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Speaker 1: Quest Love Supreme is a production of iHeartRadio. This classic

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Speaker 1: episode was produced by the team at Pandora. What's up, y'all?

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Speaker 1: This is QLs classic. My name is Questlove. One of

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Speaker 1: my favorite people ever, Sila Escabido. This is from twenty seventeen,

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Speaker 1: December thirteenth. Yeah, man, Sheila is you know, has killed

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Speaker 1: the game for the last well, you know, four or

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Speaker 1: five decades. It's one of the greatest drummers. And this

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Speaker 1: is modern music. She's really really made a name for

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Speaker 1: herself from her humble beginnings playing with her family of course,

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Speaker 1: her time with Prince, and her time after Prince as

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Speaker 1: a percussionist and session musician and a solo artist in

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Speaker 1: her own right. It's definitely a fun time. She's a

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Speaker 1: great storyteller. Let's get into it. This is Chila e

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Speaker 1: quest Loves Supreme PLS classic from twenty seventeen. All right, okay,

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Speaker 1: here you go. Who already?

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Speaker 2: Yeah?

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Speaker 1: What two? Three?

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Speaker 3: Supremo Suprema roll called Suprema Suprema.

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Speaker 1: Roll called Suprema Supremo. Roll call Supreme Supremo roll? Some

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Speaker 1: call me eyeball? Yeah, w nineteen jobs? Yeah, everybody stop

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Speaker 1: on the one.

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Speaker 4: Yeah, I knew I was going to mm hmmm find docs.

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Speaker 1: How you doing, Sheila?

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Speaker 2: Good God see you still I didn't know, but that's

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Speaker 2: what we would do.

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Speaker 1: Damn it, good God.

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Speaker 5: My name is Sugar Yeah with Sheila E. Yeah, if

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Speaker 5: we got married, Yeah, I'd be sugary.

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Speaker 1: Supreme roll so Supreme roll boss. Milla wanted to be

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Speaker 1: a percussionist.

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Speaker 3: Yeah when at the age of six, sore Sheila bound

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Speaker 3: some sticks you supreme rolls.

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Speaker 6: Yeah with Queen Sheila.

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Speaker 4: Yeah, this ain't gonna be quick because I want to

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Speaker 4: talk about dookie sick.

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Speaker 5: A roll call.

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Speaker 1: Suppreme.

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Speaker 2: My role called My name is Sheila. Yeah, I am

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Speaker 2: the queena. Yeah, a cushion.

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Speaker 7: Yeah, no discussing supremo Supreme Supreme.

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Speaker 1: Wow. I actually I wanted to say that I don't

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Speaker 1: think there's any word in the English language that rhymes

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Speaker 1: with Sheila.

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Speaker 8: You gonna say dookie, Okay, No, Sarah, there's there's there's

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Speaker 8: no word that Sheila might be the most unique Namela.

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Speaker 1: No, I'm serious, Like I literally for at least two

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Speaker 1: hours last night. Yeah, there's nothing a rhymesa it.

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Speaker 5: Took you two hours?

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Speaker 1: Then I just said, I gentlemen, feel a sneakers Okay,

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Speaker 1: so next episode I'll rhyme it with Fila. Anyway, Ladies

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Speaker 1: and gentlemen, who I will say that, Yeah, I'm gonna

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Speaker 1: keep my composer. If you were probably to compile and

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Speaker 1: gather uh probably the modern rock top three list for

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Speaker 1: drummers or percussionists, I guarantee you that our next guest,

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Speaker 1: uh well, no doubt always be placed on that list.

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Speaker 1: Her name and her legacy, I believe is synonymous with

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Speaker 1: uh drumming excellence, band leader excellence and truth be told

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Speaker 1: as many times as I've ever name dropped as influences

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Speaker 1: either Tony Williams or Clyde Stubblefield or John Starks or whoever,

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Speaker 1: uh truth be told pro Probably you know Sheila E

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Speaker 1: is my drumming hero. Like I've I've done many hours

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Speaker 1: practicing and studying and practicing and practicing, and you know

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Speaker 1: she never ever gets her props. I mean as a

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Speaker 1: as a session ah, as a session musician. The roster

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Speaker 1: is endless, from from George Duke to Marvin Gaye, the

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Speaker 1: Lionel Richie Dinah Ross to Kenny Loggins to Phil Collins

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Speaker 1: to Jennifer Love Hewitt, Quincy Jones. We know this homework. Yeah,

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Speaker 1: the list is endless, and you know even in the

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Speaker 1: art as an artist in her own right. I mean

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Speaker 1: she has an amazing uh diverse discography lasting over the

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Speaker 1: last four decades, from Alms with her father pescaveto of

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Speaker 1: course to the Grace of all Time with Prince and

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Speaker 1: again it's it's absolutely endless. Uh. Your new project, which

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Speaker 1: I believe is iconic, Yes, formally called Boy versus Girl

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Speaker 1: or that was I thought it was initially.

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Speaker 2: Called No No, No, that was that was another record

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Speaker 2: that was after Prince pass.

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Speaker 1: I see, so Girl, Me's Boy. I'm sorry, but your

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Speaker 1: new how iconic is in the stories now and everyone

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Speaker 1: from Freddie Stone to put Collins and everybody's on this record,

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Speaker 1: even Ringo star ladies and gentlemen. Please welcome she the

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Speaker 1: quest left Supreme.

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Speaker 2: Thank you.

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Speaker 1: Shout shout out to Fante, who's kicking himself right now.

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Speaker 1: He's like me when the shock episode happened. Sorry, everyone

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Speaker 1: has to and Bill Sherman and yes, I'm paid Bill.

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Speaker 5: He's always kicking himself, kicking both.

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Speaker 1: Of you guys. How are you today show? I appreciate

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Speaker 1: you doing this for me on know that you've been

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Speaker 1: up since zero clock in the morning.

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Speaker 2: That's true. Two hours. Hey, anything for you.

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Speaker 1: You know. But I also I was telling them that,

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Speaker 1: you know, I'm not saying that the sleepless streak you pasted,

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Speaker 1: but you're you're the queen of this. You've done many me.

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Speaker 1: I learned it from y'all, Like you know, who needs sleep. Yeah,

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Speaker 1: I know, I'm just saying, but I appreciate you for.

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Speaker 2: Being no, thank you for having me. I appreciate it.

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Speaker 2: That's awesome.

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Speaker 1: Okay, I'm looking at the clock and realizing that my

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Speaker 1: intro took seven minutes.

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Speaker 6: It's only right, though you talk, It's only right.

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Speaker 1: Okay, Well I want let's let's start right into it.

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Speaker 1: For those that don't know about your history. Could you

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Speaker 1: tell our audience where you were born?

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Speaker 2: Oakland, California, Oaktown, Califuna Area, born and raised. Uh, My

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Speaker 2: dad Pete Escavito, still playing, still alive. My mom Janita

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Speaker 2: Marie guard Deer Escavte, still crazy. They had their sixty

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Speaker 2: first anniversary yesterday, sixty one years being married. That's a

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Speaker 2: miracle right there. What sixty one years? Yeah, and Pops

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Speaker 2: are still playing percussion and playing with his band, and

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Speaker 2: so it's awesome. I have two brothers, warning Peter, Michael,

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Speaker 2: and his sister Zena, and and about five billion family

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Speaker 2: members and I'm not exaggerating.

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Speaker 1: Cousins and the's nephews forever. Every week you meet somebody,

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Speaker 1: it's like, yeah, I'm your cousin from No, no, that

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Speaker 1: is true, and you just gotta believe him.

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Speaker 2: No, it's mostly true. We find I'm not even joking.

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Speaker 2: It's most right, Britt, It's mostly true every time. I mean, seriously,

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Speaker 2: I go somewhere. Okay, you got to prove it. Okay, Well,

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Speaker 2: my mom da da da da da. So I'm your

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Speaker 2: third cousin. I'm like, wow, you do look like that

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Speaker 2: is okay, You're right, it's both sides.

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Speaker 1: Have been so lucky. All my cousin situations have not

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Speaker 1: you know, worked out well.

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Speaker 6: Plus I have all kinds of funky mixes in your family.

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Speaker 2: Yeah, which is yeah, we have everything and everybody. Yeah, Mexican, Creole,

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Speaker 2: Puerto Rican, Cuban, Filipino, Japanese, German, French.

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Speaker 1: Related to y'all literally are the world.

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Speaker 2: We are the world.

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Speaker 1: Literally, yes, we is so okay. You'd said that you're

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Speaker 1: Oakland born and raised, so I gotta ask you, you know,

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Speaker 1: because I go out to Oakland a lot. Well, I

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Speaker 1: guess fever missed if I didn't say that Pandora or

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Speaker 1: our parent company right right, is located in Oakland, which

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Speaker 1: which is why I'm out there often, and I'm often

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Speaker 1: told by people that, you know, the Oakland of twenty

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Speaker 1: seventeen is definitely not what Oakland was or the Bay

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Speaker 1: Area in general. So what are you what are your

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Speaker 1: feelings of the the current metamorphosis of what Oakland has

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Speaker 1: become from what it was to what it is now.

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Speaker 2: Well, I mean, right now, it's pretty pretty challenging because

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Speaker 2: all of the tech you know, and companies like Pandora

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Speaker 2: and different things like that, and Apple and everything else.

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Speaker 2: A lot of the people who are building all of

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Speaker 2: these things have moved the people, some of the people

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Speaker 2: out of the way and places where they used to

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Speaker 2: live that they can't afford it anymore. So, I mean

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Speaker 2: there's some places in the hood I can't believe that

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Speaker 2: are a million dollars and they're not even worth thirty

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Speaker 2: five thousand dollars. So the money's gone up as far

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Speaker 2: as pricing housing, So a lot of people are having

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Speaker 2: to move out of the Bay, you know, further out

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Speaker 2: into like Valayo or even past Richmond, but Valayo, Sacramento,

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Speaker 2: different places like that, Fremont, mial Pedis because they can't

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Speaker 2: afford it. And then at the same time, like my foundation,

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Speaker 2: we're partnering. We partner with five in Oakland. We started

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Speaker 2: Elevate Oakland with Elevate Hope. So there's like three of

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Speaker 2: us together just trying to keep music and arts and

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Speaker 2: the schools in the Bay because we just don't have

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Speaker 2: enough help, especially in the hood in the community where

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Speaker 2: they really need us, and they're ending up dividing the schools.

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Speaker 2: Instead of it being one school, they're dividing it to

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Speaker 2: two and sometimes three schools because there's too many kids

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Speaker 2: and not enough teachers. So a lot of the teachers,

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Speaker 2: they're really good teachers, don't want to go in the community,

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Speaker 2: and we get small pickings from choosing a great teacher

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Speaker 2: who would like to come and help our students. So

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Speaker 2: I've been you know, it's changed a lot even for us,

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Speaker 2: like what we've been doing to help some of the

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Speaker 2: schools and stuff and try to keep the kids and

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Speaker 2: get them involved in music and arts because the music

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Speaker 2: and arts have been take you know, a lot of schools.

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Speaker 2: We hire a lot of the Bayery musicians, you know,

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Speaker 2: and if they're in town, we hire them to do

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Speaker 2: artists and residents. So they come, you know, to to

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Speaker 2: fod to six times in a month for like a

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Speaker 2: couple of months if they're available, and we pay them

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Speaker 2: to help assist the teacher and teaching classes and Afro

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Speaker 2: Cuban hip hop whatever it may be. So that changed

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Speaker 2: we were we didn't do that early on. There was

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Speaker 2: music in school when I was growing up, you know,

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Speaker 2: and now there's there's that need. There are a few

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Speaker 2: charter schools and stuff, but a lot of the kids

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Speaker 2: there there's nowhere for them to go, so we need

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Speaker 2: to fix what's happening. So to me, that's changed tremendously.

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Speaker 1: So you're saying that during your time period in school,

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Speaker 1: it was typical for music appreciation class and lessons like

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Speaker 1: you can't go to a performing art schools.

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Speaker 2: No, well we couldn't afford it either. No, No, we

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Speaker 2: just learned in school. We have music in arts in school,

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Speaker 2: but I mean most of my learning music was in

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Speaker 2: the house watching pop play.

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Speaker 1: So okay, yeah, so I mean describe that because you know,

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Speaker 1: there's rarely arts that are here that come from that environment.

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Speaker 1: What is it at least, why is it important for

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Speaker 1: music in the school systems?

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Speaker 5: Like how.

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Speaker 1: When did they like remove that probe? Like the idea

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Speaker 1: of taking the arts away? Was it like the mid

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Speaker 1: eighties the.

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Speaker 2: Lad Wow, I don't even really know, because if it

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Speaker 2: seemed like it was about the eighties, I don't know

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Speaker 2: for sure. I just noticed that there was a whole

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Speaker 2: generation of kids that wanted to learn, and we found

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Speaker 2: out that they weren't learning, and they were asking where

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Speaker 2: could they go get classes or be taught? Can I

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Speaker 2: get a trumpet? And that's when we started raising money,

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Speaker 2: like in the nineties, or let's just raise some money

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Speaker 2: so we can get the kids instruments. Well then we

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Speaker 2: got the instruments, Well, who's going to teach them? You know,

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Speaker 2: Well there weren't. They're not enough teachers to teach. So

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Speaker 2: then again going back to well let's get some of

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Speaker 2: the local musicians, maybe we can have classes with them.

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Speaker 2: We went beyond not We didn't go to the superintendent

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Speaker 2: of schools and things like that or the district. We

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Speaker 2: ended up at that point even in two thousand, we

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Speaker 2: ended up going to the schools personally and talking to

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Speaker 2: the principals. Hey, we just want to help. Can we

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Speaker 2: help you If you guys say yes, we'll just come in.

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Speaker 2: You know, I don't we were going to go to

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Speaker 2: Sacramento and deal with the whole Supreme Court thing and all.

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Speaker 2: It's like, well, no, if you just allow us to

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Speaker 2: come in, we'll help. So I think it was around

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Speaker 2: eighties or so, and then we started helping in the nineties.

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Speaker 2: And again growing up with my parents, Pops always had

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Speaker 2: percussion around the house, and you know, and we'd go

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Speaker 2: to facilities since I was young and play the foster

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Speaker 2: care facilities, the jewy facilities, anything where there were kids

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Speaker 2: where they didn't have a lot of help, or they

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Speaker 2: would live somewhere you knowerod periodically at these facilities and

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Speaker 2: then go home on the weekends or whatever. Some of

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Speaker 2: the kids have been abused. So, you know, Pops, even

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Speaker 2: though we didn't have much, we would go there when

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Speaker 2: I was young, like eight nine years old, and we

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Speaker 2: were doing that most of our lives. That's how we

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Speaker 2: grew up giving back to the community back then.

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Speaker 4: It sounds like the organization that you have is a

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Speaker 4: great model for a lot of other major cities because

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Speaker 4: I was thinking when you were speaking, the nineties was

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Speaker 4: a period when it's happened in most major cities, Like.

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Speaker 6: Music was let out of schools.

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Speaker 4: That's why the Grammys started their organization and whatnot. But

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Speaker 4: do you ever think about like expanding that because there

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Speaker 4: are a lot of I just thought it. But that's

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Speaker 4: a great idea to have people who have already succeeded

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Speaker 4: from the area start an organization for you know, music

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Speaker 4: for children.

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Speaker 2: Yeah, we're trying to build a curriculum now so that

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Speaker 2: it works wherever we go. And instead of saying we're

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Speaker 2: going to elevate Oakland, we want to elevate San Francisco,

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Speaker 2: elevate La elevate Copped, and elevate whatever is. Just elevate

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Speaker 2: whatever city. But we have to raise the money. So

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Speaker 2: we took a break and trying to raise the money

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Speaker 2: so that we can start all over again and and

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Speaker 2: get a good board of people and and begin at

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Speaker 2: the beginning. So this is the beginning. So and it's

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Speaker 2: funny because Phill I'm ready.

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Speaker 9: I'm ready.

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Speaker 2: I wasn't in the already.

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Speaker 1: Thank you. Yeah, you didn't know.

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Speaker 6: In a way, there's always more Philly, there's always more

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Speaker 6: you can do.

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Speaker 1: There's always more, yeah, because I'm coming down the pocket

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Speaker 1: with that, so it's kind of hard to do. It's

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Speaker 1: kind of hard to do without a sponsor.

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Speaker 4: I'm just on the board. I'm just still adding to

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Speaker 4: the idea.

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Speaker 6: She listened. You know a board, Yeah, a board.

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Speaker 2: Yeah, absolutely, we start a board and.

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Speaker 9: I will.

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Speaker 5: Okay, you need to do more like you.

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Speaker 1: I will.

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Speaker 6: I just don't have the fund, but I definitely have

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Speaker 6: the energy. You got the energy and didn't mean to

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Speaker 6: cut you off, you did, so.

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Speaker 1: What uh, what's your What was your first musical memory?

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Speaker 2: Five years old? Playing with my dad? Actually I don't

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Speaker 2: remember playing with them as much as I remember getting

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Speaker 2: dressed to go play. I was five years old at

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Speaker 2: my grandmother's house and my cousins were mad because they

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Speaker 2: couldn't go to the club. They're like, well, Sheila's five,

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Speaker 2: how come she gets to go. My mom was explaining, well,

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Speaker 2: she's gonna play. So I'm getting dressed. I had on

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Speaker 2: this white dress with the little white uh socks and

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Speaker 2: then the black pant le pant and leather shoes, and

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Speaker 2: I remember my mom combed my hair. We got in

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Speaker 2: the car. We went to the gig, which is still

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Speaker 2: there at the places. It was called Sands Ballroom right.

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Speaker 5: On gig you were five, Yeah, gig.

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Speaker 2: For real, Like my first gig was five, and I

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Speaker 2: remember it like it was yesterday. But anyway, yeah, Sands Ballroom.

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Speaker 2: So we go there my mom. We get out of

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Speaker 2: the car, and I could hear my dad playing. There

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Speaker 2: were these windows up at the top, so you can

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Speaker 2: hear the music coming from the place. And as she

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Speaker 2: was walking me up the stairs, I can hear the

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Speaker 2: music getting louder and louder and louder. And then they

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Speaker 2: opened the door and we stood at the door and

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Speaker 2: my dad saw us, and they ended the song. And

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Speaker 2: then he said, ladies and gentlemen, I want to bring

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Speaker 2: up my daughter, Sheila Escavito. She's gonna come and play

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Speaker 2: with us. And then I just remember all the people partying,

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Speaker 2: like the Red Sea. It was so weird. It's like wow,

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Speaker 2: and I'm just looking at everyone. Wow, this is amazing.

305
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Speaker 2: And I remember him picking me up and I was

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Speaker 2: gonna play Congress. So the Congress were pretty big, and

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Speaker 2: so he stood me on a stool and then I

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Speaker 2: don't remember anything else, and he said I was killing it,

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Speaker 2: but I don't remember.

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Speaker 4: Five year old hand on congress, like I'm just making

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Speaker 4: a loud sound. I remember my father's a drummer too,

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Speaker 4: and I remember trying but it didn't come out loud

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Speaker 4: as I wanted it too, because my hands were too small.

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Speaker 6: That's crazy.

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Speaker 1: Yeah, I was going to say as a drummer, I

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Speaker 1: mean I started off from bongos, but really it's well, yeah,

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Speaker 1: I mean, it wasn't like there was a drum set

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Speaker 1: in the house, but there was like one bongo in

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Speaker 1: the house, and I mean I played it a lot.

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Speaker 1: But the wear and tear on your hands.

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Speaker 2: Especially, no, bongos are horrible to play.

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Speaker 1: Why did you choose that?

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Speaker 2: I chose congas, not bongos. They're different.

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Speaker 5: Still tell him that the difference boos, I don't know.

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Speaker 1: He was doing listeners shut up each other. No, but okay,

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Speaker 1: so why I didn't know that there is a wear

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Speaker 1: and tear difference on your hands.

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Speaker 2: Between my god?

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Speaker 1: Yes, okay, so explain the difference.

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Speaker 5: Then.

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Speaker 2: The difference of the bongos are really small and because

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Speaker 2: of the drum heads, I'm gonna put this dumb the drumheads,

333
00:20:01,040 --> 00:20:03,960
Speaker 2: they're smaller playing bongos. You're gonna play with half of

334
00:20:04,000 --> 00:20:07,080
Speaker 2: your finger where your finger, uh, your knuckle, you know,

335
00:20:07,240 --> 00:20:09,280
Speaker 2: so that first part of that finger, that's how you

336
00:20:09,280 --> 00:20:12,679
Speaker 2: get that really high snapping sound on the bongles. So

337
00:20:12,720 --> 00:20:15,960
Speaker 2: you're playing everything just you're just playing this, and it

338
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Speaker 2: hurts after a while. Your finger is swollen. I mean,

339
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Speaker 2: my brother's hands used to be so swollen from playing.

340
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Speaker 2: So I would play them too, but they hurt, and congas,

341
00:20:25,800 --> 00:20:27,479
Speaker 2: you end up using more of your hand. I mean,

342
00:20:27,520 --> 00:20:30,240
Speaker 2: you can do that on the bongos, but the sound

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00:20:30,240 --> 00:20:32,040
Speaker 2: of what you want to get for bongos is really

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00:20:32,080 --> 00:20:34,560
Speaker 2: the tips of your fingers, and that hurts.

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Speaker 4: You have beautiful hands with somebody who does that, thank you.

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Speaker 4: And I was looking at your palms, like, look at that,

347
00:20:40,280 --> 00:20:42,560
Speaker 4: no marks, no scars, that's let me suck.

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Speaker 2: Is techno soft technok.

349
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Speaker 10: You get treatments on your hands, like to keep them

350
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Speaker 10: softer or anything along those lines.

351
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Speaker 2: No, I do use lotion, but.

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Speaker 1: In every household and every.

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Speaker 2: Housele now uh no. You know, when I was playing

354
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Speaker 2: every single day, like with George Duke and with my

355
00:21:07,040 --> 00:21:10,400
Speaker 2: dad playing Congress, just mainly playing that as my instrument,

356
00:21:10,800 --> 00:21:13,080
Speaker 2: my hands were bleeding. I'd have to use rage of

357
00:21:13,080 --> 00:21:16,480
Speaker 2: blade to cut the calluses and it was painful. Yeah.

358
00:21:16,640 --> 00:21:19,600
Speaker 2: I mean I remember like this wall right here, This

359
00:21:19,680 --> 00:21:22,840
Speaker 2: is like a concrete wall, and before this shows with

360
00:21:22,840 --> 00:21:24,640
Speaker 2: my dad and with George Duke, because we would play

361
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Speaker 2: every night, I'd have to bang on the wall before

362
00:21:27,320 --> 00:21:30,239
Speaker 2: we went on stage until my hands got numb so

363
00:21:30,280 --> 00:21:32,720
Speaker 2: I could get through the first like two songs, and

364
00:21:32,760 --> 00:21:34,840
Speaker 2: then he'd do a ballad and I have to start

365
00:21:34,880 --> 00:21:38,160
Speaker 2: all over again. It's like so painful, but I loved it,

366
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Speaker 2: not the pain, but the you know, the satisfaction of

367
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Speaker 2: being able to play percussion is.

368
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Speaker 10: Just And when when did you hear of the existence

369
00:21:46,600 --> 00:21:50,119
Speaker 10: of these things called sticks that you can use instead

370
00:21:50,160 --> 00:21:50,880
Speaker 10: of your hands?

371
00:21:51,119 --> 00:21:52,359
Speaker 2: It's not any better.

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Speaker 1: Without without going to see the unspoken situation with the

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00:21:58,520 --> 00:22:05,240
Speaker 1: roots right now? No no, no, no, no, no, no. Yeah.

374
00:22:05,280 --> 00:22:12,200
Speaker 1: But what I'm saying is that you know, is it

375
00:22:12,240 --> 00:22:17,640
Speaker 1: is it? Is it taboo or unspoken or cheating?

376
00:22:18,080 --> 00:22:21,800
Speaker 10: I think it's taboo and cheating if I use those

377
00:22:21,800 --> 00:22:23,480
Speaker 10: things are meant to be played with your hands.

378
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Speaker 2: Why are you answering the question?

379
00:22:24,760 --> 00:22:25,200
Speaker 6: I want to know?

380
00:22:29,560 --> 00:22:30,960
Speaker 1: This is my favorite already.

381
00:22:31,400 --> 00:22:33,480
Speaker 2: No, No, I'm asking because I want to know. Do

382
00:22:33,520 --> 00:22:34,200
Speaker 2: you play.

383
00:22:36,160 --> 00:22:37,720
Speaker 5: We've all used bongos.

384
00:22:37,800 --> 00:22:40,200
Speaker 4: No, she doesn't know your background, like you're a superstar engineers,

385
00:22:40,200 --> 00:22:41,200
Speaker 4: that's what she's asking about.

386
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Speaker 10: I mean, I know the answer is no, but I've

387
00:22:44,680 --> 00:22:45,800
Speaker 10: seen and recorded.

388
00:22:46,240 --> 00:22:48,160
Speaker 5: I've seen and recorded both types.

389
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Speaker 10: People use sticks and don't use sticks, And it's just

390
00:22:51,320 --> 00:22:54,239
Speaker 10: my I guess my opinion that bongos and congress are

391
00:22:54,280 --> 00:22:58,159
Speaker 10: supposed to be played with the hands, and sticks are

392
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Speaker 10: for other percussive things like drums.

393
00:23:00,400 --> 00:23:04,679
Speaker 1: But I well, my question was I always wanted sticks

394
00:23:04,720 --> 00:23:10,440
Speaker 1: because there's a certain loud dynamic that I like when

395
00:23:10,480 --> 00:23:13,840
Speaker 1: sticks hit bongles, just for it, for it. And I

396
00:23:13,840 --> 00:23:20,160
Speaker 1: think it's mostly because of whenever Prints programmed the rim

397
00:23:20,200 --> 00:23:24,720
Speaker 1: shot to be that conga sound, that's the sound I

398
00:23:24,720 --> 00:23:26,840
Speaker 1: always was going for in my head. So thus it

399
00:23:26,920 --> 00:23:28,560
Speaker 1: was like, well, I can't get that with the hand,

400
00:23:28,640 --> 00:23:31,240
Speaker 1: but you keep that with the stick. So that's always

401
00:23:31,280 --> 00:23:34,320
Speaker 1: been my default move. Of course, to the dismay of

402
00:23:34,600 --> 00:23:38,719
Speaker 1: every percussionist watching us, Oh why Y're cheating, Why your

403
00:23:38,720 --> 00:23:39,280
Speaker 1: man is cheating?

404
00:23:39,400 --> 00:23:40,160
Speaker 9: Not not?

405
00:23:40,560 --> 00:23:42,879
Speaker 1: You know that sort of thing. So is it really?

406
00:23:42,960 --> 00:23:43,199
Speaker 5: Is it?

407
00:23:43,240 --> 00:23:43,600
Speaker 9: Truly?

408
00:23:44,520 --> 00:23:48,240
Speaker 1: Because even when you're you're you're at your your setup

409
00:23:49,160 --> 00:23:52,360
Speaker 1: with Timbali's and whatnot, and you're in your your cow

410
00:23:52,440 --> 00:23:54,880
Speaker 1: thoughs it's not like you're gonna put them down.

411
00:23:54,680 --> 00:23:56,040
Speaker 2: And then yes I would.

412
00:23:57,920 --> 00:23:59,760
Speaker 1: So you're saying that is absolutely cheating.

413
00:24:00,040 --> 00:24:02,280
Speaker 2: Oh yes, but I agree with them as well. Let

414
00:24:02,359 --> 00:24:05,960
Speaker 2: me tell you why. Because in traditional music, like traditional

415
00:24:06,040 --> 00:24:09,480
Speaker 2: meaning Latin jazz, also things like you're gonna play bongos

416
00:24:09,520 --> 00:24:12,840
Speaker 2: with your hands, they would kill you if you so

417
00:24:13,240 --> 00:24:18,399
Speaker 2: playing there's no sensitivity to the instrument. Is just going

418
00:24:18,480 --> 00:24:21,680
Speaker 2: to be one tone. You can't get the different tones

419
00:24:22,080 --> 00:24:25,480
Speaker 2: and the feel with sticks. Now, however, when disco music

420
00:24:25,560 --> 00:24:28,639
Speaker 2: came out and more pop music, you would end up

421
00:24:28,760 --> 00:24:31,240
Speaker 2: using sticks, you know, for a different sound. I've done

422
00:24:31,240 --> 00:24:35,160
Speaker 2: it on recordings, but it depends on but I've done

423
00:24:35,160 --> 00:24:37,280
Speaker 2: it too, but it depends on you know what music

424
00:24:37,320 --> 00:24:40,200
Speaker 2: you're gonna play with it. But definitely they were made

425
00:24:40,200 --> 00:24:42,520
Speaker 2: to play with your hands and not sticks.

426
00:24:43,720 --> 00:24:45,439
Speaker 6: Final answer, final answer.

427
00:24:45,520 --> 00:24:47,000
Speaker 2: That is my final answer.

428
00:24:46,960 --> 00:24:49,480
Speaker 10: The real answer to your question, which was why did

429
00:24:49,480 --> 00:24:51,119
Speaker 10: I chime in?

430
00:24:51,359 --> 00:25:03,760
Speaker 2: It's because on this day right there, like talking is

431
00:25:03,800 --> 00:25:07,480
Speaker 2: the most talking, No I want to hear.

432
00:25:08,320 --> 00:25:10,480
Speaker 10: I already said it. I was right, as it turns out,

433
00:25:10,520 --> 00:25:18,160
Speaker 10: Thanks you for I'm a purist. You know you can

434
00:25:18,400 --> 00:25:20,960
Speaker 10: sticks on those things. But you're more famous actually in

435
00:25:21,160 --> 00:25:23,160
Speaker 10: my head for using sticks.

436
00:25:23,160 --> 00:25:26,280
Speaker 1: You know, you just do me. You've been engineer for

437
00:25:26,320 --> 00:25:29,040
Speaker 1: like twenty years. You're just telling me this now.

438
00:25:29,440 --> 00:25:32,080
Speaker 10: But you're I mean, you're more of a drummer, you know,

439
00:25:32,560 --> 00:25:35,400
Speaker 10: than a percussion than a congo bongo player like I.

440
00:25:35,400 --> 00:25:36,480
Speaker 1: Was about to do.

441
00:25:36,520 --> 00:25:38,280
Speaker 6: You play the over thirty.

442
00:25:39,280 --> 00:25:42,720
Speaker 1: You know what, I have the ability to, but until

443
00:25:43,280 --> 00:25:49,000
Speaker 1: I master the sound of I cannot claim that and

444
00:25:49,080 --> 00:25:50,480
Speaker 1: I do not know how to.

445
00:25:51,840 --> 00:25:52,440
Speaker 2: What is that?

446
00:25:53,119 --> 00:25:54,680
Speaker 3: It's like when you rub your fingers. When you rub,

447
00:25:54,760 --> 00:25:57,480
Speaker 3: this a vibration thing. Okay, I've never been able to

448
00:25:57,480 --> 00:26:00,359
Speaker 3: do anything. It's like learning the whistle or like when

449
00:26:00,400 --> 00:26:01,520
Speaker 3: you wolf whistle.

450
00:26:01,680 --> 00:26:04,600
Speaker 6: When on the actually on the drum, you can guess.

451
00:26:04,440 --> 00:26:06,879
Speaker 1: It's a vibration with your fingers. That was what was

452
00:26:06,880 --> 00:26:07,240
Speaker 1: the song?

453
00:26:07,359 --> 00:26:13,280
Speaker 2: Dun't dunt dunk dunk dude. Yeah, Scorpio Scorpio. You practice

454
00:26:13,680 --> 00:26:16,200
Speaker 2: YouTube of course, of course.

455
00:26:16,640 --> 00:26:19,120
Speaker 1: Okay, so how long did you? Because we're big on

456
00:26:19,440 --> 00:26:22,600
Speaker 1: just the one thing I want to convey to my

457
00:26:22,680 --> 00:26:26,639
Speaker 1: listeners is the amount of practice, yeah, that you have

458
00:26:26,680 --> 00:26:30,080
Speaker 1: to put into to master your craft. So in general,

459
00:26:30,119 --> 00:26:33,239
Speaker 1: were you just always jamming in the house or like,

460
00:26:33,320 --> 00:26:37,760
Speaker 1: how much time would you personally practice just isolated and

461
00:26:38,520 --> 00:26:40,520
Speaker 1: that sort of thing, or was it like you had

462
00:26:40,600 --> 00:26:41,720
Speaker 1: to go and practice.

463
00:26:42,280 --> 00:26:46,119
Speaker 2: Oh no, no, no, Actually, like when I played that beat,

464
00:26:46,240 --> 00:26:48,600
Speaker 2: it was if you know, my dad's congos were there.

465
00:26:48,640 --> 00:26:50,760
Speaker 2: The song came out, we got the forty five, and

466
00:26:50,800 --> 00:26:52,399
Speaker 2: I was like, oh, that's dope, let me try that.

467
00:26:52,440 --> 00:26:54,119
Speaker 2: You know, we would just do it, or we'd play it,

468
00:26:54,520 --> 00:26:58,000
Speaker 2: you know, jamming, jamming with bands, or out in the park,

469
00:26:58,119 --> 00:27:02,000
Speaker 2: you know when the street drummers, we'd all get together

470
00:27:02,040 --> 00:27:06,120
Speaker 2: and just play outside. I hate to say that I've

471
00:27:06,160 --> 00:27:09,359
Speaker 2: never practiced today in my life, and I'm sorry for

472
00:27:09,480 --> 00:27:10,800
Speaker 2: those who need.

