31,640 --> 00:29:34,560
Speaker 4: It was like sample clearances was like something that we

644
00:29:35,040 --> 00:29:37,040
Speaker 4: all did. We all got a hold to it for fun.

645
00:29:37,160 --> 00:29:39,200
Speaker 4: Now we could do whatever we want. Nobody ever done

646
00:29:39,240 --> 00:29:41,720
Speaker 4: that before. Nobody's ever taken somebody's song and and then

647
00:29:41,840 --> 00:29:43,880
Speaker 4: recorded it and sung something different on top of it,

648
00:29:44,120 --> 00:29:45,840
Speaker 4: like they was doing remakes, but not that. That's when

649
00:29:45,880 --> 00:29:48,160
Speaker 4: y'all was pissing off all the old everybody, and nobody

650
00:29:48,240 --> 00:29:48,800
Speaker 4: knew how to clear it.

651
00:29:48,840 --> 00:29:53,239
Speaker 1: Nobody that it would take like one of us our

652
00:29:53,320 --> 00:29:55,400
Speaker 1: generation and they like, oh that snare came from there,

653
00:29:55,400 --> 00:29:55,720
Speaker 1: and then.

654
00:29:55,960 --> 00:29:57,960
Speaker 4: Dude, okay, but look at it like this though, So

655
00:29:58,240 --> 00:30:01,400
Speaker 4: if you got fly Robin Fly, right, then you got

656
00:30:01,440 --> 00:30:03,600
Speaker 4: the average white man, and then you got cool in

657
00:30:03,680 --> 00:30:06,120
Speaker 4: the gang, that's right, and then you got parliament, right,

658
00:30:06,400 --> 00:30:09,080
Speaker 4: and then you got not a thick Okay, there's thirty

659
00:30:09,120 --> 00:30:12,560
Speaker 4: people in these group, right right. So when they started

660
00:30:12,600 --> 00:30:14,440
Speaker 4: to break down the sample clearances and said, okay, we

661
00:30:14,480 --> 00:30:15,920
Speaker 4: figured this out, we got to go back and get

662
00:30:15,920 --> 00:30:16,560
Speaker 4: these people paid.

663
00:30:16,600 --> 00:30:19,360
Speaker 1: Oh no, yeah, I saw the credit.

664
00:30:20,400 --> 00:30:23,680
Speaker 4: Oh my god, like zero point one percent to the

665
00:30:23,720 --> 00:30:25,680
Speaker 4: horn players. You won't go into this like because you

666
00:30:25,720 --> 00:30:27,480
Speaker 4: didn't realize that each one of those samples has so

667
00:30:27,600 --> 00:30:31,080
Speaker 4: many people connected to it. And I would have I

668
00:30:31,080 --> 00:30:33,720
Speaker 4: would have like twenty five, twenty five to thirty samples

669
00:30:33,800 --> 00:30:35,200
Speaker 4: going across the board and it would just like mute

670
00:30:35,240 --> 00:30:37,440
Speaker 4: out different ones at different times and whatever. But like

671
00:30:37,840 --> 00:30:40,760
Speaker 4: it was so it became crazy. And if you notice,

672
00:30:40,760 --> 00:30:43,000
Speaker 4: by the time we got to the second record with Creeper,

673
00:30:43,160 --> 00:30:46,680
Speaker 4: just like just one straight right right, Rick, But even.

674
00:30:46,920 --> 00:30:49,720
Speaker 1: At that time was still it didn't sound like nothing else. Okay,

675
00:30:50,120 --> 00:30:53,320
Speaker 1: I'm so glad you mentioned this because they're the craziest

676
00:30:53,560 --> 00:30:56,800
Speaker 1: story of my life. Where and I'm talking about this

677
00:30:56,960 --> 00:31:01,520
Speaker 1: the shine Head situation. So I guess the story of

678
00:31:01,600 --> 00:31:08,520
Speaker 1: Creep is Hey Young World. So I guess slick Rick

679
00:31:08,720 --> 00:31:14,120
Speaker 1: never cleared the guess who's back shine Head sample on

680
00:31:14,280 --> 00:31:20,680
Speaker 1: Hey Young World? I guess who's back? Right, So then

681
00:31:20,760 --> 00:31:25,000
Speaker 1: you guys use that and so Shinas people try to

682
00:31:25,040 --> 00:31:28,000
Speaker 1: go after you guys for it. You're like, no, we

683
00:31:28,160 --> 00:31:30,960
Speaker 1: cleared Hey Young World through slick Rick. Yeah, like we

684
00:31:31,120 --> 00:31:34,600
Speaker 1: cleared here's the clearance. And they're like yeah, but so

685
00:31:34,720 --> 00:31:37,400
Speaker 1: can you explain that situation? Like how like did you

686
00:31:37,600 --> 00:31:42,720
Speaker 1: wind up clearing shine Head sample for depth Jam?

687
00:31:42,920 --> 00:31:44,920
Speaker 4: They had to go back and be cause again, at

688
00:31:44,960 --> 00:31:48,120
Speaker 4: that time, nobody was it was all new and you know,

689
00:31:48,200 --> 00:31:49,680
Speaker 4: so they had to go back and pay him to

690
00:31:50,200 --> 00:31:51,880
Speaker 4: you know they slick I mean they had to go

691
00:31:52,000 --> 00:31:53,800
Speaker 4: and situate him not being paid for him not only

692
00:31:53,920 --> 00:31:55,680
Speaker 4: that but from Hey Young World too.

693
00:31:56,080 --> 00:31:58,720
Speaker 1: Yeah. But I'm saying like, did you guys have to

694
00:32:01,840 --> 00:32:05,720
Speaker 1: like is is Seine had a first generational sample on

695
00:32:06,320 --> 00:32:10,320
Speaker 1: Creep or did you tell them at def Jam, like, YO,

696
00:32:10,600 --> 00:32:13,360
Speaker 1: clear this shit the right way? So that way marshes straight.

697
00:32:13,440 --> 00:32:15,640
Speaker 4: Yeah, because when we cleared it through them and they

698
00:32:15,720 --> 00:32:18,160
Speaker 4: cleared they cleared it, then that's when he popped up

699
00:32:18,160 --> 00:32:20,400
Speaker 4: and hold on. But that's my you know, right, I

700
00:32:20,440 --> 00:32:22,160
Speaker 4: thought it was slick Rick, didn't even I thought it

701
00:32:22,200 --> 00:32:25,160
Speaker 4: was I thought it was Dougie Fresh or slick Rick,

702
00:32:25,200 --> 00:32:26,680
Speaker 4: and somebody said, I guess's back, but I thought it

703
00:32:26,720 --> 00:32:29,120
Speaker 4: belonged to the song. And when they did come back

704
00:32:29,160 --> 00:32:31,640
Speaker 4: and clear it, then they had to go back and

705
00:32:31,760 --> 00:32:33,840
Speaker 4: take care of him for not only that, but for

706
00:32:34,480 --> 00:32:36,720
Speaker 4: for young World or what hey, young World was going

707
00:32:36,800 --> 00:32:39,880
Speaker 4: to generate coming up, you know, because he's never gotten

708
00:32:39,920 --> 00:32:41,360
Speaker 4: take care of for it because people didn't know to

709
00:32:41,360 --> 00:32:42,280
Speaker 4: clear samples back then.

710
00:32:42,360 --> 00:32:45,840
Speaker 1: I thought they forced you to pay for both as

711
00:32:46,440 --> 00:32:48,800
Speaker 1: here's shining hit, this is for creep, and then since

712
00:32:48,800 --> 00:32:50,160
Speaker 1: they didn't do it, here's hey you.

713
00:32:50,160 --> 00:32:51,880
Speaker 4: On the world like nodve Jum, had to go take

714
00:32:51,880 --> 00:32:52,239
Speaker 4: care of him.

715
00:32:52,640 --> 00:32:56,400
Speaker 1: Okay, I guess if anyone makes any reference to any

716
00:32:56,920 --> 00:33:01,560
Speaker 1: parts of the song that Aaron Fuchs owns on anything.

717
00:33:01,640 --> 00:33:04,840
Speaker 1: So in the case of otis because Kanye and Jay

718
00:33:04,920 --> 00:33:09,520
Speaker 1: said Jay is chilling, Yay is chilling. Oh yeah, yeah,

719
00:33:10,080 --> 00:33:14,680
Speaker 1: So Aaron Fuchs was like Hello, Natt Robinson, they're sampling

720
00:33:14,760 --> 00:33:17,480
Speaker 1: our song. And you know, Nat and milk d were like, no,

721
00:33:17,640 --> 00:33:21,400
Speaker 1: that's that's like like rappers don't shoot suit no, no,

722
00:33:21,560 --> 00:33:23,320
Speaker 1: but yeah, rappers just don't suit. Like you know, if

723
00:33:23,360 --> 00:33:25,520
Speaker 1: Premiere scratches your ship, you think it's an honor. Like oh,

724
00:33:25,600 --> 00:33:30,000
Speaker 1: he said, but lititious people. And I'm talking very official

725
00:33:30,040 --> 00:33:33,920
Speaker 1: because even when I talk about AF he tries to

726
00:33:33,920 --> 00:33:37,840
Speaker 1: get lititious with me. But you know, that was that

727
00:33:37,960 --> 00:33:40,760
Speaker 1: was a a messy situation. So yeah, I always wanted

728
00:33:40,800 --> 00:33:44,400
Speaker 1: to know that shine his situation with creep Man.

