WEBVTT - 9: Mama Said Knock You Out

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<v Speaker 1>So far, Like Michael Bivens at the time of the

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<v Speaker 1>filming of the Boys to Men Motown Philly video, I

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<v Speaker 1>have heard zero music from Sudden Impact, not the original recipe,

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<v Speaker 1>nineteen ninety one version, not the five guys in the video.

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<v Speaker 1>I don't think I actually can hear the music of

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<v Speaker 1>Sudden Impacts because it's locked in a vault at Capitol Records.

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<v Speaker 1>I've heard White Guys quick Verse on the East Coast

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<v Speaker 1>family song one Forour All four to one, and they

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<v Speaker 1>sound good, but I haven't heard any full songs because

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<v Speaker 1>whatever they recorded is locked in a vault, and Motown Records,

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<v Speaker 1>which distributed music from Michael Bivens' biv ten label, which

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<v Speaker 1>doesn't exist anymore. I haven't heard any music from the

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<v Speaker 1>Outsiders either, because whatever they recorded under that name is

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<v Speaker 1>the property of Sony Music, which distributed Boys to Men's

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<v Speaker 1>Stone Creek label, which also doesn't exist anymore. I have

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<v Speaker 1>heard some of the songs the guys recorded as Outsiders

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<v Speaker 1>for Life after Aaron and Noel Kane left the group

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<v Speaker 1>and Jimmy Marble and Jason Dowdy joined. It's a little

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<v Speaker 1>harder than I was expecting, a little angrier, a little

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<v Speaker 1>more Timberland because it was the year two thousand and

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<v Speaker 1>everything was more tim Milandy back then it was the law.

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<v Speaker 1>But from the original five I have still heard no music.

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<v Speaker 1>But thanks to Jason and Tim Bird, I have made

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<v Speaker 1>contact with Todd White and Alan Healy, and before we speak,

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<v Speaker 1>I ask them whether they have the other major thing

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<v Speaker 1>I'm missing, maybe the biggest piece of the puzzle so far,

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<v Speaker 1>the thing that put this story into motion, the two

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<v Speaker 1>special poster, the picture that got Michael Bivens to sign them.

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<v Speaker 1>They have it, and before we speak they send it

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<v Speaker 1>to me. So now I have it, I'm going to

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<v Speaker 1>break it down for you pixel by pixel, pegged Jean

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<v Speaker 1>by peg Jane. I'll talk about it with Todd and

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<v Speaker 1>Allen and I will get the sudden impact story from

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<v Speaker 1>their perspective. I'll do a little digging as to whether

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<v Speaker 1>one of their later songs who Are You was a

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<v Speaker 1>disc track, and if so, who was getting dissed and why?

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<v Speaker 1>Plus a conversation with a voice you could not escape

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<v Speaker 1>in nineteen ninety one, I'm going to catch up with

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<v Speaker 1>Freedom Williams of Seeing Music Factory, who is as always

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<v Speaker 1>gonna make you sweat? This is waiting for impact a

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<v Speaker 1>Dave Holmes Passion Project, Todd White, Alan Healey, Holy, how

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<v Speaker 1>I cannot believe him talking to the both of you.

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<v Speaker 2>This is nuts. First of all, how are you good man?

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<v Speaker 3>Happy to be alive?

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<v Speaker 4>We're both good.

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<v Speaker 1>I'm speaking with Todd and Allen over Zoom. They're both

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<v Speaker 1>in their individual homes. They live about thirty minutes away

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<v Speaker 1>from each other in Virginia, and as I talk to them,

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<v Speaker 1>I'm reminded of something.

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<v Speaker 2>They're outsiders for life.

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<v Speaker 1>Bandmate Jason Dowdy told me about them, One that Todd

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<v Speaker 1>is the hard charger of the group, the engine, and

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<v Speaker 1>two that Alan Heally was their street cred. Here's what

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<v Speaker 1>he said about that, just.

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<v Speaker 5>You know, like from his the family he's from, and

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<v Speaker 5>the people he knows in the area, like he's kind

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<v Speaker 5>of down with you know, some people from the streets

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<v Speaker 5>it that way, you know what I mean.

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<v Speaker 1>I don't actually know what Jason means, but of course

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<v Speaker 1>now I'm expecting some kind of Virginia Beach sopranos character

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<v Speaker 1>a tough guy, and maybe he is, but right now

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<v Speaker 1>over Zoom, the two of them could not be nicer.

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<v Speaker 1>Maybe they've mellowed with age, or maybe they're just happy

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<v Speaker 1>to be talking about this stuff. Either way, you will

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<v Speaker 1>believe how Todd White.

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<v Speaker 2>Met Alan Heally. How did Todd White and Alan Healy meet.

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<v Speaker 4>Over a girl? Actually?

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<v Speaker 6>I think I started dating one of Todd's a's girlfriends

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<v Speaker 6>and I got told that Todd White wanted to talk

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<v Speaker 6>to me, and so I was like really, So then

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<v Speaker 6>he told me I met him, and he was like,

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<v Speaker 6>you know, treater good.

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<v Speaker 4>She's a good girl type deal.

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<v Speaker 6>And me and him actually became really good friends through this,

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<v Speaker 6>and then those girls disappeared in our friendship kept on.

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<v Speaker 4>So it's kind of really interesting girls.

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<v Speaker 1>Man, Todd, My understanding is that that is how you

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<v Speaker 1>met Aaron Kane.

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<v Speaker 4>Yeah, it was yep, Todd.

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<v Speaker 2>How many girlfriends did you have?

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<v Speaker 3>I had a lot of girlfriends.

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<v Speaker 4>Yeah, friends that were girls.

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<v Speaker 3>Yeah, friends that were girls.

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<v Speaker 7>I don't know, man, I had to get rid of

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<v Speaker 7>a lot of that stuff, Dave, so I could make

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<v Speaker 7>room for new memories.

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<v Speaker 1>Have you noticed that everyone involved with Sudden Impact or

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<v Speaker 1>Michael Bivens says my name back to me when they

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<v Speaker 1>answer a question, Hayden and Evett did it too. I

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<v Speaker 1>can't help but wonder whether that was part of the

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<v Speaker 1>training Michael Bivens put them through. Anyway, it works when

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<v Speaker 1>these guys were teenagers. Though Todd was a bit of

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<v Speaker 1>a wild child, it was an energy alan really clicked with.

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<v Speaker 6>Our parents were both majors in the army, so very

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<v Speaker 6>structured lifestyle. And then you have some people that go

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<v Speaker 6>into that lifestyle, I'd say, and then you have guys

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<v Speaker 6>like us that completely fought against our dads and hated it.

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<v Speaker 4>So many of us joined the military. We went.

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<v Speaker 6>I asked my mom is Vietnamese Mom, I don't want

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<v Speaker 6>to do the Air Force and she was like, what

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<v Speaker 6>do you want to do? I said, I want to

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<v Speaker 6>hang out with Todd, and you know, you know, she

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<v Speaker 6>was like, follow your dreams, do whatever you want to do.

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<v Speaker 6>So it was a it was a different you know,

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<v Speaker 6>but titled just that guy man. He was just somebody

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<v Speaker 6>that always people are talking about him because he's either

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<v Speaker 6>pissing them.

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<v Speaker 4>Off or they liked him. Do you like Tid or

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<v Speaker 4>you hated Todd? Todder?

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<v Speaker 2>How does that feel to hear that?

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<v Speaker 3>It's cool?

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<v Speaker 4>Man?

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<v Speaker 3>You know, I'll tell you this, man.

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<v Speaker 7>You know, we grow old, man, we grow apart man,

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<v Speaker 7>and uh well, not really a part but like with

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<v Speaker 7>me and Allen. Man, we can go like, you know,

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<v Speaker 7>a week, two, three, well a month without to talk

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<v Speaker 7>to each other and call and pick right up where

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<v Speaker 7>we left off, right where we.

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<v Speaker 3>Left off, man, you know, and uh, it's cool man.

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<v Speaker 7>You know.

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<v Speaker 3>It was a real good bond. There still is.

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<v Speaker 7>It's always been. It's always been really you know. But

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<v Speaker 7>you know, yet life happens.

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<v Speaker 2>You know, how are your parents with your decision to

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<v Speaker 2>pursue music.

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<v Speaker 3>Oh they care whatever as long as he does something

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<v Speaker 3>with himself.

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<v Speaker 4>You know what I mean?

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<v Speaker 2>What kind of kids were you? What kind of teenagers

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<v Speaker 2>were you?

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<v Speaker 6>Were?

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<v Speaker 4>Kids?

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<v Speaker 2>Bad kids, wild?

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<v Speaker 6>I would tell you I was good all the way

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<v Speaker 6>till about when I started hanging out with Todd. I

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<v Speaker 6>was started getting where he was not in school, ninth grade,

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<v Speaker 6>he was out. I got a call and it'll be

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<v Speaker 6>Todd telling me, Hey, calling sick. We're going to go

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<v Speaker 6>to the beach. We're going to write to you know.

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<v Speaker 6>Then he started. There was all the music and being

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<v Speaker 6>around him. You never knew what to expected. This guy

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<v Speaker 6>all right, with a lot of parties we weren't allowed

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<v Speaker 6>to come to locally, And that all changed once we

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<v Speaker 6>got into boys and Men's video of course.

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<v Speaker 1>All right, let's back up here a little bit and

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<v Speaker 1>talk about how Too Special the first version of Sudden

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<v Speaker 1>Impact came together. We know Todd White met Aaron Kane

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<v Speaker 1>at a party when they were about to get into

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<v Speaker 1>a fist fight over a girl. We know that the

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<v Speaker 1>original version of the group was Todd, Aaron, and another

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<v Speaker 1>guy named Eric. What we don't know is how Alan

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<v Speaker 1>entered the fold.

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<v Speaker 6>I'll kind of tell you kind of what happened for

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<v Speaker 6>me to get in this group. Todd and I were

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<v Speaker 6>always kind of just friends that acted crazy. I mean,

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<v Speaker 6>if I want to do summer laugh, I go hang

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<v Speaker 6>out with Todd. Tide was always a damn nut, you know,

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<v Speaker 6>carried through all the way to when we're this age.

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<v Speaker 4>Now. My son loves to go hang out with Todd

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<v Speaker 4>just because Todd's wild. All right.

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<v Speaker 6>So I was in Washington State and I got this

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<v Speaker 6>phone call about and Todd played me a song over

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<v Speaker 6>the over the thing, and it was in a group

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<v Speaker 6>called Two Special Tight, you know, and I was like

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<v Speaker 6>and said, that sounds pretty damn good man.

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<v Speaker 4>I actually enjoyed that. So he told me that the

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<v Speaker 4>two guys were.

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<v Speaker 6>Getting ready to move and he needed the guy in

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<v Speaker 6>the group, and he was like, if you want to

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<v Speaker 6>come back to Virginia, you know, I'll you know, I'll

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<v Speaker 6>put you in this group.

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<v Speaker 4>And so I was like, all right.

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<v Speaker 1>I just want to chime in here and remind you

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<v Speaker 1>that this level of wheeling and dealing, these potential cross

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<v Speaker 1>country moves and personnel changes, these were all being negotiated

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<v Speaker 1>among sixteen year old.