473
00:27:10,880 --> 00:27:13,520
Speaker 1: I believe you. I believe that you've jammed a lot

474
00:27:13,520 --> 00:27:16,280
Speaker 1: of hours, like and that was your practice, yeah kind

475
00:27:16,320 --> 00:27:20,280
Speaker 1: of yeah, just like the Roots before Foullin. The Roots

476
00:27:20,400 --> 00:27:23,439
Speaker 1: never practice as a band like we just you do

477
00:27:23,480 --> 00:27:26,920
Speaker 1: three hour shows for three hundred and sixty five days

478
00:27:26,920 --> 00:27:28,040
Speaker 1: out the year. Then it's right.

479
00:27:28,280 --> 00:27:30,119
Speaker 6: So you just jam with your family and now.

480
00:27:30,480 --> 00:27:32,920
Speaker 2: Yeah, just jamming and stuff. Yeah, but to sit down

481
00:27:32,920 --> 00:27:34,440
Speaker 2: and say I'm going to learn a rhythm and a

482
00:27:34,520 --> 00:27:37,119
Speaker 2: part so I can get better, I'm sorry.

483
00:27:37,160 --> 00:27:37,200
Speaker 8: No.

484
00:27:37,480 --> 00:27:40,120
Speaker 1: See, my parents made me practice to keep me from

485
00:27:40,119 --> 00:27:41,600
Speaker 1: going out on the streets.

486
00:27:41,280 --> 00:27:42,520
Speaker 2: And they did the right thing.

487
00:27:42,720 --> 00:27:44,679
Speaker 1: Right, But I'm saying, like, but you grew up in

488
00:27:44,680 --> 00:27:47,080
Speaker 1: the household with other musicians, so I'm certain that it

489
00:27:47,160 --> 00:27:48,400
Speaker 1: was more like a jamming thing.

490
00:27:48,560 --> 00:27:50,320
Speaker 2: It was. Well, yes, that.

491
00:27:50,240 --> 00:27:55,040
Speaker 1: Weird though, I mean, is it also I I I'm

492
00:27:55,080 --> 00:27:58,560
Speaker 1: not not that I'm big on jamming, but there's something

493
00:27:58,640 --> 00:28:03,040
Speaker 1: very vulnerable about a jam session that makes it very

494
00:28:03,080 --> 00:28:09,920
Speaker 1: hard for me to do in front of people. I know. Okay,

495
00:28:10,040 --> 00:28:15,119
Speaker 1: so the first the first day of taking the Tonight

496
00:28:15,160 --> 00:28:19,160
Speaker 1: Show gig, and it's just the eight of us facing

497
00:28:19,200 --> 00:28:20,920
Speaker 1: each other, sort of like the circle we're in now.

498
00:28:21,640 --> 00:28:23,439
Speaker 1: It was the hardest thing in the world to do. Like,

499
00:28:24,359 --> 00:28:27,119
Speaker 1: I stopped the session after five minutes and called my

500
00:28:27,160 --> 00:28:29,600
Speaker 1: manager like, I don't know what to do, Like, what

501
00:28:29,640 --> 00:28:31,960
Speaker 1: do you just just start playing a song? Like, because

502
00:28:32,000 --> 00:28:37,840
Speaker 1: I think it's it's a it's a vulnerable, intimate thing almost.

503
00:28:38,520 --> 00:28:40,720
Speaker 1: I hate to be creepy with the metaphorical thing, but

504
00:28:40,760 --> 00:28:44,520
Speaker 1: I mean it's like intimacy, and you know, the thing

505
00:28:44,640 --> 00:28:48,160
Speaker 1: is that you have to be on I mean, we're

506
00:28:48,240 --> 00:28:50,400
Speaker 1: on good terms with each other as a band, but

507
00:28:50,440 --> 00:28:52,960
Speaker 1: it's it's sort of like I think that you also

508
00:28:53,120 --> 00:28:57,000
Speaker 1: socially have to be in tune with the person that

509
00:28:57,120 --> 00:29:00,560
Speaker 1: you are playing with in order to get that the

510
00:29:01,160 --> 00:29:04,840
Speaker 1: desired results. And so it's I think that's it's hard.

511
00:29:04,960 --> 00:29:09,200
Speaker 1: So it means that you were able to jam or

512
00:29:09,320 --> 00:29:12,360
Speaker 1: borderline envious, that you're able to like play with your family, like.

513
00:29:12,880 --> 00:29:15,200
Speaker 2: Yeah, and we grew up like that, So I mean,

514
00:29:15,240 --> 00:29:18,240
Speaker 2: anytime the opportunity, if they were sitting out, let's go play,

515
00:29:18,560 --> 00:29:20,800
Speaker 2: all right, We started getting into this whole thing and

516
00:29:20,840 --> 00:29:24,280
Speaker 2: then taking solos and going into different rhythms and like

517
00:29:24,440 --> 00:29:26,200
Speaker 2: just jamming the house.

518
00:29:26,160 --> 00:29:28,600
Speaker 1: In the backyard outside, absolutely in.

519
00:29:28,600 --> 00:29:32,239
Speaker 2: The house in the backyard, at the parks, down at

520
00:29:32,240 --> 00:29:35,880
Speaker 2: Berkeley College and on telegraph all the time. We were

521
00:29:35,840 --> 00:29:38,800
Speaker 2: at down on the streets just jamming. And the mission

522
00:29:38,960 --> 00:29:42,880
Speaker 2: in San Francisco. Yeah, yeah, for real.

523
00:29:43,880 --> 00:29:47,040
Speaker 6: Where are you? Your brothers and sister like oldest, youngest,

524
00:29:47,080 --> 00:29:47,440
Speaker 6: how does.

525
00:29:49,320 --> 00:29:52,360
Speaker 2: Yeah, so I'm the oldest, My brother Wan, my brother Peter, Michael,

526
00:29:52,400 --> 00:29:53,120
Speaker 2: my sister Zina.

527
00:29:53,560 --> 00:29:55,160
Speaker 4: Because I was wondering why you got I was like,

528
00:29:55,240 --> 00:29:56,960
Speaker 4: how does she get picked out of everybody to go

529
00:29:57,040 --> 00:29:57,640
Speaker 4: jam with dad?

530
00:29:57,680 --> 00:29:59,000
Speaker 2: And do the direct They played too.

531
00:30:00,120 --> 00:30:01,920
Speaker 6: They played It seemed like you guys had a special

532
00:30:01,960 --> 00:30:03,160
Speaker 6: relationship or your dad.

533
00:30:03,760 --> 00:30:06,600
Speaker 2: Yeah, I was first answer question.

534
00:30:07,400 --> 00:30:12,920
Speaker 1: So how unusual in your childhood was it? For I

535
00:30:12,960 --> 00:30:17,200
Speaker 1: know that drums are normally associated as a more masculine music,

536
00:30:18,080 --> 00:30:21,880
Speaker 1: uh instrument to play, So how unusual was it? Like

537
00:30:22,000 --> 00:30:25,200
Speaker 1: did you get any ribbing whatsoever? Tease like you played

538
00:30:25,200 --> 00:30:27,920
Speaker 1: the drums? Yeah? No, or like why don't you play

539
00:30:27,920 --> 00:30:29,280
Speaker 1: piano or why don't you play guitar?

540
00:30:29,440 --> 00:30:31,840
Speaker 2: Like or people?

541
00:30:32,000 --> 00:30:34,400
Speaker 1: Well, I'm just saying, was there anyone to discourage you, like, well,

542
00:30:34,400 --> 00:30:37,440
Speaker 1: that's not a young lady shouldn't be playing, Like do

543
00:30:37,480 --> 00:30:39,640
Speaker 1: you have a grandmother that said, like, she shouldn't be

544
00:30:39,640 --> 00:30:40,200
Speaker 1: playing the drum.

545
00:30:40,240 --> 00:30:41,680
Speaker 6: Can't wear a dress and play the drums?

546
00:30:41,800 --> 00:30:44,680
Speaker 2: Oh no, my family. No one in the family ever

547
00:30:44,680 --> 00:30:45,160
Speaker 2: said anything.

548
00:30:45,200 --> 00:30:47,520
Speaker 9: So it was a supernatural to supernatural.

549
00:30:47,600 --> 00:30:50,560
Speaker 2: No one ever said my parents, my uncles, cousins, they

550
00:30:50,600 --> 00:30:53,160
Speaker 2: all play. No one ever said you can't play because

551
00:30:53,160 --> 00:30:55,200
Speaker 2: you're a girl, because everyone would pick up something and

552
00:30:55,240 --> 00:30:57,800
Speaker 2: just play. My mom plays guido, she plays a little

553
00:30:57,800 --> 00:31:01,200
Speaker 2: bit of congas, she tap dances. She's sayings. You know,

554
00:31:01,280 --> 00:31:04,320
Speaker 2: it's just an entertaining family. And every time we go

555
00:31:04,400 --> 00:31:07,400
Speaker 2: to a party, even with the family, we'd put on

556
00:31:07,520 --> 00:31:10,200
Speaker 2: Jackson five Temptations whatever, James Brown, and we just start

557
00:31:10,240 --> 00:31:14,640
Speaker 2: imitating people. So we grew up like let's let's who's

558
00:31:14,720 --> 00:31:17,480
Speaker 2: going first, and the and the the way to get

559
00:31:17,480 --> 00:31:20,000
Speaker 2: to the party. Well, in the party, as soon as

560
00:31:20,000 --> 00:31:24,200
Speaker 2: my mom would starts singing Da d everyone start running

561
00:31:24,200 --> 00:31:28,120
Speaker 2: to the living room, it's like time for that's the

562
00:31:28,240 --> 00:31:35,120
Speaker 2: INTROTI oh yeah, oh yeah. Then my mom would break

563
00:31:35,200 --> 00:31:37,240
Speaker 2: right into tap dance and then we'll see who's gonna

564
00:31:37,240 --> 00:31:40,520
Speaker 2: play what record and start dancing. So I was never told.

565
00:31:40,840 --> 00:31:44,080
Speaker 2: Never ever until I left uh the house and started

566
00:31:44,240 --> 00:31:46,600
Speaker 2: performing with other artists did people say things. But even

567
00:31:46,640 --> 00:31:49,280
Speaker 2: in school, no one really said, oh, you know, you

568
00:31:49,320 --> 00:31:51,840
Speaker 2: can't play because you're a girl. I don't. I mean,

569
00:31:51,840 --> 00:31:55,200
Speaker 2: it was always cool. It's like, you know everyone was

570
00:31:55,280 --> 00:31:57,120
Speaker 2: in school was like stope.

571
00:31:57,240 --> 00:31:58,880
Speaker 1: Well, I mean on the other side of the corn,

572
00:31:59,160 --> 00:32:01,120
Speaker 1: like did they make a big deal of it because

573
00:32:02,680 --> 00:32:05,440
Speaker 1: you were dope or you know, it was like yeah,

574
00:32:05,680 --> 00:32:08,920
Speaker 1: every time you play, like like it's a novelty thing

575
00:32:08,960 --> 00:32:11,080
Speaker 1: that we're watching or whatever. Because yes, I think with

576
00:32:11,640 --> 00:32:16,320
Speaker 1: the exception with the exception of what's her name, I

577
00:32:16,320 --> 00:32:18,400
Speaker 1: think her name was Cookie. There was there was a

578
00:32:19,920 --> 00:32:23,800
Speaker 1: Jersey based group in the seventies called Ecstasy, Passion and

579
00:32:23,840 --> 00:32:33,000
Speaker 1: paindess uh, the mom deep sample, the realist do do

580
00:32:33,000 --> 00:32:36,600
Speaker 1: do Do Do Do Do Do Do? I'll play it later,

581
00:32:36,800 --> 00:32:39,840
Speaker 1: but yeah, there's they were. I mean, they had a

582
00:32:41,400 --> 00:32:43,760
Speaker 1: they had a run from like seventy three to seventy six,

583
00:32:43,800 --> 00:32:46,080
Speaker 1: but they did like three appearances on Soul Train. So

584
00:32:46,200 --> 00:32:49,240
Speaker 1: oh wow, that's the first time I saw like a

585
00:32:49,280 --> 00:32:50,120
Speaker 1: woman playing.

586
00:32:49,920 --> 00:32:52,880
Speaker 2: Drums, but she was actually playing drums. Yeah, oh yeah,

587
00:32:52,880 --> 00:32:53,720
Speaker 2: I gotta check it out.

588
00:32:53,800 --> 00:32:55,440
Speaker 1: So yeah, I was going to say, did you have

589
00:32:55,880 --> 00:33:00,160
Speaker 1: anyone that you looked up to that was yes, the

590
00:33:00,240 --> 00:33:02,920
Speaker 1: car and cooking? Yeah, did you have anyone that you

591
00:33:02,960 --> 00:33:04,840
Speaker 1: looked up to that was a woman that was playing

592
00:33:04,920 --> 00:33:07,760
Speaker 1: drums when you were coming up at all?

593
00:33:08,560 --> 00:33:12,240
Speaker 2: The only woman that I saw play ever, especially drums,

594
00:33:12,920 --> 00:33:15,840
Speaker 2: was Karen Carpenter when her and her brother had their

595
00:33:15,920 --> 00:33:19,400
Speaker 2: variety show. Yeah, and she was killing it, you know.

596
00:33:20,680 --> 00:33:23,080
Speaker 2: And as soon as I saw around television, I turned

597
00:33:23,120 --> 00:33:24,479
Speaker 2: to Pops and said, how come I don't have a

598
00:33:24,480 --> 00:33:28,720
Speaker 2: TV show like nine or something? What do you mean?

599
00:33:29,000 --> 00:33:31,360
Speaker 2: I said, I played drums. I played just like her.

600
00:33:31,760 --> 00:33:34,320
Speaker 2: How come can't we just get a TV show? He goes, sure,

601
00:33:34,360 --> 00:33:36,480
Speaker 2: you can. I mean it was never like no, you

602
00:33:36,520 --> 00:33:38,400
Speaker 2: can't play because you're a girl that no one else.

603
00:33:38,960 --> 00:33:39,800
Speaker 2: That was never said.

604
00:33:39,840 --> 00:33:42,320
Speaker 1: But in your formative years, did anyone think like, yo,

605
00:33:42,800 --> 00:33:45,720
Speaker 1: there's no one that we know of that can fill

606
00:33:45,760 --> 00:33:49,000
Speaker 1: in the slot and you'll be the first to like

607
00:33:49,040 --> 00:33:51,800
Speaker 1: ye at that time would have been revolutionary. So I'm saying, like, right,

608
00:33:52,240 --> 00:33:54,200
Speaker 1: anyone thinking like dollar signs.

609
00:33:53,880 --> 00:33:57,120
Speaker 2: Like no, we did. Actually, as a matter of fact,

610
00:33:57,160 --> 00:33:59,680
Speaker 2: when I first started playing and sitting in with other

611
00:33:59,720 --> 00:34:01,960
Speaker 2: bands and they wanted to pay me, I thought it

612
00:34:02,000 --> 00:34:05,560
Speaker 2: was disrespectful to pay me because I know it's kind

613
00:34:05,560 --> 00:34:14,080
Speaker 2: of weird. Yeah, I thought it was disrespectful because I

614
00:34:14,120 --> 00:34:16,040
Speaker 2: loved it so much. It's like, don't pay me for

615
00:34:16,080 --> 00:34:17,920
Speaker 2: something I really love. I'm just I just want to

616
00:34:17,960 --> 00:34:20,520
Speaker 2: do it, like this is my passion. I don't And

617
00:34:20,560 --> 00:34:21,879
Speaker 2: then Pop was like, come here.

618
00:34:25,880 --> 00:34:26,960
Speaker 1: He took me in the kitchen.

619
00:34:27,360 --> 00:34:30,480
Speaker 2: Yeah, he took me in the kitchen, open the kitchen door, refrigerators,

620
00:34:30,520 --> 00:34:34,480
Speaker 2: like we need some food. You gotta it's okay to

621
00:34:34,480 --> 00:34:37,760
Speaker 2: get paid, It's okay. And I'm like, oh, okay, all right, cool?

622
00:34:37,920 --> 00:34:38,800
Speaker 6: Were you at that moment?

623
00:34:39,280 --> 00:34:39,760
Speaker 2: Fourteen?

624
00:34:40,760 --> 00:34:43,839
Speaker 1: So I was going to ask at what age were

625
00:34:43,840 --> 00:34:47,600
Speaker 1: you when you were like a total Jedi master, as

626
00:34:47,600 --> 00:34:51,600
Speaker 1: in like I could close my eyes and know.

627
00:34:53,280 --> 00:34:55,279
Speaker 2: I haven't got you. I haven't gotten there yet.

628
00:34:55,680 --> 00:35:00,680
Speaker 1: Good answer, Good answer. Now I ask you again, this

629
00:35:00,800 --> 00:35:01,560
Speaker 1: time just dropped.

630
00:35:03,120 --> 00:35:06,160
Speaker 2: No, I'm so serious. I'm being honest.

631
00:35:06,200 --> 00:35:09,000
Speaker 1: I'll ask you, at what age were you when other

632
00:35:09,120 --> 00:35:12,560
Speaker 1: musicians took you? Totally serious as in I want her

633
00:35:12,640 --> 00:35:14,960
Speaker 1: for At what age were you when you started?

634
00:35:16,840 --> 00:35:21,080
Speaker 2: You know, they still sometimes don't take me, sister, can't

635
00:35:21,080 --> 00:35:24,719
Speaker 2: get a call for a gig nowhere me. I'm telling you.

636
00:35:25,520 --> 00:35:32,160
Speaker 4: This because you're They're like, I can't afford I was like, oh.

637
00:35:32,200 --> 00:35:35,200
Speaker 1: I could have called you.

638
00:35:35,239 --> 00:35:36,560
Speaker 2: See that's what happened.

639
00:35:36,560 --> 00:35:38,640
Speaker 6: That's not nothing to do with that's that.

640
00:35:38,239 --> 00:35:41,280
Speaker 1: That's because we're afraid of you.

641
00:35:41,280 --> 00:35:43,440
Speaker 6: You're at a mountain top and now it's about of climbing.

642
00:35:43,600 --> 00:35:46,680
Speaker 2: Is like, yeah, no.

643
00:35:47,000 --> 00:35:50,600
Speaker 1: I mean, I know you're not owning the superhero thing,

644
00:35:50,680 --> 00:35:54,319
Speaker 1: and I know that artists hate the fan worship thing,

645
00:35:55,160 --> 00:35:59,759
Speaker 1: but your your existence is kind of a big deal.

646
00:36:00,120 --> 00:36:02,719
Speaker 2: So no, thank you. I mean I understand it now,

647
00:36:02,760 --> 00:36:05,920
Speaker 2: But seriously, when when growing up, I mean, I didn't

648
00:36:05,960 --> 00:36:08,560
Speaker 2: get it, and I don't think we realized it even

649
00:36:08,560 --> 00:36:11,760
Speaker 2: Pops until later on it's like, okay, well wait a minute.

650
00:36:11,800 --> 00:36:13,840
Speaker 2: You know that wasn't ignoring you.

651
00:36:13,880 --> 00:36:17,200
Speaker 1: That was more like we're not worthy. There was one

652
00:36:17,239 --> 00:36:19,000
Speaker 1: time I think I was going to call you for

653
00:36:19,040 --> 00:36:22,919
Speaker 1: a things and it's only because I saw that you

654
00:36:22,960 --> 00:36:28,400
Speaker 1: did was it loving you? Right? And I saw your

655
00:36:28,400 --> 00:36:31,880
Speaker 1: credit and then I was like, oh, oh, she would,

656
00:36:32,320 --> 00:36:34,200
Speaker 1: she would come down to earth and mess.

657
00:36:37,320 --> 00:36:39,239
Speaker 6: At what point in your life were you thinking like this?

658
00:36:39,960 --> 00:36:42,160
Speaker 4: Because you said, you know now you understand now why

659
00:36:42,200 --> 00:36:43,399
Speaker 4: people weren't calling, But like at.

660
00:36:43,719 --> 00:36:46,799
Speaker 2: Because until I started speaking with people, it's like, you

661
00:36:46,800 --> 00:36:50,680
Speaker 2: know how you doing? Oh? You know? Like and then

662
00:36:50,760 --> 00:36:52,480
Speaker 2: I was like, wait a minute, you know, I'll come

663
00:36:52,520 --> 00:36:56,320
Speaker 2: and do a session. You would, I mean.

664
00:36:56,800 --> 00:36:58,719
Speaker 6: And Stevie wanted to play the piano and no.

665
00:36:58,760 --> 00:37:01,600
Speaker 2: Listen, this guy, this dude, this producer called me. I

666
00:37:01,640 --> 00:37:04,840
Speaker 2: could have slapped him through the phone. He called me

667
00:37:04,880 --> 00:37:07,960
Speaker 2: and he said, hey, Sheila, I just want to know something,

668
00:37:08,040 --> 00:37:11,480
Speaker 2: all right, okay, yeah, what you need I'm doing. I'm

669
00:37:11,480 --> 00:37:14,040
Speaker 2: producing this record on this girl. I want to know

670
00:37:14,080 --> 00:37:18,279
Speaker 2: how to get the Sheila und do you know anybody.

671
00:37:20,840 --> 00:37:23,560
Speaker 1: But you're on the phone with her right now?

672
00:37:23,960 --> 00:37:26,040
Speaker 2: I did. I said, wait a minute, how can you

673
00:37:26,600 --> 00:37:29,400
Speaker 2: my sound you want to you want me to refer

674
00:37:29,480 --> 00:37:31,720
Speaker 2: you to somebody else? Dude.

675
00:37:32,480 --> 00:37:35,600
Speaker 1: Okay, here's another thing, and we're skipping we're skipping the

676
00:37:35,640 --> 00:37:42,239
Speaker 1: line here. But I believe that the the number one

677
00:37:42,880 --> 00:37:49,480
Speaker 1: weapon of the Purple Cloud period or just that period

678
00:37:49,560 --> 00:37:56,600
Speaker 1: with Prince, the number one weapon was mystery and anybody

679
00:37:56,719 --> 00:38:00,279
Speaker 1: associated any at least in my eyes, Like you know,

680
00:38:00,600 --> 00:38:03,440
Speaker 1: when I was ten, eleven twelve, like seeing you guys,

681
00:38:03,520 --> 00:38:08,400
Speaker 1: it was like it was some untouchable. We're too I

682
00:38:08,400 --> 00:38:10,440
Speaker 1: don't mean arrogant, like we're too good for.

683
00:38:10,440 --> 00:38:13,160
Speaker 5: That, but you know, a different world.

684
00:38:13,880 --> 00:38:16,000
Speaker 1: Yeah, even though like that we are the world perception like, oh,

685
00:38:16,160 --> 00:38:18,520
Speaker 1: we never do that, like in our minds, we're just

686
00:38:18,560 --> 00:38:21,600
Speaker 1: like you guys would only do your music and you're

687
00:38:21,680 --> 00:38:25,680
Speaker 1: laughing at us mere mortals like oner.

688
00:38:25,760 --> 00:38:27,359
Speaker 9: Brand kind of like that.

689
00:38:27,400 --> 00:38:32,759
Speaker 2: But we weren't gonna say no, no, no, no, no,

690
00:38:32,800 --> 00:38:36,279
Speaker 2: we you know what the it's weird. It's like it's

691
00:38:36,320 --> 00:38:38,160
Speaker 2: like being in this room, all of us sitting here,

692
00:38:38,200 --> 00:38:40,759
Speaker 2: we just start playing and jamming and next you know,

693
00:38:41,640 --> 00:38:44,040
Speaker 2: four days later you might have cut another record. I mean,

694
00:38:44,080 --> 00:38:46,040
Speaker 2: it was just like we love being in a studio

695
00:38:46,640 --> 00:38:49,960
Speaker 2: and after being with everyone, you know, all the time,

696
00:38:50,320 --> 00:38:52,680
Speaker 2: you kind of forget that there's a world happening, There's

697
00:38:52,680 --> 00:38:55,680
Speaker 2: something's going something is going on. At one point, Prince

698
00:38:55,719 --> 00:38:57,800
Speaker 2: and I just we felt like we're in a bubble,

699
00:38:58,280 --> 00:39:00,879
Speaker 2: and until we woke up at the end of Purple Rain,

700
00:39:00,960 --> 00:39:04,359
Speaker 2: it's like, wait, what just happened? We didn't even we

701
00:39:04,400 --> 00:39:06,160
Speaker 2: didn't understand it at all.

702
00:39:06,520 --> 00:39:10,120
Speaker 1: Okay, so now I know that you're available for session work.

703
00:39:10,880 --> 00:39:11,799
Speaker 1: Was it the important thing?

704
00:39:12,040 --> 00:39:15,000
Speaker 2: Yes? I am.

705
00:39:17,719 --> 00:39:24,560
Speaker 1: So. What was your very first gig as a profession

706
00:39:24,680 --> 00:39:26,120
Speaker 1: professional percussions?

707
00:39:26,680 --> 00:39:30,400
Speaker 2: Pops playing his percussion player got sick. He had a

708
00:39:30,400 --> 00:39:33,359
Speaker 2: band called that Techas signed to Clive Davis. They were

709
00:39:33,560 --> 00:39:36,600
Speaker 2: touring out with Temptations, Stevie, Wonder, earth Wind and Fire.

710
00:39:37,160 --> 00:39:40,200
Speaker 2: Pops's percussion other percussion player got sick and I said,

711
00:39:40,320 --> 00:39:43,080
Speaker 2: I'm fifteen, Pops, I know all the music you know.

712
00:39:43,239 --> 00:39:44,120
Speaker 2: Let me play this show.

713
00:39:44,160 --> 00:39:45,040
Speaker 9: And it was like coach.

714
00:39:45,920 --> 00:39:47,799
Speaker 2: He was like, no, you can't do it. And I

715
00:39:47,840 --> 00:39:51,040
Speaker 2: was like, Pops, come on, why. He said, you're only fifteen.

716
00:39:51,080 --> 00:39:53,080
Speaker 2: You can't you know they're out on tour with all

717
00:39:53,080 --> 00:39:55,440
Speaker 2: these bands. No, you can't do it. You're only fifteen

718
00:39:55,480 --> 00:39:58,360
Speaker 2: years old. And I said, moms, Pops won't let me

719
00:39:58,400 --> 00:40:03,560
Speaker 2: play in the band. Well, thank you. So I got

720
00:40:03,560 --> 00:40:05,880
Speaker 2: my way, and so I played that show in San

721
00:40:05,880 --> 00:40:10,320
Speaker 2: Francisco for I think it was then Mayor Moscone, I think,

722
00:40:10,840 --> 00:40:13,960
Speaker 2: and it was for three thousand people, and the band

723
00:40:14,040 --> 00:40:16,440
Speaker 2: was killing, like you know, fifteen years old. Like I've

724
00:40:16,440 --> 00:40:18,920
Speaker 2: been playing with these a couple of other bands and

725
00:40:19,040 --> 00:40:21,959
Speaker 2: they were like knockoffs of Santana music. So we knew

726
00:40:21,960 --> 00:40:25,279
Speaker 2: all that stuff. And my dad was in Santana right

727
00:40:25,320 --> 00:40:28,439
Speaker 2: before having the band ass Teca, and that band ass

728
00:40:28,440 --> 00:40:32,120
Speaker 2: Teca was formed with when Santana's band broke up, Carlos

729
00:40:32,160 --> 00:40:34,719
Speaker 2: broke up his band half the band with my dad,

730
00:40:34,800 --> 00:40:38,399
Speaker 2: Neil Sean, Lenny White on drums. All those people were

731
00:40:38,440 --> 00:40:42,359
Speaker 2: for a journey or huh okay yep. So they were

732
00:40:42,360 --> 00:40:46,040
Speaker 2: playing with my dad in Azteca, and so you got

733
00:40:46,040 --> 00:40:50,359
Speaker 2: this caliber of musicians in these people playing with an

734
00:40:50,360 --> 00:40:53,040
Speaker 2: eighteen piece, you know, five six horns, three singers, three

735
00:40:53,040 --> 00:40:56,200
Speaker 2: percussion players, to keyboard players to guitar players. I mean,

736
00:40:56,239 --> 00:40:59,840
Speaker 2: it was insane and all this music and it's like

737
00:41:00,760 --> 00:41:02,919
Speaker 2: I wanted to play in that band, So I got

738
00:41:02,920 --> 00:41:05,279
Speaker 2: to play in the band. And it just brings you

739
00:41:05,280 --> 00:41:07,160
Speaker 2: if you're set in a place where it's going to

740
00:41:07,239 --> 00:41:10,040
Speaker 2: force you to go somewhere you've never been before. You know,

741
00:41:10,080 --> 00:41:12,799
Speaker 2: I wanted to make sure that I was there representing,

742
00:41:13,200 --> 00:41:15,440
Speaker 2: and I mean I went for it. Well. You know,

743
00:41:15,520 --> 00:41:18,040
Speaker 2: my dad turned to me at one point and he said,

744
00:41:18,080 --> 00:41:20,000
Speaker 2: you know, I want you to take a solo, you know,

745
00:41:20,239 --> 00:41:23,120
Speaker 2: like he's gesturing to me, you know, play from your heart.

746
00:41:23,160 --> 00:41:26,440
Speaker 2: I'm like, I'm so scared. I closed my eyes and

747
00:41:26,440 --> 00:41:31,040
Speaker 2: I started playing a solo and I black. I felt

748
00:41:31,080 --> 00:41:34,839
Speaker 2: like a blackdown. I just left the planet. And next

749
00:41:34,880 --> 00:41:37,759
Speaker 2: thing I know, I remember looking up in the sky.

750
00:41:37,840 --> 00:41:41,360
Speaker 2: I was up in the sky like floating, looking at myself,

751
00:41:41,400 --> 00:41:44,480
Speaker 2: playing in the looking at the entire room with my

752
00:41:44,600 --> 00:41:47,400
Speaker 2: dad looking at me. I'm looking at him, and the

753
00:41:47,440 --> 00:41:50,160
Speaker 2: crowd is just starting to roar it and I saw

754
00:41:50,239 --> 00:41:55,799
Speaker 2: it like from above. It was so weird. And I

755
00:41:56,000 --> 00:41:58,200
Speaker 2: when I finally with my eyes, did I realize, like

756
00:41:58,520 --> 00:42:00,000
Speaker 2: all of a sudden, you know, like in a movie

757
00:42:00,120 --> 00:42:02,440
Speaker 2: and you hear the music like coming back in out

758
00:42:02,480 --> 00:42:05,440
Speaker 2: of nowhere. That's how I felt. And then I started

759
00:42:05,440 --> 00:42:07,560
Speaker 2: shaking because I got scared, like wait, did I just

760
00:42:07,680 --> 00:42:10,719
Speaker 2: find what happened? You know? And I felt like it

761
00:42:10,800 --> 00:42:14,280
Speaker 2: was an out of body experience and my hands were shaking,

762
00:42:14,400 --> 00:42:17,160
Speaker 2: and at the end of my soul, I looked at

763
00:42:17,160 --> 00:42:19,480
Speaker 2: Pops and I was I just started crying while I'm

764
00:42:19,520 --> 00:42:22,319
Speaker 2: still playing. And then I heard the roar of the

765
00:42:22,320 --> 00:42:25,719
Speaker 2: crowd and just like and it just got loud and

766
00:42:25,760 --> 00:42:28,360
Speaker 2: there was a standing ovation and I was like, I

767
00:42:28,400 --> 00:42:30,880
Speaker 2: don't even know what's I was just looking. I was

768
00:42:30,920 --> 00:42:33,640
Speaker 2: just crying like crazy. When we ended the song, the

769
00:42:33,760 --> 00:42:37,520
Speaker 2: show stopped, went backstage, and I was like, Pop's daddy, Daddy,

770
00:42:37,560 --> 00:42:39,239
Speaker 2: I'm going out on tour with you. This is what

771
00:42:39,280 --> 00:42:39,799
Speaker 2: I want to do.

772
00:42:40,000 --> 00:42:40,839
Speaker 1: That's what I want to do.

773
00:42:41,040 --> 00:42:42,520
Speaker 4: I know, and I know what I know this is

774
00:42:42,560 --> 00:42:44,719
Speaker 4: It was that the first thing, the last time you

775
00:42:44,760 --> 00:42:46,320
Speaker 4: had that feeling at that moment.

776
00:42:46,640 --> 00:42:50,200
Speaker 2: No, that was the beginning of my purpose. That was

777
00:42:50,239 --> 00:42:53,040
Speaker 2: the beginning. And Pops looked at me and then we

778
00:42:53,120 --> 00:42:56,040
Speaker 2: hugged and we just started crying. He's like, I don't

779
00:42:56,080 --> 00:42:58,279
Speaker 2: even know, how do you know all this? I was like,

780
00:42:58,400 --> 00:43:01,239
Speaker 2: I don't know. I think I was watching you on

781
00:43:01,400 --> 00:43:04,880
Speaker 2: like a sponge. I don't know. We had no idea,

782
00:43:05,360 --> 00:43:07,160
Speaker 2: like all of a sudden, just kind of jamming with

783
00:43:07,200 --> 00:43:09,960
Speaker 2: a local band for six months and then I went

784
00:43:10,000 --> 00:43:14,120
Speaker 2: from that local band to professionalism. I don't know.

785
00:43:14,360 --> 00:43:19,200
Speaker 1: So, Okay, this is definitely the I.

786
00:43:19,160 --> 00:43:22,680
Speaker 10: Gotta get a nice Techa record, bro man.

787
00:43:23,400 --> 00:43:25,600
Speaker 2: There's two of them. You have to hear it. It's amazing.

788
00:43:27,680 --> 00:43:34,000
Speaker 2: Seventy six five something like that. Seventy five four.