729
00:33:44,640 --> 00:33:47,040
Speaker 4: It's crazy, as you know, when Sampling came around like that,

730
00:33:47,200 --> 00:33:50,880
Speaker 4: George Clinton obviously had you know, the whole West Coast

731
00:33:50,920 --> 00:33:53,520
Speaker 4: sound period, but nobody know how to clear and he

732
00:33:53,560 --> 00:33:56,320
Speaker 4: had signed over so many different contracts to different people

733
00:33:57,360 --> 00:33:59,440
Speaker 4: back then. You know, he was just selling stuff and

734
00:33:59,800 --> 00:34:02,280
Speaker 4: that on the road, partying and not keeping up with anything,

735
00:34:02,320 --> 00:34:04,120
Speaker 4: and nobody ever knew this was gonna happen. Nobody ever

736
00:34:04,240 --> 00:34:06,400
Speaker 4: knew that Sampling would come around the corner and and

737
00:34:06,800 --> 00:34:09,680
Speaker 4: you know, change people's lives like that, And so he

738
00:34:09,760 --> 00:34:11,600
Speaker 4: had to get cockered in them to try to help

739
00:34:11,840 --> 00:34:15,960
Speaker 4: undo a lot of his stuff because George Clint samples

740
00:34:16,320 --> 00:34:18,040
Speaker 4: him and James Brown, they have to be the most right.

741
00:34:18,120 --> 00:34:21,560
Speaker 4: I would think he just just.

742
00:34:23,080 --> 00:34:26,160
Speaker 1: Got his contractual financial things straight.

743
00:34:26,800 --> 00:34:28,520
Speaker 4: You know, I got I have. I have a lot

744
00:34:28,560 --> 00:34:31,360
Speaker 4: of the I have the Funkadelic Masters, to Cosmic Slock

745
00:34:31,719 --> 00:34:36,200
Speaker 4: to Needy, your friends with. Well, George gave him to me.

746
00:34:36,400 --> 00:34:39,040
Speaker 1: Okay, yeah, wow, that's amazing.

747
00:34:39,520 --> 00:34:42,000
Speaker 4: George gave him to me, and I had him baked.

748
00:34:42,400 --> 00:34:44,880
Speaker 4: You know, the Master's baked. But you can hear, like

749
00:34:46,960 --> 00:34:48,640
Speaker 4: when you go and you listen to each one of them,

750
00:34:48,680 --> 00:34:52,000
Speaker 4: it's just like you get chills because the moment is

751
00:34:52,080 --> 00:34:52,879
Speaker 4: captured on that tape.

752
00:34:52,960 --> 00:34:53,319
Speaker 1: You can hear.

753
00:34:53,440 --> 00:34:59,560
Speaker 4: You can hear him like something about really yeah, and

754
00:35:00,000 --> 00:35:01,239
Speaker 4: all of them had to be in the room together

755
00:35:01,239 --> 00:35:02,680
Speaker 4: at the same time when they were doing it. I'm

756
00:35:02,680 --> 00:35:03,160
Speaker 4: sorry about it.

757
00:35:03,160 --> 00:35:08,080
Speaker 1: That's you. That's your.

758
00:35:09,480 --> 00:35:12,320
Speaker 4: Yo. Let me tell you something. I love that record

759
00:35:12,640 --> 00:35:15,919
Speaker 4: so much, right that those are the best pop songs

760
00:35:15,920 --> 00:35:16,360
Speaker 4: ever written.

761
00:35:16,480 --> 00:35:16,719
Speaker 1: Right, So.

762
00:35:20,520 --> 00:35:24,120
Speaker 3: That's somebody else's bring That's is the full everybody, Yeah,

763
00:35:24,120 --> 00:35:25,360
Speaker 3: that's it, that's it totally.

764
00:35:25,960 --> 00:35:27,840
Speaker 4: I tweeted it when I heard that. I used to

765
00:35:27,880 --> 00:35:29,719
Speaker 4: love the song so much. I just tweeted it one day.

766
00:35:29,719 --> 00:35:31,600
Speaker 4: I just I love this song right, And the manager

767
00:35:31,600 --> 00:35:34,960
Speaker 4: tweeted me back like are you serious, yes, you want

768
00:35:34,960 --> 00:35:36,400
Speaker 4: to work with her? I'm like, yes, I did three

769
00:35:36,480 --> 00:35:40,520
Speaker 4: or four songs on the Album's Greatest made her whole life.

770
00:35:40,920 --> 00:35:45,400
Speaker 1: So Nixon Channel, who engineered the Public Enemy records, he

771
00:35:45,600 --> 00:35:48,400
Speaker 1: told me, he said, you'll never believe this, but we

772
00:35:48,520 --> 00:35:51,480
Speaker 1: never automated it once. And I was like, what is

773
00:35:51,640 --> 00:35:55,479
Speaker 1: the mixing process like? And He's like, you know, Keith,

774
00:35:56,440 --> 00:36:00,839
Speaker 1: Keith and Eric were such sticklers, well, mainly to save

775
00:36:00,960 --> 00:36:04,799
Speaker 1: money kind of the way that when I forgot Ray

776
00:36:04,880 --> 00:36:08,800
Speaker 1: Parker Jr. Tolst that Barry White never overdubbed because he

777
00:36:08,800 --> 00:36:10,959
Speaker 1: didn't want to pay for overtime. So like everyone played

778
00:36:11,000 --> 00:36:15,000
Speaker 1: it once. But Nixon Santo showed me the nine eleven

779
00:36:15,040 --> 00:36:19,560
Speaker 1: base head tracking sheets and literally like they're like Eric

780
00:36:19,600 --> 00:36:23,080
Speaker 1: Sadler's like, you know, eighty one bars cut off that.

781
00:36:23,480 --> 00:36:26,120
Speaker 1: So they would do everything ahead of time before tracking.

782
00:36:27,200 --> 00:36:30,279
Speaker 1: Is that how you track your things? Or like is

783
00:36:30,320 --> 00:36:32,120
Speaker 1: it just you drop it and then you mix it

784
00:36:32,160 --> 00:36:33,480
Speaker 1: at the end like everyone else does.

785
00:36:33,520 --> 00:36:34,799
Speaker 4: I would drop it and mix it at the end,

786
00:36:34,880 --> 00:36:38,600
Speaker 4: but I would have like you know, back at that time,

787
00:36:38,640 --> 00:36:42,080
Speaker 4: the engineers like dave Way or like you know, your

788
00:36:42,120 --> 00:36:45,600
Speaker 4: find Timmy Register was crazy mixing back then.

789
00:36:45,600 --> 00:36:47,600
Speaker 1: But that was your main guy for TLC or I

790
00:36:47,840 --> 00:36:48,800
Speaker 1: used dave Way a lot back.

791
00:36:48,719 --> 00:36:51,440
Speaker 4: Because Teddy was using dave Way, okay, and then Alvin

792
00:36:51,480 --> 00:36:54,360
Speaker 4: Spikes of course, but it was they would have a

793
00:36:54,440 --> 00:36:57,200
Speaker 4: fit at first. Okay, give me a second to forget

794
00:36:57,239 --> 00:36:59,120
Speaker 4: this out because I would have so many tracks and

795
00:36:59,160 --> 00:37:00,800
Speaker 4: then so many samp and how do you put the

796
00:37:00,840 --> 00:37:03,040
Speaker 4: samples and embedded back in the track so that the

797
00:37:03,120 --> 00:37:05,359
Speaker 4: courts stand out and so that so the ruff will

798
00:37:05,400 --> 00:37:07,200
Speaker 4: sound a lot different than when they were mixed. Because

799
00:37:07,600 --> 00:37:09,040
Speaker 4: unless I said, well him, you know, we kind of

800
00:37:09,080 --> 00:37:11,239
Speaker 4: make the roughs and then you know, give him a

801
00:37:11,239 --> 00:37:13,920
Speaker 4: sketch for the mixer. But if you just sent it

802
00:37:14,000 --> 00:37:16,200
Speaker 4: to a mix engineer, you're just like, no, this is crazy,

803
00:37:16,239 --> 00:37:16,799
Speaker 4: but it's working.

804
00:37:17,440 --> 00:37:18,680
Speaker 1: Was Leslie was he mixing?

805
00:37:19,239 --> 00:37:23,680
Speaker 4: Not yet? He hadn't came in yet, Leslie Leslie Brathway. Okay,

806
00:37:24,400 --> 00:37:26,279
Speaker 4: But Leslie went to you know, he's at full sale.

807
00:37:26,320 --> 00:37:28,160
Speaker 4: So he came in as an intern first, and then

808
00:37:28,520 --> 00:37:30,680
Speaker 4: from that point he just started going at it like

809
00:37:30,840 --> 00:37:32,320
Speaker 4: you know, I just knew that he was going to

810
00:37:33,080 --> 00:37:35,560
Speaker 4: get there, you know, So him coming in and then

811
00:37:35,719 --> 00:37:38,400
Speaker 4: being my engineer, my courten engineer, and then I was

812
00:37:38,400 --> 00:37:40,600
Speaker 4: working on Madonna's Secret when he did the rough mix

813
00:37:40,640 --> 00:37:42,759
Speaker 4: to it, she was like, I like that mix better. Wow,

814
00:37:42,960 --> 00:37:45,120
Speaker 4: And that's what kind of kicked off his his like mixing.

815
00:37:45,520 --> 00:37:48,520
Speaker 1: Uh. I was going to ask, are you a demo

816
00:37:48,680 --> 00:37:49,360
Speaker 1: itist person?

817
00:37:49,600 --> 00:37:51,160
Speaker 4: Do you know what it's horrible?

818
00:37:51,640 --> 00:37:52,399
Speaker 1: Or your artist demo?

819
00:37:52,840 --> 00:37:54,920
Speaker 4: I learned to At first, I was horrible because I

820
00:37:54,920 --> 00:37:57,520
Speaker 4: was a total demo itist person. But then the whole

821
00:37:57,600 --> 00:38:00,440
Speaker 4: First Boys, the Man album, the two album, that's all

822
00:38:00,480 --> 00:38:06,040
Speaker 4: the rough mixes word yeah, thank you. Before that this

823
00:38:06,160 --> 00:38:12,359
Speaker 4: some time Motown Philly, SoSE don't go the song so right.

