1
00:00:00,080 --> 00:00:00,960
Speaker 1: Welcome to my show.

2
00:00:01,240 --> 00:00:04,640
Speaker 2: I'm Rashon McDonald, a host of Money Making Conversations Masterclass,

3
00:00:04,800 --> 00:00:07,360
Speaker 2: where we encourage people to stop reading other people's success

4
00:00:07,400 --> 00:00:10,440
Speaker 2: stories and start planning your own. Now, you don't want

5
00:00:10,440 --> 00:00:12,800
Speaker 2: to miss an episode, so please take a moment right

6
00:00:12,840 --> 00:00:16,400
Speaker 2: now to follow or subscribe to Money Making Conversations Masterclass.

7
00:00:16,600 --> 00:00:17,239
Speaker 1: It's free.

8
00:00:17,440 --> 00:00:21,400
Speaker 2: You can follow me on iHeartRadio, app, Spotify, Apple Podcasts,

9
00:00:21,520 --> 00:00:24,439
Speaker 2: or wherever you listen to your podcast. New Money Making

10
00:00:24,440 --> 00:00:28,120
Speaker 2: Conversations Masterclass episodes drop daily. I want to keep you

11
00:00:28,200 --> 00:00:30,680
Speaker 2: on alert because my guests provide tips on how you

12
00:00:30,720 --> 00:00:34,839
Speaker 2: can uplift your community, improve your financial planning, motivation, or

13
00:00:34,880 --> 00:00:38,440
Speaker 2: advice on how to be a successful entrepreneur. Now, let's

14
00:00:38,479 --> 00:00:42,559
Speaker 2: get this podcast started. My guess is a veteran journalist, educator,

15
00:00:42,600 --> 00:00:45,080
Speaker 2: and author of the book It's No Wonder, The Life

16
00:00:45,120 --> 00:00:50,400
Speaker 2: and Times of Motowns legendary songwriter Sylvia Moore. Her research

17
00:00:50,479 --> 00:00:54,000
Speaker 2: interests focus on the intersections of the role of the

18
00:00:54,080 --> 00:01:01,080
Speaker 2: media and education, Black popular culture, biographical and historic. Please

19
00:01:01,120 --> 00:01:04,600
Speaker 2: welcome to the Money Making Conversations. You know she covers legends,

20
00:01:04,600 --> 00:01:07,960
Speaker 2: but she is a legend. Doctor Margina Christian, How you

21
00:01:07,959 --> 00:01:09,039
Speaker 2: doing Margina.

22
00:01:09,160 --> 00:01:11,319
Speaker 3: Hello, How are you? Thanks for having me?

23
00:01:11,480 --> 00:01:12,319
Speaker 1: Well, I'm gonna tell you something.

24
00:01:12,360 --> 00:01:17,240
Speaker 2: When this came across my desk, Doctor Christian, I saw Ebony,

25
00:01:17,920 --> 00:01:23,800
Speaker 2: I saw Chet, I just I saw, I saw Motown.

26
00:01:24,280 --> 00:01:26,120
Speaker 2: I said, I got an interview this because this is

27
00:01:26,200 --> 00:01:28,679
Speaker 2: my rain, this is this is where I come from.

28
00:01:29,120 --> 00:01:33,480
Speaker 2: How did you get involved with these historical brands that

29
00:01:33,680 --> 00:01:35,039
Speaker 2: somehow disappeared today?

30
00:01:36,000 --> 00:01:36,560
Speaker 3: Oh wow?

31
00:01:38,319 --> 00:01:44,759
Speaker 4: Well, my in regards to Johnson Publishing Companies once housed

32
00:01:45,319 --> 00:01:49,600
Speaker 4: Ebony and Jet Magazine founded by John Ah Johnson, or

33
00:01:49,640 --> 00:01:52,000
Speaker 4: as I said in my book that I wrote a

34
00:01:52,040 --> 00:01:55,880
Speaker 4: twenty eighteen Empire the house to Johnny's Johnson built. I

35
00:01:55,960 --> 00:02:01,600
Speaker 4: started working for that company's specifically Jet Magazine, which was

36
00:02:01,680 --> 00:02:07,360
Speaker 4: the weekly publication, in nineteen ninety five, and then as

37
00:02:07,440 --> 00:02:13,560
Speaker 4: time progressed and we had re orgs and changing up

38
00:02:13,840 --> 00:02:16,560
Speaker 4: powers and positions, in two thousand and nine, I was

39
00:02:16,600 --> 00:02:21,679
Speaker 4: moved to Ebony Magazine. However, during my tenure at the company,

40
00:02:22,240 --> 00:02:26,720
Speaker 4: when Ebony and Jet was under Johnson Publishing, I worked

41
00:02:26,760 --> 00:02:30,280
Speaker 4: at the company from ninety five into twenty fourteen, and

42
00:02:30,360 --> 00:02:33,080
Speaker 4: I not only worked with Ebony and Jet, but also,

43
00:02:33,120 --> 00:02:37,040
Speaker 4: if you remember Ebny Man, I also wrote the history

44
00:02:37,080 --> 00:02:40,080
Speaker 4: and covered all the stories for the Ebony Fashion Affairs Show.

45
00:02:40,240 --> 00:02:43,119
Speaker 3: So I worked also with Eunice W.

46
00:02:43,240 --> 00:02:48,320
Speaker 4: Johnson, and so my history as a writer started back

47
00:02:48,360 --> 00:02:51,760
Speaker 4: in Saint Louis, but I had my hand on the pulse.

48
00:02:51,880 --> 00:02:54,760
Speaker 4: I was doing all of the entertainment, and I felt

49
00:02:54,760 --> 00:02:57,760
Speaker 4: like I reached the pinnacle, and so I felt like,

50
00:02:57,880 --> 00:03:00,560
Speaker 4: what better place than to be next to St. Louis

51
00:03:01,120 --> 00:03:06,040
Speaker 4: in Chicago. Johnson Publishing Company John H. Johnson, Ebanie and Jet.

52
00:03:06,080 --> 00:03:10,120
Speaker 4: These were brands I grew up on, and so I

53
00:03:10,280 --> 00:03:14,480
Speaker 4: was very fortunate that I had a portfolio, as we

54
00:03:14,600 --> 00:03:17,400
Speaker 4: called them back then, clips. I had a book with

55
00:03:17,520 --> 00:03:20,400
Speaker 4: all my clips and all the interviews and people I did.

