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Speaker 1: Questloft Supreme is a production of iHeartRadio.

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Speaker 2: So y'all, June is Black Music Month, and every year

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Speaker 2: we use this time to acknowledge something that really can't

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Speaker 2: be overstated.

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Speaker 3: Black music is one.

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Speaker 2: Of the foundational forces behind modern culture. Now, back when

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Speaker 2: Teams Supreme and I were doing the Questlove Supreme and

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Speaker 2: now on the Quest Loft Show, we've always tried to

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Speaker 2: create a space for those stories. So for the entire

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Speaker 2: month of June, we're bringing you an episode every day

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Speaker 2: focus on the history, influence, and ongoing evolution of black music.

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Speaker 2: A team and I dug through the catalog and selected

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Speaker 2: episodes that feel especially meaningful for now, conversations that inform,

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Speaker 2: entertain and connect the dots between where this music comes

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Speaker 2: from where it's headed. Now, alongside those, we'll be releasing

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Speaker 2: four new episodes of Quest Left Show feature trailblazers and

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Speaker 2: innovators and cultural connectors and visionaries who represent the past, present,

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Speaker 2: and future of black music.

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Speaker 1: I want you to enjoy this.

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Speaker 3: Thank you, ladies and gentlemen. What's up? This is Quest

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Speaker 3: Love and this is.

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Speaker 2: Another episode of Quest Love Supreme. We got the Team

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Speaker 2: Supreme with us right now. The one and only Suka

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Speaker 2: Steve yo Yo. How goes it to Oh wow.

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Speaker 3: Oh you're your shock that I actually care about your

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Speaker 3: well being? Yes, but no, I'm feeling good. Everything's good.

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Speaker 2: So glad to be here with Team Supreme and burn

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Speaker 2: gonna be great.

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Speaker 3: Fan Ticolo North Carolina.

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Speaker 4: Yeah, man, I'm good brother, oh bit chilly.

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Speaker 2: Fighting for his uh, his his rights and his masters.

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Speaker 3: And listen, or as we call.

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Speaker 4: It in the music business, Wednesday, whatever.

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Speaker 2: I feel you, I feel you, uh and and our

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Speaker 2: our diva that needs left to uh.

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Speaker 5: That was.

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Speaker 6: Instead I'm mad we ain't doing no roll call because

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Speaker 6: I'm just we were doing right now. I would really

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Speaker 6: quill this.

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Speaker 2: I'm just I know, man, we're gonna but by the time,

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Speaker 2: hopefully someone will invent a system that will, you know,

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Speaker 2: fix all the latency problems you know for roll call, uh.

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Speaker 3: Ladies and gentlemen.

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Speaker 2: I will say that, speaking of diva, our guest today

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Speaker 2: is probably I mean, she's beyond diva, she is beyond queen,

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Speaker 2: she is beyond legend.

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Speaker 3: She just is.

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Speaker 2: And I'll say that I know it's hard to imagine.

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Speaker 2: I'm not trying to sound like Grandpa. I noticed that,

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Speaker 2: like all my tales of music starts with the like

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Speaker 2: well back in my day. But you know it's really

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Speaker 2: it's really hard to imagine like a like a time

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Speaker 2: period in which being in a band like wasn't like

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Speaker 2: a novel idea. And you know, a lot can happen

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Speaker 2: in thirty five years. Yes, we're now living in the

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Speaker 2: age of the solo act, and you know a lot

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Speaker 2: of these acts are chasing perfection.

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Speaker 3: We're pre recorded tracks.

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Speaker 2: But I mean, there was there was a time in

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Speaker 2: history where you know, where collaboration was key.

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Speaker 3: Magic came and and and.

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Speaker 2: In numbers, and it was it was a thing to see,

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Speaker 2: you know, to watch people as a unit kick gas.

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Speaker 2: And I will say that our guest really personifies that.

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Speaker 2: You know, the band that she established in the late

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Speaker 2: seventies known as Climax was pretty much you know, I'll

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Speaker 2: say that kind of sort of a nominally consisting of

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Speaker 2: badass women playing instruments, which, you know, sad to say

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Speaker 2: that again, like the fact that that's a novelty shows

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Speaker 2: you like the sad state of where we are right

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Speaker 2: now and music. But you know, this particular band, you know,

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Speaker 2: the hits were a plenty one of the best puns

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Speaker 2: in music. You know ment all pause, the anthemic don't

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Speaker 2: mess with me anthem meeting in the ladies room.

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Speaker 6: Not to mention because I'm not in the mood.

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Speaker 2: Yeah, and the forever prom anthem from my era on

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Speaker 2: this you so many hits, so many hits, the name

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Speaker 2: sexy he was need love to and everything. Not to

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Speaker 2: mention her work as a producer with Sheeryl Lin, Paul

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Speaker 2: Abdul Medler, Shallamar and I can't wait till we start

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Speaker 2: talking about Madam X. Madame X is probably the most

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Speaker 2: expensive record I ever purchased on eBay. This before I

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Speaker 2: knew that you can rip songs off of YouTube. Anyway,

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Speaker 2: Ladies and gentlemen, please welcome to our show the one

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Speaker 2: and only the legendary Diva of all divas, Burnetette Cooper,

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Speaker 2: The Quest Love Supreme.

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Speaker 5: Hello, Hello there, Hi christ Yo.

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Speaker 3: I noticed something.

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Speaker 2: When a microphone is present, I cannot whistle my whistles.

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Speaker 2: I was trying to whistle when it was just like.

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Speaker 3: Look like I was like blowing kisses at us.

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Speaker 2: Yeah. Anyway, So the Cooper, how are you today? How's

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Speaker 2: it going?

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Speaker 5: I'm doing Wilson honor, honor to be here with all

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Speaker 5: of you.

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Speaker 3: Thank you, what what part of the world are you

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Speaker 3: in right now?

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Speaker 5: Right now? I'm in Westchester right now. My studio is here, not.

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Speaker 6: That, not your west Chester, my west justin Yea, there's

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Speaker 6: a west Chester, California.

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Speaker 5: Yes.

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Speaker 1: I was like, yo, you're down the block.

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Speaker 5: Okay, I thought I got my studio out here. I'm working.

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Speaker 5: Told me to say hello the.

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Speaker 3: Legendary Jerry Brown engineer Jerry Brown.

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Speaker 5: Yes, yes, is it Christmas in.

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Speaker 3: His studio right now? That guy's name, he's coming up.

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Speaker 5: Yeah, he told me you hello. He just actually he

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Speaker 5: was here working in my studio. I have a mixing

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Speaker 5: room and he just did. He worked on John Legend.

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Speaker 3: Yeah, his Christmas. Yeah. Jerry's world famous for his his

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Speaker 3: Christmas decorations in the.

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Speaker 5: Studio, mood lamps and his lights and his candles. And yes,

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Speaker 5: he brings the sexy he does.

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Speaker 2: Okay, I've never heard his designs just described as sexy.

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Speaker 2: Like he always look at the cheerful and like when

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Speaker 2: we're there, it's like it's Christmas. I feel like I

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Speaker 2: should be, you know, bringing a gift or whatever.

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Speaker 3: But exactly yeah, you know.

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Speaker 5: Uh.

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Speaker 2: Of course, being on the show puts us in the

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Speaker 2: the position of always having access to a lot of

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Speaker 2: the that we grew up, one that we feel that

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Speaker 2: haven't been praised enough for, haven't gotten that much attention.

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Speaker 2: And what was weird is that I work at thirty

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Speaker 2: Rockefeller Plaza, which I consider is sort of like a

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Speaker 2: university for comedy. That's where like Seth Meyers and The

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Speaker 2: Tonight Show with Jimmy fallon Saturday Night Live and all

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Speaker 2: these these legendary New York shows are shot, and whenever

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Speaker 2: Saturday Night Live is in season, I'm usually there to

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Speaker 2: watch tapings of the show. And this year was like

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Speaker 2: really something special in which just out of nowhere, they

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Speaker 2: did this really awesome sketch.

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Speaker 3: Yes, based on the Ladies Room.

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Speaker 6: I was hoping you were going to where I could follow.

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Speaker 5: Yes, you know what, it's actually the second one, the

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Speaker 5: first one.

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Speaker 3: Halle Berry halle Berry right right, Yeah, I totally.

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Speaker 2: I remember I was laughing because it was so authentic

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Speaker 2: and so on point. I was, you know, the audience

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Speaker 2: was laughing, but I was laughing like it was funny

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Speaker 2: and I knew the reference point, you know, Whereas I

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Speaker 2: think half the audience, who was like millennials and gen

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Speaker 2: z would just thought like, oh, they're doing some crazy

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Speaker 2: eighties thing that we don't get the reference. And I

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Speaker 2: remember grilling Steve Higgins, who's sort of like Jimmy's sidekick

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Speaker 2: on the Tonight Show. He runs Saturday Night Live, and

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Speaker 2: I just grilled him like, yo, like, you guys did

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Speaker 2: such a deep cut inside joke that like who who

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Speaker 2: in your audience do you think we really remember? Like

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Speaker 2: climax and the very specifics of like you know, Cecily

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Speaker 2: Strong playing the Bernadette Cooper role and Leslie played like

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Speaker 2: it was.

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Speaker 3: It was so on point.

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Speaker 2: I was really impressed, and I wanted to meet the

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Speaker 2: writers and they were just like, you know, we we

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Speaker 2: like music too, and we go outside the box. Even

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Speaker 2: though they were young riders.

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Speaker 3: I was really.

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Speaker 2: Impressed that that they gave you guys, like really a

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Speaker 2: really good shout out for your legacy, Like that sketch

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Speaker 2: is gonna go you know down. I feel like that

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Speaker 2: will be on their sizzle real way down the line.

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Speaker 5: Yeah, it was great when I saw it. It was

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Speaker 5: you know, you know I watched Saturday Night Live every night,

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Speaker 5: every Saturday night. Yeah, and to sit there and bed,

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Speaker 5: you know, you got your popcorn and all of a sudden, bam,

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Speaker 5: it's like, oh wow, it was great. It was a

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Speaker 5: great honor and you didn't.

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Speaker 3: Know it was coming. That's awesome, isn't it?

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Speaker 6: Isn't that good from a license and perspective too, right,

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Speaker 6: Like when they do something like that burned that it

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Speaker 6: is a good tho you for real?

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Speaker 5: You know sometimes you know, when royalty time comes, you know,

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Speaker 5: then I would really know sometimes sometimes it is, and

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Speaker 5: sometimes you know, sometimes it just sparks and I don't

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Speaker 5: call them up and go, hey, where's my check? I

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Speaker 5: don't do that. I just I just kind of enjoyed

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Speaker 5: the moment and and you know, I'm honored.

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Speaker 3: Yeah.

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Speaker 2: Yeah, I think like when when it's done in parody,

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Speaker 2: it's not the same as like clearing a sample. Wow,

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Speaker 2: kind of they're kind of parody laws that, but I

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Speaker 2: think they actually did meeting in the ladies. Yeah, So

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Speaker 2: it's just it's like a standard payment thing. But hopefully

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Speaker 2: that will plant seeds with you know, with an audience,

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Speaker 2: and they'll do the research.

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Speaker 6: And they'll find the record and.

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Speaker 3: That's how that's how legends are made.

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Speaker 5: And promoters will will remember that we're here.

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Speaker 6: Yes, oh wow, I didn't think that.

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Speaker 2: So many questions about that so I would like to

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Speaker 2: know because I really don't you know, besides like the

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Speaker 2: occasional coverage and like ride On magazine shout out to

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Speaker 2: Cynthia Horner, I really don't know. I mean there's not

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Speaker 2: there haven't been that much in depth interviews with you guys,

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Speaker 2: even though you guys were doing the numbers. You guys

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Speaker 2: were like doing massive pop hits. So I'm glad that

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Speaker 2: we finally have this chance to talk to you. Uh

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Speaker 2: you were Were you born in Los Angeles?

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Speaker 5: Yes? I was born in Los Angeles, lived in Compton, Inglewood, Hollywood,

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Speaker 5: grew up in mainly you know, after after high school,

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Speaker 5: I moved to the Hollywood area and I lived there

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Speaker 5: in Beechwood Canyon, did all of that, So, yes, Los Angeles.

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Speaker 5: Then I moved to New York for ten years. Now back.

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Speaker 2: Yeah, can you tell us? Can you tell me what

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Speaker 2: your first musical memory was?

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Speaker 5: Wow? When you say musical memory like.

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Speaker 3: Band that I know just from as a baby, Like

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Speaker 3: what like their very first musical memory as a child?

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Speaker 5: Of course, you know, Rita Franklin was my was my

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Speaker 5: played in my household when there was happy times, when

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Speaker 5: they were sad times. So Rita was a person that

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Speaker 5: I used to listen to and follow her lyrics and

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Speaker 5: her and her vocal movements and her hooks, and and

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Speaker 5: it made me a better writer by the Rita Franklin songs.

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Speaker 5: And then of course was moving on Doo Daddo. Remember

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Speaker 5: Dio Daddo. Yeah, yeah, it was a little bit of

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Speaker 5: all those guys. Jeff Beck, You know, I really got

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Speaker 5: into that scene and kind of in the high school,

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Speaker 5: junior high school era.

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Speaker 2: But yeah, I would say, what was your what was

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Speaker 2: the family record collection, like in your household as part

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Speaker 2: of what was the what was what was the established

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Speaker 2: records that were in your house? But then I want

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Speaker 2: to know what was the album that you purchased with

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Speaker 2: your own money, Like this is something I want out

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Speaker 2: of out of your parents.

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Speaker 5: Range, Areta Gladys, you know Ray Charles. That was the

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Speaker 5: songs that were be being played in my host So

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Speaker 5: what I when I went out in about were songs like,

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Speaker 5: as I said, the Dio Daddo's, the the I got

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Speaker 5: really into the I can Tina Turner. I really love them.

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Speaker 5: You know, it's not really much when I look back,

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Speaker 5: it kind of I had a range of people that

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Speaker 5: I really really loved Michael Henderson. All those kind of

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Speaker 5: people are the people I used to come home from

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Speaker 5: to high school and listen to.

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Speaker 2: In your household, were you like, did you have other siblings?

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Speaker 2: Like how was this music passed down? Was like older

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Speaker 2: cousins or older siblings that put you onto it?

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Speaker 5: Or No? I didn't really have a musical household, you know,

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Speaker 5: other than the songs I just mentioned that were played,

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Speaker 5: you know, which was ata. I got more into it

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Speaker 5: when I was in went the church and then my yeah,

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Speaker 5: and then as far as playing the drums is concerned,

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Speaker 5: my mom married the preacher and he had a drum set,

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Speaker 5: and I started practicing every day. Yeah, drama and I

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Speaker 5: started practicing every day, and I taught myself how to

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Speaker 5: play drums.

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Speaker 6: Why did drums.

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Speaker 5: Because they were there? I mean, really, it wasn't. It wasn't.

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Speaker 5: It wasn't like a passion or love or I want

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Speaker 5: to play the drum. They happened to be there, and

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Speaker 5: I kind of geared towards it. And my brother started

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Speaker 5: playing the bass. That we were together in the garage

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Speaker 5: practicing every day, and he probably made me a more

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Speaker 5: powerful drummer because he really pushed me, you know, and

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Speaker 5: then we played in the church band, and that's my

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Speaker 5: early beginning musical life. Then, of course, created a group

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Speaker 5: called Blue Ice, which was in junior high school with

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Speaker 5: Michael Northfleet. You know Michael Northfield, right, I know this

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Speaker 5: name for our listeners.

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Speaker 3: Can you tell Michael Northlee he's a keyboard player.

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Speaker 5: Chucky Booker, you know Chuckie Booker, Michael Northfleet. All those

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Speaker 5: guys are kind of like that same vibe. So I

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Speaker 5: started a band in junior high school called Blue Ice.

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Speaker 5: Horn section had a guy like like my h, James Brown.

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Speaker 5: We won all the contests because he was James Brown.

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Speaker 5: And then we had a girl drummer. Oh no, we

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Speaker 5: want everything.

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Speaker 3: So so you were always in those battle bands in.

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Speaker 6: High school and Jui, yes, yes, and you were always

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Speaker 6: diverse bands too, like yes, one of diverse bands.

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Speaker 5: And then then I took a love in high school,

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Speaker 5: I started learning how to write because I'm really kind

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Speaker 5: of a musician who plays by ear and I create

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Speaker 5: by ear and I kind of hear it in my

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Speaker 5: head and I play it. And I learned how to

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Speaker 5: play read music in high school and that's where the

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Speaker 5: early beginnings started.

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Speaker 2: Even back then, did you have a yearning or did

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Speaker 2: you feel that there was a need for a band

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Speaker 2: of all women, because I think by that point, when

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Speaker 2: I was a kid, the only band that I saw

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Speaker 2: that had like women playing an equal role in the

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Speaker 2: instrumentation I'm in, besides lining the family Stone, which you know,

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Speaker 2: it is kind of mind blowing for people to see

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Speaker 2: like a trumpet player and a keyboard player. But I

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Speaker 2: remember growing up watching there was a Philly group called Ecstasy,

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Speaker 2: Passion and Pain. Yeah, they had they had a drummer

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Speaker 2: named Cookie, and I was really impressed, like asking my mom, like, yo,

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Speaker 2: girls can play drums too, Like did they act like

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Speaker 2: there was a novelty or was it just normal? Because

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Speaker 2: normally when you think of a drummer, it's always a man.

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Speaker 3: Behind the skins or whatever.

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Speaker 2: It's like very unusual for certain instruments to be played

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Speaker 2: by women, be it like a trombone or like it's.

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Speaker 3: Like, yeah, you don't see. But were people making a

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Speaker 3: big deal of that?

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Speaker 2: And did you take advantage of the fact that, And

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Speaker 2: did you play any other instruments as well?

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Speaker 5: No, And what you just said is the reason why

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Speaker 5: it came to mind. But there was a void, you know,

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Speaker 5: one day you know, just in my young mind, I said, wow,

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Speaker 5: there's not a lot of female musicians. I said, it

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Speaker 5: would be great to create an all girl band. And

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Speaker 5: then watching LaBelle really really I love LaBelle, okay, And

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Speaker 5: I watched them and I saw the excitement that everybody

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Speaker 5: had when these girls got on stage. You know, I

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Speaker 5: one of those kind of people who cry when I

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Speaker 5: see things that you're so unusual that, you know, and

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Speaker 5: they would they would just move me. And I said,

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Speaker 5: one day, it would be great to put together an

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Speaker 5: our girl band. And I mean people ask me this

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Speaker 5: question all the time. I don't really have an incredible

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Speaker 5: answer other than that I think it was meant to be.

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Speaker 5: And they just kind of came to me. And this

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Speaker 5: low young girl who had this idea started checking the

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Speaker 5: yellow Pages, remember the Yellow Pages, Yes, and trying to

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Speaker 5: look for other musicians, calling radio record labels and asking them, Hey,

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Speaker 5: would you guys be interested in an all girl band?

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Speaker 5: You know? And finally one record company said, yes, we

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Speaker 5: would be. I have an idea. That's how it started.

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Speaker 2: Wait a minute, that's how you got into the because

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Speaker 2: we have a billion questions about Dick Griffy.

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Speaker 1: Okay, That's how that started.

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Speaker 5: No, no, not Dick Griffy yet it's another label. This

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Speaker 5: is another label and another lady. It was a lady

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Speaker 5: by the name of who was the an R person

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Speaker 5: at this particular so it wasn't I forgot the name

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Speaker 5: of the record was a sales cell watched radio record label. Anyway,

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Speaker 5: she was the an R person. She says, come, I

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Speaker 5: want to meet with you about this concept that you have.

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Speaker 5: So we met and she says I'm interested. Her and

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Speaker 5: I together, she kind of She and the record label

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Speaker 5: funded my idea for a while, and I started looking

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Speaker 5: for girls through the recycler paper. I started rehearsing these girls,

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Speaker 5: and I turned the studio in Inglewood, which I have

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Speaker 5: great stories about it.

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Speaker 6: Yeah, because I was like them, you was a fan

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Speaker 6: and then a circle back.

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Speaker 5: I love it, okay, yeah, yeah, And I turned a

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Speaker 5: studio and I started like she she really kind of

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Speaker 5: funded this and she, I don't know, she was coming

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Speaker 5: up with the money to help me with this idea.

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Speaker 5: And I said, I have a great name for the band.

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Speaker 5: She said, let me know what the band is. I said, Climax.

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Speaker 5: She says, I love it spelled with the k L

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Speaker 5: y m A. Actually says I love the whole concept

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Speaker 5: of it. And that's how you know, that's how the

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Speaker 5: seed was planted. And then from there we went on.

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Speaker 2: You got back up a little bit because also a

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Speaker 2: recurring theme on the show our tales from the I

355
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Speaker 2: Turner Studio.

356
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Speaker 3: From Charlie about.

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Speaker 5: Bolic studios.

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Speaker 2: If yes, if you could talk, yeah, what was happening

359
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Speaker 2: at that studio?

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Speaker 5: You know, I would pipe, he would. He would peek

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Speaker 5: in every once in a while after rehearsals. You know,

362
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Speaker 5: we weren't that good. You know, we didn't really get

363
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Speaker 5: good too later on in life. But we were playing

364
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Speaker 5: and we were trying, and we were dedicated. So he

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Speaker 5: would peep in. And he had a bodyguard at that time.

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Speaker 5: I forgot the gentleman's name, but he took a liking

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Speaker 5: to me the bodyguard, and we became friends. We would

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Speaker 5: talk all the time. This is important. I'm going to

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Speaker 5: get back to that.

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Speaker 3: We love these stories.

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Speaker 5: Yeah. The one time that that I finally said, he

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Speaker 5: came into the studio and he looked around and he

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Speaker 5: looked at me, and then the guy, let's call him Steve. Okay, OK,

374
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Speaker 5: not sugar Steve, but she said, let's stee. So he says.

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Speaker 5: He says, I want you to talk to you. Come in,

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Speaker 5: and he wants you to into the front studio, because

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Speaker 5: you know, the rehearsal studios were on the side of

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Speaker 5: the building. So I said okay, and the girls were

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Speaker 5: kind of looking at me, and I go, I'll be back,

380
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Speaker 5: and I went in and I'm going to tell this story.

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Speaker 5: We're not gonna We're not gonna mess around here. So

382
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Speaker 5: I went in there and I came and I was

383
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Speaker 5: holding his pipe. He was getting high, and he goes, here,

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Speaker 5: I want you to hit this right. And I go, well,

385
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Speaker 5: I don't do drugs and I don't drink. I don't

386
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Speaker 5: do any of that. He goes, I said, hit it.

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Speaker 5: Hit this pipe right. Look at that.

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Speaker 6: Mary and Barry. That's how it happened.

389
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Speaker 5: Go ahead, and he said hit the pipe. And I

390
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Speaker 5: was like, no, I don't do and he said I said.

391
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Speaker 5: He got really aggressive with me.

392
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Speaker 6: He said no.

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Speaker 5: He says, you're good. He said you're really good on

394
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Speaker 5: the drums. You're gonna go somewhere and he goes hit

395
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Speaker 5: the pipe, and there's Steve said, man, leave her alone.

396
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Speaker 5: She's a good girl. Man leave her alone. And I

397
00:21:17,320 --> 00:21:19,280
Speaker 5: listened to him and he just and Steves took me

398
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Speaker 5: out of there, then me back to the rehearsal studio.

399
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Speaker 3: Wow.

400
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Speaker 4: Individuals on that wonder if it was the guy was it?

401
00:21:28,040 --> 00:21:30,080
Speaker 4: Was it fraut in the West love got to do

402
00:21:30,119 --> 00:21:35,080
Speaker 4: with the movie. McBride's character Frosts like his guy. I

403
00:21:35,160 --> 00:21:35,800
Speaker 4: wonder if it was him.

404
00:21:35,920 --> 00:21:40,160
Speaker 5: He was kind of a big guy. Yeah, yeah, yes, yeah,

405
00:21:40,560 --> 00:21:43,840
Speaker 5: and he saved me that day because I would have

406
00:21:43,840 --> 00:21:48,280
Speaker 5: been a different girl today, you know. But yeah, but

407
00:21:48,359 --> 00:21:50,200
Speaker 5: I had to tell the story the way it happened.

408
00:21:50,240 --> 00:21:52,640
Speaker 5: There's no way of sugar coat in that, no.

409
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Speaker 3: Niceties like hey, what's your name? And no, no, no no.

410
00:21:55,680 --> 00:21:57,719
Speaker 3: It was just like here hit this hit them.

411
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Speaker 5: Yeah. Well, he gave me a compliment first, he told

412
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Speaker 5: me good, I'm going to be good and all of

413
00:22:03,040 --> 00:22:04,679
Speaker 5: this kind of stuff. You know. I guess that was

414
00:22:04,720 --> 00:22:08,080
Speaker 5: the soften me up a little bit. And I was like, no, sir,

415
00:22:08,640 --> 00:22:13,440
Speaker 5: you know, I was very respectful and I said, I said, no, sir,

416
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Speaker 5: I don't, I don't. I don't do drugs. I don't,

417
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Speaker 5: I don't. I don't want to do that.

418
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Speaker 6: I think I'm because in a twenty twenty one America,

419
00:22:22,040 --> 00:22:25,000
Speaker 6: like I Turner would not have existed with his studio

420
00:22:25,320 --> 00:22:27,960
Speaker 6: it being successful, people going to him being able to

421
00:22:27,960 --> 00:22:31,480
Speaker 6: say that to you, like, oh no, what exists.

422
00:22:31,480 --> 00:22:32,800
Speaker 5: It's still it's still going on.

423
00:22:33,160 --> 00:22:33,360
Speaker 3: Yeah.

424
00:22:33,359 --> 00:22:37,880
Speaker 2: I was going to say, like I'm sad to say that, probably, yes,

425
00:22:38,119 --> 00:22:40,200
Speaker 2: it's still going.

426
00:22:40,440 --> 00:22:43,199
Speaker 5: It's still going on. I mean, look at them. I'm

427
00:22:43,359 --> 00:22:46,280
Speaker 5: just look at all the entertainers who are dying. You know,

428
00:22:46,560 --> 00:22:49,199
Speaker 5: that's true. There's still a culture. There's a drug thing.

429
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Speaker 6: It's a drug call.

430
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Speaker 5: We just don't we just don't know it because we

431
00:22:52,040 --> 00:22:52,880
Speaker 5: don't we're not in it.