824
00:38:12,520 --> 00:38:16,160
Speaker 4: So that's all these records. When Jero Buzzby told me

825
00:38:16,200 --> 00:38:17,680
Speaker 4: he was I had Dave Wade mixed the whole album.

826
00:38:17,840 --> 00:38:20,680
Speaker 4: But then Jero Buzzy said, you know what, I like

827
00:38:20,719 --> 00:38:23,680
Speaker 4: the roughs better. Man. No, don't do that to me. Man,

828
00:38:23,960 --> 00:38:26,439
Speaker 4: you know, I gotta sound better. I can't let people

829
00:38:26,480 --> 00:38:27,719
Speaker 4: like Teddy here that don't sound good.

830
00:38:27,800 --> 00:38:27,960
Speaker 5: You know.

831
00:38:28,960 --> 00:38:30,520
Speaker 4: He's like, no, these roughs are this is it. I

832
00:38:30,600 --> 00:38:33,239
Speaker 4: think we're going with the roughs, and I didn't want

833
00:38:33,239 --> 00:38:34,640
Speaker 4: to listen to the record when it came out.

834
00:38:34,840 --> 00:38:37,680
Speaker 1: Okay, so and now I'm like Crazy Sexy Cool, which

835
00:38:37,760 --> 00:38:43,080
Speaker 1: obviously is you know, there's multiple producers, multiple producers, but

836
00:38:43,239 --> 00:38:46,000
Speaker 1: who's the alpha producer? Are you there doing the mastering

837
00:38:46,040 --> 00:38:47,040
Speaker 1: and the sequencing as well?

838
00:38:47,520 --> 00:38:49,520
Speaker 4: When it got too Crazy Sexy Cool by that time,

839
00:38:50,440 --> 00:38:52,480
Speaker 4: like when I was doing the on a TLC tip

840
00:38:52,640 --> 00:38:56,080
Speaker 4: record and you just capture records? Are you capturing the

841
00:38:56,120 --> 00:38:58,200
Speaker 4: moment that just happened to you? Do you recorded an

842
00:38:58,200 --> 00:38:59,759
Speaker 4: event that just happened to you? That's why you call

843
00:38:59,800 --> 00:39:04,160
Speaker 4: it record. So we were just whatever we were doing,

844
00:39:04,320 --> 00:39:05,680
Speaker 4: you know, we acted it out. We would just had

845
00:39:05,719 --> 00:39:07,719
Speaker 4: the studio twenty four seven and recording it right. So

846
00:39:07,880 --> 00:39:10,680
Speaker 4: that album came out to be more cohesive as like, okay,

847
00:39:10,760 --> 00:39:12,680
Speaker 4: you can tell that that's kind of what happened. Somebody

848
00:39:12,760 --> 00:39:15,640
Speaker 4: had the same person kind of did it all. By

849
00:39:15,680 --> 00:39:18,480
Speaker 4: the time we got to Crazy Sexy Cool and the

850
00:39:18,520 --> 00:39:21,120
Speaker 4: girl sold all those records and all the madness had

851
00:39:21,200 --> 00:39:22,840
Speaker 4: happened in LA and then you know when they come

852
00:39:22,880 --> 00:39:25,400
Speaker 4: in and say, okay, now, let us let us go situate,

853
00:39:25,520 --> 00:39:27,359
Speaker 4: let us bring in, let us do this, let us right.

854
00:39:27,560 --> 00:39:30,120
Speaker 4: And it wasn't until and I was I was like

855
00:39:31,239 --> 00:39:33,239
Speaker 4: weird on that because I would go they would go say, yo,

856
00:39:33,320 --> 00:39:35,000
Speaker 4: you start the project because you know what to do,

857
00:39:35,239 --> 00:39:36,560
Speaker 4: and then we will come in and fill in the

858
00:39:36,600 --> 00:39:39,839
Speaker 4: blanks and bring in stuff, right. So or I would

859
00:39:39,880 --> 00:39:42,240
Speaker 4: go and say, okay, here's here's four or five songs.

860
00:39:42,440 --> 00:39:44,320
Speaker 4: Let me find the other ones that will fit in

861
00:39:44,600 --> 00:39:46,960
Speaker 4: from Babyface or from this person or that person. Right

862
00:39:47,480 --> 00:39:49,200
Speaker 4: by the time we got the crazy sexy cool, it

863
00:39:49,320 --> 00:39:52,200
Speaker 4: was like LA was trying to make I think sure

864
00:39:52,280 --> 00:39:55,000
Speaker 4: that they didn't fail in that sense. So it was

865
00:39:55,160 --> 00:39:57,799
Speaker 4: like song song song, song, song song, right. But by

866
00:39:57,840 --> 00:39:59,640
Speaker 4: the time and then he wasn't going to put creep out.

867
00:40:00,360 --> 00:40:02,879
Speaker 4: He shot the video we've heard, we heard, he shot

868
00:40:02,920 --> 00:40:06,399
Speaker 4: three videos, shot three videos. Yeah, and then he wasn't

869
00:40:06,440 --> 00:40:08,400
Speaker 4: gonna put it out. And so then he went to

870
00:40:08,480 --> 00:40:10,480
Speaker 4: Clive and said that. Clive was like he Clive called me,

871
00:40:10,520 --> 00:40:14,000
Speaker 4: It's like, nope, La is wrong. He's like, and this

872
00:40:14,040 --> 00:40:15,360
Speaker 4: is the first time I ever heard this thing. He

873
00:40:15,440 --> 00:40:17,880
Speaker 4: goes and that Miles Davids horn sound you having there

874
00:40:18,040 --> 00:40:19,840
Speaker 4: is going to get you a Grammy. And I was like,

875
00:40:19,880 --> 00:40:24,920
Speaker 4: what Miles David's horn sound. Yeah, I was se So

876
00:40:25,040 --> 00:40:26,759
Speaker 4: I was the same way. But that's that's funny because

877
00:40:26,760 --> 00:40:28,560
Speaker 4: that's how he interpreted. But what I was doing is

878
00:40:28,920 --> 00:40:31,920
Speaker 4: I had creep up on my MPC sixty for a week, right.

879
00:40:32,440 --> 00:40:35,080
Speaker 4: I would come in and sing the song, not save

880
00:40:35,200 --> 00:40:36,960
Speaker 4: it and just be like, oh man, I think it's

881
00:40:36,960 --> 00:40:41,399
Speaker 4: not too country, keep it on the download. But I'm like, well,

882
00:40:41,880 --> 00:40:43,520
Speaker 4: but I kept singing it every day, So I was like,

883
00:40:43,600 --> 00:40:45,400
Speaker 4: you know what, let me just get Debrak Killers to

884
00:40:45,400 --> 00:40:46,880
Speaker 4: come to the demo so I can get out of

885
00:40:46,920 --> 00:40:49,920
Speaker 4: my head. Right, So I wrote the whole song, had

886
00:40:49,960 --> 00:40:51,920
Speaker 4: to come sing it, and I couldn't find a simile crash,

887
00:40:52,200 --> 00:40:55,000
Speaker 4: but I like, so I just like, oh man, I

888
00:40:55,080 --> 00:40:56,640
Speaker 4: put this in because like you know, Pete Rock and

889
00:40:56,640 --> 00:40:57,400
Speaker 4: everybody would put the.

890
00:40:59,320 --> 00:40:59,920
Speaker 1: Right right right.

891
00:41:00,600 --> 00:41:03,080
Speaker 4: So I found that put it in there and didn't

892
00:41:03,120 --> 00:41:04,760
Speaker 4: think of it as anything there will be a signature.

893
00:41:04,920 --> 00:41:06,759
Speaker 4: It was just like, hey, this is the horn hit

894
00:41:06,840 --> 00:41:09,600
Speaker 4: on the one. But Cloud was like that, Miles David's

895
00:41:09,600 --> 00:41:11,080
Speaker 4: horn sound is going to get your Grammy. You know

896
00:41:11,280 --> 00:41:12,480
Speaker 4: what Miles David sound.

897
00:41:12,680 --> 00:41:17,400
Speaker 5: Davis horn sound, and it's not even its sounds, not his.

898
00:41:17,719 --> 00:41:20,160
Speaker 4: That was the closest thing that Cloud could write related.

899
00:41:21,320 --> 00:41:23,359
Speaker 1: Yeah, I was going to say, even to this day

900
00:41:24,200 --> 00:41:27,280
Speaker 1: when Creep is still like maybe the first twenty records

901
00:41:27,400 --> 00:41:30,520
Speaker 1: that I spend when I do DJ gigs and when

902
00:41:30,560 --> 00:41:34,080
Speaker 1: it comes in it's it's almost the effect. And it's

903
00:41:34,120 --> 00:41:37,040
Speaker 1: weird because like that record used to be Troy, Like

904
00:41:37,239 --> 00:41:40,319
Speaker 1: whenever you spend the top of Yeah, they reminisce over

905
00:41:40,400 --> 00:41:44,880
Speaker 1: you place goes panthemonium and then you know, after fifteen

906
00:41:44,960 --> 00:41:49,280
Speaker 1: twenty years then silence can save you. Yeah, the generation

907
00:41:49,360 --> 00:41:52,680
Speaker 1: will change, but Creep has never lost its luster.

908
00:41:52,880 --> 00:41:54,320
Speaker 5: It gives you a chance to get on the floor.

909
00:41:54,520 --> 00:41:56,319
Speaker 5: The first fifteen thirty second to give you a chance

910
00:41:56,360 --> 00:41:57,399
Speaker 5: to get on the floor, and then you can really

911
00:41:57,600 --> 00:41:57,840
Speaker 5: drink that.

