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Speaker 1: Quest Love Supreme is a production of iHeartRadio. Ladies and gentlemen.

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Speaker 1: This is Quest Love Supreme, sitting here with family. This

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Speaker 1: is uh uh font ticcolo and layah. I keep forgetting

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Speaker 1: that we're now on YouTube and I hear we're doing well.

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Speaker 1: I want to talk like an old person. We're doing

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Speaker 1: well on the YouTube. I hear.

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Speaker 2: This is what I on the internet?

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Speaker 1: Yes, yo, wait someone all right. Someone ragged me hard

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Speaker 1: this entire weekend. Of course, a vacation and a mirror

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Speaker 1: are not synonymous with each other. But I took three

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Speaker 1: days off to go off the grid, and I gathered

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Speaker 1: a whole bunch of friends and we went to Las

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Speaker 1: Vegas to do a bunch of and I'm gonna say

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Speaker 1: it correctly this time, escape rooms. What I didn't know

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Speaker 1: was behind my back. Everyone's been teasing me because I've

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Speaker 1: been calling it escape the room, which is right to

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Speaker 1: look on Fante's face right now, is right? Everyone. Finally

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Speaker 1: someone had the heart to say, hey, I'm here, by

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Speaker 1: the way, in case you it's not a call to

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Speaker 1: escape the room. It's just called escape room. They were

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Speaker 1: basically telling me that I'm talking like an old black person.

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Speaker 2: Did you have a good time.

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Speaker 1: Half the time in my life, you know, solving murder mysteries.

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Speaker 3: Yet to do one? Man, I want to do one too.

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Speaker 1: Escape rooms is how I that? Who's going to get

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Speaker 1: in on the inner circle? Now you know, I've made

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Speaker 1: a lot of friends this year. No, I'm serious, word word,

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Speaker 1: I made a whole bunch of friends this year. So

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Speaker 1: now I got to weed them out. And the best

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Speaker 1: way to figure out who is who?

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Speaker 4: You only want smart people in your team.

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Speaker 1: Well, no, no, no, no, it's not just that, no, no, no,

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Speaker 1: Because the thing is is that escape rooms and japany

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Speaker 1: and I mentioned like she and Japanese restaurants is also

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Speaker 1: a litmus test. It's not about who succeeds or who

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Speaker 1: finds it natural. It's about I mean, even with total amateurs,

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Speaker 1: it tells me a lot about their willingness to figure

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Speaker 1: it out. If they don't know it, do they fake

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Speaker 1: it till they make it so they like I'm telling you,

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Speaker 1: escape rooms are the best way to figure out what

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Speaker 1: kind of people you're dealing with. So I had a

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Speaker 1: lot to learn this weekend. Anyway, my whole point was

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Speaker 1: that I use the word the and I shouldn't have

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Speaker 1: been using the so anyway, so we're on the YouTube

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Speaker 1: now and I'm hearing that we're doing well on the internet.

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Speaker 1: On the internets. I will say that oftentimes we speak

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Speaker 1: and we talk about heroes or people that we idolize,

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Speaker 1: and we have the go to names that you know,

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Speaker 1: the biggest achiever and all that stuff. But I will

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Speaker 1: say that oftentimes we overlook certain people because some you know,

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Speaker 1: sometimes things are hiding in plain sight, like your glasses

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Speaker 1: on your forehead, and you're tearing the room up looking

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Speaker 1: for your glasses, and they're like, oh, right here on

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Speaker 1: my forehead. I will say that in the preparation that

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Speaker 1: I took to do this particular episode, it reminded me

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Speaker 1: that our guest today is probably the individual to whom

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Speaker 1: I vicariously lived my life through. And you got to

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Speaker 1: understand that, you know, I'm a very specific situation, being

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Speaker 1: born in nineteen seventy one, three years after the whole

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Speaker 1: Civil rights you know revolution, I'm born into like one

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Speaker 1: of the first free generations or in terms of laws,

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Speaker 1: like you're not allowed to kill us, or at least

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Speaker 1: you're supposed to be. It's weird that my definition of

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Speaker 1: freedom is that legally it's it's it's it's illegal to

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Speaker 1: kill me, which is sort of as sad state of

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Speaker 1: affairs or where we are as a country. But that said,

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Speaker 1: you know, there are heroes and people to look up to,

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Speaker 1: and oftentimes, I was, we often look up people way

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Speaker 1: older than us, like of course, for a lot of America,

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Speaker 1: the Jackson Five were the first people that we vicariously

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Speaker 1: lived through as heroes. And then you know, there's other

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Speaker 1: people that came along. But you know, when I turned

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Speaker 1: into a teenager, there really wasn't I mean, besides maybe

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Speaker 1: you know, I mean there's Gary Coleman, Todd Bridges and

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Speaker 1: Janet Jackson like him, Fields like people my age. But

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Speaker 1: that's the thing when you're hip hop, right, but when yeah,

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Speaker 1: when you're the minority, and you know, it might hit

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Speaker 1: different from Fonte, who's way younger than I am, you know,

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Speaker 1: but for me at least, like this, this gentleman was

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Speaker 1: a very big part of my life as I got

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Speaker 1: into like my junior high in my high school years

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Speaker 1: and so and when you look at the span of

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Speaker 1: his career, you can clearly see an individual who like

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Speaker 1: has evolved, not only you know, as an actor on television,

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Speaker 1: but you know, also in theaters on and off Broadway,

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Speaker 1: as a musician, a Grammy Award winning musician, as a poet,

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Speaker 1: as a producer, as a director, Like there's so many,

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Speaker 1: I mean even as as host of SNL, Like there's

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Speaker 1: a lot of even small minuscule milestones that our guest

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Speaker 1: has has done throughout his life that I paid attention to.

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Speaker 1: And I've been waiting so long for this conversation, not

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Speaker 1: just you know, as a I don't know if are

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Speaker 1: we are we journalists right now?

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Speaker 2: Today we can be I feel like in this way, I.

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Speaker 1: Never you know, even though we have a long running

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Speaker 1: you know, going on our sixth year as with this podcast,

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Speaker 1: Like I don't feel like we're journalists or whatever. But

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Speaker 1: you know, I'm not looking forward to it as a journalist,

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Speaker 1: but just as a person that really gets to fan

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Speaker 1: out and ask questions to the person that he personally deemed,

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Speaker 1: you know, like that person. I don't know what to say,

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Speaker 1: but ladies and gentlemen, welcome, Malcolm Jamal wanted to quest

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Speaker 1: love supreme.

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Speaker 4: Thank you, thank you, thank you. I gotta say this though,

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Speaker 4: because I've listened to your show because I know you

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Speaker 4: were you know, you're like no bullshit a geek. There's

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Speaker 4: no bullshit like you know I get from you from

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Speaker 4: Ufonte both like I don't go for bullshit. So I'm

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Speaker 4: looking forward. I'm so looking forward to having this conversation.

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Speaker 4: But to be honest, to hear that from you, Emir

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Speaker 4: is a trip for me. Like you never know how

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Speaker 4: how you can affect people, right right, and you never

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Speaker 4: know how you, you know, come off to someone. You

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Speaker 4: may come off with someone a certain way, and that

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Speaker 4: was not the intent, right right, Bro, I have loved

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Speaker 4: you for years of point some years, and sometimes that

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Speaker 4: is crazy because but sometimes see it, we'd be cool

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Speaker 4: as all right, and sometimes I see you and I'd

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Speaker 4: be like did I say something wrong last time?

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Speaker 3: Or what?

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Speaker 1: Really?

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Speaker 4: Yeah? So like honestly, I stay there. I spent so

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Speaker 4: much of my time like thinking like, wow, I don't know,

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Speaker 4: I don't know if he likes me, Like I'm not sure.

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Speaker 1: I think with you all right, this is definitely the

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Speaker 1: this See, this is why this.

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Speaker 4: Conversation is necessary.

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Speaker 1: I'm in a way different place now in my life

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Speaker 1: for this very specific twenty twenty three year. It's twenty

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Speaker 1: twenty three, right, oh, I'm fifty two now, it's in

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Speaker 1: your birthday to okay, and it's probably springtime right now. No,

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Speaker 1: I think a big part of my old life and

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Speaker 1: I'm gonna I'm gonna save this a lot. I'm trying.

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Speaker 1: My heart is not to sound like the jail cat

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Speaker 1: that discovers religion and then is on fire for like

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Speaker 1: seven years. You know that, that type of annoying person.

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Speaker 1: But I'll just say that in this in this portion

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Speaker 1: of my life, yes, I think that I avoided anyone

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Speaker 1: I looked up to and dude, Steve and I'm not

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Speaker 1: even name like Steve is just the same thing, like

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Speaker 1: you don't call me, Like how come you don't call

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Speaker 1: or that sort of thing. And I think oftentimes I

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Speaker 1: get in my head like, oh man, that's just that's

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Speaker 1: that's way too you know, you make up excuses. So

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Speaker 1: I apologize for my standoff is nature, but I assure

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Speaker 1: you that this is the elephant that's afraid of the mouse,

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Speaker 1: and the mouse is afraid of the element thing.

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Speaker 4: So well, I got that.

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Speaker 1: But seriously, even when doing I had to do international

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Speaker 1: press for the movie for Summer of Soul and someone

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Speaker 1: I think this is when I was in we were

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Speaker 1: in Holland, and someone asked me, like, you know, what

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Speaker 1: was the first moment? Like I often asked a question

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Speaker 1: like what's your first musical memory, someone asked me something like,

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Speaker 1: what was like the moment that you felt like, oh

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Speaker 1: you could do this too. And I don't know if

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Speaker 1: you remember this, but this was you did a segment

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Speaker 1: once on Entertainment Tonight, or at least Entertainment Tonight covered

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Speaker 1: it where they gave you and four of your friends,

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Speaker 1: like four video cameras and you guys shot around New

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Speaker 1: York City and I just remember the way you're laughing

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Speaker 1: right now, tells me you remember. I just remember the

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Speaker 1: backdrop was to the Jackson State of Shock. However, oh wow, However,

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Speaker 1: I watched that moment and again, yeah, was Spike Lee

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Speaker 1: a thing?