56
00:03:20,760 --> 00:03:23,560
Speaker 4: And I remember John H. Johnson was impressed with my

57
00:03:23,760 --> 00:03:27,680
Speaker 4: interview with Bobby Brow. So I owe it all to

58
00:03:27,760 --> 00:03:30,799
Speaker 4: Bobby Brah because I remember when he was the king

59
00:03:30,880 --> 00:03:33,600
Speaker 4: of stage and I'm being very honest, just like she

60
00:03:33,800 --> 00:03:36,800
Speaker 4: was being very honest because those of us who know

61
00:03:37,040 --> 00:03:40,360
Speaker 4: no that that's where it was. And so he saw

62
00:03:40,440 --> 00:03:43,040
Speaker 4: that story and was impressed. But of course he saw

63
00:03:43,080 --> 00:03:45,960
Speaker 4: my other stories as well, and he said, I think

64
00:03:46,080 --> 00:03:48,800
Speaker 4: Jet Magazine will be the better fit for you because

65
00:03:48,800 --> 00:03:52,360
Speaker 4: you like to interview the stars and the celebrities, and

66
00:03:52,400 --> 00:03:56,040
Speaker 4: he said, Ebony, you gotta understand this about rank. He said,

67
00:03:56,400 --> 00:03:59,200
Speaker 4: those who've been at the magazine a little bit longer

68
00:03:59,520 --> 00:04:02,160
Speaker 4: will be the wants to interview all the big names.

69
00:04:02,320 --> 00:04:04,560
Speaker 4: He said, But with Jet, I think you'll be able

70
00:04:04,600 --> 00:04:07,240
Speaker 4: to do more and have more flexibility.

71
00:04:07,320 --> 00:04:08,640
Speaker 3: So that's why I'm gonna move you.

72
00:04:09,000 --> 00:04:12,920
Speaker 4: Because when I applied, I actually wanted to write for

73
00:04:13,000 --> 00:04:16,640
Speaker 4: Ebedy and he put me with Jet. And it was

74
00:04:16,760 --> 00:04:20,760
Speaker 4: interesting because my interview was with Linda Johnson Rice.

75
00:04:21,760 --> 00:04:24,640
Speaker 3: But mister Johnson came in and took over the.

76
00:04:24,560 --> 00:04:28,839
Speaker 2: Interview so well as a man who understands, and he

77
00:04:28,920 --> 00:04:32,240
Speaker 2: took it over and placed you where he felt you better, sir.

78
00:04:32,320 --> 00:04:33,840
Speaker 1: Plus he understood the politics.

79
00:04:34,120 --> 00:04:37,720
Speaker 4: He understood the politics, and I appreciated his honesty with

80
00:04:37,839 --> 00:04:41,080
Speaker 4: that because a lot of times people would have just

81
00:04:41,120 --> 00:04:43,320
Speaker 4: put me there and I wouldn't have ever did what

82
00:04:43,400 --> 00:04:43,880
Speaker 4: I wanted.

83
00:04:43,920 --> 00:04:46,679
Speaker 3: But he saw my passion and he also saw my gift.

84
00:04:47,000 --> 00:04:50,600
Speaker 4: Look, she's an interviewing the big names. I mean back then,

85
00:04:50,760 --> 00:04:55,080
Speaker 4: what we see you know what Usher is? That was

86
00:04:55,120 --> 00:04:58,080
Speaker 4: Bobby Brown? And Usher said I wanted to be Bobby

87
00:04:58,120 --> 00:05:01,760
Speaker 4: Brown at one point. That was the ultimate entertainer, and

88
00:05:01,839 --> 00:05:04,960
Speaker 4: so if you could get to him and do an interview,

89
00:05:04,960 --> 00:05:10,960
Speaker 4: that was a big deal. You know, just hit after

90
00:05:11,040 --> 00:05:14,240
Speaker 4: hit after hit. I want to Grammy. There's so many

91
00:05:14,279 --> 00:05:17,960
Speaker 4: wonderful things. So to have full circle moments with him,

92
00:05:18,400 --> 00:05:22,080
Speaker 4: Uh and and uh the industry period has just been

93
00:05:22,120 --> 00:05:22,680
Speaker 4: a blessing.

94
00:05:23,240 --> 00:05:26,200
Speaker 2: Let's let's talk about you and you know your female

95
00:05:26,720 --> 00:05:31,000
Speaker 2: you know, and we know in a world where chauvelin'sic tendencies,

96
00:05:31,040 --> 00:05:34,080
Speaker 2: well they're talking about them today. They were worse back then.

97
00:05:34,160 --> 00:05:37,120
Speaker 2: There were no cameras, restricted barrier. I'm not saying anything

98
00:05:37,160 --> 00:05:40,239
Speaker 2: bad happened to you. I'm just saying, but there are issues.

99
00:05:40,600 --> 00:05:43,640
Speaker 2: You're an attractive woman. How did you deal with those

100
00:05:43,720 --> 00:05:47,520
Speaker 2: issues or how did you advise people in your business

101
00:05:47,839 --> 00:05:50,279
Speaker 2: how to deal with those issues and trying to rise

102
00:05:50,360 --> 00:05:53,360
Speaker 2: up the rank or getting respected for your work first

103
00:05:53,839 --> 00:05:56,160
Speaker 2: and your looks being ignored.

104
00:05:56,960 --> 00:06:00,400
Speaker 4: Oh wow, that's a wonderful question. I don't know if

105
00:06:00,440 --> 00:06:04,080
Speaker 4: you ever had the good fortune of visiting Johnson Publishing

106
00:06:04,120 --> 00:06:07,760
Speaker 4: Company at eight twenty South Michigan doing this heyday, but

107
00:06:07,880 --> 00:06:11,240
Speaker 4: there was It was known and had a reputation for

108
00:06:11,360 --> 00:06:14,840
Speaker 4: having some of the most beautiful women who worked at

109
00:06:14,839 --> 00:06:16,560
Speaker 4: that company, and.

110
00:06:18,520 --> 00:06:21,320
Speaker 3: I was one of many beautiful.

111
00:06:20,880 --> 00:06:25,080
Speaker 4: Women, you know, and and and and and so here's

112
00:06:25,120 --> 00:06:30,080
Speaker 4: the thing. I was a writer, and there were entertainers

113
00:06:30,080 --> 00:06:31,000
Speaker 4: who came through.

114
00:06:31,480 --> 00:06:31,760
Speaker 3: Uh.

115
00:06:32,440 --> 00:06:34,599
Speaker 4: There weren't a lot of men at the company. The

116
00:06:34,720 --> 00:06:38,640
Speaker 4: women outnumbered the men at Johnson, So I personally didn't

117
00:06:38,680 --> 00:06:41,480
Speaker 4: have to deal with any type of harassment.

118
00:06:41,839 --> 00:06:42,080
Speaker 3: Uh.

119
00:06:42,200 --> 00:06:44,760
Speaker 4: But when when people would come by, you know, they

120
00:06:44,800 --> 00:06:48,080
Speaker 4: would be flattered or make complimists or or you know,

121
00:06:48,240 --> 00:06:50,520
Speaker 4: might want to take you out. I never got caught

122
00:06:50,560 --> 00:06:53,880
Speaker 4: up in it because I was on this side where

123
00:06:53,920 --> 00:06:57,240
Speaker 4: I saw the reality of what this illusion really was.

124
00:06:57,720 --> 00:07:01,479
Speaker 4: I saw that even though these Queen Latifa once said

125
00:07:01,480 --> 00:07:04,400
Speaker 4: that you get the fame before the fortune, so I

126
00:07:04,480 --> 00:07:07,400
Speaker 4: knew many of those people were just like they were

127
00:07:07,480 --> 00:07:08,240
Speaker 4: regular people.