432
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Speaker 6: I'm at the misogynistic part of that, that the way

433
00:22:55,760 --> 00:22:59,200
Speaker 6: he approached you and everything that still happens, it still happens.

434
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Speaker 2: I was going to say, how how hard is it

435
00:23:03,400 --> 00:23:07,600
Speaker 2: to be taken seriously in a time in which the

436
00:23:07,840 --> 00:23:12,800
Speaker 2: even the idea of being a musician, a female musician

437
00:23:13,840 --> 00:23:18,919
Speaker 2: is such a rarity, Like how are you able to

438
00:23:19,000 --> 00:23:21,639
Speaker 2: be taken seriously where it's just like, nah, I'm not

439
00:23:21,680 --> 00:23:22,280
Speaker 2: messing with.

440
00:23:22,200 --> 00:23:23,000
Speaker 3: Bernard at Cooper.

441
00:23:23,680 --> 00:23:26,040
Speaker 5: You know, well, did you have to.

442
00:23:25,960 --> 00:23:29,800
Speaker 2: Invent that character that we know because you have this

443
00:23:29,920 --> 00:23:32,560
Speaker 2: don't mess with me sort of stance with you?

444
00:23:32,720 --> 00:23:34,960
Speaker 5: Well, I do have an alter ego you know, and

445
00:23:35,040 --> 00:23:37,679
Speaker 5: that would be my alter ego that the other the

446
00:23:37,680 --> 00:23:40,560
Speaker 5: real Bernie the Cooper is very shy and very I'm

447
00:23:40,560 --> 00:23:43,080
Speaker 5: a very close and I'm really kind of like in

448
00:23:43,160 --> 00:23:46,760
Speaker 5: this character. I created this, this other character to get

449
00:23:46,800 --> 00:23:49,040
Speaker 5: me through I guess, you know, as I said, a

450
00:23:49,040 --> 00:23:50,680
Speaker 5: lot of this stuff was meant to be. I can't

451
00:23:50,720 --> 00:23:52,720
Speaker 5: really go oh. I created this character because of this,

452
00:23:53,080 --> 00:23:56,439
Speaker 5: you know. And it was also a shield that I

453
00:23:56,600 --> 00:24:01,400
Speaker 5: used to deal with a lot of family mental abuse

454
00:24:01,480 --> 00:24:05,040
Speaker 5: and not really sharing in my dream. So I said, Okay,

455
00:24:05,040 --> 00:24:08,639
Speaker 5: I'm going to create this character strong Superwoman because I

456
00:24:08,640 --> 00:24:09,879
Speaker 5: got to get make I got to make it to

457
00:24:09,960 --> 00:24:13,240
Speaker 5: the next day, you know. So I created this character,

458
00:24:13,680 --> 00:24:15,879
Speaker 5: and this character went on to work. She became the

459
00:24:15,920 --> 00:24:19,520
Speaker 5: Slatin girl, you know, and I and I look good

460
00:24:19,480 --> 00:24:22,760
Speaker 5: all that stuff. It's really about loving yourself. It has

461
00:24:22,800 --> 00:24:24,840
Speaker 5: nothing to do with physical appearance. But you have to

462
00:24:24,880 --> 00:24:26,679
Speaker 5: be a diva to understand that, you know.

463
00:24:27,080 --> 00:24:28,720
Speaker 6: I'm just curious if you believed it at the time

464
00:24:28,840 --> 00:24:29,640
Speaker 6: or were you just saying.

465
00:24:29,440 --> 00:24:32,680
Speaker 5: It no, no, no, no. I was saying it from

466
00:24:32,680 --> 00:24:35,840
Speaker 5: another from an inner perspective. I wasn't saying I know

467
00:24:35,880 --> 00:24:37,760
Speaker 5: I'm the cute. I was saying it because I had

468
00:24:37,760 --> 00:24:41,840
Speaker 5: to find strength and going forward in this world by

469
00:24:41,840 --> 00:24:46,439
Speaker 5: myself with my dream. So I created this character and

470
00:24:46,480 --> 00:24:49,879
Speaker 5: to achieve that, you know, and that character is still here.

471
00:24:49,920 --> 00:24:53,520
Speaker 5: I'm still very cluse. I'm still a very cluse.

472
00:24:53,240 --> 00:24:55,280
Speaker 6: But they're still working together. The character We.

473
00:24:56,760 --> 00:25:00,080
Speaker 3: Get right tells how the Sasages made, like we.

474
00:25:01,840 --> 00:25:02,199
Speaker 5: Exactly.

475
00:25:02,280 --> 00:25:07,040
Speaker 2: So, Yeah, I was going to ask, you know, oftentimes,

476
00:25:07,200 --> 00:25:12,320
Speaker 2: especially in black households, you know, survival, you know, hooker

477
00:25:12,400 --> 00:25:15,840
Speaker 2: crook his job one, that's what parents think, like get

478
00:25:15,840 --> 00:25:16,760
Speaker 2: something to fall back on.

479
00:25:17,320 --> 00:25:20,240
Speaker 3: Yeah, get a good paying job, that sort of thing.

480
00:25:20,600 --> 00:25:24,760
Speaker 2: Like, we're well, you kind of answered it, But what

481
00:25:25,000 --> 00:25:27,800
Speaker 2: was your family's feelings on you pursuing this dream or

482
00:25:28,000 --> 00:25:31,000
Speaker 2: was it like like you got to the age of

483
00:25:31,080 --> 00:25:34,400
Speaker 2: nineteen to make it or else, you know, you got

484
00:25:34,440 --> 00:25:36,360
Speaker 2: to work at the post office? Like did they give

485
00:25:36,359 --> 00:25:40,280
Speaker 2: you ultimatums or were they quasi nurturing.

486
00:25:40,440 --> 00:25:42,840
Speaker 3: You know, or were they church people?

487
00:25:44,400 --> 00:25:46,600
Speaker 5: They it was a little bit of all of the

488
00:25:47,040 --> 00:25:50,840
Speaker 5: bottom line is that they weren't feeling it. Nobody and

489
00:25:52,080 --> 00:25:55,200
Speaker 5: you know, I was. My plan was to go to

490
00:25:55,320 --> 00:25:57,520
Speaker 5: law school and become an attorney and to do that,

491
00:25:57,640 --> 00:26:00,119
Speaker 5: and they were kind of like all behind me a

492
00:26:00,240 --> 00:26:02,520
Speaker 5: car and took care of me and all that stuff.

493
00:26:02,800 --> 00:26:05,919
Speaker 5: But one day, sitting in my accounting class, which was

494
00:26:05,920 --> 00:26:09,040
Speaker 5: an elective that I had to take, which I was

495
00:26:09,440 --> 00:26:12,600
Speaker 5: sitting there looking at my teacher like, I don't want

496
00:26:12,600 --> 00:26:15,000
Speaker 5: to be here anymore. I want to play the drums.

497
00:26:15,160 --> 00:26:17,160
Speaker 5: I want to be in a band. I'm never coming

498
00:26:17,200 --> 00:26:20,240
Speaker 5: back again. So I got up and I left in

499
00:26:20,680 --> 00:26:23,240
Speaker 5: my class, and I said, that's when I began my

500
00:26:23,320 --> 00:26:25,080
Speaker 5: search for the all girl band.

501
00:26:25,359 --> 00:26:26,240
Speaker 6: My family was not.

502
00:26:26,840 --> 00:26:29,119
Speaker 5: Yeah, there was called well you know what it was.

503
00:26:30,880 --> 00:26:32,760
Speaker 5: You have to understand that I was an honest student.

504
00:26:32,840 --> 00:26:35,760
Speaker 5: So I got out of high school fast. Yeah.

505
00:26:35,920 --> 00:26:38,720
Speaker 3: Yeah, So I was kind of which high school did

506
00:26:38,760 --> 00:26:39,119
Speaker 3: you go to?

507
00:26:39,840 --> 00:26:41,959
Speaker 5: I went to Compton and Inglewood High School. I graduated

508
00:26:42,000 --> 00:26:45,760
Speaker 5: from Inglewood High School. I went to Compton my what

509
00:26:46,160 --> 00:26:48,480
Speaker 5: ninth and tenth my tenth and eleventh grade, and then

510
00:26:48,880 --> 00:26:52,080
Speaker 5: I graduated. My mother moved to Inglewood, and I graduated

511
00:26:52,119 --> 00:26:52,840
Speaker 5: from Inglewood.

512
00:26:53,240 --> 00:26:57,320
Speaker 2: Okay, so I gotta know what you know when most

513
00:26:57,359 --> 00:27:02,679
Speaker 2: of us here, especially that's not on California natives here

514
00:27:02,760 --> 00:27:06,520
Speaker 2: about Compton, of course, we start just thinking the legend

515
00:27:06,520 --> 00:27:10,800
Speaker 2: of whatever n w A was painting about what Compton

516
00:27:10,880 --> 00:27:12,960
Speaker 2: represented until them.

517
00:27:13,600 --> 00:27:18,000
Speaker 5: Patris Patrius Russian patrist Russian Glass. Yeah, yeah, she was,

518
00:27:18,040 --> 00:27:21,159
Speaker 5: she was. She actually was a lot, but she was

519
00:27:21,280 --> 00:27:24,679
Speaker 5: and then tasted funny. They were out during that time.

520
00:27:25,160 --> 00:27:28,000
Speaker 5: They were out during that time, So that probably influenced

521
00:27:28,040 --> 00:27:30,359
Speaker 5: me a little bit too as far as the girl

522
00:27:30,480 --> 00:27:31,480
Speaker 5: concept as well.

523
00:27:32,160 --> 00:27:37,359
Speaker 3: Okay, but what what was your high school like in like?

524
00:27:37,560 --> 00:27:41,560
Speaker 2: Was it nurturing environment? Was it more Jill Clark lean

525
00:27:41,640 --> 00:27:42,919
Speaker 2: on me dangerous?

526
00:27:43,320 --> 00:27:46,919
Speaker 5: You know, I have to say this, and you know

527
00:27:47,119 --> 00:27:49,560
Speaker 5: I was a tar baby, a tar baby, right, that

528
00:27:49,680 --> 00:27:55,399
Speaker 5: was the the the logo was the tar baby. But

529
00:27:55,560 --> 00:27:58,439
Speaker 5: those are the most wonderful years of my life in

530
00:27:58,520 --> 00:28:01,920
Speaker 5: Compton High School with the most wonderful Yeah. And that's

531
00:28:01,960 --> 00:28:05,760
Speaker 5: when the gang started shooting finally, that started when I

532
00:28:05,840 --> 00:28:08,640
Speaker 5: was in school. That started happening, the shooting and then

533
00:28:09,160 --> 00:28:11,400
Speaker 5: and and what was in the shooting and what kind

534
00:28:11,400 --> 00:28:16,280
Speaker 5: of drugs was in then? Uh? Good, no, no, no, no,

535
00:28:16,320 --> 00:28:20,040
Speaker 5: the one before that people, no, no, no no, it

536
00:28:20,119 --> 00:28:26,160
Speaker 5: was angel du started. Everybody was. That's how I got

537
00:28:26,160 --> 00:28:29,560
Speaker 5: into the That's when I got into the music class.

538
00:28:30,000 --> 00:28:33,240
Speaker 5: That's where I started meeting new friends. That's where I

539
00:28:33,280 --> 00:28:35,720
Speaker 5: felt love. Nobody had nothing, So nobody wasn't trying to

540
00:28:35,720 --> 00:28:38,760
Speaker 5: act like they had nothing, you know. So that was

541
00:28:38,800 --> 00:28:41,200
Speaker 5: a wonderful place to me for me, and then my

542
00:28:41,240 --> 00:28:44,320
Speaker 5: mother moved to Inglewood and I was kind of all alone,

543
00:28:44,720 --> 00:28:46,840
Speaker 5: you know, all alone. I didn't really you know, so

544
00:28:47,000 --> 00:28:50,400
Speaker 5: I graduated from high school early and I was able to,

545
00:28:50,800 --> 00:28:51,800
Speaker 5: you know, go to college.

546
00:28:52,080 --> 00:28:54,080
Speaker 6: You're not being from California, you realize how far those

547
00:28:54,120 --> 00:28:56,280
Speaker 6: two places are. You don't realize how far those two

548
00:28:56,280 --> 00:29:00,480
Speaker 6: places are from each other. What Inglewood and Compton just

549
00:29:00,520 --> 00:29:05,240
Speaker 6: as culturally, it just seemed like yes culture, yeah, yeah, yeah, exactly.

550
00:29:06,280 --> 00:29:10,160
Speaker 2: I think to an outsider though, like I would think

551
00:29:10,200 --> 00:29:12,920
Speaker 2: that those schools were more closer to Jill Clark's Lean

552
00:29:13,000 --> 00:29:16,400
Speaker 2: on Me where you might not live the end of

553
00:29:16,440 --> 00:29:17,080
Speaker 2: the school day.

554
00:29:17,120 --> 00:29:18,720
Speaker 3: But was it that dire or.

555
00:29:18,680 --> 00:29:22,440
Speaker 5: Is that no that during that time, it wasn't that dire.

556
00:29:23,200 --> 00:29:25,560
Speaker 6: It was pre she pre that. I mean remember, and

557
00:29:25,560 --> 00:29:27,160
Speaker 6: it's funny if you watch I don't know if y'all want,

558
00:29:27,240 --> 00:29:29,480
Speaker 6: when you watch them, that was them, right. They came

559
00:29:29,520 --> 00:29:33,360
Speaker 6: out over the COVID where they showed Compton before Burnard

560
00:29:33,360 --> 00:29:36,560
Speaker 6: death generation when it was like white folks, yeah, just

561
00:29:36,600 --> 00:29:38,160
Speaker 6: straight suburbs.

562
00:29:38,000 --> 00:29:40,680
Speaker 5: Know, it was. It was cool. You know, I think

563
00:29:40,720 --> 00:29:43,400
Speaker 5: I think there was one gunshot next freaked everybody out.

564
00:29:43,680 --> 00:29:47,560
Speaker 5: That's why my mother moved to Inglewood. And yeah, it

565
00:29:47,680 --> 00:29:50,640
Speaker 5: just drugs angeled us. That's pretty much it. And the

566
00:29:50,680 --> 00:29:53,240
Speaker 5: rest of it was like a great experience for me.

567
00:29:53,560 --> 00:29:56,000
Speaker 5: I had friends. You know, you're talking about a loaner

568
00:29:56,040 --> 00:29:56,920
Speaker 5: who made friends.

569
00:29:57,000 --> 00:30:00,120
Speaker 2: You know, I lived in Compton for one year as

570
00:30:00,120 --> 00:30:02,080
Speaker 2: a baby, but you know, I don't have any memories

571
00:30:02,840 --> 00:30:05,120
Speaker 2: as a two year older. But I do have a

572
00:30:05,120 --> 00:30:09,120
Speaker 2: photo of me at a CRYPT meeting because all my cousins,

573
00:30:09,800 --> 00:30:12,200
Speaker 2: so I had a bandana and a Derby on.

574
00:30:12,720 --> 00:30:14,560
Speaker 5: You could have been I could have been you know,

575
00:30:15,040 --> 00:30:15,840
Speaker 5: no I was.

576
00:30:15,920 --> 00:30:19,160
Speaker 2: I was you know, they were trying to crip me up. Yeah,

577
00:30:20,320 --> 00:30:27,640
Speaker 2: brought me to the meetings. Can you tell me what

578
00:30:27,800 --> 00:30:31,640
Speaker 2: the audition process or at least what were you looking

579
00:30:31,680 --> 00:30:36,800
Speaker 2: for in the audition process that basically brought like Joyce

580
00:30:36,880 --> 00:30:41,800
Speaker 2: and Lynn, Lorena and Sheryl and uh well, Robin Robin.

581
00:30:42,360 --> 00:30:45,160
Speaker 5: There were a lot of different versions of climax. Before

582
00:30:45,160 --> 00:30:47,040
Speaker 5: I got to thank you for saying.

583
00:30:46,840 --> 00:30:48,760
Speaker 2: This, Yeah, I was going to say, I think there

584
00:30:48,760 --> 00:30:52,280
Speaker 2: were seven women on the down with the hot air

585
00:30:52,280 --> 00:30:53,200
Speaker 2: Balloon the first one.

586
00:30:53,600 --> 00:30:57,320
Speaker 5: Even before that, and I was I was still in

587
00:30:57,400 --> 00:31:01,640
Speaker 5: the narrowing down process. Yeah, yeah, I mean even when

588
00:31:01,640 --> 00:31:05,080
Speaker 5: we you know, before climax, all the climax. It was

589
00:31:05,560 --> 00:31:08,520
Speaker 5: I was smart enough to know, and I don't know

590
00:31:08,720 --> 00:31:11,440
Speaker 5: how I got this knowledge that the girls had to

591
00:31:11,440 --> 00:31:15,440
Speaker 5: be certain kind of girls in order for Radio Disjot

592
00:31:15,440 --> 00:31:18,360
Speaker 5: with the DJs to play our music. Right, So I

593
00:31:18,400 --> 00:31:21,240
Speaker 5: was looking for sexy, I was looking for femininity. I

594
00:31:21,280 --> 00:31:23,360
Speaker 5: was looking for girls who can play now, you know.

595
00:31:23,720 --> 00:31:26,040
Speaker 5: And we had a camaraderie, so you know. First it

596
00:31:26,200 --> 00:31:30,520
Speaker 5: was Cooley, who I found from another band and she

597
00:31:30,680 --> 00:31:34,040
Speaker 5: was playing with a band with her boyfriend, and I

598
00:31:34,080 --> 00:31:36,560
Speaker 5: talked to her and to joining us. And then it

599
00:31:36,720 --> 00:31:39,880
Speaker 5: was Lynn Marsby. They came, a lot of them came.

600
00:31:39,920 --> 00:31:42,600
Speaker 5: It was a paper called the Recycler where you could

601
00:31:42,640 --> 00:31:45,880
Speaker 5: put an ad in for twenty five dollars or however much,

602
00:31:46,240 --> 00:31:49,120
Speaker 5: and then people would respond to and call, hey, I

603
00:31:49,160 --> 00:31:52,480
Speaker 5: play guitar, you know. Then we had Jeanie Cunningham was

604
00:31:52,520 --> 00:31:55,479
Speaker 5: the first guitar player. Then came show Coolly actually, and

605
00:31:55,520 --> 00:31:59,240
Speaker 5: then how we arrived at the climax that we are

606
00:31:59,280 --> 00:32:03,720
Speaker 5: now show on first and then it came Lynn came

607
00:32:03,760 --> 00:32:06,080
Speaker 5: into an audition. I believe she came in from the

608
00:32:06,120 --> 00:32:11,920
Speaker 5: Recycler paper. Then there were a couple other girls in

609
00:32:11,960 --> 00:32:15,400
Speaker 5: the group who I knew from Compton, who I eventually,

610
00:32:17,160 --> 00:32:20,400
Speaker 5: how can I say, I eventually let them go and

611
00:32:20,440 --> 00:32:23,160
Speaker 5: I found new girls. Joyce Soby didn't come into the

612
00:32:23,160 --> 00:32:26,440
Speaker 5: group until after our first album, and we had a

613
00:32:26,480 --> 00:32:28,880
Speaker 5: contract style we already had a recording deal when she

614
00:32:28,920 --> 00:32:32,120
Speaker 5: came into the group. Because I I fired the bass player.

615
00:32:32,560 --> 00:32:35,000
Speaker 5: Now why I fired the bass player, I can't exactly

616
00:32:35,120 --> 00:32:37,680
Speaker 5: remember the reason. It was a conga player and a

617
00:32:37,720 --> 00:32:40,920
Speaker 5: bass player. Got rid of them because for some reason

618
00:32:41,040 --> 00:32:43,640
Speaker 5: or another. And mister Griffy came to me. He goes on,

619
00:32:44,720 --> 00:32:46,920
Speaker 5: this was after you guys want to get to that point.

620
00:32:47,200 --> 00:32:49,080
Speaker 6: No, no, we take your time, take.

621
00:32:49,040 --> 00:32:52,000
Speaker 3: Time, stories stories you never told before.

622
00:32:52,160 --> 00:32:54,480
Speaker 5: So yeah, I mean mister Griffy. You know me and

623
00:32:54,840 --> 00:32:58,440
Speaker 5: mister Griffy. Ah, I loved him. He was a wonderful,

624
00:32:58,520 --> 00:33:02,080
Speaker 5: wonderful gentleman. And I mean, yeah, I mean to me,

625
00:33:02,200 --> 00:33:04,960
Speaker 5: I don't know anybody else's experience, but he gave me

626
00:33:05,000 --> 00:33:08,920
Speaker 5: my first opportunity as a writer a producer, and you know,

627
00:33:08,960 --> 00:33:12,360
Speaker 5: without him, I would not be talking to Puesla. Okay,

628
00:33:12,760 --> 00:33:17,160
Speaker 5: bottom line, bottom line, okay. This man would not only that,

629
00:33:17,280 --> 00:33:19,160
Speaker 5: he would take us out to dinner and teach us

630
00:33:19,160 --> 00:33:23,680
Speaker 5: about wine and my first taste at escargo. He was

631
00:33:23,720 --> 00:33:26,240
Speaker 5: a wonderful guy. He would call me up and talk

632
00:33:26,320 --> 00:33:28,800
Speaker 5: to me about the band. He was a wonderful guy.

633
00:33:29,240 --> 00:33:30,960
Speaker 5: And he called me up. He goes, you know, why'd

634
00:33:31,000 --> 00:33:33,640
Speaker 5: you fire the bass player? I really loved the bass

635
00:33:33,680 --> 00:33:36,160
Speaker 5: I thought the bass player was cool. And I go, well,

636
00:33:36,200 --> 00:33:38,320
Speaker 5: because for this reason, He goes, well, we gonna do now.

637
00:33:38,720 --> 00:33:41,120
Speaker 5: So we talked about it, and he said, hey, I

638
00:33:41,160 --> 00:33:44,880
Speaker 5: remember this girl uh In Fayevielle, North Carolina, who keeps

639
00:33:45,000 --> 00:33:47,480
Speaker 5: you know, kept giving me yeah, who kept giving me

640
00:33:47,520 --> 00:33:49,800
Speaker 5: a tape, who kept giving me a tape and all

641
00:33:49,840 --> 00:33:52,000
Speaker 5: these things. And I go. He goes, I'm going to

642
00:33:52,040 --> 00:33:53,680
Speaker 5: bring her out here, and I want you to let

643
00:33:53,680 --> 00:33:56,040
Speaker 5: me know what you think. So I said, okay. He

644
00:33:56,080 --> 00:33:59,680
Speaker 5: brought her out. She seemed cool. Everything was good. You know,

645
00:33:59,720 --> 00:34:01,960
Speaker 5: she at the base, she came to rehearsal. She was

646
00:34:01,960 --> 00:34:04,960
Speaker 5: a nice girl. Everything was cool. He says, what do

647
00:34:05,000 --> 00:34:07,480
Speaker 5: you think. I said, can we just try her out

648
00:34:07,520 --> 00:34:09,560
Speaker 5: for a little while? He goes, no, we need to

649
00:34:09,560 --> 00:34:12,399
Speaker 5: move forward. We got a contract, I can't. We got

650
00:34:12,440 --> 00:34:15,120
Speaker 5: to get somebody stable in the group. So that's how

651
00:34:15,200 --> 00:34:16,400
Speaker 5: Joyce Sophi got signed.

652
00:34:16,880 --> 00:34:21,800
Speaker 3: All right, yeah, yes, sir. Did you know that Fronte?

653
00:34:22,160 --> 00:34:24,640
Speaker 3: Oh yeah, oh yeah. When I was a kid.

654
00:34:24,719 --> 00:34:25,759
Speaker 4: Now, when I was a kid, I mean, I.

655
00:34:25,760 --> 00:34:26,800
Speaker 3: Don't know her from Faitville.

656
00:34:26,840 --> 00:34:30,279
Speaker 4: I was like five, but yeah, but I remember like

657
00:34:30,320 --> 00:34:32,879
Speaker 4: all the stations around the station we used to listen

658
00:34:32,880 --> 00:34:36,040
Speaker 4: to when I lived with my grandparents back in Robinson County.

659
00:34:36,400 --> 00:34:39,040
Speaker 4: They would always like when they played Climax joints, they

660
00:34:39,040 --> 00:34:40,319
Speaker 4: would shout out Joyce and they was like.

661
00:34:40,320 --> 00:34:45,560
Speaker 3: Shout out yeah, yeah, she got mad love. Oh yeah.

662
00:34:45,640 --> 00:34:48,400
Speaker 5: Then and then Lorena came in one day from a rehearsal.

663
00:34:48,880 --> 00:34:50,919
Speaker 5: She was on her way to by word of mouth,

664
00:34:51,040 --> 00:34:54,040
Speaker 5: someone said, hey, they're looking for a lead vocalist. She

665
00:34:54,080 --> 00:34:56,920
Speaker 5: came in and blew me away and she got hired.

666
00:34:57,040 --> 00:34:58,920
Speaker 5: She got hired on the spot, and she became the

667
00:34:59,000 --> 00:34:59,920
Speaker 5: voice of Climax.

668
00:35:00,960 --> 00:35:02,680
Speaker 3: Is it always okay? Now?

669
00:35:02,719 --> 00:35:05,200
Speaker 2: I mentioned that you you know, you said you fired

670
00:35:05,200 --> 00:35:09,000
Speaker 2: the bass player. But because it's such a rare, it's

671
00:35:09,000 --> 00:35:11,760
Speaker 2: such as rare to get.

672
00:35:12,760 --> 00:35:15,520
Speaker 5: Fired is such a harsh word let's just say it

673
00:35:15,560 --> 00:35:19,440
Speaker 5: didn't blend in with the concept. Okay, so I fired it.

674
00:35:20,320 --> 00:35:23,520
Speaker 2: But I was there always a concern or fear that

675
00:35:24,160 --> 00:35:27,680
Speaker 2: if you let a member go, the amount of work

676
00:35:27,680 --> 00:35:29,640
Speaker 2: that you got to put in to find someone that

677
00:35:29,760 --> 00:35:33,319
Speaker 2: really fits a very specific criteria that will make the

678
00:35:33,360 --> 00:35:36,080
Speaker 2: band work. Like, is that always concerned?