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<v Speaker 4>Boys and Aaron them didn't really know me too well.

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<v Speaker 6>And I came in and it was kind of a

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<v Speaker 6>little bit of a first like, oh, he's Todd's guy,

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<v Speaker 6>you know, and this helps tide, you know, decisions now,

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<v Speaker 6>it's his best friend type thing. And so we got

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<v Speaker 6>together and I told him when I got in the group,

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<v Speaker 6>I wanted to, you know, not just do local shows.

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<v Speaker 6>I wanted to start, Hey, let's make this big, Let's

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<v Speaker 6>do something. And so me and him started. He had

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<v Speaker 6>that I would say a lot of the talent. Todd

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<v Speaker 6>has always been really good at writing hooks.

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<v Speaker 1>Todd, what was the name too Special?

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<v Speaker 2>All about? How did that?

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<v Speaker 7>I have no clue, as you, man, I mean, it's catchy.

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<v Speaker 7>I wish I could remember, man, I honestly have no clue, man,

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<v Speaker 7>you know, even a song I look back at the

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<v Speaker 7>song please be.

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<v Speaker 4>Mine, be my girl, Please be mine.

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<v Speaker 3>Dun dum dump my girl, like were begging.

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<v Speaker 6>You know, it's but we were man, you're think you're

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<v Speaker 6>sixteen years old. Man, you know what I'm saying.

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<v Speaker 1>I do know exactly what he's saying. But what I'm

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<v Speaker 1>dying to know about is how they made the decision

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<v Speaker 1>as two sixteen year old boys to take their poster,

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<v Speaker 1>which again we're going to talk about later in the show,

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<v Speaker 1>and fly all the way across the country to try something.

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<v Speaker 1>What I didn't know is that getting a record deal

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<v Speaker 1>wasn't just a happy accident. It was the fulfillment of

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<v Speaker 1>a promise. So let's talk about the trip to Los

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<v Speaker 1>Angeles for Marvin Gaye's Walk of Fame ceremony.

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<v Speaker 2>Did you drive, did you fly? What did you did?

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<v Speaker 2>You tell your parents?

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<v Speaker 4>Well, yeah, tell our parents.

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<v Speaker 6>We asked everyone to go, So we asked Tid's mom.

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<v Speaker 4>I will tell you was like our manager.

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<v Speaker 6>She pretty much put up every bit of money anything

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<v Speaker 6>for Tide. She would put up whatever she just wanted

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<v Speaker 6>Tie not to going to jail. You know, be somebody,

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<v Speaker 6>And I would tell you music probably saved his butt

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<v Speaker 6>from going to jail straight up. Because me and Todd

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<v Speaker 6>both looked at each other and you can't sing from

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<v Speaker 6>jail and make money. So we're like, you know, at

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<v Speaker 6>least nowadays you might be able to, but not back then.

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<v Speaker 6>So we were kind of like, hey, let's go do this.

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<v Speaker 6>I went and talked to my mom, and my mom

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<v Speaker 6>will take to this day. I asked her and I slammed.

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<v Speaker 6>My father had a you know, we lived in Germany,

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<v Speaker 6>so yeah, and Mercedes Bens.

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<v Speaker 4>I asked her, let me go with Todd. She said no,

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<v Speaker 4>and I slammed the Mercedes Benz door so hard and

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<v Speaker 4>slash at her door.

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<v Speaker 6>Windows smashed, just went straight down, and she looked at

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<v Speaker 6>me and she was like, you know, just pissed off.

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<v Speaker 6>So I go to Todd and she comes back the

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<v Speaker 6>next day and talked to Todd's mom and said, Alan,

0:10:11.080 --> 0:10:13.200
<v Speaker 6>I work hard for my money. I'm gonna give you

0:10:13.240 --> 0:10:16.080
<v Speaker 6>this money if you go to LA come back with something.

0:10:16.120 --> 0:10:18.079
<v Speaker 6>And I was like, I promise you, I'm not going

0:10:18.120 --> 0:10:19.200
<v Speaker 6>out there just to do nothing.

0:10:19.200 --> 0:10:20.840
<v Speaker 4>I'm going out there to come back with something.

0:10:21.120 --> 0:10:23.680
<v Speaker 1>They didn't get a recording contract off a poster because

0:10:23.720 --> 0:10:26.000
<v Speaker 1>they were lucky. They got it because Alan promised his

0:10:26.080 --> 0:10:28.160
<v Speaker 1>mom he would, and these guys are men.

0:10:28.040 --> 0:10:29.960
<v Speaker 2>Of their word. Cecil Jenkins.

0:10:29.960 --> 0:10:32.640
<v Speaker 1>On the other hand, Marvin Gay's friend and local music promoter,

0:10:33.320 --> 0:10:35.600
<v Speaker 1>might not have been as good a guy as I thought.

0:10:36.120 --> 0:10:38.640
<v Speaker 6>And so Todd and I are out there. Supposedly he's

0:10:38.640 --> 0:10:40.880
<v Speaker 6>gonna take care of us. Okay, We're gonna go out there.

0:10:40.880 --> 0:10:42.800
<v Speaker 6>I'm gonna take care of this guy disappeared on us

0:10:42.800 --> 0:10:44.960
<v Speaker 6>for the first night. To me and Todd decided because

0:10:44.960 --> 0:10:47.440
<v Speaker 6>he left us there and just left us in hotel.

0:10:47.440 --> 0:10:49.720
<v Speaker 6>We were kind of just I think his paycheck to

0:10:49.720 --> 0:10:52.400
<v Speaker 6>get to La. So we get out there and we

0:10:52.440 --> 0:10:54.080
<v Speaker 6>just get left and like we're supposed to be staying

0:10:54.120 --> 0:10:54.440
<v Speaker 6>with him.

0:10:54.640 --> 0:10:56.880
<v Speaker 4>But guess what, guys, I can't get you in the place.

0:10:56.960 --> 0:10:59.120
<v Speaker 4>Kada YadA. So we were like, you know, it's true,

0:10:59.200 --> 0:11:00.520
<v Speaker 4>let's walk around LA. We're out here.

0:11:00.559 --> 0:11:02.360
<v Speaker 6>So you know, I'm a military brat, so I'm like,

0:11:02.440 --> 0:11:04.200
<v Speaker 6>let's go. I've been in Germany, I've been in Paris.

0:11:04.200 --> 0:11:04.800
<v Speaker 4>We can make this.

0:11:05.160 --> 0:11:08.360
<v Speaker 1>Alan Heally and Todd White are sixteen years old, more

0:11:08.440 --> 0:11:10.560
<v Speaker 1>confident and resourceful than I will ever be.

0:11:11.040 --> 0:11:12.680
<v Speaker 6>We go out there and this guy's up on the

0:11:12.679 --> 0:11:15.400
<v Speaker 6>stage of Marvin Gaye's you know, family. So we're up

0:11:15.400 --> 0:11:17.160
<v Speaker 6>there at the start and I'm like, man, this dude

0:11:17.559 --> 0:11:19.480
<v Speaker 6>kind of just dissing the hell out of us, really, you.

0:11:19.400 --> 0:11:20.040
<v Speaker 4>Know, honestly.

0:11:20.440 --> 0:11:24.320
<v Speaker 6>So we're Mike Bivins comes up and runs next to

0:11:24.400 --> 0:11:27.240
<v Speaker 6>us and stands like watching what's going on in Todd season.

0:11:27.920 --> 0:11:30.040
<v Speaker 6>And I remember he Tide's like, yo, Alan, give him

0:11:30.040 --> 0:11:32.360
<v Speaker 6>the poster, and you know, he walks off. So I

0:11:32.440 --> 0:11:34.480
<v Speaker 6>walked up to him, like, yo, man, this a poster

0:11:34.520 --> 0:11:35.839
<v Speaker 6>and he's like, I'm gonna keep that shit out of

0:11:35.880 --> 0:11:38.040
<v Speaker 6>my face. And I'm like, I was like, well, this

0:11:38.080 --> 0:11:40.120
<v Speaker 6>guy just told me to. I go back and tell Todd.

0:11:40.160 --> 0:11:41.880
<v Speaker 6>I'm like, yo, this. He goes what he's saying. I'm like,

0:11:42.240 --> 0:11:44.040
<v Speaker 6>dude just told me to get that shit out of

0:11:44.080 --> 0:11:45.640
<v Speaker 6>his face, and Time looks at me. He goes give

0:11:45.679 --> 0:11:49.520
<v Speaker 6>me that and he runs back over there and Mike's like, hey, man,

0:11:49.880 --> 0:11:51.760
<v Speaker 6>I didn't know, man, I thought that was a new

0:11:51.840 --> 0:11:54.080
<v Speaker 6>Kid poster and asked me to sign it, you know,

0:11:54.200 --> 0:11:56.040
<v Speaker 6>like it's like kind of a disc like because they

0:11:56.040 --> 0:11:58.559
<v Speaker 6>were supposed to be like new Kids from Areas Starshit.

0:11:58.840 --> 0:12:01.120
<v Speaker 6>So he got kind of pissy and then he goes, no, okay,

0:12:01.120 --> 0:12:04.319
<v Speaker 6>am I bad. So he points to Todd and tells Todd, hey,

0:12:04.760 --> 0:12:07.600
<v Speaker 6>come over here, and so we you know, Tid points

0:12:07.600 --> 0:12:09.640
<v Speaker 6>to me and we both go over there and he's like.

0:12:09.640 --> 0:12:11.640
<v Speaker 4>Man, I'm so sorry. I thought she was this group.

0:12:12.120 --> 0:12:16.320
<v Speaker 6>So he brings us up to Motown Records and we

0:12:16.360 --> 0:12:19.480
<v Speaker 6>go right into the president's office, Gerald Busby's office, like,

0:12:19.760 --> 0:12:22.520
<v Speaker 6>walk up, like man, Me and him have a poster

0:12:22.600 --> 0:12:24.840
<v Speaker 6>in one song, please be on to it. Right into

0:12:24.880 --> 0:12:26.960
<v Speaker 6>the office, and I'm sitting there like amazing, we're in

0:12:27.040 --> 0:12:29.280
<v Speaker 6>this guy's office. I'm oh, my god, you know.

0:12:29.440 --> 0:12:32.200
<v Speaker 4>And so he starts telling Jerald how this.

0:12:32.160 --> 0:12:34.000
<v Speaker 6>Is going to be my new group, another group after

0:12:34.000 --> 0:12:35.719
<v Speaker 6>another bad creation of boys to men, this is my

0:12:35.800 --> 0:12:38.400
<v Speaker 6>new group, and so he starts askings, can you sing

0:12:38.440 --> 0:12:38.760
<v Speaker 6>like this?

0:12:38.960 --> 0:12:40.880
<v Speaker 4>And I didn't. Man, I mean like, if I'm at

0:12:40.880 --> 0:12:42.240
<v Speaker 4>a job, you asked me if I can do something?

0:12:42.280 --> 0:12:44.120
<v Speaker 4>Oh yeah, I can do it. We can do whatever.

0:12:44.600 --> 0:12:45.960
<v Speaker 4>So I sell our group.

0:12:46.080 --> 0:12:47.560
<v Speaker 6>Me and Ty are sitting there and we just keep

0:12:47.600 --> 0:12:49.840
<v Speaker 6>talking and he's like, hey, look, I don't know what

0:12:49.920 --> 0:12:50.360
<v Speaker 6>you came.