128
00:07:09,040 --> 00:07:10,480
Speaker 3: And there were people.

129
00:07:10,280 --> 00:07:13,880
Speaker 4: That I got taken by or was really excited to see.

130
00:07:14,360 --> 00:07:18,040
Speaker 4: I remember when Maxwell was just coming out and we

131
00:07:18,040 --> 00:07:21,000
Speaker 4: were in a meeting, an editorial meeting, and they were like,

132
00:07:21,280 --> 00:07:23,960
Speaker 4: you know, and I knew he was there, so I

133
00:07:24,440 --> 00:07:26,280
Speaker 4: was like, I have to be excused to run to

134
00:07:26,320 --> 00:07:29,160
Speaker 4: the ladies room. I went right over there to say hello,

135
00:07:29,480 --> 00:07:31,680
Speaker 4: and as I was coming by, he just looked and

136
00:07:31,720 --> 00:07:36,240
Speaker 4: said beautiful and I was just like wow, because it's

137
00:07:36,320 --> 00:07:37,640
Speaker 4: like he was smooth.

138
00:07:37,920 --> 00:07:41,120
Speaker 3: I mean, he was buttery smooth. But back to your

139
00:07:41,120 --> 00:07:44,520
Speaker 3: initial question, I understood it was work. It was a job,

140
00:07:44,640 --> 00:07:45,840
Speaker 3: and I.

141
00:07:47,360 --> 00:07:50,560
Speaker 4: Learned from one of my mentors, Clarence Waldron. He always

142
00:07:50,640 --> 00:07:53,400
Speaker 4: told me, h, never get it twisted.

143
00:07:53,880 --> 00:07:54,400
Speaker 3: He said.

144
00:07:54,800 --> 00:07:58,559
Speaker 4: It's a business, he said, and it's a he said.

145
00:07:58,680 --> 00:08:01,880
Speaker 4: It's work, he said, But it's friendly business, he said.

146
00:08:02,000 --> 00:08:05,320
Speaker 4: But never mixed the two because he said, very few

147
00:08:05,320 --> 00:08:08,880
Speaker 4: people are really your friends. And he said, so understand that.

148
00:08:09,080 --> 00:08:11,960
Speaker 4: And I never forgot it, and it helped.

149
00:08:11,640 --> 00:08:13,720
Speaker 3: Me to maneuver through.

150
00:08:14,440 --> 00:08:17,640
Speaker 4: But some people, or so I've heard, got caught up

151
00:08:17,680 --> 00:08:18,800
Speaker 4: in whatever whatever.

152
00:08:18,840 --> 00:08:21,600
Speaker 3: But those are stories for them to share and to tell.

153
00:08:21,960 --> 00:08:25,880
Speaker 4: But it's all about how you handle what it is

154
00:08:26,080 --> 00:08:28,360
Speaker 4: in the environment that you've been in and how you

155
00:08:28,400 --> 00:08:31,040
Speaker 4: make it work to your advantage. No one can ever

156
00:08:31,120 --> 00:08:34,440
Speaker 4: tell you anything about me where they'll say, oh I

157
00:08:34,480 --> 00:08:35,320
Speaker 4: heard this or that.

158
00:08:36,240 --> 00:08:40,200
Speaker 3: No all respect and people know me, so you know

159
00:08:40,280 --> 00:08:41,640
Speaker 3: the god sweet people.

160
00:08:41,440 --> 00:08:43,880
Speaker 2: Now, you know, cause I got to bring that up

161
00:08:43,920 --> 00:08:46,840
Speaker 2: because of the fact that I know Clarence Walter. You know,

162
00:08:47,000 --> 00:08:49,679
Speaker 2: like when I was managing Steve Harvey. You know, that's

163
00:08:49,679 --> 00:08:52,320
Speaker 2: how you got on the cover if you didn't. And

164
00:08:52,360 --> 00:08:54,040
Speaker 2: I remember I was on the phone with him several

165
00:08:54,120 --> 00:08:57,520
Speaker 2: times talking about could Steve get this because it was

166
00:08:58,200 --> 00:09:02,800
Speaker 2: strategic to get Steve Harvey on the cover that Jet

167
00:09:02,840 --> 00:09:06,920
Speaker 2: magazine that laid on the table or the actual Ebony magazine.

168
00:09:06,920 --> 00:09:08,480
Speaker 1: If you got an Ebon magazine, that.

169
00:09:08,520 --> 00:09:11,640
Speaker 2: Was the super wow, you know, but you getting no

170
00:09:11,760 --> 00:09:15,640
Speaker 2: Jet magazine because it was weekly, that was important, especially when.

171
00:09:15,480 --> 00:09:17,160
Speaker 1: You're the fall season.

172
00:09:17,640 --> 00:09:21,320
Speaker 2: They featured the various television shows that featured black talent,

173
00:09:21,640 --> 00:09:24,000
Speaker 2: and Steve Harvey was one of the bigger ones. Plus

174
00:09:24,000 --> 00:09:26,440
Speaker 2: he had showtime at the Apollo as well, And so

175
00:09:27,559 --> 00:09:30,160
Speaker 2: I would have to say that Essence and Eboney played

176
00:09:30,160 --> 00:09:33,680
Speaker 2: a major role, especially building Steve Harvey's brand in the

177
00:09:33,720 --> 00:09:39,520
Speaker 2: black community because Ebony and Jet edis heyday was the

178
00:09:39,520 --> 00:09:40,319
Speaker 2: black community?

179
00:09:40,360 --> 00:09:40,720
Speaker 1: Correct?

180
00:09:41,400 --> 00:09:42,559
Speaker 3: Oh yes, I.

181
00:09:42,520 --> 00:09:46,960
Speaker 4: Mean before social media there was Jet and so we

182
00:09:47,520 --> 00:09:51,160
Speaker 4: to get in Ebony, to get in Jet. Some people

183
00:09:51,240 --> 00:09:53,760
Speaker 4: said they didn't feel like they made it until they

184
00:09:53,760 --> 00:09:57,080
Speaker 4: were in Jet magazine, you know. And we had people

185
00:09:57,200 --> 00:10:01,280
Speaker 4: calling who are television shows tops? Who were upset why

186
00:10:01,400 --> 00:10:04,560
Speaker 4: isn't my show listed? Well, they only did the major

187
00:10:04,640 --> 00:10:08,840
Speaker 4: networks like the ABC, CBS, NBC they didn't.

188
00:10:09,000 --> 00:10:10,760
Speaker 3: And we know back then they used to have.

189
00:10:10,720 --> 00:10:13,880
Speaker 4: The WB and all those networks where they would put

190
00:10:14,200 --> 00:10:17,160
Speaker 4: up in where that's where most of the black.

191
00:10:16,920 --> 00:10:23,120
Speaker 2: Shows participants airing black sitcoms exactly.