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Speaker 4: Then?

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Speaker 1: Yes he was. However, to me that that moment I watched,

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Speaker 1: I was like, Oh, we can do other things. So

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Speaker 1: that was a that was to you, that was just

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Speaker 1: some thirty seven year ago segment for a television show

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Speaker 1: that you probably haven't even thought about in decades. But

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Speaker 1: for me, that was a moment. I mean, dude, even

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Speaker 1: the jamin on the one moment that other producer's thread

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Speaker 1: that I spoke of, like with The one thing we

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Speaker 1: all have in common was we saw that episode, and

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Speaker 1: then in two months later we all get Cassio sk

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Speaker 1: Ones and the first thing you do is you do

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Speaker 1: all the cuss words. Then you do jamming on the one,

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Speaker 1: you do all the things you saw like it was

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Speaker 1: a toy. And then there's the moment you're like, oh,

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Speaker 1: I could put music in this thing. And I assure

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Speaker 1: you any classic hip hop producer that started in that

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Speaker 1: really got their foot in the nineties, I swear to

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Speaker 1: God God that for a lot of us, that was

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Speaker 1: our moment to know what hip hop was, you know

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Speaker 1: what I mean. So it's weird that you're you're such

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Speaker 1: a part of these historical moments that you yourself probably haven't

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Speaker 1: even thought of. Like wow, I'm I'm like a watershed

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Speaker 1: for a lot that has happened, and you know, you

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Speaker 1: don't register it. Oh my god, this is the longest

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Speaker 1: intro effort.

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Speaker 4: Did I said something?

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Speaker 2: He said something, he said something in the middle, it's

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Speaker 2: like fifteen minutes.

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Speaker 1: Anyway, Malcolm, how are you?

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Speaker 4: Man? Great man, that's great, that's great. And Yo, thank

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Speaker 4: you for sharing what you shared. And I'm glad that

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Speaker 4: I was right that I could bring that up in

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Speaker 4: the spirit that you would receive it and it wouldn't

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Speaker 4: come off like, you know, me trying to be a

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Speaker 4: dick or you'd be defensive man, you know, and that

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Speaker 4: might have been an older verse to me that wouldn't

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Speaker 4: have done it just because, but you know, like you,

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Speaker 4: I'm fifty two, I'm beginning to like really embrace like

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Speaker 4: the wisdom that comes with that, you know, so the

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Speaker 4: biby to have that exchange, and it be as cool

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Speaker 4: of an exchange that that was. Just I appreciate we.

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Speaker 1: Are what you call evolved adults.

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Speaker 4: Now. Yeah, yeah, it's great though.

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Speaker 5: Congratulations, I'm watching it between two black men.

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Speaker 2: It's beautiful.

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Speaker 4: Word word, thank you.

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Speaker 1: So I'll ask you, now, what was your first musical memory.

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Speaker 4: Hearing Graham Central station other's living room? Wow? Really, I

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Speaker 4: just remember, like, what what is that? And it never

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Speaker 4: understood until twenty something years later that when I started

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Speaker 4: playing bass, I was like, oh wow, bass is something

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Speaker 4: that that resonated with me at you know, three years old, right,

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Speaker 4: So I just remember, and I know I've heard music

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Speaker 4: before that, but I just remember a moment hearing hair

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Speaker 4: and hearing this voice and then and the guitars and

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Speaker 4: the music, and it was just it was crazy, but

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Speaker 4: it had a profound effect.

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Speaker 1: Not not to self promote or self plug but I mean,

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Speaker 1: you know, half of our at least more than half

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Speaker 1: of our listeners know that I'm currently right now at

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Speaker 1: the beginning of the slide in the Family Stone documentary.

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Speaker 1: But for me, one of the hardest men to climb,

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Speaker 1: the hardest mountain to climb of this whole process isn't

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Speaker 1: even sly like slides already in the can slides interviews

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Speaker 1: are done. However, U I really truly thought like the

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Speaker 1: likelihood of getting Larry to cooperate in this thing was

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Speaker 1: the equivalent of like a Steph Curry shot from all

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Speaker 1: the way the other end of the court and you

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Speaker 1: pray to God that it goes in the court. And

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Speaker 1: he just literally as of the speaking like just agreed

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Speaker 1: to be a part of it. So like, I'm going

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Speaker 1: to gril the hell out of Larry Graham and yeah, yeah,

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Speaker 1: take advantage of that opportunity exactly exactly because you know,

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Speaker 1: all too often, like there's not a lot of in

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Speaker 1: depth interviews even with you. Besides like the very little

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Speaker 1: that I knew of you, like when you were, like

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Speaker 1: when Cynthia Horner was covering you right on magazine and

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Speaker 1: stuff like that, like there's really you know a lot

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Speaker 1: of my me.

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Speaker 5: Don't forget about the come on, I had to pull

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Speaker 5: out the whole pull out poster.

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Speaker 1: Exactly like for me, Like there's there's just not much

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Speaker 1: in depth information that you get to find out about. So,

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Speaker 1: but when did you first realize like coming I'm assuming

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Speaker 1: that you came to the base later in life, Like

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Speaker 1: how old were you when you first like decide I'm

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Speaker 1: gonna try this. It's twenty six that I know. That

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Speaker 1: has to be intimidating. How long was it before you

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Speaker 1: picked it up? And how many years did you give

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Speaker 1: yourself to really master it?

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Speaker 4: So the whole reason I started playing bass was because

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Speaker 4: I was working on Malcolmingetti, right, and I was miserable.

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Speaker 1: Really, I was miserable on that show after that Michelle

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Speaker 1: period or.

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Speaker 4: No, it was mister Michelle was during that period. But

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Speaker 4: it was because I had spent eight years you know,

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Speaker 4: at NBC in an environment that mister Cosby made everyone

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Speaker 4: ultra aware of the images of people of color we're

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Speaker 4: putting on the airways, right, So eight years of that

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Speaker 4: then I go to UPN and it was like having

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Speaker 4: had the top university and then being stuck in fucking

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Speaker 4: junior college.

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Speaker 2: You know, home Boys are out of space man.

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Speaker 4: Right right?

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Speaker 1: Yeah, But Malcolm and Eddie was not Homeboys in a

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Speaker 1: space yeah, or the Butler Guy.

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Speaker 4: But here's the thing, though, there was a lot of

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Speaker 4: work that I put into There's like a lot of

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Speaker 4: you know, blood, literal tears, the literal sweat I put

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Speaker 4: into that show because I came from Even though I

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Speaker 4: knew what UPN's programming was, I was like, Okay, well

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Speaker 4: they've seen me for eight years be a part of

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Speaker 4: a show they made that made history without relying on stereotypes.

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Speaker 4: So my thinking was, okay, well that's what they want here.

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Speaker 4: I've watched mister Cosby run that show for eight years.

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Speaker 4: I know that. You know, the stereotypical things you didn't

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Speaker 4: see on the show was not because the writers were

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Speaker 4: not writing it. It was because mister Cosby was saying, no,

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Speaker 4: that's not the show we're doing. That's not who these

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Speaker 4: that's not who the Huckstables are. That the drive by

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Speaker 4: mentality you have when you're writing black comedy that doesn't

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Speaker 4: belong on the show. So literally I watched them for

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Speaker 4: eight years, shutting down writers, making them go back to

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Speaker 4: square one and rewrite the script that's not based on stereotypes. Right,

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Speaker 4: So all that I get to upm like, okay, well

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Speaker 4: they know how this goes, and realize that one of

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Speaker 4: them was not Bill Cosby. We were not doing Bill

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Speaker 4: Cosby numbers. So I would come to work every day

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Speaker 4: fighting writers, producers, directors, studio, network, fellow actor, viewing public

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Speaker 4: because there was a certain standard that I wanted to

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Speaker 4: continue when Uphold and UPN's whole marketing thing was the

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Speaker 4: antithesis of what I had come from.

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Speaker 1: What did the writer's room look like? It was a

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Speaker 1: bunch of white people the whiters rooms, Yeah, but what

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Speaker 1: did it look like?

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Speaker 4: It was mostly white writers on Cosby. I don't think

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Speaker 4: we ever had more than three black writers on staff

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Speaker 4: at the time. At the time on.

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Speaker 1: Cosby, how many writers are normally in the room. They

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Speaker 1: could be eight ten, So typical sitcom will have eight

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Speaker 1: to ten writers, yeah, and a show runner and they paid. Okay,

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Speaker 1: I get it.

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Speaker 4: So so Malcolm Edi was it was the same kind

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Speaker 4: of the same kind of that. We may have had

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Speaker 4: four writers at one time, but I mean, you know,

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Speaker 4: just I was just miserable and I was looking for

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Speaker 4: a hobby, something that I wouldn't turn into a career.

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Speaker 4: So the directing started out as a hobby and and

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Speaker 4: that State of Shock video you were talking about was

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Speaker 4: actually that was really my entree in uh, you know,

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Speaker 4: let me really see what this directing thing is all about.