679
00:35:36,880 --> 00:35:38,520
Speaker 5: We were young. I was young. I didn't you didn't

680
00:35:38,520 --> 00:35:40,920
Speaker 5: think about those kinds of things when you're young. But

681
00:35:41,000 --> 00:35:45,160
Speaker 5: you know, I just I don't know, I wasn't thinking

682
00:35:45,200 --> 00:35:49,319
Speaker 5: about that. It's just the concept. It just wasn't blending in. Uh,

683
00:35:49,440 --> 00:35:51,920
Speaker 5: And I didn't think about it. I just was like,

684
00:35:51,960 --> 00:35:54,480
Speaker 5: it's not working. And then mister Griffy was like, well,

685
00:35:54,520 --> 00:35:56,480
Speaker 5: what are we going to do now? You know? And

686
00:35:56,520 --> 00:35:57,279
Speaker 5: we figured it out.

687
00:35:57,719 --> 00:36:00,719
Speaker 6: Did you start to develop your own band rule as

688
00:36:00,760 --> 00:36:01,040
Speaker 6: you call?

689
00:36:01,800 --> 00:36:08,040
Speaker 5: Oh we had rules, Yes, we had rules. You guys

690
00:36:08,080 --> 00:36:10,160
Speaker 5: are asking me, I gotta think way back. I mean,

691
00:36:10,200 --> 00:36:12,920
Speaker 5: you know, it's just like you know, you know X

692
00:36:12,960 --> 00:36:16,239
Speaker 5: amount of dollars and fifty two dollars five dollars if

693
00:36:16,280 --> 00:36:19,520
Speaker 5: you get the band rehearsal late, you know, you know,

694
00:36:19,840 --> 00:36:24,319
Speaker 5: you know, you're fine, We're fine, you know, you know

695
00:36:24,480 --> 00:36:28,640
Speaker 5: we this is pre Joyce, because that's another you know,

696
00:36:30,239 --> 00:36:35,840
Speaker 5: the original band, which was Lorena Show, Cooley, Lynn Mars,

697
00:36:36,080 --> 00:36:40,520
Speaker 5: Robin Grider and myself, we struggled. We were such a unit.

698
00:36:40,600 --> 00:36:44,120
Speaker 5: We were so dedicated in the vision and trying to

699
00:36:44,160 --> 00:36:47,640
Speaker 5: achieve this recording deal. You know, we we starved. I

700
00:36:47,719 --> 00:36:53,439
Speaker 5: was kissing the uh the the rehearsal studio owner, trying

701
00:36:53,440 --> 00:36:56,319
Speaker 5: to get more studio time. We were doing whatever we

702
00:36:56,360 --> 00:36:57,560
Speaker 5: needed to do to.

703
00:36:59,000 --> 00:37:05,680
Speaker 6: These lyrics. Okay here, yes, just just a kiss and

704
00:37:05,719 --> 00:37:05,960
Speaker 6: get you.

705
00:37:06,040 --> 00:37:12,040
Speaker 5: More, all right, kid, a kiss, got his two hours.

706
00:37:18,160 --> 00:37:18,360
Speaker 6: And that.

707
00:37:20,960 --> 00:37:21,719
Speaker 3: Okay, I get it.

708
00:37:23,520 --> 00:37:27,479
Speaker 5: Those were they were really picks. They were that. Yeah,

709
00:37:27,560 --> 00:37:31,440
Speaker 5: he was the older handsome guy, mister Cooper, mister Cooper,

710
00:37:32,000 --> 00:37:35,520
Speaker 5: and you know, uh yeah. I don't know how that evolved.

711
00:37:35,520 --> 00:37:37,560
Speaker 5: I don't know how that happened. One day he just

712
00:37:37,560 --> 00:37:40,879
Speaker 5: said hey, you know, and I was like, okay, can

713
00:37:40,920 --> 00:37:42,000
Speaker 5: we get some studio time?

714
00:37:45,320 --> 00:37:47,640
Speaker 6: He was sometimes you got what you got?

715
00:37:49,000 --> 00:37:50,719
Speaker 5: Two pecks? Got his four hours?

716
00:37:51,360 --> 00:37:58,200
Speaker 2: Okay, wait, you you mentioned uh the legendary uh.

717
00:38:00,160 --> 00:38:05,880
Speaker 3: President Solarick Griffy. Yes, can you can you describe? Because

718
00:38:05,880 --> 00:38:06,919
Speaker 3: I also know that.

719
00:38:08,320 --> 00:38:11,480
Speaker 2: Those nightclubs, like the Total Experienced nightclubs and all those

720
00:38:11,520 --> 00:38:16,120
Speaker 2: spots that are on Crenshaw was rather legendary for a

721
00:38:16,160 --> 00:38:22,120
Speaker 2: lot of those developing acts. Could you basically describe what

722
00:38:22,560 --> 00:38:28,280
Speaker 2: like black LA nightlife was as far as like seeing

723
00:38:28,400 --> 00:38:32,440
Speaker 2: bands and interacting with other bands and just in general,

724
00:38:32,600 --> 00:38:35,640
Speaker 2: like I came up in a time my time period

725
00:38:35,680 --> 00:38:39,960
Speaker 2: of La, pretty much the center of all the action

726
00:38:40,360 --> 00:38:44,600
Speaker 2: was in West Hollywood on Sunset which I was told

727
00:38:44,800 --> 00:38:48,399
Speaker 2: that was never happening like before, like nineteen ninety five

728
00:38:48,440 --> 00:38:50,719
Speaker 2: where you had to go. So if you're if it

729
00:38:50,800 --> 00:38:54,760
Speaker 2: is nineteen eighty one eighty two, where am I going

730
00:38:55,719 --> 00:38:57,719
Speaker 2: to see like the bands I like?

731
00:38:57,800 --> 00:39:02,560
Speaker 3: And where y'all hanging at? You're not on Sunset Boulevard?

732
00:39:03,200 --> 00:39:05,799
Speaker 3: Like were they open to black people then back then?

733
00:39:05,960 --> 00:39:08,600
Speaker 5: Or I'm sitting here trying to search the name of

734
00:39:08,640 --> 00:39:11,840
Speaker 5: this club that was in Compton. It was a club

735
00:39:11,880 --> 00:39:15,480
Speaker 5: that Easy and the nperformed in and they showed it

736
00:39:15,600 --> 00:39:21,120
Speaker 5: on their movie in the beginning. Yeah, I can't remember

737
00:39:21,160 --> 00:39:23,640
Speaker 5: the name of that club, but you know, I popped

738
00:39:23,680 --> 00:39:27,160
Speaker 5: in here and there. There wasn't any particular clubs, I

739
00:39:27,200 --> 00:39:29,920
Speaker 5: think the Roxy. Every once in a while you'll get

740
00:39:29,960 --> 00:39:33,400
Speaker 5: a good deal a band happening in like in West Hollywood,

741
00:39:33,440 --> 00:39:36,080
Speaker 5: let me think. I'm trying to think where did we go?

742
00:39:37,040 --> 00:39:40,000
Speaker 2: But were you part of the Total experience that club?

743
00:39:40,080 --> 00:39:42,239
Speaker 2: Or where was that like more of a seventies mid

744
00:39:42,280 --> 00:39:42,879
Speaker 2: seventies thing.

745
00:39:43,040 --> 00:39:45,080
Speaker 5: It was the seventies and eighties. But I was just

746
00:39:45,200 --> 00:39:47,279
Speaker 5: kind of like, you know, into my my thing. I

747
00:39:47,280 --> 00:39:49,160
Speaker 5: didn't really do a going a lot of going, which

748
00:39:49,239 --> 00:39:51,360
Speaker 5: I did go to the Total Experience. I saw, you know,

749
00:39:51,480 --> 00:39:55,840
Speaker 5: I saw the dramatics. I saw the dramatics. Wow experience. Yeah.

750
00:39:55,880 --> 00:39:58,640
Speaker 3: And then and how big is that nightclub?

751
00:39:59,600 --> 00:40:02,319
Speaker 5: It was? It was a nice size, maybe about five

752
00:40:02,360 --> 00:40:03,000
Speaker 5: hundred people.

753
00:40:03,320 --> 00:40:06,080
Speaker 3: So established acts? Was that the House of the Blues,

754
00:40:07,040 --> 00:40:08,879
Speaker 3: House of the Blues? Was that sort of the House

755
00:40:08,880 --> 00:40:10,399
Speaker 3: of Blues of its day?

756
00:40:10,760 --> 00:40:11,480
Speaker 5: Yes? It was?

757
00:40:12,080 --> 00:40:14,240
Speaker 2: Okay, so no act was too big or too small.

758
00:40:14,239 --> 00:40:16,200
Speaker 2: You can see riffs and Chaka Khan at the.

759
00:40:16,160 --> 00:40:20,839
Speaker 5: Total Spirits and then Maverick Flats, Okay, remember that. Yeah,

760
00:40:21,000 --> 00:40:22,680
Speaker 5: people used to go there dance. Every once in a

761
00:40:22,680 --> 00:40:25,800
Speaker 5: while there will be a band or two, you know. Yeah,

762
00:40:26,280 --> 00:40:28,400
Speaker 5: and then you know, you went to the Forum, and

763
00:40:28,440 --> 00:40:31,480
Speaker 5: then you went to the the all the what was

764
00:40:31,480 --> 00:40:34,960
Speaker 5: it the San Diego Jazz Festival? That was? That was

765
00:40:35,040 --> 00:40:39,160
Speaker 5: the thing I used to enjoy going to I'm seeing.

766
00:40:38,800 --> 00:40:43,279
Speaker 2: How did the deal with so our Records come to be?

767
00:40:43,360 --> 00:40:48,319
Speaker 2: How did you get the attention of Griffy? A?

768
00:40:48,600 --> 00:40:52,640
Speaker 5: We did a we did a demo and the demo

769
00:40:52,840 --> 00:40:54,719
Speaker 5: was sent to many record labels and one of the

770
00:40:54,760 --> 00:41:03,360
Speaker 5: labels was so Lark Records. And the lady there, Margaret Nash.

771
00:41:03,840 --> 00:41:07,840
Speaker 5: Margaret Nish got ahold of the demo, went to mister Griffy.

772
00:41:08,480 --> 00:41:11,239
Speaker 5: She was, what's the guy I can see? I can

773
00:41:11,320 --> 00:41:17,640
Speaker 5: see cleanin now. She was Johnny Nash's ex wife. Okay,

774
00:41:17,920 --> 00:41:20,720
Speaker 5: she worked at Solar. So she went to Dick Griffy

775
00:41:20,760 --> 00:41:23,239
Speaker 5: and said, hey, you gotta you gotta hear about these girls.

776
00:41:23,239 --> 00:41:25,440
Speaker 5: You gotta see these girls. You know, you got to

777
00:41:25,480 --> 00:41:27,960
Speaker 5: check it out. She came down to rehearsals, saw us,

778
00:41:28,000 --> 00:41:30,080
Speaker 5: went back and told Dick griff me. Next thing we know,

779
00:41:30,120 --> 00:41:32,160
Speaker 5: Dick Griffy was walking into rehearsals.

780
00:41:32,560 --> 00:41:32,959
Speaker 3: I see.

781
00:41:33,360 --> 00:41:36,560
Speaker 5: He walked in and he said he looked, he saw

782
00:41:36,760 --> 00:41:41,000
Speaker 5: we were playing. Oh, there's freaky good. He looked at us,

783
00:41:41,360 --> 00:41:44,960
Speaker 5: he was smiling. He left and he says, uh. Before

784
00:41:45,000 --> 00:41:46,400
Speaker 5: he left, he says, I'm going to sign your go

785
00:41:46,600 --> 00:41:48,279
Speaker 5: for a record deal. That's it.

786
00:41:49,200 --> 00:41:52,960
Speaker 2: Yeah, you were fine with that, Like, so I seemed

787
00:41:52,960 --> 00:41:54,120
Speaker 2: like a logical spot.

788
00:41:53,880 --> 00:41:58,319
Speaker 5: For you to Yeah, no one else was asking, you know,

789
00:41:58,880 --> 00:42:00,319
Speaker 5: and it was the first thing. And that's what our

790
00:42:00,360 --> 00:42:02,880
Speaker 5: attorney said, Hey, not the best still in the world.

791
00:42:03,239 --> 00:42:05,600
Speaker 5: What other deal do you have? You know, you get in,

792
00:42:05,680 --> 00:42:08,760
Speaker 5: you make it happen, which is the famous Ryan Sweeney.

793
00:42:09,280 --> 00:42:13,040
Speaker 5: You get in, you make it Happenn Sweeney was your lawyer. Yes,

794
00:42:13,200 --> 00:42:14,320
Speaker 5: we were his first clients.

795
00:42:15,320 --> 00:42:18,240
Speaker 3: What yeah, yeah, legendary wyn Sweeney.

796
00:42:18,280 --> 00:42:21,480
Speaker 5: Okay, legendary wyn Sweeney. And he said, what else do

797
00:42:21,520 --> 00:42:23,520
Speaker 5: you have? He said, you get in, you get a

798
00:42:23,600 --> 00:42:25,640
Speaker 5: hit record, and you make changes.

799
00:42:25,680 --> 00:42:28,239
Speaker 3: When that happens, you get to renegotiate.

800
00:42:28,280 --> 00:42:33,279
Speaker 6: Then was it easy to renegotiate with Griffin once we

801
00:42:33,320 --> 00:42:33,719
Speaker 6: got a hit?

802
00:42:33,840 --> 00:42:38,960
Speaker 7: Yeah, I mean, I just not not that I'm fishing

803
00:42:38,960 --> 00:42:43,040
Speaker 7: for stories, but it's just just like, depending on who

804
00:42:43,080 --> 00:42:46,799
Speaker 7: comes on our show, I have there's various degrees of

805
00:42:46,880 --> 00:42:48,680
Speaker 7: Dick Griffy's stories, and.

806
00:42:48,560 --> 00:42:49,680
Speaker 6: She says she got stories.

807
00:42:50,920 --> 00:42:53,920
Speaker 2: I guess I could say that I'm led to believe

808
00:42:53,960 --> 00:42:58,120
Speaker 2: that he was sort of like the the proto Sugar

809
00:42:58,239 --> 00:42:59,120
Speaker 2: night of his day.

810
00:42:59,640 --> 00:43:01,240
Speaker 3: No, he groomed sugar.

811
00:43:03,680 --> 00:43:06,480
Speaker 5: Sugar was his bodyguard. That's how I met sur Night.

812
00:43:06,600 --> 00:43:10,360
Speaker 5: Sug used to be dig Griffy's bodyguard, and no, listen,

813
00:43:10,480 --> 00:43:13,440
Speaker 5: you know, listen. I don't know if anyone else's experienced,

814
00:43:14,080 --> 00:43:16,359
Speaker 5: you know, with mister Griffy. I can just tell you

815
00:43:16,400 --> 00:43:19,040
Speaker 5: that he was kind to me and he was kind

816
00:43:19,080 --> 00:43:22,480
Speaker 5: to us, you know. I mean, did we get this

817
00:43:22,640 --> 00:43:26,200
Speaker 5: or that? I don't I'm not quite sure. But he he,

818
00:43:26,200 --> 00:43:29,320
Speaker 5: he was there. We were at every meeting. We talked

819
00:43:29,320 --> 00:43:31,680
Speaker 5: about things, we discussed them in all palls, and we

820
00:43:31,680 --> 00:43:33,680
Speaker 5: did it. He didn't want to do it at first,

821
00:43:33,920 --> 00:43:36,160
Speaker 5: you know, he said, I'm not doing no song about

822
00:43:36,160 --> 00:43:37,640
Speaker 5: mental pause and then.

823
00:43:39,920 --> 00:43:41,400
Speaker 6: The Lord he gets real complicated.

824
00:43:41,560 --> 00:43:44,960
Speaker 2: Yes, my mom too thought you guys were thinking about menopause.

825
00:43:45,880 --> 00:43:46,319
Speaker 5: So did he?

826
00:43:46,640 --> 00:43:48,560
Speaker 3: That was like, do you not know what a pun is? People?

827
00:43:48,920 --> 00:43:52,759
Speaker 5: Particularly? So did he? We broke it down and I

828
00:43:52,880 --> 00:43:55,640
Speaker 5: was saying, no, it's the men all paused. When I

829
00:43:55,719 --> 00:43:58,880
Speaker 5: walked into the room, he started smiling. Next thing, you

830
00:43:58,920 --> 00:44:00,760
Speaker 5: know that the record is on the album.

831
00:44:01,800 --> 00:44:02,920
Speaker 6: I see when did the.

832
00:44:05,360 --> 00:44:08,319
Speaker 5: In the beginning and it became our first hit. We

833
00:44:08,360 --> 00:44:10,600
Speaker 5: didn't even know it because by that time, you know,

834
00:44:10,920 --> 00:44:12,880
Speaker 5: there was a couple failed albums. We were trying to

835
00:44:12,880 --> 00:44:15,000
Speaker 5: figure out what we were going to do with the

836
00:44:15,000 --> 00:44:17,839
Speaker 5: next phase of our life. You know, we were telling

837
00:44:17,840 --> 00:44:18,720
Speaker 5: I'm going to go back.

838
00:44:18,560 --> 00:44:20,880
Speaker 3: To school, go ahead, Can I wait?

839
00:44:21,600 --> 00:44:23,359
Speaker 2: I don't want to glide by this two records because

840
00:44:23,400 --> 00:44:25,919
Speaker 2: it's two portant. Well one important factor with you guys

841
00:44:26,000 --> 00:44:28,560
Speaker 2: working with Jimmy and Terry. But what I want to

842
00:44:28,600 --> 00:44:32,840
Speaker 2: know is, you know, of the acts that were on

843
00:44:33,520 --> 00:44:40,160
Speaker 2: the label, between Lakeside and Midnight Star Carrie Lucas, the

844
00:44:40,160 --> 00:44:45,640
Speaker 2: Whispers and whatnot, they like the common the common factor

845
00:44:46,560 --> 00:44:48,960
Speaker 2: or the common denominator of most of those acts that

846
00:44:49,000 --> 00:44:54,400
Speaker 2: were hip makers of Solar was the production of Leon Silvers.

847
00:44:54,640 --> 00:44:57,880
Speaker 3: Yes, and I was shocked.

848
00:44:58,880 --> 00:45:00,840
Speaker 2: I came aboard on meeting in the ladies room, and

849
00:45:00,840 --> 00:45:02,759
Speaker 2: then eventually I found out that you guys had two

850
00:45:02,760 --> 00:45:05,080
Speaker 2: other records, and then I went and brought those and

851
00:45:05,360 --> 00:45:07,560
Speaker 2: you know, I saw like Otis Stokes and you know,

852
00:45:07,640 --> 00:45:13,160
Speaker 2: the cats from from Lakeside, and I always wanted to know, like,

853
00:45:13,400 --> 00:45:17,520
Speaker 2: why didn't you guys work with Leon Silvers who was

854
00:45:17,640 --> 00:45:21,319
Speaker 2: clearly giving everyone out, you know, handing out hits like hotcakes.

855
00:45:21,400 --> 00:45:24,360
Speaker 5: At the time, Leon didn't want to work with us,

856
00:45:25,800 --> 00:45:29,520
Speaker 5: and it could be because he was so busy, you know,

857
00:45:30,239 --> 00:45:34,760
Speaker 5: or he didn't really express an interest in working with us.

858
00:45:35,040 --> 00:45:36,879
Speaker 3: You know, did you guys ask him.

859
00:45:37,560 --> 00:45:40,720
Speaker 5: I'm sure something, probably, I'm not quite sure. I didn't

860
00:45:40,719 --> 00:45:43,160
Speaker 5: ask them. You know, I don't know if I'm sure

861
00:45:43,160 --> 00:45:46,560
Speaker 5: I asked them. You know, I don't think he you know,

862
00:45:46,800 --> 00:45:48,640
Speaker 5: we passed him every day and we saw him in

863
00:45:48,640 --> 00:45:51,520
Speaker 5: the studio. He didn't really have an express an interest

864
00:45:51,640 --> 00:45:54,359
Speaker 5: in wanting to work with us. So he brought in

865
00:45:54,440 --> 00:45:58,759
Speaker 5: Otis Stokes, which was like working with Otis and then

866
00:45:58,920 --> 00:46:01,719
Speaker 5: was cool, but it just wasn't the direction that we

867
00:46:01,760 --> 00:46:04,879
Speaker 5: wanted to go in. We were more independent. We were

868
00:46:04,920 --> 00:46:08,319
Speaker 5: young girls, but we were like really independent and fun. Oh.

869
00:46:08,320 --> 00:46:09,640
Speaker 5: We just kind of wanted to put us in a

870
00:46:09,680 --> 00:46:13,720
Speaker 5: box of you know, of your typical I'm your woman

871
00:46:13,760 --> 00:46:15,960
Speaker 5: and you're my man, and I'll do whatever you want

872
00:46:16,000 --> 00:46:17,920
Speaker 5: me to do kind of thing, right, and we were like,

873
00:46:18,120 --> 00:46:21,239
Speaker 5: now we don't really know. I'm not doing that. I'm

874
00:46:21,280 --> 00:46:23,799
Speaker 5: not going to do that. So, you know, it took

875
00:46:23,880 --> 00:46:26,520
Speaker 5: us a while. Didn't take us. It took us. We

876
00:46:26,560 --> 00:46:29,000
Speaker 5: had to get with Jimmy and Terry to find a voice.

877
00:46:29,760 --> 00:46:30,960
Speaker 5: That's when we found our voice.

878
00:46:31,000 --> 00:46:35,480
Speaker 2: They encouraged that, so can you describe what working with

879
00:46:35,560 --> 00:46:39,320
Speaker 2: Jimmy and Terry, you know, and like for the second album,

880
00:46:39,360 --> 00:46:42,720
Speaker 2: the Girls will Be Girls record. It's really like great

881
00:46:42,760 --> 00:46:46,080
Speaker 2: songs on there that just never really got the push, and.

882
00:46:46,000 --> 00:46:48,520
Speaker 5: I'm kind of glad. I'm kind of glad because it

883
00:46:48,560 --> 00:46:53,880
Speaker 5: wasn't us, you know. Yeah, yeah, well you know up

884
00:46:53,960 --> 00:46:58,520
Speaker 5: into Jimmy. Do you have more Jimmy and Terry? Yes, yeah, no,

885
00:46:58,680 --> 00:47:01,600
Speaker 5: they came in with they didn't do girls were good.

886
00:47:01,640 --> 00:47:03,399
Speaker 5: There was there was ODIs Stokes.

887
00:47:03,880 --> 00:47:06,680
Speaker 3: Well, I meant the album. I know that they.

888
00:47:08,680 --> 00:47:12,920
Speaker 5: Jimmy. Yeah, okay, that's when they came in and they

889
00:47:12,960 --> 00:47:17,399
Speaker 5: came in. They were sneaking away from fence and they

890
00:47:17,440 --> 00:47:19,640
Speaker 5: were like, you know, it was all they were up

891
00:47:19,640 --> 00:47:21,319
Speaker 5: doing some We were the first band that I think

892
00:47:21,360 --> 00:47:24,839
Speaker 5: they worked with, either us, the S O S band.

893
00:47:24,920 --> 00:47:25,800
Speaker 5: I really don't remember.

894
00:47:25,920 --> 00:47:27,200
Speaker 3: Yes, we're technically first.

895
00:47:27,320 --> 00:47:31,239
Speaker 5: Yeah, we were in the room when Prince called and

896
00:47:31,320 --> 00:47:33,759
Speaker 5: fire them. Found out that they were working with us. He

897
00:47:33,880 --> 00:47:35,879
Speaker 5: called them up and they came out the room. They said,

898
00:47:35,880 --> 00:47:39,360
Speaker 5: we just got fired. Well I guess we can start

899
00:47:39,400 --> 00:47:44,239
Speaker 5: our new career now, you know. But that's yes, yes

900
00:47:44,640 --> 00:47:48,880
Speaker 5: and no. Hey, it was wonderful. It was like a

901
00:47:48,880 --> 00:47:51,359
Speaker 5: breath of fresh air, because here are these guys who

902
00:47:51,400 --> 00:47:55,000
Speaker 5: praised mistakes. Okay, no, no, we're going to keep that.

903
00:47:55,160 --> 00:47:57,960
Speaker 5: It's a mistake. We're going to keep it, you know.

904
00:47:57,520 --> 00:48:01,240
Speaker 5: And I was the one who was always writing songs,

905
00:48:01,280 --> 00:48:03,359
Speaker 5: and they fell in love with all my songs. They

906
00:48:03,360 --> 00:48:05,640
Speaker 5: were like, let's do burning that Cooper songs, you know,

907
00:48:05,719 --> 00:48:08,400
Speaker 5: telling Dick, you should be doing these songs. These are

908
00:48:08,400 --> 00:48:10,520
Speaker 5: the songs you should be doing. Because all of that,

909
00:48:10,560 --> 00:48:12,759
Speaker 5: I know I'm looking good. That's the way we used

910
00:48:12,760 --> 00:48:14,920
Speaker 5: to talk on a daily base. I walk into the studio,

911
00:48:15,160 --> 00:48:19,080
Speaker 5: I know I'm looking good, you know. And they wanted

912
00:48:19,080 --> 00:48:22,440
Speaker 5: to put all of that onto tape. And that's what

913
00:48:22,480 --> 00:48:24,640
Speaker 5: they started doing. They were taking a lot of my

914
00:48:24,760 --> 00:48:27,719
Speaker 5: songs and putting on the tape and encouraging us to

915
00:48:27,760 --> 00:48:30,399
Speaker 5: write the things that we really feel and we really love.

916
00:48:32,200 --> 00:48:33,160
Speaker 5: So that's what they did.

917
00:48:33,400 --> 00:48:35,719
Speaker 6: That's good. So when we got introduced to y'all, we

918
00:48:35,760 --> 00:48:37,719
Speaker 6: was getting introduced to y'all for real. Everybody else who

919
00:48:37,719 --> 00:48:38,080
Speaker 6: thought they.

920
00:48:38,080 --> 00:48:41,840
Speaker 5: Knew y'all when Networker came out with meeting in the ladies'

921
00:48:41,880 --> 00:48:44,439
Speaker 5: room in the mental pause, I mean, because we kind

922
00:48:44,440 --> 00:48:47,600
Speaker 5: of went to school with wild girls, that was I mean,

923
00:48:47,640 --> 00:48:53,480
Speaker 5: that was Terry Lewis. That was them kind of experimenting

924
00:48:53,520 --> 00:48:56,440
Speaker 5: with us, trying to help us find our sound, and

925
00:48:57,320 --> 00:49:00,799
Speaker 5: they got it. It just didn't hit, that's all, you know.