0:12:50.240 --> 0:12:52.240
<v Speaker 4>Out here to do, but you've accomplished it. Go back

0:12:52.280 --> 0:12:54.720
<v Speaker 4>to Virginia and go home.

0:12:54.800 --> 0:12:55.440
<v Speaker 3>I'll call you.

0:12:55.840 --> 0:12:58.680
<v Speaker 1>What I love about everyone's version of this story is

0:12:58.679 --> 0:13:01.400
<v Speaker 1>that nobody has told me what happened between Michael Bibvens

0:13:01.440 --> 0:13:04.360
<v Speaker 1>looking at the two special poster and Michael Bivins driving

0:13:04.400 --> 0:13:07.319
<v Speaker 1>Todd and Allen to Motown Records. And I think nobody's

0:13:07.360 --> 0:13:10.480
<v Speaker 1>told me what happened because nothing happened in between. He

0:13:10.559 --> 0:13:13.160
<v Speaker 1>really did just see the poster and make the decision,

0:13:13.559 --> 0:13:16.400
<v Speaker 1>and Motown was just as quick to jump. Jeral Buzzby

0:13:17.120 --> 0:13:20.120
<v Speaker 1>asks if you can sing? Does he at any time

0:13:20.320 --> 0:13:21.040
<v Speaker 1>hear you sing?

0:13:21.800 --> 0:13:25.040
<v Speaker 6>At that point, Mike says, don't worry about it. I

0:13:25.120 --> 0:13:27.280
<v Speaker 6>got these are my guys. They're gonna be able to

0:13:27.280 --> 0:13:28.880
<v Speaker 6>so be and Todd didn't have count to sing in

0:13:28.920 --> 0:13:29.720
<v Speaker 6>the office.

0:13:29.720 --> 0:13:32.199
<v Speaker 1>At that point, they have a meeting with Motown Records.

0:13:32.280 --> 0:13:34.920
<v Speaker 1>They get Michael Bivens' number, and I promise that something

0:13:34.960 --> 0:13:37.959
<v Speaker 1>will happen, and they call that number right away.

0:13:38.440 --> 0:13:39.080
<v Speaker 4>Before we left.

0:13:39.080 --> 0:13:41.320
<v Speaker 6>We called that dude in the morning like I've been

0:13:41.360 --> 0:13:43.720
<v Speaker 6>even called Mike at seven in the morning and he's like, dude,

0:13:43.760 --> 0:13:46.000
<v Speaker 6>it's me, it's my number, go home, trust me.

0:13:47.400 --> 0:13:49.080
<v Speaker 4>Then we go back to Virginia and we're.

0:13:48.920 --> 0:13:51.160
<v Speaker 6>Telling all Aaron and all them, Hey, guys, we got

0:13:51.200 --> 0:13:53.160
<v Speaker 6>some We gotta tell y'all we got something.

0:13:52.880 --> 0:13:53.320
<v Speaker 4>Trust me.

0:13:53.520 --> 0:13:56.559
<v Speaker 1>And before they head home, they have one last conversation

0:13:57.080 --> 0:13:58.439
<v Speaker 1>with Cecil Jenkins.

0:13:58.679 --> 0:13:58.840
<v Speaker 4>You know.

0:13:58.880 --> 0:14:01.480
<v Speaker 6>We go back to our accon lodge and that dude

0:14:01.480 --> 0:14:03.080
<v Speaker 6>calls it Udd and goes, hey, did y'all see me

0:14:03.160 --> 0:14:03.920
<v Speaker 6>on the stage.

0:14:04.400 --> 0:14:06.600
<v Speaker 4>And I'm like, yeah, we saw you on the stage.

0:14:06.600 --> 0:14:09.800
<v Speaker 6>And here I said, Hey man, I said to go,

0:14:10.200 --> 0:14:12.240
<v Speaker 6>I got that question for you. Can you give me

0:14:12.240 --> 0:14:15.880
<v Speaker 6>a meet with Jerald buzby tomorrow? And the guy's like, oh, hey, nah, Man,

0:14:15.880 --> 0:14:17.679
<v Speaker 6>I ain't gonna be able to you know, swing that

0:14:17.800 --> 0:14:18.400
<v Speaker 6>yeahda YadA.

0:14:18.400 --> 0:14:20.200
<v Speaker 4>And I was like, well, okay, we're going home tomorrow.

0:14:20.200 --> 0:14:22.320
<v Speaker 4>We'll talk to you later. And so we got in

0:14:22.400 --> 0:14:23.400
<v Speaker 4>our plane and we left.

0:14:23.640 --> 0:14:26.119
<v Speaker 1>The guys have a pending record deal with the legendary

0:14:26.200 --> 0:14:29.680
<v Speaker 1>Motown Record but before anything else can happen, another quick

0:14:29.720 --> 0:14:30.720
<v Speaker 1>personnel change.

0:14:30.920 --> 0:14:32.960
<v Speaker 4>So we get home and we tell.

0:14:32.720 --> 0:14:35.560
<v Speaker 6>Aaron and Noel and everybody, and then we tell them, hey,

0:14:35.560 --> 0:14:36.320
<v Speaker 6>we're bringing.

0:14:36.120 --> 0:14:36.800
<v Speaker 4>Dave in the group.

0:14:36.960 --> 0:14:39.320
<v Speaker 6>We got another guy. We're bringing it because me and

0:14:39.320 --> 0:14:41.400
<v Speaker 6>Todd decided we were decided we're gonna put Dave in

0:14:41.400 --> 0:14:44.120
<v Speaker 6>the group. So we you know, this Yeah, they got

0:14:44.120 --> 0:14:46.160
<v Speaker 6>pissed it first, so we didn't care. It was, you know,

0:14:46.280 --> 0:14:48.560
<v Speaker 6>kind of Todd's dealing my deal. At this point, we

0:14:48.560 --> 0:14:50.080
<v Speaker 6>were wanting to do our vision.

0:14:50.400 --> 0:14:52.280
<v Speaker 2>What was the vision at the beginning.

0:14:52.480 --> 0:14:54.360
<v Speaker 6>The vision at the beginning was, I would tell you

0:14:54.440 --> 0:14:56.600
<v Speaker 6>we were inspired by us straight up saying, new kids

0:14:56.640 --> 0:14:59.080
<v Speaker 6>on the block. We saw some dudes singing and we

0:14:59.120 --> 0:15:00.800
<v Speaker 6>were like, damn it, we can to do that. Man

0:15:01.120 --> 0:15:03.280
<v Speaker 6>and Tied had been in like choir.

0:15:03.080 --> 0:15:05.440
<v Speaker 4>And he was in beforeen. He was in school, he

0:15:05.600 --> 0:15:07.160
<v Speaker 4>was in chorus and all that stuff.

0:15:07.440 --> 0:15:10.280
<v Speaker 1>The next step was an appearance on b ET. Michael

0:15:10.280 --> 0:15:13.120
<v Speaker 1>Bivens was booked on Donnie Simpson's show Video Soul to

0:15:13.160 --> 0:15:16.240
<v Speaker 1>announce his development deal with Motown and introduce the world

0:15:16.320 --> 0:15:19.080
<v Speaker 1>to his groups Boys to Men. Another bad creation and

0:15:19.200 --> 0:15:22.280
<v Speaker 1>sudden impact. But b ET was in Washington, d C.

0:15:22.560 --> 0:15:25.440
<v Speaker 1>A couple hours drive from Virginia Beach. And you know

0:15:25.480 --> 0:15:28.000
<v Speaker 1>how Aaron and Knowles's parents are about these excursions.

0:15:28.240 --> 0:15:30.440
<v Speaker 4>So we had to force his now Aaron and Knowles's

0:15:30.480 --> 0:15:31.680
<v Speaker 4>parents to let us take.

0:15:31.520 --> 0:15:33.840
<v Speaker 6>Them because me and Tyd are like, we're going. Regardless

0:15:33.840 --> 0:15:36.120
<v Speaker 6>whether you go or not, we'll replace you. Someone's going

0:15:36.120 --> 0:15:38.000
<v Speaker 6>with us. I mean, I don't care who it is. Yeah,

0:15:38.040 --> 0:15:40.800
<v Speaker 6>you know, And so Aaron really wanted to do it.

0:15:40.840 --> 0:15:43.280
<v Speaker 4>Aaron was, you know, he's still singing today. He really

0:15:43.280 --> 0:15:43.880
<v Speaker 4>wanted to do it.

0:15:43.920 --> 0:15:46.240
<v Speaker 6>So he shot up there with us and Noel jumped

0:15:46.240 --> 0:15:48.440
<v Speaker 6>in the car and we all jumped into Dave's five

0:15:48.480 --> 0:15:51.360
<v Speaker 6>point zero convertible, trying to fit in the back seat.

0:15:51.400 --> 0:15:53.119
<v Speaker 4>It was rough up three hours.

0:15:52.880 --> 0:15:56.200
<v Speaker 3>The DC back seat, small, back seat small.

0:15:56.800 --> 0:16:02.840
<v Speaker 6>We show up and uh, it's ABC, I guess releasing

0:16:02.880 --> 0:16:05.680
<v Speaker 6>the debut of Aisha. We are there and we see

0:16:05.680 --> 0:16:08.160
<v Speaker 6>Boys and Men sing married, don't you week? And that's

0:16:08.160 --> 0:16:10.800
<v Speaker 6>when we were like, wow, that's the singing group, you

0:16:10.880 --> 0:16:13.120
<v Speaker 6>know what I'm saying. So we learned real quick. And

0:16:13.160 --> 0:16:15.520
<v Speaker 6>we weren't that yet. Man, we weren't, I would say,

0:16:15.600 --> 0:16:17.840
<v Speaker 6>you know, we we were still in the very beginnings

0:16:17.880 --> 0:16:20.120
<v Speaker 6>of being a group. We're still writing our records, We're

0:16:20.120 --> 0:16:22.560
<v Speaker 6>still trying to figure out what was going on, who

0:16:22.560 --> 0:16:23.360
<v Speaker 6>we were right.

0:16:23.280 --> 0:16:24.800
<v Speaker 4>We're still developing ourselves.

0:16:25.160 --> 0:16:27.640
<v Speaker 6>The next thing we had come up was we were

0:16:27.680 --> 0:16:30.360
<v Speaker 6>supposed to, you know, we find out, Okay, we're gonna

0:16:30.360 --> 0:16:32.920
<v Speaker 6>shoot Motown Philly video because they I should just released

0:16:32.920 --> 0:16:36.120
<v Speaker 6>now Boys and Men's gonna shoot their debut video in Philly.

0:16:36.920 --> 0:16:39.320
<v Speaker 6>So we get a call and me and Tyd are like,

0:16:39.880 --> 0:16:41.160
<v Speaker 6>all right, when do we need to be there?

0:16:41.560 --> 0:16:44.320
<v Speaker 4>And they said early in the morning on this day.

0:16:44.560 --> 0:16:47.680
<v Speaker 6>Okay, Me and Todd left that night because we wanted

0:16:47.680 --> 0:16:48.400
<v Speaker 6>to be there early.