789
00:43:34,800 --> 00:43:38,880
Speaker 1: Okay, So you as a drummer and as a musician.

790
00:43:40,280 --> 00:43:43,920
Speaker 1: I was going to say that the one thing that

791
00:43:44,000 --> 00:43:50,319
Speaker 1: I think that you won't ever able to be, that

792
00:43:50,360 --> 00:43:56,280
Speaker 1: you'll never be able to avoid is the solo. Now

793
00:43:56,840 --> 00:43:59,879
Speaker 1: that's the dividing line between you and I because think

794
00:44:00,120 --> 00:44:04,240
Speaker 1: I've made a life and a career on the most

795
00:44:04,239 --> 00:44:07,880
Speaker 1: minimalist kind of approach to drumming.

796
00:44:08,280 --> 00:44:10,840
Speaker 2: That's a huge gift to have. It's a it's a

797
00:44:10,920 --> 00:44:13,239
Speaker 2: dangerous gift and a big responsibility.

798
00:44:13,440 --> 00:44:16,359
Speaker 1: I know it's a dangerous gift. But the thing is

799
00:44:16,360 --> 00:44:20,000
Speaker 1: is that in my age and as I get older,

800
00:44:20,160 --> 00:44:22,520
Speaker 1: like okay, so when I was in my twenties and

801
00:44:22,600 --> 00:44:25,600
Speaker 1: my thirties or whatever, especially uh, the way that my

802
00:44:25,760 --> 00:44:28,200
Speaker 1: arms are now with uh.

803
00:44:29,000 --> 00:44:31,440
Speaker 9: When you carbletonnel and everything.

804
00:44:31,600 --> 00:44:35,480
Speaker 1: Yeah, yeah, it's so painful now to take solo. So

805
00:44:35,520 --> 00:44:38,120
Speaker 1: it's like I'm taking them less and less on youtubes.

806
00:44:39,000 --> 00:44:44,319
Speaker 1: How are you, especially when most of your solos have

807
00:44:44,440 --> 00:44:49,680
Speaker 1: to have this you know this this climatic uh uh,

808
00:44:50,120 --> 00:44:55,759
Speaker 1: climactic applause from the audience. How are you able? Like

809
00:44:55,800 --> 00:44:57,640
Speaker 1: do you not? Do you have a fear of soloing

810
00:44:57,840 --> 00:45:02,640
Speaker 1: or no? Just but it's always expected of you, Yesela,

811
00:45:02,960 --> 00:45:04,839
Speaker 1: and the music stops like go ahead, and.

812
00:45:04,840 --> 00:45:07,319
Speaker 6: Yours has to be extra acrobatic, like it's always.

813
00:45:07,120 --> 00:45:10,359
Speaker 1: Yeah, you have to be You're not even zero to ten.

814
00:45:10,440 --> 00:45:12,600
Speaker 1: You have to go from zero to utter bond. You

815
00:45:12,680 --> 00:45:16,000
Speaker 1: gotta go to zero autobond in like five minutes. And

816
00:45:16,560 --> 00:45:20,320
Speaker 1: I'm just saying not even physicality or with with with

817
00:45:20,320 --> 00:45:23,400
Speaker 1: with age, whatever, but maybe there's just some nights you

818
00:45:23,440 --> 00:45:27,479
Speaker 1: don't feel like turning it on and like, but that's

819
00:45:27,520 --> 00:45:31,839
Speaker 1: pressure because you have to go from zero to a gazillion.

820
00:45:32,840 --> 00:45:34,880
Speaker 1: It's expected of you at least two minutes.

821
00:45:34,960 --> 00:45:40,080
Speaker 2: Yeah, it's interesting because I don't I don't think of

822
00:45:40,120 --> 00:45:42,000
Speaker 2: it as an I've got to be on on and

823
00:45:42,000 --> 00:45:44,799
Speaker 2: off or I don't feel like it. I've never put

824
00:45:44,840 --> 00:45:47,640
Speaker 2: myself in that position to feel like that. So I

825
00:45:48,480 --> 00:45:50,239
Speaker 2: love doing what I do and if people ask me,

826
00:45:50,239 --> 00:45:52,439
Speaker 2: I would love to do it, but I wouldn't walk

827
00:45:52,480 --> 00:45:54,440
Speaker 2: into a room to say I'm not gonna walk in

828
00:45:54,440 --> 00:45:56,319
Speaker 2: there because I don't feel like it. Then I should

829
00:45:56,440 --> 00:45:59,360
Speaker 2: have showed up. I never want to put myself in

830
00:45:59,360 --> 00:46:02,640
Speaker 2: that position say okay, I gotta turn it on. No,

831
00:46:02,840 --> 00:46:05,720
Speaker 2: I'm excited. If someone asked me to play, I would

832
00:46:05,719 --> 00:46:08,799
Speaker 2: love to. So there's no on and off switch you

833
00:46:08,840 --> 00:46:10,200
Speaker 2: asked me, It's always on.

834
00:46:10,600 --> 00:46:11,760
Speaker 6: Can I just I'm not fast forwarding?

835
00:46:11,760 --> 00:46:13,160
Speaker 4: But I just have a quick question on that note,

836
00:46:13,200 --> 00:46:15,560
Speaker 4: because I just watched you do the view and in

837
00:46:15,600 --> 00:46:18,200
Speaker 4: my mind I said, she would not do this performance

838
00:46:18,280 --> 00:46:21,160
Speaker 4: unless you have full hundred percent like comfortable. They would

839
00:46:21,160 --> 00:46:22,920
Speaker 4: say yes and you could do everything that you wanted

840
00:46:22,960 --> 00:46:25,040
Speaker 4: to do. Is that like an example of that moment

841
00:46:25,080 --> 00:46:27,600
Speaker 4: because it was kind of amazing and groundbreaking, so many

842
00:46:27,560 --> 00:46:28,000
Speaker 4: the things.

843
00:46:27,840 --> 00:46:28,799
Speaker 6: That you did within it.

844
00:46:29,040 --> 00:46:33,359
Speaker 2: Thank you. It was it was a it's interesting. It

845
00:46:33,360 --> 00:46:36,040
Speaker 2: was a fight. It was a fight. Yeah we had

846
00:46:36,120 --> 00:46:40,720
Speaker 2: it was a fight, and I'm grateful ended up turning

847
00:46:40,800 --> 00:46:45,400
Speaker 2: out good. But I always tell everyone, you know, no

848
00:46:45,760 --> 00:46:47,960
Speaker 2: doesn't mean you can't do it. No doesn't mean you

849
00:46:48,000 --> 00:46:51,120
Speaker 2: shouldn't a lot of time, no means opportunity, And I

850
00:46:51,160 --> 00:46:53,920
Speaker 2: was like, this has just been insane. The things that

851
00:46:53,960 --> 00:46:56,319
Speaker 2: we had to do and change. And I mean it was,

852
00:46:56,520 --> 00:46:59,440
Speaker 2: you know, from one thing to another, and I just

853
00:46:59,520 --> 00:47:02,120
Speaker 2: kept saying, but no, this is the message. We have

854
00:47:02,239 --> 00:47:04,839
Speaker 2: to send a message. I have to stand for. This

855
00:47:04,920 --> 00:47:07,640
Speaker 2: is what we're trying to send this message, and we

856
00:47:07,680 --> 00:47:09,920
Speaker 2: need the flag and it needs to be upside down,

857
00:47:10,120 --> 00:47:13,240
Speaker 2: you know. And I need to put the the images

858
00:47:13,640 --> 00:47:15,800
Speaker 2: in the back where people can see what we're talking about.

859
00:47:16,360 --> 00:47:20,120
Speaker 2: I need doctor King's speech, I need Kennedy's speech, you know,

860
00:47:20,600 --> 00:47:24,440
Speaker 2: I need Obama's speech. You know. So it was a

861
00:47:24,520 --> 00:47:28,160
Speaker 2: definite fight. But you know, again how things turned around.

862
00:47:28,160 --> 00:47:31,080
Speaker 2: We were only supposed to just play the music, and

863
00:47:31,120 --> 00:47:36,000
Speaker 2: then it turned into two questions, and then there's then

864
00:47:36,040 --> 00:47:38,200
Speaker 2: once they understood what we were trying to do, then

865
00:47:38,239 --> 00:47:40,600
Speaker 2: they were behind us one hundred percent, and we're glad

866
00:47:40,600 --> 00:47:44,480
Speaker 2: that they understood what we wanted to do. And then

867
00:47:44,480 --> 00:47:47,359
Speaker 2: it turned into let's move you to segment five and six,

868
00:47:47,680 --> 00:47:50,720
Speaker 2: and it's like, oh, now I get to explain what happened.

869
00:47:51,120 --> 00:47:53,279
Speaker 2: But never give up, you know, never give up. And

870
00:47:53,360 --> 00:47:55,600
Speaker 2: know me as opportunity man, I wasn't coming through that

871
00:47:55,640 --> 00:47:58,200
Speaker 2: front door, but I came through that side door, you know,

872
00:47:58,440 --> 00:48:00,000
Speaker 2: And I wasn't going to give up, but I still

873
00:48:00,160 --> 00:48:01,960
Speaker 2: got there and it was better than it was going

874
00:48:02,040 --> 00:48:02,719
Speaker 2: to be initially.

875
00:48:03,719 --> 00:48:05,520
Speaker 5: Sorry for those of us who don't watch the view

876
00:48:05,800 --> 00:48:06,600
Speaker 5: on a regular.

877
00:48:06,360 --> 00:48:08,200
Speaker 4: Basis, to move your neck like that when you say

878
00:48:08,200 --> 00:48:11,120
Speaker 4: the word okay, then watch the view.

879
00:48:12,040 --> 00:48:16,759
Speaker 10: I just I don't watch most of the time. So

880
00:48:16,840 --> 00:48:19,279
Speaker 10: what can you just tell us what the performance was?

881
00:48:19,960 --> 00:48:23,480
Speaker 2: Yeah, and you can go on Sheila YouTube channel to

882
00:48:23,520 --> 00:48:27,600
Speaker 2: watch it too, or my Facebook. Yeah, Shelia drummer, she

883
00:48:29,000 --> 00:48:34,960
Speaker 2: let's watch. No, the beginning of it is I did

884
00:48:35,040 --> 00:48:38,080
Speaker 2: the funky national anthem. I call it so the national

885
00:48:38,080 --> 00:48:42,480
Speaker 2: anthem with some things, and I had speeches in in

886
00:48:42,520 --> 00:48:43,560
Speaker 2: the song as well.

887
00:48:43,640 --> 00:48:48,200
Speaker 4: She kneeled while she played.

888
00:48:46,520 --> 00:48:49,799
Speaker 10: With the speeches samples of the actual speeches or was

889
00:48:49,800 --> 00:48:50,319
Speaker 10: somebody else?

890
00:48:50,680 --> 00:48:53,760
Speaker 2: No, it was the actual Like I got the okay

891
00:48:53,760 --> 00:48:57,440
Speaker 2: from doctor King's estate and family to use his images

892
00:48:57,640 --> 00:49:00,960
Speaker 2: and his speeches on my record. That was huge because

893
00:49:01,000 --> 00:49:03,839
Speaker 2: they just don't do that for anybody, for anybody.

894
00:49:03,920 --> 00:49:04,960
Speaker 1: It was super political.

895
00:49:05,239 --> 00:49:07,920
Speaker 5: Yeah, it was funky national anthem. I got it, Dan,

896
00:49:08,120 --> 00:49:09,560
Speaker 5: you gotta have me a funky okay.

897
00:49:09,600 --> 00:49:11,319
Speaker 4: When I reposted it, I was like, it was nice

898
00:49:11,360 --> 00:49:12,920
Speaker 4: that they allowed you to show your love and your

899
00:49:12,960 --> 00:49:14,200
Speaker 4: frustration for this country.

900
00:49:14,440 --> 00:49:16,080
Speaker 2: Yeah, yeah, absolutely.

901
00:49:16,719 --> 00:49:23,480
Speaker 1: Okay, So in performing I know that today, especially with

902
00:49:23,560 --> 00:49:26,160
Speaker 1: it being the call to personality and based on celebrity

903
00:49:26,760 --> 00:49:31,560
Speaker 1: that gets people approval. I know that in the seventies

904
00:49:31,840 --> 00:49:36,759
Speaker 1: you actually had to be good and great and you

905
00:49:36,840 --> 00:49:39,360
Speaker 1: had to entertain, not just perform, but you had to entertain.

906
00:49:39,960 --> 00:49:44,680
Speaker 1: So what was this the level of preparation, especially with

907
00:49:44,760 --> 00:49:47,680
Speaker 1: Azteca and then eventually you went to George Duke and stuff.

908
00:49:48,080 --> 00:49:51,160
Speaker 1: What was the level of preparation that you guys put

909
00:49:51,239 --> 00:49:54,399
Speaker 1: into doing shows? Like were you guys looking at other

910
00:49:54,440 --> 00:49:55,880
Speaker 1: acts that were on the bill and like, yo, we

911
00:49:55,880 --> 00:49:58,600
Speaker 1: gotta blow them off the stage? Or you know, were

912
00:49:58,600 --> 00:50:02,040
Speaker 1: their headline acts that were like okay, can you guys

913
00:50:02,120 --> 00:50:08,040
Speaker 1: not you know, I'll just you know, do something normal And.

914
00:50:08,560 --> 00:50:13,880
Speaker 2: Right now, I don't know that. I don't remember with me,

915
00:50:14,280 --> 00:50:17,120
Speaker 2: once I said I was going to become a professional musician,

916
00:50:17,160 --> 00:50:21,040
Speaker 2: did was there a competition? I think that there was

917
00:50:21,080 --> 00:50:23,720
Speaker 2: competition early on with the other bands, the local bands,

918
00:50:23,840 --> 00:50:25,880
Speaker 2: We're gonna be better than them kind of thing. But

919
00:50:25,920 --> 00:50:30,480
Speaker 2: once once I became a professional musician, it wasn't about

920
00:50:30,880 --> 00:50:33,520
Speaker 2: we have to be better. The preparation was like, as

921
00:50:33,719 --> 00:50:36,160
Speaker 2: Pops told me all the time. In order for you

922
00:50:36,200 --> 00:50:37,799
Speaker 2: to feel good about what you're doing and what you're

923
00:50:37,840 --> 00:50:40,839
Speaker 2: playing and walk out there with confidence. The only way

924
00:50:40,840 --> 00:50:42,640
Speaker 2: to do that is know what you're supposed to do.

925
00:50:43,160 --> 00:50:45,640
Speaker 2: And if you prepare and listen to the music, learn

926
00:50:46,000 --> 00:50:48,000
Speaker 2: you know all the breaks, and you walk in, you

927
00:50:48,120 --> 00:50:53,719
Speaker 2: play the show. You're gonna enjoy yourself and you're gonna

928
00:50:53,760 --> 00:50:56,360
Speaker 2: play and not have to worry or be afraid. So

929
00:50:56,440 --> 00:50:58,840
Speaker 2: I was always prepared. I always listened to the music

930
00:50:58,880 --> 00:51:02,080
Speaker 2: whatever I needed to listen to to make sure, especially

931
00:51:02,120 --> 00:51:04,279
Speaker 2: if I had it ahead of time, I would learn

932
00:51:04,320 --> 00:51:06,560
Speaker 2: the music so I'd walk in. And that was part

933
00:51:06,560 --> 00:51:09,160
Speaker 2: of the issues with some of the other male drummers

934
00:51:09,280 --> 00:51:13,160
Speaker 2: was I'd walk in prepared and they wouldn't know anything,

935
00:51:13,239 --> 00:51:15,319
Speaker 2: and they're just like pissed off of.

936
00:51:15,400 --> 00:51:18,359
Speaker 1: Me, really, because you're because she did the job.

937
00:51:18,560 --> 00:51:20,240
Speaker 2: I did the job with a smile.

938
00:51:21,480 --> 00:51:23,360
Speaker 1: I'm so glad we didn't come up and see it.

939
00:51:23,360 --> 00:51:28,440
Speaker 1: I would have heard, Okay, actual proof where the cuts

940
00:51:28,440 --> 00:51:33,440
Speaker 1: in the Huppy song. So how I know that Because

941
00:51:33,520 --> 00:51:37,840
Speaker 1: George Duke came from the school of uh Frank Zappa.

942
00:51:39,040 --> 00:51:41,040
Speaker 1: But I also know that in the mid seventies he

943
00:51:41,120 --> 00:51:44,400
Speaker 1: was trying to get more into his funk thing at

944
00:51:44,560 --> 00:51:47,200
Speaker 1: I mean, we're his shows. I've never seen like any

945
00:51:47,239 --> 00:51:50,120
Speaker 1: of the tapes of his seventies shows on YouTube. I

946
00:51:50,120 --> 00:51:51,920
Speaker 1: mean there will be like a clip or two, yeah,

947
00:51:51,960 --> 00:51:54,760
Speaker 1: but it'll just be you know again like dookie stick

948
00:51:54,880 --> 00:51:57,480
Speaker 1: or you know, just like one of his his groove

949
00:51:57,480 --> 00:52:00,840
Speaker 1: based songs. But how much of his fusion stuff that

950
00:52:00,920 --> 00:52:05,120
Speaker 1: he incorporate in his seventy shows by the time that

951
00:52:05,160 --> 00:52:06,240
Speaker 1: you joined his band.

952
00:52:06,600 --> 00:52:10,320
Speaker 2: Oh a lot of it. The dope thing about George

953
00:52:10,360 --> 00:52:13,439
Speaker 2: was he played so many different genres of music because

954
00:52:13,440 --> 00:52:16,960
Speaker 2: he played the fusion a lot. He did play jazz,

955
00:52:17,080 --> 00:52:19,200
Speaker 2: we played a lot of Brazilian music, we played the

956
00:52:19,239 --> 00:52:23,759
Speaker 2: funk music. I mean, he played everything in the show.

957
00:52:23,880 --> 00:52:26,600
Speaker 2: So he allowed me to He never told me what

958
00:52:26,719 --> 00:52:28,840
Speaker 2: I needed to play or even what he wanted me

959
00:52:28,880 --> 00:52:32,000
Speaker 2: to play. He just always said, Okay, you got your

960
00:52:32,000 --> 00:52:34,799
Speaker 2: house full of stuff, whatever you feel like fits in

961
00:52:34,840 --> 00:52:36,840
Speaker 2: that song, just play it. So he allowed me to

962
00:52:36,880 --> 00:52:40,200
Speaker 2: grow as a musician. That doesn't really happen with people.

963
00:52:40,280 --> 00:52:42,640
Speaker 2: You know, everyone's a lot of times you need to

964
00:52:42,640 --> 00:52:44,520
Speaker 2: play this and you need to play that, and be

965
00:52:44,680 --> 00:52:47,520
Speaker 2: specific on what you're playing. But he just allowed me

966
00:52:47,600 --> 00:52:52,080
Speaker 2: to express myself freely like always and that was.

967
00:52:52,120 --> 00:52:55,160
Speaker 1: Huge for these early gigs. Were you also your own

968
00:52:55,200 --> 00:52:57,320
Speaker 1: tech and your own rodie Like I know that times

969
00:52:57,320 --> 00:53:00,560
Speaker 1: have changed now it's like I have a writer those things,

970
00:53:00,560 --> 00:53:03,400
Speaker 1: but now those things exist Back then.

971
00:53:03,560 --> 00:53:07,319
Speaker 2: Uh, I had a tech later, but no, I was

972
00:53:07,840 --> 00:53:09,680
Speaker 2: when I was playing the clubs in the Bay Area

973
00:53:09,800 --> 00:53:13,919
Speaker 2: with the different bands, I put my drum set, Timbali's

974
00:53:13,960 --> 00:53:18,920
Speaker 2: and congas in a voval myself, load and unload and

975
00:53:19,040 --> 00:53:22,080
Speaker 2: set everything up and then do the same thing every night.

976
00:53:23,000 --> 00:53:25,000
Speaker 1: So you transport it in a car.

977
00:53:25,320 --> 00:53:27,160
Speaker 2: In a car, That's what I say.

978
00:53:27,560 --> 00:53:30,080
Speaker 1: Those are hills where you live, Like how did you

979
00:53:30,080 --> 00:53:32,120
Speaker 1: get those? Like how did you transport?

980
00:53:32,640 --> 00:53:34,920
Speaker 2: Yeah? They were here, they were hells. But no, I

981
00:53:36,719 --> 00:53:39,640
Speaker 2: I had a voval and so I put all my

982
00:53:39,760 --> 00:53:42,839
Speaker 2: gear in a voval, not unless I use At one

983
00:53:42,880 --> 00:53:45,799
Speaker 2: point moms got a van, but that was I never

984
00:53:45,840 --> 00:53:48,160
Speaker 2: hardly use a van. So I was my own tech.

985
00:53:48,239 --> 00:53:51,800
Speaker 2: Absolutely sometimes I get help. And then later on with George,

986
00:53:52,000 --> 00:53:55,120
Speaker 2: he did have a tech. Uh so he did do

987
00:53:55,200 --> 00:53:56,800
Speaker 2: a lot of the workers as well.

988
00:53:57,760 --> 00:54:02,520
Speaker 1: Yeah, after George Suke, it was did you do a

989
00:54:02,560 --> 00:54:04,000
Speaker 1: stint that I don't know if you did a stint

990
00:54:04,000 --> 00:54:05,640
Speaker 1: with Algibo or not, or I don't know if he

991
00:54:05,719 --> 00:54:06,719
Speaker 1: was just opening.

992
00:54:06,480 --> 00:54:09,359
Speaker 2: Or we well, we played on the same bill. Yeah,

993
00:54:09,400 --> 00:54:11,959
Speaker 2: so we all jammed together. Yeah, we did shows together.

994
00:54:11,960 --> 00:54:14,240
Speaker 2: I wasn't officially in this band. What we played together?

995
00:54:14,360 --> 00:54:16,640
Speaker 1: Damn? Okay, because I thought that you would have been

996
00:54:16,680 --> 00:54:20,120
Speaker 1: on the live in Europe. Look at the Rainbow. It's

997
00:54:20,120 --> 00:54:21,480
Speaker 1: one of my favorite albums.

998
00:54:21,200 --> 00:54:23,960
Speaker 2: Of it and I someone else asked me that, and

999
00:54:24,000 --> 00:54:26,120
Speaker 2: I'm not sure. I have to listen to it because

1000
00:54:26,200 --> 00:54:28,640
Speaker 2: it could be me. We were in Europe doing those

1001
00:54:28,640 --> 00:54:32,400
Speaker 2: shows a lot together on the same bill, so I

1002
00:54:32,440 --> 00:54:36,239
Speaker 2: don't know. It's it's it's all a blur. I'd have

1003
00:54:36,280 --> 00:54:39,680
Speaker 2: to listen and see, or it could be No, I

1004
00:54:39,680 --> 00:54:41,320
Speaker 2: don't know. I was gonna say it could be Paulino.

1005
00:54:42,320 --> 00:54:43,239
Speaker 1: Okay, I don't know.

1006
00:54:43,440 --> 00:54:45,600
Speaker 5: Were you on a lot of George Duke albums or

1007
00:54:46,200 --> 00:54:47,520
Speaker 5: just part of his work?

1008
00:54:47,680 --> 00:54:52,120
Speaker 2: Yeah, Resilient, Love Affair and uh the Game Master of

1009
00:54:52,200 --> 00:54:58,000
Speaker 2: the Game, Follow the Rainbow, and about four after that

1010
00:54:58,080 --> 00:54:59,520
Speaker 2: I just don't remember the names of.

1011
00:55:00,800 --> 00:55:01,040
Speaker 9: Yeah.

1012
00:55:01,160 --> 00:55:04,239
Speaker 5: Yeah, I'm on the verge of going headlong into him.

1013
00:55:05,080 --> 00:55:07,000
Speaker 2: He's amazing, incredible.

1014
00:55:07,640 --> 00:55:09,800
Speaker 1: Yeah, oh you love it because.

1015
00:55:09,600 --> 00:55:12,359
Speaker 5: Yeah, I'm coming in through the jazz way. Actually yeah, like.

1016
00:55:12,360 --> 00:55:15,799
Speaker 1: No, Havadilla's stuff is based on like George stuff, so

1017
00:55:15,880 --> 00:55:21,319
Speaker 1: you will love it instantly. So uh, I know that

1018
00:55:21,360 --> 00:55:24,840
Speaker 1: you did stints with Uh, you're Diana Ross? Period? Was

1019
00:55:24,880 --> 00:55:27,279
Speaker 1: that in the seventies or in the.

1020
00:55:27,480 --> 00:55:30,560
Speaker 2: Yes, it was in the early seventies.

1021
00:55:30,960 --> 00:55:33,160
Speaker 1: Do you know if that? Are you part of the

1022
00:55:33,640 --> 00:55:35,239
Speaker 1: I know that she had two live albums out in

1023
00:55:35,239 --> 00:55:39,080
Speaker 1: the seventies, one was uh, there was one in the

1024
00:55:39,120 --> 00:55:43,960
Speaker 1: seventy seven, which I know there's multiple percussionists when you're

1025
00:55:43,960 --> 00:55:46,640
Speaker 1: doing these shows. Are you the lone percussionist on a

1026
00:55:46,719 --> 00:55:47,680
Speaker 1: majority of these shows?

1027
00:55:47,680 --> 00:55:48,520
Speaker 9: Are you sharing with?

1028
00:55:49,239 --> 00:55:49,759
Speaker 2: Yeah? Mostly?

1029
00:55:49,840 --> 00:55:51,920
Speaker 1: Were you and your brother in a package or no?

1030
00:55:53,560 --> 00:55:56,440
Speaker 2: Those shows? Well with Diana Ross, that's a different story.

1031
00:55:56,520 --> 00:55:59,839
Speaker 2: I didn't even make the record because I quit after

1032
00:55:59,880 --> 00:56:00,719
Speaker 2: this second gig.

1033
00:56:01,840 --> 00:56:06,759
Speaker 1: Okay, I was gonna say client wise, pre pre your

1034
00:56:06,800 --> 00:56:13,279
Speaker 1: your solo career. Who who was a client that was

1035
00:56:13,320 --> 00:56:15,040
Speaker 1: easy to work with? I mean, I don't mean the

1036
00:56:15,480 --> 00:56:18,480
Speaker 1: complexity of the music, but just a comfortable environment that

1037
00:56:18,520 --> 00:56:24,160
Speaker 1: you enjoyed, that you like the music versus high end. Yeah,

1038
00:56:24,600 --> 00:56:30,359
Speaker 1: versus high end? Uh, you know, politics of either a

1039
00:56:30,360 --> 00:56:34,560
Speaker 1: band a band leader not being cordial or being hard

1040
00:56:34,560 --> 00:56:37,520
Speaker 1: on you or whatever, or just because a lot of times,

1041
00:56:37,560 --> 00:56:39,640
Speaker 1: you know, I know that with the artists, like even

1042
00:56:39,680 --> 00:56:42,200
Speaker 1: if the artist is is wrong, they're right.

1043
00:56:43,520 --> 00:56:44,719
Speaker 9: Yeah wait, that's throw me off.

1044
00:56:44,760 --> 00:56:47,160
Speaker 1: That's not the one and and you know, blaming you

1045
00:56:47,280 --> 00:56:48,319
Speaker 1: easy to point you out.

1046
00:56:48,520 --> 00:56:51,239
Speaker 2: Yeah, well that was Dyana Ross. That's why I quit.

1047
00:56:53,320 --> 00:56:55,399
Speaker 2: She came to play Circle Star Theater, which is one

1048
00:56:55,440 --> 00:56:59,239
Speaker 2: of the the dopest places playing in San Francisco at

1049
00:56:59,239 --> 00:57:03,960
Speaker 2: the time, and everyone played there. Shaka Rufus played there.

1050
00:57:04,520 --> 00:57:07,000
Speaker 2: I mean everyone, oh Jay's it didn't matter. So all

1051
00:57:07,000 --> 00:57:09,480
Speaker 2: the artists would come and play that play. So they

1052
00:57:09,600 --> 00:57:12,839
Speaker 2: hired me to play. And it's in the round, so

1053
00:57:13,360 --> 00:57:17,640
Speaker 2: it turns in. The stage turns throughout the show, so

1054
00:57:17,720 --> 00:57:22,240
Speaker 2: half of the stage was pit for the orchestra. And

1055
00:57:22,280 --> 00:57:26,520
Speaker 2: then she's on top of the main floor and so

1056
00:57:26,800 --> 00:57:28,720
Speaker 2: you know, I told everyone in the Bay area, shoot,

1057
00:57:28,720 --> 00:57:32,080
Speaker 2: I'm playing with Diana Ross. And all my people came. Well,

1058
00:57:32,640 --> 00:57:35,760
Speaker 2: she didn't like people screaming at me.

1059
00:57:38,240 --> 00:57:44,240
Speaker 4: Oh no, oh, get a one off, like okay, I

1060
00:57:44,280 --> 00:57:45,240
Speaker 4: won't do it the second time.

1061
00:57:46,160 --> 00:57:48,200
Speaker 2: Yeah, it was you know, I mean, and they announced

1062
00:57:48,200 --> 00:57:50,680
Speaker 2: the people in the band and everything, and then but

1063
00:57:51,000 --> 00:57:54,120
Speaker 2: you know, she was very angry, and so then she said, well,

1064
00:57:54,120 --> 00:57:56,440
Speaker 2: I'm getting too much Well she didn't tell me that.

1065
00:57:56,520 --> 00:57:58,880
Speaker 2: She told the musical director she's getting too much attention.

1066
00:57:59,200 --> 00:58:01,120
Speaker 2: She needs to cover up from her neck all the

1067
00:58:01,200 --> 00:58:01,600
Speaker 2: way down.

1068
00:58:01,760 --> 00:58:02,480
Speaker 3: Wow.

1069
00:58:03,480 --> 00:58:05,400
Speaker 2: But they told me to wear black. I mean I

1070
00:58:05,480 --> 00:58:08,480
Speaker 2: just I had like a sleeveless blouse on. It was black.

1071
00:58:08,840 --> 00:58:11,440
Speaker 2: Everyone should wear black. And I was like, okay. He said, well,

1072
00:58:11,520 --> 00:58:13,200
Speaker 2: she wants you to cover up your arms. I said

1073
00:58:13,240 --> 00:58:16,080
Speaker 2: I can't because I'm playing and you know, it's like

1074
00:58:16,120 --> 00:58:17,240
Speaker 2: this is going to get in a way.

1075
00:58:17,320 --> 00:58:18,760
Speaker 6: I wanted you to cover that pretty face.

1076
00:58:18,960 --> 00:58:29,040
Speaker 11: I shouldn't say that.

1077
00:58:29,040 --> 00:58:29,800
Speaker 2: That's okay.

1078
00:58:30,520 --> 00:58:34,240
Speaker 1: Oh yeah, So only two shows.

1079
00:58:34,960 --> 00:58:40,280
Speaker 2: Yeah, I played the one night and then he said,

1080
00:58:41,200 --> 00:58:45,640
Speaker 2: missus Ross wants to talk to you and for tomorrow's show,

1081
00:58:45,680 --> 00:58:48,280
Speaker 2: but she wants you to cover up. And I was like, well,

1082
00:58:48,320 --> 00:58:50,880
Speaker 2: you hired me for my musicianship, right, he said yeah.

1083
00:58:51,040 --> 00:58:52,680
Speaker 2: I said, well I'm doing what you need to do,

1084
00:58:52,760 --> 00:58:55,640
Speaker 2: right he said yeah. I said I can't play with

1085
00:58:55,720 --> 00:58:58,600
Speaker 2: the sleep It's going to be too hard. He said, okay,

1086
00:58:58,600 --> 00:59:00,520
Speaker 2: well she would like to speak with you. Okay, So

1087
00:59:00,560 --> 00:59:03,080
Speaker 2: I stood out the side of stood at the door

1088
00:59:03,160 --> 00:59:05,360
Speaker 2: of her dressing room and she could see me in

1089
00:59:05,440 --> 00:59:06,920
Speaker 2: the mirror. She was just staring at me, but she

1090
00:59:07,000 --> 00:59:10,960
Speaker 2: was talking to her friend. Yeah, uh huh. So I'm

1091
00:59:10,960 --> 00:59:14,040
Speaker 2: standing and she's just talking. I'm standing there. She could

1092
00:59:14,120 --> 00:59:17,640
Speaker 2: she could see me in five minutes, ten fifteen, then twenty,

1093
00:59:17,680 --> 00:59:22,320
Speaker 2: then almost going on thirty, and I said, oh, I'm leaving.

1094
00:59:22,440 --> 00:59:25,960
Speaker 2: So I turned around and her friend saw her because

1095
00:59:26,000 --> 00:59:28,800
Speaker 2: Diana kind of you know, looked to the side, and

1096
00:59:28,840 --> 00:59:31,480
Speaker 2: her friend turned around. She said, oh my god, you

1097
00:59:31,520 --> 00:59:32,360
Speaker 2: were amazing.

1098
00:59:32,600 --> 00:59:34,040
Speaker 1: I loved you.

1099
00:59:34,040 --> 00:59:39,120
Speaker 2: You were so amazing, and diyie, oh, yeah, that's all

1100
00:59:39,120 --> 00:59:41,360
Speaker 2: our percussionist. Blah blah blah. So I walked out of

1101
00:59:41,400 --> 00:59:44,560
Speaker 2: the room and the guy said, well, you know, I

1102
00:59:44,640 --> 00:59:46,320
Speaker 2: just want to make sure when you come tomorrow that

1103
00:59:46,360 --> 00:59:48,160
Speaker 2: you're going to be covered. I said, no, that's not

1104
00:59:48,160 --> 00:59:51,120
Speaker 2: gonna happen because I quit. He's like, not, we in

1105
00:59:51,200 --> 00:59:53,560
Speaker 2: the two shows that night. So there was the two shows,

1106
00:59:53,600 --> 00:59:55,920
Speaker 2: but the next night I didn't even show. I said, no,

1107
00:59:55,960 --> 00:59:58,640
Speaker 2: I'm not coming. He goes, no, no, no, wait, what

1108
00:59:58,840 --> 01:00:02,560
Speaker 2: you're quitting? I said that absolutely. I said that's just wrong.