926
00:49:01,320 --> 00:49:04,680
Speaker 5: But by the time they moved on and Jick was

927
00:49:04,760 --> 00:49:07,600
Speaker 5: he was he was available, his ears were available at

928
00:49:07,640 --> 00:49:09,520
Speaker 5: that time to listen to the things that we really

929
00:49:09,560 --> 00:49:12,320
Speaker 5: had because Ellie, Jimmy I hit keeps down on and

930
00:49:12,360 --> 00:49:15,319
Speaker 5: bevery face. Jimmy Jam and Terry Lewis encouraged him to

931
00:49:15,440 --> 00:49:18,680
Speaker 5: open his ears and listen to the tracks that I

932
00:49:18,760 --> 00:49:20,920
Speaker 5: was writing and the other girls were writing, and he

933
00:49:21,040 --> 00:49:23,200
Speaker 5: was open to us, so we were giving him. He

934
00:49:23,360 --> 00:49:25,520
Speaker 5: just kind of gave us free rain. You guys go

935
00:49:25,640 --> 00:49:32,960
Speaker 5: do this album yourself. By that time, were you.

936
00:49:32,960 --> 00:49:34,600
Speaker 3: There for the infamous Uh?

937
00:49:35,120 --> 00:49:38,719
Speaker 2: Jam tells the story about the I asked about a

938
00:49:38,719 --> 00:49:42,279
Speaker 2: certain engineer that they had to fire because of them

939
00:49:42,320 --> 00:49:46,080
Speaker 2: destroying the Heartbreaker song.

940
00:49:47,000 --> 00:49:50,359
Speaker 3: There it was like a punch in doing the mixdown. Uh.

941
00:49:50,480 --> 00:49:54,279
Speaker 2: The engineer had a race like one of them, I'm

942
00:49:54,320 --> 00:49:58,200
Speaker 2: such a mess thing and then they just fell down

943
00:49:58,200 --> 00:50:00,719
Speaker 2: a rabbit hole of trying to fix the edit that

944
00:50:00,800 --> 00:50:02,120
Speaker 2: was previously erased.

945
00:50:02,760 --> 00:50:04,000
Speaker 5: No, I don't remember that.

946
00:50:04,160 --> 00:50:06,040
Speaker 3: Okay, you never knew that story.

947
00:50:06,400 --> 00:50:08,279
Speaker 5: I wrote the song and I was there, but I

948
00:50:08,320 --> 00:50:09,480
Speaker 5: don't remember that story.

949
00:50:09,600 --> 00:50:12,959
Speaker 2: Oh okay, Yeah, basically, like one of the I'm such

950
00:50:12,960 --> 00:50:18,279
Speaker 2: a Mess lines Heartbreak, I'm such a mess on the

951
00:50:18,320 --> 00:50:24,640
Speaker 2: Heartbreaker song, the engineer was trying to punch in make

952
00:50:24,680 --> 00:50:30,320
Speaker 2: an edit and accidentally erase some of the background. Yeah

953
00:50:30,360 --> 00:50:34,560
Speaker 2: and yeah, jam I was asking about like a time

954
00:50:34,600 --> 00:50:38,440
Speaker 2: when things went awry, and he just talked about accidentally

955
00:50:38,440 --> 00:50:42,680
Speaker 2: erasing like some of the background vocals on Heartbreaker and

956
00:50:42,719 --> 00:50:43,799
Speaker 2: them trying to fix it.

957
00:50:44,960 --> 00:50:47,040
Speaker 5: That's a possibility.

958
00:50:47,000 --> 00:50:49,399
Speaker 2: Yeah, Well they fired the engineer, and I guess they

959
00:50:49,480 --> 00:50:50,960
Speaker 2: kept that from you guys, so now.

960
00:50:50,800 --> 00:50:53,840
Speaker 3: You know forty years later. Sorry.

961
00:50:54,640 --> 00:51:00,279
Speaker 2: But with with meeting in the Ladies Room, well, first

962
00:51:00,280 --> 00:51:03,480
Speaker 2: of all, just as the band Dynamics one, how did

963
00:51:03,520 --> 00:51:08,279
Speaker 2: you whittle it down to the six members that we

964
00:51:08,440 --> 00:51:10,400
Speaker 2: got to know on meeting in the Ladies.

965
00:51:10,200 --> 00:51:16,400
Speaker 5: Room through you know, being in the band. You have

966
00:51:16,520 --> 00:51:19,520
Speaker 5: the girls and certain things happened. I think they were

967
00:51:19,840 --> 00:51:22,759
Speaker 5: went down from it was eight and then it went

968
00:51:22,840 --> 00:51:24,719
Speaker 5: down to six, and that's the group that you know.

969
00:51:24,800 --> 00:51:24,960
Speaker 6: Now.

970
00:51:25,000 --> 00:51:27,839
Speaker 5: There were two other members. I can't remember why they

971
00:51:28,120 --> 00:51:30,600
Speaker 5: left the group, but why they weren't involved in the

972
00:51:30,600 --> 00:51:33,400
Speaker 5: group anymore, but it was a decision that was made

973
00:51:33,800 --> 00:51:37,080
Speaker 5: and then we were left with the six core members

974
00:51:37,120 --> 00:51:39,080
Speaker 5: of the group. And I think that was the reason

975
00:51:39,080 --> 00:51:41,400
Speaker 5: for our success. So I think it would have been

976
00:51:41,600 --> 00:51:44,840
Speaker 5: successful with those other two members or any other members.

977
00:51:44,920 --> 00:51:47,520
Speaker 5: Now I think it was these are the ones that

978
00:51:47,560 --> 00:51:48,440
Speaker 5: we're meant.

979
00:51:48,200 --> 00:51:50,920
Speaker 6: To be, so move forward, did you so, do you

980
00:51:50,920 --> 00:51:54,560
Speaker 6: remember the rules from that point? They kept y'all together,

981
00:51:54,840 --> 00:51:57,399
Speaker 6: They kept you from having like petty arguments, They kept

982
00:51:57,440 --> 00:51:59,160
Speaker 6: y'all from some of the things.

983
00:51:58,960 --> 00:52:00,960
Speaker 3: That other groups or howard decisions made.

984
00:52:01,360 --> 00:52:04,480
Speaker 5: Yeah, well, you know, well, you know, it became that

985
00:52:04,560 --> 00:52:07,840
Speaker 5: group thing where you know, the vote, the whole group vote,

986
00:52:08,000 --> 00:52:10,640
Speaker 5: which you know, which was very stifling you know to

987
00:52:10,760 --> 00:52:12,440
Speaker 5: me at points.

988
00:52:12,120 --> 00:52:13,399
Speaker 6: You know, because it's your group.

989
00:52:14,600 --> 00:52:17,520
Speaker 5: Not so well, I just had more forward ideas, and

990
00:52:17,560 --> 00:52:20,160
Speaker 5: I sometimes you know, when you have an idea, you

991
00:52:20,239 --> 00:52:23,960
Speaker 5: see things and people don't don't see it. Then you

992
00:52:24,080 --> 00:52:26,879
Speaker 5: got everybody kind of raised in their hand, and that's

993
00:52:27,040 --> 00:52:30,480
Speaker 5: very stifling for a creative person, you know. So it

994
00:52:30,520 --> 00:52:31,800
Speaker 5: was a majority rules.

995
00:52:32,160 --> 00:52:34,200
Speaker 6: That's interesting as you had the same hand as everybody else,

996
00:52:34,200 --> 00:52:36,640
Speaker 6: because even I mean I even think I guess that

997
00:52:36,880 --> 00:52:39,520
Speaker 6: in the roots, like a mere hand in a turikan

998
00:52:39,640 --> 00:52:41,160
Speaker 6: is different than other hands.

999
00:52:40,880 --> 00:52:42,600
Speaker 3: Right, Like, but was it?

1000
00:52:43,400 --> 00:52:46,239
Speaker 2: But that's why I'm asking, was it a real democracy

1001
00:52:46,400 --> 00:52:48,920
Speaker 2: or was it like the idea of a democracy?

1002
00:52:49,040 --> 00:52:53,200
Speaker 5: It was, okay, let's say this. It was all good.

1003
00:52:53,640 --> 00:52:56,360
Speaker 5: And then when Joyce came in the group, a little

1004
00:52:56,360 --> 00:52:59,560
Speaker 5: bit of a power struggle started because for whatever reason

1005
00:53:00,080 --> 00:53:02,080
Speaker 5: she you know, she came from a military base and

1006
00:53:02,120 --> 00:53:06,000
Speaker 5: she you know, so that's when things kind of started changing.

1007
00:53:06,120 --> 00:53:10,520
Speaker 5: From the group that we had that was all for one,

1008
00:53:10,600 --> 00:53:13,600
Speaker 5: one for all. Things started, like everything became a vote

1009
00:53:13,600 --> 00:53:20,200
Speaker 5: because the the vision, the vision had gotten interruption, I interrupted,

1010
00:53:21,239 --> 00:53:23,399
Speaker 5: very good.

1011
00:53:23,680 --> 00:53:26,360
Speaker 2: So would you say that Joyce was sort of the

1012
00:53:27,800 --> 00:53:29,719
Speaker 2: because she was the last member to join, kind of

1013
00:53:29,760 --> 00:53:33,920
Speaker 2: the outsider in a situation where there was already an

1014
00:53:34,040 --> 00:53:35,319
Speaker 2: established rapport with.

1015
00:53:35,239 --> 00:53:36,080
Speaker 3: The five of you.

1016
00:53:36,560 --> 00:53:39,680
Speaker 5: Yes, and she definitely had her own way of seeing things,

1017
00:53:39,760 --> 00:53:40,480
Speaker 5: you know, which is not.

1018
00:53:40,480 --> 00:53:42,080
Speaker 3: Bad in her own opinions.

1019
00:53:42,320 --> 00:53:45,040
Speaker 6: Yeah, And that was right.

1020
00:53:45,320 --> 00:53:48,399
Speaker 5: And I was always you know, you know, one for all.

1021
00:53:48,480 --> 00:53:50,640
Speaker 5: We hadn't even got to a point of an ego yet,

1022
00:53:50,840 --> 00:53:53,399
Speaker 5: you know, we were we were I was about, hey,

1023
00:53:53,440 --> 00:53:55,239
Speaker 5: whatever's good for the group, you know, That's how I

1024
00:53:55,280 --> 00:53:58,080
Speaker 5: lost control of the name because, you know, Joyce came

1025
00:53:58,120 --> 00:54:02,040
Speaker 5: and said, like, I think we should all be a

1026
00:54:02,080 --> 00:54:04,120
Speaker 5: part of the name of the group, and I was like, sure,

1027
00:54:04,280 --> 00:54:07,839
Speaker 5: no problem. I wasn't you know, I wasn't savvy. I

1028
00:54:07,920 --> 00:54:10,480
Speaker 5: wasn't savvy, and I was just kind of like, well,

1029
00:54:10,560 --> 00:54:12,839
Speaker 5: the band, we're gonna be together, We're gonna make things work.

1030
00:54:13,120 --> 00:54:15,400
Speaker 5: And that's why the name is so out of control.

1031
00:54:15,600 --> 00:54:17,719
Speaker 5: You know, right now, I wish I would have known

1032
00:54:17,760 --> 00:54:19,640
Speaker 5: better and had trademarked that.

1033
00:54:19,920 --> 00:54:25,000
Speaker 3: You know, So, could you tell me how your personal

1034
00:54:25,040 --> 00:54:31,640
Speaker 3: life changed. Let's let's let's say too, Let's say three

1035
00:54:31,719 --> 00:54:35,640
Speaker 3: months after Men All Pause comes out. Oh my goodness,

1036
00:54:35,680 --> 00:54:36,400
Speaker 3: where you guys?

1037
00:54:36,440 --> 00:54:40,479
Speaker 2: Were the songs on the radio killing it and you're

1038
00:54:40,680 --> 00:54:42,960
Speaker 2: on you know, the videos being played everywhere.

1039
00:54:43,040 --> 00:54:44,799
Speaker 6: And because I don't even know where Men on Pause

1040
00:54:44,800 --> 00:54:46,440
Speaker 6: across from meeting in a lady's room, they kind of

1041
00:54:46,480 --> 00:54:47,160
Speaker 6: just they.

1042
00:54:47,080 --> 00:54:52,040
Speaker 5: Listen, listen. We were preparing to go back to school. Loreena,

1043
00:54:52,160 --> 00:54:54,719
Speaker 5: you know, she's always wanted to be married. Everybody was

1044
00:54:55,040 --> 00:54:58,719
Speaker 5: playing in their life because we mister Griffin, you know,

1045
00:54:58,800 --> 00:55:02,480
Speaker 5: he stuck with us through all those Felt albums. We

1046
00:55:02,480 --> 00:55:04,879
Speaker 5: were all in the car following each other. I don't

1047
00:55:04,920 --> 00:55:07,200
Speaker 5: know where we were going, but I think there were

1048
00:55:07,280 --> 00:55:09,920
Speaker 5: two cars one two, or maybe we were all in

1049
00:55:09,920 --> 00:55:14,080
Speaker 5: the same car. Mental Pause came on over the Christmas holidays.

1050
00:55:14,080 --> 00:55:17,680
Speaker 5: You know how everybody goes on break during the Christmas holidays.

1051
00:55:19,040 --> 00:55:21,960
Speaker 5: After that Christmas holiday Mental Pause, the Mental Pause was

1052
00:55:22,000 --> 00:55:24,480
Speaker 5: ahead and the record coup. He says, you guys got

1053
00:55:24,520 --> 00:55:28,120
Speaker 5: to hit record. DJ's were playing it, they were going crazy,

1054
00:55:28,480 --> 00:55:33,000
Speaker 5: and that's when our lives went on. Things changed drastically.

1055
00:55:33,560 --> 00:55:36,480
Speaker 5: First video, that was the first video. I mean, we

1056
00:55:36,480 --> 00:55:39,480
Speaker 5: did the Mental Pause first video. Then after the Mental

1057
00:55:39,520 --> 00:55:42,640
Speaker 5: Pause came meeting in the Ladies grool, right, and with

1058
00:55:42,640 --> 00:55:47,440
Speaker 5: with Louis Silence, put me into the studio and with

1059
00:55:47,640 --> 00:55:50,960
Speaker 5: tave Mo and we remixed the Leader, and that's when

1060
00:55:51,000 --> 00:55:52,960
Speaker 5: I added the you know, I had to leave my

1061
00:55:53,000 --> 00:55:55,279
Speaker 5: condo to come to this, you know, that's when I

1062
00:55:55,320 --> 00:55:59,160
Speaker 5: added that, Yeah, we did. That was the remix version

1063
00:55:59,239 --> 00:56:00,279
Speaker 5: that became the big.

1064
00:56:02,160 --> 00:56:04,400
Speaker 2: Even though it was a little bit. I mean, I

1065
00:56:04,480 --> 00:56:09,960
Speaker 2: was twelve thirteen, and again, like there weren't many in

1066
00:56:10,120 --> 00:56:13,279
Speaker 2: depth interviews with you guys back then, I'm certain that

1067
00:56:13,280 --> 00:56:16,920
Speaker 2: there had to been comparisons like, oh, you guys are

1068
00:56:16,960 --> 00:56:19,320
Speaker 2: like a female time, and you're kind of like a

1069
00:56:19,400 --> 00:56:21,680
Speaker 2: mar state. Was that bothersome to you.

1070
00:56:21,640 --> 00:56:24,919
Speaker 5: Or not at all? And Terry used to always call

1071
00:56:24,960 --> 00:56:27,719
Speaker 5: me they used to compare me because my personality was

1072
00:56:27,719 --> 00:56:30,480
Speaker 5: such like a Morris. Okay. They used to call me

1073
00:56:30,520 --> 00:56:34,560
Speaker 5: burn the day, you know. Yeah, And they wanted to

1074
00:56:34,600 --> 00:56:38,120
Speaker 5: write things by character because I didn't really know much

1075
00:56:38,120 --> 00:56:40,480
Speaker 5: about the time, you know, they were just doing it

1076
00:56:40,480 --> 00:56:42,680
Speaker 5: the first time I heard seven seven ninety three eleven

1077
00:56:43,000 --> 00:56:46,200
Speaker 5: in the studio, you know, and I didn't really know much,

1078
00:56:46,239 --> 00:56:49,160
Speaker 5: so I couldn't really pattern myself after him. But after

1079
00:56:49,360 --> 00:56:52,160
Speaker 5: after seeing his character and how much we favored there's

1080
00:56:52,200 --> 00:56:54,800
Speaker 5: so many ways. It was like, that's what the answer

1081
00:56:55,239 --> 00:57:04,400
Speaker 5: of when Jiggilos need love to I wrote, yeah, divas, Yeah, right,

1082
00:57:04,480 --> 00:57:06,760
Speaker 5: divas came from an asker that was like an answer.

1083
00:57:07,160 --> 00:57:09,200
Speaker 5: You know. I'm in the process right now. I'm working

1084
00:57:09,200 --> 00:57:11,480
Speaker 5: on the song, hoping to get Morris on it. I

1085
00:57:11,560 --> 00:57:15,080
Speaker 5: just I just think that would be such a great concept.

1086
00:57:16,800 --> 00:57:18,600
Speaker 5: He and I have talked to please call him and

1087
00:57:18,600 --> 00:57:21,040
Speaker 5: tell him. He and I have talked about it. I've

1088
00:57:21,040 --> 00:57:24,160
Speaker 5: sent them tracks and he's like, man, okay, I called

1089
00:57:24,240 --> 00:57:26,760
Speaker 5: him up, Morris Morris, So I have this track that

1090
00:57:26,800 --> 00:57:29,240
Speaker 5: I'm working on right now that I'm going to send

1091
00:57:29,240 --> 00:57:33,760
Speaker 5: to him, because I just think it's beyond beyond. It's

1092
00:57:33,800 --> 00:57:37,480
Speaker 5: beyond just a song. It's about being entertained and how

1093
00:57:37,520 --> 00:57:41,480
Speaker 5: the public would love that. Yes, a personality from a

1094
00:57:41,520 --> 00:57:45,400
Speaker 5: girl band and the girl band and the time. Yeah,

1095
00:57:45,080 --> 00:57:47,640
Speaker 5: that's great. We're opening up the ground is.

1096
00:57:47,680 --> 00:57:50,120
Speaker 4: With that, miss, But I want to ask what you

1097
00:57:50,120 --> 00:57:53,240
Speaker 4: say you're working on tracks? What equipment and like software

1098
00:57:53,240 --> 00:57:54,880
Speaker 4: are you using now to work on your music?

1099
00:57:55,080 --> 00:57:59,120
Speaker 5: You know, I'm protus and I write on the NPC

1100
00:57:59,480 --> 00:58:04,160
Speaker 5: X Okay, yeah, yeah, because I'm in the PC sixty

1101
00:58:04,520 --> 00:58:08,280
Speaker 5: n PC. You know, two thousand, two thousand XS. I

1102
00:58:08,320 --> 00:58:11,560
Speaker 5: know the NPC, So I grabed X because there's so

1103
00:58:11,640 --> 00:58:13,640
Speaker 5: much you could do with it, and I could travel

1104
00:58:13,680 --> 00:58:15,680
Speaker 5: with you do vocals on another even though I haven't

1105
00:58:15,680 --> 00:58:17,960
Speaker 5: even used half of it. So I write a lot

1106
00:58:18,000 --> 00:58:19,720
Speaker 5: of my tracks, which I don't really like to write

1107
00:58:19,720 --> 00:58:24,600
Speaker 5: tracks that much anymore because I'm lazy and I'm always

1108
00:58:24,760 --> 00:58:28,520
Speaker 5: questioning if the right snare or if if it's gonna

1109
00:58:28,560 --> 00:58:33,240
Speaker 5: sound right. So I focus more now on lyrics and

1110
00:58:33,280 --> 00:58:36,760
Speaker 5: melodies and content and vibe. You know, I just did

1111
00:58:36,800 --> 00:58:37,840
Speaker 5: something with old slape.

1112
00:58:39,160 --> 00:58:40,960
Speaker 3: Oh wow, Okay, yeah, yeah.

1113
00:58:40,760 --> 00:58:43,040
Speaker 5: I call believe in US. I dropped it if dropped

1114
00:58:43,040 --> 00:58:45,760
Speaker 5: it in on the UK, and I'm focusing on that.

1115
00:58:45,800 --> 00:58:47,520
Speaker 5: So I'm thinking a lot of tracks from people that

1116
00:58:47,600 --> 00:58:50,360
Speaker 5: I know or old things that I have. But right now,

1117
00:58:50,880 --> 00:58:52,840
Speaker 5: actually the track that I'm working on is an old

1118
00:58:52,840 --> 00:58:56,360
Speaker 5: Sonati track, but I rearranged it, you know, so that

1119
00:58:56,400 --> 00:58:58,440
Speaker 5: it would fit me in more. So I'm working on

1120
00:58:58,560 --> 00:59:01,120
Speaker 5: concept now. I just think that would be such an

1121
00:59:01,280 --> 00:59:02,200
Speaker 5: entertainment thing.

1122
00:59:02,680 --> 00:59:03,400
Speaker 6: It's gonna happen.

1123
00:59:03,720 --> 00:59:07,560
Speaker 4: I love man, that's so Dopeyeh, you worked together.

1124
00:59:12,000 --> 00:59:12,280
Speaker 3: Something.

1125
00:59:13,800 --> 00:59:19,760
Speaker 2: What why did you guys pivot to Constellation mc A,

1126
00:59:21,600 --> 00:59:25,040
Speaker 2: Like were you still technically under the umbrella of Solar

1127
00:59:25,360 --> 00:59:29,360
Speaker 2: or like what did you officially leave Solar to go

1128
00:59:29,440 --> 00:59:30,520
Speaker 2: to Los Alas and.

1129
00:59:30,600 --> 00:59:33,600
Speaker 5: MC it like was no Solo Records did a distribution

1130
00:59:33,720 --> 00:59:34,280
Speaker 5: deal with them?

1131
00:59:35,200 --> 00:59:36,800
Speaker 3: Okay, I never knew the story.

1132
00:59:36,520 --> 00:59:39,600
Speaker 5: Of yeah, Solar, we're on Solar and Solar did the change.

1133
00:59:39,640 --> 00:59:42,040
Speaker 5: We didn't make the change. We kind of got over

1134
00:59:42,080 --> 00:59:45,640
Speaker 5: there cause Solar. You know, once the success of meeting

1135
00:59:45,640 --> 00:59:48,280
Speaker 5: in the Ladies Room and climax became this big Oh

1136
00:59:48,320 --> 00:59:50,280
Speaker 5: my god, after I miss you, it was over Lynn

1137
00:59:50,280 --> 00:59:52,920
Speaker 5: Massby wrote that, by the way, you know, that's the

1138
00:59:52,960 --> 00:59:56,760
Speaker 5: biggest climax song ever. Yeah, that was That's a big

1139
00:59:56,840 --> 01:00:01,960
Speaker 5: that's a huge that's on music baby. Okay, yeah, so

1140
01:00:02,080 --> 01:00:06,120
Speaker 5: she you know, they wanted us. So Dick did a deal,

1141
01:00:06,480 --> 01:00:10,240
Speaker 5: you know, and we went over to our constellation. Constellation

1142
01:00:10,520 --> 01:00:14,120
Speaker 5: was his deal that he made via I guess a distribution.

1143
01:00:14,600 --> 01:00:18,120
Speaker 3: Okay, yeah, I didn't know, so he owned that.

1144
01:00:20,840 --> 01:00:22,360
Speaker 6: I was just going to ask you drop two names,

1145
01:00:22,360 --> 01:00:24,160
Speaker 6: and I wanted to know when you circle back and

1146
01:00:24,200 --> 01:00:26,120
Speaker 6: finally met them, what was it like. And that was

1147
01:00:26,520 --> 01:00:28,240
Speaker 6: Morris Day and Patrice Russian.

1148
01:00:29,760 --> 01:00:32,240
Speaker 5: Patrice was just a high and by and I admire you.

1149
01:00:32,320 --> 01:00:35,240
Speaker 5: It wasn't a deep conversation like Tina, me and Tina

1150
01:00:35,240 --> 01:00:40,120
Speaker 5: and Okay, yes, a lot of stories. So more Sometimes

1151
01:00:40,120 --> 01:00:41,520
Speaker 5: you have to bear with me because I gotta think.

1152
01:00:41,520 --> 01:00:47,480
Speaker 5: I gotta but Moreri's Day. You know. I see Morris Day.

1153
01:00:47,520 --> 01:00:49,240
Speaker 5: We do. We do a lot of touring together. I

1154
01:00:49,280 --> 01:00:51,520
Speaker 5: see him in and out. And the last time I

1155
01:00:51,520 --> 01:00:54,800
Speaker 5: saw him, we were in we were in Florida and

1156
01:00:54,840 --> 01:00:55,920
Speaker 5: I went up to my I said, we got to

1157
01:00:55,960 --> 01:00:58,040
Speaker 5: do a song together, Morris, I said, we got to

1158
01:00:58,040 --> 01:01:00,440
Speaker 5: do it for the people that would be such a intertain.

1159
01:01:01,000 --> 01:01:04,320
Speaker 5: I'm cool, send me tracks, all right. So I sent

1160
01:01:04,480 --> 01:01:07,040
Speaker 5: him a couple of tracks. He was like, man, you know,

1161
01:01:07,320 --> 01:01:09,440
Speaker 5: but this one's really hot. And even if it's not

1162
01:01:09,560 --> 01:01:12,120
Speaker 5: this one, somebody got to give us a track and

1163
01:01:12,160 --> 01:01:14,040
Speaker 5: we got to do a thing together because that could

1164
01:01:14,080 --> 01:01:15,800
Speaker 5: be such a great.

1165
01:01:15,560 --> 01:01:19,200
Speaker 6: Interdis have to do this, they do. I was gonna

1166
01:01:19,200 --> 01:01:20,880
Speaker 6: say that there must be a.

1167
01:01:20,840 --> 01:01:24,800
Speaker 2: Four minute monologue at the end with you trying to

1168
01:01:25,080 --> 01:01:25,440
Speaker 2: each other.