0:16:48.760 --> 0:16:49.960
<v Speaker 2>What was shooting that video?

0:16:50.400 --> 0:16:50.480
<v Speaker 4>Like?

0:16:51.000 --> 0:16:51.320
<v Speaker 7>For you?

0:16:51.360 --> 0:16:52.400
<v Speaker 2>Do you remember that day?

0:16:53.200 --> 0:16:55.360
<v Speaker 4>Yeah? I can remember it. This thing? How about you?

0:16:55.400 --> 0:16:55.560
<v Speaker 7>Todd?

0:16:55.600 --> 0:16:57.360
<v Speaker 4>Do you remember it? Yoh? Man?

0:16:57.400 --> 0:17:01.040
<v Speaker 3>It was it was different? Yeah, I remember the neon sign.

0:17:01.320 --> 0:17:03.800
<v Speaker 3>I was like, yo, what can we put that sign?

0:17:04.119 --> 0:17:04.320
<v Speaker 4>Yeah?

0:17:04.320 --> 0:17:06.119
<v Speaker 2>We wanted that so it was an actual sign.

0:17:06.920 --> 0:17:08.719
<v Speaker 4>They couldn't do like effects back then.

0:17:08.800 --> 0:17:11.280
<v Speaker 3>They had a real, actually a neon sign.

0:17:11.400 --> 0:17:15.760
<v Speaker 1>Man, there is an actual, practical sudden impact neon sign

0:17:15.920 --> 0:17:18.560
<v Speaker 1>and it must still exist somewhere. Where is it a

0:17:18.680 --> 0:17:22.800
<v Speaker 1>museum a private collection? I have a goal now find it?

0:17:23.119 --> 0:17:24.800
<v Speaker 1>And Lara Croft tomb rate or that ship?

0:17:25.280 --> 0:17:27.480
<v Speaker 2>So were there were there other takes? Were there other

0:17:27.560 --> 0:17:29.280
<v Speaker 2>concepts besides the point?

0:17:31.040 --> 0:17:33.000
<v Speaker 6>Do you just kind of get that trot and let

0:17:33.040 --> 0:17:35.080
<v Speaker 6>me tell you man, we could we had not that

0:17:35.560 --> 0:17:36.160
<v Speaker 6>took a while?

0:17:36.200 --> 0:17:36.840
<v Speaker 4>Well no, yeah.

0:17:36.880 --> 0:17:39.680
<v Speaker 6>Another thing was they didn't have no you know, it

0:17:39.800 --> 0:17:41.480
<v Speaker 6>was like a last minute thing we're doing a video

0:17:41.520 --> 0:17:43.639
<v Speaker 6>and bibs like I'm gonna put my my next group

0:17:43.640 --> 0:17:46.119
<v Speaker 6>in here. So they if you notice, Aaron's wearing a

0:17:46.119 --> 0:17:48.639
<v Speaker 6>bow tie and the rest of us are wearing ties.

0:17:49.000 --> 0:17:51.159
<v Speaker 4>The reason why is because they only had four boys

0:17:51.200 --> 0:17:54.120
<v Speaker 4>to men, so they had four ties.

0:17:54.440 --> 0:17:56.479
<v Speaker 6>So Aaron, because he was one of the leads at

0:17:56.480 --> 0:17:58.520
<v Speaker 6>the time, said I'll go ahead and wear the bow tie.

0:17:58.760 --> 0:18:00.560
<v Speaker 6>So all of the rest of us and They're like,

0:18:00.600 --> 0:18:02.320
<v Speaker 6>what are you all gonna do? And I was like, shit,

0:18:02.400 --> 0:18:03.560
<v Speaker 6>I don't know what we're gonna do.

0:18:03.600 --> 0:18:03.800
<v Speaker 4>You know.

0:18:04.320 --> 0:18:06.400
<v Speaker 6>It was like, all right, everybody point on the count

0:18:06.440 --> 0:18:08.440
<v Speaker 6>of so and so and so it was like, shit,

0:18:08.520 --> 0:18:09.359
<v Speaker 6>I can point, you know.

0:18:09.440 --> 0:18:10.880
<v Speaker 4>So then it's.

0:18:10.680 --> 0:18:12.320
<v Speaker 6>Funny you say that because people would always ask me

0:18:12.480 --> 0:18:14.720
<v Speaker 6>all the pointers or shit like that, you know, and

0:18:14.880 --> 0:18:15.720
<v Speaker 6>different different things.

0:18:15.800 --> 0:18:18.040
<v Speaker 4>And then yeah, it was fun man, it was.

0:18:18.080 --> 0:18:20.040
<v Speaker 6>It was I look back at does I still see

0:18:20.080 --> 0:18:22.479
<v Speaker 6>them things and crack up my kids, you know, they

0:18:22.520 --> 0:18:24.880
<v Speaker 6>trip out that, you know, like, Dad, you weren't that cool?

0:18:25.440 --> 0:18:26.760
<v Speaker 2>Like you were that cool?

0:18:26.960 --> 0:18:28.360
<v Speaker 4>I thought so I thought we were.

0:18:29.520 --> 0:18:33.200
<v Speaker 1>It does appear to me, though, that Dave Dave does

0:18:33.240 --> 0:18:35.120
<v Speaker 1>seem to be pointing at the director.

0:18:35.400 --> 0:18:37.960
<v Speaker 6>Yeah, Dave, Dave's always trying to be noticing a lot.

0:18:38.000 --> 0:18:39.760
<v Speaker 6>He's always a little bit out on his own there.

0:18:40.040 --> 0:18:42.280
<v Speaker 4>Yeah. Yeah, he's always been out there a little bit.

0:18:42.320 --> 0:18:44.240
<v Speaker 6>So if we were all dressed and let's say urban

0:18:44.680 --> 0:18:46.840
<v Speaker 6>Dave's got on the skateboard stuff. He was a skater

0:18:46.920 --> 0:18:49.000
<v Speaker 6>at heart from Virginia, you know, he lives in Virginia

0:18:49.040 --> 0:18:52.280
<v Speaker 6>Beach now, so right there with Pharrell's from that whole area.

0:18:52.280 --> 0:18:54.800
<v Speaker 6>But that Pharrell vibe how he dressed, Dave was already

0:18:54.800 --> 0:18:56.600
<v Speaker 6>doing that way back in the day.

0:18:56.680 --> 0:18:59.359
<v Speaker 4>That was always his thing, vans and you know, looking

0:18:59.440 --> 0:18:59.760
<v Speaker 4>like that.

0:19:00.320 --> 0:19:04.159
<v Speaker 1>So the video comes out, do you feel like the

0:19:04.200 --> 0:19:07.639
<v Speaker 1>pressure is on now to start releasing music?

0:19:07.840 --> 0:19:08.159
<v Speaker 4>Yeah?

0:19:08.520 --> 0:19:11.040
<v Speaker 6>I thought we were going to be the next group out, okay,

0:19:11.240 --> 0:19:14.399
<v Speaker 6>And Ty would say you we thought, hey man, we're next,

0:19:14.520 --> 0:19:16.920
<v Speaker 6>you know, So we started putting stuff together. I would

0:19:17.000 --> 0:19:22.719
<v Speaker 6>tell you vocally, probably we weren't where we should have been, okay,

0:19:22.760 --> 0:19:25.600
<v Speaker 6>And that's where me and Todd when the time comes,

0:19:25.600 --> 0:19:28.440
<v Speaker 6>we do some switching around and stuff. But I would

0:19:28.480 --> 0:19:30.720
<v Speaker 6>say it was a lot of pressure. We wanted to

0:19:30.720 --> 0:19:32.840
<v Speaker 6>be that next group. We were trying to find a sound.

0:19:33.160 --> 0:19:35.600
<v Speaker 1>You know what happens next, The guys signed with Capital,

0:19:35.720 --> 0:19:38.720
<v Speaker 1>They record some music. Then Bivins asked them to leave

0:19:38.760 --> 0:19:41.400
<v Speaker 1>Capital and go with biv ten Records, which they do,

0:19:41.840 --> 0:19:45.760
<v Speaker 1>and immediately bivins roster of artists starts to grow. Also,

0:19:46.160 --> 0:19:50.240
<v Speaker 1>his vision for sudden Impact takes a turn that is unbelievable.

0:19:50.480 --> 0:19:52.240
<v Speaker 4>He just had a lot on his plate. Man, he threw.

0:19:52.320 --> 0:19:54.320
<v Speaker 6>We went from three guys and I'll see see one

0:19:54.320 --> 0:19:56.000
<v Speaker 6>for all for one there was twenty groups.

0:19:56.560 --> 0:19:58.200
<v Speaker 4>I'm like, yo, what the hell just happened?

0:19:58.240 --> 0:19:58.399
<v Speaker 7>You know?

0:19:58.440 --> 0:20:01.359
<v Speaker 4>And now who are we behind? So we decided we

0:20:01.359 --> 0:20:03.439
<v Speaker 4>were going to roll and not just that.

0:20:03.560 --> 0:20:03.760
<v Speaker 7>Alut.

0:20:03.800 --> 0:20:05.680
<v Speaker 3>Remember his whole vision of us changed.

0:20:05.720 --> 0:20:05.880
<v Speaker 4>Man.

0:20:05.880 --> 0:20:08.800
<v Speaker 3>He wanted us to be like it was a EMF.

0:20:08.000 --> 0:20:09.240
<v Speaker 2>You were going to be a rave band.

0:20:09.480 --> 0:20:10.800
<v Speaker 3>He was all some different stuff.

0:20:10.840 --> 0:20:11.000
<v Speaker 4>Man.

0:20:11.080 --> 0:20:13.120
<v Speaker 3>We were kind of like, yo, man, that that's not us.

0:20:13.160 --> 0:20:14.560
<v Speaker 2>Man, If you don't remember.

0:20:14.640 --> 0:20:18.240
<v Speaker 1>In nineteen ninety one, the British group EMF, incidentally also

0:20:18.320 --> 0:20:20.679
<v Speaker 1>five trendy white guys, had a number one hit in

0:20:20.720 --> 0:20:25.240
<v Speaker 1>America called Unbelievable. They were ravy, they wore baggy day

0:20:25.280 --> 0:20:28.720
<v Speaker 1>glow clothing, they had electronic beats. Their name stood for

0:20:28.880 --> 0:20:32.159
<v Speaker 1>ecstasy motherfuckers. It was very of the time, but not

0:20:32.400 --> 0:20:35.720
<v Speaker 1>at all what sudden impact was about. But on the

0:20:35.760 --> 0:20:39.040
<v Speaker 1>other hand, sudden impact was about to not be sudden impact.

0:20:39.400 --> 0:20:42.080
<v Speaker 4>First we were sudden impact. Then it changed and I

0:20:42.119 --> 0:20:43.120
<v Speaker 4>looked and it said.

0:20:43.040 --> 0:20:47.680
<v Speaker 6>Whyt g I Z And I'm like, wait, Gizzy, like

0:20:48.480 --> 0:20:49.639
<v Speaker 6>no white guys.

0:20:49.680 --> 0:20:51.200
<v Speaker 8>And I'm like wait, Gussy, And I'm like, what the

0:20:51.240 --> 0:20:54.160
<v Speaker 8>hell are you doing? Guzy guys like white guys, white guys.