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Speaker 4: Because the first two years of the show, we would

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Speaker 4: do this Cosby Show Cosby Kids Tour. Me and Lisa

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Speaker 4: would always talk about, yeah, we want to be triple threats,

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Speaker 4: you know, we want to write at that and direct

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Speaker 4: and do woo woo woop. Like after two and a

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Speaker 4: half years of saying that, I was like, let me

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Speaker 4: see if that's something i'd want to do, something I

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Speaker 4: even can do. So that State of Shock video, I

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Speaker 4: laughed because that was literally my first shot at attempt

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Speaker 4: at directing.

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Speaker 1: And then you did on The Magnificent and you also

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Speaker 1: did Any Heartbreak at.

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Speaker 4: Yeah, yeah with Brian. What was that?

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Speaker 2: Brian?

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Speaker 5: What I remember they y'all were in the video. They

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Speaker 5: showed it behind the scenes to Any Heartbreak. I was like,

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Speaker 5: it was you and it was impressive because it was

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Speaker 5: also the actor from Head of the class who was

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Speaker 5: a became a director.

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Speaker 4: Oh yeah, yeah, yeah, Brian and Brian Robbins. Yeah yeah.

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Speaker 4: So the directing started as a hobby became a career.

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Speaker 4: So by the time I was on Malcolm and Eddie,

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Speaker 4: I was like, Okay, I need a hobby, something that's

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Speaker 4: not acting, not directing, something that will never become a career.

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Speaker 4: I've always wanted to play music. I'll never be so

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Speaker 4: if I, in fact, if I just practice scales to

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Speaker 4: a metronome in my dressing room, that would keep me

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Speaker 4: from caring as much about the show. I'm putting so

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Speaker 4: much of myself into the show that's not loving me

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Speaker 4: back in the way that I would like, let me

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Speaker 4: just practice scales to a mess from that would kind

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Speaker 4: of put me in a zone kind of place. I'll

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Speaker 4: never be one of those corny actor dudes who try

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Speaker 4: to do music. I'll never start a band, right, I'll

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Speaker 4: never record a CD. I'll just do this. And then

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Speaker 4: it became it became a whole other thing because like, like, really,

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Speaker 4: who gets off from practicing scales to a metro know

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Speaker 4: in their dressing room in between scenes? Right?

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Speaker 1: The pivot is real, man, Yeah, pivoting is real. It's

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Speaker 1: so weird we're having this conversation right now because right

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Speaker 1: now I'll say that creatively, you know, I'm I'm let

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Speaker 1: me stop painting it, like I'm being forced to, like

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Speaker 1: they have guns to my head. But you know, we've

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Speaker 1: been working like for all I for all I can

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Speaker 1: say is that the Roots album is essentially finished. I'm

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Speaker 1: definitely using a lot of you know, I'll think of

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Speaker 1: ways to hold up install the process. You know, there's

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Speaker 1: a better song, there's a better song. But this morning

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Speaker 1: I was like, man, you made a promise to yourself

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Speaker 1: that you were going to learn how to thoroughly play piano,

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Speaker 1: like thoroughly and not that whole like three chords at it.

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Speaker 1: Like I'm a three chord at a time person where

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Speaker 1: I could do three chords and then stop the thing,

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Speaker 1: and then I got to figure out the next chords

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Speaker 1: and figure out and then I'll struggle through. That's like

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Speaker 1: my level of songwritings. But you know, I was just like, man,

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Speaker 1: it's way too late for you, Like I talked myself

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Speaker 1: out of the process, Like it's way too late for

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Speaker 1: you to even start to think that you can play

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Speaker 1: piano as good as you play drums, like, if I

378
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Speaker 1: could just get my piano thing down, then my songwriting

379
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Speaker 1: level could go to the next level. But you know,

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Speaker 1: I think I was too intimidated by the process to

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Speaker 1: actually think that I could make it happen. But I'll

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Speaker 1: ask you from practicing your scales to like knowing exactly

383
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Speaker 1: what you want musically and producing your own records, Like

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Speaker 1: how long did that process take from twenty six to

385
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Speaker 1: when do you feel like, yeah, I could do this shit?

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Speaker 4: All right? I said, let me go back with real

387
00:23:04,200 --> 00:23:06,119
Speaker 4: quick to address something you said, So I don't. So

388
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Speaker 4: where are you now with the needing to play piano

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Speaker 4: as well as you?

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Speaker 1: You know, this is probably gonna be the last album

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Speaker 1: in which I will go to either James Poyser or

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Speaker 1: Camal or Ray Angry and be like, Okay, so I

393
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Speaker 1: need this care that card and like talk my way

394
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Speaker 1: through it and sort of more this whole CSI process

395
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Speaker 1: of trying to figure out how to get what's out

396
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Speaker 1: of here into the fingers next year. Damn it. I'm

397
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Speaker 1: learning how to play piano the way I really want

398
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Speaker 1: to learn it, like as good as James, which I

399
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Speaker 1: know takes time, And you know, I'm trying to disprove

400
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Speaker 1: the fact that you can't teach an old dog new trick.

401
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Speaker 4: So that's why I was asking you, gotcha? Gotcha?

402
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Speaker 1: How intimidating was it to go from I think I'm

403
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Speaker 1: learn the bass to holy shit, I can learn the

404
00:23:58,320 --> 00:24:01,600
Speaker 1: bass too, right right? And the winner is Malcolm Jamal

405
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Speaker 1: Waner for No D D DA Like, okay, this real quick?

406
00:24:04,880 --> 00:24:06,520
Speaker 4: So you know you don't have to you don't have

407
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Speaker 4: to play keys, you don't have to play piano as

408
00:24:08,920 --> 00:24:11,080
Speaker 4: well as you play bass to write dope songs. You

409
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Speaker 4: realize that, right, I just want you to keep that mind.

410
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Speaker 1: I've no I've I've proven that one can only know

411
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Speaker 1: how to play drums and still produce music. But it's

412
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Speaker 1: just oftentimes, like the ideas come like so often that

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Speaker 1: you know, I feel like I'm letting great ideas go

414
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Speaker 1: because I don't have an outlet to get somebody to

415
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Speaker 1: translate my you know, which is why I want to

416
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Speaker 1: learn to do it myself.

417
00:24:41,200 --> 00:24:41,400
Speaker 4: Yeah.

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Speaker 1: So, speaking of which fante, do you play an instrument? Nah?

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Speaker 6: Well, the only instrument I officially learned to play was trumpet.

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Speaker 6: I played trumpet all through like middle school and like

421
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Speaker 6: some high school. But I was I was like off

422
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Speaker 6: stake man. I was first chair.

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Speaker 1: Wait you first chair.

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Speaker 6: Yeah, I was first chair. I was first chair, and

425
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Speaker 6: like my band and I got school band. Then when

426
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Speaker 6: I first chair, and I'm just finding this out now,

427
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Speaker 6: I was third chair.

428
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Speaker 3: It's all state man.

429
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Speaker 6: But but then when I got to high school, you know,

430
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Speaker 6: you couldn't play ball and play trumpet at the same

431
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Speaker 6: time play band.

432
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Speaker 4: So I just played football.

433
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Speaker 6: But uh keys, I know some I know theory, I know,

434
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Speaker 6: like just basic theory, but I'm not a player by

435
00:25:21,560 --> 00:25:24,879
Speaker 6: any stretch. All the vocal arrangements and stuff I do,

436
00:25:25,000 --> 00:25:26,160
Speaker 6: it's just really just about year.

437
00:25:26,480 --> 00:25:29,520
Speaker 1: You know, trumpet in hand, could you go to where

438
00:25:29,560 --> 00:25:31,560
Speaker 1: you were in Hell?

439
00:25:31,760 --> 00:25:33,280
Speaker 3: No, I'm sure it's done.

440
00:25:33,840 --> 00:25:36,399
Speaker 1: Play that ship in thirty years, but you know you

441
00:25:36,840 --> 00:25:37,920
Speaker 1: better Blues level.

442
00:25:39,320 --> 00:25:39,760
Speaker 3: Can tell it.

443
00:25:39,880 --> 00:25:44,680
Speaker 6: You can sell it, bleak, you can sell it. I

444
00:25:44,680 --> 00:25:49,680
Speaker 6: ain't playing, but yeah, I know, I know, yeh, trumpet, piano,

445
00:25:50,040 --> 00:25:52,680
Speaker 6: you know, I know, just basic like you know, chords

446
00:25:52,720 --> 00:25:56,480
Speaker 6: and just like theory, and then with being around so

447
00:25:56,560 --> 00:26:00,560
Speaker 6: many musicians, like particularly like vocal arrangements, like some of

448
00:26:00,640 --> 00:26:04,320
Speaker 6: my nerve fans are like, oh you saying if major

449
00:26:04,520 --> 00:26:06,960
Speaker 6: seven in that quart, I'm just like, I take your

450
00:26:07,000 --> 00:26:11,000
Speaker 6: word for it, but but I know just a little bit.

451
00:26:11,040 --> 00:26:12,440
Speaker 4: I don't play. I'm not a player.

452
00:26:14,200 --> 00:26:16,080
Speaker 5: I did used to play the recorder if that matters.

453
00:26:16,160 --> 00:26:18,000
Speaker 5: I don't think I could go back to her play

454
00:26:18,560 --> 00:26:19,159
Speaker 5: like I used to.

455
00:26:19,400 --> 00:26:20,840
Speaker 1: Yeah, grade grade that.

456
00:26:20,960 --> 00:26:25,320
Speaker 2: Was that was in seventh grade. Yeah, yes, you were saying, Malcolm.

457
00:26:25,040 --> 00:26:28,960
Speaker 4: I'll offer you this and then I'll get into answer

458
00:26:29,040 --> 00:26:32,480
Speaker 4: your question. In terms of old dog learning new tricks,

459
00:26:32,600 --> 00:26:35,320
Speaker 4: I picked up trumpet two years ago.