912
00:41:58,400 --> 00:42:01,640
Speaker 1: But just when people hear it, it's almost like I

913
00:42:01,760 --> 00:42:04,640
Speaker 1: hear the screams of when I was fourteen years old

914
00:42:04,680 --> 00:42:08,160
Speaker 1: in ninth grade, Like that's that's what that's these I hear. Wait.

915
00:42:08,719 --> 00:42:11,200
Speaker 1: So at the time when I was we were living

916
00:42:11,239 --> 00:42:15,560
Speaker 1: in London, when Crazy Sexy Cool came out, there was

917
00:42:16,480 --> 00:42:18,640
Speaker 1: this white singer that.

918
00:42:19,080 --> 00:42:22,839
Speaker 4: Did Texas, Charlene SPITERI right yo.

919
00:42:23,600 --> 00:42:27,680
Speaker 1: I was like is it me or all right? Give

920
00:42:27,719 --> 00:42:32,160
Speaker 1: me give me another? Non Jermaine kind of like a

921
00:42:32,239 --> 00:42:34,600
Speaker 1: person ra feels, you know, like when the song comes

922
00:42:34,640 --> 00:42:38,640
Speaker 1: out if you like white Diamonds, You're like, yeah, was

923
00:42:38,680 --> 00:42:41,000
Speaker 1: it me or when you When I heard this song,

924
00:42:41,680 --> 00:42:43,520
Speaker 1: we we being mentor of bus like we'll come on

925
00:42:43,680 --> 00:42:46,160
Speaker 1: MTV or whatever, and I was like, Yo, this is

926
00:42:46,200 --> 00:42:47,319
Speaker 1: the this is creep.

927
00:42:47,480 --> 00:42:50,080
Speaker 4: That is creep. And they came. My publisher called me

928
00:42:50,080 --> 00:42:53,000
Speaker 4: and say, yo, I always want to group Texas, and

929
00:42:53,280 --> 00:42:56,799
Speaker 4: they've done this song called once in a Lifetime Lifetime yep.

930
00:43:00,040 --> 00:43:02,319
Speaker 4: And so they've played the song for me. They say,

931
00:43:02,360 --> 00:43:05,399
Speaker 4: you got two choices. They said, well, they actually did

932
00:43:05,440 --> 00:43:07,640
Speaker 4: it because they really really like you and they wanted

933
00:43:07,680 --> 00:43:09,799
Speaker 4: a song to sound like yours. So either you could

934
00:43:09,840 --> 00:43:11,239
Speaker 4: sue them for that, or you could work with them.

935
00:43:11,600 --> 00:43:13,920
Speaker 4: I said, well, why don't I work with them? And

936
00:43:14,120 --> 00:43:16,880
Speaker 4: I worked with him. I did so millions of records

937
00:43:16,880 --> 00:43:19,000
Speaker 4: with him on the song I did with him in demand,

938
00:43:19,280 --> 00:43:20,719
Speaker 4: like years after it.

939
00:43:21,440 --> 00:43:23,879
Speaker 1: Yo, man, I've been for twenty years trying to figure

940
00:43:23,920 --> 00:43:27,080
Speaker 1: out they ran it. They ran that join in Europe

941
00:43:27,120 --> 00:43:29,279
Speaker 1: forever and then I just stopped hearing it. But I

942
00:43:29,360 --> 00:43:32,000
Speaker 1: always wanted to know if it's that. I mean that

943
00:43:32,120 --> 00:43:35,360
Speaker 1: always happens in songwriting, like even to this day, like

944
00:43:35,400 --> 00:43:38,759
Speaker 1: I always see the example on the original reels of

945
00:43:39,000 --> 00:43:43,479
Speaker 1: Fleetwood Max Dreams. It still says the Spinner's Idea number

946
00:43:43,480 --> 00:43:44,920
Speaker 1: three because they were making I'll.

947
00:43:44,760 --> 00:43:47,640
Speaker 4: Be around yep, and Stevie Nix was doing what she's

948
00:43:47,680 --> 00:43:49,520
Speaker 4: doing a step actually doing little Red.

949
00:43:49,440 --> 00:43:51,960
Speaker 1: Corvette, yeah exactly, you know, and got them to come

950
00:43:52,040 --> 00:43:52,239
Speaker 1: in and.

951
00:43:52,560 --> 00:43:55,040
Speaker 4: Yeah, because then you would that's kind of how they

952
00:43:55,040 --> 00:43:57,400
Speaker 4: would look at stuff. You know, you only got this

953
00:43:57,480 --> 00:43:59,600
Speaker 4: many notes. It's twelve notes in there, so that's got

954
00:43:59,719 --> 00:44:01,960
Speaker 4: to make everything you've ever heard in your life, all

955
00:44:02,000 --> 00:44:04,800
Speaker 4: the jazz, all the classicals, or the hip hop or

956
00:44:04,960 --> 00:44:06,839
Speaker 4: R and B, all the pop is made between here

957
00:44:07,000 --> 00:44:10,120
Speaker 4: and here. That's all. That's what so genius about music

958
00:44:10,200 --> 00:44:13,400
Speaker 4: because and you're gonna run across it again. It's just

959
00:44:13,440 --> 00:44:15,680
Speaker 4: impossible not to. And that's why every reggae song gonna

960
00:44:15,680 --> 00:44:17,480
Speaker 4: sound pretty much alike. And that's why you know, you

961
00:44:17,560 --> 00:44:19,520
Speaker 4: had the thing with with for Real and them talking

962
00:44:19,520 --> 00:44:22,400
Speaker 4: about bloodlines. But it's like you're starting to run out

963
00:44:22,440 --> 00:44:26,080
Speaker 4: of even you're starting to run out of combinations, right.

964
00:44:31,000 --> 00:44:36,919
Speaker 1: The question I had about sequencing an album is when

965
00:44:37,040 --> 00:44:42,399
Speaker 1: you're sequencing Coolie on Harmony the album, I always wanted

966
00:44:42,400 --> 00:44:45,879
Speaker 1: to ask producers, whoever the executive producer is like how

967
00:44:46,000 --> 00:44:48,040
Speaker 1: much balls do you have to start an album off

968
00:44:48,080 --> 00:44:51,920
Speaker 1: for the ballot that you know when, especially when you

969
00:44:52,040 --> 00:44:55,320
Speaker 1: have Motown Philly in your pocket. And yes, I see Motown.

970
00:44:55,480 --> 00:44:59,560
Speaker 1: I do see Motown Philly as a side to Adrenaline

971
00:44:59,600 --> 00:45:03,520
Speaker 1: banger thing. But y'all didn't once say like, maybe we

972
00:45:03,560 --> 00:45:06,240
Speaker 1: should start this record with man Motown Philly.

973
00:45:06,480 --> 00:45:10,520
Speaker 4: Please don't go yeah under pressure and like it was

974
00:45:11,160 --> 00:45:13,200
Speaker 4: we're kind of trying to. I would se quince records

975
00:45:13,239 --> 00:45:15,000
Speaker 4: like this most of the time, where I would say, okay,

976
00:45:15,080 --> 00:45:17,920
Speaker 4: well have the mood right, So y'a don't want to

977
00:45:17,920 --> 00:45:19,560
Speaker 4: have a fast on slow song, fast on slow song.

978
00:45:19,600 --> 00:45:21,600
Speaker 4: You want to have like here's your flask, here's your mids,

979
00:45:21,640 --> 00:45:23,879
Speaker 4: and then slow it down towards the kind of towards

980
00:45:23,920 --> 00:45:26,040
Speaker 4: the end of it. When he did Crazy Sexy Cool,

981
00:45:26,040 --> 00:45:29,040
Speaker 4: obviously that was la right, and I was. I felt

982
00:45:29,080 --> 00:45:31,920
Speaker 4: little more disconnected from Crazy Sexy Cool than the first one,

983
00:45:33,400 --> 00:45:36,080
Speaker 4: just because it felt to be patched up, not patched up,

984
00:45:36,080 --> 00:45:39,200
Speaker 4: but it felt like a bunch of different even that

985
00:45:39,360 --> 00:45:41,239
Speaker 4: was supposed to be the thing tied it together. But

986
00:45:41,719 --> 00:45:45,279
Speaker 4: who did different people like you going to do something

987
00:45:45,360 --> 00:45:48,279
Speaker 4: not oh damn, But it was just because at a

988
00:45:48,360 --> 00:45:50,160
Speaker 4: certain point I did all all. You know, you can

989
00:45:50,200 --> 00:45:51,400
Speaker 4: go in and start off and you do all these

990
00:45:51,440 --> 00:45:53,640
Speaker 4: songs and then you start to say okay, then he starts, okay, well,

991
00:45:53,680 --> 00:45:54,960
Speaker 4: now I'll put this person in. Now we'll put that

992
00:45:55,000 --> 00:45:56,759
Speaker 4: person in that won't let somebody listen to all your stuff.