0:20:54.200 --> 0:20:57.359
<v Speaker 8>That's not really man. I'm half Asian man. My mother's Vietnamese.

0:20:57.520 --> 0:20:59.320
<v Speaker 8>But at that point he said, it doesn't really matter.

0:20:59.600 --> 0:21:00.679
<v Speaker 8>That's what you all are gonna be.

0:21:01.320 --> 0:21:03.600
<v Speaker 6>And I was like, oh, wow, that's what we're gonna be, okay,

0:21:03.880 --> 0:21:06.679
<v Speaker 6>And so actually, you know, we, like I said, it

0:21:06.720 --> 0:21:08.280
<v Speaker 6>was creative differences.

0:21:08.320 --> 0:21:10.679
<v Speaker 4>And I think also that we just weren't. We didn't know.

0:21:10.760 --> 0:21:11.920
<v Speaker 4>He didn't know really what we were.

0:21:11.960 --> 0:21:12.840
<v Speaker 2>We didn't know we were.

0:21:13.080 --> 0:21:15.440
<v Speaker 6>It wasn't a thing of you know, I don't think

0:21:15.480 --> 0:21:18.240
<v Speaker 6>BIV hated us. I mean, that's a strong word anytime

0:21:18.320 --> 0:21:19.800
<v Speaker 6>someone says about it. He just didn't know what to do.

0:21:19.840 --> 0:21:21.560
<v Speaker 6>He used to tell us all the time, we were

0:21:21.560 --> 0:21:24.400
<v Speaker 6>his mom's favorite group at all of She had our

0:21:24.600 --> 0:21:25.679
<v Speaker 6>poster in her house.

0:21:26.000 --> 0:21:28.320
<v Speaker 2>That's a powerful poster, is what that is. And I

0:21:28.400 --> 0:21:28.960
<v Speaker 2>have it now.

0:21:29.440 --> 0:21:32.040
<v Speaker 1>We will analyze it later in the episode, but first

0:21:32.160 --> 0:21:34.000
<v Speaker 1>I wanted to catch up with someone else who had

0:21:34.040 --> 0:21:35.919
<v Speaker 1>a big moment in the pop music world of the

0:21:35.960 --> 0:21:38.879
<v Speaker 1>early nineties. Someone who's time in the spotlight was also

0:21:39.000 --> 0:21:42.479
<v Speaker 1>just before the Internet. Someone who is yesterday, today and

0:21:42.520 --> 0:21:57.320
<v Speaker 1>always gonna make you sweat. Freedom Williams smoking a cigar,

0:21:58.400 --> 0:21:59.879
<v Speaker 1>enjoying a stoke.

0:22:00.160 --> 0:22:02.040
<v Speaker 4>Where are you, I'm in Brooklyn.

0:22:02.480 --> 0:22:05.159
<v Speaker 1>No discussion of popular music in nineteen ninety one is

0:22:05.200 --> 0:22:08.439
<v Speaker 1>complete without Freedom Williams. He was the featured rapper on

0:22:08.480 --> 0:22:11.040
<v Speaker 1>the C and C Music Factory songs Gonna make You Sweat,

0:22:11.200 --> 0:22:13.440
<v Speaker 1>Here We Go and Things that make You go hmm.

0:22:13.880 --> 0:22:17.200
<v Speaker 1>His voice was everywhere, and it still is. Try to

0:22:17.240 --> 0:22:19.040
<v Speaker 1>go a week without hearing Gonna make you sweat.

0:22:19.359 --> 0:22:22.760
<v Speaker 9>You can't say everybody over here, everybody, Oh, but there,

0:22:22.960 --> 0:22:25.560
<v Speaker 9>the cloud is not but no, a fool is body

0:22:25.600 --> 0:22:26.560
<v Speaker 9>people than the house?

0:22:27.760 --> 0:22:29.320
<v Speaker 2>See there it is, you just heard it.

0:22:29.920 --> 0:22:32.119
<v Speaker 1>That song is a perfect example of the C and

0:22:32.160 --> 0:22:36.600
<v Speaker 1>C Music Factory sound Freedom smooth Flow, alongside Martha WASH's

0:22:36.640 --> 0:22:39.840
<v Speaker 1>powerhouse vocals. Of course, in the video for the song,

0:22:40.080 --> 0:22:43.240
<v Speaker 1>those vocals were lip syncd by a model named Zelma Davis.

0:22:43.720 --> 0:22:45.600
<v Speaker 1>Lip Syncing by models was another big thing in the

0:22:45.640 --> 0:22:49.400
<v Speaker 1>early nineties. That's a subject for another podcast. Freedom left

0:22:49.400 --> 0:22:51.679
<v Speaker 1>the group in nineteen ninety three for a solo career,

0:22:51.920 --> 0:22:54.320
<v Speaker 1>and the Music Factory shut down not too long after that.

0:22:54.800 --> 0:22:56.720
<v Speaker 1>I caught up with him at his home in Brooklyn

0:22:56.760 --> 0:22:58.919
<v Speaker 1>where he's having a cigar and sitting in front of

0:22:59.160 --> 0:23:02.680
<v Speaker 1>literally dozens of bodybuilding trophies. We're going to talk about

0:23:02.680 --> 0:23:04.879
<v Speaker 1>the whole C ANDC riot, what he's been doing since.

0:23:05.200 --> 0:23:07.800
<v Speaker 1>And I swear I didn't do this on purpose, what

0:23:08.000 --> 0:23:09.440
<v Speaker 1>Freedom really means.

0:23:09.640 --> 0:23:12.520
<v Speaker 2>I would like to talk to you about your experience

0:23:12.560 --> 0:23:12.880
<v Speaker 2>of you.

0:23:12.800 --> 0:23:15.600
<v Speaker 1>Know, nineteen ninety and ninety one. How did you come

0:23:15.640 --> 0:23:18.119
<v Speaker 1>to be involved with C ANDC Music Factory.

0:23:18.800 --> 0:23:19.800
<v Speaker 4>I was an engineer.

0:23:20.240 --> 0:23:21.919
<v Speaker 9>I went to engineering school when I got out of

0:23:21.920 --> 0:23:24.600
<v Speaker 9>college in eighty eight, eight nine, and I went to

0:23:24.640 --> 0:23:29.440
<v Speaker 9>work in Quad Recording Studios, now infamous Quad Studios where

0:23:29.480 --> 0:23:31.200
<v Speaker 9>everyone seems to get into a shootout.

0:23:31.280 --> 0:23:34.560
<v Speaker 1>All right, not everybody gets into a shootout at Quad Studios.

0:23:34.600 --> 0:23:36.040
<v Speaker 2>I haven't, but it was the.

0:23:35.960 --> 0:23:38.600
<v Speaker 1>Place where tupacsha Kork got shot five times in a

0:23:38.640 --> 0:23:41.679
<v Speaker 1>nineteen ninety four robbery. There's a theory that the Notorious

0:23:41.680 --> 0:23:44.359
<v Speaker 1>BIG's nineteen ninety five song who Shot Ya is all

0:23:44.359 --> 0:23:47.920
<v Speaker 1>about that attack, but Freedom kept it peaceful. He learned

0:23:47.920 --> 0:23:50.600
<v Speaker 1>how to be useful as an engineer in recording studios,

0:23:50.640 --> 0:23:52.440
<v Speaker 1>but what he really wanted was to be an MC

0:23:53.320 --> 0:23:56.800
<v Speaker 1>while you were engineering for other mcs, where you like,

0:23:57.160 --> 0:24:00.879
<v Speaker 1>get me in there, God, I could kill this or

0:24:00.920 --> 0:24:05.000
<v Speaker 1>did you just say, like it's my momental come.

0:24:04.920 --> 0:24:09.080
<v Speaker 9>Later, Yeah, yeah, yeah, I mean I understand. You know

0:24:09.160 --> 0:24:11.240
<v Speaker 9>Buster rhymes when we left Leaders of the New School,

0:24:11.280 --> 0:24:13.560
<v Speaker 9>he would hang out at the studios with a blood

0:24:13.920 --> 0:24:16.280
<v Speaker 9>and try to get into the session, which is a technique.

0:24:16.760 --> 0:24:18.399
<v Speaker 4>You know. I used to get hide with Sladstone.

0:24:18.520 --> 0:24:20.960
<v Speaker 9>You know, Slatstone would come to the studio and look

0:24:21.040 --> 0:24:23.439
<v Speaker 9>for me as an engineer. I was twenty two. We

0:24:23.480 --> 0:24:25.480
<v Speaker 9>would go on the staircase and smoke a bone.

0:24:26.119 --> 0:24:29.840
<v Speaker 1>What were your goal's career wise? Where did you see

0:24:29.840 --> 0:24:32.120
<v Speaker 1>yourself in twenty thirty years time?

0:24:32.880 --> 0:24:35.560
<v Speaker 9>Well, to be to make money, to be to be independent.

0:24:36.119 --> 0:24:38.760
<v Speaker 9>You know, the goal of making music is Nobody who

0:24:38.800 --> 0:24:41.080
<v Speaker 9>really makes money tries to make money for the sake

0:24:41.119 --> 0:24:46.159
<v Speaker 9>of collecting rectangle pieces of paper. They make money for

0:24:46.200 --> 0:24:48.520
<v Speaker 9>the sake of being able to fly first class. And

0:24:48.720 --> 0:24:52.240
<v Speaker 9>pay for them to work and pay for their mom's

0:24:52.280 --> 0:24:55.520
<v Speaker 9>conrect surgery, or buy the card they wanted. Nobody really

0:24:56.280 --> 0:24:59.080
<v Speaker 9>money and of itself. So the goal of being famous

0:24:59.200 --> 0:25:02.199
<v Speaker 9>was to be free. You pay for freedom here. You

0:25:02.240 --> 0:25:05.159
<v Speaker 9>don't earn your freedom by being a humble man or

0:25:05.200 --> 0:25:05.960
<v Speaker 9>a decent man.

0:25:06.040 --> 0:25:07.480
<v Speaker 4>It costs money to be free.

0:25:07.680 --> 0:25:09.639
<v Speaker 9>And so as a young kid in the streets of

0:25:09.680 --> 0:25:12.760
<v Speaker 9>New York, any rapper may be a public Enemy or

0:25:12.840 --> 0:25:16.959
<v Speaker 9>christ One or Rock Kim or the boogiet Down Productions.

0:25:16.440 --> 0:25:17.160
<v Speaker 4>Or MC light.

0:25:17.400 --> 0:25:19.199
<v Speaker 9>Their goal is to get out of the hood, to

0:25:19.280 --> 0:25:23.080
<v Speaker 9>be free. That's why we you know, it's our you know,

0:25:23.880 --> 0:25:26.320
<v Speaker 9>But shit, I got to get out of here.

0:25:27.160 --> 0:25:27.359
<v Speaker 4>You know.

0:25:28.000 --> 0:25:30.440
<v Speaker 2>So fame was freedom.

0:25:30.920 --> 0:25:35.160
<v Speaker 4>Famous Freedom, absolutely Bowie.

0:25:36.160 --> 0:25:38.360
<v Speaker 1>We can't afford that, so we'll probably cut that out.