460
00:26:36,920 --> 00:26:37,520
Speaker 3: How's it going.

461
00:26:38,119 --> 00:26:43,240
Speaker 4: It's your breath, it's so nasty, it's you know, I'm

462
00:26:43,520 --> 00:26:45,360
Speaker 4: just getting to the point where she started to love

463
00:26:45,400 --> 00:26:48,680
Speaker 4: me back a little bit, right, but it's it's no.

464
00:26:48,920 --> 00:26:52,880
Speaker 4: It gives me a greater appreciation for music because I'm

465
00:26:52,920 --> 00:26:55,840
Speaker 4: having a new relationship with with music. So like, so

466
00:26:56,119 --> 00:26:59,760
Speaker 4: I took the base. I was twenty six, right, a

467
00:27:00,080 --> 00:27:03,080
Speaker 4: year and a half after, you know, realizing that the

468
00:27:04,080 --> 00:27:07,640
Speaker 4: metronomeal scales not happening. I used to hold jam sessions

469
00:27:07,800 --> 00:27:11,080
Speaker 4: like at my house, just play with cats. And a

470
00:27:11,280 --> 00:27:13,639
Speaker 4: year and a half after playing base, I went to

471
00:27:14,240 --> 00:27:16,879
Speaker 4: m I I had like a three month hiatus from

472
00:27:16,920 --> 00:27:19,840
Speaker 4: Alcornetti and I went to Musicians Institute and they're like

473
00:27:19,960 --> 00:27:24,880
Speaker 4: ten week based immersion program. I was in way over

474
00:27:24,960 --> 00:27:27,919
Speaker 4: my head, what are you learning ten weeks? It's they

475
00:27:28,000 --> 00:27:30,399
Speaker 4: throw so much at you, and it was it was

476
00:27:30,440 --> 00:27:33,680
Speaker 4: stuff that I couldn't It was every day and yeah,

477
00:27:33,720 --> 00:27:37,080
Speaker 4: it was every day. Literally. It took me a good

478
00:27:37,320 --> 00:27:39,840
Speaker 4: three or four years to be able to digest what

479
00:27:40,000 --> 00:27:42,560
Speaker 4: I had learned, you know, not what I had learned

480
00:27:42,600 --> 00:27:44,480
Speaker 4: those ten weeks, but the information that I had a

481
00:27:44,600 --> 00:27:47,440
Speaker 4: mast in those ten weeks. It took me years for

482
00:27:47,760 --> 00:27:50,280
Speaker 4: it to make sense. Right. But I say that to

483
00:27:50,320 --> 00:27:53,840
Speaker 4: say so because I play with cats who have great ears.

484
00:27:54,400 --> 00:27:58,600
Speaker 4: I dove head first into theory because I needed to

485
00:27:58,640 --> 00:27:59,919
Speaker 4: at least be able to communicate.

486
00:28:00,119 --> 00:28:01,359
Speaker 3: I don't have to speak the language.

487
00:28:01,680 --> 00:28:04,000
Speaker 4: Yeah, And I was also clear that, like you know,

488
00:28:04,320 --> 00:28:07,520
Speaker 4: in playing with other musicians and starting a band, I

489
00:28:07,760 --> 00:28:12,000
Speaker 4: really can't be that corny actor dude who wants to

490
00:28:12,040 --> 00:28:14,320
Speaker 4: get into music like I got to take it seriously

491
00:28:14,960 --> 00:28:18,800
Speaker 4: and I have to respect it enough that real musicians

492
00:28:18,840 --> 00:28:21,840
Speaker 4: who I want to play with understand that I respected enough,

493
00:28:22,480 --> 00:28:25,040
Speaker 4: you know, and want to rock with me. And as

494
00:28:25,080 --> 00:28:27,680
Speaker 4: a musician also, you know, guide me along the way

495
00:28:27,920 --> 00:28:32,160
Speaker 4: that makes sense. Right. So, as a bass player, I've

496
00:28:32,200 --> 00:28:35,960
Speaker 4: always used music theory as my hack instead of using

497
00:28:36,040 --> 00:28:41,200
Speaker 4: my ear on bass, I can play a fourth anywhere

498
00:28:41,280 --> 00:28:44,560
Speaker 4: on the neck because I know where the fourth is analytically,

499
00:28:44,720 --> 00:28:47,960
Speaker 4: and I know where fourth is logistically, not because I

500
00:28:48,000 --> 00:28:53,400
Speaker 4: could hear the fourth right. So now playing trump muscle

501
00:28:53,400 --> 00:28:55,800
Speaker 4: memory and just thought like, I know, you know, I

502
00:28:55,920 --> 00:28:58,440
Speaker 4: know where a fourth is in the muscle memory and

503
00:28:58,600 --> 00:29:01,240
Speaker 4: the theory of it. I know where a fourth is,

504
00:29:02,200 --> 00:29:04,800
Speaker 4: so you can get away with Okay if I know,

505
00:29:05,040 --> 00:29:06,600
Speaker 4: if I know what key I'm in and I got

506
00:29:06,640 --> 00:29:09,400
Speaker 4: the progression, I'm good and you can do that without hearing.

507
00:29:09,880 --> 00:29:12,200
Speaker 4: But on trumpet, as you know, you got to hear

508
00:29:12,280 --> 00:29:16,960
Speaker 4: the note before you play it, right. So now I'm like, oh,

509
00:29:17,280 --> 00:29:21,600
Speaker 4: that's what a fourth sounds like. Ah okay. It's just

510
00:29:21,680 --> 00:29:24,560
Speaker 4: giving me a whole different appreciation for music because I

511
00:29:24,640 --> 00:29:26,360
Speaker 4: started playing trumpet two years ago.

512
00:29:26,680 --> 00:29:28,959
Speaker 1: At the time, when you're doing this, going to jam sessions,

513
00:29:29,000 --> 00:29:31,440
Speaker 1: like what part of the United States? Are you in

514
00:29:31,600 --> 00:29:35,320
Speaker 1: New York? Are you in California? I'm in La Okay,

515
00:29:35,520 --> 00:29:38,040
Speaker 1: So back, let's go back to nineteen ninety five. If

516
00:29:38,120 --> 00:29:41,480
Speaker 1: you want to find a jam session or a spot

517
00:29:41,560 --> 00:29:44,720
Speaker 1: that will let cats work things out, Like where are

518
00:29:44,760 --> 00:29:45,560
Speaker 1: you going like.

519
00:29:46,040 --> 00:29:48,960
Speaker 4: That part was easy because there were these cats. It's

520
00:29:49,280 --> 00:29:52,040
Speaker 4: Ron Kat Spearmen. They had this house that was kind

521
00:29:52,040 --> 00:29:53,880
Speaker 4: of down the hill from me, and they were a

522
00:29:53,960 --> 00:29:56,520
Speaker 4: band and they were a whole band that lived together, okay,

523
00:29:56,640 --> 00:29:59,040
Speaker 4: and so they had you know, they always had the

524
00:29:59,160 --> 00:30:02,280
Speaker 4: music set up down in the bottom floor of the house.

525
00:30:02,960 --> 00:30:04,600
Speaker 4: So I used to go over there and kind of jam,

526
00:30:05,520 --> 00:30:07,479
Speaker 4: you know, like literally I met a cat I think

527
00:30:07,680 --> 00:30:10,720
Speaker 4: actually the cat who sold me my first bass at

528
00:30:10,760 --> 00:30:14,640
Speaker 4: the Guitar Center. He was a drummer, right, So after

529
00:30:14,720 --> 00:30:16,960
Speaker 4: doing the jam sessions at roncast crib and then sometimes

530
00:30:16,960 --> 00:30:19,640
Speaker 4: they'll come to my crib. And then at some point,

531
00:30:19,800 --> 00:30:22,040
Speaker 4: like two days a week, I would have two different

532
00:30:22,160 --> 00:30:25,680
Speaker 4: sets of musicians who I'm jamming with. When I go

533
00:30:25,760 --> 00:30:29,360
Speaker 4: to m I they had a BMI was holding the

534
00:30:29,400 --> 00:30:32,800
Speaker 4: showcase m and who's when the showcase was like, listen,

535
00:30:32,800 --> 00:30:35,800
Speaker 4: we're doing a showcase for BMI. Since you go here,

536
00:30:36,360 --> 00:30:38,160
Speaker 4: I'd love for you, the host it if I give you,

537
00:30:38,240 --> 00:30:39,800
Speaker 4: I'll give you a slot to do a song, and

538
00:30:39,880 --> 00:30:42,680
Speaker 4: I'd love for you the hosted. So I was like, well,

539
00:30:43,080 --> 00:30:47,280
Speaker 4: let me do two songs and cool. She was like fine,

540
00:30:47,560 --> 00:30:53,160
Speaker 4: I had no songs. Yeah, I was gonna say lo.

541
00:30:53,320 --> 00:30:55,360
Speaker 4: I was like, hey, by I know, I was working

542
00:30:55,440 --> 00:31:00,200
Speaker 4: on Coltrane's Equinox and Lover was just's ugly head. So

543
00:31:00,360 --> 00:31:02,960
Speaker 4: I was like, Okay, I'm gonna do those those two songs,

544
00:31:03,360 --> 00:31:05,240
Speaker 4: and I'd even have a band. So the band I

545
00:31:05,400 --> 00:31:08,680
Speaker 4: put together were, you know, the different cats from the

546
00:31:08,720 --> 00:31:12,120
Speaker 4: two different jam sessions, and I make sure that none

547
00:31:12,160 --> 00:31:16,000
Speaker 4: of them played in bands together because I wasn't sure

548
00:31:16,080 --> 00:31:17,520
Speaker 4: what I was trying to create, but I knew I

549
00:31:17,600 --> 00:31:20,360
Speaker 4: wanted it like a little a mix of stuff, but

550
00:31:20,720 --> 00:31:22,600
Speaker 4: you know, I still wanted to be wanted it to

551
00:31:22,640 --> 00:31:24,560
Speaker 4: be my project, if that makes.