1169
01:01:25,600 --> 01:01:27,960
Speaker 5: You know what. That's that's the song that I'm writing.

1170
01:01:28,040 --> 01:01:29,920
Speaker 5: So you know, we'll see how it comes up. I'm

1171
01:01:29,920 --> 01:01:33,720
Speaker 5: gonna have to reach out to jam and Lewis and

1172
01:01:33,960 --> 01:01:36,840
Speaker 5: let them kind of hear this and maybe somehow, if

1173
01:01:36,840 --> 01:01:38,520
Speaker 5: it's not this, they can come up with something. We

1174
01:01:38,560 --> 01:01:38,920
Speaker 5: got to do.

1175
01:01:39,040 --> 01:01:40,000
Speaker 3: Let us manifest this.

1176
01:01:40,240 --> 01:01:43,280
Speaker 5: Yes, I'm going to leave it up to you quest

1177
01:01:43,320 --> 01:01:45,960
Speaker 5: to make that happen that the.

1178
01:01:45,880 --> 01:01:48,360
Speaker 3: People want it. I want that. I definitely want that.

1179
01:01:48,440 --> 01:01:51,080
Speaker 5: Yes, that would be so, And I envisioned it. I

1180
01:01:51,200 --> 01:01:53,440
Speaker 5: envisioned it with the girl band and that's on one

1181
01:01:53,520 --> 01:01:57,120
Speaker 5: stage and time when we bottle it. Wouldn't that be hot? Yes?

1182
01:01:57,200 --> 01:02:02,080
Speaker 3: Yes, and burn for a couple of pecks. I'll mix

1183
01:02:02,080 --> 01:02:02,919
Speaker 3: it for you for free.

1184
01:02:06,320 --> 01:02:08,440
Speaker 5: You know what, don't try me.

1185
01:02:11,760 --> 01:02:15,280
Speaker 3: I come out to tell it once while give me

1186
01:02:15,320 --> 01:02:18,880
Speaker 3: some sugar. Steve Steve. Steve is a legendary engineer.

1187
01:02:20,000 --> 01:02:21,480
Speaker 6: She knows I gave him the intro.

1188
01:02:22,120 --> 01:02:29,720
Speaker 2: Okay, I'll drumb on this ship that happen, Yeah for free,

1189
01:02:29,880 --> 01:02:30,320
Speaker 2: I'll do it.

1190
01:02:30,360 --> 01:02:31,120
Speaker 3: Just with it call.

1191
01:02:31,520 --> 01:02:34,919
Speaker 5: Yeah, yeah, absolutely. I really believe that in my heart,

1192
01:02:35,000 --> 01:02:38,440
Speaker 5: and by being so hard or a visionary, I can

1193
01:02:38,520 --> 01:02:41,400
Speaker 5: kind of stay around corners sometimes. I just think I

1194
01:02:41,440 --> 01:02:45,400
Speaker 5: have always felt that's a very strong concept and the

1195
01:02:45,440 --> 01:02:48,400
Speaker 5: people would be like, oh my god, you know it

1196
01:02:48,440 --> 01:02:51,960
Speaker 5: would be great for the demographics as well as the

1197
01:02:52,080 --> 01:02:53,040
Speaker 5: new generation.

1198
01:02:53,920 --> 01:02:54,120
Speaker 3: Right.

1199
01:02:54,760 --> 01:02:59,040
Speaker 2: So I'm curious to know, with the success of where

1200
01:02:59,080 --> 01:03:03,840
Speaker 2: the climax record was at the meeting in the ladies room,

1201
01:03:04,800 --> 01:03:07,560
Speaker 2: what was your family's reaction to it. Was it sort

1202
01:03:07,600 --> 01:03:11,200
Speaker 2: of like, Okay, you made it.

1203
01:03:10,600 --> 01:03:13,560
Speaker 5: Good job, you know what, question, I don't really have

1204
01:03:13,560 --> 01:03:16,160
Speaker 5: a happy story to tell you. And regarding that, I

1205
01:03:16,360 --> 01:03:17,320
Speaker 5: didn't really have a lot.

1206
01:03:17,160 --> 01:03:18,919
Speaker 3: Of either way.

1207
01:03:19,120 --> 01:03:22,120
Speaker 5: Yeah, I didn't have a really good family motivation. I'm

1208
01:03:22,200 --> 01:03:25,320
Speaker 5: very self motivated, and that's kind of beauty of one

1209
01:03:25,360 --> 01:03:29,200
Speaker 5: of the beauties of my success is I'm very self motivated.

1210
01:03:29,280 --> 01:03:31,800
Speaker 5: I really didn't have my family behind me.

1211
01:03:32,960 --> 01:03:35,120
Speaker 6: Yeah, because I also wonder once you found your voice

1212
01:03:35,160 --> 01:03:38,880
Speaker 6: and people realized it was so strong and maybe anti

1213
01:03:39,040 --> 01:03:42,000
Speaker 6: with a lot of these other female singers or groups

1214
01:03:42,000 --> 01:03:44,040
Speaker 6: are singing to somebody else, you know, writing or whatever.

1215
01:03:45,160 --> 01:03:47,000
Speaker 6: Was how long did it take for somebody and now

1216
01:03:47,040 --> 01:03:47,960
Speaker 6: tell you to shut up?

1217
01:03:49,040 --> 01:03:52,680
Speaker 5: You know, I don't know. It's just it's kind of

1218
01:03:52,720 --> 01:03:56,280
Speaker 5: like I just moved forward another noise.

1219
01:03:56,440 --> 01:03:58,680
Speaker 6: Right, So you really persevere throughout all this what I'm saying,

1220
01:03:58,720 --> 01:04:01,720
Speaker 6: like no family support and a strong female you know,

1221
01:04:02,360 --> 01:04:05,000
Speaker 6: home mission and lyrics, you know.

1222
01:04:05,440 --> 01:04:08,640
Speaker 5: You know in the beginning. God, I got some stories.

1223
01:04:08,960 --> 01:04:11,680
Speaker 5: I remember when Dick Griffy sent me out to there

1224
01:04:11,680 --> 01:04:14,400
Speaker 5: was a woman by the name of Kat Miller. I

1225
01:04:14,400 --> 01:04:17,520
Speaker 5: did my first song called beat My Face, and Drick

1226
01:04:17,560 --> 01:04:20,360
Speaker 5: Griffy is like, you, here's twenty five hundred dollars go on.

1227
01:04:20,480 --> 01:04:24,120
Speaker 5: And I got this girl named Cat Miller, and I

1228
01:04:24,160 --> 01:04:27,320
Speaker 5: think you'll be really really good with producing her, you know,

1229
01:04:28,320 --> 01:04:30,160
Speaker 5: and she's out in Tennessee, so I want you to

1230
01:04:30,200 --> 01:04:33,680
Speaker 5: go to Tennessee and work on her song. So get

1231
01:04:33,720 --> 01:04:37,360
Speaker 5: the song. Went to Tennessee and the engineer laughed he

1232
01:04:37,440 --> 01:04:40,400
Speaker 5: would refuse to work with me while I was there

1233
01:04:40,720 --> 01:04:43,000
Speaker 5: when I first walked in the door, but when I left,

1234
01:04:43,040 --> 01:04:47,600
Speaker 5: he became best friends. I think. I think. I think

1235
01:04:47,640 --> 01:04:51,200
Speaker 5: when people see the talent, you know, it's kind of

1236
01:04:51,240 --> 01:04:54,760
Speaker 5: like you can't you can't deny the talent. You know,

1237
01:04:54,560 --> 01:04:56,520
Speaker 5: you can't, you know, and it's kind of like the

1238
01:04:56,600 --> 01:04:59,360
Speaker 5: passion and the talent. And I know what I'm doing

1239
01:04:59,560 --> 01:05:02,840
Speaker 5: and I enjoy what I do. So I think once

1240
01:05:02,880 --> 01:05:04,320
Speaker 5: you get a hold of that, by the end of

1241
01:05:04,360 --> 01:05:07,240
Speaker 5: the session, we were cool. He respected me, He didn't

1242
01:05:07,240 --> 01:05:09,520
Speaker 5: have a heart, you know, I would tell him what

1243
01:05:09,520 --> 01:05:10,960
Speaker 5: to do. He didn't want to do it at first,

1244
01:05:11,240 --> 01:05:13,040
Speaker 5: but by the end of the session he was doing

1245
01:05:13,080 --> 01:05:15,320
Speaker 5: it without me, you know.

1246
01:05:15,480 --> 01:05:17,720
Speaker 6: So that's exacted you to be probably in the booth,

1247
01:05:17,840 --> 01:05:19,280
Speaker 6: not at the book exactly.

1248
01:05:19,320 --> 01:05:21,959
Speaker 5: So that's the moral, that's that's the way my life

1249
01:05:22,000 --> 01:05:26,440
Speaker 5: has gone, you know, dealing with male males in the

1250
01:05:26,480 --> 01:05:29,520
Speaker 5: studio whatever. I think, when they see the talent, they become,

1251
01:05:29,560 --> 01:05:33,400
Speaker 5: we become everything becomes really really cool and their appreciative

1252
01:05:33,480 --> 01:05:35,240
Speaker 5: that had been in my space and our and I

1253
01:05:35,320 --> 01:05:36,480
Speaker 5: enjoy being in their space.

1254
01:05:37,000 --> 01:05:37,160
Speaker 3: Wow.

1255
01:05:37,560 --> 01:05:40,000
Speaker 2: So you're saying that them offering their two cents of

1256
01:05:40,040 --> 01:05:45,320
Speaker 2: what they think it should be and getting unsolicited advice

1257
01:05:46,040 --> 01:05:47,240
Speaker 2: where it's not even asked for.

1258
01:05:48,280 --> 01:05:51,480
Speaker 5: Listen, I have a clear vision, a clear vision of

1259
01:05:51,520 --> 01:05:53,800
Speaker 5: what I'm doing. If I wrote it, I know the

1260
01:05:53,800 --> 01:05:56,440
Speaker 5: way it sounds. Now. My thing has always been as

1261
01:05:56,480 --> 01:05:58,760
Speaker 5: your vision or if you come up with something that's

1262
01:05:58,760 --> 01:06:03,040
Speaker 5: better than mine, to it. But if it's not, you know,

1263
01:06:03,280 --> 01:06:05,360
Speaker 5: I don't really like to compromise. That was one of

1264
01:06:05,360 --> 01:06:07,920
Speaker 5: the reasons why it was difficult for me to be

1265
01:06:07,960 --> 01:06:12,720
Speaker 5: in Climax, because I just felt stifled because the compromising

1266
01:06:12,880 --> 01:06:18,800
Speaker 5: is very difficult for a person who who was creative, right, No, yeah,

1267
01:06:19,280 --> 01:06:19,680
Speaker 5: I just.

1268
01:06:19,640 --> 01:06:25,440
Speaker 3: Thought about something I did read once was Penny Ford

1269
01:06:25,480 --> 01:06:27,120
Speaker 3: in the original No.

1270
01:06:27,320 --> 01:06:33,360
Speaker 5: Plenty fourtune Lorena Lorena Lorena was with child. Okay, she

1271
01:06:33,440 --> 01:06:37,720
Speaker 5: got clear and we needed someone to take her place

1272
01:06:37,720 --> 01:06:40,320
Speaker 5: because we were going on the road. And during that time,

1273
01:06:40,640 --> 01:06:43,959
Speaker 5: I did not believe as the leader of Climax set

1274
01:06:44,360 --> 01:06:46,600
Speaker 5: that was a positive image for girls that time, at

1275
01:06:46,640 --> 01:06:50,720
Speaker 5: that time, in the eighties, okay, in the nineties. Now

1276
01:06:50,880 --> 01:06:53,200
Speaker 5: now women are doing it. But I just you know,

1277
01:06:54,240 --> 01:06:56,360
Speaker 5: that was that just wasn't you never saw.

1278
01:06:56,160 --> 01:06:59,000
Speaker 6: That tradition following tradition, Yeah.

1279
01:06:58,880 --> 01:07:01,040
Speaker 5: Yeah, So, and then was it didn't seem like we

1280
01:07:01,080 --> 01:07:03,400
Speaker 5: had little young girls, you know, and were following us.

1281
01:07:03,560 --> 01:07:07,640
Speaker 5: So you know, you know, rightfully, so she was married

1282
01:07:07,720 --> 01:07:11,000
Speaker 5: or she you know. But so Penny was working for

1283
01:07:11,080 --> 01:07:14,680
Speaker 5: Ron Sweeney as the second as the secretary, and Ryan

1284
01:07:14,760 --> 01:07:17,000
Speaker 5: Sweeney was like, you guys really need to take Penny

1285
01:07:17,040 --> 01:07:20,320
Speaker 5: for what she could sing. So Penny four came in

1286
01:07:20,360 --> 01:07:22,320
Speaker 5: and she blew the house down and she went on

1287
01:07:22,320 --> 01:07:26,440
Speaker 5: the road. I love it, okay, Yeah, we talk all

1288
01:07:26,440 --> 01:07:26,760
Speaker 5: the time.

1289
01:07:28,280 --> 01:07:30,480
Speaker 3: Yeah, you know, she's uh.

1290
01:07:30,760 --> 01:07:35,959
Speaker 2: For those that don't know Penny, it's probably best known

1291
01:07:36,280 --> 01:07:39,440
Speaker 2: as the the voice of a snap.

1292
01:07:39,920 --> 01:07:41,040
Speaker 3: I Got the Power.

1293
01:07:42,840 --> 01:07:46,680
Speaker 2: And amongst the other things that you know, she's been

1294
01:07:47,560 --> 01:07:48,480
Speaker 2: sort of ghost.

1295
01:07:48,200 --> 01:07:51,440
Speaker 6: Singing on her right, she wanted Shaka Babies.

1296
01:07:51,560 --> 01:07:53,840
Speaker 2: She was well, yeah, I think the story was that

1297
01:07:54,040 --> 01:07:58,400
Speaker 2: uh Shaka Khan was actually supposed to do I Got

1298
01:07:58,400 --> 01:07:59,480
Speaker 2: the Power and kind of.

1299
01:08:00,040 --> 01:08:02,160
Speaker 3: She admitted that she dropped the ball.

1300
01:08:05,160 --> 01:08:07,479
Speaker 5: I just did it. I just dropped another UK track

1301
01:08:07,560 --> 01:08:09,560
Speaker 5: and with Penny for It all over and I love

1302
01:08:09,680 --> 01:08:12,520
Speaker 5: Penny Penny is. There's not many vocalists who can sing

1303
01:08:12,600 --> 01:08:16,160
Speaker 5: like Penny for It. Penny for It. It cuts, it cuts,

1304
01:08:16,360 --> 01:08:18,760
Speaker 5: you know, and I always play with these with these

1305
01:08:18,800 --> 01:08:21,599
Speaker 5: female singers, It's not about what your capable of doing,

1306
01:08:21,680 --> 01:08:25,800
Speaker 5: is how you make me feel, you know, And like

1307
01:08:25,840 --> 01:08:27,840
Speaker 5: Aretha made you feel, you would pull over to the

1308
01:08:27,880 --> 01:08:29,720
Speaker 5: side of the road on I Got to find Me

1309
01:08:29,800 --> 01:08:32,960
Speaker 5: an Angel and you would cry. Right, I'm sure you've

1310
01:08:33,000 --> 01:08:36,320
Speaker 5: got that experience right well, you know, she made you feel.

1311
01:08:36,360 --> 01:08:40,280
Speaker 5: These singers nowadays, they can sing and the apparatus is good,

1312
01:08:40,600 --> 01:08:42,960
Speaker 5: but it's about what makes you feel good. And Penny for.

1313
01:08:50,439 --> 01:08:53,120
Speaker 2: There's there's a question I always wanted to know the

1314
01:08:53,200 --> 01:08:57,080
Speaker 2: answer to for the next album, the self title record,

1315
01:08:58,000 --> 01:09:03,719
Speaker 2: the Climax album. Did you guys work with Rod Temperton

1316
01:09:03,880 --> 01:09:07,120
Speaker 2: or did he just submit the man sized love song?

1317
01:09:08,200 --> 01:09:09,280
Speaker 5: We worked with him?

1318
01:09:09,840 --> 01:09:11,360
Speaker 3: Please tell me what was like working.

1319
01:09:11,160 --> 01:09:16,479
Speaker 5: With Rod Temperton, you know, Carol bear Fager, I remember

1320
01:09:16,479 --> 01:09:20,559
Speaker 5: it was all after after that the album, everybody was coming,

1321
01:09:20,680 --> 01:09:22,719
Speaker 5: you know. We were going up and smoking a joint

1322
01:09:22,760 --> 01:09:26,040
Speaker 5: with Carol beer Feger and you know, and all of them.

1323
01:09:26,360 --> 01:09:29,280
Speaker 5: And Rod temper to had man sized level. Should have

1324
01:09:29,320 --> 01:09:33,800
Speaker 5: been a huge head because the biggest pope, right, and

1325
01:09:34,080 --> 01:09:36,720
Speaker 5: he he had us come in because he wanted to

1326
01:09:36,800 --> 01:09:39,960
Speaker 5: audition who was going to be the lead vocalist on it.

1327
01:09:40,360 --> 01:09:43,759
Speaker 5: And of course I'm not. I don't consider that myself pious.

1328
01:09:43,840 --> 01:09:47,439
Speaker 5: I was just there, okay, but Joyce. He didn't want

1329
01:09:47,560 --> 01:09:50,719
Speaker 5: Joyce Joyce, No, he wanted Lorena.

1330
01:09:51,720 --> 01:09:55,720
Speaker 3: That's ironic considering that Joyce's voice, his.

1331
01:09:55,720 --> 01:10:01,880
Speaker 5: Voice is very specialized, it's very Mychael Jackson Ish Jackson

1332
01:10:01,920 --> 01:10:05,439
Speaker 5: wouldn't have been able to sing man sized love. I

1333
01:10:05,520 --> 01:10:08,519
Speaker 5: need a man you know, you needed a man sized voice.

1334
01:10:09,120 --> 01:10:11,720
Speaker 5: That was That was a difference between I had my

1335
01:10:11,880 --> 01:10:16,880
Speaker 5: That's that's what made Climax incredible. And another thing that

1336
01:10:16,960 --> 01:10:19,840
Speaker 5: made Climax incredible was we all knew our space. We know,

1337
01:10:20,240 --> 01:10:23,760
Speaker 5: I knew what I brought, you know, and Joyce knew

1338
01:10:23,800 --> 01:10:26,439
Speaker 5: what she brought to the you know, Lorena knew what

1339
01:10:26,479 --> 01:10:28,679
Speaker 5: she brought. So it was like we just really step

1340
01:10:28,760 --> 01:10:31,400
Speaker 5: on each other's toes. We were like, okay, you come

1341
01:10:31,439 --> 01:10:33,400
Speaker 5: in here with your voice. It was really a cool

1342
01:10:33,439 --> 01:10:36,960
Speaker 5: thing in the beginning. And Rod Templeton heard Lorena and

1343
01:10:36,960 --> 01:10:39,720
Speaker 5: He's like, I want that big voice on it. So

1344
01:10:39,760 --> 01:10:41,679
Speaker 5: he chose he chose Lorena.

1345
01:10:42,760 --> 01:10:45,360
Speaker 3: Was that initially on the Running Scared soundtrack?

1346
01:10:45,720 --> 01:10:48,040
Speaker 5: Yes? Yes so?

1347
01:10:48,200 --> 01:10:54,240
Speaker 2: And also, uh, I mean you worked with Dick Griffy. No,

1348
01:10:54,400 --> 01:10:56,280
Speaker 2: Richie Rudolph.

1349
01:10:56,320 --> 01:11:01,880
Speaker 5: Well he wrote Man Sized Love with Rod Templeton, right right, Yeah, Yeah,

1350
01:11:01,880 --> 01:11:04,000
Speaker 5: I didn't. I didn't see him. I met him later

1351
01:11:04,040 --> 01:11:07,200
Speaker 5: at Tina Marie's house, but I didn't see him their

1352
01:11:07,280 --> 01:11:07,799
Speaker 5: the session.

1353
01:11:08,120 --> 01:11:11,599
Speaker 3: I was gonna say, when you became established, did you

1354
01:11:11,640 --> 01:11:16,040
Speaker 3: did you have a clique, Like who in the industry

1355
01:11:16,200 --> 01:11:18,719
Speaker 3: was like your did you have running buddies?

1356
01:11:18,760 --> 01:11:21,480
Speaker 2: Were you cool with? Like who were your best friends?

1357
01:11:21,520 --> 01:11:24,080
Speaker 2: Like who did you vibe with that were artists?

1358
01:11:24,760 --> 01:11:28,360
Speaker 5: Tina? Let me see, I would love to say bet

1359
01:11:28,400 --> 01:11:29,799
Speaker 5: Mitler that wouldn't be a show.

1360
01:11:33,800 --> 01:11:34,320
Speaker 3: Though right.

1361
01:11:35,720 --> 01:11:39,160
Speaker 5: On one song? Yeah, but we were, you know, she

1362
01:11:39,320 --> 01:11:42,760
Speaker 5: just loved the song and she did it. Let me see.

1363
01:11:42,760 --> 01:11:44,400
Speaker 5: Who did I hang out with a lot?

1364
01:11:45,240 --> 01:11:45,439
Speaker 6: Uh?

1365
01:11:45,840 --> 01:11:51,800
Speaker 5: It was Tina Marie mainly. Tina mainly. I didn't really

1366
01:11:51,800 --> 01:11:52,919
Speaker 5: have a lot of friends.

1367
01:11:53,240 --> 01:11:56,599
Speaker 6: Please Tina, please tell us, because she has been gone

1368
01:11:56,600 --> 01:11:59,480
Speaker 6: for so long that please just tell people something about Tina.

1369
01:11:59,479 --> 01:12:02,479
Speaker 5: And I don't know how we became. You know, Tina

1370
01:12:02,520 --> 01:12:04,599
Speaker 5: had a lot of people around her all the time,

1371
01:12:05,080 --> 01:12:07,799
Speaker 5: you know, she was the people person. So our times

1372
01:12:07,840 --> 01:12:10,320
Speaker 5: together were very kind of solemn. It was her and

1373
01:12:10,360 --> 01:12:12,840
Speaker 5: she come over to the house and smoke a joint

1374
01:12:13,120 --> 01:12:16,000
Speaker 5: and we talk about life. She was so deep. Tina

1375
01:12:16,080 --> 01:12:19,679
Speaker 5: was no joke, okay. And we would talk about her past,

1376
01:12:19,840 --> 01:12:22,280
Speaker 5: her life and the things she was going through and

1377
01:12:22,360 --> 01:12:25,519
Speaker 5: relationships and all of those things like that. And then

1378
01:12:25,560 --> 01:12:27,280
Speaker 5: one day she called me up, Hey, come down to

1379
01:12:27,320 --> 01:12:29,240
Speaker 5: the studio. I want you to be on this record. Okay,

1380
01:12:29,680 --> 01:12:32,960
Speaker 5: I'll be down in an hour, okay. And then I

1381
01:12:33,040 --> 01:12:35,519
Speaker 5: called her back, Hey, I got this song, come down.

1382
01:12:36,200 --> 01:12:38,280
Speaker 5: I want you to be on this record. Now when

1383
01:12:38,280 --> 01:12:39,720
Speaker 5: I call somebody and go I want you to be

1384
01:12:39,760 --> 01:12:43,040
Speaker 5: on a record, well it's ten thousand dollars. You know,

1385
01:12:45,680 --> 01:12:50,599
Speaker 5: people call your people, so you know, further moment, Hey,

1386
01:12:50,840 --> 01:12:54,240
Speaker 5: let's go to Chicago. Okay. You know by those days

1387
01:12:54,240 --> 01:12:57,120
Speaker 5: you could go buy your ticket at the counter, right

1388
01:12:57,560 --> 01:13:01,160
Speaker 5: and San Francisco, let's go hang out. You know, it's

1389
01:13:01,200 --> 01:13:04,559
Speaker 5: not really not a bad stories. It's just really wonderful memories.

1390
01:13:04,600 --> 01:13:06,760
Speaker 6: Oh I don't want any bad stories. I wanted two

1391
01:13:06,760 --> 01:13:09,040
Speaker 6: great memories or things that we didn't know about.

1392
01:13:09,680 --> 01:13:12,000
Speaker 3: You know, because she passed away so early, we never

1393
01:13:12,120 --> 01:13:12,880
Speaker 3: just got to know her.

1394
01:13:13,120 --> 01:13:15,759
Speaker 5: She was just she was just you know, Tina became

1395
01:13:15,800 --> 01:13:18,920
Speaker 5: my friend before I really went to any concerts of

1396
01:13:19,000 --> 01:13:22,880
Speaker 5: hers when I want to go to a concert. I

1397
01:13:23,000 --> 01:13:27,360
Speaker 5: was blown away that this girl was my friend, all right.

1398
01:13:27,720 --> 01:13:29,559
Speaker 5: I was sitting out in the audience and she got

1399
01:13:29,640 --> 01:13:31,639
Speaker 5: up a play guitars. She came out and the people

1400
01:13:31,960 --> 01:13:35,840
Speaker 5: I didn't realize how massive Tina Marie was. And then

1401
01:13:35,840 --> 01:13:39,439
Speaker 5: afterwards I said, wow, you're really something special, right, and

1402
01:13:39,520 --> 01:13:42,439
Speaker 5: we laughed about it and it was it's all good.

1403
01:13:42,479 --> 01:13:44,760
Speaker 5: It was. There's no really bad stories for me.

1404
01:13:45,360 --> 01:13:48,200
Speaker 6: Gotta be something made about her life, like she cannot

1405
01:13:48,200 --> 01:13:50,080
Speaker 6: be forgotten. It's just very interesting.

1406
01:13:50,800 --> 01:13:53,320
Speaker 5: You know. I can't really share a lot of things,

1407
01:13:53,400 --> 01:13:56,519
Speaker 5: you know, because you know I can't, you know, but

1408
01:13:57,960 --> 01:14:00,240
Speaker 5: all wonderful memories. I can't really think of any thing

1409
01:14:00,280 --> 01:14:03,280
Speaker 5: that stands out that that I should speak about.

1410
01:14:03,720 --> 01:14:05,480
Speaker 3: I know. I know around this time.