0:25:39.320 --> 0:25:42.439
<v Speaker 1>Freedom did some engineering for David Cole and Robert Clavillis,

0:25:42.720 --> 0:25:45.720
<v Speaker 1>the c's in CNC Music Factory. They had a dance

0:25:45.720 --> 0:25:47.919
<v Speaker 1>project they were trying to put together, but they needed

0:25:47.960 --> 0:25:51.760
<v Speaker 1>an MC. Freedom is an MC and they clicked and

0:25:51.800 --> 0:25:54.679
<v Speaker 1>the defining dance pop songs of nineteen ninety and ninety

0:25:54.680 --> 0:25:57.800
<v Speaker 1>one were born. But after a while Freedom wanted to

0:25:57.800 --> 0:25:59.959
<v Speaker 1>break out on his own. He fell out with one

0:26:00.119 --> 0:26:01.760
<v Speaker 1>of the seas and he embarked.

0:26:01.400 --> 0:26:02.240
<v Speaker 2>On a solo career.

0:26:02.600 --> 0:26:04.879
<v Speaker 1>What kind of sound were you trying to capture for

0:26:05.040 --> 0:26:08.520
<v Speaker 1>your solo record post see and see similar?

0:26:08.640 --> 0:26:11.560
<v Speaker 9>A similar sound, A similar sound with just a little

0:26:11.600 --> 0:26:13.800
<v Speaker 9>bit more edge, you know. And then and then I

0:26:13.880 --> 0:26:16.960
<v Speaker 9>made a lot of records that were real street records

0:26:16.960 --> 0:26:20.240
<v Speaker 9>too that I shocked, but people wouldn't. I couldn't get

0:26:20.280 --> 0:26:21.960
<v Speaker 9>deals with them because they were like, Ah, that's not

0:26:22.040 --> 0:26:23.919
<v Speaker 9>what you're doing, that's not who you are. I was

0:26:23.920 --> 0:26:26.399
<v Speaker 9>always I always say, once you do a record like that,

0:26:26.480 --> 0:26:30.280
<v Speaker 9>you can't really repeat that record. You have to venture

0:26:30.400 --> 0:26:36.120
<v Speaker 9>off into a different sound. But the fans don't want

0:26:36.160 --> 0:26:38.280
<v Speaker 9>you to venture off because they don't know you for that.

0:26:38.440 --> 0:26:42.119
<v Speaker 9>But sometimes with pop music you can get pigeonholes because

0:26:42.160 --> 0:26:43.320
<v Speaker 9>pop music changes me.

0:26:43.680 --> 0:26:46.919
<v Speaker 1>In nineteen ninety three, Freedom released his first solo single,

0:26:47.040 --> 0:26:50.159
<v Speaker 1>Voice of Freedom, a slightly harder dance track with a

0:26:50.240 --> 0:26:53.720
<v Speaker 1>chorus that sampled George Michael's Freedom ninety. The video is

0:26:53.800 --> 0:26:56.760
<v Speaker 1>up on YouTube and it is pure uncut nineteen ninety

0:26:56.760 --> 0:27:01.199
<v Speaker 1>three Intricate choreography in front of moodily lit Shanelink Fences

0:27:01.560 --> 0:27:03.960
<v Speaker 1>Very season three of nine oh two on a wardrobe

0:27:04.040 --> 0:27:06.840
<v Speaker 1>on everyone except Freedom, who of course is shirtless and

0:27:06.920 --> 0:27:09.639
<v Speaker 1>oiled up. The song has the line dance till you

0:27:09.640 --> 0:27:11.240
<v Speaker 1>wet your pants, and that's hard.

0:27:12.080 --> 0:27:13.320
<v Speaker 2>It is wild.

0:27:14.119 --> 0:27:16.120
<v Speaker 1>But by nineteen ninety three, as you know, by now,

0:27:16.160 --> 0:27:19.240
<v Speaker 1>the charts had changed. There was conclusive proof that people

0:27:19.280 --> 0:27:22.960
<v Speaker 1>wanted a different sound. So your record comes out and

0:27:23.160 --> 0:27:26.880
<v Speaker 1>the Chronic comes out. Did you have a sense at

0:27:26.880 --> 0:27:29.560
<v Speaker 1>the time of what was happening in the culture or yeah,

0:27:29.800 --> 0:27:30.960
<v Speaker 1>just yeah.

0:27:30.760 --> 0:27:32.480
<v Speaker 9>You knew it was it was a problem. You could,

0:27:32.760 --> 0:27:35.399
<v Speaker 9>you could because I loved the Chronic record. I was like,

0:27:35.440 --> 0:27:38.639
<v Speaker 9>oh shit, that's bananas. I remember I remember being in

0:27:38.640 --> 0:27:40.400
<v Speaker 9>the limo. We were going on somewhere on.

0:27:40.359 --> 0:27:41.240
<v Speaker 4>The road New York.

0:27:41.680 --> 0:27:44.800
<v Speaker 9>We were out of the country somewhere, and somebody in

0:27:44.880 --> 0:27:47.639
<v Speaker 9>my crews put the yo. I got that great record

0:27:47.680 --> 0:27:50.399
<v Speaker 9>crazy and with the whole hour and the Limo were rocking.

0:27:50.520 --> 0:27:51.280
<v Speaker 9>I had a record out.

0:27:51.280 --> 0:27:53.399
<v Speaker 4>No, we wouln't even listen to my record. That fucking

0:27:53.480 --> 0:27:55.080
<v Speaker 4>chronic record was bananas.

0:27:55.400 --> 0:27:58.760
<v Speaker 9>Of course you understood, you know when when when when

0:27:58.800 --> 0:28:00.800
<v Speaker 9>Off the Wall came out, it was a game change.

0:28:00.840 --> 0:28:03.800
<v Speaker 4>You knew it. You know, you knew it.

0:28:04.480 --> 0:28:08.440
<v Speaker 1>So how did that feel when you're trying to promote

0:28:08.800 --> 0:28:09.680
<v Speaker 1>a record of your own.

0:28:09.840 --> 0:28:12.879
<v Speaker 9>The missig industry was becoming very opinionated at that point.

0:28:13.000 --> 0:28:15.480
<v Speaker 9>You know, if you didn't smoke weed and bust guns,

0:28:15.480 --> 0:28:18.040
<v Speaker 9>you weren't credible. It was one point through the early

0:28:18.080 --> 0:28:20.640
<v Speaker 9>the mid nineties where I remember when the La Catch

0:28:20.760 --> 0:28:23.359
<v Speaker 9>was making records and all of these bluffs was making records,

0:28:23.560 --> 0:28:25.640
<v Speaker 9>and I would watch the videos and I would be like, yo,

0:28:25.720 --> 0:28:28.880
<v Speaker 9>who is going to a and R that fucking project.

0:28:28.960 --> 0:28:32.919
<v Speaker 9>It's like thirty dudes with guns? Like, yo, who is

0:28:33.000 --> 0:28:36.439
<v Speaker 9>going to fucking do the project? The product management on

0:28:36.760 --> 0:28:40.120
<v Speaker 9>that record, Like, you got to deal with those motherfuckers,

0:28:42.000 --> 0:28:43.880
<v Speaker 9>Good luck with that shit.

0:28:43.920 --> 0:28:44.280
<v Speaker 4>Hold me.

0:28:44.680 --> 0:28:47.400
<v Speaker 1>So, Freedom's record deal with Sony fell apart. A few

0:28:47.440 --> 0:28:50.880
<v Speaker 1>other things materialized and then faded away. By now you

0:28:50.960 --> 0:28:53.960
<v Speaker 1>know how that goes. Freedom is in Brooklyn now. He

0:28:54.040 --> 0:28:57.760
<v Speaker 1>still produces records, He still mentors young artists, He sells

0:28:57.800 --> 0:29:00.480
<v Speaker 1>real estate, does construction here and there. By the looks

0:29:00.520 --> 0:29:03.800
<v Speaker 1>of it, when's a lot of bodybuilding competitions. If fame

0:29:04.240 --> 0:29:08.120
<v Speaker 1>is freedom, do you feel that you got free?

0:29:09.200 --> 0:29:10.520
<v Speaker 4>No?

0:29:10.520 --> 0:29:15.400
<v Speaker 9>No, no, because of me as a person, not generally speaking,

0:29:16.320 --> 0:29:17.640
<v Speaker 9>you know, I'm looking for the land now.

0:29:17.680 --> 0:29:19.840
<v Speaker 4>I live in Brooklyn, but I want horses and cows.

0:29:19.880 --> 0:29:23.280
<v Speaker 9>Now I want freedom, you know my own water. Freedom

0:29:23.320 --> 0:29:26.240
<v Speaker 9>is not money. Money allows you to get off the

0:29:26.280 --> 0:29:30.200
<v Speaker 9>grid to freedom. So money actually is a trap. The

0:29:30.200 --> 0:29:33.120
<v Speaker 9>more you get, the more you want. When you get

0:29:33.200 --> 0:29:35.800
<v Speaker 9>used to find things, you don't know how to well

0:29:35.880 --> 0:29:38.880
<v Speaker 9>your own water. You don't know how to pick chickens

0:29:39.040 --> 0:29:41.840
<v Speaker 9>from your own yard just you used to go into

0:29:41.880 --> 0:29:44.640
<v Speaker 9>the store. So are you free? If the people who

0:29:44.680 --> 0:29:47.240
<v Speaker 9>live like that live to be one hundred, but you

0:29:47.360 --> 0:29:49.800
<v Speaker 9>got cancer at fifty, are you free?

0:29:50.480 --> 0:29:54.200
<v Speaker 4>So? Freedom is not having everything you want.

0:29:54.560 --> 0:29:57.280
<v Speaker 9>Freedom to me means giving up all the things you

0:29:57.320 --> 0:29:57.800
<v Speaker 9>don't need.

0:29:58.320 --> 0:30:00.400
<v Speaker 1>My recommendation is that if you have a chance to

0:30:00.440 --> 0:30:03.840
<v Speaker 1>talk to Freedom Williams, take it. He's friendly, he's fascinating.

0:30:04.040 --> 0:30:06.920
<v Speaker 1>He will make you go hmm. Freedom learned his craft

0:30:06.960 --> 0:30:08.880
<v Speaker 1>in the eighties so that he could meet people, make

0:30:08.960 --> 0:30:11.719
<v Speaker 1>himself useful, and really seize his moment. When it came

0:30:11.760 --> 0:30:15.560
<v Speaker 1>around in the nineties, Sudden Impact did something else. They

0:30:15.640 --> 0:30:18.280
<v Speaker 1>started with the marketing before they had a record out,

0:30:18.360 --> 0:30:21.000
<v Speaker 1>They made a poster. They built the buzz before there

0:30:21.080 --> 0:30:24.560
<v Speaker 1>was anything to buzz about, and it worked. It's that

0:30:24.680 --> 0:30:27.160
<v Speaker 1>poster They got Michael Bivens to sign them and change

0:30:27.200 --> 0:30:30.960
<v Speaker 1>the course of their lives forever. And now it is

0:30:31.080 --> 0:30:35.920
<v Speaker 1>in my inbox. So let's talk about that poster. Sudden

0:30:35.960 --> 0:30:39.880
<v Speaker 1>Impact had their uniform white shirts and neckties. White guys

0:30:39.880 --> 0:30:44.000
<v Speaker 1>had matching sport coats on a sweltering Houston afternoon. Outsiders

0:30:44.000 --> 0:30:46.480
<v Speaker 1>for Life were all do rags and soul patches in

0:30:46.520 --> 0:30:49.120
<v Speaker 1>the style of the year two thousand. I've seen these

0:30:49.120 --> 0:30:51.800
<v Speaker 1>guys and many of their various esthetics, but in all

0:30:51.840 --> 0:30:55.120
<v Speaker 1>of them, they were always styled by someone else. They

0:30:55.120 --> 0:30:58.320
<v Speaker 1>were inscrutable, unknowable. I never had a sense for who

0:30:58.320 --> 0:31:00.800
<v Speaker 1>these guys were until I saw this poster.