993
00:45:56,760 --> 00:45:58,319
Speaker 4: And then we're gonna put somebody else in to try

994
00:45:58,360 --> 00:46:01,080
Speaker 4: to do better than yours. And we had this thing

995
00:46:01,160 --> 00:46:04,800
Speaker 4: before me organizing and Jermaine we've known each other since

996
00:46:05,400 --> 00:46:08,399
Speaker 4: the skating rinks, so since we were like sixteen, since

997
00:46:08,440 --> 00:46:10,640
Speaker 4: I first got to Atlanta, you know, me and JD

998
00:46:10,719 --> 00:46:13,160
Speaker 4: actually go over his house with his mom and make

999
00:46:13,239 --> 00:46:15,840
Speaker 4: beats on Jermaine's m PC and the mom would you know,

1000
00:46:15,920 --> 00:46:19,160
Speaker 4: feed us Teddy Grams with kool Aid or whatever, and

1001
00:46:20,239 --> 00:46:22,200
Speaker 4: so we would just be like, yeah, you know, that's

1002
00:46:22,239 --> 00:46:23,719
Speaker 4: just what we were doing. We were young and not

1003
00:46:24,040 --> 00:46:27,240
Speaker 4: just in the high school and all this and didn't

1004
00:46:27,239 --> 00:46:29,360
Speaker 4: really you know, dressing the kids at the mall and

1005
00:46:29,920 --> 00:46:31,560
Speaker 4: kind of just doing you know, just having fun. So

1006
00:46:31,640 --> 00:46:33,279
Speaker 4: we really didn't know and think about how it was

1007
00:46:33,320 --> 00:46:38,520
Speaker 4: going to blow up. And myself, Rico, Jermaine, we had,

1008
00:46:39,280 --> 00:46:41,400
Speaker 4: you know, after we started to come up we ended

1009
00:46:41,440 --> 00:46:44,200
Speaker 4: up doing all of the face records. That was all

1010
00:46:44,239 --> 00:46:45,839
Speaker 4: the records right there, Me and Jermaine and Rico.

1011
00:46:46,440 --> 00:46:50,160
Speaker 1: Yeah, at one point Highland places that that was the Yeah,

1012
00:46:50,200 --> 00:46:50,960
Speaker 1: that was yeah.

1013
00:46:51,320 --> 00:46:54,040
Speaker 4: So at one point I hit, I hit. We had

1014
00:46:54,040 --> 00:46:56,160
Speaker 4: all got way off track, like we wasn't messing with

1015
00:46:56,239 --> 00:46:58,399
Speaker 4: each other. We were just like way off.

1016
00:46:58,360 --> 00:47:01,080
Speaker 1: Track when didn't get competitive.

1017
00:47:01,040 --> 00:47:02,479
Speaker 4: It got competitive like after crazy.

1018
00:47:03,280 --> 00:47:06,040
Speaker 1: How did you feel about waterfalls? Because even La said

1019
00:47:06,120 --> 00:47:09,120
Speaker 1: himself like he saved organized noise for last.

1020
00:47:09,640 --> 00:47:11,919
Speaker 4: Well, I love I love the waterfalls. See, I knew

1021
00:47:11,920 --> 00:47:13,239
Speaker 4: all of them. These are like all my guys in

1022
00:47:13,239 --> 00:47:15,040
Speaker 4: the first place, because we all hung out the skating

1023
00:47:15,080 --> 00:47:17,160
Speaker 4: rink and stuff together before La even knew any of us.

1024
00:47:17,800 --> 00:47:19,839
Speaker 4: So we felt like when La kind of came to town,

1025
00:47:20,080 --> 00:47:23,080
Speaker 4: he was the opportunity. But we was more crazy about babyface,

1026
00:47:23,560 --> 00:47:25,640
Speaker 4: you know, but we couldn't really access Yeah, we could

1027
00:47:25,719 --> 00:47:27,640
Speaker 4: really act face like that. It was like La came

1028
00:47:27,760 --> 00:47:29,480
Speaker 4: to the forefront and it was like, hey, by the

1029
00:47:29,520 --> 00:47:31,800
Speaker 4: time we got the crazy, sexy cool, we realized. I

1030
00:47:31,880 --> 00:47:33,279
Speaker 4: called him one day and I said, yo, man, And

1031
00:47:33,320 --> 00:47:35,839
Speaker 4: we had all this ABC criss Cross beef and all

1032
00:47:35,880 --> 00:47:38,319
Speaker 4: that stuff. When it was kids and it just turned

1033
00:47:38,360 --> 00:47:39,960
Speaker 4: into a bunch of mess in the first place. But

1034
00:47:41,000 --> 00:47:42,600
Speaker 4: I called Jamain and one day and said, yo, man,

1035
00:47:42,640 --> 00:47:44,759
Speaker 4: you know we didn't have a meeting you and we

1036
00:47:44,840 --> 00:47:46,359
Speaker 4: go come meet me at this restaurant and don't bring

1037
00:47:46,360 --> 00:47:48,319
Speaker 4: any security. What you mean, don't bring those.

1038
00:47:48,200 --> 00:47:50,319
Speaker 1: Security set up? I was like, I can't.

1039
00:47:51,440 --> 00:47:53,120
Speaker 4: We don't need security. We've been knowing each other since

1040
00:47:53,200 --> 00:47:56,680
Speaker 4: high school, but we've been way off. Yeah, everybody don't

1041
00:47:56,680 --> 00:47:58,960
Speaker 4: make money and went on their own thing. So we

1042
00:47:59,040 --> 00:48:02,080
Speaker 4: had a meeting with him, and I said, uh, help you. Sorry,

1043
00:48:02,480 --> 00:48:04,279
Speaker 4: you don't like that, So I said there, I said, yo, man,

1044
00:48:04,640 --> 00:48:06,360
Speaker 4: what's going on with us? Like you ever noticed that

1045
00:48:06,520 --> 00:48:08,319
Speaker 4: we all work on with face records, but we don't

1046
00:48:08,360 --> 00:48:10,560
Speaker 4: work on any of our own records together. Like you

1047
00:48:10,680 --> 00:48:12,759
Speaker 4: never worked this before? Jamaine did first night? I said,

1048
00:48:12,760 --> 00:48:15,360
Speaker 4: you never worked on Monica, I never worked on Escape.

1049
00:48:15,640 --> 00:48:20,160
Speaker 4: You never worked on working something? What's going on? Jamaine

1050
00:48:20,239 --> 00:48:22,960
Speaker 4: goes well, Lay said, man, you don't really like my stuff?

1051
00:48:23,520 --> 00:48:24,840
Speaker 4: And I said what damn well? They told me you

1052
00:48:24,880 --> 00:48:27,880
Speaker 4: don't like my stuff, and then away goes with it,

1053
00:48:27,960 --> 00:48:29,480
Speaker 4: told me that neither one of y'all like my stuff.

1054
00:48:31,600 --> 00:48:34,360
Speaker 1: That he meant it that he wanted friction between the

1055
00:48:34,440 --> 00:48:36,440
Speaker 1: three of you, so that way you be competitive.

1056
00:48:36,080 --> 00:48:38,840
Speaker 4: Competitive, and so he gave us the book for Christmas,

1057
00:48:39,000 --> 00:48:40,720
Speaker 4: The Art of War. None of us have paid attention

1058
00:48:40,800 --> 00:48:46,080
Speaker 4: to it. God gave us pulled on this in the

1059
00:48:46,120 --> 00:48:48,960
Speaker 4: first place, and so we from that point we was like, okay,

1060
00:48:49,000 --> 00:48:51,719
Speaker 4: we gotta stop because Atlanta small for us to be

1061
00:48:51,800 --> 00:48:53,960
Speaker 4: separated and we would glue to the whole thing is

1062
00:48:54,000 --> 00:48:56,279
Speaker 4: like that didn't make any sense because we don't function

1063
00:48:56,400 --> 00:48:56,960
Speaker 4: like that down here.

1064
00:48:57,520 --> 00:48:59,400
Speaker 5: That's when the Monica relationships stopped.

1065
00:48:59,480 --> 00:49:01,200
Speaker 4: When the Monica relationship started the first night.

1066
00:49:01,320 --> 00:49:04,960
Speaker 1: Okay, okay, for those of us that aren't Atlanta adjacent,

1067
00:49:05,080 --> 00:49:07,479
Speaker 1: and I know that your connection to the atl film,

1068
00:49:08,000 --> 00:49:13,160
Speaker 1: could you explain to us outsiders about skate culture in

1069
00:49:13,320 --> 00:49:16,240
Speaker 1: Atlanta and how important it is or the epicenter.

1070
00:49:16,520 --> 00:49:19,080
Speaker 4: Man, it was the only other outlet, you know. So

1071
00:49:19,160 --> 00:49:21,040
Speaker 4: when I did, I did drum Line first, right, and

1072
00:49:21,120 --> 00:49:23,600
Speaker 4: everybody kind of said, okay. It brought the margin bands

1073
00:49:23,600 --> 00:49:26,160
Speaker 4: to the forefront. And then I had atl It was

1074
00:49:26,200 --> 00:49:28,279
Speaker 4: called jelly Beans. I had that movie at the same time.

1075
00:49:28,680 --> 00:49:31,279
Speaker 4: It was based out because the skate rink was called

1076
00:49:31,320 --> 00:49:34,360
Speaker 4: jelly Beans. That me and t Bos and organized Noise

1077
00:49:34,360 --> 00:49:36,040
Speaker 4: and Devine Stevens and all of us went to the

1078
00:49:36,080 --> 00:49:38,320
Speaker 4: skate rink every Sunday. So what the trip is is.

1079
00:49:38,360 --> 00:49:40,880
Speaker 4: Then after I did drum Line, Fox was like, Okay,

1080
00:49:41,360 --> 00:49:42,920
Speaker 4: he's got the skate Ring movie, so we're gonna put

1081
00:49:42,920 --> 00:49:46,520
Speaker 4: out Roadbounds because I took so I take. I had

1082
00:49:46,520 --> 00:49:48,600
Speaker 4: taken another movie to Warner Brothers. And so then when

1083
00:49:48,600 --> 00:49:50,759
Speaker 4: they put out Roadbounds, want to call me? It was like, Yo,

1084
00:49:51,480 --> 00:49:53,160
Speaker 4: we can't make a skate rink movie. It just put

1085
00:49:53,200 --> 00:49:54,600
Speaker 4: that one out. That's not gonna make sense.