1411
01:14:06,720 --> 01:14:10,799
Speaker 2: You started doing like production work on your own, uh,

1412
01:14:10,840 --> 01:14:16,800
Speaker 2: for other acts, and I gotta know, like you're the

1413
01:14:16,840 --> 01:14:21,920
Speaker 2: history of you forming Madam X, of which no, I'm

1414
01:14:21,960 --> 01:14:26,800
Speaker 2: telling you I loved. I was like, ah, not not

1415
01:14:26,840 --> 01:14:28,400
Speaker 2: like why did you give the song away?

1416
01:14:28,760 --> 01:14:33,760
Speaker 3: But just that type of girl to me could have

1417
01:14:33,800 --> 01:14:38,960
Speaker 3: been just such a killer, killer, killer climax song.

1418
01:14:39,840 --> 01:14:40,720
Speaker 5: I didn't write it.

1419
01:14:41,120 --> 01:14:43,200
Speaker 3: Why did you give that song away? Oh? You didn't

1420
01:14:43,200 --> 01:14:43,519
Speaker 3: write that.

1421
01:14:44,200 --> 01:14:46,479
Speaker 5: No, I didn't write it until I was you know,

1422
01:14:46,840 --> 01:14:47,960
Speaker 5: I had moved forward.

1423
01:14:48,439 --> 01:14:52,280
Speaker 3: Okay, So it wasn't like you had that song under

1424
01:14:52,280 --> 01:14:53,160
Speaker 3: your hat before.

1425
01:14:53,160 --> 01:14:53,200
Speaker 6: No.

1426
01:14:53,720 --> 01:14:56,519
Speaker 5: No, that was a last minute song that was written

1427
01:14:56,600 --> 01:14:59,920
Speaker 5: by you know, I was. I was working on the album.

1428
01:15:00,120 --> 01:15:02,280
Speaker 5: I created the concept in my mind. First of all,

1429
01:15:02,360 --> 01:15:05,240
Speaker 5: let's talk about the beginning of these three girls. And

1430
01:15:05,320 --> 01:15:07,360
Speaker 5: I still have a concept right now. I just don't

1431
01:15:07,439 --> 01:15:10,320
Speaker 5: understand why we don't have a three girl group right now.

1432
01:15:10,520 --> 01:15:17,000
Speaker 5: I don't get it. Why is the only guy's a group?

1433
01:15:17,200 --> 01:15:19,400
Speaker 5: Where's the band? Where's the two guys and one girl

1434
01:15:19,800 --> 01:15:23,760
Speaker 5: wrap group? Where's the the female migos? I don't get it.

1435
01:15:23,920 --> 01:15:27,840
Speaker 5: I'm not grabbing onto right right right way A climax.

1436
01:15:27,920 --> 01:15:33,800
Speaker 5: That's a climax, right exactly. You know. You know, I

1437
01:15:34,360 --> 01:15:37,040
Speaker 5: came up with this concept of the girls and I

1438
01:15:37,040 --> 01:15:38,840
Speaker 5: didn't even have the group yet, and I met with

1439
01:15:38,920 --> 01:15:42,400
Speaker 5: Sylvia Roan. Sylvia Rome was interested in the concept, so

1440
01:15:42,439 --> 01:15:44,559
Speaker 5: she came back out to l A and she met

1441
01:15:44,560 --> 01:15:46,840
Speaker 5: with me. I told her about the concept. I will

1442
01:15:46,920 --> 01:15:48,360
Speaker 5: do this in a way I want them to look,

1443
01:15:48,400 --> 01:15:50,400
Speaker 5: and this is how I want him to do. She says, great,

1444
01:15:50,439 --> 01:15:54,479
Speaker 5: I'm gonna sign it the concept, I said, okay, So

1445
01:15:54,520 --> 01:16:00,160
Speaker 5: we did the deal with Ron Sweeney and negotiator for

1446
01:16:00,640 --> 01:16:05,400
Speaker 5: I learned to life and on, you know, and uh

1447
01:16:06,920 --> 01:16:08,840
Speaker 5: then I started formulating the group. I got the three

1448
01:16:08,880 --> 01:16:12,840
Speaker 5: girls who were who came to be Metal Max started

1449
01:16:12,840 --> 01:16:17,840
Speaker 5: working on the project, and I needed this last song, Okay,

1450
01:16:17,960 --> 01:16:20,320
Speaker 5: I need Okay, it's just I'm listening to the album.

1451
01:16:20,320 --> 01:16:22,960
Speaker 5: I just don't hear. I don't hear a clear big

1452
01:16:23,080 --> 01:16:28,640
Speaker 5: single and Cornelius Mims bass player. Yeah, yeah, okay, Cornelia's

1453
01:16:28,680 --> 01:16:31,120
Speaker 5: hit me up. I got this track Baby, come on over.

1454
01:16:31,240 --> 01:16:33,360
Speaker 5: And you know, I got this thing. Baby, I think

1455
01:16:33,360 --> 01:16:36,080
Speaker 5: you go dig it. So I'm like, okay, come on over.

1456
01:16:36,240 --> 01:16:39,800
Speaker 5: I'm at the studio. I'm at studio masters. He came by.

1457
01:16:40,160 --> 01:16:44,639
Speaker 5: He played this, He played this track, which was actually

1458
01:16:45,120 --> 01:16:47,519
Speaker 5: a back it went. He was working on the song

1459
01:16:47,560 --> 01:16:52,599
Speaker 5: and the song went backwards. Okay, yeah, he was working

1460
01:16:52,640 --> 01:16:55,320
Speaker 5: on the track and something technically happened and the song

1461
01:16:55,400 --> 01:17:00,240
Speaker 5: started playing backwards. That's the track. That's just that type

1462
01:17:00,240 --> 01:17:00,479
Speaker 5: of good.

1463
01:17:01,120 --> 01:17:06,000
Speaker 3: Steve's going to talk, yes, yes, yeah, mistakes, Okay, I'm

1464
01:17:06,040 --> 01:17:06,799
Speaker 3: the best mistakes.

1465
01:17:06,840 --> 01:17:08,920
Speaker 1: Yeah, shout out to bad engineers man all.

1466
01:17:08,800 --> 01:17:09,720
Speaker 3: Over the world.

1467
01:17:11,520 --> 01:17:14,559
Speaker 5: On all my song's mistakes. I don't do I don't

1468
01:17:14,560 --> 01:17:16,760
Speaker 5: do the perfection thing all the time. You know, if

1469
01:17:16,760 --> 01:17:20,720
Speaker 5: it feels good, it's staying, you know. But so you

1470
01:17:20,840 --> 01:17:23,880
Speaker 5: brought me this backwards track and he says, baby, you

1471
01:17:23,920 --> 01:17:26,439
Speaker 5: know it was a mistake, it went backwards, and that

1472
01:17:26,520 --> 01:17:29,000
Speaker 5: I'm like, I love it. I love it. So I

1473
01:17:29,040 --> 01:17:31,320
Speaker 5: took it. I said, leave me a track, and I

1474
01:17:31,360 --> 01:17:33,080
Speaker 5: took it, and I wrote the lyrics.

1475
01:17:33,880 --> 01:17:35,160
Speaker 3: I got to tell you like.

1476
01:17:36,960 --> 01:17:42,800
Speaker 2: It's I meant for for nineteen eighty seven. It was

1477
01:17:42,840 --> 01:17:48,280
Speaker 2: a very unusual sounding song. Very shocked that it hasn't

1478
01:17:48,320 --> 01:17:52,400
Speaker 2: been sampled or I still DJ. I still played to

1479
01:17:52,400 --> 01:17:54,960
Speaker 2: this day on my DJ sets, and I'll say that

1480
01:17:55,080 --> 01:17:59,679
Speaker 2: at least thirty to forty percent of the time someone

1481
01:17:59,680 --> 01:18:03,080
Speaker 2: will think think that I'm playing something like new like

1482
01:18:03,120 --> 01:18:07,000
Speaker 2: it just it doesn't. It didn't sound like anything that

1483
01:18:07,080 --> 01:18:11,400
Speaker 2: was in the marketplace at the time. How come that

1484
01:18:11,439 --> 01:18:14,639
Speaker 2: project was short lived? Like did you manage the band

1485
01:18:14,720 --> 01:18:15,080
Speaker 2: as well?

1486
01:18:15,200 --> 01:18:15,479
Speaker 3: Lord?

1487
01:18:16,000 --> 01:18:19,840
Speaker 5: You know, you know everybody's equal in poverty And that

1488
01:18:19,840 --> 01:18:23,840
Speaker 5: that statement comes from mister Dick Griffy himself, who I

1489
01:18:23,880 --> 01:18:26,800
Speaker 5: had a chance to visit right the day before he

1490
01:18:26,840 --> 01:18:28,720
Speaker 5: passed away. And I was able to thank him for

1491
01:18:28,760 --> 01:18:34,560
Speaker 5: my career, okay, And everybody started pulling at these girls

1492
01:18:34,960 --> 01:18:37,519
Speaker 5: when I when I created that, you know, and a

1493
01:18:37,600 --> 01:18:39,720
Speaker 5: certain manager, I don't want to say any names, but

1494
01:18:39,760 --> 01:18:43,000
Speaker 5: a manager came in who I really was told not

1495
01:18:43,080 --> 01:18:45,479
Speaker 5: to work with. And the next thing, I know, the

1496
01:18:45,520 --> 01:18:48,120
Speaker 5: girls that went by my back and signed with this manager.

1497
01:18:48,600 --> 01:18:52,800
Speaker 5: And Sylvia was not happy with it. And there was

1498
01:18:52,840 --> 01:18:56,160
Speaker 5: a clash, all right, and things got really out of

1499
01:18:56,200 --> 01:18:59,560
Speaker 5: control and things got crazy, and that's what happened to

1500
01:18:59,560 --> 01:19:02,479
Speaker 5: Manick pretty much. And they didn't want to you know.

1501
01:19:02,680 --> 01:19:04,400
Speaker 5: And I'm gonna tell you something, but a lot of

1502
01:19:04,439 --> 01:19:06,320
Speaker 5: women don't like to do this is with other women.

1503
01:19:06,680 --> 01:19:09,040
Speaker 5: A lot of women don't want other women's telling them.

1504
01:19:09,080 --> 01:19:12,120
Speaker 5: Would to chill. They would rather a man tell them

1505
01:19:12,120 --> 01:19:14,720
Speaker 5: the wrong way than the woman to tell them the

1506
01:19:14,840 --> 01:19:15,320
Speaker 5: right way.

1507
01:19:15,600 --> 01:19:18,960
Speaker 6: And now call that trauma.

1508
01:19:20,439 --> 01:19:22,840
Speaker 5: And get I even get that to this day, women

1509
01:19:22,920 --> 01:19:26,240
Speaker 5: don't want other women in control of them, you know,

1510
01:19:26,800 --> 01:19:27,840
Speaker 5: and then they.

1511
01:19:27,720 --> 01:19:33,360
Speaker 6: Want a man, right, they want to manage it.

1512
01:19:33,640 --> 01:19:36,559
Speaker 5: So it became this thing where they you know, the

1513
01:19:36,600 --> 01:19:38,599
Speaker 5: guys were pulling them and then you know, I'm gonna

1514
01:19:38,600 --> 01:19:40,640
Speaker 5: give you a solo deal and I just said go,

1515
01:19:41,680 --> 01:19:44,320
Speaker 5: I'll put another group together, and you know, it became

1516
01:19:44,360 --> 01:19:47,040
Speaker 5: a big It became a very big, a misunderstanding and

1517
01:19:47,080 --> 01:19:50,599
Speaker 5: a horrible thing. And the manager who pulled them away,

1518
01:19:51,640 --> 01:19:54,920
Speaker 5: Sylvia wasn't happening so happy with it. So it was

1519
01:19:54,920 --> 01:19:56,840
Speaker 5: a it was a horrible thing. So I tried to

1520
01:19:56,880 --> 01:19:59,960
Speaker 5: go forward with one of the other members who now

1521
01:20:00,360 --> 01:20:03,720
Speaker 5: is passed away but passed away from cancer.

1522
01:20:03,439 --> 01:20:05,439
Speaker 3: Which which one passed away, and that was.

1523
01:20:06,960 --> 01:20:11,640
Speaker 5: There was Dickie, there was Iris, and there was Alisa.

1524
01:20:12,160 --> 01:20:14,639
Speaker 5: Alisa Alsa, yes.

1525
01:20:14,520 --> 01:20:15,240
Speaker 3: The one that did the.

1526
01:20:17,400 --> 01:20:22,360
Speaker 5: Yeah, yeah, they see once again, once again. I love

1527
01:20:22,439 --> 01:20:27,639
Speaker 5: the beauty of finding your strength, your strength, your strength together.

1528
01:20:27,680 --> 01:20:30,439
Speaker 5: We got a band because everybody can't do the same thing.

1529
01:20:30,720 --> 01:20:33,720
Speaker 5: So we had we had Valerie who was that uh

1530
01:20:33,960 --> 01:20:37,920
Speaker 5: you know, that Grace Jones kind of vibe, you know, man,

1531
01:20:38,160 --> 01:20:40,120
Speaker 5: you know, did we have Iris, who had a more

1532
01:20:40,200 --> 01:20:43,920
Speaker 5: jazzy vibe that we had a Lisa who had who

1533
01:20:43,960 --> 01:20:47,840
Speaker 5: could same sing, same thing, you know, yeah, it's the

1534
01:20:47,880 --> 01:20:51,519
Speaker 5: same same sing. So I tried to do a project

1535
01:20:51,560 --> 01:20:54,080
Speaker 5: with Alisa, but it did. The vibe was all gone now.

1536
01:20:54,479 --> 01:20:56,320
Speaker 5: But that's what happened to Madame Max. That's a problem.

1537
01:20:56,360 --> 01:20:58,599
Speaker 5: There was no that's it. That was it.

1538
01:20:58,760 --> 01:21:03,320
Speaker 3: That's what happened, was producing other acts, like a pleasurable

1539
01:21:03,680 --> 01:21:05,920
Speaker 3: experience for you, like working with ro Lynn.

1540
01:21:06,000 --> 01:21:14,599
Speaker 8: And you know, I look, you know, I'm not even

1541
01:21:14,640 --> 01:21:16,000
Speaker 8: gonna fall down that rabbit hole.

1542
01:21:16,040 --> 01:21:19,240
Speaker 3: But this is not the first time I've heard that

1543
01:21:19,479 --> 01:21:20,320
Speaker 3: sort of response.

1544
01:21:20,960 --> 01:21:23,800
Speaker 5: You know, every everything has their stories, you know, and

1545
01:21:23,840 --> 01:21:26,280
Speaker 5: I have, you know, with cho Lynn. I enjoyed Choln.

1546
01:21:26,400 --> 01:21:29,160
Speaker 5: Cho Lynn had to manage you were just for whatever reason,

1547
01:21:29,280 --> 01:21:32,160
Speaker 5: didn't really take to me. So I just remember Jerry,

1548
01:21:32,320 --> 01:21:34,880
Speaker 5: Jerry was an engineer. That's where I first met Jerry Brown.

1549
01:21:35,240 --> 01:21:38,280
Speaker 5: Jerry Brown, he was with chro Lynn and he says,

1550
01:21:38,320 --> 01:21:40,920
Speaker 5: I'm working with you. And then you know, Pebbles told

1551
01:21:40,960 --> 01:21:43,240
Speaker 5: him he was working with Pebbles, and Pebbles says either

1552
01:21:43,240 --> 01:21:46,439
Speaker 5: Bernadette or me. He says Bernadette. So Jerry and I

1553
01:21:46,479 --> 01:21:50,200
Speaker 5: have been together every since, you know. But that's where

1554
01:21:50,200 --> 01:21:53,360
Speaker 5: I met so cho Lyn. You got you know, every

1555
01:21:53,520 --> 01:21:56,320
Speaker 5: every story has a little thing that comes along. I've

1556
01:21:56,320 --> 01:22:02,120
Speaker 5: heard the stories you know, people I didn't people's. And

1557
01:22:02,200 --> 01:22:05,519
Speaker 5: when she was dating Howard Hewitt, right, and I was

1558
01:22:05,560 --> 01:22:08,280
Speaker 5: doing this song called the Entity Sex that I wrote,

1559
01:22:08,840 --> 01:22:11,479
Speaker 5: which was a big which was a big which is

1560
01:22:11,520 --> 01:22:15,400
Speaker 5: a big voice record, you know. And once again I

1561
01:22:15,400 --> 01:22:18,720
Speaker 5: had specifics of how I wanted that song to be,

1562
01:22:18,960 --> 01:22:21,880
Speaker 5: you know, performed, and she had her ideas, so.

1563
01:22:22,360 --> 01:22:23,639
Speaker 6: She didn't really have a big voice though.

1564
01:22:25,200 --> 01:22:26,960
Speaker 5: You know what, if you listen to the song she did,

1565
01:22:27,320 --> 01:22:29,559
Speaker 5: we did a heck of a job. But that was

1566
01:22:29,760 --> 01:22:33,559
Speaker 5: after she cried. And you know Howard you had came

1567
01:22:33,600 --> 01:22:36,360
Speaker 5: in telling me, well, I didn't know what I was doing,

1568
01:22:36,479 --> 01:22:39,360
Speaker 5: and you know, you know, but I got the best

1569
01:22:39,360 --> 01:22:41,680
Speaker 5: out of her. You know, every every there's been a

1570
01:22:41,680 --> 01:22:44,720
Speaker 5: lot of situation. Once again, the man, So.

1571
01:22:44,840 --> 01:22:46,960
Speaker 3: You're are you? You?

1572
01:22:47,000 --> 01:22:49,840
Speaker 2: Are you demanding when it comes to your your art

1573
01:22:49,920 --> 01:22:51,519
Speaker 2: and the people that you work with?

1574
01:22:51,840 --> 01:22:54,960
Speaker 3: Yes, yes, okay, I can respect.

1575
01:22:54,600 --> 01:22:58,040
Speaker 5: That demanding in the sense of I already see when

1576
01:22:58,040 --> 01:23:00,439
Speaker 5: you write the song, you have a clear vision, right

1577
01:23:01,360 --> 01:23:03,320
Speaker 5: do you know how the moldy goes? You know how

1578
01:23:03,360 --> 01:23:05,640
Speaker 5: it should be, you know what it should sound like

1579
01:23:06,120 --> 01:23:09,559
Speaker 5: from that perspective. I'm not mean or difficult, you know,

1580
01:23:10,040 --> 01:23:12,720
Speaker 5: I'm just demanding on trying to get the best out

1581
01:23:12,720 --> 01:23:12,960
Speaker 5: of you.

1582
01:23:13,840 --> 01:23:16,160
Speaker 6: I'm just curious if you've talked to I mean, it's

1583
01:23:16,160 --> 01:23:17,560
Speaker 6: only a few I don't want to say it's a

1584
01:23:17,560 --> 01:23:19,080
Speaker 6: few of your peers. It's it's a lot of women

1585
01:23:19,120 --> 01:23:22,160
Speaker 6: behind the scenes making music throughout the years. However, have

1586
01:23:22,280 --> 01:23:24,360
Speaker 6: there been some peers that you've you've spoken to and

1587
01:23:24,400 --> 01:23:26,400
Speaker 6: had like these similar experiences? Because I'm listening to you

1588
01:23:26,439 --> 01:23:31,760
Speaker 6: and I'm thinking, I wonder how Missy you know, yeah,

1589
01:23:31,920 --> 01:23:34,559
Speaker 6: like and from her beginnings and earning her respect and

1590
01:23:34,600 --> 01:23:37,439
Speaker 6: then getting getting telling other women and other men what

1591
01:23:37,560 --> 01:23:40,440
Speaker 6: to do? You know, Missy Missy.

1592
01:23:40,479 --> 01:23:42,840
Speaker 5: Was probably she came up with that hip hop world

1593
01:23:42,880 --> 01:23:45,200
Speaker 5: and she was who was the person who was? Was

1594
01:23:45,240 --> 01:23:48,600
Speaker 5: it Diddy? Who was? Yeah? So you have what you

1595
01:23:48,640 --> 01:23:51,600
Speaker 5: got Kimberland behind you. They much, you know, But I

1596
01:23:51,760 --> 01:23:54,439
Speaker 5: was used by yourself. Yeah, I was by myself. So

1597
01:23:54,520 --> 01:23:56,599
Speaker 5: when Timberland is saying, hey, this is missus, She's gonna

1598
01:23:56,600 --> 01:23:57,200
Speaker 5: tell you what to do?

1599
01:23:57,640 --> 01:23:59,640
Speaker 6: Who are your peers in that way? Then Bernie that like,

1600
01:23:59,680 --> 01:24:02,200
Speaker 6: who are the other sisters that have been through the

1601
01:24:02,360 --> 01:24:02,840
Speaker 6: same thing?

1602
01:24:03,760 --> 01:24:05,320
Speaker 5: I don't know. I don't know.

1603
01:24:05,600 --> 01:24:05,880
Speaker 6: You know what.

1604
01:24:06,000 --> 01:24:08,040
Speaker 5: I got a story. When I was forming Climax, I

1605
01:24:08,040 --> 01:24:11,800
Speaker 5: asked Eater be in it? Okay, he said, only if

1606
01:24:11,800 --> 01:24:13,200
Speaker 5: it Chila I Climax.

1607
01:24:13,560 --> 01:24:14,719
Speaker 6: Well, I mean y'abo drummers.

1608
01:24:15,880 --> 01:24:19,400
Speaker 5: But you know, she wanted to be Yeah, you know what,

1609
01:24:19,640 --> 01:24:24,000
Speaker 5: you know what, she's bad. Okay, I give my props

1610
01:24:24,040 --> 01:24:27,759
Speaker 5: to Sheila. Okay, yeah, but that's just a story. Nothing

1611
01:24:27,760 --> 01:24:29,800
Speaker 5: bad about it.

1612
01:24:29,720 --> 01:24:32,639
Speaker 6: It don't have to be bad, right right. You know,

1613
01:24:33,040 --> 01:24:36,719
Speaker 6: you guys want you know, you just want the good stuff.

1614
01:24:36,720 --> 01:24:37,800
Speaker 6: We don't want to know, you know.

1615
01:24:37,880 --> 01:24:40,479
Speaker 5: No, I got a lot of stories, but I'm just

1616
01:24:40,600 --> 01:24:43,800
Speaker 5: so like a protective of a lot of people, and

1617
01:24:43,840 --> 01:24:46,400
Speaker 5: I don't want to say too much. But there there's

1618
01:24:46,439 --> 01:24:47,200
Speaker 5: a million.

1619
01:24:46,960 --> 01:24:55,599
Speaker 2: Stories, all right, So I kind of say this not

1620
01:24:55,720 --> 01:24:59,320
Speaker 2: for last but because I never knew. Even though I

1621
01:24:59,439 --> 01:25:02,840
Speaker 2: know that that v H one thing was on the air,

1622
01:25:02,960 --> 01:25:05,880
Speaker 2: I didn't see exactly what went down.

1623
01:25:06,680 --> 01:25:10,920
Speaker 3: But I do not know. Have you guys Climax included?

1624
01:25:11,960 --> 01:25:13,680
Speaker 5: Do you guys? You guys, have you got anybody were

1625
01:25:13,720 --> 01:25:17,760
Speaker 5: at that recent Billboard article about you?

1626
01:25:17,920 --> 01:25:19,320
Speaker 4: About you?

1627
01:25:19,360 --> 01:25:21,679
Speaker 5: Anybody right now? If you want to google it Billboard

1628
01:25:21,720 --> 01:25:24,080
Speaker 5: and climb actually see what just happened.

1629
01:25:24,080 --> 01:25:25,120
Speaker 6: It just came out.

1630
01:25:25,960 --> 01:25:30,639
Speaker 5: Well, so it's probably last month, two months ago. Did

1631
01:25:30,880 --> 01:25:33,880
Speaker 5: you hear about Climax being inducted into a woman's house

1632
01:25:34,640 --> 01:25:36,320
Speaker 5: songwriting house of Hall?

1633
01:25:36,520 --> 01:25:37,200
Speaker 6: So familiar?

1634
01:25:37,920 --> 01:25:41,600
Speaker 5: Okay, we heard, we heard about it too. When it was,

1635
01:25:42,320 --> 01:25:44,200
Speaker 5: and then I'll get back to the v H one thing.

1636
01:25:44,320 --> 01:25:47,000
Speaker 5: But let me started the VH one thing because it's

1637
01:25:47,040 --> 01:25:51,479
Speaker 5: a prelude to this. Okay, during this particular time, go ahead.

1638
01:25:51,520 --> 01:25:54,080
Speaker 2: I'm sorry, no, no, I just I want to know

1639
01:25:54,280 --> 01:25:56,840
Speaker 2: what the straw that was that broke the camel's back

1640
01:25:56,880 --> 01:25:59,720
Speaker 2: that led to the breakup of the group, or for

1641
01:25:59,800 --> 01:26:02,400
Speaker 2: you leave because another group went on without you, like

1642
01:26:02,520 --> 01:26:05,639
Speaker 2: good Love and whatever the other songs were.

1643
01:26:05,760 --> 01:26:08,400
Speaker 3: But you know what was it like to leave the

1644
01:26:08,400 --> 01:26:09,519
Speaker 3: band that you started?

1645
01:26:10,360 --> 01:26:19,320
Speaker 5: There was power struggles and when you's difficult for individuals

1646
01:26:19,360 --> 01:26:22,240
Speaker 5: to say. And this would be a better place if

1647
01:26:22,240 --> 01:26:25,880
Speaker 5: we were able to do this. I'm jealous of the

1648
01:26:25,960 --> 01:26:28,400
Speaker 5: fact that I put in equal amount of work as you.