1109
01:00:03,200 --> 01:00:05,120
Speaker 2: I know what she's doing. And she and then I

1110
01:00:05,160 --> 01:00:08,400
Speaker 2: got really angry. She made me wait there in the

1111
01:00:08,480 --> 01:00:11,960
Speaker 2: dressing room. Right, she looked at me purposely and like

1112
01:00:12,040 --> 01:00:13,840
Speaker 2: dogged me and like hit you.

1113
01:00:14,480 --> 01:00:17,400
Speaker 1: So you weren't afraid of no, no, no, not comming you

1114
01:00:17,480 --> 01:00:20,600
Speaker 1: for that, But at that time in your early career,

1115
01:00:20,640 --> 01:00:22,080
Speaker 1: you weren't afraid of burning the bridge.

1116
01:00:23,560 --> 01:00:24,400
Speaker 2: No, she was wrong.

1117
01:00:26,200 --> 01:00:31,640
Speaker 1: He So that makes the we are the World sessions super.

1118
01:00:33,920 --> 01:00:36,560
Speaker 6: Between. Wait, what's the time between we are the World?

1119
01:00:36,560 --> 01:00:39,840
Speaker 2: And that's a lot of different, and it was different.

1120
01:00:40,160 --> 01:00:43,040
Speaker 6: There was never a breakups after the makeups to break ups.

1121
01:00:43,200 --> 01:00:45,440
Speaker 2: No, it was I was she left Corvino when I

1122
01:00:45,480 --> 01:00:47,360
Speaker 2: played with her, and then.

1123
01:00:47,200 --> 01:00:51,520
Speaker 1: I was she did talk to her sessions.

1124
01:00:53,800 --> 01:00:55,560
Speaker 2: You con't my favorite.

1125
01:00:58,880 --> 01:01:01,760
Speaker 1: But did she know it was? Yes, I don't worry.

1126
01:01:02,080 --> 01:01:04,080
Speaker 4: And I bet you were playing with sleeves by then,

1127
01:01:04,160 --> 01:01:05,760
Speaker 4: so like, oh I can do.

1128
01:01:08,000 --> 01:01:09,960
Speaker 6: I swear some of them suits? It was some sleeves.

1129
01:01:09,960 --> 01:01:10,920
Speaker 6: It was some sleeves, Shila.

1130
01:01:11,160 --> 01:01:11,320
Speaker 1: No.

1131
01:01:12,520 --> 01:01:14,960
Speaker 2: After that, I laughed, we kind of we didn't say nothing,

1132
01:01:15,000 --> 01:01:17,160
Speaker 2: but we laughed, like you come sit over here, you

1133
01:01:17,240 --> 01:01:21,040
Speaker 2: know it's all good. Okay, that's my girl.

1134
01:01:21,480 --> 01:01:21,760
Speaker 1: Okay.

1135
01:01:21,880 --> 01:01:23,400
Speaker 2: I love me some Diana Ross.

1136
01:01:23,560 --> 01:01:28,160
Speaker 1: So I gotta know I know that you were on

1137
01:01:28,240 --> 01:01:33,040
Speaker 1: the Midlight Midnight Love Tour. Okay, just to make sure. Okay,

1138
01:01:33,200 --> 01:01:38,080
Speaker 1: So the the nineteen eighty the documentary, No no, no, the

1139
01:01:38,600 --> 01:01:44,400
Speaker 1: the nineteen eighty Manto Jazz Festival. That is not Chila playing,

1140
01:01:45,080 --> 01:01:51,240
Speaker 1: but I thought it was he has a crowd. No, no, no,

1141
01:01:51,280 --> 01:01:55,440
Speaker 1: this I'm talking to Marvin. Yay. Now, I'm sorry you

1142
01:01:55,560 --> 01:01:58,720
Speaker 1: never seen it. Okay, I thought this whole time, I

1143
01:01:58,720 --> 01:01:59,920
Speaker 1: thought it was you. When I looked this morning, I

1144
01:02:00,080 --> 01:02:03,680
Speaker 1: was like, that's not Sheila. When did you? When did you?

1145
01:02:03,680 --> 01:02:06,200
Speaker 1: You've only joined for the Midlight Night Love Tour.

1146
01:02:06,320 --> 01:02:12,080
Speaker 2: Yeah, very and eighty two, the very his very last tour.

1147
01:02:12,720 --> 01:02:16,560
Speaker 1: I saw. It's not much footage is online, but I

1148
01:02:16,640 --> 01:02:21,840
Speaker 1: know of a promoter that had a really good Uh

1149
01:02:21,960 --> 01:02:24,400
Speaker 1: at least there was a radio City of Music Hall

1150
01:02:24,440 --> 01:02:29,080
Speaker 1: show that he did and it's it's there. And I'll

1151
01:02:29,080 --> 01:02:31,640
Speaker 1: say that of all the Marvin shows that I saw,

1152
01:02:33,840 --> 01:02:35,280
Speaker 1: it was a little weird. I don't know if it's

1153
01:02:35,280 --> 01:02:39,360
Speaker 1: based on the newer material or whatever, but I mean

1154
01:02:39,400 --> 01:02:41,800
Speaker 1: there's a point where like even when he does sexual healing,

1155
01:02:41,840 --> 01:02:44,800
Speaker 1: like he does a strip tease thing down to his

1156
01:02:44,920 --> 01:02:50,160
Speaker 1: underwear and he just for this particular performance, he didn't

1157
01:02:50,160 --> 01:02:52,959
Speaker 1: look comfortable. And then when the promoter told me like, yeah,

1158
01:02:52,960 --> 01:02:56,560
Speaker 1: this is like one of his, I think he's like, yeah,

1159
01:02:56,600 --> 01:02:58,960
Speaker 1: this's like his his he would only have eleven more

1160
01:02:59,000 --> 01:03:03,080
Speaker 1: performances left, and there's like his last ten performances of

1161
01:03:03,120 --> 01:03:06,520
Speaker 1: his life. What was it you did the whole duration

1162
01:03:06,600 --> 01:03:07,040
Speaker 1: of that tour?

1163
01:03:07,160 --> 01:03:09,320
Speaker 2: Yeah, the whole tour and my brother and one of

1164
01:03:09,360 --> 01:03:11,520
Speaker 2: our friends. So there was three of us playing percussion,

1165
01:03:11,880 --> 01:03:17,640
Speaker 2: three of you, and we had duplicates of each, three

1166
01:03:17,680 --> 01:03:20,000
Speaker 2: pairs of Tenbali's, three pair of congress, three pair of

1167
01:03:20,000 --> 01:03:21,760
Speaker 2: bongos chimes.

1168
01:03:21,960 --> 01:03:27,120
Speaker 1: Yeah, what what was it like to to do that tour?

1169
01:03:28,320 --> 01:03:30,840
Speaker 1: Just knowing what you know of what happened to his

1170
01:03:30,920 --> 01:03:34,120
Speaker 1: life and stuff, and I mean not skied to personal

1171
01:03:34,240 --> 01:03:38,080
Speaker 1: in his life, but what what was it like? Because

1172
01:03:38,120 --> 01:03:39,720
Speaker 1: even when I watched it, it just.

1173
01:03:41,240 --> 01:03:44,120
Speaker 2: It's weird because I thought we started at Radio City.

1174
01:03:44,200 --> 01:03:45,760
Speaker 2: That was the first gig, wasn't it.

1175
01:03:46,200 --> 01:03:47,920
Speaker 1: Well maybe I don't know when he does, but he

1176
01:03:47,920 --> 01:03:50,840
Speaker 1: said like this this is the last eleven something. Maybe

1177
01:03:50,880 --> 01:03:52,960
Speaker 1: it was eleven months or whatever, but I know that

1178
01:03:53,280 --> 01:03:55,000
Speaker 1: because we were out that was his last tour. I

1179
01:03:55,080 --> 01:03:56,240
Speaker 1: definitely know that it was the.

1180
01:03:56,240 --> 01:03:58,600
Speaker 2: Last tour, definitely because after we got home was when

1181
01:03:58,600 --> 01:03:59,280
Speaker 2: he passed away.

1182
01:03:59,360 --> 01:04:02,040
Speaker 1: He started in New York. It starts in New York.

1183
01:04:02,080 --> 01:04:03,760
Speaker 2: I think we started at Radio City.

1184
01:04:03,760 --> 01:04:04,400
Speaker 1: It's crazy.

1185
01:04:04,600 --> 01:04:06,120
Speaker 2: I could swear.

1186
01:04:06,720 --> 01:04:07,800
Speaker 9: No, no, I mean, I don't know.

1187
01:04:07,880 --> 01:04:11,280
Speaker 1: He could, but I'm just saying that. Usually like agents

1188
01:04:11,360 --> 01:04:14,960
Speaker 1: like to start you off in right Kansas or somewhere

1189
01:04:15,000 --> 01:04:15,720
Speaker 1: where you can.

1190
01:04:15,960 --> 01:04:18,160
Speaker 2: Yeah, I don't know, And maybe we did. I just

1191
01:04:18,200 --> 01:04:24,160
Speaker 2: remember because some stuff went down at that gig. So yeah,

1192
01:04:24,200 --> 01:04:28,880
Speaker 2: it was pretty interesting. He was amazing. I mean it

1193
01:04:29,000 --> 01:04:31,280
Speaker 2: was weird. What I mean. Of course the women loved,

1194
01:04:31,360 --> 01:04:35,520
Speaker 2: you know, him dropping his pants into some boxers with

1195
01:04:35,560 --> 01:04:39,240
Speaker 2: some designs on him. But man, there were times when

1196
01:04:39,280 --> 01:04:41,840
Speaker 2: he was singing. I almost missed my cue because I

1197
01:04:41,920 --> 01:04:45,560
Speaker 2: was a fan of going, oh my god, look at him.

1198
01:04:45,560 --> 01:04:48,760
Speaker 2: I mean, I was tripping. He's at the piano, like really,

1199
01:04:48,800 --> 01:04:51,439
Speaker 2: when he got into it, he got his rhythm going.

1200
01:04:51,520 --> 01:04:54,160
Speaker 2: As far as knowing what songs were coming up, it

1201
01:04:54,200 --> 01:04:56,240
Speaker 2: was amazing. He just blew us away.

1202
01:04:56,680 --> 01:04:58,120
Speaker 6: How often did those moments happen?

1203
01:04:58,160 --> 01:05:00,439
Speaker 4: And that's that's interesting that you would get this because

1204
01:05:00,440 --> 01:05:02,000
Speaker 4: you worked with like so many great people as though.

1205
01:05:02,040 --> 01:05:04,440
Speaker 2: Exactly now this was at the kind of at the

1206
01:05:04,520 --> 01:05:06,880
Speaker 2: very beginning because it you know, I mean, I grew

1207
01:05:06,960 --> 01:05:08,439
Speaker 2: up listening to Marvin gay and all of a sudden,

1208
01:05:08,480 --> 01:05:11,160
Speaker 2: I'm in the band. And that was one of the

1209
01:05:11,200 --> 01:05:14,880
Speaker 2: dopest conga drum beats. Everyone wanted to play. Doom Doom

1210
01:05:16,080 --> 01:05:23,400
Speaker 2: got the mother right. So playing that conga beats, like

1211
01:05:23,880 --> 01:05:27,120
Speaker 2: I'm playing it with Marvin Gaye like this story. I

1212
01:05:27,120 --> 01:05:28,760
Speaker 2: don't know if I told you this before, but the

1213
01:05:28,840 --> 01:05:32,000
Speaker 2: story when we were in rehearsals, like my brother didn't

1214
01:05:32,040 --> 01:05:36,280
Speaker 2: have the gig, Peter Michael. So I'm playing and I

1215
01:05:36,360 --> 01:05:39,720
Speaker 2: kept telling him, come to rehearsal, you know, I think

1216
01:05:39,800 --> 01:05:41,560
Speaker 2: I can get you the gig. So he kept showing up.

1217
01:05:41,560 --> 01:05:44,520
Speaker 2: So Marvin thought he was in the band for real,

1218
01:05:44,840 --> 01:05:48,360
Speaker 2: like during rehearsals, no one, he didn't even know. And

1219
01:05:48,480 --> 01:05:50,800
Speaker 2: so he's playing. He's thinking that there's three of us playing.

1220
01:05:51,080 --> 01:05:55,200
Speaker 2: So I'm playing. Uh, we're all playing at rehearsal, and

1221
01:05:55,680 --> 01:05:58,240
Speaker 2: everyone's kind of just sitting down playing, you know, chilling.

1222
01:05:58,560 --> 01:06:00,480
Speaker 2: So the three of us we start doing like the

1223
01:06:00,600 --> 01:06:05,520
Speaker 2: Michael Jackson dance, the Jackson five danced. We start, oh yeah,

1224
01:06:05,560 --> 01:06:08,320
Speaker 2: the two step. We started doing that, and we started

1225
01:06:08,320 --> 01:06:10,920
Speaker 2: getting into it. So then the horn players look like, oh,

1226
01:06:11,080 --> 01:06:13,240
Speaker 2: we can dance too, so then they started throwing down.

1227
01:06:13,480 --> 01:06:15,280
Speaker 2: Then the singers are like, well, we can do something.

1228
01:06:15,320 --> 01:06:18,200
Speaker 2: So all of a sudden, that's how everyone just started dancing,

1229
01:06:18,240 --> 01:06:21,960
Speaker 2: because we started dancing first, and especially playing what's going on?

1230
01:06:22,040 --> 01:06:25,320
Speaker 2: I mean, you can't help but not dance. So I'm

1231
01:06:25,320 --> 01:06:28,040
Speaker 2: playing that beat and it's really it only consists of

1232
01:06:28,040 --> 01:06:32,640
Speaker 2: that boom boom back dun. Well it got good to me,

1233
01:06:32,680 --> 01:06:34,520
Speaker 2: and I hit that low jump and went dun dun

1234
01:06:34,640 --> 01:06:38,160
Speaker 2: goad got dude, you know I hit that low jump.

1235
01:06:38,240 --> 01:06:38,439
Speaker 5: Right.

1236
01:06:38,680 --> 01:06:43,400
Speaker 2: He's a very soft spoken man. How you doing? She

1237
01:06:43,560 --> 01:06:47,320
Speaker 2: like he whispers when he talks. His back was to

1238
01:06:47,440 --> 01:06:51,920
Speaker 2: us he's singing that song. I hit that extra drum beat.

1239
01:06:52,280 --> 01:06:55,200
Speaker 2: There were twenty four at least twenty four to twenty

1240
01:06:55,240 --> 01:06:58,120
Speaker 2: six people in the band. He put his hand up

1241
01:06:58,160 --> 01:07:00,720
Speaker 2: and yelled with his back to us. I'm like, hold

1242
01:07:00,760 --> 01:07:04,120
Speaker 2: on stop. And it was a trip because I don't

1243
01:07:04,120 --> 01:07:07,280
Speaker 2: think anyone had heard him yell like yeah, and all

1244
01:07:07,320 --> 01:07:12,480
Speaker 2: you hear is you know, stick's falling, and you know, like,

1245
01:07:12,600 --> 01:07:20,080
Speaker 2: what the heck does happen? And it's like, you know, right,

1246
01:07:20,560 --> 01:07:24,400
Speaker 2: And then he turned around and he and he has

1247
01:07:24,440 --> 01:07:27,520
Speaker 2: his mic in his hand. He said, somebody played an

1248
01:07:27,600 --> 01:07:31,800
Speaker 2: extra beat, and I'm like, oh my, you could hear

1249
01:07:31,920 --> 01:07:35,120
Speaker 2: my heart pounding. I was so scared. I was like,

1250
01:07:35,280 --> 01:07:38,720
Speaker 2: my heart's gonna pop out of my chest. I'm frightened.

1251
01:07:39,000 --> 01:07:40,760
Speaker 2: And all I could think it was to blame it

1252
01:07:40,760 --> 01:07:46,720
Speaker 2: on Peter Michael. So so I just went like this.

1253
01:07:46,800 --> 01:07:50,440
Speaker 2: I was like, I better say something before no one's okay, sorry,

1254
01:07:50,480 --> 01:07:56,480
Speaker 2: mister gay. That was my brother, Peter Michael. So that

1255
01:07:56,680 --> 01:07:59,360
Speaker 2: the hand raised, Yeah, I raised my hand. Excuse me,

1256
01:07:59,440 --> 01:08:01,600
Speaker 2: I'm sorry, but I'll make sure that he doesn't do

1257
01:08:01,640 --> 01:08:03,920
Speaker 2: that again. And then Peter Michael put his hand in

1258
01:08:03,960 --> 01:08:06,440
Speaker 2: it and he goes, yeah, I'm sorry, I'm sorry. So

1259
01:08:06,480 --> 01:08:08,760
Speaker 2: he took it and he's like okay. So at the

1260
01:08:08,920 --> 01:08:13,400
Speaker 2: end of all of this, Peter Michaels rehearsing with us

1261
01:08:13,440 --> 01:08:15,640
Speaker 2: for a couple of weeks or whatever. We get ready

1262
01:08:15,640 --> 01:08:18,120
Speaker 2: to leave and Peter Michael's walking to go home and

1263
01:08:18,120 --> 01:08:20,200
Speaker 2: he says, I'm gonna drive back to oak because we're

1264
01:08:20,320 --> 01:08:22,679
Speaker 2: rehearsing here in La. I'm gona drive back to Oakland

1265
01:08:23,000 --> 01:08:25,320
Speaker 2: and the road. Magic River says, hey, man, go get

1266
01:08:25,320 --> 01:08:27,839
Speaker 2: your suit, your tuxed will get fitted for your tuxedo,

1267
01:08:27,840 --> 01:08:30,320
Speaker 2: and he's like, for what, He goes, you're going on tour.

1268
01:08:30,320 --> 01:08:34,120
Speaker 2: He goes, I'm not in the band, and then he said,

1269
01:08:34,200 --> 01:08:39,760
Speaker 2: yes you are. He said, yes you are, and Marvin said, yeah,

1270
01:08:39,800 --> 01:08:42,120
Speaker 2: you go get your suit. And he didn't know that

1271
01:08:42,160 --> 01:08:44,320
Speaker 2: Peter Michael wasn't in the band. He's like, make sure

1272
01:08:44,360 --> 01:08:46,040
Speaker 2: you get your suit and you look nice. And so

1273
01:08:46,400 --> 01:08:49,400
Speaker 2: he got hired as he was leaving because Marvin thought

1274
01:08:49,439 --> 01:08:50,559
Speaker 2: he was in the band the whole time.

1275
01:08:50,640 --> 01:08:53,519
Speaker 1: Oh wait, who's do you know who the MD was

1276
01:08:53,520 --> 01:08:54,080
Speaker 1: at the time.

1277
01:08:54,320 --> 01:09:00,680
Speaker 2: It was his cousin, nephew. What was his name? If

1278
01:09:00,720 --> 01:09:03,840
Speaker 2: you told me his name, might say, okay, yeah, he

1279
01:09:03,960 --> 01:09:06,680
Speaker 2: wasn't Like well wait a minute, Nobody said what.

1280
01:09:06,640 --> 01:09:08,160
Speaker 1: The hell was he doing it in the first place?

1281
01:09:08,760 --> 01:09:11,479
Speaker 1: That many musicians Yep, okay, you brought up. You brought

1282
01:09:11,560 --> 01:09:13,440
Speaker 1: up a point. Even when you said with the Askteker,

1283
01:09:14,160 --> 01:09:18,760
Speaker 1: you mentioned at least seventeen eighteen nineteen people, how did

1284
01:09:18,840 --> 01:09:19,599
Speaker 1: y'all get paid?

1285
01:09:21,400 --> 01:09:24,599
Speaker 2: We did? Really, we got paid well. I mean as

1286
01:09:24,640 --> 01:09:27,439
Speaker 2: Teka was opening for earth Wind and Fire and Stevie

1287
01:09:27,479 --> 01:09:31,800
Speaker 2: and Temptations, so they were making money and that back

1288
01:09:31,840 --> 01:09:35,840
Speaker 2: in that day, you know, they were getting paid so.

1289
01:09:35,800 --> 01:09:38,240
Speaker 1: You could you could still make a good living.

1290
01:09:38,120 --> 01:09:40,960
Speaker 2: Actually as a as a side person.

1291
01:09:41,520 --> 01:09:44,280
Speaker 1: Yeah, at no point during this part of your journey

1292
01:09:44,320 --> 01:09:47,679
Speaker 1: are you thinking, Hey, I gotta be out in the front.

1293
01:09:47,720 --> 01:09:49,599
Speaker 1: I got to be my own artist, and I gotta

1294
01:09:50,240 --> 01:09:52,160
Speaker 1: you were just fine with being a team member, and.

1295
01:09:52,200 --> 01:09:55,040
Speaker 2: Oh absolutely I love being a team member. And the

1296
01:09:55,120 --> 01:09:58,080
Speaker 2: crazy thing about it, even being a team member with Marvin,

1297
01:09:58,840 --> 01:10:00,519
Speaker 2: he would still say she I want you to go

1298
01:10:00,560 --> 01:10:03,639
Speaker 2: take a solo. I'm like, okay. So he'd go change

1299
01:10:03,720 --> 01:10:05,320
Speaker 2: and then the three of us would do this drum

1300
01:10:05,400 --> 01:10:07,840
Speaker 2: thing that we made up, and I'd take a Timbalish solo.

1301
01:10:07,880 --> 01:10:10,040
Speaker 2: We throw the sticks up and do this whole thing

1302
01:10:10,120 --> 01:10:12,200
Speaker 2: until he come back in a new outfit.

1303
01:10:13,080 --> 01:10:16,479
Speaker 1: Okay. And I'm always going to refer to the solo

1304
01:10:16,560 --> 01:10:21,320
Speaker 1: because it's very important. When you bounce the stick on

1305
01:10:21,360 --> 01:10:23,280
Speaker 1: the floor, you throw up in the air and you

1306
01:10:23,320 --> 01:10:25,120
Speaker 1: turn around do the pure wet and you catch it

1307
01:10:25,120 --> 01:10:25,760
Speaker 1: behind your back.

1308
01:10:25,880 --> 01:10:26,640
Speaker 2: Yeah.

1309
01:10:27,360 --> 01:10:28,559
Speaker 1: Has it ever dropped?

1310
01:10:28,720 --> 01:10:34,800
Speaker 2: And I still yes, it has dropped. But here's the

1311
01:10:34,880 --> 01:10:35,800
Speaker 2: thing is when I was.

1312
01:10:35,840 --> 01:10:38,200
Speaker 1: You play it off well or something like what I've.

1313
01:10:38,280 --> 01:10:41,360
Speaker 2: No I see, here's the thing. I'm gonna give away

1314
01:10:41,360 --> 01:10:44,960
Speaker 2: some of my secrets, please, thank you the ball. Yeah.

1315
01:10:45,000 --> 01:10:48,200
Speaker 2: So here's the thing. It's I when I realized every

1316
01:10:48,200 --> 01:10:50,360
Speaker 2: time I wanted to make sure it's like she you know,

1317
01:10:50,400 --> 01:10:52,360
Speaker 2: you can't freak out. I don't want to drop the stick.

1318
01:10:52,360 --> 01:10:53,840
Speaker 2: And I was like, you know, I don't want to

1319
01:10:53,920 --> 01:10:55,400
Speaker 2: drop the stay every time I throw it up. So

1320
01:10:57,360 --> 01:10:58,960
Speaker 2: most of the time I caught it. Once in a

1321
01:10:59,040 --> 01:11:01,880
Speaker 2: while I miss it. You'd hear the audience go, ah, well,

1322
01:11:01,920 --> 01:11:04,360
Speaker 2: you're playing in front of twenty thousand people. And I

1323
01:11:04,400 --> 01:11:06,880
Speaker 2: threw the stick up one time and I missed. I'm like, shoot,

1324
01:11:07,160 --> 01:11:09,519
Speaker 2: you know, and you hear ah. And then I threw

1325
01:11:09,520 --> 01:11:11,120
Speaker 2: it up again. I said, I'm catching a second when

1326
01:11:11,160 --> 01:11:13,400
Speaker 2: I missed it, I was like, seriously, But the all

1327
01:11:13,520 --> 01:11:17,760
Speaker 2: got louder. Oh. And then the third one they're like, oh,

1328
01:11:18,400 --> 01:11:21,200
Speaker 2: she looked, come on, and then I looked, oh, they

1329
01:11:21,320 --> 01:11:23,880
Speaker 2: want me to win. So the fourth one, I picked

1330
01:11:23,880 --> 01:11:25,680
Speaker 2: it up, and I mean, I threw it up and

1331
01:11:25,720 --> 01:11:28,559
Speaker 2: I caught it, and they're like, the roar was louder

1332
01:11:28,600 --> 01:11:32,559
Speaker 2: than the first roar because they they wanted to be

1333
01:11:32,680 --> 01:11:35,439
Speaker 2: with me and cheer me on. I was like, I

1334
01:11:35,520 --> 01:11:36,720
Speaker 2: get it. I get it.

1335
01:11:36,840 --> 01:11:39,719
Speaker 1: See you're making me feel bad. For not taking more risks.

1336
01:11:39,880 --> 01:11:45,720
Speaker 1: I did that once once once all it took. I

1337
01:11:45,720 --> 01:11:49,640
Speaker 1: did so and I was watching you did the thing

1338
01:11:49,680 --> 01:11:51,360
Speaker 1: when you bounced the stick off the floor or whatever,

1339
01:11:51,680 --> 01:11:56,400
Speaker 1: and the shit hit me in the face and I

1340
01:11:56,439 --> 01:11:58,720
Speaker 1: was like, never again, you got that.

1341
01:12:00,080 --> 01:12:01,639
Speaker 2: Yeah, that hurts, and it's happened before.

1342
01:12:01,920 --> 01:12:03,799
Speaker 3: I used to try it, like in bank class in school,

1343
01:12:03,800 --> 01:12:05,120
Speaker 3: and you just stay on the floor.

1344
01:12:05,240 --> 01:12:06,720
Speaker 1: Yeah, Like I never knew.

1345
01:12:06,479 --> 01:12:08,679
Speaker 6: How youre a science to the balance.

1346
01:12:08,760 --> 01:12:11,680
Speaker 3: That's why I like between watching her and Jerome bent

1347
01:12:11,800 --> 01:12:14,200
Speaker 3: and do it. Yeah, I wanted to know how to

1348
01:12:14,200 --> 01:12:14,559
Speaker 3: do it.

1349
01:12:14,479 --> 01:12:17,280
Speaker 1: Do it with ease and they bounce off the floor,

1350
01:12:17,360 --> 01:12:20,719
Speaker 1: spin and they kept it like it was nothing. Uh yeah,

1351
01:12:20,960 --> 01:12:25,160
Speaker 1: I practiced that thing for least thirty seven minutes back backstage.

1352
01:12:25,160 --> 01:12:30,559
Speaker 1: I was then, because backstage is marble floors bouncing right

1353
01:12:30,880 --> 01:12:34,719
Speaker 1: your drum sets on a run. Somebodyn't think about.

1354
01:12:34,080 --> 01:12:42,080
Speaker 6: To make up your own move. That's Sheila move, all right?

1355
01:12:42,200 --> 01:12:44,800
Speaker 1: So I know that you moved to Linel Richie right

1356
01:12:44,840 --> 01:12:46,160
Speaker 1: after Mark correct.

1357
01:12:46,320 --> 01:12:50,960
Speaker 2: I was actually uh touring with Marvin playing Chills at

1358
01:12:51,040 --> 01:12:52,840
Speaker 2: night and flying back to la during the day to

1359
01:12:52,920 --> 01:12:55,800
Speaker 2: rehearse with Lionel for that next tour.

1360
01:12:56,800 --> 01:12:57,120
Speaker 1: Wow.

1361
01:12:57,560 --> 01:13:01,479
Speaker 5: You the linel the first line of album tour not.

1362
01:13:02,040 --> 01:13:07,559
Speaker 1: Uh technically, well it's or canceled. Yeah, cancel because you're

1363
01:13:07,760 --> 01:13:10,639
Speaker 1: I forgot. You're in Running with the video.

1364
01:13:10,880 --> 01:13:19,240
Speaker 6: Yes, she's the leader video.

1365
01:13:21,080 --> 01:13:28,320
Speaker 1: You're not here right now? I finally know something important. Wow, yes,

1366
01:13:29,439 --> 01:13:31,800
Speaker 1: is the lead and Running with the Night video.

1367
01:13:32,520 --> 01:13:34,200
Speaker 5: And so you did the cancel down tour?

1368
01:13:34,920 --> 01:13:35,240
Speaker 1: Yes?

1369
01:13:35,479 --> 01:13:36,320
Speaker 2: Yes, cancel?

1370
01:13:36,479 --> 01:13:38,800
Speaker 1: Yeah, yes she did.

1371
01:13:39,040 --> 01:13:41,240
Speaker 2: That's okay.

1372
01:13:41,720 --> 01:13:44,880
Speaker 1: Sorry, I'm just amazed that I knew something that wasn't

1373
01:13:44,880 --> 01:13:46,960
Speaker 1: here to steal my shine on my own show.

1374
01:13:47,040 --> 01:13:47,639
Speaker 2: Thank you.

1375
01:13:47,640 --> 01:13:51,160
Speaker 5: So you're on the album too, I don't remember.

1376
01:13:51,160 --> 01:13:54,320
Speaker 2: I don't know if I came in before.

1377
01:13:53,760 --> 01:14:00,679
Speaker 1: Yes, before I did. Speaking speaking of are you there

1378
01:14:00,800 --> 01:14:05,919
Speaker 1: or were you not there? Can you settle the debate

1379
01:14:06,400 --> 01:14:08,920
Speaker 1: of if you are or if you're not on? Don't

1380
01:14:08,920 --> 01:14:09,840
Speaker 1: stop till you get enough?

1381
01:14:10,800 --> 01:14:11,000
Speaker 9: Oh?

1382
01:14:11,080 --> 01:14:11,679
Speaker 2: Good question.

1383
01:14:12,200 --> 01:14:16,040
Speaker 1: I've heard that you confirmed that you were on. I

1384
01:14:16,080 --> 01:14:18,679
Speaker 1: heard you. I heard it was a rumor. I don't

1385
01:14:19,320 --> 01:14:20,040
Speaker 1: Is that a rumor?

1386
01:14:20,320 --> 01:14:22,880
Speaker 9: No? Uh, that's not a rumor.

1387
01:14:23,400 --> 01:14:27,559
Speaker 2: No it is no, it's no, it's is it fake news? Okay?

1388
01:14:27,640 --> 01:14:30,840
Speaker 2: Look what happened was Quincy called me and said he

1389
01:14:30,920 --> 01:14:34,080
Speaker 2: wanted me to play something on this song that Michael

1390
01:14:34,400 --> 01:14:36,680
Speaker 2: had written with some kind of he didn't know what

1391
01:14:36,920 --> 01:14:40,599
Speaker 2: percussion thing it was going to be right, So I forget,

1392
01:14:40,680 --> 01:14:42,160
Speaker 2: I don't know. I want to say it's Westlake. I

1393
01:14:42,200 --> 01:14:44,439
Speaker 2: can't remember what's too he was in La Westlake. Yeah,

1394
01:14:44,520 --> 01:14:46,719
Speaker 2: I think it was west Lake. So I go there

1395
01:14:47,280 --> 01:14:51,800
Speaker 2: and I'm one known for not using normal percussions. I

1396
01:14:51,840 --> 01:14:57,360
Speaker 2: makeup stuff. I use different things, bachelor's hair brushes, chopsticks,

1397
01:14:57,479 --> 01:15:00,600
Speaker 2: you know, just whatever bite of an apple put on

1398
01:15:00,600 --> 01:15:05,000
Speaker 2: the snare. I'm telling my secrets. Yeah, uh huh, I

1399
01:15:05,000 --> 01:15:20,680
Speaker 2: know you're gonna rewind that one. But so I go

1400
01:15:20,720 --> 01:15:22,880
Speaker 2: into the studio and it is like trying to figure out, Okay,

1401
01:15:22,960 --> 01:15:26,040
Speaker 2: what what works here? What he's what? They're trying to

1402
01:15:26,640 --> 01:15:29,000
Speaker 2: tell me he need he needs something. So I took

1403
01:15:29,080 --> 01:15:33,680
Speaker 2: water bottles and I want real bottles, not plastic. We

1404
01:15:33,720 --> 01:15:36,360
Speaker 2: didn't happen, but water bottle and I tuned it to

1405
01:15:36,400 --> 01:15:39,360
Speaker 2: the song, and I used my that metal piece for

1406
01:15:39,400 --> 01:15:42,120
Speaker 2: the triangle that I played the triangle with. I used

1407
01:15:42,120 --> 01:15:46,320
Speaker 2: that for the sides and went gan. So I tuned

1408
01:15:46,320 --> 01:15:50,559
Speaker 2: it to the to the song. That's it. But what's

1409
01:15:50,600 --> 01:15:53,519
Speaker 2: so So what happened was they kept changing Who's gonna

1410
01:15:53,560 --> 01:15:55,960
Speaker 2: play on what you know? That thing went on forever

1411
01:15:56,160 --> 01:15:58,880
Speaker 2: trying to get it done, and they forgot I played

1412
01:15:58,920 --> 01:16:00,479
Speaker 2: on it, and they're like, no, I think it was

1413
01:16:00,479 --> 01:16:02,680
Speaker 2: Paulino or maybe it was what.