192
00:10:23,240 --> 00:10:26,200
Speaker 4: So most some of those people were very fortunate to

193
00:10:26,240 --> 00:10:29,559
Speaker 4: get on the cover, but some of them still wonder, well,

194
00:10:29,559 --> 00:10:32,240
Speaker 4: why are we not listed in the back? So I'd

195
00:10:32,240 --> 00:10:34,839
Speaker 4: have to or one of my colleagues, we'd have to

196
00:10:34,920 --> 00:10:38,480
Speaker 4: explain that these are the shows they put on on

197
00:10:38,520 --> 00:10:43,040
Speaker 4: it and for whatever reason, it wasn't shows like WB UBN,

198
00:10:43,280 --> 00:10:45,200
Speaker 4: but those people made the cover.

199
00:10:45,640 --> 00:10:47,439
Speaker 3: The Steve Harvey show made the cover.

200
00:10:47,840 --> 00:10:47,960
Speaker 2: Uh.

201
00:10:48,160 --> 00:10:51,880
Speaker 4: And so I also remember, uh, the negotiation for Steve

202
00:10:52,080 --> 00:10:56,120
Speaker 4: getting on covers because Clarence Cubicle was right in front

203
00:10:56,160 --> 00:10:58,880
Speaker 4: of mine and I'm looking at that cover right now

204
00:10:58,920 --> 00:11:01,360
Speaker 4: where Steve had on all black and it was the

205
00:11:01,440 --> 00:11:04,559
Speaker 4: first time he showed his ball head and it was

206
00:11:04,600 --> 00:11:07,640
Speaker 4: showing how he was fifth and fabulous.

207
00:11:07,679 --> 00:11:11,640
Speaker 3: It was a milestone birthday.

208
00:11:11,960 --> 00:11:15,520
Speaker 4: And yeah, I remember that negotiation because he was like, Okay,

209
00:11:15,559 --> 00:11:18,880
Speaker 4: he's moving from the show, but now he's starting to

210
00:11:18,880 --> 00:11:21,720
Speaker 4: do his own thing and he even came by the building.

211
00:11:21,800 --> 00:11:23,079
Speaker 3: I remember that as well.

212
00:11:23,960 --> 00:11:25,080
Speaker 1: Please don't go anywhere.

213
00:11:25,240 --> 00:11:28,960
Speaker 2: We'll be right back with more money Making Conversations Masterclass. Now,

214
00:11:28,960 --> 00:11:31,440
Speaker 2: I need for you to do me a favor right

215
00:11:31,480 --> 00:11:35,120
Speaker 2: now to follow or subscribe to Money Making Conversation. It's

216
00:11:35,200 --> 00:11:39,200
Speaker 2: free and you can find it on the iHeartRadio app, Spotify,

217
00:11:39,520 --> 00:11:43,400
Speaker 2: Apple Podcasts, or wherever you get your podcasts. Please do

218
00:11:43,480 --> 00:11:50,920
Speaker 2: me that favor, follow or subscribe money Making Conversations. Welcome

219
00:11:50,920 --> 00:11:55,320
Speaker 2: back to Money Making Conversation master Class with me Rashaun McDonald. Yeah,

220
00:11:55,880 --> 00:11:58,839
Speaker 2: those times are important because, like I said, when I

221
00:11:58,880 --> 00:12:01,040
Speaker 2: look back, you know, cannot forget you know.

222
00:12:01,040 --> 00:12:03,640
Speaker 1: The Jet Beauty of the Week, Jet Beauty of.

223
00:12:03,679 --> 00:12:05,800
Speaker 3: The forget the Jet Beauties of the week.

224
00:12:05,920 --> 00:12:08,400
Speaker 2: That was That was the mainstake. But when I look

225
00:12:08,440 --> 00:12:09,880
Speaker 2: at your brand, I tell you a story. You have

226
00:12:09,880 --> 00:12:11,520
Speaker 2: a new book out, you know, I just mentioned it.

227
00:12:11,760 --> 00:12:14,520
Speaker 2: You know, The Life and Times. Excuse me, it's no

228
00:12:14,640 --> 00:12:19,400
Speaker 2: wonder The Life and Times of Motowns legendary songwriter Sylvia Moore.

229
00:12:19,679 --> 00:12:22,200
Speaker 2: Before we get into it, why did you feel that

230
00:12:22,320 --> 00:12:25,600
Speaker 2: story was so important for you to write.

231
00:12:25,880 --> 00:12:28,320
Speaker 4: I felt that story was important for me to write

232
00:12:28,400 --> 00:12:32,960
Speaker 4: because it was during the pandemic, and like everybody, my

233
00:12:33,120 --> 00:12:37,559
Speaker 4: lifeline was social media. And I saw something. Two posts

234
00:12:37,559 --> 00:12:41,480
Speaker 4: that came across about the same subject, the beautiful picture

235
00:12:41,520 --> 00:12:45,280
Speaker 4: of Sylvia Moy in the studio with the young Stevie

236
00:12:45,280 --> 00:12:49,440
Speaker 4: Wonder sitting at the piano stood holding the harmonica, and

237
00:12:49,520 --> 00:12:54,160
Speaker 4: three members of the Funk Brothers behind her and everybody.

238
00:12:54,360 --> 00:12:59,080
Speaker 4: The posts generated a lot of likes, and it had

239
00:12:59,280 --> 00:13:03,200
Speaker 4: a lot of comments, and most of the comments were

240
00:13:03,360 --> 00:13:07,840
Speaker 4: pretty similar, Oh she's so beautiful, but why haven't we

241
00:13:07,880 --> 00:13:10,760
Speaker 4: ever heard of her before? And then there was the

242
00:13:10,800 --> 00:13:15,000
Speaker 4: claim that she helped Stevie Wonder prevented him from being

243
00:13:15,120 --> 00:13:19,320
Speaker 4: let go from Motown, and then that she made history

244
00:13:19,360 --> 00:13:24,080
Speaker 4: as his first female producer. I'd never heard that before.

245
00:13:24,559 --> 00:13:28,600
Speaker 4: And I came from Ebony and Jet magazine. So you

246
00:13:28,760 --> 00:13:31,800
Speaker 4: go to the archives of where it should have been,

247
00:13:31,920 --> 00:13:34,440
Speaker 4: and I said, oh, well, if anybody would have a

248
00:13:34,640 --> 00:13:39,120
Speaker 4: story and a background on Sylvia Moy, it's the archives

249
00:13:39,120 --> 00:13:40,160
Speaker 4: of Ebony and Jet.

250
00:13:40,440 --> 00:13:42,120
Speaker 3: So I went to my backyard.

251
00:13:42,640 --> 00:13:45,560
Speaker 4: And when I went into the backyard, I didn't see

252
00:13:45,600 --> 00:13:50,280
Speaker 4: anything mentioned about this woman. So I'm curious as to

253
00:13:50,760 --> 00:13:54,400
Speaker 4: why hasn't the world ever heard that Stevie Wonder was

254
00:13:54,440 --> 00:13:57,920
Speaker 4: supposedly on the chopping block and if she was the

255
00:13:57,920 --> 00:14:02,199
Speaker 4: first female producer. Have I only heard about Valerie Simpson.

256
00:14:02,720 --> 00:14:05,960
Speaker 4: I never heard about Sylvia Mooy and how she did

257
00:14:06,000 --> 00:14:10,200
Speaker 4: all of this stuff. And so that's what made me curious,

258
00:14:10,400 --> 00:14:13,719
Speaker 4: because people were curious about her, and so was I,

259
00:14:14,200 --> 00:14:17,120
Speaker 4: because I said, how are you getting the credit for something?