1649
01:26:29,080 --> 01:26:31,120
Speaker 5: All right, I've been in this band at the same

1650
01:26:31,160 --> 01:26:33,080
Speaker 5: time in you. But all people want to do is

1651
01:26:33,120 --> 01:26:36,320
Speaker 5: focused on Burnett Cooper. That's very very I'm jealous, I'm

1652
01:26:36,360 --> 01:26:39,720
Speaker 5: angry about it, and I'm mad as hell. Okay, at

1653
01:26:39,720 --> 01:26:41,360
Speaker 5: that point, we could talk about it and we can

1654
01:26:41,400 --> 01:26:44,280
Speaker 5: get through it. But what happens with people is they

1655
01:26:44,280 --> 01:26:47,920
Speaker 5: start to nitpick, and they start to get in groups

1656
01:26:47,960 --> 01:26:50,080
Speaker 5: and go against you and all of those kind of

1657
01:26:50,160 --> 01:26:53,959
Speaker 5: things like that. Which makes me being from a family

1658
01:26:54,400 --> 01:26:58,360
Speaker 5: of women who have attacked me. When I'm in a corner,

1659
01:26:58,439 --> 01:27:02,280
Speaker 5: I come out fighting for survival. So I kind of

1660
01:27:02,320 --> 01:27:06,439
Speaker 5: felt like there was nothing big, major blow upers fight

1661
01:27:06,600 --> 01:27:11,000
Speaker 5: other than the fact is I got frustrated with having

1662
01:27:11,080 --> 01:27:16,880
Speaker 5: to compromise my creativity for people who really didn't want

1663
01:27:16,960 --> 01:27:21,920
Speaker 5: me to be successful or wanted me to move forward

1664
01:27:21,920 --> 01:27:26,000
Speaker 5: in life past them. So I made a decision after

1665
01:27:26,120 --> 01:27:31,120
Speaker 5: being I would say at sometimes bullied, ulfilling bullied, that

1666
01:27:31,320 --> 01:27:34,400
Speaker 5: I didn't no longer want to be in this situation.

1667
01:27:34,960 --> 01:27:36,960
Speaker 5: And there was the biggest move in my life. But

1668
01:27:37,080 --> 01:27:40,439
Speaker 5: I just asked you because I wasn't happy and I

1669
01:27:40,520 --> 01:27:43,559
Speaker 5: had to move forward. That's pretty much it. And I

1670
01:27:43,600 --> 01:27:46,280
Speaker 5: tried to stay, but it was this particular member in

1671
01:27:46,320 --> 01:27:48,360
Speaker 5: the group was the treasurer of the group, and I

1672
01:27:48,360 --> 01:27:51,440
Speaker 5: said I would stay if we got a real treasurer

1673
01:27:51,880 --> 01:27:54,840
Speaker 5: and not you know, we've growne we've gotten bigger, and

1674
01:27:55,560 --> 01:27:57,600
Speaker 5: this particular treasurer of the group I would like in

1675
01:27:57,640 --> 01:28:00,160
Speaker 5: the outside treasure I'll stay if I get my money

1676
01:28:00,400 --> 01:28:03,160
Speaker 5: and my things individual because I don't want this particular

1677
01:28:03,200 --> 01:28:07,759
Speaker 5: person to handle And they were like, no, wait.

1678
01:28:07,640 --> 01:28:08,280
Speaker 3: I have a question.

1679
01:28:09,080 --> 01:28:12,960
Speaker 2: So at this point in your career where there's platinum

1680
01:28:13,040 --> 01:28:18,360
Speaker 2: singles and YadA, YadA, YadA, you guys are still operating

1681
01:28:18,520 --> 01:28:22,040
Speaker 2: on that sort of level where like I'll collect the

1682
01:28:22,880 --> 01:28:24,800
Speaker 2: payment at the end of the game, Like you don't

1683
01:28:24,880 --> 01:28:26,840
Speaker 2: have a business manager.

1684
01:28:26,680 --> 01:28:27,599
Speaker 3: Or what we had.

1685
01:28:27,640 --> 01:28:30,000
Speaker 5: But we had a treasure in the group, and I

1686
01:28:30,040 --> 01:28:33,920
Speaker 5: didn't feel good about this particular situation, and I was like, no,

1687
01:28:34,040 --> 01:28:37,120
Speaker 5: we need to go to another level, because it's about levels,

1688
01:28:37,160 --> 01:28:40,479
Speaker 5: and it's about vision, it's about growth. Now everybody doesn't.

1689
01:28:40,760 --> 01:28:44,120
Speaker 5: Sometimes you just simply I'll grow a situation. That's pretty

1690
01:28:44,200 --> 01:28:47,040
Speaker 5: much what it is. We're climbing. I just simply outgrew

1691
01:28:47,120 --> 01:28:49,960
Speaker 5: this situation where it's like a relationship, you're married. Do

1692
01:28:49,960 --> 01:28:52,400
Speaker 5: you want to go back to your ex wife? No,

1693
01:28:53,040 --> 01:28:55,840
Speaker 5: you know, because you guys are going you know, because

1694
01:28:55,880 --> 01:28:58,720
Speaker 5: you've out growth the situation. You know, it doesn't mean

1695
01:28:58,720 --> 01:29:01,440
Speaker 5: anything other than that. But yeah, we were still operating

1696
01:29:01,479 --> 01:29:05,280
Speaker 5: on that level, and this particular individual ended up being

1697
01:29:06,560 --> 01:29:12,360
Speaker 5: the problem who's still to this day is collecting royalties

1698
01:29:13,000 --> 01:29:15,720
Speaker 5: that we don't know about. Now let's get to the

1699
01:29:15,800 --> 01:29:18,240
Speaker 5: VH one situation. So the group had just spanned it

1700
01:29:18,280 --> 01:29:20,680
Speaker 5: for a while, and you know, Joyce. You know, I

1701
01:29:20,720 --> 01:29:23,920
Speaker 5: had to say, hey, let's get the group back together. No, no, no, don't.

1702
01:29:24,120 --> 01:29:26,120
Speaker 5: I wasn't feeling that if everybody was going to make

1703
01:29:26,160 --> 01:29:28,439
Speaker 5: that first move, I felt that it should be me.

1704
01:29:28,640 --> 01:29:31,960
Speaker 5: So I didn't go forward with that. And I never

1705
01:29:32,000 --> 01:29:34,519
Speaker 5: got a call from this person at all. And next

1706
01:29:34,600 --> 01:29:37,439
Speaker 5: thing we know, she was trying to trademark the name

1707
01:29:37,640 --> 01:29:41,000
Speaker 5: and it got we found out about it and it

1708
01:29:41,080 --> 01:29:44,920
Speaker 5: stopped it. But that's when the VH one came in.

1709
01:29:45,760 --> 01:29:48,960
Speaker 5: And then after the VH one story came in the

1710
01:29:49,040 --> 01:29:52,320
Speaker 5: in the when I saw how people were still very

1711
01:29:52,439 --> 01:29:55,280
Speaker 5: very much focused on climax of wanting to do things

1712
01:29:55,360 --> 01:29:59,280
Speaker 5: and shows and things like that, we decided to move

1713
01:29:59,320 --> 01:30:03,200
Speaker 5: forward to do Okay, here we are twenty twenty one.

1714
01:30:03,880 --> 01:30:05,280
Speaker 5: If you will read then we.

1715
01:30:05,360 --> 01:30:10,479
Speaker 3: Gotta yeah, I mean I'm reading it. Yeah. Oldline is

1716
01:30:10,520 --> 01:30:14,000
Speaker 3: clim don't like the look. Okay, you want me to

1717
01:30:14,000 --> 01:30:15,200
Speaker 3: say the name? Okay, I won't say.

1718
01:30:16,840 --> 01:30:18,519
Speaker 5: Well, it's up to hear whether you want to say it.

1719
01:30:18,520 --> 01:30:19,439
Speaker 5: It's in Billboard.

1720
01:30:19,960 --> 01:30:23,800
Speaker 3: You out, Yeah, Sharyl Cooley, that was your quote.

1721
01:30:24,240 --> 01:30:27,760
Speaker 5: But you know, so this individual has been doing all

1722
01:30:27,760 --> 01:30:31,240
Speaker 5: these and savory things, bringing the bringing our brand down

1723
01:30:31,280 --> 01:30:37,120
Speaker 5: to your typical band that plays at the local uh

1724
01:30:37,240 --> 01:30:41,519
Speaker 5: food mark for for five hundred dollars, you know, using

1725
01:30:41,640 --> 01:30:43,679
Speaker 5: the name. So we tried to get her to stop,

1726
01:30:43,720 --> 01:30:46,479
Speaker 5: and she admitted that she would stop and that she

1727
01:30:46,520 --> 01:30:49,679
Speaker 5: would only go out because you know, as sure Cooley

1728
01:30:49,760 --> 01:30:52,919
Speaker 5: for formerly a Climax or client. We have that on tape,

1729
01:30:53,080 --> 01:30:56,920
Speaker 5: all right. So then I get a call one day

1730
01:30:57,760 --> 01:31:01,920
Speaker 5: that all of our all of our publishing on Askcap

1731
01:31:02,560 --> 01:31:08,920
Speaker 5: and on Ascaps specifically had been changed, publisher splits, including

1732
01:31:09,040 --> 01:31:13,200
Speaker 5: Rod Templeton, including a bunch of people, the publishers, all

1733
01:31:13,200 --> 01:31:17,479
Speaker 5: the splits, all the splits, all the writers shared had

1734
01:31:17,520 --> 01:31:20,080
Speaker 5: been changed. And to show Cooli's name, how can you

1735
01:31:20,160 --> 01:31:20,880
Speaker 5: do that legally?

1736
01:31:20,920 --> 01:31:21,559
Speaker 6: That's interesting.

1737
01:31:21,960 --> 01:31:27,240
Speaker 3: Nobody turn away from the farm and listen.

1738
01:31:27,280 --> 01:31:27,479
Speaker 6: Listen.

1739
01:31:27,560 --> 01:31:30,800
Speaker 5: People are not paying People just weren't paying attention, you know.

1740
01:31:31,240 --> 01:31:35,200
Speaker 5: So anyway, let's move forward. Sony gets involved because they

1741
01:31:35,240 --> 01:31:38,120
Speaker 5: own half of that publishing from the post, so they

1742
01:31:38,160 --> 01:31:42,679
Speaker 5: get involved. There was Sony an Ascap trying to figure

1743
01:31:42,680 --> 01:31:47,959
Speaker 5: out how this person got in and changed Jimmy Jams publishing,

1744
01:31:50,400 --> 01:31:55,960
Speaker 5: read writers splits, Climax, not just us, Rod Templeton, All

1745
01:31:55,960 --> 01:32:03,280
Speaker 5: of these people come yeah, Coolie, So anyway, moving on,

1746
01:32:03,680 --> 01:32:06,519
Speaker 5: we called them. I sent them a letter. They fixed it,

1747
01:32:06,720 --> 01:32:09,479
Speaker 5: she changed it back somehow. Then we got we woke

1748
01:32:09,560 --> 01:32:12,599
Speaker 5: up to Wow, Lorena said me, because Lorena and I

1749
01:32:13,000 --> 01:32:16,519
Speaker 5: we speak all the time. Shout out to Lorena, who's

1750
01:32:17,680 --> 01:32:21,240
Speaker 5: recovering from a cancer. Scare. All right, we just did

1751
01:32:21,240 --> 01:32:28,200
Speaker 5: a project togethers really good. So Lorena, uh, she goes, hey,

1752
01:32:28,520 --> 01:32:30,439
Speaker 5: you got you know, look at this article. And an

1753
01:32:30,520 --> 01:32:34,800
Speaker 5: article states the Climax Climax will be inducted into the

1754
01:32:34,880 --> 01:32:38,599
Speaker 5: Women's Writing Hall of Fame. All right, and we were honored.

1755
01:32:38,640 --> 01:32:40,920
Speaker 5: We finally came together as a group as being honored.

1756
01:32:40,960 --> 01:32:43,559
Speaker 5: Oh my god, I don't you know, we don't get along,

1757
01:32:43,640 --> 01:32:49,400
Speaker 5: but oh my god. So we waited around, you know,

1758
01:32:49,520 --> 01:32:52,080
Speaker 5: a week or two. I sent a letter, thank you,

1759
01:32:52,760 --> 01:32:57,600
Speaker 5: we're honored, Lindzen the letter thank you joys in it. Wow,

1760
01:32:58,560 --> 01:33:02,080
Speaker 5: no response. Find Finally we got a hold of the

1761
01:33:02,080 --> 01:33:03,840
Speaker 5: people and they were like, well, we're given the honor

1762
01:33:03,880 --> 01:33:08,920
Speaker 5: to Cheryl Cooley. So we were like, wait a minute,

1763
01:33:08,960 --> 01:33:11,680
Speaker 5: wait a minute, wait a minute, wait a minute. I

1764
01:33:11,920 --> 01:33:16,040
Speaker 5: you know in kind wrote a letter. No, this Climax's group. No,

1765
01:33:16,400 --> 01:33:18,599
Speaker 5: you have to show us who owns the name Sharrel

1766
01:33:18,760 --> 01:33:22,360
Speaker 5: was telling people that she owned the name, and apparently

1767
01:33:22,400 --> 01:33:26,839
Speaker 5: this individual who's over this has some connection with Cooley,

1768
01:33:27,240 --> 01:33:29,799
Speaker 5: and she was dead set on giving Cooly this award.

1769
01:33:30,040 --> 01:33:35,160
Speaker 5: The COOLi does a right, she wrote, right, I put

1770
01:33:35,200 --> 01:33:38,439
Speaker 5: the name on I put Cooley's name on Heartbreaker just

1771
01:33:38,479 --> 01:33:42,439
Speaker 5: because we're in the group. We didn't write none and so.

1772
01:33:42,520 --> 01:33:45,320
Speaker 3: But yeah, and it looks like you guys are abandoned

1773
01:33:45,400 --> 01:33:51,520
Speaker 3: right right, right right, and in this situation, situation.

1774
01:33:51,520 --> 01:33:54,840
Speaker 5: The one song that we did was never undermestiate the

1775
01:33:54,840 --> 01:33:58,360
Speaker 5: power over woman Shaye Cooley and I did that, excuse me,

1776
01:33:58,400 --> 01:34:01,320
Speaker 5: the very first song, right. But other than that, Choc

1777
01:34:01,640 --> 01:34:04,400
Speaker 5: is just not a writer. Okay, I'm not saying, you know,

1778
01:34:04,720 --> 01:34:07,080
Speaker 5: she's not a hit writer. Let's put it like that.

1779
01:34:07,560 --> 01:34:09,120
Speaker 5: And if you look at if you look at all

1780
01:34:09,160 --> 01:34:13,519
Speaker 5: the names. So she she happily went up to accept

1781
01:34:13,520 --> 01:34:17,080
Speaker 5: this award. Right. So it was on such a big

1782
01:34:17,160 --> 01:34:23,240
Speaker 5: platform of Billboard being announced. People were calling me, hey, congratulations,

1783
01:34:23,240 --> 01:34:25,560
Speaker 5: and I'm like, okay, so I called bill Board and

1784
01:34:25,600 --> 01:34:27,960
Speaker 5: I'm like, you guys have to give us a chance

1785
01:34:28,040 --> 01:34:32,080
Speaker 5: to respond to this, because you know it's not right.

1786
01:34:32,200 --> 01:34:35,200
Speaker 5: You know, they didn't say we're given award to climb

1787
01:34:35,360 --> 01:34:39,080
Speaker 5: sua coolie of Climax. They said climax, and that's that's

1788
01:34:39,120 --> 01:34:44,120
Speaker 5: a big coming from So Billboard we did a you know,

1789
01:34:44,400 --> 01:34:49,760
Speaker 5: we responded. We responding and and Billboard, you know, to

1790
01:34:49,800 --> 01:34:52,320
Speaker 5: try to set the record straight to make people understand.

1791
01:34:52,720 --> 01:34:55,679
Speaker 5: And also, you know, Billboard grabbed onto that Astep story

1792
01:34:56,080 --> 01:34:58,240
Speaker 5: because that was a big story with all the changes

1793
01:34:58,320 --> 01:35:01,640
Speaker 5: being made. So that's it. So I just sent out

1794
01:35:01,640 --> 01:35:04,880
Speaker 5: to see Centersistent hopefully, you know, because she was intent

1795
01:35:04,960 --> 01:35:07,720
Speaker 5: on going out as Climax and the original climate. You're

1796
01:35:07,760 --> 01:35:10,960
Speaker 5: not the original climate, you know, So let's just hope

1797
01:35:10,960 --> 01:35:13,240
Speaker 5: that we can at least, you know, with the Truth

1798
01:35:13,280 --> 01:35:17,320
Speaker 5: and Music Act, you can go out and you can perform.

1799
01:35:17,520 --> 01:35:19,880
Speaker 5: Nobody's trying to stop you, but you gotta play fair.

1800
01:35:20,200 --> 01:35:23,680
Speaker 5: And playing fair is climax. Cody, that's what you mean

1801
01:35:23,960 --> 01:35:26,800
Speaker 5: a music Act? Okay, Yeah, are you familiar with that?

1802
01:35:26,920 --> 01:35:28,320
Speaker 6: I wasn't until you said that. I feel like I

1803
01:35:28,320 --> 01:35:29,000
Speaker 6: should be there.

1804
01:35:29,240 --> 01:35:29,439
Speaker 1: Yeah.

1805
01:35:29,760 --> 01:35:31,919
Speaker 3: I think I heard about this with Dennis Edwards.

1806
01:35:32,160 --> 01:35:39,320
Speaker 5: Well, Mary Mary Mary Mary Wilson of the Supremes. She enact.

1807
01:35:39,400 --> 01:35:42,479
Speaker 5: She helped to enact that law. That is, if you

1808
01:35:42,560 --> 01:35:45,840
Speaker 5: are in an individual member of a group that was successful,

1809
01:35:46,160 --> 01:35:48,519
Speaker 5: you have the right to go out using their name

1810
01:35:48,560 --> 01:35:53,160
Speaker 5: to make a living that yeah, yeah, but you have

1811
01:35:53,200 --> 01:35:57,679
Speaker 5: to be an original member, you know. And and that's

1812
01:35:57,720 --> 01:36:00,519
Speaker 5: why you see so many groups kind of like, you know.

1813
01:36:01,040 --> 01:36:05,240
Speaker 6: Going and doing so many different versions of groups, like

1814
01:36:05,360 --> 01:36:07,200
Speaker 6: a lot of climaxes on the internet.

1815
01:36:07,800 --> 01:36:09,840
Speaker 5: There's a lot of climaxes on the Internet. I'm trying

1816
01:36:09,840 --> 01:36:14,160
Speaker 5: to separate that now and I'm really evolving into Bernadette

1817
01:36:14,160 --> 01:36:16,759
Speaker 5: Cooper and putting out music. But you know, I can't.

1818
01:36:16,960 --> 01:36:20,280
Speaker 5: There's synonymous. Bernida Cooper is pretty much synonymous, so I

1819
01:36:20,280 --> 01:36:22,519
Speaker 5: can't escape it. But it is what it is. There's

1820
01:36:22,560 --> 01:36:23,840
Speaker 5: nothing that can be done about.

1821
01:36:23,840 --> 01:36:30,640
Speaker 2: It presents the climatic, right, the climatic, you know.

1822
01:36:30,800 --> 01:36:33,080
Speaker 5: So and when we go out, you know, climax is

1823
01:36:33,160 --> 01:36:36,000
Speaker 5: much bigger than just Bernadette Cooper. Climax is coming with

1824
01:36:36,080 --> 01:36:39,479
Speaker 5: the hits. So Bernida Cooper has a whole, the whole

1825
01:36:39,520 --> 01:36:43,320
Speaker 5: other album drama according to Bernadette Cooper. So it's it's

1826
01:36:43,960 --> 01:36:47,240
Speaker 5: you know, so yeah, So Joyce is going out with

1827
01:36:47,280 --> 01:36:50,800
Speaker 5: her concept shocles, going out of the concept and you know,

1828
01:36:51,280 --> 01:36:53,960
Speaker 5: everybody's allowed to do it. And the main thing is

1829
01:36:54,360 --> 01:36:57,600
Speaker 5: we're doing the hits and people are it's keeping the

1830
01:36:57,680 --> 01:37:00,240
Speaker 5: hits and people's memories. So that's the way I look

1831
01:37:00,280 --> 01:37:01,800
Speaker 5: at it. I'm not tripping about it no more.

1832
01:37:03,479 --> 01:37:04,320
Speaker 3: There's just no.

1833
01:37:05,960 --> 01:37:09,960
Speaker 2: Ice cubes chance in hell that this can come to

1834
01:37:10,040 --> 01:37:12,759
Speaker 2: a place where you guys, we'll.

1835
01:37:12,720 --> 01:37:19,200
Speaker 5: Just I'll say never, say never. But I have a

1836
01:37:19,240 --> 01:37:22,479
Speaker 5: clear vision of where I want to go with the

1837
01:37:22,840 --> 01:37:25,680
Speaker 5: second with the second half of my life, you know,

1838
01:37:26,760 --> 01:37:29,240
Speaker 5: talk about it, which includes because when you go back

1839
01:37:29,240 --> 01:37:32,639
Speaker 5: into the group scenario, it becomes that whole compromise thing.

1840
01:37:32,680 --> 01:37:36,160
Speaker 5: I don't want to compromise at all. I don't want

1841
01:37:36,160 --> 01:37:39,120
Speaker 5: to compromise anymore. My you know, life is short. I

1842
01:37:39,240 --> 01:37:40,840
Speaker 5: want to be able to do it my way and

1843
01:37:40,920 --> 01:37:43,000
Speaker 5: at the end of the day, go, oh, you know,

1844
01:37:43,160 --> 01:37:45,600
Speaker 5: Frank Sinatra, I did it my way, you know, and

1845
01:37:45,600 --> 01:37:49,880
Speaker 5: it kind of like no disrespect. But you know, that's

1846
01:37:49,960 --> 01:37:51,479
Speaker 5: that's the way I feel about it, and I don't

1847
01:37:51,520 --> 01:37:55,040
Speaker 5: want to shed you know, history is history, and everybody

1848
01:37:55,080 --> 01:37:58,519
Speaker 5: has history, and everybody has things they say about the

1849
01:37:58,560 --> 01:38:00,559
Speaker 5: members of the band and all of that. But I

1850
01:38:00,600 --> 01:38:04,880
Speaker 5: would never It's all good. We had a great run,

1851
01:38:04,960 --> 01:38:08,280
Speaker 5: we created history. We should be honored, you know. I

1852
01:38:08,280 --> 01:38:11,839
Speaker 5: don't understand how they could do music walk Girls Alive

1853
01:38:11,960 --> 01:38:14,240
Speaker 5: and Girls Listen. I was curious.

1854
01:38:14,280 --> 01:38:16,519
Speaker 6: I was like, did Beyonce ever come out? Does she know?

1855
01:38:16,840 --> 01:38:19,120
Speaker 6: Because the whole girl band that she had going on,

1856
01:38:19,240 --> 01:38:20,640
Speaker 6: I was like, I'm curious.

1857
01:38:20,240 --> 01:38:24,160
Speaker 5: If she knew the the girls in the band know

1858
01:38:24,840 --> 01:38:29,720
Speaker 5: we can who play instruments. Okay, that's what matters, you know,

1859
01:38:30,120 --> 01:38:32,479
Speaker 5: But you know, not to you know, not to come

1860
01:38:32,520 --> 01:38:35,880
Speaker 5: off vain or egotistical or any of those things, because

1861
01:38:35,960 --> 01:38:39,920
Speaker 5: you know, I'm just I'm pretty even, but I'm cool.

1862
01:38:40,200 --> 01:38:42,880
Speaker 5: I'm cool. I just want to move forward. And the

1863
01:38:42,960 --> 01:38:46,439
Speaker 5: girls are entitled to use the name. And if anybody

1864
01:38:46,560 --> 01:38:49,519
Speaker 5: is out there and you go see Climax teacher and whoever,

1865
01:38:50,000 --> 01:38:54,160
Speaker 5: and if we're all playing fair enjoying the music, you know,

1866
01:38:54,280 --> 01:38:57,639
Speaker 5: because yeah, so when I'm long gone, that music would

1867
01:38:57,640 --> 01:39:01,599
Speaker 5: still be going on. You know, Yes, ma'am. And that's

1868
01:39:01,600 --> 01:39:02,320
Speaker 5: pretty much it.

1869
01:39:03,439 --> 01:39:05,640
Speaker 6: That's right, shut down, interviewed themselves.

1870
01:39:07,160 --> 01:39:10,840
Speaker 5: But I'm going to can I ask myself a question? Yeah, yes, No,

1871
01:39:10,880 --> 01:39:17,360
Speaker 5: I'm just playing with guys. I mean no, no, no,

1872
01:39:18,920 --> 01:39:22,160
Speaker 5: I'm no, I'm good. I'm just you know, just moving forward.

1873
01:39:22,280 --> 01:39:25,320
Speaker 5: That's it. That's we didn't we didn't talk about drama.

1874
01:39:25,320 --> 01:39:26,720
Speaker 5: According to Bernie that Cooper.

1875
01:39:26,520 --> 01:39:28,000
Speaker 3: Was, I'm about to go there.

1876
01:39:29,000 --> 01:39:32,840
Speaker 2: That's a question I was going to ask when when

1877
01:39:33,040 --> 01:39:36,320
Speaker 2: when you finally got to that came out in nineteen ninety,

1878
01:39:36,360 --> 01:39:40,000
Speaker 2: I believe you got the drama, Bernard that Cooper. How

1879
01:39:40,600 --> 01:39:44,559
Speaker 2: liberated did you feel and in it falling on you

1880
01:39:44,880 --> 01:39:49,080
Speaker 2: and like being your own artist, being.

1881
01:39:48,880 --> 01:39:52,200
Speaker 1: Your own voice, Oh my gosh.

1882
01:39:51,880 --> 01:39:53,920
Speaker 2: Like was it was it a breath of fresh air

1883
01:39:54,040 --> 01:39:57,000
Speaker 2: or that can that much freedom can also be scary.

1884
01:39:57,640 --> 01:39:59,800
Speaker 3: So for you, what was it like?

1885
01:40:01,360 --> 01:40:04,680
Speaker 5: Freedom? You know, it's Jerry I equated very much to

1886
01:40:05,520 --> 01:40:08,240
Speaker 5: what's happening today, even though a lot of people, I mean,

1887
01:40:08,280 --> 01:40:11,280
Speaker 5: we're able to put out music freely and you know

1888
01:40:11,760 --> 01:40:14,200
Speaker 5: put it on you know, CD baby or whatever and

1889
01:40:14,240 --> 01:40:17,120
Speaker 5: put you music out. But back then it was freedom

1890
01:40:17,160 --> 01:40:21,519
Speaker 5: to me, you know, being in a band, and you know,

1891
01:40:21,720 --> 01:40:24,559
Speaker 5: probably that's why the album was such a cool album

1892
01:40:24,600 --> 01:40:26,599
Speaker 5: because it was my first taste of freedom.

1893
01:40:27,960 --> 01:40:31,479
Speaker 3: Wow, okay, I greet him.