552
00:31:24,400 --> 00:31:27,680
Speaker 1: Sense, right, And it wasn't intimidating in terms of like

553
00:31:28,200 --> 00:31:31,440
Speaker 1: I'll give you an example. Comedians have to always work

554
00:31:31,480 --> 00:31:34,840
Speaker 1: out their comedy in front of a small group of people.

555
00:31:35,880 --> 00:31:38,040
Speaker 1: Like for me, performing like it's no people ask all

556
00:31:38,040 --> 00:31:39,920
Speaker 1: the time like yeaver get nervous to perform and whatever.

557
00:31:40,520 --> 00:31:43,880
Speaker 1: And I'll say that, you know, a typical roots concert

558
00:31:43,960 --> 00:31:49,200
Speaker 1: nowadays is somewhere you know, we're somewhere in between five

559
00:31:49,320 --> 00:31:53,680
Speaker 1: thousand to maybe depending on the marketplace, you know, nine

560
00:31:53,720 --> 00:31:58,840
Speaker 1: to ten thousand people. And with that many people, there's

561
00:31:58,880 --> 00:32:02,840
Speaker 1: no intimacy there, so I don't have fear, but you know,

562
00:32:02,960 --> 00:32:06,200
Speaker 1: it's always in small, smaller clubs and those sort of

563
00:32:06,280 --> 00:32:10,200
Speaker 1: things like if you say, if Glasper's like yo, come

564
00:32:10,280 --> 00:32:13,400
Speaker 1: down the blue note and sit in a song or two,

565
00:32:14,520 --> 00:32:19,000
Speaker 1: like I might legit get like uptight about it because

566
00:32:19,440 --> 00:32:24,840
Speaker 1: I think in smaller intimate settings musicianship is a weirder

567
00:32:25,320 --> 00:32:28,360
Speaker 1: thing for me to do, which I know is kind

568
00:32:28,400 --> 00:32:30,520
Speaker 1: of weird for me to say, like thirty years into

569
00:32:30,600 --> 00:32:34,080
Speaker 1: my career to emit, like I have hang ups about

570
00:32:34,920 --> 00:32:35,640
Speaker 1: that sort of thing.

571
00:32:35,720 --> 00:32:37,719
Speaker 4: But for you, though, but would you do it were

572
00:32:37,760 --> 00:32:40,880
Speaker 4: you ever worried about like Amir, would you do with it?

573
00:32:41,040 --> 00:32:42,400
Speaker 4: You would have your hang ups and get up tight

574
00:32:42,400 --> 00:32:43,560
Speaker 4: about it, But would you still do it?

575
00:32:44,720 --> 00:32:48,960
Speaker 1: I would still do it because even now and yeah,

576
00:32:49,040 --> 00:32:51,920
Speaker 1: sometimes the voice of self doubt is heavy as hell,

577
00:32:52,280 --> 00:32:56,600
Speaker 1: But I'm smart enough to just jump in the pool

578
00:32:56,640 --> 00:32:58,560
Speaker 1: and say fuck it at the end of the day,

579
00:32:58,760 --> 00:33:03,000
Speaker 1: but not before the anxiety of how good do I

580
00:33:03,040 --> 00:33:06,560
Speaker 1: have to be? The you know, because like the level

581
00:33:06,600 --> 00:33:09,640
Speaker 1: of musician nerds that are watching Glass are a little

582
00:33:09,680 --> 00:33:15,080
Speaker 1: bit different than the crowds that you know want us

583
00:33:15,120 --> 00:33:17,719
Speaker 1: to play a song that reminds them of their college

584
00:33:17,800 --> 00:33:20,640
Speaker 1: period back in two thousand and three, you know what

585
00:33:20,680 --> 00:33:23,640
Speaker 1: I mean, Yeah, this is real, real different. But for you,

586
00:33:24,080 --> 00:33:27,360
Speaker 1: you were never at all like keeping this close to

587
00:33:27,440 --> 00:33:31,200
Speaker 1: the chest and worrying about people that are judging you

588
00:33:31,480 --> 00:33:35,240
Speaker 1: of your other profession that they see you perfect, you know,

589
00:33:35,400 --> 00:33:38,600
Speaker 1: and applying it to your musician life. Yeah.

590
00:33:40,360 --> 00:33:42,720
Speaker 4: No, I mean I think I think it was you know,

591
00:33:42,880 --> 00:33:48,440
Speaker 4: maybe just part audacity. I'm sure. I'm sure there's also

592
00:33:48,480 --> 00:33:51,800
Speaker 4: a little a little ego in it and that, you know,

593
00:33:51,880 --> 00:33:53,960
Speaker 4: when you know, when I was doing when I started

594
00:33:53,960 --> 00:33:56,280
Speaker 4: doing spoken word, I was I was really active in

595
00:33:56,360 --> 00:34:01,920
Speaker 4: the underground spoken word movement in La right, and I

596
00:34:02,040 --> 00:34:04,600
Speaker 4: was always doing poetry always, So there's a certain of

597
00:34:04,720 --> 00:34:06,760
Speaker 4: you know, there's a certain level of audacity to be

598
00:34:06,840 --> 00:34:10,200
Speaker 4: able to be a poet and you know, write your

599
00:34:10,680 --> 00:34:14,040
Speaker 4: shit and be vulnerable and have people you know judge

600
00:34:14,080 --> 00:34:16,560
Speaker 4: you and shit. So there's a certain level of audacity

601
00:34:16,680 --> 00:34:19,120
Speaker 4: with that. But back when I started, you know, there

602
00:34:19,239 --> 00:34:22,440
Speaker 4: was only like one or two poetry spots, you know,

603
00:34:22,680 --> 00:34:26,040
Speaker 4: in any given city you could go to. So once

604
00:34:26,160 --> 00:34:29,959
Speaker 4: it got to the point where you know, neo soul

605
00:34:30,520 --> 00:34:33,880
Speaker 4: you know, started to take off, and then you know,

606
00:34:34,120 --> 00:34:36,360
Speaker 4: there are poetry spots like all over the place, and

607
00:34:36,400 --> 00:34:42,200
Speaker 4: now HBO's got a poetry situation, so there was For me,

608
00:34:42,320 --> 00:34:44,440
Speaker 4: it was like, okay, well this is you know, a

609
00:34:44,560 --> 00:34:48,200
Speaker 4: really a crowded field, and I have a you know,

610
00:34:48,280 --> 00:34:53,480
Speaker 4: I have a love hate relationship with poetry anyway. But

611
00:34:53,760 --> 00:34:57,319
Speaker 4: you know, I also I grew up listening to to Gil,

612
00:34:57,360 --> 00:34:59,840
Speaker 4: Scott Hare and Brian Jackson, Like my dad went to

613
00:35:00,000 --> 00:35:04,719
Speaker 4: Lincoln with Gil and Bryant, and my dad went to

614
00:35:04,840 --> 00:35:08,120
Speaker 4: Lincoln because Langston went to Lincoln. So like the whole

615
00:35:08,200 --> 00:35:10,680
Speaker 4: poetry thing is all like I came out of the

616
00:35:10,760 --> 00:35:16,600
Speaker 4: womb listening to Gil and last poets. So when all this,

617
00:35:16,920 --> 00:35:19,240
Speaker 4: you know, when now it seems like everybody's a poet

618
00:35:19,880 --> 00:35:26,040
Speaker 4: and now fucking celebrities are poets too, right, right right,

619
00:35:27,440 --> 00:35:29,759
Speaker 4: I'm so much on my own ship. I will I

620
00:35:29,880 --> 00:35:33,239
Speaker 4: make the disclaimer. I am a poet. I am not

621
00:35:33,360 --> 00:35:36,040
Speaker 4: a celebrity who likes to do poetry. I'm a poet.

622
00:35:37,120 --> 00:35:39,600
Speaker 4: So I think when like when everybody's a poet, I

623
00:35:39,719 --> 00:35:41,160
Speaker 4: was like, well, you know what, Gil put his stuff

624
00:35:41,200 --> 00:35:44,600
Speaker 4: to music. I think at some point the music was

625
00:35:44,640 --> 00:35:47,000
Speaker 4: still kind of you know, calling me a bit. But

626
00:35:47,120 --> 00:35:50,879
Speaker 4: even before I started playing bass, I used to see

627
00:35:50,920 --> 00:35:53,359
Speaker 4: you guys in me. I don't remember. You guys would

628
00:35:53,360 --> 00:35:57,320
Speaker 4: do San Diego a lot, yes man, yeah, And I

629
00:35:57,440 --> 00:35:59,960
Speaker 4: was doing a play down in La Joya Bell Yeah,

630
00:36:00,239 --> 00:36:03,480
Speaker 4: so whenever y'all come through, you know, we did there.