1414
01:16:04,240 --> 01:16:07,120
Speaker 1: Well, you're not the first person to get gagged on this, right,

1415
01:16:07,400 --> 01:16:07,640
Speaker 1: So I.

1416
01:16:10,320 --> 01:16:13,320
Speaker 2: Was just gonna say feeling games too. So I'm waiting

1417
01:16:13,360 --> 01:16:15,479
Speaker 2: for the record to come out, and the record comes off.

1418
01:16:15,479 --> 01:16:17,599
Speaker 2: I was telling me what I played on Michael's first record,

1419
01:16:17,640 --> 01:16:20,400
Speaker 2: blah blah blah blah. So I go to Leopolds in

1420
01:16:20,439 --> 01:16:24,320
Speaker 2: Berkeley and Michael's doing a signing. So he says, I'm

1421
01:16:24,320 --> 01:16:26,160
Speaker 2: going to be there at Leopold's. I want you guys, come.

1422
01:16:26,240 --> 01:16:26,439
Speaker 9: Okay.

1423
01:16:26,520 --> 01:16:29,760
Speaker 2: We go to Leopolds, We meet him there and I

1424
01:16:29,800 --> 01:16:32,040
Speaker 2: get the record and I was like, my name's not

1425
01:16:32,080 --> 01:16:36,240
Speaker 2: on the record. He's like, huh, my name is not

1426
01:16:36,280 --> 01:16:39,680
Speaker 2: on the record, man. So I just have to tell

1427
01:16:39,720 --> 01:16:40,160
Speaker 2: the story.

1428
01:16:40,360 --> 01:16:42,720
Speaker 5: Damn Michael, who did the credits for that?

1429
01:16:43,840 --> 01:16:48,080
Speaker 1: I did because I always forget people. That's funny because

1430
01:16:48,120 --> 01:16:50,759
Speaker 1: he did it in store at Leopold's. Because I believe

1431
01:16:50,960 --> 01:16:54,400
Speaker 1: there's there's footage of him the same day that he

1432
01:16:54,439 --> 01:16:58,320
Speaker 1: did that in store at Leopold's. There's footage of him

1433
01:16:58,439 --> 01:17:03,719
Speaker 1: visiting in Oakland club that very night and the DJ

1434
01:17:03,800 --> 01:17:06,280
Speaker 1: plays don't stop tea good enough, and he gets on

1435
01:17:06,360 --> 01:17:08,479
Speaker 1: and like he grabs the microphone and dances a little

1436
01:17:08,479 --> 01:17:12,720
Speaker 1: bit in front of it, like it's it's that night

1437
01:17:12,760 --> 01:17:15,960
Speaker 1: in Oakland that that same that same period. Wait a minute,

1438
01:17:16,040 --> 01:17:18,080
Speaker 1: he let you guys know, I know this is weird

1439
01:17:18,120 --> 01:17:20,320
Speaker 1: because you've played with everyone, but I'm kind of freaked

1440
01:17:20,320 --> 01:17:26,720
Speaker 1: out that, like you were even on speaking terms with

1441
01:17:26,760 --> 01:17:27,519
Speaker 1: Michael Jackson.

1442
01:17:27,600 --> 01:17:29,000
Speaker 6: It was just me, But I thought it was like

1443
01:17:29,200 --> 01:17:32,920
Speaker 6: something people, because that's kind of uncommon. Wait, so did

1444
01:17:33,000 --> 01:17:34,760
Speaker 6: y'all talk about each other? And did he say?

1445
01:17:34,840 --> 01:17:35,080
Speaker 2: Did he?

1446
01:17:35,160 --> 01:17:35,880
Speaker 6: And did he asked you?

1447
01:17:35,960 --> 01:17:36,240
Speaker 1: Were he?

1448
01:17:36,360 --> 01:17:37,760
Speaker 6: And why are you talking to him?

1449
01:17:37,880 --> 01:17:41,040
Speaker 1: But he wasn't. He wasn't Michael Jackson. I mean, was

1450
01:17:41,080 --> 01:17:42,839
Speaker 1: Michael Jackson. He was still Michael Jackson.

1451
01:17:42,880 --> 01:17:46,080
Speaker 2: But yeah, but I met them when they were I

1452
01:17:46,160 --> 01:17:49,839
Speaker 2: met them with George Duke in the seventies, so I

1453
01:17:49,880 --> 01:17:52,440
Speaker 2: met the whole family when they were playing in Europe.

1454
01:17:52,160 --> 01:17:53,320
Speaker 1: So they were still approachable.

1455
01:17:53,520 --> 01:17:55,120
Speaker 9: Yes, okay, absolutely.

1456
01:17:55,600 --> 01:17:57,920
Speaker 2: They wanted me to teach Randy how to play percussion,

1457
01:17:58,840 --> 01:18:01,360
Speaker 2: so I went to the house to try and and

1458
01:18:01,400 --> 01:18:03,960
Speaker 2: then the parents were like, we don't want to know Mexican.

1459
01:18:04,080 --> 01:18:05,080
Speaker 2: I'm just kidding.

1460
01:18:07,560 --> 01:18:12,880
Speaker 1: Something, but I'll let it go. But I kidding.

1461
01:18:13,080 --> 01:18:18,880
Speaker 2: No, No, they wanted me to come and, uh, you know,

1462
01:18:18,960 --> 01:18:19,880
Speaker 2: teach him how to play?

1463
01:18:19,920 --> 01:18:23,439
Speaker 1: So, yeah, can you teach him how to play? Because

1464
01:18:23,439 --> 01:18:26,080
Speaker 1: people ask me all the time, No, yes, I say,

1465
01:18:26,200 --> 01:18:29,000
Speaker 1: I say yes, man. I've seen every one of their

1466
01:18:29,000 --> 01:18:30,960
Speaker 1: mom asked me. And the most I'll do is I'll

1467
01:18:30,960 --> 01:18:33,680
Speaker 1: do a play. I do not know how to or

1468
01:18:33,720 --> 01:18:34,920
Speaker 1: I don't know if I have the patients do.

1469
01:18:35,160 --> 01:18:37,280
Speaker 2: But there's another secret.

1470
01:18:37,600 --> 01:18:40,000
Speaker 1: When's the last time you gave a lesson? Can you

1471
01:18:40,040 --> 01:18:41,799
Speaker 1: teach them how to play? Okay?

1472
01:18:42,280 --> 01:18:43,280
Speaker 2: Yeah, I've done some.

1473
01:18:43,920 --> 01:18:45,719
Speaker 1: I don't mean like when you're going to a school

1474
01:18:45,720 --> 01:18:47,360
Speaker 1: and whatever and you're like, okay, you hold the sticks

1475
01:18:47,360 --> 01:18:50,040
Speaker 1: and it's like, I mean, like a real Okay, I'll

1476
01:18:50,080 --> 01:18:52,639
Speaker 1: be there at four o'clock and then I sit down

1477
01:18:52,680 --> 01:18:56,839
Speaker 1: and your jackson, you're paradiddling need to Deafinitely.

1478
01:18:57,640 --> 01:19:04,160
Speaker 2: I don't know any so I don't. Yeah, I don't

1479
01:19:04,200 --> 01:19:06,800
Speaker 2: know a lot of that stuff. Anyway, you know. I

1480
01:19:07,400 --> 01:19:12,040
Speaker 2: taught like people at some of the women conferences and stuff,

1481
01:19:12,240 --> 01:19:14,160
Speaker 2: and we talk about my book or what everything I'll say,

1482
01:19:14,200 --> 01:19:15,880
Speaker 2: but I can also teach you how to play drums

1483
01:19:16,000 --> 01:19:19,759
Speaker 2: very simple. It's really simple. And everyone's going no, no, no,

1484
01:19:19,960 --> 01:19:21,519
Speaker 2: I want to play, and I don't know how to play.

1485
01:19:21,840 --> 01:19:23,720
Speaker 2: So I have a drum set in the room for

1486
01:19:23,800 --> 01:19:28,040
Speaker 2: these conferences, and all I do is this is this

1487
01:19:28,120 --> 01:19:31,000
Speaker 2: is the trick right here. And because it's mind over matter,

1488
01:19:31,080 --> 01:19:33,120
Speaker 2: you can sit down. You're going my feet and my

1489
01:19:33,200 --> 01:19:35,120
Speaker 2: hands are gonna How am I going to separate my

1490
01:19:35,200 --> 01:19:39,320
Speaker 2: brain to do well? If you're walking, you're walking opposite

1491
01:19:39,560 --> 01:19:42,040
Speaker 2: like this, your your your hand and your feet are

1492
01:19:42,080 --> 01:19:44,880
Speaker 2: walking opposite of each other. So if you walk like

1493
01:19:44,960 --> 01:19:49,000
Speaker 2: that on the drums, high hat kick, high hat kick,

1494
01:19:49,080 --> 01:19:51,479
Speaker 2: I can do it like this and every if you

1495
01:19:51,600 --> 01:19:56,840
Speaker 2: just walk on the drums, immediately everyone plays doom, got doom,

1496
01:19:56,960 --> 01:20:00,759
Speaker 2: got doom. Got It happens in three seconds.

1497
01:20:00,880 --> 01:20:05,360
Speaker 4: I'm going through some emotional things in the corner because

1498
01:20:06,040 --> 01:20:08,080
Speaker 4: my dad is a drummer, and for all my first

1499
01:20:08,080 --> 01:20:09,560
Speaker 4: ten years of my life, I wanted to be a

1500
01:20:09,640 --> 01:20:12,040
Speaker 4: drummer and he just never taught me. And I had

1501
01:20:12,080 --> 01:20:13,320
Speaker 4: to look at you on TV, and then I had

1502
01:20:13,360 --> 01:20:16,200
Speaker 4: to look at our look at Terry, and now that

1503
01:20:16,400 --> 01:20:18,200
Speaker 4: was he could have at least just shown me that

1504
01:20:18,640 --> 01:20:20,960
Speaker 4: you know the way to hold the sticks and it's

1505
01:20:20,960 --> 01:20:27,920
Speaker 4: still hard. Yes, you weren't teaching, what you say.

1506
01:20:29,200 --> 01:20:30,599
Speaker 6: Did you hear what he said? You don't teach.

1507
01:20:30,920 --> 01:20:33,040
Speaker 1: You never asked. I mean, you wouldn't have done it,

1508
01:20:33,560 --> 01:20:36,280
Speaker 1: would have taught it. Can at least give me the

1509
01:20:36,320 --> 01:20:37,480
Speaker 1: honor to reject.

1510
01:20:37,160 --> 01:20:40,440
Speaker 4: You teach me how to play the drums.

1511
01:20:40,479 --> 01:20:43,800
Speaker 1: But I just had an epiphany, and I'm dead serious.

1512
01:20:45,280 --> 01:20:48,720
Speaker 1: You are going to be my percussion teacher. Okay, I

1513
01:20:48,880 --> 01:20:53,680
Speaker 1: do not feel like I'm a complete drummer until.

1514
01:20:54,720 --> 01:20:57,040
Speaker 2: All right, So you take your bottle water. We're here.

1515
01:20:58,920 --> 01:21:03,880
Speaker 6: You get your bottle of water. Bill Hannim water.

1516
01:21:04,120 --> 01:21:14,799
Speaker 1: You just wait. Not all you have bottles. I'm thirsty,

1517
01:21:15,120 --> 01:21:17,400
Speaker 1: heard me calling. I'm not thirsty, but I gotta get

1518
01:21:17,479 --> 01:21:19,200
Speaker 1: rid of this. I don't want to destroy Electric Lady

1519
01:21:19,240 --> 01:21:19,960
Speaker 1: Studios right now.

1520
01:21:20,760 --> 01:21:22,679
Speaker 2: But you have to drink some of it because it's

1521
01:21:22,720 --> 01:21:28,120
Speaker 2: too full to to make a sound. There you go.

1522
01:21:30,720 --> 01:21:31,559
Speaker 6: You're not supposed to do that.

1523
01:21:32,320 --> 01:21:34,480
Speaker 1: This is gonna be the next I watched watch.

1524
01:21:35,000 --> 01:21:38,439
Speaker 6: You you holy For those that.

1525
01:21:38,520 --> 01:21:42,120
Speaker 1: Are listening at home, there breathing earlier, we say breathing.

1526
01:21:42,200 --> 01:21:44,559
Speaker 1: This is a boss water commercial, right, now is based

1527
01:21:45,280 --> 01:21:46,360
Speaker 1: using bottles of water.

1528
01:21:50,479 --> 01:21:54,360
Speaker 6: But she didn't do that. But she didn't. You encourage me, woman,

1529
01:21:55,880 --> 01:22:02,800
Speaker 6: you're doing good. I just mean that this is a.

1530
01:22:02,760 --> 01:22:06,559
Speaker 2: Mere failing wait away from the mic first of all,

1531
01:22:09,200 --> 01:22:09,599
Speaker 2: just may.

1532
01:22:09,680 --> 01:22:11,479
Speaker 1: Do it away from the mica, because this is why

1533
01:22:11,520 --> 01:22:13,400
Speaker 1: I can't whistle in the mic when i'm.

1534
01:22:13,360 --> 01:22:15,000
Speaker 2: Yeah, because you're gonna hear nothing but error.

1535
01:22:15,560 --> 01:22:16,200
Speaker 1: Oh you're right.

1536
01:22:16,400 --> 01:22:19,160
Speaker 2: No, no, no, no, you do it like the shut up,

1537
01:22:20,640 --> 01:22:24,040
Speaker 2: you get away from the mic. They're just mad at you.

1538
01:22:24,040 --> 01:22:25,160
Speaker 1: You just this is pressure.

1539
01:22:25,800 --> 01:22:27,360
Speaker 6: It's not we're not looking. Go ahead. You said you

1540
01:22:27,400 --> 01:22:28,639
Speaker 6: don't like it when other people looking.

1541
01:22:29,080 --> 01:22:31,200
Speaker 2: No, don't make a sound first, just make a sound

1542
01:22:31,200 --> 01:22:31,759
Speaker 2: with the bottle.

1543
01:22:35,320 --> 01:22:39,559
Speaker 1: Yeah you did, Bill, Okay, you want there you.

1544
01:22:42,800 --> 01:22:47,400
Speaker 10: Stop trying to do headhunters and just.

1545
01:22:45,280 --> 01:22:49,920
Speaker 1: Just a can we tell the prince heres now? Please?

1546
01:22:50,080 --> 01:22:56,960
Speaker 2: No, you have to hit a different notes than the

1547
01:22:57,000 --> 01:22:57,839
Speaker 2: note in the bottle.

1548
01:22:58,520 --> 01:23:02,000
Speaker 6: There you go, There you go like Bobby mcfern type.

1549
01:23:02,120 --> 01:23:04,920
Speaker 2: Yes, there you go. Good job.

1550
01:23:07,000 --> 01:23:12,200
Speaker 3: I am now that we've edited half of that out.

1551
01:23:13,200 --> 01:23:14,560
Speaker 1: I'm kidding. I'm kidding.

1552
01:23:14,280 --> 01:23:16,360
Speaker 2: It's okay, wow, thank you.

1553
01:23:17,120 --> 01:23:18,639
Speaker 1: Yeah, I do feel lightheaded.

1554
01:23:21,240 --> 01:23:22,960
Speaker 5: That's your first lesson how to get high?

1555
01:23:24,080 --> 01:23:26,000
Speaker 4: That's interesting, though, Sheila, because you talked like a mere

1556
01:23:26,040 --> 01:23:28,439
Speaker 4: already talked about carporal tunnel and stuff, and you seem

1557
01:23:28,439 --> 01:23:30,600
Speaker 4: to have very healthy hands and wrists.

1558
01:23:31,479 --> 01:23:33,759
Speaker 1: You talked me about the rice trick. I did that.

1559
01:23:33,840 --> 01:23:37,280
Speaker 1: You did what she told me to go to Traded

1560
01:23:37,360 --> 01:23:39,920
Speaker 1: Joe's or to a place that has like just one

1561
01:23:39,920 --> 01:23:44,479
Speaker 1: of the big ass industrial sized rice bags. Put it

1562
01:23:44,520 --> 01:23:48,040
Speaker 1: in my freezer and then put my entire arm in it,

1563
01:23:48,160 --> 01:23:53,439
Speaker 1: and uh, exercise, exercise, mold. Do you warm them before

1564
01:23:53,439 --> 01:23:54,080
Speaker 1: you go on stage?

1565
01:23:54,479 --> 01:23:57,479
Speaker 2: I do a little bit now, fifteen minutes, just just

1566
01:23:58,640 --> 01:24:00,800
Speaker 2: back and forth with the sticks on a pillow or

1567
01:24:01,640 --> 01:24:05,639
Speaker 2: couch or chair or something, and that helps. Yes, absolutely see.

1568
01:24:05,680 --> 01:24:10,000
Speaker 1: I thought, in in tune with with our James and

1569
01:24:10,080 --> 01:24:13,600
Speaker 1: too many Miles Davis stories that that would kind of

1570
01:24:13,600 --> 01:24:15,800
Speaker 1: be like eating before you get to the restaurant or.

1571
01:24:17,520 --> 01:24:18,320
Speaker 6: WoT.

1572
01:24:18,920 --> 01:24:21,360
Speaker 2: Well, I learned the hard way, like maybe you have.

1573
01:24:21,479 --> 01:24:24,800
Speaker 2: I mean I never warmed up before I played, so

1574
01:24:25,000 --> 01:24:27,439
Speaker 2: I've got injury after injury and it's like, okay, you

1575
01:24:27,479 --> 01:24:30,599
Speaker 2: need to stop and you need to warm up. So yeah,

1576
01:24:30,640 --> 01:24:33,400
Speaker 2: I mean, my my wrist was messed up. I couldn't

1577
01:24:33,520 --> 01:24:37,160
Speaker 2: pick up a toothbrush to brush my teeth, my elbow.

1578
01:24:37,600 --> 01:24:39,120
Speaker 2: So I had a p r P done.

1579
01:24:39,600 --> 01:24:40,960
Speaker 9: Which does that work?

1580
01:24:41,040 --> 01:24:41,160
Speaker 5: Oh?

1581
01:24:41,200 --> 01:24:41,519
Speaker 2: My god?

1582
01:24:41,560 --> 01:24:43,599
Speaker 1: Look I'm doing a p r P in like a month.

1583
01:24:43,760 --> 01:24:45,320
Speaker 1: Oh does it work?

1584
01:24:45,760 --> 01:24:49,679
Speaker 2: I'll tell you. Wait, who's well? We can talk after I'll.

1585
01:24:49,560 --> 01:24:50,800
Speaker 6: Give you my.

1586
01:24:52,200 --> 01:24:52,400
Speaker 1: Yeah.

1587
01:24:52,400 --> 01:24:54,479
Speaker 2: But i'll tell you now. I have the dopest doctor here.

1588
01:24:54,520 --> 01:24:57,800
Speaker 2: He moved here New York. Yes, he did mine and

1589
01:24:57,880 --> 01:25:01,880
Speaker 2: everybody I think, So, what's his name?

1590
01:25:01,920 --> 01:25:05,280
Speaker 1: You know what? I think? We see this? We see okay, uh,

1591
01:25:05,400 --> 01:25:07,960
Speaker 1: there there's a doctor in Brooklyn. I see your photos

1592
01:25:08,040 --> 01:25:09,720
Speaker 1: up in there, Stevie Wonder's photo.

1593
01:25:09,640 --> 01:25:11,439
Speaker 2: Like then it would be him.

1594
01:25:11,520 --> 01:25:12,839
Speaker 9: He's amazing.

1595
01:25:12,840 --> 01:25:14,879
Speaker 1: African? Is African?

1596
01:25:15,040 --> 01:25:15,200
Speaker 2: No?

1597
01:25:15,360 --> 01:25:15,760
Speaker 1: What is he?

1598
01:25:16,800 --> 01:25:17,719
Speaker 2: He's not African.

1599
01:25:17,960 --> 01:25:19,919
Speaker 6: I think he's like the opposite the way she's looking.

1600
01:25:19,800 --> 01:25:21,440
Speaker 2: Like it's Caucasian.

1601
01:25:21,520 --> 01:25:24,280
Speaker 1: Yeah no, I mean this is the doctor's office. So

1602
01:25:24,400 --> 01:25:29,880
Speaker 1: many doctors have done. But PRP is, I guess in

1603
01:25:29,920 --> 01:25:32,760
Speaker 1: a way to describe it is when they take your

1604
01:25:32,760 --> 01:25:35,880
Speaker 1: blood out of you and then feed it back like

1605
01:25:36,280 --> 01:25:36,679
Speaker 1: they have.

1606
01:25:36,600 --> 01:25:41,080
Speaker 2: To spin it first. Yeah no, no, they spin it

1607
01:25:41,080 --> 01:25:43,280
Speaker 2: and clean it and then they get the good blood

1608
01:25:43,680 --> 01:25:45,960
Speaker 2: as it spits out in like three or four or

1609
01:25:46,000 --> 01:25:49,439
Speaker 2: five different bags automatically. In this machine and then they

1610
01:25:49,479 --> 01:25:51,760
Speaker 2: take the good blood and then they mix it and

1611
01:25:51,800 --> 01:25:54,160
Speaker 2: they shoot it back in the area and you end

1612
01:25:54,240 --> 01:25:56,800
Speaker 2: up growing new tissue. That's what it does. So I

1613
01:25:56,840 --> 01:25:59,360
Speaker 2: grew new tissue in my elbow and my wrist. I

1614
01:25:59,400 --> 01:26:02,240
Speaker 2: did have it twice, because sometimes you do. I just

1615
01:26:02,280 --> 01:26:07,000
Speaker 2: want to tell you take a pain pill before you

1616
01:26:07,080 --> 01:26:12,439
Speaker 2: do this, because I'm no, I'm not scared, and I'm

1617
01:26:12,439 --> 01:26:17,960
Speaker 2: not scared. That's fine. I am okay, that's the simple parte.

1618
01:26:18,560 --> 01:26:18,640
Speaker 3: No.

1619
01:26:18,800 --> 01:26:23,160
Speaker 2: The pain is that your blood going back into that area.

1620
01:26:23,320 --> 01:26:27,120
Speaker 2: Is it hurts? Like I can't even explain. I filmed

1621
01:26:27,160 --> 01:26:30,559
Speaker 2: my whole thing. I haven't all on film yet.

1622
01:26:31,479 --> 01:26:34,320
Speaker 1: The uh, well, I only know about it because at

1623
01:26:34,360 --> 01:26:37,240
Speaker 1: the tonight show, a lot of those camera guys there,

1624
01:26:38,120 --> 01:26:40,160
Speaker 1: it's wearing terror for them to do that a lot.

1625
01:26:40,280 --> 01:26:43,160
Speaker 1: So at least four or five of them have gotten.

1626
01:26:43,720 --> 01:26:45,760
Speaker 2: But how are you going to do this when you

1627
01:26:45,800 --> 01:26:47,160
Speaker 2: need at least three weeks off?

1628
01:26:49,120 --> 01:26:53,840
Speaker 1: That's I'm waiting for Christmas? Yeah, Christmas break to do.

1629
01:26:53,800 --> 01:26:56,080
Speaker 2: It and you literally you can't do Where are you

1630
01:26:56,160 --> 01:26:59,000
Speaker 2: having it done in New York? No? No? No, I mean

1631
01:26:59,200 --> 01:26:59,920
Speaker 2: is it your wrisks?

1632
01:27:00,040 --> 01:27:01,160
Speaker 1: I'm doing it on my knee.

1633
01:27:01,280 --> 01:27:03,439
Speaker 2: Oh Yeah, that's good. My mom had it done on

1634
01:27:03,520 --> 01:27:05,240
Speaker 2: her knee too, same for our same guy.

1635
01:27:05,320 --> 01:27:06,120
Speaker 6: So you want to get.

1636
01:27:08,160 --> 01:27:09,519
Speaker 1: Talking about blood and everything.

1637
01:27:10,840 --> 01:27:13,080
Speaker 2: I never heard of it, but it's important because really,

1638
01:27:13,680 --> 01:27:16,360
Speaker 2: in order to sustain what we do for real, we

1639
01:27:16,520 --> 01:27:19,600
Speaker 2: get I have. I had a torn uh in my

1640
01:27:19,720 --> 01:27:23,200
Speaker 2: shoulder all this stuff. My back went out in nineteen

1641
01:27:23,280 --> 01:27:24,639
Speaker 2: ninety from wearing heels.

1642
01:27:24,800 --> 01:27:27,400
Speaker 6: I wanted you to talk about that because wearing.

1643
01:27:27,120 --> 01:27:30,160
Speaker 2: Heels and it shortened my calf muscle wearing heels playing

1644
01:27:30,200 --> 01:27:33,519
Speaker 2: for years and years and years, my back gave out. Uh.

1645
01:27:33,560 --> 01:27:35,559
Speaker 2: And when it gave out, I was partially paralyzed for

1646
01:27:35,600 --> 01:27:38,320
Speaker 2: like two months, sorry, two weeks, and then it took

1647
01:27:38,400 --> 01:27:41,080
Speaker 2: four months and three doctors, three or four doctors to

1648
01:27:41,680 --> 01:27:44,120
Speaker 2: get me to walk an entire block like I had

1649
01:27:44,120 --> 01:27:47,040
Speaker 2: to start learn how to walk all over. Had I

1650
01:27:47,120 --> 01:27:50,679
Speaker 2: had a cane must have been determined. I was in pain, pain, pain.

1651
01:27:51,040 --> 01:27:52,000
Speaker 2: I didn't want to take.

1652
01:27:52,520 --> 01:27:54,759
Speaker 4: You are a trailblazer in pain because there was nobody

1653
01:27:54,760 --> 01:27:56,880
Speaker 4: else that you could probably vibe with because nobody else

1654
01:27:56,960 --> 01:27:59,439
Speaker 4: is wearing heels, playing kungaz bong, goes.

1655
01:27:59,240 --> 01:28:01,000
Speaker 2: And eggs exactly.

1656
01:28:01,160 --> 01:28:04,200
Speaker 4: Yeah, that's what I was freaking out on some women.

1657
01:28:04,800 --> 01:28:06,120
Speaker 2: Yeah, no, it messed me up.

1658
01:28:06,200 --> 01:28:11,559
Speaker 6: Yeahs right, but he didn't. His surgery was after yours,

1659
01:28:11,640 --> 01:28:13,120
Speaker 6: right like you had George before he did.

1660
01:28:13,880 --> 01:28:14,920
Speaker 2: Well, I didn't have surgery.

1661
01:28:15,120 --> 01:28:16,320
Speaker 9: You didn't know.

1662
01:28:16,479 --> 01:28:18,640
Speaker 2: They wanted me to have surgery in my back and

1663
01:28:18,800 --> 01:28:21,040
Speaker 2: I said no, I think let me try to walk

1664
01:28:21,120 --> 01:28:26,679
Speaker 2: on and do this health wise, you know, by myself

1665
01:28:26,720 --> 01:28:30,479
Speaker 2: and with the doctors. And it worked. Yeah, so it

1666
01:28:30,520 --> 01:28:31,240
Speaker 2: took a long time.

1667
01:28:31,280 --> 01:28:34,640
Speaker 1: Now what those I'm sorry. I started with line and

1668
01:28:34,680 --> 01:28:35,240
Speaker 1: then we got off.

1669
01:28:35,479 --> 01:28:36,479
Speaker 2: I don't know what happened.

1670
01:28:41,400 --> 01:28:45,280
Speaker 1: Were those? Was that a good tour for you or

1671
01:28:45,400 --> 01:28:50,519
Speaker 1: did you? Marvin? No? No? After I mean after was

1672
01:28:50,560 --> 01:28:52,240
Speaker 1: it night and day? Or I mean.

1673
01:28:53,560 --> 01:28:54,679
Speaker 2: Was it a good tour with linel?

1674
01:28:55,000 --> 01:28:55,120
Speaker 9: Oh?

1675
01:28:55,240 --> 01:28:59,920
Speaker 2: Amazing? For me? It was the first time, uh, realizing

1676
01:29:00,640 --> 01:29:03,160
Speaker 2: when someone makes that much money what that really means.

1677
01:29:03,840 --> 01:29:06,360
Speaker 2: And so then you start touring on a private plane.

1678
01:29:07,080 --> 01:29:13,759
Speaker 2: Hot cookies when you get on the plane, blankets, dranks, chicken.

1679
01:29:17,360 --> 01:29:18,320
Speaker 6: I was worried. I wasn't good.

1680
01:29:18,360 --> 01:29:20,200
Speaker 4: I was scared to eat fried chicken in front of you.

1681
01:29:20,360 --> 01:29:24,960
Speaker 4: First impressions. By the way, can I get adding this

1682
01:29:24,960 --> 01:29:26,880
Speaker 4: this this video with the line on Richie video just

1683
01:29:26,880 --> 01:29:29,920
Speaker 4: a quick quest quest left supreme one degree separation. Michael

1684
01:29:29,960 --> 01:29:34,320
Speaker 4: Peters godfather Michael Peters.

1685
01:29:34,640 --> 01:29:36,080
Speaker 1: I was going to say, how long did it take

1686
01:29:36,120 --> 01:29:36,799
Speaker 1: for you guys.

1687
01:29:37,000 --> 01:29:39,280
Speaker 6: Told the story about Disneyland taking the Disneyland?

1688
01:29:39,400 --> 01:29:42,559
Speaker 4: Yeah, okay, the rapper Prodigy from Mob Deep, that's his

1689
01:29:42,600 --> 01:29:44,200
Speaker 4: god this year.

1690
01:29:44,320 --> 01:29:47,360
Speaker 1: Yeah, And I was gonna say, how long did it

1691
01:29:47,400 --> 01:29:50,799
Speaker 1: take for you guys to I mean, were you throwing

1692
01:29:50,840 --> 01:29:52,480
Speaker 1: off about being the lead lady.

1693
01:29:52,280 --> 01:29:56,120
Speaker 2: Or I didn't want to do it because Blind was

1694
01:29:56,200 --> 01:29:59,599
Speaker 2: like my brother and he says okay, and Michael Peter's

1695
01:29:59,600 --> 01:30:01,679
Speaker 2: not there, like Okay, she have to learn this dance

1696
01:30:01,680 --> 01:30:04,360
Speaker 2: step and I'm like, okay, what are we gonna do?

1697
01:30:04,520 --> 01:30:06,400
Speaker 2: And the dance steps that Michael Peter how, I'm like,

1698
01:30:06,720 --> 01:30:10,720
Speaker 2: who does that? Like yeah, like how am I going

1699
01:30:10,760 --> 01:30:13,240
Speaker 2: to extend the arm with the leg? And then look

1700
01:30:13,280 --> 01:30:15,559
Speaker 2: at Line like we're in love? That's my brother. Like

1701
01:30:15,880 --> 01:30:19,240
Speaker 2: so we kept laughing and in between takes we couldn't

1702
01:30:19,240 --> 01:30:21,360
Speaker 2: even get it together, and Line was like, don't look

1703
01:30:21,360 --> 01:30:23,439
Speaker 2: at me like that, like it's your fault.

1704
01:30:23,479 --> 01:30:28,360
Speaker 1: Don't look at me like that did direct that video?

1705
01:30:28,520 --> 01:30:29,200
Speaker 2: Yes he did?

1706
01:30:29,520 --> 01:30:30,519
Speaker 9: Wow, Yes he did.

1707
01:30:30,560 --> 01:30:31,440
Speaker 1: It was dope.

1708
01:30:32,040 --> 01:30:34,040
Speaker 5: You must have been in the All Night Long video too.

1709
01:30:34,040 --> 01:30:35,080
Speaker 5: There were like five thousand.

1710
01:30:37,960 --> 01:30:43,520
Speaker 2: We all look alike and I'm gonna mess with you.

1711
01:30:43,520 --> 01:30:46,400
Speaker 1: No, actually I thought initially I thought, who was the

1712
01:30:46,439 --> 01:30:48,439
Speaker 1: lead in Hello video? She was all my children?

1713
01:30:48,960 --> 01:30:50,360
Speaker 2: Oh yeah, I forgot her name.

1714
01:30:51,840 --> 01:30:53,840
Speaker 6: It wasn't. That wasn't the same chick from Thriller.

1715
01:30:53,840 --> 01:30:59,240
Speaker 1: I thought, oh no, that was that was Oh no, no, no, okay,

1716
01:30:59,280 --> 01:31:01,559
Speaker 1: why do I know this? Her name was Laura Carrington.

1717
01:31:02,000 --> 01:31:03,599
Speaker 6: Why do you know that?

1718
01:31:04,240 --> 01:31:07,599
Speaker 1: Because I stopped much in the eighties. Her and Old

1719
01:31:07,720 --> 01:31:11,559
Speaker 1: Ray like those names, they were the original video joints.

1720
01:31:11,760 --> 01:31:13,960
Speaker 1: You know what I'm saying. Uh No, But I thought

1721
01:31:14,439 --> 01:31:16,840
Speaker 1: when I saw the Running with the Night video, I

1722
01:31:16,920 --> 01:31:18,960
Speaker 1: was like, yo, she grew hair out a lot like

1723
01:31:19,080 --> 01:31:22,080
Speaker 1: I thought it was continuation, like oh they were dating

1724
01:31:22,120 --> 01:31:24,120
Speaker 1: now off the college campus and now she got her

1725
01:31:24,160 --> 01:31:28,440
Speaker 1: site back? What right? Exactly exactly?

1726
01:31:29,040 --> 01:31:32,759
Speaker 5: But that album, that album was very Latin leaning.