1086
00:49:54,800 --> 00:49:56,960
Speaker 3: Oh Acl is old, So it was a yo.

1087
00:49:57,080 --> 00:49:59,040
Speaker 4: Yeah. So then so I looked at it. I said,

1088
00:49:59,040 --> 00:50:01,279
Speaker 4: well look man, that's a period piece. I was like,

1089
00:50:01,360 --> 00:50:04,759
Speaker 4: that's like watching the Wood, Like I said, but we're

1090
00:50:04,760 --> 00:50:07,320
Speaker 4: doing this now in Atlanta right now to day on

1091
00:50:07,480 --> 00:50:10,520
Speaker 4: Sundays they are skating skating Yeah right now.

1092
00:50:10,800 --> 00:50:15,920
Speaker 1: Okay crazy anyway, so good.

1093
00:50:16,239 --> 00:50:17,760
Speaker 4: He got it from me and me and Jamaine.

1094
00:50:17,760 --> 00:50:18,759
Speaker 3: He didn't change land that.

1095
00:50:18,800 --> 00:50:22,480
Speaker 1: Way like tied Babyloney and Randy Gardner on his I

1096
00:50:22,640 --> 00:50:26,680
Speaker 1: g like, I was like, I didn't bring it back.

1097
00:50:26,840 --> 00:50:27,440
Speaker 1: That's all I know.

1098
00:50:27,600 --> 00:50:30,880
Speaker 4: That's the last skaters I know, right, If you go

1099
00:50:30,960 --> 00:50:33,920
Speaker 4: to Cascade on Sundays and you get us. Jermaina called

1100
00:50:33,960 --> 00:50:35,560
Speaker 4: me and be like, Yo, Sunday, what you're doing, Let's skate.

1101
00:50:35,800 --> 00:50:38,120
Speaker 3: I can see Jermaine hand on somebody's back.

1102
00:50:38,239 --> 00:50:42,680
Speaker 4: Like we went to New York for the for the Flippers,

1103
00:50:42,920 --> 00:50:47,319
Speaker 4: right because Jimmy Ivan and them opening, Yes, who went

1104
00:50:47,360 --> 00:50:49,080
Speaker 4: to New York for that? But yeah, the skate culture

1105
00:50:49,120 --> 00:50:52,160
Speaker 4: here has always been super strong still And when I

1106
00:50:52,200 --> 00:50:54,000
Speaker 4: did at l the crazy part about it is I

1107
00:50:54,040 --> 00:50:56,480
Speaker 4: went and got the same guys that was skating with

1108
00:50:56,480 --> 00:50:58,839
Speaker 4: because they're still skating. So all those dudes in the movie,

1109
00:50:58,880 --> 00:51:00,680
Speaker 4: they still they cascade, They're still skating.

1110
00:51:00,719 --> 00:51:02,520
Speaker 1: That's Atlanta.

1111
00:51:02,880 --> 00:51:03,160
Speaker 4: That's it.

1112
00:51:03,560 --> 00:51:05,000
Speaker 1: Do you skate board as well?

1113
00:51:05,040 --> 00:51:05,320
Speaker 3: Or is it?

1114
00:51:05,440 --> 00:51:06,520
Speaker 4: Like is that escape cool?

1115
00:51:06,560 --> 00:51:06,840
Speaker 1: Skating?

1116
00:51:07,200 --> 00:51:09,440
Speaker 4: Skateboarding when we were younger, but then once we started

1117
00:51:09,440 --> 00:51:11,600
Speaker 4: getting to the because our skate culture hits so competitive,

1118
00:51:11,880 --> 00:51:13,719
Speaker 4: like when we have out like ten people in the

1119
00:51:13,800 --> 00:51:18,359
Speaker 4: line and you know, get out of the way, get

1120
00:51:18,360 --> 00:51:18,759
Speaker 4: out the way.

1121
00:51:19,560 --> 00:51:21,960
Speaker 1: It does the express line have to be the outer line?

1122
00:51:22,600 --> 00:51:26,759
Speaker 1: A good question? What about geriatric skating? Excuse me?

1123
00:51:28,040 --> 00:51:30,120
Speaker 4: And then be going so fast, like once you get going,

1124
00:51:30,160 --> 00:51:32,319
Speaker 4: you don't realize how fast you're really going, and if

1125
00:51:32,360 --> 00:51:34,239
Speaker 4: you fall like all the people in your line, they're

1126
00:51:34,239 --> 00:51:37,759
Speaker 4: gonna get it, so like it becomes really intense driving.

1127
00:51:37,560 --> 00:51:39,520
Speaker 5: When you open the door. Though that you opened the

1128
00:51:39,600 --> 00:51:42,520
Speaker 5: drum Line door. So you told one story about one movie.

1129
00:51:42,600 --> 00:51:44,080
Speaker 5: Can you got to tell us a little something that

1130
00:51:44,160 --> 00:51:45,840
Speaker 5: we don't know about this movie and the fact that

1131
00:51:45,960 --> 00:51:48,080
Speaker 5: why did you choose that era of your life? Because

1132
00:51:48,080 --> 00:51:49,560
Speaker 5: what we know right now is you got a couple

1133
00:51:49,600 --> 00:51:53,560
Speaker 5: of movies about three or five of your life, So please.

1134
00:51:53,360 --> 00:51:55,719
Speaker 4: Well it was it was when I first pitched drum Line.

1135
00:51:55,719 --> 00:51:57,239
Speaker 4: I was in a meeting with Fox and they were

1136
00:51:57,239 --> 00:51:59,640
Speaker 4: asking me about musicals, like, hey man, we need to

1137
00:51:59,719 --> 00:52:01,479
Speaker 4: try to find a way to do cool musicals again.

1138
00:52:01,520 --> 00:52:04,000
Speaker 4: And then I said, we can't break out doing singing

1139
00:52:04,040 --> 00:52:05,840
Speaker 4: in the rain. It ain't happened. We need an excuse,

1140
00:52:05,960 --> 00:52:08,160
Speaker 4: like a marching band. And it was like a marching band,

1141
00:52:08,200 --> 00:52:10,319
Speaker 4: what's interesting about that? And in the meeting, I was like, Oh,

1142
00:52:10,360 --> 00:52:12,080
Speaker 4: it's about this kid that can't read music and he's

1143
00:52:12,160 --> 00:52:14,279
Speaker 4: in his marching band. And I kind of pitched the

1144
00:52:14,320 --> 00:52:16,759
Speaker 4: whole my story to them in the meeting, and then

1145
00:52:16,880 --> 00:52:18,279
Speaker 4: a couple of days later they called back and said,

1146
00:52:18,520 --> 00:52:20,879
Speaker 4: we want to make this film and I'm all right, cool.

1147
00:52:20,920 --> 00:52:23,520
Speaker 4: So we started making it. We started like developing it

1148
00:52:23,960 --> 00:52:25,879
Speaker 4: and by the time the script got to a point

1149
00:52:25,880 --> 00:52:28,919
Speaker 4: where it was by a girl Sean, shehips at first,

1150
00:52:28,960 --> 00:52:30,600
Speaker 4: but she just did bring it on to or something.

1151
00:52:31,120 --> 00:52:33,440
Speaker 4: And so when they wrote it, I was like, I

1152
00:52:33,560 --> 00:52:36,560
Speaker 4: was like, oh no, this ain't it, lunch, this ain't it.

1153
00:52:37,320 --> 00:52:40,200
Speaker 4: And then and so Fox was like, oh, that's not it. Okay,

1154
00:52:40,280 --> 00:52:42,200
Speaker 4: Well we're going to put it in you know, We're

1155
00:52:42,200 --> 00:52:43,759
Speaker 4: gonna sit it over here there and let it just sit.

1156
00:52:44,120 --> 00:52:45,640
Speaker 4: And I'm like, no, we'll give it back to me.

1157
00:52:46,040 --> 00:52:47,440
Speaker 4: I said, no, no, no, we don't. We can't give

1158
00:52:47,480 --> 00:52:49,400
Speaker 4: it back to you, you know, because we bought it

1159
00:52:49,560 --> 00:52:52,000
Speaker 4: and we want to put it put it in a turnaround,

1160
00:52:52,000 --> 00:52:53,880
Speaker 4: which is like they got it. They on it. They

1161
00:52:53,880 --> 00:52:55,280
Speaker 4: don't want to make it, but they don't want nobody

1162
00:52:55,280 --> 00:52:57,960
Speaker 4: else to make it either, because if it happens, then

1163
00:52:58,000 --> 00:52:58,600
Speaker 4: it doesn't look right.

1164
00:52:58,680 --> 00:53:00,800
Speaker 1: Right. So now the movies sitting you mean, if to

1165
00:53:00,840 --> 00:53:03,840
Speaker 1: get successful, then not through them, not through them, like

1166
00:53:03,880 --> 00:53:05,000
Speaker 1: they're sitting on an artist, right.

1167
00:53:05,440 --> 00:53:07,120
Speaker 4: So they have so many movies they put in turn

1168
00:53:07,160 --> 00:53:08,959
Speaker 4: around where they just sit and then later on they'll

1169
00:53:08,960 --> 00:53:10,080
Speaker 4: go back and go, oh, you know what. We got

1170
00:53:10,120 --> 00:53:12,600
Speaker 4: one of those somewhere, you know. So it was sitting,

1171
00:53:12,600 --> 00:53:13,680
Speaker 4: and it was sitting, and I was like, I got

1172
00:53:13,800 --> 00:53:15,960
Speaker 4: to get my movie back. So I called Quincy Jones

1173
00:53:16,800 --> 00:53:18,760
Speaker 4: and I said, yo, man. One of the things Quincy

1174
00:53:18,800 --> 00:53:21,160
Speaker 4: showed me before was I was at his house one

1175
00:53:21,200 --> 00:53:23,879
Speaker 4: time and he goes, uh, Dallas, look at them, look

1176
00:53:23,880 --> 00:53:25,400
Speaker 4: at his video. So I look at the video and

1177
00:53:25,440 --> 00:53:28,880
Speaker 4: this operah Danny Glover, and they look busted like they

1178
00:53:29,000 --> 00:53:30,359
Speaker 4: just got off the bus at the West Day the mall.