631
00:36:03,800 --> 00:36:05,759
Speaker 4: And at this point I wasn't even you know, I

632
00:36:05,920 --> 00:36:08,279
Speaker 4: might have thought about bass, but I wasn't really, you know,

633
00:36:08,400 --> 00:36:10,960
Speaker 4: seriously considered picking up bass. But I would talk to

634
00:36:11,080 --> 00:36:15,400
Speaker 4: Hub about bass and and and jazz and jazz studies

635
00:36:15,520 --> 00:36:18,560
Speaker 4: and Okay, So by the time it came around to

636
00:36:19,440 --> 00:36:23,560
Speaker 4: fuse the you know, the music and the poetry, right,

637
00:36:24,160 --> 00:36:28,040
Speaker 4: it was what you guys were doing with Ursula Rucker. Yeah, right,

638
00:36:28,960 --> 00:36:31,440
Speaker 4: Like the first time I heard that first joint, like,

639
00:36:32,440 --> 00:36:38,239
Speaker 4: you know, right, right, And so I had listened to

640
00:36:38,360 --> 00:36:42,880
Speaker 4: that for years, even before thinking about playing bass or

641
00:36:42,920 --> 00:36:45,400
Speaker 4: any of that. But when the time came that I

642
00:36:45,560 --> 00:36:47,760
Speaker 4: had to put the two together, because when I started

643
00:36:47,840 --> 00:36:50,279
Speaker 4: the bass, it was just to play music, right. I

644
00:36:50,440 --> 00:36:52,960
Speaker 4: kept the poetry and the music separate from each other,

645
00:36:53,640 --> 00:36:55,680
Speaker 4: even though I was still doing poetry at spots, and

646
00:36:55,680 --> 00:36:58,120
Speaker 4: I was still doing poetry with other bands. You know,

647
00:36:58,320 --> 00:37:00,759
Speaker 4: my band like no, we're we're like we're jazz funk band.

648
00:37:00,760 --> 00:37:03,680
Speaker 4: I'm here to play bass, but what was happening. People

649
00:37:03,800 --> 00:37:06,480
Speaker 4: weren't really you know, feeling coming to see me standing

650
00:37:06,520 --> 00:37:07,600
Speaker 4: in the back with the drummer.

651
00:37:08,800 --> 00:37:08,920
Speaker 1: Right.

652
00:37:09,040 --> 00:37:12,840
Speaker 4: So at some point I had to uh take responsibility

653
00:37:12,880 --> 00:37:16,120
Speaker 4: for being a front the front man to my own band, right,

654
00:37:18,320 --> 00:37:20,719
Speaker 4: And then I started coming. I was coming out of

655
00:37:20,760 --> 00:37:23,480
Speaker 4: pocket like two three hundred dollars every time I did

656
00:37:23,520 --> 00:37:26,160
Speaker 4: a gig, because once I paid everybody, once I did

657
00:37:26,320 --> 00:37:29,360
Speaker 4: print and advertising. Uh, you know, I asked somebody, you know,

658
00:37:29,520 --> 00:37:31,759
Speaker 4: video of the show. I'm coming out of pocket. So

659
00:37:31,800 --> 00:37:35,040
Speaker 4: I was like, I need to sell a CD so

660
00:37:35,120 --> 00:37:36,560
Speaker 4: I can at least and not feel like I'm losing

661
00:37:36,600 --> 00:37:38,520
Speaker 4: money every time I do a show. But I had

662
00:37:39,080 --> 00:37:44,680
Speaker 4: no music. I had no music, so it was like,

663
00:37:45,760 --> 00:37:48,440
Speaker 4: all right, I need to start doing poetry. I need

664
00:37:48,520 --> 00:37:51,959
Speaker 4: to start, you know, uh, you know, coming up with music,

665
00:37:52,200 --> 00:37:55,000
Speaker 4: do my poetry over and then I would go back

666
00:37:55,040 --> 00:37:56,760
Speaker 4: to uh to the unlocking.

667
00:37:58,120 --> 00:37:59,279
Speaker 1: It was like yeah.

668
00:38:00,000 --> 00:38:03,240
Speaker 4: And then Michelle nddio Cello you know that first album

669
00:38:03,400 --> 00:38:06,319
Speaker 4: was like, ah, brand new Heavies. You know, they were

670
00:38:06,520 --> 00:38:09,239
Speaker 4: you know, they were popping. So all of that made

671
00:38:09,280 --> 00:38:12,480
Speaker 4: me go, yes, I'm gonna do poetry and I'm gonna

672
00:38:12,480 --> 00:38:16,080
Speaker 4: play bass. Fuck what every other poet out there is doing.

673
00:38:16,520 --> 00:38:20,000
Speaker 4: I'm on some different shit. Nobody's doing this, and I'm

674
00:38:20,040 --> 00:38:24,319
Speaker 4: gonna do it well, right, and it's gonna be good, right,

675
00:38:24,440 --> 00:38:27,360
Speaker 4: And I know it's going to be so good that

676
00:38:28,160 --> 00:38:31,239
Speaker 4: I don't care what you think about it, right, Like

677
00:38:31,280 --> 00:38:33,000
Speaker 4: I'm trying to get there with my acting. If you

678
00:38:33,160 --> 00:38:36,640
Speaker 4: told me, yo, you suck. Truthfully, I'm almost at the

679
00:38:36,680 --> 00:38:40,120
Speaker 4: place where that wouldn't bother me, but it might hit

680
00:38:40,239 --> 00:38:42,680
Speaker 4: me somewhere. Right. You can tell me as a poet

681
00:38:42,880 --> 00:38:46,560
Speaker 4: that I suck water off a duck's back. It does

682
00:38:46,719 --> 00:38:49,400
Speaker 4: not affect me at all, because for me, that's how

683
00:38:49,520 --> 00:38:55,560
Speaker 4: good I feel I am as a post right. So okay, well,

684
00:38:56,040 --> 00:38:59,400
Speaker 4: if I already feel that way about the poetry and

685
00:38:59,520 --> 00:39:02,040
Speaker 4: everybody trying to fill the space, well let me kick

686
00:39:02,080 --> 00:39:04,480
Speaker 4: it up a notch, you know, let me start playing

687
00:39:04,560 --> 00:39:08,399
Speaker 4: bass while I'm doing poetry, right, but let me really

688
00:39:08,960 --> 00:39:14,320
Speaker 4: learn the Eddie Griffin had a band right wait in

689
00:39:14,440 --> 00:39:17,000
Speaker 4: real life? Yeah yeah, yeah, yeah, yeah yeah yeah.

690
00:39:17,120 --> 00:39:19,040
Speaker 1: I didn't know this. So he had this band.

691
00:39:19,080 --> 00:39:20,239
Speaker 4: It was like it was like a you know, a

692
00:39:20,280 --> 00:39:28,320
Speaker 4: from Cadelic knockoff. He had two bass players, is yeah, yeah, yeah, really,

693
00:39:28,600 --> 00:39:31,360
Speaker 4: yeah yeah. That's one of the things that kind of

694
00:39:31,440 --> 00:39:34,919
Speaker 4: broke the mystique for me. It's like, oh, okay, they're

695
00:39:34,960 --> 00:39:37,960
Speaker 4: doing funk Adelic. And then I just watched him a lot,

696
00:39:38,480 --> 00:39:42,440
Speaker 4: and I uh, I watched him so much and listened

697
00:39:42,440 --> 00:39:47,440
Speaker 4: to him so much and understood that he's one of

698
00:39:47,480 --> 00:39:51,960
Speaker 4: those talented cats you know that can definitely by playing

699
00:39:52,000 --> 00:39:55,360
Speaker 4: all the stuff, but he doesn't he's not study. He

700
00:39:55,400 --> 00:39:58,799
Speaker 4: doesn't know music. So I was like, Okay, well, if

701
00:39:58,960 --> 00:40:02,839
Speaker 4: I just do that, I could get over. But if

702
00:40:02,880 --> 00:40:05,239
Speaker 4: I actually take the time to study the language of music,

703
00:40:05,520 --> 00:40:10,160
Speaker 4: then I could actually play with really good musicians, you know,

704
00:40:10,160 --> 00:40:12,960
Speaker 4: who are gonna rock with me and hold me accountable

705
00:40:13,800 --> 00:40:15,320
Speaker 4: and not just be kissing my ass because I'm not

706
00:40:15,440 --> 00:40:17,080
Speaker 4: much to my one. So like there was all of

707
00:40:17,280 --> 00:40:24,600
Speaker 4: that that that that went into so much about the honor, respect,

708
00:40:24,719 --> 00:40:28,160
Speaker 4: and legitimacy of being able to call myself a musician

709
00:40:28,719 --> 00:40:32,920
Speaker 4: around really good musicians and they can actually acknowledge me,

710
00:40:33,880 --> 00:40:36,120
Speaker 4: you know, and to be legit Like that's the long

711
00:40:36,239 --> 00:40:40,560
Speaker 4: game that I was going for back at twenty eight.

712
00:40:41,360 --> 00:40:42,600
Speaker 4: And I think I think you.

713
00:40:42,800 --> 00:40:46,279
Speaker 6: I think there's also thing as well with actors, with musicians.

714
00:40:46,880 --> 00:40:49,720
Speaker 6: If you're an actor doing music, we know, for damn

715
00:40:49,719 --> 00:40:51,000
Speaker 6: sure you're not doing it for the money.

716
00:40:52,080 --> 00:40:54,640
Speaker 3: Like you know what I'm saying.

717
00:40:55,080 --> 00:40:58,840
Speaker 6: We know like, Okay, if you're here, you're here for

718
00:40:59,000 --> 00:41:01,040
Speaker 6: a choice, you know, I mean, you're making a choice

719
00:41:01,080 --> 00:41:03,520
Speaker 6: to be here because you could take care of yourself

720
00:41:03,600 --> 00:41:07,200
Speaker 6: so much better, you know what I'm saying, doing TV,

721
00:41:07,400 --> 00:41:08,520
Speaker 6: doing movies on whatever.