260
00:14:17,600 --> 00:14:20,960
Speaker 3: And there is I don't see a footprint.

261
00:14:21,080 --> 00:14:24,200
Speaker 4: I don't see anything that you've done to show me

262
00:14:24,280 --> 00:14:25,560
Speaker 4: that this is what you did.

263
00:14:25,920 --> 00:14:27,600
Speaker 3: So that made me set out.

264
00:14:28,360 --> 00:14:30,400
Speaker 4: But before I could begin, I had to make sure

265
00:14:30,440 --> 00:14:32,840
Speaker 4: the most critical part of this story was in place.

266
00:14:33,680 --> 00:14:37,360
Speaker 4: Was Stevie supposedly on the chopping block or was he not?

267
00:14:38,160 --> 00:14:42,480
Speaker 4: So when I began my research, I interviewed those who

268
00:14:42,560 --> 00:14:46,480
Speaker 4: work at Motown. We're talking Mickey Stevens. Smokey Robinson was

269
00:14:46,520 --> 00:14:51,400
Speaker 4: the first person I interviewed. Right after him was Mickey Stevenson.

270
00:14:51,440 --> 00:14:53,760
Speaker 4: As a matter of fact, it was probably within fifteen

271
00:14:53,840 --> 00:14:56,800
Speaker 4: twenty minutes on the same day the interview and then

272
00:14:57,120 --> 00:15:00,920
Speaker 4: the Martha Reeves and then the Eddie High And so

273
00:15:02,760 --> 00:15:05,800
Speaker 4: I thought to myself, there were people who said, yes,

274
00:15:05,960 --> 00:15:08,160
Speaker 4: he was going to get let go, and there were

275
00:15:08,200 --> 00:15:11,080
Speaker 4: people who said, no, what are you talking about. I

276
00:15:11,200 --> 00:15:15,200
Speaker 4: never heard this before, So I had to find the source.

277
00:15:15,480 --> 00:15:19,480
Speaker 4: So I reached and was trying to get to Stevie. Stevie,

278
00:15:19,520 --> 00:15:21,360
Speaker 4: if you know him, you know him. But if you

279
00:15:21,680 --> 00:15:24,040
Speaker 4: try to get to him through his people, I'd have

280
00:15:24,120 --> 00:15:26,560
Speaker 4: an easier time trying to get to Barack Obama. That

281
00:15:26,640 --> 00:15:30,360
Speaker 4: Stevie wasn't okay, and you know what I'm talking about.

282
00:15:30,640 --> 00:15:33,600
Speaker 4: So at any rate, I thought, I gotta see if

283
00:15:33,680 --> 00:15:34,800
Speaker 4: there's truth to this.

284
00:15:35,360 --> 00:15:36,440
Speaker 3: And so when.

285
00:15:36,400 --> 00:15:41,600
Speaker 4: I realized and I found enough research where Stevie actually

286
00:15:41,720 --> 00:15:45,560
Speaker 4: talked about that time, and there was truth indeed that

287
00:15:46,200 --> 00:15:51,200
Speaker 4: he was getting older, his voice was changing, and most importantly,

288
00:15:51,680 --> 00:15:54,880
Speaker 4: Barry Gordy did not know what to do with him. See,

289
00:15:54,960 --> 00:15:57,840
Speaker 4: when Stevie Wonder came to Motown when he was eleven

290
00:15:57,960 --> 00:16:01,960
Speaker 4: years old, he played the harmonica and that Blueberry Gordy

291
00:16:02,000 --> 00:16:06,120
Speaker 4: away his harmonica playing blew me away, but his singing

292
00:16:06,240 --> 00:16:09,880
Speaker 4: voice did not. So if I wasn't crazy about your

293
00:16:09,960 --> 00:16:12,800
Speaker 4: voice before, now that your voice is changing, what we

294
00:16:12,960 --> 00:16:15,880
Speaker 4: ended for a world of trouble. Okay, So he was.

295
00:16:16,200 --> 00:16:19,920
Speaker 4: Stevie was considered like a novelty act. And so that

296
00:16:20,080 --> 00:16:24,440
Speaker 4: first song that made him was Fingertips Part two, which

297
00:16:24,600 --> 00:16:28,320
Speaker 4: was recorded in film in Chicago at Chicago's Regal Theater.

298
00:16:29,040 --> 00:16:32,160
Speaker 4: He played the harmonica and just said everybody say yay.

299
00:16:32,280 --> 00:16:37,600
Speaker 3: It was like a that's it, but that's not singing it.

300
00:16:37,960 --> 00:16:41,560
Speaker 4: So but that broke him and then after that it

301
00:16:41,600 --> 00:16:42,640
Speaker 4: was a three year low.

302
00:16:43,080 --> 00:16:46,680
Speaker 3: It was like crickets. Nothing else could hit on him.

303
00:16:46,760 --> 00:16:51,920
Speaker 4: So it's like, look, the entertainment industry is not always

304
00:16:52,040 --> 00:16:52,800
Speaker 4: kind to chill.

305
00:16:54,440 --> 00:16:56,800
Speaker 3: I come from the world of media.

306
00:16:57,320 --> 00:17:00,520
Speaker 4: I watched a lot of celebrities go from chill to

307
00:17:00,880 --> 00:17:04,440
Speaker 4: men to kids and so on and so forth. And

308
00:17:05,080 --> 00:17:09,600
Speaker 4: I looked and thought to myself, this woman stepped out

309
00:17:09,600 --> 00:17:13,480
Speaker 4: on faith and did something when they were considering letting

310
00:17:13,560 --> 00:17:13,840
Speaker 4: him go.

311
00:17:14,200 --> 00:17:16,160
Speaker 3: She said to Mickey.

312
00:17:15,960 --> 00:17:20,480
Speaker 4: Stevenson because in her own words and in the interview

313
00:17:20,560 --> 00:17:24,600
Speaker 4: that I got of her, Mickey Stevenson was the one

314
00:17:25,160 --> 00:17:29,880
Speaker 4: who said, hey, do I have any volunteers who want

315
00:17:29,920 --> 00:17:32,040
Speaker 4: to work with Stevie wondered to see if they could

316
00:17:32,080 --> 00:17:32,960
Speaker 4: write a song for you.

317
00:17:33,720 --> 00:17:38,840
Speaker 3: The other men at the time, they all were working.

318
00:17:38,520 --> 00:17:41,720
Speaker 4: With hit makers, so they weren't trying to break up

319
00:17:41,760 --> 00:17:42,560
Speaker 4: their momentum.

320
00:17:42,880 --> 00:17:44,480
Speaker 3: So they all passed.

321
00:17:44,680 --> 00:17:49,080
Speaker 4: And remember the opportunity word is volunteer. So I'm working

322
00:17:49,119 --> 00:17:52,640
Speaker 4: on hits. We love Stevie, but I don't have time

323
00:17:52,680 --> 00:17:53,879
Speaker 4: to volunteer.