1179
00:53:30,400 --> 00:53:33,799
Speaker 4: They got on greens. I mean, they looked like rough,

1180
00:53:34,239 --> 00:53:36,200
Speaker 4: and they're in this like high school theater and they

1181
00:53:36,239 --> 00:53:39,680
Speaker 4: rehearsing lines for the color purple and so, and you

1182
00:53:39,719 --> 00:53:42,400
Speaker 4: can see the VHS tape at the bottom and stuff.

1183
00:53:42,680 --> 00:53:44,480
Speaker 4: So he's going on, he said, So let me ask

1184
00:53:44,560 --> 00:53:48,120
Speaker 4: a question. Who's holding the camera? I said, you are,

1185
00:53:48,800 --> 00:53:52,560
Speaker 4: said nope, Steven Spielberg. Wow, I said, he's holding the

1186
00:53:52,600 --> 00:53:56,760
Speaker 4: camquarter So yeah, he said, because I needed a scene,

1187
00:53:56,920 --> 00:53:58,600
Speaker 4: a train scene. It was gonna cost me more than

1188
00:53:58,680 --> 00:54:00,520
Speaker 4: thirteen million to make the movie. And they were saying

1189
00:54:00,560 --> 00:54:02,759
Speaker 4: that black movies don't go over seven million, so they

1190
00:54:02,800 --> 00:54:04,960
Speaker 4: wasn't gonna give it to me. So when I got

1191
00:54:05,000 --> 00:54:06,879
Speaker 4: my friend Steven and I said, okay, Steven, you direct

1192
00:54:06,920 --> 00:54:08,960
Speaker 4: this for me? He said yeah, he said okay, So

1193
00:54:09,080 --> 00:54:11,520
Speaker 4: that turned everything around. I said, oh, that's why, Stephen.

1194
00:54:11,719 --> 00:54:15,680
Speaker 4: I never understood Steven Spielberg direct the color. So he

1195
00:54:15,800 --> 00:54:17,920
Speaker 4: goes this. He said, this one. I'm gonna tell you.

1196
00:54:18,560 --> 00:54:20,719
Speaker 4: Want to get that movie made? Find a friend of

1197
00:54:20,760 --> 00:54:25,239
Speaker 4: yours that's jewishne that was a show. Check out what

1198
00:54:25,239 --> 00:54:28,319
Speaker 4: I did. I called Jody Gerson, that my publisher. She's

1199
00:54:28,360 --> 00:54:30,520
Speaker 4: my publisher at the time. So I said, Jody, when

1200
00:54:30,640 --> 00:54:32,719
Speaker 4: she said I need to find somebody Jewish, you might,

1201
00:54:33,120 --> 00:54:34,920
Speaker 4: you might closest Jewish friend. How do I get this

1202
00:54:35,000 --> 00:54:37,120
Speaker 4: movie made? She sayes, okay, can I come on as

1203
00:54:37,120 --> 00:54:39,160
Speaker 4: a producer? I said yeah. She said cool, because IM

1204
00:54:39,160 --> 00:54:41,759
Speaker 4: gonna bring my other friend Wendy fine him. I said,

1205
00:54:41,760 --> 00:54:43,560
Speaker 4: who is that? She said, well, she just finished for

1206
00:54:43,680 --> 00:54:49,439
Speaker 4: at Going Castaway. So I walked back in Fox. Years later,

1207
00:54:49,680 --> 00:54:51,040
Speaker 4: I was trying to talk them out of the movie.

1208
00:54:51,560 --> 00:54:52,880
Speaker 4: I want to get this movie back because I was

1209
00:54:52,920 --> 00:54:56,799
Speaker 4: gonna take it someone else. But you know, but when

1210
00:54:56,800 --> 00:54:58,040
Speaker 4: they find him, is gonna work on the with me?

1211
00:54:58,120 --> 00:55:01,600
Speaker 4: They said what they said on you got Wendy fined

1212
00:55:01,640 --> 00:55:03,960
Speaker 4: him to work on this marching band movie. It's black.

1213
00:55:04,080 --> 00:55:06,719
Speaker 4: I'm like yeah. She said, okay, well, I'm gonna tell

1214
00:55:06,760 --> 00:55:09,439
Speaker 4: you like this, Can it take place in college? I said,

1215
00:55:09,440 --> 00:55:11,279
Speaker 4: it's bigger in college than in high school. She said, okay,

1216
00:55:11,280 --> 00:55:12,719
Speaker 4: we got to make this movie. I said, I'm trying

1217
00:55:12,760 --> 00:55:14,200
Speaker 4: to talk y'all out of it. Said no, no, we

1218
00:55:14,239 --> 00:55:15,400
Speaker 4: got to make this movie. I was like, oh, it's

1219
00:55:15,400 --> 00:55:18,200
Speaker 4: just a hip hop kid can't read music. They got

1220
00:55:18,280 --> 00:55:20,000
Speaker 4: to make it. So Wendy was like, all right, I

1221
00:55:20,120 --> 00:55:22,919
Speaker 4: have no idea what this is about. I'm just gonna

1222
00:55:23,000 --> 00:55:24,480
Speaker 4: ford you off. I'm probably gonna make a lot of

1223
00:55:24,480 --> 00:55:27,520
Speaker 4: money and you're not if it's successful. But I'm gonna

1224
00:55:27,520 --> 00:55:29,239
Speaker 4: make it so you can make the movie exactly how

1225
00:55:29,280 --> 00:55:31,000
Speaker 4: you want to make it. And so when I came

1226
00:55:31,040 --> 00:55:33,640
Speaker 4: back to Atlanta and I was in Miami during that time,

1227
00:55:33,640 --> 00:55:35,360
Speaker 4: I had move and started doing Blue Cant Trail and

1228
00:55:35,520 --> 00:55:38,080
Speaker 4: Pink and Black and all this stuff out of Miami.

1229
00:55:39,200 --> 00:55:41,160
Speaker 4: I came back and Charlotte was like, Yo, you got

1230
00:55:41,239 --> 00:55:42,839
Speaker 4: to come back. They're scouting for drum Mind and they

1231
00:55:42,880 --> 00:55:44,920
Speaker 4: need you here for locations and all this and that.

1232
00:55:45,320 --> 00:55:47,560
Speaker 4: So then it started to turn real and I'm like,

1233
00:55:47,560 --> 00:55:49,440
Speaker 4: all right, this is this is about you know, I'm

1234
00:55:49,440 --> 00:55:51,759
Speaker 4: looking at Orlando Jones and Jamie Fox and different people

1235
00:55:51,840 --> 00:55:55,400
Speaker 4: for the Doctor Lee. And as we were starting to

1236
00:55:55,719 --> 00:55:57,600
Speaker 4: get going and it started to really turn into the

1237
00:55:57,680 --> 00:56:00,359
Speaker 4: movie and the script and stuff started to get developed way.

1238
00:56:00,680 --> 00:56:04,520
Speaker 4: But in Tina Chisholm, who she's incredible and she kind

1239
00:56:04,560 --> 00:56:05,960
Speaker 4: of like you know, from that point she knew how

1240
00:56:05,960 --> 00:56:07,440
Speaker 4: to tell my stories because she would be around me

1241
00:56:07,440 --> 00:56:10,520
Speaker 4: all the time. So we went back start shooting the movie.

1242
00:56:10,560 --> 00:56:13,160
Speaker 4: Here everybody, I called to all the rappers like nope,

1243
00:56:13,760 --> 00:56:15,799
Speaker 4: they said, no, a movie about a band I called Lula.

1244
00:56:15,840 --> 00:56:17,400
Speaker 4: I called everybody, Oh yo, I need this party the

1245
00:56:17,440 --> 00:56:18,840
Speaker 4: rapper for the field, And I think they thought I

1246
00:56:18,880 --> 00:56:19,799
Speaker 4: was doing I got the hook up.

1247
00:56:19,880 --> 00:56:25,800
Speaker 1: That's how you got Petil, That's how I got so Ludasa.

1248
00:56:26,120 --> 00:56:27,320
Speaker 1: Who was your initial asks?

1249
00:56:27,680 --> 00:56:30,680
Speaker 4: Luda was Lula was first? Who else was it out here?

1250
00:56:30,760 --> 00:56:34,319
Speaker 4: Then it's like two more Atlanta. You know, I think

1251
00:56:34,320 --> 00:56:38,560
Speaker 4: it was outcast, but nobody knew the magnitude because you know,

1252
00:56:38,840 --> 00:56:41,680
Speaker 4: in all fairness, nobody had seen anything like it to

1253
00:56:41,760 --> 00:56:43,919
Speaker 4: hit Atlanta. And so then as I'm making the movie,

1254
00:56:44,640 --> 00:56:46,200
Speaker 4: he got to a point where it started to go

1255
00:56:46,239 --> 00:56:49,680
Speaker 4: over budget because obviously I'm recording three hundred piece marching

1256
00:56:49,760 --> 00:56:51,920
Speaker 4: bands that I have to use for playback. So I

1257
00:56:51,960 --> 00:56:54,160
Speaker 4: got to record them first, write the songs like they're out,

1258
00:56:54,239 --> 00:56:56,120
Speaker 4: now record them on the marching band, so use it

1259
00:56:56,200 --> 00:56:59,080
Speaker 4: for playback at the field. Right started going over budget,

1260
00:56:59,200 --> 00:57:03,839
Speaker 4: So then Fox call they said, Yo, this movie's turning

1261
00:57:03,840 --> 00:57:06,400
Speaker 4: into an eighteen million dollar movie instead of a fifteen thirteen.