0:31:01.520 --> 0:31:02.840
<v Speaker 2>I look at two special.

0:31:02.520 --> 0:31:05.760
<v Speaker 1>All huddled up under the Chesapeake Bay Bridge in nineteen ninety,

0:31:06.160 --> 0:31:08.640
<v Speaker 1>all fifteen or sixteen or seventeen years old, and I

0:31:08.720 --> 0:31:10.880
<v Speaker 1>finally feel like I know these guys.

0:31:11.520 --> 0:31:12.920
<v Speaker 2>I grew up with these guys.

0:31:14.000 --> 0:31:16.280
<v Speaker 1>Todd is all the way to the left, racing stripes

0:31:16.320 --> 0:31:19.960
<v Speaker 1>shaved into his temples like vanilla ice, acid washed jeans,

0:31:19.960 --> 0:31:23.080
<v Speaker 1>pegged at the ankle, dirty Nike shoes in the sand.

0:31:23.880 --> 0:31:26.600
<v Speaker 1>Alan is next to him, wearing a bold polka dot,

0:31:26.800 --> 0:31:29.160
<v Speaker 1>something David Silver would wear on a date with Donald

0:31:29.200 --> 0:31:31.840
<v Speaker 1>Martin on nine O two one zero. Noel Kine is

0:31:31.840 --> 0:31:34.400
<v Speaker 1>next to him, serving blue steel before we even had

0:31:34.400 --> 0:31:36.600
<v Speaker 1>a name for it, in a T shirt and shorts.

0:31:37.240 --> 0:31:40.480
<v Speaker 1>And then there's Aaron smiling, the brash smile of the

0:31:40.560 --> 0:31:43.800
<v Speaker 1>high school jock under what might be a teenage attempt

0:31:43.840 --> 0:31:48.840
<v Speaker 1>at a mustache, a baggy guccy T shirt, barefoot, serving

0:31:48.880 --> 0:31:53.240
<v Speaker 1>you toes. These are kids. These are kids with big plans.

0:31:53.480 --> 0:31:55.600
<v Speaker 1>This is a high school dropout with something to prove.

0:31:56.080 --> 0:31:57.560
<v Speaker 1>This is the son of a major in the Air

0:31:57.600 --> 0:32:00.160
<v Speaker 1>Force trying to make his own way. This is a

0:32:00.240 --> 0:32:02.600
<v Speaker 1>high school baseball star finding a new family with the

0:32:02.680 --> 0:32:04.920
<v Speaker 1>kids from the other side of the tracks. And this

0:32:05.000 --> 0:32:07.000
<v Speaker 1>is the handsome little brother who's along for the ride.

0:32:07.680 --> 0:32:10.880
<v Speaker 1>I know these kids, so do you. Right now, under

0:32:10.920 --> 0:32:14.120
<v Speaker 1>some bridge somewhere, a few of them are posing, making

0:32:14.160 --> 0:32:17.640
<v Speaker 1>content for their Instagram or filming their video. There will

0:32:17.680 --> 0:32:21.080
<v Speaker 1>always be kids misunderstood by their parents, giggle that by

0:32:21.120 --> 0:32:24.280
<v Speaker 1>their peers, desperate to make their mark. I see what

0:32:24.360 --> 0:32:26.920
<v Speaker 1>Michael Bivens saw in this poster. I see why it's

0:32:26.920 --> 0:32:29.880
<v Speaker 1>his mom's favorite. I even see why it got them

0:32:29.920 --> 0:32:33.640
<v Speaker 1>signed to a record label. It's timeless, just from that

0:32:33.960 --> 0:32:35.240
<v Speaker 1>damn too special poster.

0:32:36.000 --> 0:32:38.560
<v Speaker 6>Just from the poster. The poster got us there. That

0:32:38.600 --> 0:32:41.240
<v Speaker 6>point got us to Capitol. I would say, Yeah, we

0:32:41.320 --> 0:32:42.520
<v Speaker 6>pointed our way right to it.

0:32:42.760 --> 0:32:46.320
<v Speaker 1>You know what got you there is boldness like you

0:32:46.360 --> 0:32:48.080
<v Speaker 1>guys took a huge swim.

0:32:48.280 --> 0:32:49.840
<v Speaker 4>Yeah, we just didn't.

0:32:50.040 --> 0:32:52.200
<v Speaker 6>I don't think it was something where we didn't have

0:32:52.240 --> 0:32:54.280
<v Speaker 6>anything to lose at that point, Me and Tad felt

0:32:54.320 --> 0:32:54.760
<v Speaker 6>just was the.

0:32:54.720 --> 0:32:56.480
<v Speaker 4>Way, this is what we wanted to do.

0:32:57.040 --> 0:32:59.040
<v Speaker 6>And it kept us, I would say, from getting into

0:32:59.080 --> 0:33:03.080
<v Speaker 6>childhood mischief because we were so driven on what to do,

0:33:03.600 --> 0:33:05.000
<v Speaker 6>you know, and what do we have to do to

0:33:05.000 --> 0:33:07.640
<v Speaker 6>get to the next point. And even when a lot

0:33:07.640 --> 0:33:09.440
<v Speaker 6>of this stuff happens, like I'm sure you're gonna get

0:33:09.440 --> 0:33:11.120
<v Speaker 6>into we still kept.

0:33:10.880 --> 0:33:13.680
<v Speaker 4>Pushing like we still hadn't, you know, just tried.

0:33:14.280 --> 0:33:17.080
<v Speaker 1>By now you know how this story unfolds, The boys

0:33:17.120 --> 0:33:20.760
<v Speaker 1>go from Motown to Capitol to bivten, then off biften

0:33:20.840 --> 0:33:23.360
<v Speaker 1>and onto Stone Creek, and then Stone Creek goes away

0:33:23.440 --> 0:33:25.520
<v Speaker 1>and then onto a Leah's label Blackground, and.

0:33:25.480 --> 0:33:28.360
<v Speaker 2>Off of that. What I suspected is that.

0:33:28.320 --> 0:33:30.320
<v Speaker 1>By this time and their story, the guys were pretty

0:33:30.320 --> 0:33:32.880
<v Speaker 1>fed up the part of the story I hadn't heard.

0:33:33.120 --> 0:33:37.120
<v Speaker 1>Was the night Todd finally vented that frustration. Blackground was

0:33:37.160 --> 0:33:40.040
<v Speaker 1>a record label started by a Leah's uncle, Barry Hankerson,

0:33:40.520 --> 0:33:43.120
<v Speaker 1>and one night after another endless wait to get an

0:33:43.160 --> 0:33:46.200
<v Speaker 1>album released, Todd had a few drinks and gave Barry

0:33:46.240 --> 0:33:47.160
<v Speaker 1>a piece of his mind.

0:33:47.640 --> 0:33:50.280
<v Speaker 3>I remember having a conversation with Barry. You remember this, Allen.

0:33:50.680 --> 0:33:51.360
<v Speaker 3>I was drunk.

0:33:51.480 --> 0:33:55.600
<v Speaker 7>Well, I I got real drunk one night, man, and

0:33:55.600 --> 0:33:57.880
<v Speaker 7>I'm gonna tell you I had a conversation with Barry's

0:33:57.880 --> 0:34:00.880
<v Speaker 7>attorney dude flat said, look, this is some bs shit.

0:34:00.960 --> 0:34:01.080
<v Speaker 6>Man.

0:34:01.080 --> 0:34:03.280
<v Speaker 7>What y'all are doing? Man, this is this is you

0:34:03.320 --> 0:34:06.080
<v Speaker 7>know what I'm saying, It's it ain't right man, you're

0:34:06.080 --> 0:34:07.800
<v Speaker 7>playing god with me, you know.

0:34:07.800 --> 0:34:08.160
<v Speaker 6>What I mean?

0:34:08.360 --> 0:34:10.880
<v Speaker 3>Let me fucking go. If you don't plan on doing something,

0:34:10.960 --> 0:34:12.920
<v Speaker 3>let us fucking go. What do you hold on to

0:34:13.000 --> 0:34:13.200
<v Speaker 3>us for?

0:34:13.360 --> 0:34:16.560
<v Speaker 7>Obviously, obviously there's something there that you don't want to

0:34:16.600 --> 0:34:18.040
<v Speaker 7>let go. You just don't know how to You just

0:34:18.080 --> 0:34:19.759
<v Speaker 7>don't know how to handle it. You know what I'm saying.

0:34:19.760 --> 0:34:21.520
<v Speaker 7>Were we the best group in the world vocally?

0:34:21.600 --> 0:34:23.080
<v Speaker 3>No, you know what I'm saying.

0:34:23.320 --> 0:34:25.080
<v Speaker 7>But there's a lot of other groups I can name,

0:34:25.120 --> 0:34:26.279
<v Speaker 7>But I'm not going to you know what I'm saying,

0:34:26.280 --> 0:34:27.799
<v Speaker 7>because I don't do that shit.

0:34:27.880 --> 0:34:30.440
<v Speaker 3>Man. But we had we had good music at that time.

0:34:30.520 --> 0:34:30.719
<v Speaker 7>Man.

0:34:30.960 --> 0:34:31.440
<v Speaker 2>Yeah, I know.

0:34:31.520 --> 0:34:34.640
<v Speaker 1>It feels cathartic for me too. This confrontation was a

0:34:34.680 --> 0:34:38.160
<v Speaker 1>significant moment in that it got them dropped from Blackground.

0:34:38.520 --> 0:34:42.719
<v Speaker 1>Their album once again didn't get released. Outsiders for Life

0:34:42.719 --> 0:34:45.160
<v Speaker 1>self released an album in two thousand and six with

0:34:45.239 --> 0:34:48.520
<v Speaker 1>the tracks ass Like That and Slipping Slide. It's up

0:34:48.520 --> 0:34:50.959
<v Speaker 1>on the streaming services if you want to listen. But

0:34:51.040 --> 0:34:53.239
<v Speaker 1>by the time the album was released, the guys were

0:34:53.239 --> 0:34:53.799
<v Speaker 1>burned out.

0:34:54.239 --> 0:34:56.640
<v Speaker 7>Then it was time to grow the fuck up. Let's

0:34:56.680 --> 0:34:58.279
<v Speaker 7>be real, man, we're getting old.

0:34:58.360 --> 0:34:58.560
<v Speaker 4>Man.

0:34:58.960 --> 0:35:01.440
<v Speaker 7>It's a about growing up man, you know what I'm saying.