324
00:17:53,359 --> 00:17:54,320
Speaker 3: For no free stuff.

325
00:17:54,640 --> 00:17:58,520
Speaker 4: So hey, if we don't have anyone, we might have

326
00:17:58,600 --> 00:18:03,160
Speaker 4: to let him go. That's what she said, Mickey Stevenson. See, okay,

327
00:18:03,480 --> 00:18:07,800
Speaker 4: now here's the thing. She came up to Mickey and said,

328
00:18:08,440 --> 00:18:12,000
Speaker 4: I don't think it's over for Stevie. And she said

329
00:18:12,160 --> 00:18:16,240
Speaker 4: she begged, can I work with him? And if I

330
00:18:16,480 --> 00:18:20,440
Speaker 4: get a hit on him and can I also produce it?

331
00:18:22,200 --> 00:18:26,919
Speaker 4: Will he be able to stay? She was allowed to

332
00:18:27,040 --> 00:18:31,800
Speaker 4: work with Stevie and the hint was uptight. The song

333
00:18:31,880 --> 00:18:35,720
Speaker 4: became a hit, Stevie wanted to stay. She did not

334
00:18:35,800 --> 00:18:38,760
Speaker 4: get the producer credit for it, but that is how

335
00:18:38,800 --> 00:18:42,159
Speaker 4: she made history as a producer out of her.

336
00:18:42,080 --> 00:18:47,320
Speaker 2: Own Cosby and Mickey Stevens exactly.

337
00:18:47,680 --> 00:18:52,320
Speaker 4: So she did not get her name on it, even

338
00:18:52,359 --> 00:18:54,800
Speaker 4: though that was part of the agree. So that was

339
00:18:54,840 --> 00:18:58,399
Speaker 4: the song where she made history as a producer. But

340
00:18:58,800 --> 00:19:02,480
Speaker 4: her name to this day it is not listed on

341
00:19:02,760 --> 00:19:07,919
Speaker 4: any Motown song during her duration there as a producer.

342
00:19:08,440 --> 00:19:12,040
Speaker 4: So how did she make history as a producer? I

343
00:19:12,200 --> 00:19:16,280
Speaker 4: have to research. I'm a trained investigative journalist. My book

344
00:19:16,320 --> 00:19:20,080
Speaker 4: it is no wonder, It's part of investigative journalism as

345
00:19:20,160 --> 00:19:26,320
Speaker 4: well as academic scholarly research. So I have to dig

346
00:19:26,400 --> 00:19:30,199
Speaker 4: deep to find out how is she getting credit for

347
00:19:30,280 --> 00:19:33,200
Speaker 4: something her name isn't on. I didn't see her name

348
00:19:33,240 --> 00:19:40,120
Speaker 4: on anything, and so that's when she's always credited as

349
00:19:40,160 --> 00:19:43,080
Speaker 4: a writer. But even some songs she didn't even get

350
00:19:43,080 --> 00:19:44,320
Speaker 4: credit for as a writer.

351
00:19:44,880 --> 00:19:45,360
Speaker 3: Okay.

352
00:19:45,560 --> 00:19:48,920
Speaker 4: So like this Old Heart of Mine, Eddie Holland said

353
00:19:49,000 --> 00:19:51,560
Speaker 4: he gave her credit for the song, but on some

354
00:19:51,600 --> 00:19:53,919
Speaker 4: of those songs you don't even see her name on.

355
00:19:54,720 --> 00:19:59,480
Speaker 4: So she got credit for some of her songs with songwriting,

356
00:19:59,680 --> 00:20:03,840
Speaker 4: but no credit for the producing. But in her words,

357
00:20:03,920 --> 00:20:06,960
Speaker 4: she said she got paid for two songs as a producer.

358
00:20:07,840 --> 00:20:13,359
Speaker 3: Okay. Now, as an academic, as a scholar, I was

359
00:20:13,400 --> 00:20:14,120
Speaker 3: going through.

360
00:20:13,960 --> 00:20:18,880
Speaker 4: A book called African American Issues and higher ed African

361
00:20:18,920 --> 00:20:22,879
Speaker 4: American Issue Issues in African American Music, and it dealt

362
00:20:22,920 --> 00:20:28,480
Speaker 4: with power, gender, race, and representation. And in this book

363
00:20:28,920 --> 00:20:32,320
Speaker 4: there was a scholar who interviewed her and it was

364
00:20:32,359 --> 00:20:36,639
Speaker 4: a footnote and in the footnote he said she claimed

365
00:20:36,680 --> 00:20:40,520
Speaker 4: to have produced uptight and I was made to love her.

366
00:20:42,000 --> 00:20:48,879
Speaker 4: And that's when I found that scholar and I interviewed

367
00:20:48,960 --> 00:20:52,280
Speaker 4: him and I asked if he had the recording. He

368
00:20:52,440 --> 00:20:56,240
Speaker 4: had her interview and in her own words, I heard

369
00:20:56,320 --> 00:21:00,240
Speaker 4: her share and tell her story, and that woman made

370
00:21:00,280 --> 00:21:03,880
Speaker 4: history as a producer, but was denied the credit as

371
00:21:03,920 --> 00:21:08,720
Speaker 4: a producer. Now, just recently I wrote an article for UH,

372
00:21:08,840 --> 00:21:11,560
Speaker 4: the Conversation right and to write for.

373
00:21:12,040 --> 00:21:13,800
Speaker 1: Let me before you give a start, let me just

374
00:21:14,040 --> 00:21:16,720
Speaker 1: hold on. I just want to give people how great

375
00:21:16,760 --> 00:21:17,199
Speaker 1: she was.

376
00:21:17,320 --> 00:21:22,399
Speaker 2: Okay, Stevie Wonder's uptight dioloxis brother, this whole heart of mine,

377
00:21:23,119 --> 00:21:26,600
Speaker 2: Marvin Gate, it takes two, babe, man, Come on now,

378
00:21:27,320 --> 00:21:30,199
Speaker 2: Steve Wonder, I was made to love her, you know,

379
00:21:30,280 --> 00:21:30,960
Speaker 2: Stevie Wonder.

380
00:21:31,040 --> 00:21:33,480
Speaker 1: I'm wondering Martha, Martha.

381
00:21:33,160 --> 00:21:36,560
Speaker 2: And the Van Dale's love Bug, leave my Heart Alone,

382
00:21:37,160 --> 00:21:38,840
Speaker 2: Martha and the Van Dales.

383
00:21:38,600 --> 00:21:41,840
Speaker 1: Honey Child, Seby Doobe Do do Dave.

384
00:21:42,160 --> 00:21:47,200
Speaker 2: Stevie Wonder, my sher Ree, Stevie Wonder, Marth and Van

385
00:21:47,320 --> 00:21:50,880
Speaker 2: Dale's Honey Love Stevie Wonder never.

386
00:21:50,720 --> 00:21:51,960
Speaker 1: Had a dream come true?

387
00:21:52,480 --> 00:21:56,440
Speaker 2: Marth and Vandale's Forget Me Not, Michael Jackson with a

388
00:21:56,560 --> 00:21:57,240
Speaker 2: child's heart.