1727
01:31:33,520 --> 01:31:37,080
Speaker 2: Yeah, the can slowed down, cancelo down.

1728
01:31:37,920 --> 01:31:40,719
Speaker 5: There was there was a lot of percussion on the album.

1729
01:31:40,880 --> 01:31:43,120
Speaker 2: Yeah, there was some. I played percussion on one or

1730
01:31:43,160 --> 01:31:45,559
Speaker 2: two of Linel's records, and I don't remember if it

1731
01:31:45,600 --> 01:31:48,120
Speaker 2: was that one or not, but which I do have

1732
01:31:48,200 --> 01:31:51,160
Speaker 2: to look and see. But he did he loved having

1733
01:31:51,160 --> 01:31:53,240
Speaker 2: a percussion in the show. And the cool thing about

1734
01:31:53,240 --> 01:31:56,360
Speaker 2: line again that was so different from the Marvin Gaye tour,

1735
01:31:56,439 --> 01:31:59,800
Speaker 2: but musically and then what they were doing, I mean

1736
01:31:59,800 --> 01:32:04,479
Speaker 2: they had, uh, all these people putting together the show.

1737
01:32:04,520 --> 01:32:07,760
Speaker 2: It's like a big major thing, you know, and you know,

1738
01:32:08,320 --> 01:32:15,240
Speaker 2: private planes and cookies chicken chicken and uh, you know,

1739
01:32:15,360 --> 01:32:17,960
Speaker 2: you've got clothes made for you and everyone's you know,

1740
01:32:18,479 --> 01:32:22,000
Speaker 2: everything is coordinating, and you're going, wow, this is Yes,

1741
01:32:22,040 --> 01:32:24,880
Speaker 2: it's the big times. My first time ever experienced in that,

1742
01:32:24,960 --> 01:32:27,120
Speaker 2: and I was like, oh, this is what it is. Okay,

1743
01:32:27,160 --> 01:32:28,000
Speaker 2: I think I want this.

1744
01:32:28,520 --> 01:32:30,240
Speaker 1: Yeah, okay, Shela.

1745
01:32:30,080 --> 01:32:31,559
Speaker 5: I think I may roll with you for a while.

1746
01:32:31,600 --> 01:32:38,880
Speaker 3: And this guy okay, okay, let's throw me.

1747
01:32:38,840 --> 01:32:49,799
Speaker 1: Under your bus. So wasn't being positive.

1748
01:32:51,640 --> 01:32:52,280
Speaker 5: I love being.

1749
01:32:54,200 --> 01:32:57,000
Speaker 1: His name. His name is Sugar, all right, So Steve, Basically,

1750
01:32:58,720 --> 01:33:00,280
Speaker 1: we're here an Electric Ladies studio.

1751
01:33:00,439 --> 01:33:02,479
Speaker 6: Because a good story to tell.

1752
01:33:02,640 --> 01:33:04,679
Speaker 1: This is where no, I'm trying to make it sustinct

1753
01:33:04,760 --> 01:33:11,559
Speaker 1: and fastest watch watch watch Okay. Uh I wasted twelve

1754
01:33:11,560 --> 01:33:16,000
Speaker 1: minutes right there. Okay, So we're in Electric Lady Studios

1755
01:33:16,040 --> 01:33:19,639
Speaker 1: because for five years this is where we recorded D'angelo's Voodoo,

1756
01:33:20,280 --> 01:33:23,240
Speaker 1: which Steve was one of the Angel ten. Yeah, trust me,

1757
01:33:23,320 --> 01:33:26,960
Speaker 1: we spent a lifetime with d Angelo. So after the

1758
01:33:27,040 --> 01:33:31,960
Speaker 1: Voodoo record, and I guess you know, you started getting Yeah,

1759
01:33:32,000 --> 01:33:34,760
Speaker 1: you worked on Black Besides, which took fourteen years to make.

1760
01:33:35,760 --> 01:33:38,719
Speaker 1: But by that point, you know, everything fell off the rails.

1761
01:33:38,720 --> 01:33:42,400
Speaker 1: And he became my full time engineer. And I think

1762
01:33:43,080 --> 01:33:46,519
Speaker 1: Steve is probably the first white person in history to

1763
01:33:46,600 --> 01:33:50,759
Speaker 1: have diabetes. He basically after.

1764
01:33:50,520 --> 01:33:51,479
Speaker 5: The first white person.

1765
01:33:54,600 --> 01:33:56,599
Speaker 1: Got it. How he got how he got it? Yeah,

1766
01:33:58,040 --> 01:33:59,960
Speaker 1: because of my soul food diet.

1767
01:34:00,040 --> 01:34:03,960
Speaker 5: It Lord, I moved to Philly. He moved to Philly

1768
01:34:04,040 --> 01:34:07,519
Speaker 5: basically just eating every meal with him. Yeah, and and

1769
01:34:07,600 --> 01:34:08,520
Speaker 5: I got diabetes.

1770
01:34:08,680 --> 01:34:10,200
Speaker 2: Yeah.

1771
01:34:10,880 --> 01:34:14,479
Speaker 5: And there was a church street that what was the

1772
01:34:14,520 --> 01:34:15,920
Speaker 5: name of the church house?

1773
01:34:16,000 --> 01:34:20,439
Speaker 1: Prayer house to prayer Stevie wonder l version of it. Yeah,

1774
01:34:20,520 --> 01:34:22,400
Speaker 1: it's the House of diabetes. Definitely.

1775
01:34:22,520 --> 01:34:25,320
Speaker 4: Oh my goodness, do not feed your white person too

1776
01:34:25,360 --> 01:34:27,720
Speaker 4: much that what happened to you?

1777
01:34:28,479 --> 01:34:33,280
Speaker 1: Glins food after Okay, so I know you're asked this

1778
01:34:33,439 --> 01:34:35,759
Speaker 1: a billion times, So I want to take a different approach.

1779
01:34:38,000 --> 01:34:47,640
Speaker 1: Can you tell me a random, normal print story, No,

1780
01:34:48,280 --> 01:34:51,880
Speaker 1: like a very normal story, Like, but what is normal.

1781
01:34:52,400 --> 01:34:57,080
Speaker 1: Oh that time that our volkswagon broke down in the

1782
01:34:57,120 --> 01:35:00,840
Speaker 1: middle of the four oh five and we had to

1783
01:35:01,200 --> 01:35:01,920
Speaker 1: to the supermarket.

1784
01:35:02,120 --> 01:35:10,320
Speaker 6: He ran out of toilet paper.

1785
01:35:10,520 --> 01:35:15,040
Speaker 1: Let me get this sorry. Wow, I'm pretty sure that

1786
01:35:15,080 --> 01:35:17,840
Speaker 1: the world half of your fans know how you met

1787
01:35:17,840 --> 01:35:22,200
Speaker 1: Prince at backstage at his show in the seventies.

1788
01:35:21,920 --> 01:35:23,599
Speaker 2: Same place where I played with Diana Ross.

1789
01:35:23,720 --> 01:35:28,880
Speaker 1: Okay, the same theater, Yes, the same show. No, okay, wait,

1790
01:35:28,920 --> 01:35:30,400
Speaker 1: what was he doing going to see Algebra?

1791
01:35:30,600 --> 01:35:32,960
Speaker 2: Well, we were both at the Algiro show, Great Theater

1792
01:35:33,080 --> 01:35:34,919
Speaker 2: in Oakland, Berkeley.

1793
01:35:35,040 --> 01:35:35,639
Speaker 1: I'm impressed.

1794
01:35:35,640 --> 01:35:38,200
Speaker 2: That's when we first saw put at each other and went.

1795
01:35:40,640 --> 01:35:42,639
Speaker 1: So you were there to see Algebra? You were there

1796
01:35:42,640 --> 01:35:43,080
Speaker 1: playing with.

1797
01:35:43,160 --> 01:35:45,640
Speaker 2: Both No, we were both there to see Algira. But

1798
01:35:45,720 --> 01:35:47,600
Speaker 2: I think I was playing with George then. But but

1799
01:35:47,720 --> 01:35:51,080
Speaker 2: we were both there watching Algerrol on stage, see from

1800
01:35:51,080 --> 01:35:54,000
Speaker 2: each other, and we locked eyes and it was over.

1801
01:35:54,360 --> 01:35:56,200
Speaker 1: Princeton strike me as a cat. That was like, yo,

1802
01:35:56,280 --> 01:35:57,320
Speaker 1: I gotta see Algebra.

1803
01:35:58,080 --> 01:36:00,799
Speaker 2: He loved and he loved all that music.

1804
01:36:00,920 --> 01:36:03,400
Speaker 1: It's weird to me because, at least from what I know,

1805
01:36:03,640 --> 01:36:07,640
Speaker 1: like I feel like if from people I know that

1806
01:36:07,680 --> 01:36:11,040
Speaker 1: you're either a total student or a total leader, and

1807
01:36:11,320 --> 01:36:18,320
Speaker 1: oftentimes leaders aren't too they're more aloof or not aware.

1808
01:36:18,560 --> 01:36:23,759
Speaker 2: I totally disagree. Let me tell you why no, because

1809
01:36:23,800 --> 01:36:26,439
Speaker 2: you can be both and that's what makes it awesome.

1810
01:36:26,760 --> 01:36:28,960
Speaker 2: I'm going to continue to be a student left life

1811
01:36:29,200 --> 01:36:31,920
Speaker 2: forever because I'm never going to learn everything, and if

1812
01:36:32,200 --> 01:36:34,639
Speaker 2: every single day I learned something, so I'm always a student.

1813
01:36:35,120 --> 01:36:37,000
Speaker 2: Prince was the same way, and I'm a leader. Prince

1814
01:36:37,120 --> 01:36:39,200
Speaker 2: was the same way. He was a student. He wouldn't

1815
01:36:39,200 --> 01:36:41,040
Speaker 2: say it, but he's a student because every time we

1816
01:36:41,120 --> 01:36:43,640
Speaker 2: came in with something different, he's learned the stuff he

1817
01:36:43,640 --> 01:36:46,800
Speaker 2: had never even heard before, you know. So, I mean

1818
01:36:46,840 --> 01:36:49,479
Speaker 2: he was he became a student if he's in a

1819
01:36:49,520 --> 01:36:52,040
Speaker 2: situation with other people that he's not played with, or

1820
01:36:52,600 --> 01:36:55,560
Speaker 2: you know, we bring in music that he's never I

1821
01:36:55,640 --> 01:36:57,760
Speaker 2: mean when he first met my families, like what kind

1822
01:36:57,760 --> 01:37:01,240
Speaker 2: of music is this? Latin jazz? Dang, this is dope?

1823
01:37:01,280 --> 01:37:02,760
Speaker 1: You know that's the first time you heard it?

1824
01:37:03,640 --> 01:37:06,680
Speaker 2: Okay, Yeah, So he he was always a student in

1825
01:37:06,680 --> 01:37:08,519
Speaker 2: a way. Never had to really say it, but he

1826
01:37:08,560 --> 01:37:11,720
Speaker 2: was always learning, which is why he every time you

1827
01:37:11,840 --> 01:37:13,760
Speaker 2: can tell if he was hanging with this group of

1828
01:37:13,800 --> 01:37:16,800
Speaker 2: people or that group of people, his music changed the

1829
01:37:16,960 --> 01:37:19,800
Speaker 2: influence from being a student. I think he was always

1830
01:37:19,840 --> 01:37:22,000
Speaker 2: a student and he was also a leader, And I

1831
01:37:22,040 --> 01:37:25,439
Speaker 2: think you can do both. That's my take on it.

1832
01:37:25,600 --> 01:37:28,639
Speaker 1: No, I never thought of that can do both.

1833
01:37:28,720 --> 01:37:30,280
Speaker 6: It sounds like we all should be both.

1834
01:37:30,479 --> 01:37:34,759
Speaker 2: Yes, we we yes, all of people.

1835
01:37:36,200 --> 01:37:39,959
Speaker 5: Okay, I love ald.

1836
01:37:42,520 --> 01:37:44,200
Speaker 6: Steve after all?

1837
01:37:45,479 --> 01:37:46,600
Speaker 1: Really Okay?

1838
01:37:47,280 --> 01:37:49,120
Speaker 6: In this Love Get Alive dead last.

1839
01:37:57,479 --> 01:38:00,160
Speaker 5: He locked eyes with Aldiau And then what happened.

1840
01:38:03,120 --> 01:38:10,360
Speaker 1: That I got that Steve? So in meeting? How long

1841
01:38:10,400 --> 01:38:13,400
Speaker 1: did it take for him to really convince you that

1842
01:38:13,439 --> 01:38:14,719
Speaker 1: you should be your own artist?

1843
01:38:16,240 --> 01:38:21,160
Speaker 2: And for him to convince me yes, Oh, it.

1844
01:38:21,120 --> 01:38:23,479
Speaker 1: Was assuming that he was the one that told you

1845
01:38:23,479 --> 01:38:24,639
Speaker 1: you need to be your own artist.

1846
01:38:26,479 --> 01:38:30,160
Speaker 2: Well he wasn't the only one. But I had been

1847
01:38:30,800 --> 01:38:34,600
Speaker 2: writing a lot of my own music when I was

1848
01:38:34,600 --> 01:38:37,920
Speaker 2: a teenager, and whatever money that I made at clubs

1849
01:38:38,000 --> 01:38:41,080
Speaker 2: or whatever, I would take that money and go buy

1850
01:38:41,120 --> 01:38:43,120
Speaker 2: a piece of gear. And I said, I'm going to

1851
01:38:43,200 --> 01:38:46,120
Speaker 2: learn how to record. I'm going to be an engineer.

1852
01:38:46,200 --> 01:38:47,600
Speaker 2: I'm going to learn how to produce. I'm going to

1853
01:38:47,640 --> 01:38:49,840
Speaker 2: learn how to write songs. So I started with a

1854
01:38:49,840 --> 01:38:52,840
Speaker 2: two track, then I started with a four track. You know,

1855
01:38:52,880 --> 01:38:55,439
Speaker 2: and you keep duplicating, like then you hear more hissing

1856
01:38:55,520 --> 01:38:57,400
Speaker 2: and more, you know, to get to that point, what

1857
01:38:57,520 --> 01:39:00,599
Speaker 2: is what am I listening to? So I kept buying gear,

1858
01:39:00,880 --> 01:39:03,120
Speaker 2: and so I had tons of tapes of songs that

1859
01:39:03,120 --> 01:39:10,800
Speaker 2: I'd written when I was with Marvin gay Prince Prince was.

1860
01:39:11,160 --> 01:39:16,280
Speaker 2: I forgot what record he was doing then nineteen ninety nine, right, yeah,

1861
01:39:18,360 --> 01:39:22,080
Speaker 2: So nineteen ninety nine, during the Marvin Gaye tour, he

1862
01:39:22,200 --> 01:39:25,600
Speaker 2: was sending me flowers, and then you know, coming to

1863
01:39:25,680 --> 01:39:28,960
Speaker 2: some of the shows Lionel, Ritchie and eighty three, then

1864
01:39:29,000 --> 01:39:31,679
Speaker 2: he started coming hanging out. He's like, man, you're always

1865
01:39:31,720 --> 01:39:33,920
Speaker 2: backing everyone else the same thing. You get a solo

1866
01:39:34,000 --> 01:39:36,479
Speaker 2: with everybody. Every time I see you're playing with you know,

1867
01:39:36,560 --> 01:39:38,479
Speaker 2: don't you want to do something? I said, yeah, I do,

1868
01:39:38,560 --> 01:39:41,760
Speaker 2: but I'm you know, when the time is right. And

1869
01:39:41,840 --> 01:39:45,599
Speaker 2: so during me playing percussion with Line on eighty three,

1870
01:39:46,360 --> 01:39:50,120
Speaker 2: then towards the end of Lionel's tour, he said, you

1871
01:39:50,120 --> 01:39:52,120
Speaker 2: want to do a record? I said sure, He said, okay,

1872
01:39:52,200 --> 01:39:55,920
Speaker 2: let's do one. I said, okay. That was it, just

1873
01:39:55,960 --> 01:39:59,439
Speaker 2: like that, and we went into the studio and a

1874
01:39:59,479 --> 01:40:02,560
Speaker 2: week later we were finished with Glamours Life Record.

1875
01:40:02,880 --> 01:40:06,559
Speaker 1: Wow, you recorded it in that in less than two weeks.

1876
01:40:06,640 --> 01:40:08,679
Speaker 2: You have it's only like six songs.

1877
01:40:10,160 --> 01:40:10,680
Speaker 5: I get it.

1878
01:40:10,720 --> 01:40:13,400
Speaker 1: Well, yeah, but you also have to be focused.

1879
01:40:14,320 --> 01:40:16,639
Speaker 2: We didn't sleep again.

1880
01:40:16,880 --> 01:40:18,640
Speaker 1: You remember Prince was doing the song to day, so

1881
01:40:18,680 --> 01:40:20,000
Speaker 1: you got six songs on the record.

1882
01:40:20,040 --> 01:40:21,040
Speaker 5: That's six days.

1883
01:40:21,240 --> 01:40:23,280
Speaker 2: We had two studios going at the same time, so

1884
01:40:23,320 --> 01:40:24,360
Speaker 2: we had senses sound.

1885
01:40:26,439 --> 01:40:32,120
Speaker 1: Yeah. I admire his especially in hearing that the output

1886
01:40:32,160 --> 01:40:37,879
Speaker 1: between eighty two and eighty seven, his kind of bull's

1887
01:40:37,880 --> 01:40:42,719
Speaker 1: eye like ability to I mean, you know, when you again,

1888
01:40:42,760 --> 01:40:45,640
Speaker 1: when I'm you're younger, you just think that, oh, this

1889
01:40:45,760 --> 01:40:51,400
Speaker 1: magically happens. But it's like the rareness of someone to

1890
01:40:51,439 --> 01:40:55,519
Speaker 1: write something effective. I mean, I gotta go through thirty

1891
01:40:55,600 --> 01:40:58,280
Speaker 1: songs before I think like one's half decent to use.

1892
01:40:59,120 --> 01:41:00,400
Speaker 1: This is someone that's just.

1893
01:41:00,360 --> 01:41:04,519
Speaker 2: Like, well, he really believed that every single song, every

1894
01:41:04,560 --> 01:41:06,519
Speaker 2: single song that he wrote, he believed was a hit.

1895
01:41:07,479 --> 01:41:10,120
Speaker 2: Well it wasn't, but he believed that, so he just

1896
01:41:10,200 --> 01:41:13,080
Speaker 2: kept writing. So it didn't stop him to go, well,

1897
01:41:13,200 --> 01:41:16,160
Speaker 2: this is not a great song. So you know, but

1898
01:41:16,240 --> 01:41:18,519
Speaker 2: again you're you're writing songs and it just kept going.

1899
01:41:18,560 --> 01:41:21,200
Speaker 2: In the archives, I mean, I think even.

1900
01:41:21,040 --> 01:41:22,679
Speaker 1: If they weren't singles. I mean, they were still.

1901
01:41:22,520 --> 01:41:25,479
Speaker 2: Great, so yeah, just the ideas. And some of them

1902
01:41:25,520 --> 01:41:27,519
Speaker 2: weren't all great. I know some people are not gonna

1903
01:41:27,520 --> 01:41:29,519
Speaker 2: be having me saying it, but it's the truth. They

1904
01:41:29,560 --> 01:41:34,120
Speaker 2: weren't all great. Uh uh Nope. Some of the ones

1905
01:41:34,280 --> 01:41:37,400
Speaker 2: him and I recorded, just him and I that are

1906
01:41:37,400 --> 01:41:38,679
Speaker 2: in the vault about two hundred.

1907
01:41:38,720 --> 01:41:40,559
Speaker 1: Oh yeah, I can think of one that I didn't

1908
01:41:40,560 --> 01:41:48,280
Speaker 1: really like. I'm sorry one friend. No, no, I'm one record.

1909
01:41:48,400 --> 01:41:50,400
Speaker 1: I wanted to get to that later though.

1910
01:41:50,400 --> 01:41:53,880
Speaker 2: Okay, no, but I mean he but that was so

1911
01:41:54,200 --> 01:41:57,760
Speaker 2: this is the incredible This man was an incredible songwriter,

1912
01:41:57,880 --> 01:42:01,920
Speaker 2: and he he never wanted sometimes he would but like

1913
01:42:01,960 --> 01:42:04,040
Speaker 2: he never wanted to use the same sound all the time.

1914
01:42:04,080 --> 01:42:06,720
Speaker 2: He would just experiment. There were no rules. And that's

1915
01:42:06,720 --> 01:42:09,840
Speaker 2: the thing is musicians tend to we put ourselves in

1916
01:42:09,840 --> 01:42:12,840
Speaker 2: the box, you know, and say, well, we need to

1917
01:42:12,880 --> 01:42:14,880
Speaker 2: mic the drum set this way. No, we don't. We

1918
01:42:14,960 --> 01:42:17,280
Speaker 2: need to use this mic because I heard that this

1919
01:42:17,360 --> 01:42:19,840
Speaker 2: is the snare mic. Well you really don't, you know,

1920
01:42:19,960 --> 01:42:22,680
Speaker 2: Well let me I used to kick drum mike and

1921
01:42:22,720 --> 01:42:24,600
Speaker 2: I'm gonna sing a lead vocal on it because it

1922
01:42:24,640 --> 01:42:25,360
Speaker 2: sounds different.

1923
01:42:25,840 --> 01:42:29,040
Speaker 1: You know, go ahead, Can I ask uh for the

1924
01:42:29,080 --> 01:42:33,960
Speaker 1: Sunset sound sessions doing that tenure? Do you remember what

1925
01:42:34,080 --> 01:42:38,680
Speaker 1: brand the drums were there? If I could get the

1926
01:42:38,720 --> 01:42:40,960
Speaker 1: answer to that, my life would be super complete.

1927
01:42:42,280 --> 01:42:42,960
Speaker 2: Drum machine.

1928
01:42:44,120 --> 01:42:46,120
Speaker 1: No, no, no, no, I don't mean the Lend drum. Oh, I'm

1929
01:42:46,120 --> 01:42:50,559
Speaker 1: talking about you know, the occasional songs that you did

1930
01:42:50,600 --> 01:42:52,599
Speaker 1: cut that had live drums on them.

1931
01:42:52,720 --> 01:42:56,840
Speaker 2: Oh, everything I used there was Yamaha okay, all right,

1932
01:42:56,880 --> 01:43:03,840
Speaker 2: the maple custom maple okay, that's and pisty symbols battle

1933
01:43:03,880 --> 01:43:09,719
Speaker 2: right there, and pin stripe hands drum heads really yeah.

1934
01:43:10,240 --> 01:43:13,280
Speaker 1: Pin stripes ye, not coated white?

1935
01:43:13,600 --> 01:43:13,880
Speaker 2: Uh huh?

1936
01:43:14,880 --> 01:43:16,680
Speaker 1: Why did you put for pin stripes? I mean did

1937
01:43:16,680 --> 01:43:18,240
Speaker 1: it matter to you? Was it just like, oh, it's.

1938
01:43:18,120 --> 01:43:20,680
Speaker 2: There, or was it like I changed I changed them

1939
01:43:20,680 --> 01:43:22,960
Speaker 2: out sometimes, but most of the time it was because

1940
01:43:23,040 --> 01:43:25,840
Speaker 2: it had a funk thing, you know, with the pin

1941
01:43:25,920 --> 01:43:28,200
Speaker 2: stripe and then sometimes putting a pillow inside the kick

1942
01:43:28,280 --> 01:43:30,560
Speaker 2: drum and then putting a little bit of tape or

1943
01:43:30,600 --> 01:43:32,200
Speaker 2: something on the snare is just tight.

1944
01:43:32,080 --> 01:43:35,920
Speaker 1: Even on the snare. It never occurred to me once

1945
01:43:35,960 --> 01:43:37,120
Speaker 1: to use the pin stripes there.

1946
01:43:37,439 --> 01:43:41,320
Speaker 5: Do you remember how they mike the len drum.

1947
01:43:43,080 --> 01:43:43,479
Speaker 9: You are.

1948
01:43:46,880 --> 01:43:48,800
Speaker 1: For those that are scratching their heads at home. You

1949
01:43:48,800 --> 01:43:49,600
Speaker 1: can't really mind that.

1950
01:43:51,560 --> 01:43:54,560
Speaker 10: Actually that's not even fair to because a lot of

1951
01:43:54,600 --> 01:43:56,400
Speaker 10: people put things like that through an amp.

1952
01:43:56,520 --> 01:43:58,200
Speaker 5: And then kay, I was.

1953
01:43:58,520 --> 01:44:00,840
Speaker 1: That's what I want to get to to get I

1954
01:44:00,880 --> 01:44:04,599
Speaker 1: know that the dryness of the line drum, the dryness

1955
01:44:04,640 --> 01:44:09,439
Speaker 1: of the line drum naked sounds very dry. How many

1956
01:44:09,880 --> 01:44:14,000
Speaker 1: do you know? What was the effects process of getting reverb? Yeah?

1957
01:44:14,280 --> 01:44:20,960
Speaker 1: Just this the sound like those patches. M you gotta

1958
01:44:21,120 --> 01:44:24,120
Speaker 1: please tell me. This is the closest. This is the closest.

1959
01:44:24,640 --> 01:44:29,080
Speaker 1: Remember that is like what what?

1960
01:44:29,080 --> 01:44:31,720
Speaker 5: What reverb stuff? Did Prince use?

1961
01:44:33,479 --> 01:44:34,439
Speaker 1: That's what I want to know.

1962
01:44:35,520 --> 01:44:39,200
Speaker 2: Other engineers as well? Have they told you? I mean

1963
01:44:38,840 --> 01:44:45,200
Speaker 2: for me, yes, Look we're talking about Susan. You talk.

1964
01:44:45,800 --> 01:44:48,080
Speaker 1: You have to talk to Susan. I'm certain that she'll

1965
01:44:48,200 --> 01:44:52,720
Speaker 1: reveal it. But but you've got just for the sake

1966
01:44:52,800 --> 01:44:55,960
Speaker 1: of that sound being preserved.

1967
01:44:56,720 --> 01:44:59,360
Speaker 2: And here's the other thing with the drummers, the line

1968
01:44:59,439 --> 01:45:01,439
Speaker 2: drum machines, because we have both of them, the big

1969
01:45:01,479 --> 01:45:03,760
Speaker 2: mon I call it the mothership, the big one and

1970
01:45:03,800 --> 01:45:09,200
Speaker 2: then the smaller one. But we had are the line

1971
01:45:09,280 --> 01:45:11,759
Speaker 2: drum machines modified, so we had a m B switches

1972
01:45:11,800 --> 01:45:14,120
Speaker 2: to do different stuff on the lim machines, which I

1973
01:45:14,160 --> 01:45:14,599
Speaker 2: still have.

1974
01:45:15,160 --> 01:45:17,560
Speaker 1: What customized modified?

1975
01:45:18,439 --> 01:45:23,800
Speaker 5: Do those have effects on them? Yeah? We got her.

1976
01:45:25,120 --> 01:45:29,520
Speaker 1: Must be in the Okay, so those claps, it's.

1977
01:45:29,120 --> 01:45:30,759
Speaker 2: Those Those claps are dope.

1978
01:45:31,040 --> 01:45:36,960
Speaker 1: Yes, yeah, how did you build those claps? Slowly? Sip water?

1979
01:45:42,800 --> 01:45:43,320
Speaker 1: You know I'm a.

1980
01:45:43,320 --> 01:45:53,479
Speaker 2: Student, man, I'm just kidding. I'm kidding for the bus.

1981
01:45:55,160 --> 01:45:57,200
Speaker 1: Let me off the hook. She'll tell you.

1982
01:45:57,160 --> 01:45:59,200
Speaker 2: Offline maybe, yeah, I'll tell you offline.

1983
01:45:59,520 --> 01:45:59,960
Speaker 1: Seriously.

1984
01:46:00,360 --> 01:46:01,800
Speaker 9: Yeah, that's cool.

1985
01:46:01,880 --> 01:46:03,760
Speaker 1: That's just the head claps. That's the only thing I'll

1986
01:46:03,800 --> 01:46:04,799
Speaker 1: ask about the drums.

1987
01:46:05,160 --> 01:46:08,680
Speaker 6: She's gonna tell you that is the key.

1988
01:46:08,520 --> 01:46:11,559
Speaker 1: To Yes, it is you want to give the secret

1989
01:46:11,560 --> 01:46:17,400
Speaker 1: to tell you. She's gonna tell you. Have you heard music? Yes,

1990
01:46:17,439 --> 01:46:18,760
Speaker 1: So she's gonna tell you.

1991
01:46:19,880 --> 01:46:21,920
Speaker 2: I use those same claps right now on my show,

1992
01:46:22,439 --> 01:46:23,120
Speaker 2: I should hope.

1993
01:46:23,120 --> 01:46:27,160
Speaker 1: So, like, those are very iconic, they are, but louder

1994
01:46:27,200 --> 01:46:33,479
Speaker 1: than hell claps. They can be achieved. Okay, I'm gonna

1995
01:46:33,520 --> 01:46:36,759
Speaker 1: get this from another I'm gonna get this from another angle.

1996
01:46:41,479 --> 01:46:46,120
Speaker 1: So when you're doing this live, which I know this

1997
01:46:46,360 --> 01:46:55,000
Speaker 1: is a a a nightmare, at least two duplicate to duplicate.

1998
01:46:57,200 --> 01:46:59,800
Speaker 1: How many drum machines are you guys taking on the

1999
01:46:59,880 --> 01:47:01,760
Speaker 1: room with you in case one breaks down or in

2000
01:47:01,800 --> 01:47:06,280
Speaker 1: case a button is missed, or me right now or

2001
01:47:06,320 --> 01:47:10,400
Speaker 1: before now before I'm talking pre pro tools, pre oh,

2002
01:47:10,800 --> 01:47:13,040
Speaker 1: you guys invented pro tools in my mind.

2003
01:47:13,040 --> 01:47:16,519
Speaker 2: We did? For real, we did. So what I did

2004
01:47:16,680 --> 01:47:20,160
Speaker 2: was I had a Yamaha drum set. I had eight

2005
01:47:20,200 --> 01:47:23,960
Speaker 2: ten twelve fourteen sixteen eighteen tom and I had two

2006
01:47:24,000 --> 01:47:26,800
Speaker 2: twenty inch kick drums. I had a Piccolotle snare of

2007
01:47:26,840 --> 01:47:29,559
Speaker 2: fourteen inch, and then I had a eight ten twelve

2008
01:47:29,600 --> 01:47:34,559
Speaker 2: fourteen sixteen eighteen crashes with a couple of splashes, a

2009
01:47:34,720 --> 01:47:37,840
Speaker 2: sixteen in, a fourteen inch pang, and a twenty inch

2010
01:47:37,920 --> 01:47:41,360
Speaker 2: ride and a sixty inch right that real big one.

2011
01:47:41,360 --> 01:47:44,960
Speaker 2: I don't even know what size that thing is. And

2012
01:47:45,680 --> 01:47:49,200
Speaker 2: with each which, each tom that I had, I put

2013
01:47:49,240 --> 01:47:53,640
Speaker 2: triggers in the in each tom, so which so that

2014
01:47:53,720 --> 01:47:55,920
Speaker 2: I could trigger any sound that I wanted, not just

2015
01:47:55,960 --> 01:47:59,439
Speaker 2: on the snare, but on all the toms. Then I

2016
01:47:59,479 --> 01:48:02,599
Speaker 2: had switched is put on each tom that had an

2017
01:48:02,600 --> 01:48:04,840
Speaker 2: a switch and a be switched, so in case a

2018
01:48:04,920 --> 01:48:07,680
Speaker 2: trigger went out, I just click it and I'm not

2019
01:48:07,720 --> 01:48:09,560
Speaker 2: gonna lose anything. So I got my B plan. I

2020
01:48:09,600 --> 01:48:10,759
Speaker 2: always got to have a B planned.

2021
01:48:11,080 --> 01:48:16,800
Speaker 1: So the way that triggers are sensitive and the way

2022
01:48:16,800 --> 01:48:21,320
Speaker 1: that monitors are, your monitors really can't be that loud

2023
01:48:21,479 --> 01:48:25,719
Speaker 1: or have that much vibration because it might offset the triggers.

2024
01:48:26,000 --> 01:48:29,479
Speaker 2: Correct, yes, and no that we didn't have that problem?

2025
01:48:29,560 --> 01:48:30,960
Speaker 2: Would they modified that for me?

2026
01:48:31,120 --> 01:48:34,000
Speaker 1: And how loud were your monitors we're using in ears or.

2027
01:48:34,080 --> 01:48:37,440
Speaker 2: We didn't have in ears? Then we have monitors.

2028
01:48:38,840 --> 01:48:43,000
Speaker 1: I tried triggering once again, I do something once and then.

2029
01:48:42,840 --> 01:48:45,480
Speaker 2: That you give up too easy?

2030
01:48:45,720 --> 01:48:48,479
Speaker 1: Well, no, it's just a nightmare because you know I

2031
01:48:48,840 --> 01:48:50,840
Speaker 1: at the time when I was using monitors before in

2032
01:48:50,920 --> 01:48:53,559
Speaker 1: the ears, anytime I my kick drum, it would set

2033
01:48:53,560 --> 01:48:57,720
Speaker 1: off the entire right. It was just a nightmare. And

2034
01:48:57,800 --> 01:49:01,360
Speaker 1: I know, like even with the way that Rob had

2035
01:49:01,400 --> 01:49:05,680
Speaker 1: those those lights going, oh yeah, surely like if like

2036
01:49:05,800 --> 01:49:09,040
Speaker 1: you must be bullseye and no to press like what

2037
01:49:09,120 --> 01:49:11,160
Speaker 1: have you missed the nineteen ninety nine Q to press

2038
01:49:12,120 --> 01:49:13,040
Speaker 1: button number eight?