722
00:41:08,760 --> 00:41:11,080
Speaker 4: So there is there is some skin in the game

723
00:41:11,120 --> 00:41:13,120
Speaker 4: in that way, and putting up product with no label,

724
00:41:14,000 --> 00:41:16,960
Speaker 4: you know, no promotional budget, like none of that, like

725
00:41:17,120 --> 00:41:22,160
Speaker 4: everything like coming straight out of pocket, right, no union

726
00:41:23,040 --> 00:41:26,600
Speaker 4: right right. But for me, it's about the art, like

727
00:41:27,080 --> 00:41:31,239
Speaker 4: like I'm yeah, I'm creating art, and I'm creating timeless art.

728
00:41:32,080 --> 00:41:34,680
Speaker 5: So who was the first peer that saw what you

729
00:41:34,760 --> 00:41:38,200
Speaker 5: were doing and was like keep doing that? And you

730
00:41:38,600 --> 00:41:40,520
Speaker 5: it really kind of stamped it for you. I mean

731
00:41:40,520 --> 00:41:45,080
Speaker 5: even though in terms of the music side of the No,

732
00:41:45,160 --> 00:41:48,200
Speaker 5: on the music side, I got the poetry because Ursula

733
00:41:48,239 --> 00:41:49,000
Speaker 5: Rucord just text.

734
00:41:48,920 --> 00:41:50,120
Speaker 2: Me about you, so I get it.

735
00:41:50,560 --> 00:41:50,840
Speaker 1: Wow.

736
00:41:53,320 --> 00:41:57,520
Speaker 4: I think early on Layla Hathaway because me and Layla

737
00:41:57,640 --> 00:42:01,880
Speaker 4: go way back. And so when I first, you know,

738
00:42:01,960 --> 00:42:04,160
Speaker 4: put this band together and I'm out gigging. You know,

739
00:42:04,200 --> 00:42:07,880
Speaker 4: I had a female vocalist and Layla would come to

740
00:42:08,080 --> 00:42:12,000
Speaker 4: my gigs and when the vocalist would sing, she would leave.

741
00:42:13,600 --> 00:42:20,600
Speaker 1: What's that's actually on brand for Laila halfaway?

742
00:42:20,920 --> 00:42:21,040
Speaker 6: Right?

743
00:42:21,960 --> 00:42:25,520
Speaker 4: But but but it's so much Layla. It's so much Layla.

744
00:42:26,160 --> 00:42:29,600
Speaker 4: It's not Layla being a dick. It's like she like,

745
00:42:29,719 --> 00:42:34,000
Speaker 4: if it's not working for her, she literally cannot physically

746
00:42:34,160 --> 00:42:34,480
Speaker 4: beat it.

747
00:42:34,840 --> 00:42:36,160
Speaker 6: And we're like, when you, I think, when you're one

748
00:42:36,200 --> 00:42:38,120
Speaker 6: of the best at something, like I mean, when we

749
00:42:38,239 --> 00:42:39,839
Speaker 6: had Dave on, he was saying, like how it's hard

750
00:42:39,840 --> 00:42:42,040
Speaker 6: for him to watch other comedians. You know what I'm saying,

751
00:42:42,080 --> 00:42:45,200
Speaker 6: because it's just you know, you're just constantly looking at

752
00:42:45,360 --> 00:42:46,840
Speaker 6: how you could do it better.

753
00:42:47,400 --> 00:42:47,880
Speaker 4: You know what I mean.

754
00:42:47,960 --> 00:42:49,880
Speaker 6: And with Layla, I mean with her being you know,

755
00:42:49,960 --> 00:42:53,600
Speaker 6: one of the singers in the world. Yeah, I could

756
00:42:53,680 --> 00:42:55,719
Speaker 6: see her, you know, walking out.

757
00:42:56,520 --> 00:42:58,839
Speaker 2: Wait, So that being said, I know we weren't talking

758
00:42:58,840 --> 00:42:59,120
Speaker 2: about it.

759
00:42:59,160 --> 00:43:01,239
Speaker 5: Does that mean you're gonna talk about Jesus children and

760
00:43:01,320 --> 00:43:03,520
Speaker 5: how that that came together then, because that's kind of

761
00:43:03,800 --> 00:43:05,320
Speaker 5: a beautiful circle back.

762
00:43:06,320 --> 00:43:09,920
Speaker 4: Right, Yeah, yeah, I love to just just go back

763
00:43:10,000 --> 00:43:10,439
Speaker 4: real quick.

764
00:43:10,840 --> 00:43:14,360
Speaker 1: Sorry, you know, just just probably the first backwards episode

765
00:43:14,560 --> 00:43:18,879
Speaker 1: of Quest Love Supreme where we started the end way

766
00:43:18,960 --> 00:43:21,000
Speaker 1: backwards and.

767
00:43:21,000 --> 00:43:24,120
Speaker 4: That's how conversation goes though, right right there. So later

768
00:43:24,200 --> 00:43:28,239
Speaker 4: would later would would come to my gigs often, right,

769
00:43:28,320 --> 00:43:30,760
Speaker 4: So even if she didn't dig, you know, whatever singer

770
00:43:30,880 --> 00:43:33,640
Speaker 4: we had, she was still supportive and you know, and

771
00:43:33,680 --> 00:43:37,600
Speaker 4: I know she wouldn't be rocking just you know, because.

772
00:43:38,160 --> 00:43:40,880
Speaker 1: So that, by the way, can let me enterrupt one second?

773
00:43:41,600 --> 00:43:43,279
Speaker 1: That singer never found out? Did they.

774
00:43:44,760 --> 00:43:47,239
Speaker 4: Hopeful? Well, there were a couple of different singers, you know,

775
00:43:47,400 --> 00:43:51,239
Speaker 4: a different different shows, so uh may.

776
00:43:52,719 --> 00:43:56,680
Speaker 1: This episode like I know that that wasn't me anyway.

777
00:43:59,400 --> 00:44:00,200
Speaker 4: A't talking about me?

778
00:44:00,960 --> 00:44:02,120
Speaker 1: Right exactly exactly.

779
00:44:03,640 --> 00:44:06,719
Speaker 4: But Jesus Children Kevin Teasley who was my my my

780
00:44:06,920 --> 00:44:10,640
Speaker 4: MD at the time, had office space at west Lake

781
00:44:11,480 --> 00:44:13,680
Speaker 4: and he's at west Lake, you know, Rob's at west

782
00:44:13,760 --> 00:44:16,400
Speaker 4: Lake and they're talking and you know, uh, you know Capstone,

783
00:44:16,400 --> 00:44:19,000
Speaker 4: he's you know, India, my band whatever. So so I

784
00:44:19,120 --> 00:44:22,840
Speaker 4: come over, you know, hanging out they're doing and Layla's

785
00:44:22,840 --> 00:44:26,600
Speaker 4: actually recording Jesus Children, okay, And as I'm there and

786
00:44:26,719 --> 00:44:31,680
Speaker 4: she knocks it out in one take, and you know,

787
00:44:31,840 --> 00:44:34,560
Speaker 4: Rob is playing to me this musical interlude and he

788
00:44:34,680 --> 00:44:39,759
Speaker 4: was telling me how his homeboy, uh I had a

789
00:44:39,880 --> 00:44:45,080
Speaker 4: daughter who was killed at Sandy Hook, and he's going

790
00:44:45,120 --> 00:44:47,360
Speaker 4: to write a poem, you know, and it's going to

791
00:44:47,440 --> 00:44:49,960
Speaker 4: go here and hold nine. And I was like, Yo,

792
00:44:50,160 --> 00:44:54,440
Speaker 4: that's that's dope, right. So we're hanging out and then

793
00:44:55,160 --> 00:44:57,640
Speaker 4: about two weeks later, he's in town. He's back in town.

794
00:44:57,680 --> 00:45:00,359
Speaker 4: He's and he's mixing the record and Robins like, yo,

795
00:45:00,600 --> 00:45:02,920
Speaker 4: you know, my man, he couldn't do it like you know,

796
00:45:03,239 --> 00:45:05,640
Speaker 4: at the you know, eleventh hour, it really hit too

797
00:45:05,880 --> 00:45:09,520
Speaker 4: close to home. Do you have a poem about Sandy Hook?

798
00:45:10,640 --> 00:45:12,520
Speaker 4: And I was like no, but he forgive me the track.

799
00:45:12,560 --> 00:45:15,440
Speaker 4: I'll go upstairs the right one. So he gave me

800
00:45:15,520 --> 00:45:23,200
Speaker 4: his iPod shuffle time and I went upstairs, and in

801
00:45:23,320 --> 00:45:26,560
Speaker 4: about an hour or some change, he came upstairs and like,

802
00:45:26,640 --> 00:45:30,160
Speaker 4: I spit it to him. He was like, and I

803
00:45:30,320 --> 00:45:32,600
Speaker 4: was at a time where I was doing I was

804
00:45:32,640 --> 00:45:35,680
Speaker 4: doing a lot of writing at the time, so it

805
00:45:35,760 --> 00:45:38,000
Speaker 4: was clearly like a time where I needed to be

806
00:45:38,200 --> 00:45:41,839
Speaker 4: on my A game. And it was just a point

807
00:45:41,840 --> 00:45:43,799
Speaker 4: in life where I was on my A game because

808
00:45:43,800 --> 00:45:46,160
Speaker 4: I was doing so much writing at the time that

809
00:45:46,320 --> 00:45:47,920
Speaker 4: I was you know, I was able to go up.

810
00:45:48,320 --> 00:45:52,440
Speaker 4: And I know it sounds corny when writers talk about, oh, well,

811
00:45:52,920 --> 00:45:54,880
Speaker 4: you know, God was just using me as the vessel

812
00:45:55,080 --> 00:45:56,840
Speaker 4: and you know, ya YadA, that's.