0:35:01.520 --> 0:35:04.319
<v Speaker 7>Are we going to keep doing this? Or or am

0:35:04.320 --> 0:35:05.840
<v Speaker 7>I going to be thirty years old living?

0:35:06.080 --> 0:35:07.799
<v Speaker 4>You know, saying in a tent?

0:35:08.400 --> 0:35:09.840
<v Speaker 3>What am I going to do with my life?

0:35:09.960 --> 0:35:10.680
<v Speaker 4>You know what I mean? What am I?

0:35:10.760 --> 0:35:14.080
<v Speaker 3>What am I going to do now? So we had

0:35:14.080 --> 0:35:16.399
<v Speaker 3>a restructure. I wanted kids. I didn't want to run

0:35:16.400 --> 0:35:18.239
<v Speaker 3>around chasing a dream, you know what I mean?

0:35:18.680 --> 0:35:20.759
<v Speaker 7>And so you know we did that. We took a break.

0:35:20.760 --> 0:35:22.319
<v Speaker 7>I think I took a break I didn't do music

0:35:22.320 --> 0:35:23.880
<v Speaker 7>for how long? How like ten years?

0:35:23.920 --> 0:35:26.520
<v Speaker 4>Man? Yeah, it was it was like ten years.

0:35:26.719 --> 0:35:28.880
<v Speaker 7>It was like ten years. I didn't touch music. I

0:35:28.920 --> 0:35:29.680
<v Speaker 7>didn't do nothing.

0:35:29.880 --> 0:35:31.640
<v Speaker 6>I would tell you this though, Man, I would think

0:35:31.640 --> 0:35:34.319
<v Speaker 6>it's the time frame too. Man, we just we came

0:35:34.360 --> 0:35:36.279
<v Speaker 6>out what we were doing there doing now, I would

0:35:36.320 --> 0:35:39.880
<v Speaker 6>say time frame wise, if you look at it, we

0:35:39.880 --> 0:35:41.680
<v Speaker 6>were just in the wrong time period.

0:35:41.840 --> 0:35:42.880
<v Speaker 4>There was social media.

0:35:43.000 --> 0:35:45.120
<v Speaker 6>We could have pushed so much stuff and done our

0:35:45.160 --> 0:35:47.759
<v Speaker 6>own podcasts and done our own you know, follow the

0:35:47.840 --> 0:35:48.680
<v Speaker 6>band type things.

0:35:48.920 --> 0:35:51.560
<v Speaker 4>Back then, there wasn't nothing but AOL messenger, you know

0:35:51.640 --> 0:35:52.080
<v Speaker 4>what I'm saying.

0:35:52.120 --> 0:35:54.200
<v Speaker 3>We didn't have no internet back then. Man, we didn't

0:35:54.200 --> 0:35:55.279
<v Speaker 3>have MP three's back in.

0:35:55.640 --> 0:35:58.879
<v Speaker 1>The timing was just not right. The timing was never right.

0:35:59.320 --> 0:36:02.040
<v Speaker 1>But their attitude about it is good. They're not bitter

0:36:02.640 --> 0:36:05.280
<v Speaker 1>and there's something that I have to know. It sounds

0:36:05.280 --> 0:36:07.719
<v Speaker 1>like I already know the answer to this question. But

0:36:07.920 --> 0:36:10.160
<v Speaker 1>are you glad you took that trip out to.

0:36:10.239 --> 0:36:13.600
<v Speaker 4>La Yes, me and him. I would tell you could.

0:36:13.800 --> 0:36:16.960
<v Speaker 6>You can't pay for the experiences that we went through.

0:36:17.000 --> 0:36:18.719
<v Speaker 6>You can go to college and people can talk about

0:36:18.760 --> 0:36:23.520
<v Speaker 6>their college years. I watched some of the most Hall

0:36:23.600 --> 0:36:25.560
<v Speaker 6>of Fame type things in the music business.

0:36:25.560 --> 0:36:28.200
<v Speaker 4>Go. I met Aleah, I've hung out with her. She

0:36:28.239 --> 0:36:29.880
<v Speaker 4>told me, I'm want in a million. I got video

0:36:29.880 --> 0:36:30.160
<v Speaker 4>of it.

0:36:30.440 --> 0:36:32.840
<v Speaker 6>I got video with boys to men and things that

0:36:32.960 --> 0:36:36.680
<v Speaker 6>I probably you can't even experience, being an end of

0:36:36.719 --> 0:36:39.759
<v Speaker 6>the road video shoot, the all the video shoots we

0:36:39.800 --> 0:36:42.879
<v Speaker 6>went to, walking through these things and living. I would

0:36:42.880 --> 0:36:45.000
<v Speaker 6>say it was the closest thing to being famous without

0:36:45.080 --> 0:36:45.800
<v Speaker 6>being famous.

0:36:46.160 --> 0:36:50.040
<v Speaker 7>Yeah, man, I think, I think. Man, you know, it's

0:36:50.040 --> 0:36:51.960
<v Speaker 7>a journey. We're all on man, even you date.

0:36:52.120 --> 0:36:53.760
<v Speaker 3>You know what I'm saying. We're all on this journey.

0:36:53.800 --> 0:36:53.960
<v Speaker 4>Man.

0:36:54.680 --> 0:36:56.760
<v Speaker 3>You know, you get to you get.

0:36:56.640 --> 0:36:58.799
<v Speaker 7>To a place, you go left, you go right, there,

0:36:58.880 --> 0:37:00.440
<v Speaker 7>you go right and find out right it wasn't the

0:37:00.520 --> 0:37:00.839
<v Speaker 7>right way.

0:37:00.920 --> 0:37:02.560
<v Speaker 3>You go left again, you know what I mean. So

0:37:03.080 --> 0:37:06.640
<v Speaker 3>you know it's all life's journey, man, It's everything's meant

0:37:06.719 --> 0:37:06.880
<v Speaker 3>to be.

0:37:07.200 --> 0:37:09.600
<v Speaker 7>You know your story's gonna play out, you know, and

0:37:10.480 --> 0:37:11.839
<v Speaker 7>you know life's the song man.

0:37:12.000 --> 0:37:14.480
<v Speaker 3>That's what I say. Life's the song man. Look around you, man.

0:37:14.800 --> 0:37:17.440
<v Speaker 2>So I have found three of the guys from Sudden Impact.

0:37:17.840 --> 0:37:20.160
<v Speaker 1>All that are left are Noel Kine, who I have

0:37:20.320 --> 0:37:22.440
<v Speaker 1>emailed a few times and he just hasn't gone back

0:37:22.480 --> 0:37:26.040
<v Speaker 1>to me and the elusive quiet Dave Smith, the guy

0:37:26.040 --> 0:37:28.520
<v Speaker 1>who they tell me turned his back on the whole thing.

0:37:29.320 --> 0:37:31.480
<v Speaker 1>After we get off the zoom call, I decided to

0:37:31.520 --> 0:37:33.319
<v Speaker 1>take a swing with Todd and see if maybe he

0:37:33.400 --> 0:37:35.719
<v Speaker 1>has any idea how I can get a hold of

0:37:35.800 --> 0:37:39.120
<v Speaker 1>Dave Smith. Any emails right back? Yeah, man, I talked

0:37:39.160 --> 0:37:41.360
<v Speaker 1>to him last week. Here's his email, and so I

0:37:41.400 --> 0:37:44.080
<v Speaker 1>emailed Dave Smith and he gets back in thirty minutes. Yeah.

0:37:44.120 --> 0:37:46.600
<v Speaker 2>Sure, I'd love to talk. This is so much easier

0:37:46.600 --> 0:37:47.560
<v Speaker 2>than I thought it was going to be.

0:37:48.040 --> 0:37:50.239
<v Speaker 1>I also ask Alan whether who Are You is a

0:37:50.280 --> 0:37:52.640
<v Speaker 1>dis track and he says yes, but we were in

0:37:52.680 --> 0:37:54.680
<v Speaker 1>a pissed off state of mind. We grew a lot

0:37:54.680 --> 0:37:57.800
<v Speaker 1>from that lol. As to who they were dissing, I

0:37:57.840 --> 0:38:01.080
<v Speaker 1>guess I'll have to get it from Dave Distrack Smith himself,

0:38:01.480 --> 0:38:04.319
<v Speaker 1>Michael Bibvens. Though, still nothing, But I want you to

0:38:04.320 --> 0:38:06.759
<v Speaker 1>hear something Todd said as the Zoom was wrapping up,

0:38:07.160 --> 0:38:09.520
<v Speaker 1>something that is made even more poignant by the fact

0:38:09.520 --> 0:38:11.040
<v Speaker 1>that his connection is a little dodgy.

0:38:11.440 --> 0:38:14.439
<v Speaker 3>It's definitely not is definitely not over.

0:38:14.920 --> 0:38:16.920
<v Speaker 1>It makes me think about what Scott Gimpel said in

0:38:16.960 --> 0:38:18.600
<v Speaker 1>the first episode of this show.

0:38:18.680 --> 0:38:23.040
<v Speaker 6>I don't like the idea of endings because I don't

0:38:23.120 --> 0:38:25.400
<v Speaker 6>like thinking that it's over for anybody.

0:38:25.719 --> 0:38:27.600
<v Speaker 2>This is a show about audacity.

0:38:27.760 --> 0:38:30.600
<v Speaker 1>This is a show about taking big swings, and I'm

0:38:30.600 --> 0:38:33.239
<v Speaker 1>beginning to wonder whether these guys might be about to

0:38:33.320 --> 0:38:37.200
<v Speaker 1>take another one. We'll find out on the finale of

0:38:37.239 --> 0:38:45.879
<v Speaker 1>Waiting for Impact, a Dave Holmes passion project. This has

0:38:45.920 --> 0:38:50.120
<v Speaker 1>been an Exactly Right production. Written by me Dave Holmes,

0:38:50.719 --> 0:38:55.360
<v Speaker 1>produced by Hannah Kyle Crichton, recorded, mixed and sound designed

0:38:55.440 --> 0:38:59.960
<v Speaker 1>by Andrew Eapen. Additional engineering and assembly by Annalise Nelson,

0:39:00.960 --> 0:39:06.440
<v Speaker 1>Music by Ben Wise, artwork by Garrett Ross. Executive produced

0:39:06.440 --> 0:39:09.960
<v Speaker 1>by Karen Kilgareff, Georgia hard Stark and Danielle Kramer.

0:39:10.840 --> 0:39:13.600
<v Speaker 2>Follow the show on Instagram, Facebook.

0:39:13.120 --> 0:39:17.400
<v Speaker 1>And Twitter at exactly where, and follow me at Dave Holmes.

0:39:17.960 --> 0:39:21.400
<v Speaker 2>For more information, go to exactly Rightmedia dot com.

0:39:21.560 --> 0:39:24.960
<v Speaker 1>Binge the show add free on stitch your premium for

0:39:25.040 --> 0:39:28.120
<v Speaker 1>a free month. Head to Stitcher Premium dot com, slash

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<v Speaker 1>Impact and enter promo code Impact.

0:39:30.840 --> 0:39:31.400
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0:39:31.400 --> 0:39:35.400
<v Speaker 1>Monthly plan, listen, subscribe, and leave us a review on

0:39:35.600 --> 0:39:45.520
<v Speaker 1>Apple Podcasts, Stitcher or wherever you get your podcasts