1262
00:57:06,600 --> 00:57:09,279
Speaker 4: Put white people in it. We need white bands, like

1263
00:57:09,320 --> 00:57:14,000
Speaker 4: a white band bands. So he's like, I don't care,

1264
00:57:14,160 --> 00:57:16,960
Speaker 4: it's a pop movie. Now white bands, So now I

1265
00:57:17,040 --> 00:57:22,120
Speaker 4: gotta go. Yeah, so I got Georgia State, Georgia Tech.

1266
00:57:22,320 --> 00:57:27,439
Speaker 4: And he's just like and I'm like, dude, I can't

1267
00:57:27,440 --> 00:57:29,000
Speaker 4: put this. This looks horrible. I can't put this in

1268
00:57:29,040 --> 00:57:30,920
Speaker 4: the movie. Already, the bands don't want to be in

1269
00:57:31,000 --> 00:57:32,120
Speaker 4: the movie because they don't want to lose.

1270
00:57:32,160 --> 00:57:35,400
Speaker 5: Like shout out to fam you and our film, our

1271
00:57:35,480 --> 00:57:36,080
Speaker 5: film cruise.

1272
00:57:36,840 --> 00:57:38,960
Speaker 4: Yeah, well y'all family was not going to drum line

1273
00:57:39,000 --> 00:57:40,880
Speaker 4: because it's like we're not losing to nobody. Yeah. It

1274
00:57:41,040 --> 00:57:43,840
Speaker 4: was like, OK, well that's why we're making a fake band,

1275
00:57:44,320 --> 00:57:46,720
Speaker 4: because we don't want anybody's band to lose to anybody

1276
00:57:46,960 --> 00:57:49,640
Speaker 4: you know what I'm saying. They said, nope, we don't

1277
00:57:49,640 --> 00:57:50,520
Speaker 4: care if it's a fake bab.

1278
00:57:51,360 --> 00:57:52,120
Speaker 1: With another title.

1279
00:57:53,520 --> 00:57:57,240
Speaker 4: They just didn't want to have family losing Tou North Atlanta,

1280
00:57:57,280 --> 00:57:58,320
Speaker 4: at which ain't even.

1281
00:57:58,240 --> 00:58:02,040
Speaker 1: A school school colors, but it wasn't you know.

1282
00:58:02,280 --> 00:58:05,120
Speaker 4: Yeah, But but so I put the white bands in

1283
00:58:05,560 --> 00:58:07,280
Speaker 4: and then at the end I looked, I said, this

1284
00:58:07,360 --> 00:58:09,640
Speaker 4: is horrible. This is making these schools look really bad,

1285
00:58:09,680 --> 00:58:11,800
Speaker 4: and that's not what it's supposed to do either. So

1286
00:58:12,480 --> 00:58:14,400
Speaker 4: I said, you got to find some kind of narrative line,

1287
00:58:14,440 --> 00:58:15,800
Speaker 4: and so, w how am I going to do this?

1288
00:58:15,920 --> 00:58:18,400
Speaker 4: So I went to I went to the school Morris Brown,

1289
00:58:18,440 --> 00:58:21,240
Speaker 4: and I saw this white kid Brown. So, this white

1290
00:58:21,280 --> 00:58:24,440
Speaker 4: kid in the band with red hair, and I was like, so,

1291
00:58:24,560 --> 00:58:27,080
Speaker 4: how did you get here? Tell me your story. He's like, man,

1292
00:58:27,120 --> 00:58:28,640
Speaker 4: I lived down the street. I always wanted to be

1293
00:58:28,720 --> 00:58:30,800
Speaker 4: in this band since I was little. I was like, okay,

1294
00:58:30,840 --> 00:58:34,040
Speaker 4: there we got we got to catch now. And then

1295
00:58:34,240 --> 00:58:35,960
Speaker 4: by the time I edited the movie and took all

1296
00:58:35,960 --> 00:58:37,880
Speaker 4: the white bands out, then you know, you look on

1297
00:58:37,920 --> 00:58:39,640
Speaker 4: the DVD, it still got the white bands in there.

1298
00:58:39,800 --> 00:58:42,000
Speaker 4: For like they caught white bands. It is all white

1299
00:58:42,680 --> 00:58:45,080
Speaker 4: and you look at Georgia Tech Georgia, you know. But

1300
00:58:45,200 --> 00:58:47,480
Speaker 4: then the great part about it was, you know, seeing

1301
00:58:47,800 --> 00:58:51,040
Speaker 4: when drum line, when I finally got it right, because

1302
00:58:51,080 --> 00:58:52,600
Speaker 4: I always said it didn't belong to me, it belongs

1303
00:58:52,600 --> 00:58:54,520
Speaker 4: to everybody in the band. I'm telling my story, but

1304
00:58:54,560 --> 00:58:57,320
Speaker 4: if I don't tell it like I gotta get I

1305
00:58:57,360 --> 00:58:58,800
Speaker 4: gotta get it right. I gotta hit it on the

1306
00:58:58,840 --> 00:59:00,480
Speaker 4: head and it's right. If I get it wrong, it's

1307
00:59:00,600 --> 00:59:03,480
Speaker 4: just no right. And so on the release date, I

1308
00:59:03,480 --> 00:59:05,080
Speaker 4: would go around to the theaters and see him sold

1309
00:59:05,120 --> 00:59:07,240
Speaker 4: out in Atlanta and everybody would be in marchin band outfits.

1310
00:59:07,400 --> 00:59:07,640
Speaker 5: Wow.

1311
00:59:08,680 --> 00:59:10,919
Speaker 4: Me and my mom would just ride around being like dang.

1312
00:59:11,120 --> 00:59:11,200
Speaker 3: Now.

1313
00:59:11,240 --> 00:59:14,400
Speaker 4: It took me ten years, ten years of every day

1314
00:59:14,640 --> 00:59:17,280
Speaker 4: making that film. And then because I wanted to do

1315
00:59:17,360 --> 00:59:19,360
Speaker 4: atl next, they tried to get me to go to

1316
00:59:19,440 --> 00:59:21,640
Speaker 4: New Orleans, and so I ended up bringing the New

1317
00:59:21,720 --> 00:59:24,360
Speaker 4: Orleans bill to Atlanta and passing the film bill here.

1318
00:59:25,160 --> 00:59:29,600
Speaker 1: So that's why, that's that's why people come to shooting Atlanta.

1319
00:59:29,800 --> 00:59:31,200
Speaker 3: Yeah, it's Tyler Perry, thank.

1320
00:59:31,120 --> 00:59:33,360
Speaker 4: You all of sh I have cost me like two

1321
00:59:33,400 --> 00:59:35,040
Speaker 4: and a grand passing that bill. Back then, I had

1322
00:59:35,080 --> 00:59:35,760
Speaker 4: to lobbying.

1323
00:59:36,280 --> 00:59:39,640
Speaker 1: So you're the reason why that Georgia logo comes on

1324
00:59:40,000 --> 00:59:41,880
Speaker 1: down there every everything. Wow.

1325
00:59:42,120 --> 00:59:44,000
Speaker 4: Wow, you know, I was just trying to get atl

1326
00:59:44,040 --> 00:59:48,479
Speaker 4: done back then, and so Governor Purdue he basically said, okay,

1327
00:59:48,520 --> 00:59:49,840
Speaker 4: well I don't know what to do. You tell us

1328
00:59:49,880 --> 00:59:51,960
Speaker 4: what to do, and we kind of came up with

1329
00:59:52,000 --> 00:59:54,280
Speaker 4: the plan. That's the Georgia film bill now and the

1330
00:59:54,640 --> 00:59:56,640
Speaker 4: ribbon Cuttin spoke at the G eight summit and all

1331
00:59:56,680 --> 00:59:59,120
Speaker 4: that stuff on. We haf for Georgia so we can

1332
00:59:59,160 --> 01:00:00,280
Speaker 4: have what we have now going on.

1333
01:00:02,440 --> 01:00:05,280
Speaker 5: Hey y'all, it's like here from Team Supreme. Okay, so

1334
01:00:05,480 --> 01:00:07,240
Speaker 5: right here is where we're going to end part one

1335
01:00:07,400 --> 01:00:10,400
Speaker 5: of The Quest Left Supreme with Dallas Austin. You're gonna

1336
01:00:10,440 --> 01:00:12,840
Speaker 5: want to stay tuned for part two because this is

1337
01:00:12,880 --> 01:00:16,040
Speaker 5: when Dallas talks about working with Michael Jackson and Madonna

1338
01:00:16,480 --> 01:00:18,840
Speaker 5: and he tells some really dope stories about the group

1339
01:00:18,920 --> 01:00:22,120
Speaker 5: illegal and producing must be the money for Dion Sanders.

1340
01:00:22,280 --> 01:00:24,840
Speaker 3: Remember that this was like one of.

1341
01:00:24,880 --> 01:00:27,520
Speaker 5: Our favorite episodes, and don't forget we were actually live

1342
01:00:27,680 --> 01:00:31,000
Speaker 5: in Atlanta for this, So make sure you check out

1343
01:00:31,040 --> 01:00:33,479
Speaker 5: part two when it becomes available, see y'all.

1344
01:00:35,680 --> 01:00:42,800
Speaker 1: Quest Left Supreme is a production of iHeartRadio. For more

1345
01:00:42,840 --> 01:00:46,840
Speaker 1: podcasts from iHeart Radio, visit the iHeart Radio app, Apple Podcasts,

1346
01:00:47,280 --> 01:00:49,000
Speaker 1: or wherever you listen to your favorite shows.