389
00:21:57,640 --> 00:21:59,960
Speaker 1: This is who we're talking about. Sylvia or Moore.

390
00:22:00,480 --> 00:22:03,520
Speaker 2: If you are in my age, you know all these

391
00:22:03,560 --> 00:22:05,520
Speaker 2: songs and and.

392
00:22:05,560 --> 00:22:08,879
Speaker 4: You forgot the all time fab My baby loves Me

393
00:22:09,640 --> 00:22:14,280
Speaker 4: Martha and Yes, and with the Child's Heart was actually

394
00:22:14,960 --> 00:22:19,359
Speaker 4: first performed by Stevie Wonder and then his cousin Michael Jackson.

395
00:22:19,040 --> 00:22:22,359
Speaker 3: Did it a little while later. Seeing Motown.

396
00:22:22,720 --> 00:22:25,359
Speaker 4: They believed in getting their money's worth out of those

397
00:22:25,480 --> 00:22:28,040
Speaker 4: artists as well as those songwriters and.

398
00:22:27,960 --> 00:22:30,720
Speaker 3: The the music itself.

399
00:22:30,800 --> 00:22:33,640
Speaker 2: But that's what they did with Gladys Knight and uh

400
00:22:33,720 --> 00:22:34,920
Speaker 2: I heard you through the Gray Fryar.

401
00:22:35,040 --> 00:22:37,840
Speaker 1: Remember Gladys Knight did it. They came right around and

402
00:22:37,840 --> 00:22:39,040
Speaker 1: gave it to Marvin Gay.

403
00:22:39,280 --> 00:22:41,480
Speaker 4: Exactly say look, if you can't get a hit on it,

404
00:22:41,560 --> 00:22:44,000
Speaker 4: we're gonna move on to the next, into the next,

405
00:22:44,040 --> 00:22:48,160
Speaker 4: into the next. So hey, that's called being quite resourceful.

406
00:22:48,400 --> 00:22:49,119
Speaker 4: And it worked.

407
00:22:49,680 --> 00:22:50,320
Speaker 3: It worked.

408
00:22:50,840 --> 00:22:54,040
Speaker 1: Oh wow, you know you you know your history.

409
00:22:54,080 --> 00:22:56,680
Speaker 2: I'm gonna just tell you that, doctor Bachino, and that's

410
00:22:56,720 --> 00:23:01,520
Speaker 2: a blessing your your oral history, you know. So so

411
00:23:01,520 --> 00:23:03,600
Speaker 2: so where the museum gonna be at for you?

412
00:23:03,680 --> 00:23:06,560
Speaker 1: Now? We're gonna put that make a digital museum for us.

413
00:23:07,280 --> 00:23:14,080
Speaker 4: You know, vir people ask me all the time you

414
00:23:14,160 --> 00:23:16,320
Speaker 4: need to you know, they see all of these quote

415
00:23:16,359 --> 00:23:20,439
Speaker 4: unquote young influencers talking about stuff and sharing information. And

416
00:23:20,480 --> 00:23:23,800
Speaker 4: they say they're talking about stuff that you live. They're

417
00:23:23,880 --> 00:23:27,119
Speaker 4: they're telling about stuff that you helped to make. I

418
00:23:27,160 --> 00:23:31,720
Speaker 4: didn't just uh read history alongside John N. H.

419
00:23:31,800 --> 00:23:32,240
Speaker 3: Johnson.

420
00:23:32,359 --> 00:23:34,160
Speaker 4: We helped him to write it and to make it.

421
00:23:34,440 --> 00:23:38,480
Speaker 4: But here's the thing about history. You're not thinking, Wow,

422
00:23:38,720 --> 00:23:40,919
Speaker 4: I'm in the moment and I make a history and

423
00:23:40,920 --> 00:23:44,240
Speaker 4: this is gonna be. You're just doing it because you're

424
00:23:44,359 --> 00:23:47,679
Speaker 4: called to do it. You don't know what tomorrow is

425
00:23:47,720 --> 00:23:51,800
Speaker 4: gonna hold. But I'm so fortunate that I left a

426
00:23:52,119 --> 00:23:56,040
Speaker 4: footprint in the sand, and I know my stories, and

427
00:23:56,119 --> 00:23:58,639
Speaker 4: I look at all of the success that many people

428
00:23:58,680 --> 00:24:01,920
Speaker 4: are massing, and I say, I remember interviewing that person.

429
00:24:02,160 --> 00:24:06,200
Speaker 4: I remember when I see Antoine Fuquah, and I remember

430
00:24:06,320 --> 00:24:09,840
Speaker 4: when at Johnson published and we used to have a private.

431
00:24:11,200 --> 00:24:13,000
Speaker 3: Room where you could scream movies.

432
00:24:13,920 --> 00:24:16,639
Speaker 4: He came with his movie Training Day, and he brought

433
00:24:16,640 --> 00:24:20,000
Speaker 4: his wife, Leelo Lashan, and we saw a rough cut

434
00:24:20,000 --> 00:24:22,440
Speaker 4: of Training Day, and he said, I'm not certain how

435
00:24:22,480 --> 00:24:25,080
Speaker 4: the ending is gonna be, but this is what I have,

436
00:24:26,080 --> 00:24:29,040
Speaker 4: and he talked about what the alternate might have been.

437
00:24:29,680 --> 00:24:33,280
Speaker 4: I look at Antoine Fuquah today and he just did Michael,

438
00:24:33,680 --> 00:24:39,240
Speaker 4: But I also look at Antoine Fuquah's history. Harvey Fuquah

439
00:24:39,320 --> 00:24:43,160
Speaker 4: was his uncle, Harvey Fuquah. You might remember the moon glows,

440
00:24:43,480 --> 00:24:47,879
Speaker 4: So do you see that full circle moment? And how

441
00:24:48,200 --> 00:24:50,359
Speaker 4: so there are these ten bits and little things that

442
00:24:50,480 --> 00:24:54,920
Speaker 4: I know that just for me comes second nature. And

443
00:24:55,000 --> 00:24:57,840
Speaker 4: so people often say, when are you gonna do something?

444
00:24:58,640 --> 00:25:02,240
Speaker 4: We'll see when spirit moves me, we'll see. It takes

445
00:25:02,240 --> 00:25:04,800
Speaker 4: a lot of work, but we'll see.

446
00:25:05,160 --> 00:25:05,400
Speaker 1: Wow.

447
00:25:06,080 --> 00:25:08,760
Speaker 2: She's the author of the book It's No Wonder, The

448
00:25:08,840 --> 00:25:12,320
Speaker 2: Life and Times of Motown's legendary songwriter sevill Or Moore.

449
00:25:12,440 --> 00:25:13,480
Speaker 1: What can we get this book?

450
00:25:14,320 --> 00:25:17,440
Speaker 4: You could get the book anywhere and everywhere the books

451
00:25:17,440 --> 00:25:17,840
Speaker 4: are sold.

452
00:25:18,440 --> 00:25:22,119
Speaker 1: My friend, you know you're still in Chicago, right.