2039
01:49:13,360 --> 01:49:13,519
Speaker 9: Right?

2040
01:49:13,600 --> 01:49:13,760
Speaker 1: No?

2041
01:49:13,760 --> 01:49:16,120
Speaker 2: No, no, I have. I had triggers on each drum and

2042
01:49:16,120 --> 01:49:20,120
Speaker 2: then I had pads. Uh it might have been a rolling.

2043
01:49:20,200 --> 01:49:22,800
Speaker 2: I don't know, it might have been Yamaha, but I

2044
01:49:22,840 --> 01:49:25,599
Speaker 2: had modules in a rack. Then I had a different

2045
01:49:26,479 --> 01:49:30,680
Speaker 2: trigger on my snare. And with the trigger, there was

2046
01:49:30,720 --> 01:49:33,240
Speaker 2: an on and off switch for the handclaps that I

2047
01:49:33,280 --> 01:49:35,639
Speaker 2: triggered all my snare. Those claps are on my snare,

2048
01:49:36,360 --> 01:49:38,360
Speaker 2: so I triggered. There's an on and off switch for that.

2049
01:49:38,640 --> 01:49:41,240
Speaker 2: Then there's an on and off switch for the Lend

2050
01:49:41,320 --> 01:49:44,400
Speaker 2: machine and everything that I just told you that I built.

2051
01:49:44,560 --> 01:49:47,960
Speaker 2: That my text built, but this is what I needed

2052
01:49:48,040 --> 01:49:51,280
Speaker 2: to make this happen. We built a duplicate one just

2053
01:49:51,320 --> 01:49:53,200
Speaker 2: in case that one went down. So then I had

2054
01:49:53,240 --> 01:49:55,800
Speaker 2: another switch that would then switch all the programs. Every

2055
01:49:55,800 --> 01:49:58,080
Speaker 2: time I went to the next song. They weren't switching,

2056
01:49:58,120 --> 01:49:59,960
Speaker 2: I was switching it. So I had like ten petal

2057
01:50:00,240 --> 01:50:03,120
Speaker 2: on the floor. One was off and on switched just

2058
01:50:03,160 --> 01:50:06,400
Speaker 2: for the snare to have hand claps or not. One

2059
01:50:06,439 --> 01:50:10,640
Speaker 2: was a switch to change all the programs. One is

2060
01:50:10,680 --> 01:50:13,680
Speaker 2: to turn the entire drum Lend drum machine off. And

2061
01:50:13,720 --> 01:50:15,800
Speaker 2: then I've got two double pedals because they didn't make

2062
01:50:16,080 --> 01:50:19,519
Speaker 2: a double pedal then, so I had two separate pedals,

2063
01:50:20,600 --> 01:50:23,000
Speaker 2: and I had the high hat. Yeah, there were so

2064
01:50:23,040 --> 01:50:24,920
Speaker 2: many pedals down there, and I was it was like

2065
01:50:24,960 --> 01:50:26,639
Speaker 2: me playing in the base organ Yeah.

2066
01:50:26,720 --> 01:50:30,120
Speaker 1: Yeah, it was so on, assuming that everything wasn't one

2067
01:50:30,200 --> 01:50:34,320
Speaker 1: hundred percent perfect. I mean, what's your panic level if

2068
01:50:34,320 --> 01:50:37,360
Speaker 1: something gives out like okay, it's time to do hot

2069
01:50:37,439 --> 01:50:41,520
Speaker 1: thing and you press the button and it doesn't start, well,

2070
01:50:41,560 --> 01:50:44,680
Speaker 1: you would naturally play it on drums. I'm behind it rhetical.

2071
01:50:44,360 --> 01:50:47,400
Speaker 2: Right, Well, that was the that was why we had

2072
01:50:47,400 --> 01:50:50,040
Speaker 2: a B plan. So if that machine didn't work or

2073
01:50:50,080 --> 01:50:55,120
Speaker 2: didn't trigger, they just automatically switched to the secondary entire

2074
01:50:55,600 --> 01:50:57,880
Speaker 2: rack of everything dramatically.

2075
01:50:58,080 --> 01:51:01,720
Speaker 1: For those that are listening right now, this might be

2076
01:51:02,320 --> 01:51:04,720
Speaker 1: is this going over your head right now? I had

2077
01:51:04,760 --> 01:51:07,439
Speaker 1: a question a followed question. I'm not even the subject.

2078
01:51:07,479 --> 01:51:08,800
Speaker 1: I've already forgotten it. I just got it.

2079
01:51:09,080 --> 01:51:10,120
Speaker 5: Some people might not understand.

2080
01:51:10,120 --> 01:51:12,639
Speaker 1: I'm just saying that what she's describing to me right now,

2081
01:51:12,760 --> 01:51:16,479
Speaker 1: like I'm not breathing right now, because just.

2082
01:51:16,800 --> 01:51:19,240
Speaker 5: Sound like a lot of pedals breathed dog breathing.

2083
01:51:19,680 --> 01:51:23,559
Speaker 1: Just the level of I don't know if I can

2084
01:51:23,560 --> 01:51:24,000
Speaker 1: handle that.

2085
01:51:25,080 --> 01:51:27,439
Speaker 2: No, it was. It definitely was a lot. But that

2086
01:51:27,680 --> 01:51:30,960
Speaker 2: was what I came up with to do because I

2087
01:51:31,120 --> 01:51:33,840
Speaker 2: was his MD, and it's like I was there most

2088
01:51:33,880 --> 01:51:36,400
Speaker 2: of the time, just him and I as he recorded

2089
01:51:36,479 --> 01:51:39,080
Speaker 2: a lot of stuff, and it's not like we have

2090
01:51:39,200 --> 01:51:41,559
Speaker 2: pro tools. We had one hundred and fifty tracks, so

2091
01:51:41,600 --> 01:51:44,200
Speaker 2: we had twenty four tracks, and if we slaved another one,

2092
01:51:44,240 --> 01:51:47,200
Speaker 2: we'd have forty eight maybe. But you know, so where

2093
01:51:47,200 --> 01:51:51,080
Speaker 2: it says bass and he's playing bass, he just put

2094
01:51:51,080 --> 01:51:53,600
Speaker 2: another sound in the middle of something, and I'd have

2095
01:51:53,680 --> 01:51:56,519
Speaker 2: to grab that little sound for one or two bars

2096
01:51:56,600 --> 01:51:59,680
Speaker 2: or a phrase and take it and sample that so

2097
01:51:59,720 --> 01:52:02,120
Speaker 2: I can play it on the drums because it was

2098
01:52:02,160 --> 01:52:04,000
Speaker 2: on the bass track. But no one would know that

2099
01:52:04,040 --> 01:52:06,720
Speaker 2: because they weren't sitting there with him. Oh so I

2100
01:52:06,840 --> 01:52:09,160
Speaker 2: was punching him in like stuff that he couldn't punch

2101
01:52:09,200 --> 01:52:12,280
Speaker 2: himself in as far as playing guitar solos or lines

2102
01:52:12,360 --> 01:52:14,439
Speaker 2: or whatever. If he couldn't do it. I was his

2103
01:52:14,560 --> 01:52:16,200
Speaker 2: engineer for a lot of the stuff.

2104
01:52:17,640 --> 01:52:20,200
Speaker 10: So you would sample stuff from tape that he had

2105
01:52:20,200 --> 01:52:23,840
Speaker 10: played and then and then assign it to a drum

2106
01:52:23,960 --> 01:52:27,200
Speaker 10: and then play some other Wait a.

2107
01:52:27,200 --> 01:52:30,639
Speaker 1: Minute, even in overdubbing, he would play it on top

2108
01:52:30,680 --> 01:52:37,120
Speaker 1: of pre existing tracks because we didn't have I'm spitting

2109
01:52:37,120 --> 01:52:38,120
Speaker 1: out what you just told me.

2110
01:52:38,320 --> 01:52:42,240
Speaker 2: Yeah, So even if like there's a keyboard part that says,

2111
01:52:42,360 --> 01:52:45,400
Speaker 2: keyboards left and right, but at the same time he

2112
01:52:45,439 --> 01:52:48,680
Speaker 2: would just punch in some other weird sound instead of

2113
01:52:48,680 --> 01:52:51,120
Speaker 2: going through another track. He just punched it in the middle.

2114
01:52:52,120 --> 01:52:55,360
Speaker 2: And there were tons of that throughout a song. So

2115
01:52:55,400 --> 01:52:57,519
Speaker 2: when you hear stuff coming in and out, it's because

2116
01:52:57,520 --> 01:53:00,439
Speaker 2: he punched it in there, and it's only to happen

2117
01:53:00,520 --> 01:53:03,760
Speaker 2: at that place, at that sound, and you'll never hear

2118
01:53:03,800 --> 01:53:04,200
Speaker 2: it again.

2119
01:53:04,439 --> 01:53:10,840
Speaker 1: Because it's my life's dream just to sit and analyze

2120
01:53:10,960 --> 01:53:13,080
Speaker 1: one of those tracks in the vault, just to see

2121
01:53:13,080 --> 01:53:16,680
Speaker 1: how things are mixed or just the other world. I mean,

2122
01:53:16,680 --> 01:53:20,840
Speaker 1: that's like Rubik's cube level of confusion, because I mean again,

2123
01:53:21,720 --> 01:53:24,760
Speaker 1: now we have technology and our computers that you can

2124
01:53:25,200 --> 01:53:26,280
Speaker 1: have a gazillion tracks.

2125
01:53:26,280 --> 01:53:28,720
Speaker 10: But yeah, I think what what she's saying he was

2126
01:53:28,760 --> 01:53:31,320
Speaker 10: doing was like when you run out of tracks, you

2127
01:53:31,400 --> 01:53:32,960
Speaker 10: have to go to a track that already has something

2128
01:53:32,960 --> 01:53:35,160
Speaker 10: on it and find a space where that thing isn't playing,

2129
01:53:35,240 --> 01:53:36,919
Speaker 10: like the pianos the universe.

2130
01:53:37,800 --> 01:53:42,040
Speaker 2: That's what I'm saying. That's what I'm saying.

2131
01:53:42,479 --> 01:53:43,880
Speaker 9: He didn't have to not even go with.

2132
01:53:43,840 --> 01:53:46,200
Speaker 1: The Sempty track. We didn't have, we didn't believe in

2133
01:53:46,200 --> 01:53:46,680
Speaker 1: Simpty back.

2134
01:53:46,840 --> 01:53:50,000
Speaker 5: All right, you got if you're locking.

2135
01:53:49,840 --> 01:53:52,240
Speaker 2: Up the machine and I'm sorry, if we're getting two

2136
01:53:52,240 --> 01:53:53,160
Speaker 2: technical on something.

2137
01:53:53,680 --> 01:53:56,560
Speaker 1: This is what this shows. For This shows for nerds.

2138
01:53:56,760 --> 01:54:01,440
Speaker 2: Me up becoming Oh my god.

2139
01:54:02,680 --> 01:54:04,160
Speaker 1: Okay, So I have a question.

2140
01:54:04,600 --> 01:54:06,360
Speaker 3: So you were talking about the all the pedals and

2141
01:54:06,400 --> 01:54:09,000
Speaker 3: stuff and the triggers and all that. How forgiving was

2142
01:54:09,040 --> 01:54:13,519
Speaker 3: prince of technical screw ups? You know, if something went wrong,

2143
01:54:13,840 --> 01:54:16,920
Speaker 3: like did he get mad at you? Or who did

2144
01:54:16,960 --> 01:54:19,240
Speaker 3: he get mad if something if a lyn drun didn't

2145
01:54:19,240 --> 01:54:21,120
Speaker 3: get were impatient or impatient?

2146
01:54:21,320 --> 01:54:21,519
Speaker 1: Yeah?

2147
01:54:21,600 --> 01:54:22,200
Speaker 2: Absolutely?

2148
01:54:22,520 --> 01:54:26,120
Speaker 1: Like but like did he see did he see that

2149
01:54:26,120 --> 01:54:27,240
Speaker 1: as your fault?

2150
01:54:28,760 --> 01:54:29,240
Speaker 9: Uh?

2151
01:54:30,560 --> 01:54:33,040
Speaker 1: Like if it was, if it was if there's a short.

2152
01:54:33,080 --> 01:54:35,240
Speaker 3: Yeah, like if it was a bona fide technical like

2153
01:54:35,320 --> 01:54:36,640
Speaker 3: if something was wrong with the mission.

2154
01:54:36,760 --> 01:54:39,040
Speaker 2: He sometimes he would just say, whatever is going on,

2155
01:54:39,320 --> 01:54:41,680
Speaker 2: somebody fix it, walk out of the room and come

2156
01:54:41,720 --> 01:54:45,600
Speaker 2: back and hopefully it was fixed. Yeah, I see that.

2157
01:54:46,440 --> 01:54:47,400
Speaker 1: We're still not breathing.

2158
01:54:49,600 --> 01:54:51,440
Speaker 2: Yeah it was. I'm telling you. It was a lot

2159
01:54:51,480 --> 01:54:53,760
Speaker 2: for me. And then at the same time, not just

2160
01:54:54,440 --> 01:54:57,880
Speaker 2: you know, some of the times I had to press

2161
01:54:57,960 --> 01:55:01,200
Speaker 2: either the limb machine to stop on the end of

2162
01:55:01,320 --> 01:55:03,360
Speaker 2: before the down so I could hit the down with

2163
01:55:03,400 --> 01:55:06,120
Speaker 2: the kicked I mean I was, I know, you got

2164
01:55:06,160 --> 01:55:08,640
Speaker 2: to hit in all of this, but at the same

2165
01:55:08,680 --> 01:55:11,120
Speaker 2: time taking this uh you know, the collaps off where

2166
01:55:11,120 --> 01:55:12,800
Speaker 2: they needed to be in the middle of a phrase

2167
01:55:12,840 --> 01:55:15,040
Speaker 2: sometimes and it was always on the up while I'm

2168
01:55:15,080 --> 01:55:17,080
Speaker 2: still playing and singing.

2169
01:55:16,880 --> 01:55:21,960
Speaker 6: And doing choreography, and you're like, it's okay, superwoman, that's

2170
01:55:22,000 --> 01:55:26,000
Speaker 6: what's up. Yeah, she is a superwoman, super genius.

2171
01:55:26,800 --> 01:55:28,400
Speaker 1: So this is where I don't know if you're aware

2172
01:55:28,400 --> 01:55:32,080
Speaker 1: of this. So so there's a term speaking of black

2173
01:55:32,120 --> 01:55:38,000
Speaker 1: Messiah that that D and I always used, and well

2174
01:55:38,160 --> 01:55:43,280
Speaker 1: the term was Michael Angelo. Oh okay, So I don't

2175
01:55:43,280 --> 01:55:45,880
Speaker 1: know if I ever told you the story. So basically

2176
01:55:47,240 --> 01:55:50,040
Speaker 1: there was there was a law period in our relationship

2177
01:55:50,040 --> 01:55:53,440
Speaker 1: where you know, we didn't rap with each other for

2178
01:55:53,480 --> 01:55:54,920
Speaker 1: like a couple of years, and he was still working

2179
01:55:54,920 --> 01:56:00,200
Speaker 1: on this record. So we mended our relationship and I

2180
01:56:00,240 --> 01:56:02,000
Speaker 1: came back to the studio and he's like playing me

2181
01:56:02,040 --> 01:56:04,160
Speaker 1: cuts of what he's been working on so far, like

2182
01:56:04,680 --> 01:56:10,320
Speaker 1: all three of them, and by this no I'm playing

2183
01:56:11,200 --> 01:56:14,640
Speaker 1: by this time, like he'd got James Gatson to uh

2184
01:56:14,880 --> 01:56:19,120
Speaker 1: to drum on these joints, and I was sitting you know,

2185
01:56:19,200 --> 01:56:21,200
Speaker 1: part of me was like trying to be like encouraging, like,

2186
01:56:21,240 --> 01:56:23,640
Speaker 1: oh man, it's really funky, you know, because again it

2187
01:56:23,720 --> 01:56:27,080
Speaker 1: was incredible ass funk I was listening to uh, But

2188
01:56:27,160 --> 01:56:29,960
Speaker 1: in my mind I was on this. Yeah, in my mind,

2189
01:56:29,960 --> 01:56:33,400
Speaker 1: I was seven with rage, like damn, I'm not on

2190
01:56:33,880 --> 01:56:38,120
Speaker 1: this ship. And for me, in my head, I was like, damn.

2191
01:56:39,280 --> 01:56:43,240
Speaker 1: The only songs i'll I'll be able to play on

2192
01:56:43,480 --> 01:56:49,160
Speaker 1: are the Michael Angelo songs, which in di'angelo speak, because

2193
01:56:49,200 --> 01:56:52,560
Speaker 1: the way that Roman sixteen hundred is is sequenced, that

2194
01:56:52,560 --> 01:56:55,840
Speaker 1: would be Sheila's second solo. Yeah, for those that are listening,

2195
01:57:00,320 --> 01:57:03,040
Speaker 1: A love Bazzar is such a monstrous song the way

2196
01:57:03,080 --> 01:57:05,840
Speaker 1: that it's positioned on the album that there's really no

2197
01:57:05,960 --> 01:57:10,040
Speaker 1: way for me to separate and make Dear Michael Angelo

2198
01:57:10,400 --> 01:57:14,120
Speaker 1: its own song without thinking that Dear Michael Angelo is

2199
01:57:14,200 --> 01:57:17,080
Speaker 1: just a three minute movie preview to what's about to

2200
01:57:17,080 --> 01:57:20,160
Speaker 1: come around the corner, kind of like the first half

2201
01:57:20,200 --> 01:57:24,400
Speaker 1: of slimin Family Stone Stand like, okay, this, we know

2202
01:57:24,440 --> 01:57:26,080
Speaker 1: this part of song, but we know the part we're

2203
01:57:26,080 --> 01:57:27,920
Speaker 1: really waiting for is the last minute of the song

2204
01:57:27,920 --> 01:57:32,760
Speaker 1: where they start like funking out. And but whenever I

2205
01:57:32,800 --> 01:57:38,600
Speaker 1: sequenced the record, I always used Michael Angelo the lovelzart,

2206
01:57:38,640 --> 01:57:41,080
Speaker 1: like it's almost like an alley setup shot to the

2207
01:57:41,120 --> 01:57:44,480
Speaker 1: slam Dunk. And I thought, well, damn, I can't get

2208
01:57:44,840 --> 01:57:49,400
Speaker 1: Jimmy Gatzon off this record, but at least I can

2209
01:57:49,720 --> 01:57:53,880
Speaker 1: try to work on all the Michael Angelo's the setup songs.

2210
01:57:54,080 --> 01:58:00,360
Speaker 1: And so that's where the charade song on on Uh

2211
01:58:00,920 --> 01:58:04,440
Speaker 1: Black Messiah comes into play, Like that was our tribute

2212
01:58:04,720 --> 01:58:09,000
Speaker 1: to dear Michael Angelow because you know I was not

2213
01:58:09,040 --> 01:58:13,200
Speaker 1: on Sugar Daddy and Salty about that.

2214
01:58:13,840 --> 01:58:14,080
Speaker 2: Wow.

2215
01:58:14,640 --> 01:58:17,880
Speaker 1: But yeah, so that no, that that song means a

2216
01:58:17,920 --> 01:58:20,440
Speaker 1: lot to us. I don't know if you hear that often.

2217
01:58:20,800 --> 01:58:24,120
Speaker 2: I never, no, thank you, that's awesome. Wow.

2218
01:58:24,520 --> 01:58:26,680
Speaker 1: It's also hard to figure out where the one is

2219
01:58:31,200 --> 01:58:35,200
Speaker 1: in that. I gotta ask for toy box because I

2220
01:58:35,240 --> 01:58:40,440
Speaker 1: know that humor is a big part of the presentation.

2221
01:58:41,320 --> 01:58:47,200
Speaker 1: But how how how easier heard is it to do

2222
01:58:49,320 --> 01:58:54,480
Speaker 1: skits or that sort of thing like in front of

2223
01:58:54,640 --> 01:58:57,280
Speaker 1: like as you're recording it. I mean, it's one thing

2224
01:58:57,320 --> 01:59:00,160
Speaker 1: to hear and like, oh okay, by that point you

2225
01:59:00,240 --> 01:59:03,000
Speaker 1: used to the comedy skit or the comedy section of

2226
01:59:03,520 --> 01:59:06,080
Speaker 1: a certain song. But how hard is it to do

2227
01:59:06,960 --> 01:59:10,600
Speaker 1: like and and map and plan, because it's like you

2228
01:59:10,640 --> 01:59:15,680
Speaker 1: have to take a sixty four bar break to to

2229
01:59:15,920 --> 01:59:18,400
Speaker 1: insert this in the song, Like are you guys mapping

2230
01:59:18,440 --> 01:59:20,280
Speaker 1: it out one by one? Like all the lines of

2231
01:59:20,360 --> 01:59:20,760
Speaker 1: you're just.

2232
01:59:20,960 --> 01:59:25,160
Speaker 2: No, we're just going for it. Okay, yeah, just going

2233
01:59:25,240 --> 01:59:25,480
Speaker 2: for it.

2234
01:59:25,840 --> 01:59:26,360
Speaker 1: I see.

2235
01:59:26,800 --> 01:59:29,520
Speaker 2: So a lot of times it wasn't planned. We're just

2236
01:59:29,560 --> 01:59:32,320
Speaker 2: playing in whatever ended up happening, is what it was,

2237
01:59:32,800 --> 01:59:33,160
Speaker 2: and then.

2238
01:59:33,080 --> 01:59:36,080
Speaker 1: You built it around there yeah I see, yeah, okay,

2239
01:59:36,440 --> 01:59:41,240
Speaker 1: all right. And fourth for songs like Mercy.

2240
01:59:41,280 --> 01:59:43,720
Speaker 2: For the Mercy for the Speed of Mad Clown in

2241
01:59:43,760 --> 01:59:44,360
Speaker 2: the Summertime?

2242
01:59:44,520 --> 01:59:48,600
Speaker 1: Yes, how many? Is that a band effort? Like who's

2243
01:59:48,600 --> 01:59:49,040
Speaker 1: playing on?

2244
01:59:49,120 --> 01:59:49,200
Speaker 4: That?

2245
01:59:49,320 --> 01:59:50,560
Speaker 9: Is the whole band?

2246
01:59:50,840 --> 01:59:51,240
Speaker 1: Okay?

2247
01:59:51,280 --> 01:59:55,320
Speaker 2: That was recorded live like Love Bizarre was, And.

2248
01:59:56,320 --> 01:59:59,480
Speaker 1: Yeah, I'm trying to get everything else. So I want

2249
01:59:59,480 --> 02:00:00,680
Speaker 1: to get the crush groove right now.

2250
02:00:01,840 --> 02:00:03,520
Speaker 2: Tell you better hurry because I gotta go.

2251
02:00:03,680 --> 02:00:06,360
Speaker 6: I can you tell me where the pink jacket is though?

2252
02:00:07,160 --> 02:00:07,800
Speaker 2: In my closet?

2253
02:00:07,840 --> 02:00:08,080
Speaker 9: Okay?

2254
02:00:08,080 --> 02:00:11,760
Speaker 6: Thanks?

2255
02:00:12,160 --> 02:00:15,200
Speaker 1: Crush groove Bill? Do you oh?

2256
02:00:15,320 --> 02:00:18,440
Speaker 3: I thought, you know, helping you move along the crush groove?

2257
02:00:18,560 --> 02:00:20,560
Speaker 3: Oh okay, crush groove, Crush.

2258
02:00:22,880 --> 02:00:28,000
Speaker 1: So yeah, Michael, how did how did Michael Schultz choose you? At?

2259
02:00:28,240 --> 02:00:28,840
Speaker 1: Like were you.

2260
02:00:29,280 --> 02:00:31,080
Speaker 2: I was out on tour on Purple Rain. I have

2261
02:00:31,240 --> 02:00:34,960
Speaker 2: no idea. Management said at the end of Purple Rain,

2262
02:00:35,280 --> 02:00:37,680
Speaker 2: we had been out for a year or something, that's like,

2263
02:00:37,720 --> 02:00:39,960
Speaker 2: we want you to go to New York and audition

2264
02:00:40,120 --> 02:00:45,000
Speaker 2: for a part in the movie. And I'm like, what, okay.

2265
02:00:45,600 --> 02:00:47,040
Speaker 2: So they said, we just want to see if you

2266
02:00:47,080 --> 02:00:52,839
Speaker 2: have chemistry with this up and coming actor Blair. Okay.

2267
02:00:53,640 --> 02:00:58,240
Speaker 2: So of course I was exhausted. I had just cut

2268
02:00:58,280 --> 02:01:00,480
Speaker 2: my hair because we had been on tour. I was like,

2269
02:01:00,680 --> 02:01:03,360
Speaker 2: I'm so tired, but I'm going to come here and

2270
02:01:03,400 --> 02:01:06,240
Speaker 2: try it. I came here. I was stressed, and it's

2271
02:01:06,320 --> 02:01:09,840
Speaker 2: so dumb because I've seen it somewhere. I don't know.

2272
02:01:10,560 --> 02:01:12,720
Speaker 2: I think it was on YouTube or maybe it was

2273
02:01:12,760 --> 02:01:15,160
Speaker 2: in my archives of stuff that I have. But we

2274
02:01:15,240 --> 02:01:24,160
Speaker 2: did a what do you call it? Audition? I think

2275
02:01:24,200 --> 02:01:26,800
Speaker 2: I saw it there. If it's not, I have it.

2276
02:01:27,200 --> 02:01:28,800
Speaker 2: If not, I have it, But I thought it was

2277
02:01:28,840 --> 02:01:31,680
Speaker 2: on there. But if you see it in my profile

2278
02:01:32,200 --> 02:01:36,600
Speaker 2: because I was stressed out, this big pimples it was.

2279
02:01:37,000 --> 02:01:39,600
Speaker 2: It was a thumb growing out of my nose. It

2280
02:01:39,640 --> 02:01:42,320
Speaker 2: looked like and I was so nervous. That bothered me

2281
02:01:42,400 --> 02:01:45,720
Speaker 2: more trying to act like, please don't look at my

2282
02:01:45,880 --> 02:01:49,839
Speaker 2: nose while we're auditioning here. But anyway, we did the audition,

2283
02:01:49,960 --> 02:01:52,360
Speaker 2: it was fine, and they said we want you to

2284
02:01:52,360 --> 02:01:55,040
Speaker 2: come back, and so we kind of worked it out.

2285
02:01:55,080 --> 02:01:59,080
Speaker 2: And it was interesting still because in the middle of

2286
02:01:59,120 --> 02:02:04,120
Speaker 2: the filming of this, I quit, uh, And I usually

2287
02:02:04,120 --> 02:02:05,360
Speaker 2: don't quit, but I quit.

2288
02:02:05,520 --> 02:02:06,240
Speaker 1: You quit the movie.

2289
02:02:06,360 --> 02:02:08,600
Speaker 9: I quit the movie in the middle of filming.

2290
02:02:08,720 --> 02:02:19,800
Speaker 12: Yes, sir, wait sleeves, sleeves too much, too little, sleeves

2291
02:02:20,240 --> 02:02:20,760
Speaker 12: have haunted.

2292
02:02:20,800 --> 02:02:23,280
Speaker 1: How long did it take the film?

2293
02:02:23,800 --> 02:02:27,320
Speaker 2: I don't. I don't know. Four months, three months, I don't.

2294
02:02:27,400 --> 02:02:28,760
Speaker 2: It didn't seem like it was that long.

2295
02:02:30,920 --> 02:02:33,720
Speaker 1: Was it a is it fine? Memories of it like,

2296
02:02:33,760 --> 02:02:36,720
Speaker 1: oh the good old or was it just like whatever? Oh?

2297
02:02:36,760 --> 02:02:40,880
Speaker 2: No, it was messed up. It was totally messed up. Now.

2298
02:02:41,480 --> 02:02:45,800
Speaker 2: What happened was while we were filming it, Uh, I

2299
02:02:45,840 --> 02:02:48,320
Speaker 2: guess there was an East coast West coast thing happening.

2300
02:02:48,400 --> 02:02:51,000
Speaker 2: I didn't know anything about it, you know, because early Wow,

2301
02:02:51,080 --> 02:02:53,880
Speaker 2: I had been on I had been on tour, and

2302
02:02:53,920 --> 02:02:56,800
Speaker 2: I came in and it's just like, who's this West

2303
02:02:56,840 --> 02:03:00,040
Speaker 2: coast wanna be rapper coming in as what I was.

2304
02:03:00,040 --> 02:03:01,320
Speaker 9: Because the Bronx.

2305
02:03:01,480 --> 02:03:03,120
Speaker 1: Okay, yeah, because.

2306
02:03:03,000 --> 02:03:05,360
Speaker 2: I'm just saying that's how it went down. It's like, wait,

2307
02:03:05,440 --> 02:03:07,840
Speaker 2: what do you And I'm saying, what are you talking about?

2308
02:03:07,840 --> 02:03:09,760
Speaker 2: I don't even know what you're talking about. Well, we're

2309
02:03:09,760 --> 02:03:12,400
Speaker 2: here in New York and you're just wanna be rapper

2310
02:03:12,400 --> 02:03:14,800
Speaker 2: and I'm like, no, I'm a musician, you know. So

2311
02:03:14,840 --> 02:03:17,600
Speaker 2: a lot of them hadn't heard kind of is like.

2312
02:03:17,720 --> 02:03:20,360
Speaker 2: And then plus being out on tour, I came in

2313
02:03:20,840 --> 02:03:23,440
Speaker 2: with and again you would call it ontourage now, but

2314
02:03:23,520 --> 02:03:26,360
Speaker 2: I mean I had road manager and the wardrobe people

2315
02:03:26,400 --> 02:03:29,040
Speaker 2: and we were just on tours. So everyone came with

2316
02:03:29,120 --> 02:03:31,640
Speaker 2: me making sure everything was cool. And you know, I

2317
02:03:31,800 --> 02:03:33,560
Speaker 2: used to being on tour and wherever we go it's

2318
02:03:33,600 --> 02:03:36,000
Speaker 2: like wherever I laid my head is my home. So

2319
02:03:36,120 --> 02:03:38,320
Speaker 2: you know, like we're sitting in this room, you gotta

2320
02:03:38,360 --> 02:03:42,440
Speaker 2: have vibe, you know, lamps and you know, pictures.

2321
02:03:42,640 --> 02:03:44,880
Speaker 9: My family they'd never seen that before.

2322
02:03:45,400 --> 02:03:46,320
Speaker 1: It seemed high end.

2323
02:03:46,400 --> 02:03:49,400
Speaker 2: The very I mean, you know, the fat boys were

2324
02:03:49,400 --> 02:03:53,720
Speaker 2: in the other room with some cafeteria chairs and a table,

2325
02:03:54,240 --> 02:03:58,360
Speaker 2: and I came in with the rug. I mean again,

2326
02:03:58,400 --> 02:04:00,200
Speaker 2: you talk about the writer. I mean it's like and

2327
02:04:00,240 --> 02:04:02,680
Speaker 2: I want a popcorn machine and I want to for

2328
02:04:02,800 --> 02:04:05,680
Speaker 2: real and they're like wait, and they peaked in my room,

2329
02:04:05,800 --> 02:04:08,640
Speaker 2: like what's the They were cool, but some of the

2330
02:04:08,760 --> 02:04:13,040
Speaker 2: other rappers were so mean to me. And and then

2331
02:04:13,080 --> 02:04:16,120
Speaker 2: not only that, the fans, not even the fans because

2332
02:04:16,160 --> 02:04:19,680
Speaker 2: they weren't my fans. The peep the extras in the movie.

2333
02:04:19,760 --> 02:04:22,400
Speaker 2: While we were shooting Love Bizarre.

2334
02:04:23,000 --> 02:04:26,440
Speaker 1: At the at the club, at the Funhouse or.

2335
02:04:28,000 --> 02:04:32,000
Speaker 2: Yes, at the Fever, Yeah, we're we're we're we're filming

2336
02:04:32,000 --> 02:04:34,640
Speaker 2: that part, and everyone's like, you know, yeah, kind of

2337
02:04:34,640 --> 02:04:36,960
Speaker 2: halfway moving and was like whatever, and I'm singing love

2338
02:04:36,960 --> 02:04:40,640
Speaker 2: Bazarre and then at the end they're supposed to go, yeah, yeah,

2339
02:04:41,000 --> 02:04:44,280
Speaker 2: you know she's they just stood there like there's nobody clap,

2340
02:04:44,480 --> 02:04:47,160
Speaker 2: and the extras nobody clap.

2341
02:04:47,240 --> 02:04:50,880
Speaker 9: You got new York New York is they were It

2342
02:04:50,920 --> 02:04:51,360
Speaker 9: was so many.

2343
02:04:51,520 --> 02:04:54,840
Speaker 1: They're protective and they're very caddy.

2344
02:04:54,560 --> 02:04:57,560
Speaker 2: And and yeah, so they just they had the directors

2345
02:04:57,560 --> 02:04:59,440
Speaker 2: had to say, wait, cut, hold on, do you guys

2346
02:04:59,520 --> 02:05:02,440
Speaker 2: know where shoot in the movie, Like for real, you

2347
02:05:02,520 --> 02:05:05,640
Speaker 2: guys got a clap We're shooting the movie. So anyway,

2348
02:05:05,680 --> 02:05:06,600
Speaker 2: it just got crazy.

2349
02:05:07,080 --> 02:05:09,720
Speaker 1: For the Holly Rock scene too, that was a.