1894
01:40:30,960 --> 01:40:35,240
Speaker 5: And a lot of people was on that album, Lenny Kravitz, Uh,

1895
01:40:35,320 --> 01:40:39,120
Speaker 5: there was a Paulino Dacors. A lot of people played

1896
01:40:39,120 --> 01:40:44,880
Speaker 5: on because Jerry Brown was bringing in all those major musicians.

1897
01:40:44,800 --> 01:40:48,400
Speaker 6: Funny because as Lenny Kravis and you went back from

1898
01:40:47,920 --> 01:40:50,479
Speaker 6: the scene of being in California back in the day,

1899
01:40:50,479 --> 01:40:51,880
Speaker 6: because I know he was a little younger, but I

1900
01:40:51,880 --> 01:40:53,599
Speaker 6: know he was out and about before he was supposed

1901
01:40:53,600 --> 01:40:54,000
Speaker 6: to be too.

1902
01:40:54,320 --> 01:40:56,080
Speaker 5: Yeah, I met him through Tina. He used to hang

1903
01:40:56,120 --> 01:40:58,400
Speaker 5: out a Tina's. You said you was gonna give us

1904
01:40:58,400 --> 01:41:01,240
Speaker 5: a Tina story. Well, the time they come to me,

1905
01:41:02,560 --> 01:41:05,679
Speaker 5: I know, I met him, you know, through Teenate would

1906
01:41:05,680 --> 01:41:08,240
Speaker 5: hang out at Tina's house. You know, he was he

1907
01:41:08,320 --> 01:41:11,280
Speaker 5: was dating Lisa Burnett at that time. You know, So

1908
01:41:11,560 --> 01:41:13,519
Speaker 5: I asked him if he would play. He came and playing,

1909
01:41:13,920 --> 01:41:16,760
Speaker 5: but he but he then immediately got to deal with

1910
01:41:16,880 --> 01:41:20,840
Speaker 5: Version Records and he told me he couldn't. He didn't

1911
01:41:20,840 --> 01:41:22,640
Speaker 5: want me to credit him, so you won't see his

1912
01:41:22,720 --> 01:41:25,639
Speaker 5: credit on the album. But wow, yeah he played on it.

1913
01:41:26,120 --> 01:41:30,800
Speaker 5: He played on Let's be the screet about It. That's

1914
01:41:30,880 --> 01:41:32,479
Speaker 5: Lenny really funky guitar.

1915
01:41:32,640 --> 01:41:34,880
Speaker 3: Yeah, okay, now I got to revisit that.

1916
01:41:35,439 --> 01:41:42,639
Speaker 2: Okay, yeah, wait, can you explain?

1917
01:41:43,000 --> 01:41:46,960
Speaker 3: Okay, have the set a long long time ago?

1918
01:41:48,320 --> 01:41:51,360
Speaker 2: The Howard Hughes song, can you like the way that

1919
01:41:51,400 --> 01:41:52,800
Speaker 2: your mind works?

1920
01:41:53,920 --> 01:41:57,400
Speaker 3: Like how do you even go? Like what was it.

1921
01:41:58,040 --> 01:42:01,439
Speaker 2: I know that the whole that album elevates your your

1922
01:42:01,479 --> 01:42:03,440
Speaker 2: personality and.

1923
01:42:04,720 --> 01:42:07,720
Speaker 3: Even more. But like from the beginning, like who was

1924
01:42:07,720 --> 01:42:12,679
Speaker 3: the who conceptualized that record as far as really bringing

1925
01:42:12,720 --> 01:42:14,720
Speaker 3: your character to life?

1926
01:42:15,000 --> 01:42:16,559
Speaker 5: I did. I remember, I had the free I had

1927
01:42:16,560 --> 01:42:21,240
Speaker 5: the freedom to do that and taking things from a

1928
01:42:21,320 --> 01:42:24,600
Speaker 5: song by a song by song basis and living and

1929
01:42:24,680 --> 01:42:28,120
Speaker 5: looking at what I had and what I needed, you

1930
01:42:28,160 --> 01:42:31,240
Speaker 5: know too, Yeah, I just took it. You know. I

1931
01:42:31,240 --> 01:42:33,360
Speaker 5: would listen to the song of Jerry and I. Jerry

1932
01:42:33,400 --> 01:42:35,760
Speaker 5: and I did a lot of that, talking about it

1933
01:42:36,040 --> 01:42:40,599
Speaker 5: and conceptualizing what's needed. Oh you need something really funky now, okay,

1934
01:42:40,680 --> 01:42:43,799
Speaker 5: let's be the street about it. Mini Cravis is coming. Okay,

1935
01:42:43,800 --> 01:42:45,639
Speaker 5: what do I need? I need something about a woman

1936
01:42:45,920 --> 01:42:48,439
Speaker 5: who's just you know, who's looking for a wealthy man,

1937
01:42:48,520 --> 01:42:51,639
Speaker 5: because that's the reality of the world. You know, women

1938
01:42:51,840 --> 01:42:55,599
Speaker 5: women love to be they love the security. So that's

1939
01:42:55,640 --> 01:42:59,400
Speaker 5: how Howard Heal sitcom came up. Yeah, that's how that

1940
01:42:59,439 --> 01:43:02,920
Speaker 5: came up. Wasn't from experience, It was purely from you know,

1941
01:43:03,160 --> 01:43:06,200
Speaker 5: just thinking about what's missing and what's needed.

1942
01:43:07,160 --> 01:43:11,320
Speaker 2: Well, you also mentioned Lou Silas, who you know, of

1943
01:43:11,320 --> 01:43:16,040
Speaker 2: course has had major success and has left us. But

1944
01:43:16,600 --> 01:43:18,640
Speaker 2: what was he like as an executive?

1945
01:43:19,200 --> 01:43:25,639
Speaker 5: Oh my gosh, loul oh. Going out on the road

1946
01:43:25,680 --> 01:43:28,080
Speaker 5: with him the first time. He was our point person

1947
01:43:28,160 --> 01:43:30,200
Speaker 5: who would take us from ound to the radio stations

1948
01:43:30,240 --> 01:43:34,640
Speaker 5: and things. And he got a fixation on Lorena, so

1949
01:43:35,520 --> 01:43:38,760
Speaker 5: you know, uh so we would go out on the

1950
01:43:38,840 --> 01:43:40,760
Speaker 5: road to deal with that all the time. And he

1951
01:43:40,920 --> 01:43:44,800
Speaker 5: was very very he had he had great vision and

1952
01:43:44,880 --> 01:43:47,240
Speaker 5: he would have, Hey, Bernidette, come come on down to

1953
01:43:47,280 --> 01:43:50,080
Speaker 5: the studio. I got a concept and I want you

1954
01:43:50,200 --> 01:43:53,280
Speaker 5: to put a concept on this. I think, you know,

1955
01:43:53,640 --> 01:43:55,880
Speaker 5: just talk and put the microphone in from you. He

1956
01:43:56,040 --> 01:43:59,120
Speaker 5: was very good at bringing people together and as a businessman,

1957
01:43:59,560 --> 01:44:03,000
Speaker 5: you know, sign me as he signed me as a

1958
01:44:03,040 --> 01:44:06,439
Speaker 5: solo artist. So he was wonderful. He was at MCA

1959
01:44:06,720 --> 01:44:08,360
Speaker 5: he says, you're one of the first acts I want

1960
01:44:08,400 --> 01:44:09,920
Speaker 5: to sign, and he signed me.

1961
01:44:10,360 --> 01:44:12,360
Speaker 3: Well that's what I was going to say, Like, I know,

1962
01:44:14,160 --> 01:44:15,960
Speaker 3: like was he more of a suit or was he

1963
01:44:16,120 --> 01:44:20,120
Speaker 3: really a music guy?

1964
01:44:18,280 --> 01:44:24,200
Speaker 5: He was a music guy. He had ideas, he had vision,

1965
01:44:24,280 --> 01:44:26,320
Speaker 5: He knew how to bring the right people together and

1966
01:44:26,400 --> 01:44:30,160
Speaker 5: in order to achieve a certain song, a certain thing

1967
01:44:30,280 --> 01:44:32,559
Speaker 5: on an album, because you know, after I did the

1968
01:44:32,560 --> 01:44:35,040
Speaker 5: mental pause. He says, Okay, you got to come back

1969
01:44:35,080 --> 01:44:37,519
Speaker 5: with that same thing on Meeting in the Latest Room

1970
01:44:37,880 --> 01:44:39,960
Speaker 5: because that was so popular. That was one of the

1971
01:44:39,960 --> 01:44:42,880
Speaker 5: things that people remember, I need that same thing on

1972
01:44:42,920 --> 01:44:45,800
Speaker 5: this particular album, Meeting in the Latest film. So we

1973
01:44:45,840 --> 01:44:50,760
Speaker 5: went to Larabie and he turned the mic on and

1974
01:44:50,800 --> 01:44:52,960
Speaker 5: I said, I had to leave my condo to come

1975
01:44:53,000 --> 01:44:56,639
Speaker 5: to this, you know, And that's how that happened him.

1976
01:44:57,320 --> 01:44:59,120
Speaker 3: Yeah, you know exactly.

1977
01:44:59,160 --> 01:45:03,480
Speaker 2: Yeah, wait, how did you How did you even know? Uh,

1978
01:45:03,720 --> 01:45:09,000
Speaker 2: it's so weird because you know, if you really look

1979
01:45:09,040 --> 01:45:12,880
Speaker 2: at the character that you built, I mean, it's so

1980
01:45:13,280 --> 01:45:17,639
Speaker 2: it's such a precursor to what hip hop became ten

1981
01:45:17,760 --> 01:45:23,080
Speaker 2: years later. Like you are probably the first person I

1982
01:45:23,080 --> 01:45:28,160
Speaker 2: ever heard name drop like Versace. Yeah, names I never

1983
01:45:28,200 --> 01:45:31,840
Speaker 2: heard of before that rappers would start just that became

1984
01:45:31,880 --> 01:45:33,400
Speaker 2: their birthright ten years later.

1985
01:45:33,560 --> 01:45:39,960
Speaker 5: And in Tiva, In Tiva, I was fearless. You have

1986
01:45:40,000 --> 01:45:42,800
Speaker 5: to understand, and I was and I was in and

1987
01:45:42,840 --> 01:45:46,439
Speaker 5: I was in too close and they started sending me

1988
01:45:46,520 --> 01:45:51,160
Speaker 5: close and I just kind of like I just kind

1989
01:45:51,160 --> 01:45:53,839
Speaker 5: of spoke my mind. I wish I really allowed myself

1990
01:45:53,880 --> 01:45:56,280
Speaker 5: to have You know, now, you have to be a

1991
01:45:56,320 --> 01:45:59,280
Speaker 5: little bit more resolved because everybody is so sensitive and

1992
01:45:59,320 --> 01:46:00,519
Speaker 5: the things that you say.

1993
01:46:00,800 --> 01:46:03,280
Speaker 6: You know, but that's what age was for, so you

1994
01:46:03,400 --> 01:46:04,720
Speaker 6: don't have to you know.

1995
01:46:05,120 --> 01:46:07,679
Speaker 5: You know, I even think about it, you know, because

1996
01:46:07,720 --> 01:46:09,840
Speaker 5: I even think about my demographics, what they want to

1997
01:46:09,840 --> 01:46:11,880
Speaker 5: hear from me, you know, they you know, and I

1998
01:46:11,920 --> 01:46:14,600
Speaker 5: don't want to continue and be a caricature of my

1999
01:46:14,680 --> 01:46:15,760
Speaker 5: old self, you know.

2000
01:46:16,240 --> 01:46:17,960
Speaker 2: So I was going to say, do you get tired

2001
01:46:18,000 --> 01:46:22,439
Speaker 2: of having to turn it on in a snap like

2002
01:46:22,560 --> 01:46:25,200
Speaker 2: other days where you just wish like you never had

2003
01:46:25,240 --> 01:46:26,599
Speaker 2: to invent that character too?

2004
01:46:28,000 --> 01:46:34,000
Speaker 5: You know, I'm naturally a a comedian, so I'm always

2005
01:46:34,200 --> 01:46:36,920
Speaker 5: that comes very easy from me. The character is easy.

2006
01:46:36,960 --> 01:46:41,400
Speaker 5: The character is more easier than me being myself. You know. Yeah,

2007
01:46:41,520 --> 01:46:44,400
Speaker 5: I could bring the character, and I'm much more comfortable

2008
01:46:44,439 --> 01:46:48,720
Speaker 5: on stage than I am anywhere, you know, So I

2009
01:46:48,720 --> 01:46:51,479
Speaker 5: don't struggle with it at all. I don't struggle with it.

2010
01:46:51,560 --> 01:46:55,439
Speaker 5: I'm I'm working on now in the product that you

2011
01:46:55,720 --> 01:47:01,200
Speaker 5: hear me putting out is kind of the the me,

2012
01:47:01,840 --> 01:47:05,360
Speaker 5: the evolution of Bernadette Cooper and me who has evolved

2013
01:47:05,360 --> 01:47:08,519
Speaker 5: into the woman, and kind of like slowing down a

2014
01:47:08,520 --> 01:47:11,240
Speaker 5: little bit so that I can perform my songs way

2015
01:47:11,360 --> 01:47:15,160
Speaker 5: until you know, I get older and older my songs

2016
01:47:15,200 --> 01:47:17,280
Speaker 5: to be able to And I wish I could do

2017
01:47:17,280 --> 01:47:19,439
Speaker 5: a song on an album on Janet Jackson is. I

2018
01:47:19,479 --> 01:47:21,600
Speaker 5: think she would be good at doing that, so she

2019
01:47:21,640 --> 01:47:23,800
Speaker 5: doesn't have to get up and do real domnation and

2020
01:47:24,080 --> 01:47:27,639
Speaker 5: all of those things. That's a lot to be dancing

2021
01:47:27,720 --> 01:47:29,800
Speaker 5: and all that. You know, now's the time to kind

2022
01:47:29,800 --> 01:47:32,000
Speaker 5: of slow it down and go into the new you

2023
01:47:32,520 --> 01:47:36,000
Speaker 5: and your and your demographics will follow because they they're

2024
01:47:36,000 --> 01:47:39,439
Speaker 5: there too. They're there too. There's train age, you know.

2025
01:47:39,600 --> 01:47:42,200
Speaker 5: So that's what I'm doing right now with the projects

2026
01:47:42,280 --> 01:47:43,800
Speaker 5: that I'm that I'm working on.

2027
01:47:44,360 --> 01:47:46,800
Speaker 3: You know, one more thing.

2028
01:47:47,600 --> 01:47:51,800
Speaker 2: It just hit me, did you at any point did

2029
01:47:51,840 --> 01:47:58,439
Speaker 2: you ever consider the sort of going down the acting

2030
01:47:58,520 --> 01:48:03,040
Speaker 2: lane because you were so charismatic, you know, I never

2031
01:48:03,320 --> 01:48:04,320
Speaker 2: you should have done movies.

2032
01:48:06,000 --> 01:48:08,320
Speaker 5: You know. I've had many people come to me. I've

2033
01:48:08,360 --> 01:48:11,400
Speaker 5: even gone to auditions. I flupped, Oh my god, my

2034
01:48:11,439 --> 01:48:14,639
Speaker 5: mouth wi more. It's not for me. That's for somebody.

2035
01:48:16,640 --> 01:48:17,160
Speaker 6: The audition.

2036
01:48:17,760 --> 01:48:20,639
Speaker 5: I'm just like, you know, panic, that's for somebody who

2037
01:48:20,720 --> 01:48:23,919
Speaker 5: has who has studied. I've gone there and live literally

2038
01:48:24,080 --> 01:48:26,360
Speaker 5: couldn't read the lines. My mouth wouldn't move. I was

2039
01:48:26,840 --> 01:48:29,240
Speaker 5: so afraid. I said, this is not for me. I

2040
01:48:29,240 --> 01:48:32,000
Speaker 5: don't have a head, I don't have a toget, I

2041
01:48:32,000 --> 01:48:34,600
Speaker 5: don't want to support. But you know what I have

2042
01:48:34,640 --> 01:48:37,840
Speaker 5: a passion for, and that's coming out. And here's here's

2043
01:48:37,880 --> 01:48:41,360
Speaker 5: a commercial head that I'm gonna drop that I'm doing

2044
01:48:41,400 --> 01:48:42,320
Speaker 5: audio books.

2045
01:48:42,920 --> 01:48:45,639
Speaker 3: Okay, yeah, I doing.

2046
01:48:45,520 --> 01:48:48,960
Speaker 5: Fiction and I'm doing the characters with soundtrack and all

2047
01:48:48,960 --> 01:48:54,960
Speaker 5: of that, and yeah, yeah, it's really really episodic adventures.

2048
01:48:55,000 --> 01:48:59,320
Speaker 5: It's really really going to transition, yes, and I love it.

2049
01:48:59,520 --> 01:49:03,960
Speaker 5: I love it on a couple the newest one where

2050
01:49:04,000 --> 01:49:07,080
Speaker 5: I've written I've written several books. I haven't released them

2051
01:49:07,080 --> 01:49:11,280
Speaker 5: because I'm creating the audiobook from these concepts. But the

2052
01:49:11,640 --> 01:49:16,400
Speaker 5: new one, The Strokes, is coming out probably and Jerry

2053
01:49:16,520 --> 01:49:23,120
Speaker 5: is mixing the last song probably maybe December, if not December,

2054
01:49:23,320 --> 01:49:26,599
Speaker 5: first of the year. And it's really really cool because

2055
01:49:26,640 --> 01:49:30,080
Speaker 5: I'm looking at the our demographics and women now being

2056
01:49:30,280 --> 01:49:33,240
Speaker 5: a majority of the bread winners. And but we're busy.

2057
01:49:33,600 --> 01:49:36,439
Speaker 5: We're taking the kids to school, we're going to work.

2058
01:49:36,760 --> 01:49:38,519
Speaker 5: Then we got to get off work and we got

2059
01:49:38,520 --> 01:49:39,960
Speaker 5: to go pick up the kids. Then we got to

2060
01:49:39,960 --> 01:49:41,760
Speaker 5: come back home. And then we got to cook and

2061
01:49:41,800 --> 01:49:43,599
Speaker 5: get them to bed. We don't have time to read

2062
01:49:43,600 --> 01:49:46,960
Speaker 5: a book. So these episodic adventures are things you can

2063
01:49:47,000 --> 01:49:49,240
Speaker 5: put in and you can listen to on your way

2064
01:49:49,240 --> 01:49:52,920
Speaker 5: to soccer practice. You know it comes back, and they're

2065
01:49:53,040 --> 01:49:56,320
Speaker 5: so funny and exciting. The first one is The Strokes.

2066
01:49:56,360 --> 01:49:59,920
Speaker 5: It's a racial thing about a woman who's transformed of

2067
01:50:00,080 --> 01:50:05,160
Speaker 5: by a racist white woman who's transformed. Something happens to

2068
01:50:05,200 --> 01:50:07,400
Speaker 5: where she has to be transformed by a black woman

2069
01:50:07,439 --> 01:50:11,000
Speaker 5: who's in her proximity, and she changes for the best,

2070
01:50:11,080 --> 01:50:15,760
Speaker 5: and they're all situated into a nursing home, and you

2071
01:50:16,240 --> 01:50:19,200
Speaker 5: also get the characters. And because if you ever go

2072
01:50:19,240 --> 01:50:20,800
Speaker 5: into a nursing home, which I've been in a lot

2073
01:50:20,880 --> 01:50:23,200
Speaker 5: of them because I've been dealing with my grandmother and

2074
01:50:23,200 --> 01:50:27,360
Speaker 5: my mother's health, there's some old souls in there, some

2075
01:50:27,640 --> 01:50:30,800
Speaker 5: unresolved souls, And if you listen to those people who

2076
01:50:30,800 --> 01:50:33,920
Speaker 5: are ninety years old, they're putting these racist white people

2077
01:50:34,160 --> 01:50:36,800
Speaker 5: in with black people and there's a lot going on

2078
01:50:36,880 --> 01:50:40,400
Speaker 5: in those songs. But it's interesting because you learn about

2079
01:50:40,439 --> 01:50:43,200
Speaker 5: the souls and the things that they've gone through. So

2080
01:50:43,240 --> 01:50:47,000
Speaker 5: this particular, this host out of your book kind of

2081
01:50:47,040 --> 01:50:50,080
Speaker 5: explores that you know that pretty much if you don't

2082
01:50:50,160 --> 01:50:53,719
Speaker 5: take care it resolve those negative spirits, and those spirits

2083
01:50:53,760 --> 01:50:56,880
Speaker 5: in the inside of you now they follow you until

2084
01:50:56,880 --> 01:50:59,080
Speaker 5: the rest of your life. So that's what this book

2085
01:50:59,160 --> 01:50:59,639
Speaker 5: is about.

2086
01:51:00,479 --> 01:51:00,719
Speaker 3: Wow.

2087
01:51:00,880 --> 01:51:04,320
Speaker 5: Yeah, yeah, it's really I love it.

2088
01:51:03,720 --> 01:51:05,320
Speaker 1: I like that. Yeah.

2089
01:51:05,360 --> 01:51:07,080
Speaker 5: I've been talking to you. I've been you know, I've

2090
01:51:07,080 --> 01:51:09,400
Speaker 5: been talking to some have you hitters about it, you know,

2091
01:51:09,960 --> 01:51:19,240
Speaker 5: HarperCollins talk about it, Yeah, and Patrick Ovid Harper Collins.

2092
01:51:19,240 --> 01:51:22,040
Speaker 5: We've been discussing it for for a while and it's

2093
01:51:22,120 --> 01:51:24,400
Speaker 5: just so it's such a new concept. It's not your

2094
01:51:24,400 --> 01:51:27,200
Speaker 5: typical audio book that he doesn't know what to quite.

2095
01:51:27,400 --> 01:51:29,360
Speaker 5: We're trying to figure in fit it into it because

2096
01:51:29,400 --> 01:51:33,680
Speaker 5: the beauty of it quest is also the soundtrack.

2097
01:51:33,200 --> 01:51:38,880
Speaker 2: Is available, right, Okay, okay, you know, Wow, I'm glad

2098
01:51:38,880 --> 01:51:44,719
Speaker 2: to know that you're still having dreams and you're you're

2099
01:51:44,760 --> 01:51:46,000
Speaker 2: you're still manifesting it.

2100
01:51:46,520 --> 01:51:46,720
Speaker 5: Yeah.

2101
01:51:46,800 --> 01:51:50,760
Speaker 2: The fact that you know, you allowed us to gave

2102
01:51:50,840 --> 01:51:53,960
Speaker 2: us the honor of being your audience to to really

2103
01:51:54,240 --> 01:51:56,080
Speaker 2: learn of your.

2104
01:51:56,000 --> 01:51:58,880
Speaker 3: Story and your history, and thank you, you.

2105
01:51:58,840 --> 01:52:01,720
Speaker 2: Know, because again, like there're there weren't platforms like this

2106
01:52:01,840 --> 01:52:05,320
Speaker 2: when I was a kid, wanting to know of my

2107
01:52:05,360 --> 01:52:07,960
Speaker 2: favorite groups that I saw on television, and you know,

2108
01:52:08,160 --> 01:52:10,479
Speaker 2: like if you weren't in right on magazine, it wasn't

2109
01:52:10,560 --> 01:52:13,080
Speaker 2: like Rolling Stone was going to take the time out

2110
01:52:13,120 --> 01:52:15,360
Speaker 2: to give you guys the same building that they would

2111
01:52:15,400 --> 01:52:16,599
Speaker 2: give like the Go Gos or.

2112
01:52:16,600 --> 01:52:22,880
Speaker 5: That's exactly exactly Yeah, absolutely, wow, absolutely, But I'm honored

2113
01:52:22,920 --> 01:52:27,120
Speaker 5: to to be here really yet and that you invited

2114
01:52:27,160 --> 01:52:29,599
Speaker 5: me onto your show. This is like really a cool

2115
01:52:29,840 --> 01:52:30,439
Speaker 5: thing for me.

2116
01:52:30,600 --> 01:52:33,600
Speaker 3: Wow. Well I'm glad you did it, you know.

2117
01:52:33,760 --> 01:52:37,880
Speaker 2: Yeah, Ladies and gentlemen, the the the Immortal Burnon de

2118
01:52:38,040 --> 01:52:39,599
Speaker 2: Cooper or in Quest Loft Supreme.

2119
01:52:39,920 --> 01:52:41,240
Speaker 3: I thank you very much for coming.

2120
01:52:41,600 --> 01:52:44,040
Speaker 5: Thank you girl band.

2121
01:52:45,920 --> 01:52:50,800
Speaker 3: Uh, Sugar Steve and fond Ticolo. Why do you have

2122
01:52:50,840 --> 01:52:53,760
Speaker 3: to say on behalf? Can we say goodbye for ourselves?

2123
01:52:56,360 --> 01:52:59,080
Speaker 2: Look this is my love piece and soul dude all

2124
01:52:59,640 --> 01:53:03,920
Speaker 2: Sugar Steve? Yeah yeah, I'm paid.

2125
01:53:03,920 --> 01:53:06,760
Speaker 3: Bill, You got any last words? Tooker Steve? Yeah?

2126
01:53:06,840 --> 01:53:09,920
Speaker 2: Bye anyway, y'all and we'll see you on the next

2127
01:53:09,920 --> 01:53:10,479
Speaker 2: go round.

2128
01:53:12,080 --> 01:53:17,160
Speaker 3: Go find yo, what's up? This is Fante.

2129
01:53:17,479 --> 01:53:19,720
Speaker 4: Make sure you keep up with us on Instagram at

2130
01:53:19,800 --> 01:53:21,599
Speaker 4: QLs and let us know what you think.

2131
01:53:21,760 --> 01:53:23,240
Speaker 3: Who should be next to sit down with us.

2132
01:53:23,479 --> 01:53:26,960
Speaker 4: Don't forget to subscribe to our podcast all right peace.

2133
01:53:30,840 --> 01:53:31,080
Speaker 5: M H.

2134
01:53:33,439 --> 01:53:39,479
Speaker 1: What's Love Supreme is a production of iHeart Radio. For

2135
01:53:39,600 --> 01:53:42,679
Speaker 1: more podcasts from iHeart Radio, visit the iHeart Radio app,

2136
01:53:42,920 --> 01:53:45,960
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.