453
00:25:22,480 --> 00:25:23,720
Speaker 3: I'm still in Chicago.

454
00:25:24,760 --> 00:25:28,879
Speaker 2: Chicago is one of my best eating cities. I I

455
00:25:28,880 --> 00:25:30,520
Speaker 2: gotta go up there and give me some good food

456
00:25:30,520 --> 00:25:33,440
Speaker 2: in Chicago. Well, you're gonna see me, my friend. You're

457
00:25:33,480 --> 00:25:38,880
Speaker 2: a brilliant person, an incredible legendary mind, and we're gonna

458
00:25:38,880 --> 00:25:42,200
Speaker 2: sit down and get this virtual museum of you off

459
00:25:42,240 --> 00:25:45,400
Speaker 2: the ground. Yeah, because I don't take no, especially when

460
00:25:45,400 --> 00:25:48,280
Speaker 2: I talk to great people. Because you know, one of

461
00:25:48,280 --> 00:25:50,879
Speaker 2: my great moments in life is that I want you

462
00:25:50,960 --> 00:25:54,199
Speaker 2: to tell your story, not let somebody come back and

463
00:25:54,240 --> 00:25:54,760
Speaker 2: mess it up.

464
00:25:55,240 --> 00:25:58,400
Speaker 4: Okay, oh oh yeah, because people will write you out

465
00:25:58,560 --> 00:26:01,240
Speaker 4: and wipe you out of your on history if letter.

466
00:26:01,440 --> 00:26:05,399
Speaker 4: But here's the wonderful thing about history. It may be hidden,

467
00:26:06,000 --> 00:26:07,320
Speaker 4: but it's never erased.

468
00:26:07,680 --> 00:26:09,520
Speaker 1: Well, guess what we're gonna.

469
00:26:09,600 --> 00:26:13,480
Speaker 2: We're gonna they say, stopgap that we just gonna put

470
00:26:13,520 --> 00:26:16,159
Speaker 2: it in place, lock it down, put a password on there,

471
00:26:16,160 --> 00:26:18,399
Speaker 2: and they can only be viewed by people who are

472
00:26:18,400 --> 00:26:19,560
Speaker 2: allowed to be viewed.

473
00:26:19,800 --> 00:26:21,200
Speaker 1: But you you, I.

474
00:26:21,160 --> 00:26:27,080
Speaker 2: Say all these things to say this outstanding storyteller, that's you. Okay, uh,

475
00:26:27,160 --> 00:26:30,080
Speaker 2: you've been You've been part of my life personally. And

476
00:26:30,200 --> 00:26:33,360
Speaker 2: to go grab miss Sylvia Moy and bring back songs

477
00:26:33,400 --> 00:26:36,119
Speaker 2: and realize in the early stage we saw about songs

478
00:26:36,119 --> 00:26:38,600
Speaker 2: before the songs and the key of life.

479
00:26:39,720 --> 00:26:42,480
Speaker 3: It wouldn't we wouldn't have gotten to that. They got

480
00:26:42,560 --> 00:26:44,440
Speaker 3: rid of him, and they wouldn't.

481
00:26:44,040 --> 00:26:44,480
Speaker 4: Have got that.

482
00:26:45,520 --> 00:26:47,880
Speaker 1: No, no, no, imagine the world without Sylvia More.

483
00:26:49,119 --> 00:26:52,560
Speaker 3: All right, you are speaking my life message.

484
00:26:52,280 --> 00:26:55,320
Speaker 1: The world with Sylvia More. Let's go be real. I

485
00:26:55,400 --> 00:26:57,680
Speaker 1: read a lot them songs. Now there would be no

486
00:26:57,760 --> 00:26:58,880
Speaker 1: more than the vad Dall.

487
00:26:59,200 --> 00:27:03,080
Speaker 4: All right, when I marked in the Vandela, wait a minute,

488
00:27:03,400 --> 00:27:04,280
Speaker 4: they were doing stuff.

489
00:27:09,160 --> 00:27:10,200
Speaker 1: I read these songs.

490
00:27:10,240 --> 00:27:14,800
Speaker 2: Yeah, yeah, you gotta have some extra love here. These

491
00:27:14,840 --> 00:27:18,440
Speaker 2: songs they know, I said, brother, that's my boys right there,

492
00:27:18,720 --> 00:27:21,600
Speaker 2: Brother Marvin k it takes two. These songs are my

493
00:27:22,400 --> 00:27:24,840
Speaker 2: I was made to love that. I mean, that's a classic.

494
00:27:24,880 --> 00:27:27,720
Speaker 2: I'm wondering that's a classic by stevene One love Bug

495
00:27:27,840 --> 00:27:30,600
Speaker 2: my Heart. That's mart than the bad. Come on now, honey,

496
00:27:31,000 --> 00:27:37,120
Speaker 2: come on now, come on. That's one my shell real more.

497
00:27:37,240 --> 00:27:40,879
Speaker 2: That is like a legendary song. Ste one, Martha the

498
00:27:41,040 --> 00:27:44,040
Speaker 2: Marthy again, honey love Okay, never had a dream? Come

499
00:27:44,119 --> 00:27:46,800
Speaker 2: Steve one, and then come Martha again. Forget me now

500
00:27:47,119 --> 00:27:48,760
Speaker 2: and then come on now.

501
00:27:49,800 --> 00:27:52,840
Speaker 4: One of my favorites by Sylvia Moore and this is

502
00:27:52,960 --> 00:27:56,600
Speaker 4: love Come on last Night and the Pips did it all.

503
00:27:56,720 --> 00:28:01,879
Speaker 4: That song that speaks to the astory on the skill.

504
00:28:02,320 --> 00:28:03,560
Speaker 4: That's just brilliance.

505
00:28:03,680 --> 00:28:04,840
Speaker 3: This woman was made.

506
00:28:04,960 --> 00:28:07,880
Speaker 2: Thank you for coming on my show, Money Making Conversations Masterclass.

507
00:28:08,040 --> 00:28:10,760
Speaker 2: But no, this is not the last time you're speaking

508
00:28:10,760 --> 00:28:11,720
Speaker 2: to Rashad McDonald.

509
00:28:11,760 --> 00:28:13,760
Speaker 1: Okay, right, all right.

510
00:28:14,200 --> 00:28:17,120
Speaker 3: All right, thank you, thank you. It's been a pleasure.

511
00:28:17,720 --> 00:28:19,679
Speaker 1: Thank you for listening to this episode.

512
00:28:19,840 --> 00:28:21,439
Speaker 2: Now I need for you to do me a favor

513
00:28:22,160 --> 00:28:25,720
Speaker 2: right now to follow or subscribe to Money Making Conversations.

514
00:28:25,880 --> 00:28:30,159
Speaker 2: It's free and you can find it on the iHeartRadio app, Spotify,

515
00:28:30,520 --> 00:28:34,359
Speaker 2: Apple Podcasts, or wherever you get your podcasts. Please do

516
00:28:34,440 --> 00:28:38,760
Speaker 2: me that favor, follow or subscribe Money Making Conversations.

517
00:28:39,040 --> 00:28:39,560
Speaker 1: Keep winning