2350
02:05:09,640 --> 02:05:14,160
Speaker 2: Little bit weird too, because actually I had prints come

2351
02:05:14,200 --> 02:05:16,560
Speaker 2: for that and so he was there. Yeah, he was

2352
02:05:16,560 --> 02:05:18,040
Speaker 2: there for that for a second. Yeah.

2353
02:05:18,920 --> 02:05:22,440
Speaker 1: Yeah, wow, I didn't know that it was.

2354
02:05:23,520 --> 02:05:25,080
Speaker 2: And then and then at the end when we were

2355
02:05:25,080 --> 02:05:28,040
Speaker 2: shooting the part where we were all dancing at the

2356
02:05:28,120 --> 02:05:31,000
Speaker 2: end of the movie. Yeah, at the end of the movie. Uh,

2357
02:05:31,040 --> 02:05:33,640
Speaker 2: it was kind of crazy because some of the other

2358
02:05:33,720 --> 02:05:37,080
Speaker 2: rappers were pushing us off the stage and everything and

2359
02:05:37,160 --> 02:05:39,200
Speaker 2: moving us out the way and it was just dumb.

2360
02:05:39,760 --> 02:05:41,120
Speaker 2: I'm like, they were just hating on us.

2361
02:05:41,160 --> 02:05:44,280
Speaker 5: And I was like, but that boys were nice, right, cool?

2362
02:05:44,360 --> 02:05:45,080
Speaker 5: What was on their ride?

2363
02:05:45,200 --> 02:05:48,200
Speaker 1: Damn? I feel bad for wearing this ll sweater? Now?

2364
02:05:49,040 --> 02:05:51,400
Speaker 2: Was cool? Was cool, I'm.

2365
02:05:53,680 --> 02:05:53,720
Speaker 1: In.

2366
02:05:54,800 --> 02:05:57,080
Speaker 4: But you know, in retrospect, now, I'm sure the next

2367
02:05:57,120 --> 02:05:59,920
Speaker 4: project they did, they upgraded their rider because they was like, oh,

2368
02:06:00,120 --> 02:06:00,920
Speaker 4: we can get this.

2369
02:06:01,440 --> 02:06:05,520
Speaker 6: I had no idea. Yeah, we go disorderly kill you.

2370
02:06:05,600 --> 02:06:05,960
Speaker 9: Yeah.

2371
02:06:06,000 --> 02:06:06,200
Speaker 11: Wow.

2372
02:06:06,400 --> 02:06:10,120
Speaker 1: Damn. I'm kind of disappointed that that wasn't a good

2373
02:06:10,160 --> 02:06:13,000
Speaker 1: filming experience because that film meant everything to us.

2374
02:06:13,160 --> 02:06:15,880
Speaker 2: Yeah. No, I mean I came back and you know,

2375
02:06:16,160 --> 02:06:19,560
Speaker 2: it was cool, but it was weird. I mean, and

2376
02:06:19,600 --> 02:06:21,920
Speaker 2: the other ones that were really mean to me who

2377
02:06:21,960 --> 02:06:24,760
Speaker 2: are well known people now and what they do and

2378
02:06:24,800 --> 02:06:26,320
Speaker 2: it's like, wow is their name?

2379
02:06:26,400 --> 02:06:28,320
Speaker 1: Ryan would fun p RB.

2380
02:06:30,520 --> 02:06:33,120
Speaker 2: No, I got that one.

2381
02:06:33,440 --> 02:06:33,760
Speaker 9: Us go.

2382
02:06:36,480 --> 02:06:39,120
Speaker 2: Cold. Curtis is cool now? He was? He was. He

2383
02:06:39,280 --> 02:06:42,200
Speaker 2: was really cool and he turned around to address everybody's like,

2384
02:06:42,440 --> 02:06:44,520
Speaker 2: come on, y'all, you know we're supposed to be shooting

2385
02:06:44,520 --> 02:06:47,240
Speaker 2: a movie. Come on, what you're doing? He was really cool.

2386
02:06:47,760 --> 02:06:51,720
Speaker 1: Well, yeah, for the greater good, I appreciate you doing

2387
02:06:51,760 --> 02:06:52,200
Speaker 1: that movie.

2388
02:06:52,480 --> 02:06:54,800
Speaker 2: I had. I had a good time. I mean, all

2389
02:06:54,840 --> 02:06:55,640
Speaker 2: in all, I had a good time.

2390
02:06:55,760 --> 02:06:57,480
Speaker 6: Was that your first East Coast West Coast situation?

2391
02:06:57,520 --> 02:06:59,440
Speaker 4: Because I not for nothing that I was always curious

2392
02:06:59,440 --> 02:07:02,080
Speaker 4: about the West Coast Latin jazz scene versus the East

2393
02:07:02,120 --> 02:07:03,360
Speaker 4: Coast Latin.

2394
02:07:03,240 --> 02:07:05,200
Speaker 2: Right, and then that was a whole other issue. Yeah,

2395
02:07:05,240 --> 02:07:09,400
Speaker 2: the Latin jazz and jazz and then salsa right the

2396
02:07:09,440 --> 02:07:12,360
Speaker 2: East Coast against the West Coast, big huge thing happening.

2397
02:07:12,480 --> 02:07:15,480
Speaker 2: Absolutely that was also a rival with the East Coast,

2398
02:07:15,560 --> 02:07:19,600
Speaker 2: said the West Coast US Latin jazz artists and musicians

2399
02:07:19,600 --> 02:07:21,000
Speaker 2: don't play as well as the East Coast.

2400
02:07:21,040 --> 02:07:23,600
Speaker 4: Plus it's different countries we're talking about too in situations

2401
02:07:23,680 --> 02:07:24,160
Speaker 4: and all.

2402
02:07:24,080 --> 02:07:26,160
Speaker 2: Kind of But I mean it's really it all goes

2403
02:07:26,200 --> 02:07:29,160
Speaker 2: back to this rhythm called the clave, and and in

2404
02:07:29,440 --> 02:07:31,360
Speaker 2: Layman's term is really like the two and the four

2405
02:07:31,400 --> 02:07:34,560
Speaker 2: where we clapping on the funk, but this is called

2406
02:07:34,880 --> 02:07:38,120
Speaker 2: the clave and that's their their their clock, and so

2407
02:07:38,200 --> 02:07:41,280
Speaker 2: it's how you play it. So yeah, so interesting.

2408
02:07:41,400 --> 02:07:43,760
Speaker 1: Okay, I'm trying to move past the purple period to

2409
02:07:45,040 --> 02:07:51,360
Speaker 1: your sex symbol post sex symbol period of your career

2410
02:07:51,360 --> 02:07:54,480
Speaker 1: where you're totally out of the folder left, Like what

2411
02:07:54,560 --> 02:07:56,800
Speaker 1: was what was it like to make the decision to

2412
02:07:56,880 --> 02:08:02,480
Speaker 1: really leave and explore music that you wanted to do

2413
02:08:03,160 --> 02:08:07,080
Speaker 1: without the tutelage of what you what you came to

2414
02:08:07,160 --> 02:08:09,360
Speaker 1: the world as, at least in our eyes, Like, what

2415
02:08:09,440 --> 02:08:11,800
Speaker 1: was that like for going to do Prince's Bid? Yeah?

2416
02:08:12,240 --> 02:08:14,240
Speaker 2: Well, I mean I after a while, it's like I

2417
02:08:14,240 --> 02:08:16,120
Speaker 2: didn't like the direction he was going in and I

2418
02:08:16,120 --> 02:08:18,680
Speaker 2: didn't like all the cursing, and I just the music

2419
02:08:18,800 --> 02:08:21,160
Speaker 2: was getting crazy, and I'm like, no, it does I'm

2420
02:08:21,200 --> 02:08:23,600
Speaker 2: not having fun. If I'm not having fun, you know,

2421
02:08:23,840 --> 02:08:24,480
Speaker 2: I need to leave.

2422
02:08:24,720 --> 02:08:28,760
Speaker 3: After we forget to ask, well, we did, but actually

2423
02:08:28,800 --> 02:08:30,360
Speaker 3: I just wanted to ask, did you have any problems

2424
02:08:30,400 --> 02:08:31,760
Speaker 3: with singing Scarlett Pussy?

2425
02:08:32,400 --> 02:08:32,560
Speaker 2: No?

2426
02:08:32,840 --> 02:08:34,960
Speaker 1: Okay, because I was wondering if that was if that

2427
02:08:35,040 --> 02:08:36,200
Speaker 1: might have been something that you.

2428
02:08:36,200 --> 02:08:39,600
Speaker 2: Know, kind of no, no, no, when I did that

2429
02:08:39,600 --> 02:08:41,480
Speaker 2: that was supposed to be on my record and it

2430
02:08:41,520 --> 02:08:42,480
Speaker 2: turned out so good.

2431
02:08:42,640 --> 02:08:43,120
Speaker 1: That's right.

2432
02:08:43,200 --> 02:08:46,920
Speaker 3: That's actually segue. I wanted to ask about the record

2433
02:08:46,960 --> 02:08:49,640
Speaker 3: that didn't come out. Yeah, can you tell me anything

2434
02:08:49,680 --> 02:08:52,400
Speaker 3: about the song three Nigs watching a Kung Fu Movie?

2435
02:08:52,920 --> 02:08:54,760
Speaker 3: Because that title has just been stuck in my head

2436
02:08:54,800 --> 02:08:55,280
Speaker 3: for forever.

2437
02:08:55,680 --> 02:08:59,120
Speaker 2: Prince called me when I was in Oakland and three

2438
02:08:59,200 --> 02:09:02,280
Speaker 2: Nigs United in West Yeah.

2439
02:09:01,880 --> 02:09:03,320
Speaker 1: That was on the Black album, but there was I

2440
02:09:03,360 --> 02:09:04,640
Speaker 1: guess a sequel that was coming on.

2441
02:09:04,920 --> 02:09:06,680
Speaker 2: Yeah, that was me. He called me, goes, I don't

2442
02:09:06,720 --> 02:09:09,320
Speaker 2: have a title for a song. I said, okay, Three

2443
02:09:09,400 --> 02:09:12,960
Speaker 2: Niggs United in Wiscompton or whatever it was, it goes, Okay,

2444
02:09:12,960 --> 02:09:13,600
Speaker 2: that sound good?

2445
02:09:15,560 --> 02:09:18,640
Speaker 1: Okay? It was so he literally made the Black Album

2446
02:09:18,800 --> 02:09:21,919
Speaker 1: just to have party music at your birthday celebration.

2447
02:09:22,320 --> 02:09:25,520
Speaker 2: That was yes and no. I mean we were we

2448
02:09:25,560 --> 02:09:29,120
Speaker 2: were recording you know, that music mostly at his house,

2449
02:09:29,520 --> 02:09:32,360
Speaker 2: in the studio at his house, and then one day

2450
02:09:32,400 --> 02:09:35,320
Speaker 2: he's just like, we can't let this go, we can't

2451
02:09:35,440 --> 02:09:38,560
Speaker 2: release him like it's the dopest record you are you

2452
02:09:38,640 --> 02:09:41,120
Speaker 2: kidding me? He just stopped the truck. No, we can't.

2453
02:09:41,320 --> 02:09:44,120
Speaker 2: And of course you know one of them trucks got

2454
02:09:44,120 --> 02:09:46,560
Speaker 2: through or I don't know how many truck Yeah, a

2455
02:09:46,640 --> 02:09:49,520
Speaker 2: lot of people got the record anyway, Sure it did. Yes,

2456
02:09:51,920 --> 02:09:54,080
Speaker 2: how many you have? But yeah? Okay?

2457
02:09:55,640 --> 02:09:58,640
Speaker 1: But yeah, leaving it, I mean you felt more of

2458
02:09:58,680 --> 02:10:00,240
Speaker 1: a sense of independ.

2459
02:10:00,960 --> 02:10:03,880
Speaker 2: Well again, no, it's not that. It was more of

2460
02:10:04,040 --> 02:10:08,160
Speaker 2: I felt something was missing musically, and so something missing

2461
02:10:08,200 --> 02:10:10,520
Speaker 2: musically for me means well why am I doing it?

2462
02:10:10,840 --> 02:10:14,680
Speaker 2: That passion was dwindling away because I wasn't excited about

2463
02:10:14,720 --> 02:10:17,280
Speaker 2: showing up, you know and playing. It's like I don't

2464
02:10:17,320 --> 02:10:21,320
Speaker 2: like the direction. I don't like what's happening, So I

2465
02:10:21,360 --> 02:10:22,160
Speaker 2: said I got to leave.

2466
02:10:22,600 --> 02:10:28,000
Speaker 1: Well, this led her to something that we do really

2467
02:10:28,000 --> 02:10:31,280
Speaker 1: have in common. You were a late night band leader

2468
02:10:31,320 --> 02:10:37,720
Speaker 1: for the Magic Hour? How how how was that experience

2469
02:10:37,840 --> 02:10:40,680
Speaker 1: at least as a late night band leader?

2470
02:10:40,760 --> 02:10:44,280
Speaker 2: Like, it was actually pretty dope. I mean I was

2471
02:10:44,360 --> 02:10:48,640
Speaker 2: ready to do it. To me again, you're going to

2472
02:10:48,640 --> 02:10:52,520
Speaker 2: be a musical director for television. It's all about timing.

2473
02:10:52,560 --> 02:10:55,120
Speaker 2: So it's like it's to me, I thought it was

2474
02:10:55,120 --> 02:10:57,320
Speaker 2: a no brainer, and I just visualized what I needed

2475
02:10:57,360 --> 02:11:00,320
Speaker 2: to do. It's like, okay, what's common sense. It has

2476
02:11:00,360 --> 02:11:04,920
Speaker 2: to happen. And I was cool with it. So your

2477
02:11:04,960 --> 02:11:07,280
Speaker 2: brother too, I enjoyed it. Yeah. I brought my brother

2478
02:11:07,320 --> 02:11:09,240
Speaker 2: and my band and.

2479
02:11:08,680 --> 02:11:10,800
Speaker 4: Now he's because right, your brother was a music director

2480
02:11:10,840 --> 02:11:11,800
Speaker 4: for a TV show.

2481
02:11:11,640 --> 02:11:16,040
Speaker 2: As well, Martin Short and Wayne Brady. Yeah.

2482
02:11:16,760 --> 02:11:21,800
Speaker 1: Wait a minute, Peter, Mike Martin Short show.

2483
02:11:22,000 --> 02:11:23,480
Speaker 2: No no, no, not that one.

2484
02:11:24,440 --> 02:11:29,280
Speaker 1: You scared me. Peter Michael was under my no, my floor,

2485
02:11:29,320 --> 02:11:30,680
Speaker 1: and I didn't know about it. What the hell?

2486
02:11:31,160 --> 02:11:31,240
Speaker 4: No?

2487
02:11:31,800 --> 02:11:36,520
Speaker 2: Okay, but but I'm just gonna say the Magic Hour thing,

2488
02:11:36,600 --> 02:11:39,920
Speaker 2: I mean it was. It's interesting. It didn't last as long.

2489
02:11:40,080 --> 02:11:43,480
Speaker 2: I mean Magic have problems trying to, you know, figure

2490
02:11:43,480 --> 02:11:46,240
Speaker 2: out how to be a host. That's a hard gig.

2491
02:11:46,640 --> 02:11:48,080
Speaker 2: That's not easy at all.

2492
02:11:49,720 --> 02:11:54,040
Speaker 1: Have some troubles with that. This show. The first few

2493
02:11:54,040 --> 02:11:57,160
Speaker 1: episodes of kind of yeah, the first few, this is

2494
02:11:57,160 --> 02:11:59,960
Speaker 1: probably our first fifty episodes. This is probably are rough

2495
02:12:00,040 --> 02:12:06,760
Speaker 1: this episode right now, it is not okay, So I

2496
02:12:06,840 --> 02:12:09,280
Speaker 1: have I have two more questions. I'll let it go.

2497
02:12:10,560 --> 02:12:15,720
Speaker 1: The co Ed prop project, Well, that happened in the future.

2498
02:12:16,440 --> 02:12:19,360
Speaker 3: You want to explain what Coed is? Oh, chronicles of

2499
02:12:19,400 --> 02:12:22,000
Speaker 3: every dealer, Well, explain it to us. But what's the

2500
02:12:22,000 --> 02:12:24,720
Speaker 3: co ed prop co ed project? Well, let's let Sheila explain.

2501
02:12:24,800 --> 02:12:26,480
Speaker 1: Could you tell us what the co ed project is?

2502
02:12:26,480 --> 02:12:35,360
Speaker 2: Well, we got there, okay, Chronicles of every Dudy. Yeah,

2503
02:12:35,480 --> 02:12:40,160
Speaker 2: we were h me kat Dat Dyson who plays guitar,

2504
02:12:40,280 --> 02:12:43,800
Speaker 2: Ronda Smith who plays bass, and Cassandra who plays keyboards

2505
02:12:43,880 --> 02:12:49,360
Speaker 2: and uh Cassandra Neil and we would have different guest

2506
02:12:49,480 --> 02:12:53,560
Speaker 2: artists playing and performing with us. That was the idea.

2507
02:12:53,560 --> 02:12:55,040
Speaker 2: And let's just go out and play and put an

2508
02:12:55,080 --> 02:12:57,520
Speaker 2: all girls band together, which is something I always wanted

2509
02:12:57,560 --> 02:13:00,840
Speaker 2: to do anyway, So I don't know if we're going

2510
02:13:00,880 --> 02:13:04,280
Speaker 2: to do anything. I had to disband it because all

2511
02:13:04,320 --> 02:13:07,680
Speaker 2: the things that I didn't want it to be and

2512
02:13:07,720 --> 02:13:10,960
Speaker 2: how women should be supportive of each other and we

2513
02:13:11,040 --> 02:13:13,240
Speaker 2: get along and you know, write some good music. It

2514
02:13:13,400 --> 02:13:15,720
Speaker 2: just kind of got funky. It's like, this is what

2515
02:13:15,760 --> 02:13:29,800
Speaker 2: we said we weren't going to be so not that

2516
02:13:30,040 --> 02:13:35,680
Speaker 2: is so raw. No, it's no, it wasn't a devi thing.

2517
02:13:35,720 --> 02:13:39,720
Speaker 2: It's just really uh just not all on the same

2518
02:13:39,760 --> 02:13:42,440
Speaker 2: page of what we wanted to do musically. You know,

2519
02:13:42,520 --> 02:13:44,360
Speaker 2: we all we have to be on the same page.

2520
02:13:44,760 --> 02:13:49,200
Speaker 1: Okay, I lied, So there's two point five questions. No,

2521
02:13:49,320 --> 02:13:54,800
Speaker 1: because you are a band leader. How and I've heard

2522
02:13:55,360 --> 02:13:59,360
Speaker 1: maybe a rehearsal too, where you and LEVI maybe had

2523
02:13:59,360 --> 02:14:02,560
Speaker 1: some words. That's how nerdy we are here.

2524
02:14:03,000 --> 02:14:04,960
Speaker 2: Oh my god, rehearsal tape.

2525
02:14:06,920 --> 02:14:12,600
Speaker 1: We believe that. Yes, so you heard it too. No,

2526
02:14:13,000 --> 02:14:15,400
Speaker 1: But the thing is is that I was I was

2527
02:14:15,560 --> 02:14:20,760
Speaker 1: impressed that you won the kind of the debate or whatever.

2528
02:14:20,840 --> 02:14:23,480
Speaker 1: But how hard is it for you to put your

2529
02:14:23,480 --> 02:14:28,560
Speaker 1: foot down, plant your flag and really make people respect

2530
02:14:28,600 --> 02:14:33,000
Speaker 1: your gangster as far as you know, this is our plan.

2531
02:14:33,960 --> 02:14:38,160
Speaker 1: Because this leads to what you organized for the for

2532
02:14:38,560 --> 02:14:42,120
Speaker 1: the BT tribute, I know that must have been the

2533
02:14:42,160 --> 02:14:43,960
Speaker 1: hardest thing in the world for you to do.

2534
02:14:44,200 --> 02:14:46,760
Speaker 9: I just mostly, but just.

2535
02:14:46,720 --> 02:14:50,640
Speaker 1: From a technical aspect, for you to really take it there.

2536
02:14:50,800 --> 02:14:53,040
Speaker 1: I know that you had to draw the map, draw

2537
02:14:53,040 --> 02:14:58,360
Speaker 1: the blueprint, and execute it. How hard is it to

2538
02:14:58,520 --> 02:15:01,360
Speaker 1: band lead into to be the bad guy? To be

2539
02:15:01,400 --> 02:15:03,160
Speaker 1: a bandleader, You've got to be the bad guy, and

2540
02:15:03,200 --> 02:15:06,800
Speaker 1: I hate being the bad guy. I wouldn't be everyone's friend, right, So,

2541
02:15:07,000 --> 02:15:09,240
Speaker 1: how how hard is it to do it?

2542
02:15:10,840 --> 02:15:13,000
Speaker 2: Right now? It's not that hard. It wasn't that hard

2543
02:15:13,000 --> 02:15:16,640
Speaker 2: when we did the bet to put that together. I

2544
02:15:16,720 --> 02:15:20,040
Speaker 2: have such an amazing group of musicians and people around

2545
02:15:20,080 --> 02:15:24,080
Speaker 2: me that we love what we get to do. There's

2546
02:15:24,160 --> 02:15:27,240
Speaker 2: no drama anymore, and man, what a great place to be.

2547
02:15:27,280 --> 02:15:30,280
Speaker 2: I have to say, there's no drama. There's no arguments

2548
02:15:30,320 --> 02:15:33,000
Speaker 2: and stuff like that. It just doesn't really happen anymore.

2549
02:15:33,120 --> 02:15:36,320
Speaker 2: If it does, it's once in a great while, but

2550
02:15:36,400 --> 02:15:40,840
Speaker 2: hardly at all. And putting together the BET thing, you know,

2551
02:15:42,920 --> 02:15:45,960
Speaker 2: first trying to understand how I was going to do

2552
02:15:46,000 --> 02:15:48,760
Speaker 2: it and figure it out and then say, okay, then

2553
02:15:48,800 --> 02:15:50,520
Speaker 2: who can do this with me? I knew my band

2554
02:15:50,600 --> 02:15:52,200
Speaker 2: was going to do it, but who else was I

2555
02:15:52,240 --> 02:15:54,440
Speaker 2: going to bring into play? Well, some of the people

2556
02:15:54,480 --> 02:15:57,320
Speaker 2: I did ask were already booked for other things because

2557
02:15:57,320 --> 02:16:00,000
Speaker 2: it was the last minute. You know, this was unexpected

2558
02:16:00,160 --> 02:16:03,600
Speaker 2: first of all. And then you know, some people just

2559
02:16:03,640 --> 02:16:06,880
Speaker 2: said no, left me hanging like they didn't even call

2560
02:16:06,920 --> 02:16:07,400
Speaker 2: me back.

2561
02:16:08,600 --> 02:16:12,480
Speaker 1: But you got it's because it was the timing. It

2562
02:16:12,520 --> 02:16:15,520
Speaker 1: was no one knew you know what I mean, It

2563
02:16:15,600 --> 02:16:17,680
Speaker 1: was no, but it was a brave thing for you

2564
02:16:17,760 --> 02:16:21,120
Speaker 1: to to do. And I have to I don't know

2565
02:16:21,120 --> 02:16:26,800
Speaker 1: if I even texted you or after, but yeah, that was.

2566
02:16:26,880 --> 02:16:28,320
Speaker 1: That was a great job.

2567
02:16:28,520 --> 02:16:29,760
Speaker 2: Thank you, thank you.

2568
02:16:30,600 --> 02:16:33,760
Speaker 1: Okay, we're about to let it go. Do you have

2569
02:16:33,760 --> 02:16:36,640
Speaker 1: one last question? This is our last question. I swear

2570
02:16:36,640 --> 02:16:37,160
Speaker 1: you're gonna go.

2571
02:16:37,840 --> 02:16:41,560
Speaker 3: You've accomplished quite a bit as a musician, and I've

2572
02:16:41,560 --> 02:16:43,480
Speaker 3: been reading your book, The Beat of My Own Drum,

2573
02:16:43,480 --> 02:16:46,600
Speaker 3: which is in stores now, and you talk about how

2574
02:16:46,640 --> 02:16:48,920
Speaker 3: when you were a child you actually had some aspirations

2575
02:16:48,959 --> 02:16:52,560
Speaker 3: of being an astronaut and you were quite an athlete too.

2576
02:16:54,480 --> 02:16:56,160
Speaker 3: Which of those two do you think you would have gone,

2577
02:16:56,480 --> 02:16:59,680
Speaker 3: like gone into had music not worked out for you?

2578
02:16:59,800 --> 02:17:02,520
Speaker 2: Or oh definitely athlete? Yeah were you?

2579
02:17:02,560 --> 02:17:04,800
Speaker 6: I saw the Olympics and you had Olympic hopes?

2580
02:17:05,280 --> 02:17:09,000
Speaker 2: Oh yeah, absolutely. Mom's my mom is a tomboy, and

2581
02:17:09,480 --> 02:17:11,920
Speaker 2: all her brothers and their sisters, they would, you know,

2582
02:17:12,000 --> 02:17:14,360
Speaker 2: compete all the time. So all of them doing that,

2583
02:17:14,480 --> 02:17:17,160
Speaker 2: they just you know, I learned all of that from

2584
02:17:17,520 --> 02:17:21,720
Speaker 2: from my mom competing and being an athlete. She wanted

2585
02:17:21,879 --> 02:17:24,280
Speaker 2: to start her and her sisters wanted to start their

2586
02:17:24,320 --> 02:17:28,520
Speaker 2: own women's basketball team and baseball team. And so she's

2587
02:17:28,680 --> 02:17:30,760
Speaker 2: my mom's always like, you know, you can do whatever

2588
02:17:30,760 --> 02:17:33,480
Speaker 2: you want to do. And she's that person's like, don't

2589
02:17:33,480 --> 02:17:36,160
Speaker 2: tell me, I can't do something kind of person. So

2590
02:17:37,040 --> 02:17:40,680
Speaker 2: I wanted to be. I was in track and field,

2591
02:17:41,120 --> 02:17:43,199
Speaker 2: and I was breaking a lot of records in junior

2592
02:17:43,280 --> 02:17:46,920
Speaker 2: high and high school running track, and then also played

2593
02:17:46,920 --> 02:17:51,840
Speaker 2: on a women's soccer league team for five years undefeated.

2594
02:17:51,879 --> 02:17:55,080
Speaker 2: We were undefeated, and I h trophies for the most

2595
02:17:55,120 --> 02:17:57,720
Speaker 2: goals and stuff like. So you couldn't even catch me.

2596
02:17:59,200 --> 02:18:01,400
Speaker 2: I just couldn't catch to me. Just that was just

2597
02:18:01,440 --> 02:18:01,960
Speaker 2: how it was.

2598
02:18:02,200 --> 02:18:03,000
Speaker 5: Running with the night.

2599
02:18:03,120 --> 02:18:12,560
Speaker 2: Huh wow, I love it. Yeah, that's what I would have.

2600
02:18:12,640 --> 02:18:14,640
Speaker 2: I would have. I always tell you when it was

2601
02:18:14,640 --> 02:18:18,279
Speaker 2: like I wanted. I wanted to be the first girl

2602
02:18:18,440 --> 02:18:21,600
Speaker 2: on the moon and then astronaut, and the second thing

2603
02:18:21,680 --> 02:18:24,240
Speaker 2: was to win a gold medal in track and field

2604
02:18:24,280 --> 02:18:26,640
Speaker 2: and Olympics. But I got a gold record. I'm like,

2605
02:18:26,680 --> 02:18:30,600
Speaker 2: I'm cool with that, you know, I got something. Yeah,

2606
02:18:30,680 --> 02:18:32,880
Speaker 2: and been around the world. Yeah.

2607
02:18:32,959 --> 02:18:35,600
Speaker 1: You know, like when you're talking to someone and you're

2608
02:18:35,600 --> 02:18:38,879
Speaker 1: trying to keep the conversation going on, like you you

2609
02:18:38,920 --> 02:18:42,120
Speaker 1: hang up, you hang up, Okay, it's time to hang up.

2610
02:18:42,959 --> 02:18:44,039
Speaker 6: It's so funny because.

2611
02:18:46,040 --> 02:18:49,520
Speaker 1: Yeah, trust me, there's like nine more hours of technical

2612
02:18:49,600 --> 02:18:51,879
Speaker 1: questions I have about drumming and me but I.

2613
02:18:51,800 --> 02:18:53,480
Speaker 2: Know we can come I can come back, you can

2614
02:18:53,480 --> 02:18:53,680
Speaker 2: get to.

2615
02:18:53,640 --> 02:18:54,600
Speaker 1: Talk about gone country.

2616
02:18:54,760 --> 02:18:57,320
Speaker 6: What are y'all doing? And then we got like a

2617
02:18:57,520 --> 02:18:59,520
Speaker 6: para drum behind us. I don't know what we're doing tonight?

2618
02:18:59,560 --> 02:19:04,800
Speaker 1: Is you just you have no finess? Whatsoever? Do you

2619
02:19:04,800 --> 02:19:05,320
Speaker 1: you have.

2620
02:19:05,520 --> 02:19:08,000
Speaker 6: To get there before? She was like sleeping, you have

2621
02:19:08,160 --> 02:19:10,440
Speaker 6: zero to get this?

2622
02:19:10,760 --> 02:19:13,760
Speaker 2: Okay, no, no.

2623
02:19:14,160 --> 02:19:16,280
Speaker 1: I'm not passing the messages, see sending me over to.

2624
02:19:16,480 --> 02:19:18,800
Speaker 6: Okay, my bad, I'm sorry. We are communicators.

2625
02:19:18,920 --> 02:19:23,760
Speaker 1: Yes, you're right exactly. Anyway, I like probably say goodbye, Chilia,

2626
02:19:23,840 --> 02:19:24,879
Speaker 1: I thank you.

2627
02:19:24,840 --> 02:19:29,120
Speaker 2: Thank you for coming on left, don't forget to go

2628
02:19:29,200 --> 02:19:30,400
Speaker 2: buy Iconic.

2629
02:19:30,400 --> 02:19:34,840
Speaker 1: Yes, please by now. Yes it is available now okay, uh,

2630
02:19:35,920 --> 02:19:37,800
Speaker 1: sort of go off script with the show instead of

2631
02:19:37,800 --> 02:19:41,200
Speaker 1: playing our theme, Can we just have a thirty second

2632
02:19:43,560 --> 02:19:46,560
Speaker 1: dance on drama off? That's all went, thirty seconds? Dance

2633
02:19:47,120 --> 02:19:48,400
Speaker 1: thirty just the song.

2634
02:19:49,920 --> 02:19:50,560
Speaker 6: I'm shutting up?

2635
02:19:50,600 --> 02:19:54,280
Speaker 1: Can we shut our micaelf please chield for thirty seconds?

2636
02:19:54,440 --> 02:19:59,039
Speaker 1: Can we do this? Please do what? Yes? Can we

2637
02:19:59,080 --> 02:20:01,600
Speaker 1: have a dance on drum off for thirty seconds?

2638
02:20:01,600 --> 02:20:03,120
Speaker 2: What's a dance on drum off?

2639
02:20:03,520 --> 02:20:06,960
Speaker 1: You know? I love that you have such an illustrious

2640
02:20:06,959 --> 02:20:09,879
Speaker 1: history with drumming that you don't even remember your classic

2641
02:20:10,240 --> 02:20:17,879
Speaker 1: the dance on. Yes, it doesn't even have to be that.

2642
02:20:18,280 --> 02:20:23,360
Speaker 2: Just do that because the triggers it's the sound. Yes,

2643
02:20:23,400 --> 02:20:26,040
Speaker 2: I do. It's not going to sound the same.

2644
02:20:26,600 --> 02:20:28,600
Speaker 1: We don't need the glass breaking and all that stuff.

2645
02:20:28,879 --> 02:20:33,320
Speaker 1: Just for thirty seconds. All right, can we do this?

2646
02:20:34,560 --> 02:20:35,600
Speaker 2: Can you play it first?

2647
02:20:35,800 --> 02:20:36,560
Speaker 1: Sexual suicide?

2648
02:20:36,600 --> 02:20:38,480
Speaker 6: Can we do Can you play it first? Can you

2649
02:20:38,520 --> 02:20:39,240
Speaker 6: play it first?

2650
02:20:39,440 --> 02:20:40,280
Speaker 2: Yes, all right, let's go.

2651
02:20:40,400 --> 02:20:42,600
Speaker 3: Let's go, so everybody a mirror is going to go

2652
02:20:42,720 --> 02:21:28,720
Speaker 3: behind it right now. Thank you, good night, thank you.

2653
02:21:29,360 --> 02:21:32,000
Speaker 1: This has been an amazing episode of Quest Love Supreme

2654
02:21:32,400 --> 02:21:36,320
Speaker 1: on behalf of the entire Supreme team. I'll see you

2655
02:21:36,320 --> 02:21:38,720
Speaker 1: guys later and I'm gonna go die now. Thank you

2656
02:21:38,800 --> 02:21:42,480
Speaker 1: until next time. Good night. Quest Love Supreme is a

2657
02:21:42,480 --> 02:21:46,480
Speaker 1: production of iHeartRadio. This classic episode was produced by the

2658
02:21:46,520 --> 02:21:51,680
Speaker 1: team at Pandora. For more podcasts from iHeart Radio, visit

2659
02:21:51,720 --> 02:21:55,320
Speaker 1: the iHeartRadio app, Apple Podcasts, or wherever you listen to

2660
02:21:55,320 --> 02:21:56,119
Speaker 1: your favorite shows.