813
00:45:56,800 --> 00:45:57,359
Speaker 1: All I say.

814
00:45:57,480 --> 00:46:01,680
Speaker 4: Now, so welcome to that. And it's a real thing.

815
00:46:01,880 --> 00:46:03,640
Speaker 4: And I guess you have to experience it to like

816
00:46:03,760 --> 00:46:06,520
Speaker 4: really understand that it's a real thing. And it can

817
00:46:06,600 --> 00:46:09,000
Speaker 4: sound corny and cliche, but like that's some real shit.

818
00:46:09,120 --> 00:46:12,560
Speaker 4: And that night, like the vessel was open and the

819
00:46:12,680 --> 00:46:15,600
Speaker 4: universe just said and I just took it.

820
00:46:15,640 --> 00:46:15,960
Speaker 5: All and.

821
00:46:17,640 --> 00:46:22,200
Speaker 1: You know, no, that's it's real. It's not corny at all.

822
00:46:27,360 --> 00:46:29,279
Speaker 1: I have to say that I really admire the fact

823
00:46:29,360 --> 00:46:35,480
Speaker 1: that you are covering poetry because all too often I

824
00:46:35,560 --> 00:46:37,959
Speaker 1: think a typical move would have just been like, okay,

825
00:46:38,040 --> 00:46:40,440
Speaker 1: you're an MC, now you're a rapper, that sort of thing.

826
00:46:41,320 --> 00:46:46,320
Speaker 1: And the fact that you took on poetry is super admirable.

827
00:46:46,880 --> 00:46:47,279
Speaker 4: I know that.

828
00:46:47,680 --> 00:46:52,120
Speaker 1: You know, Tariq's process is he's such a morning person,

829
00:46:52,320 --> 00:46:55,560
Speaker 1: like literally like wakes up, you know, does whatever is

830
00:46:55,600 --> 00:46:58,040
Speaker 1: yoga and exercise all that stuff, like like at five am.

831
00:46:58,840 --> 00:47:01,120
Speaker 1: He's like the opposite of Quincy Jones, where Quincy Jones

832
00:47:01,200 --> 00:47:04,160
Speaker 1: said that you know, like yeah, yeah, like that one

833
00:47:04,200 --> 00:47:08,239
Speaker 1: am is where he gets his magic from. Srika's like

834
00:47:08,360 --> 00:47:12,280
Speaker 1: a in bed by nine thirty ten pm early person,

835
00:47:13,239 --> 00:47:19,880
Speaker 1: and between six am and maybe nine am that's usually

836
00:47:20,000 --> 00:47:24,320
Speaker 1: when the line's share of ideas come. Like that's his

837
00:47:24,440 --> 00:47:27,720
Speaker 1: writing time, Like you're never to interrupt him, wow before

838
00:47:27,880 --> 00:47:32,239
Speaker 1: eleven am, because from five till then, that's that's his

839
00:47:32,640 --> 00:47:33,799
Speaker 1: that's his moment, that's his.

840
00:47:34,000 --> 00:47:36,160
Speaker 4: Part of his process. That makes so much sense.

841
00:47:36,880 --> 00:47:39,600
Speaker 1: Always wanted to know because oftentimes, you know, Tarik will

842
00:47:39,640 --> 00:47:43,000
Speaker 1: also have like these assignments to do, like this guy

843
00:47:43,080 --> 00:47:44,759
Speaker 1: wants him to rhyme on that shit or you know that,

844
00:47:45,040 --> 00:47:47,360
Speaker 1: or he has a deadline for a record. But is

845
00:47:47,480 --> 00:47:50,759
Speaker 1: poetry the same? And I guess you could answer to

846
00:47:50,840 --> 00:47:55,160
Speaker 1: this also, Fante, Like for a writer when you have

847
00:47:55,360 --> 00:47:59,040
Speaker 1: a blank page and the idea isn't coming, like can

848
00:47:59,120 --> 00:48:04,080
Speaker 1: you sort of in record time like regurgitate words to

849
00:48:04,239 --> 00:48:07,600
Speaker 1: be right right poems?

850
00:48:08,520 --> 00:48:08,719
Speaker 5: Yeah?

851
00:48:08,840 --> 00:48:12,200
Speaker 6: I mean you can, you know, I mean listen the

852
00:48:12,280 --> 00:48:15,279
Speaker 6: thing I tell everybody, man, the blank page kicks everybody's ass. Like,

853
00:48:15,360 --> 00:48:17,400
Speaker 6: I don't care if you've written a million books, if

854
00:48:17,440 --> 00:48:21,239
Speaker 6: you've sold a million records, you know it, don't you know?

855
00:48:21,440 --> 00:48:24,440
Speaker 3: If that blank page or that blank screen or whatever.

856
00:48:25,040 --> 00:48:28,080
Speaker 6: That is the great equalizer because no matter how many

857
00:48:28,160 --> 00:48:30,600
Speaker 6: times you've done it, you still got to do it again,

858
00:48:30,840 --> 00:48:31,319
Speaker 6: you know what I mean.

859
00:48:31,719 --> 00:48:34,560
Speaker 3: And it's you know that blank page is that shit

860
00:48:34,680 --> 00:48:35,440
Speaker 3: is intimidating.

861
00:48:35,920 --> 00:48:39,040
Speaker 6: So yeah, it definitely is a time where you know,

862
00:48:39,840 --> 00:48:43,560
Speaker 6: we are somebody like to read and I mean, Malcolm

863
00:48:43,680 --> 00:48:44,920
Speaker 6: just you know, someone that's been in the game for

864
00:48:45,040 --> 00:48:46,960
Speaker 6: so long. We've been in it so long to where

865
00:48:47,000 --> 00:48:51,280
Speaker 6: it's like it's kind of technically impossible to be bad,

866
00:48:51,719 --> 00:48:52,279
Speaker 6: you know what I mean.

867
00:48:52,440 --> 00:48:55,640
Speaker 3: But my mentality is always good is the enemy of great.

868
00:48:56,880 --> 00:49:00,520
Speaker 6: I'm so technically good, like I can just write it'll

869
00:49:00,560 --> 00:49:03,080
Speaker 6: be good, but I ain't going for good.

870
00:49:03,160 --> 00:49:04,759
Speaker 3: I'm trying to be great, you know what I mean.

871
00:49:05,040 --> 00:49:08,120
Speaker 6: And so a lot of times if you're under the gun,

872
00:49:09,239 --> 00:49:11,600
Speaker 6: that's kind of where I think the alpha state thing

873
00:49:11,640 --> 00:49:13,520
Speaker 6: can kind of come because you're not thinking and you

874
00:49:13,719 --> 00:49:15,759
Speaker 6: just kind of just writing and it's like, oh yeah,

875
00:49:16,080 --> 00:49:19,480
Speaker 6: this shit just kind of came out. But it definitely

876
00:49:19,800 --> 00:49:24,640
Speaker 6: is a degree of professionalism where I just think it's

877
00:49:24,760 --> 00:49:28,359
Speaker 6: not about inspiration. Inspiration is fleeting, you know what I'm saying.

878
00:49:28,440 --> 00:49:30,920
Speaker 6: Inspiration you can be inspired one day and you may

879
00:49:31,000 --> 00:49:34,759
Speaker 6: not be inspired again, you know, for months. But it's

880
00:49:34,800 --> 00:49:37,520
Speaker 6: more so just about dedication, just dedication to the craft

881
00:49:37,719 --> 00:49:39,640
Speaker 6: and just the more you do it. You know, even

882
00:49:39,719 --> 00:49:42,600
Speaker 6: if I'm not for me every day, even if I'm

883
00:49:42,640 --> 00:49:47,040
Speaker 6: not writing, I'm always having just some kind of prompts

884
00:49:47,160 --> 00:49:50,160
Speaker 6: or something like I may just like take a word,

885
00:49:50,239 --> 00:49:52,120
Speaker 6: I hear a word I hear on TV or something,

886
00:49:52,280 --> 00:49:54,680
Speaker 6: and I'll just write like ten words that rhyme with

887
00:49:54,760 --> 00:49:56,160
Speaker 6: that word, you know what I mean.

888
00:49:56,440 --> 00:49:58,680
Speaker 1: Or that's your exercise in your memo, like in your

889
00:49:58,840 --> 00:50:01,680
Speaker 1: in your iPhone memo, Yeah you got a page after

890
00:50:01,760 --> 00:50:02,719
Speaker 1: page after page of.

891
00:50:03,040 --> 00:50:05,759
Speaker 6: I'll have string of rhyming words or just prompts or

892
00:50:05,840 --> 00:50:09,480
Speaker 6: ideas and then I'll just contextualize it later, you know

893
00:50:09,520 --> 00:50:09,839
Speaker 6: what I mean.

894
00:50:10,320 --> 00:50:14,400
Speaker 3: But but yeah, it definitely is a practice. And for

895
00:50:14,560 --> 00:50:16,000
Speaker 3: me in my career, you.

896
00:50:16,080 --> 00:50:18,040
Speaker 6: Can do it at any time if you just say, hey,

897
00:50:18,120 --> 00:50:19,960
Speaker 6: I need something, you know, you can turn it around.

898
00:50:20,560 --> 00:50:24,800
Speaker 6: But it's that memory, that working that muscle trying to

899
00:50:24,920 --> 00:50:28,120
Speaker 6: be you know, get that greatness consistently over and over

900
00:50:28,160 --> 00:50:28,720
Speaker 6: and over again.

901
00:50:29,560 --> 00:50:31,320
Speaker 3: That for me is always the best practice.

902
00:50:32,480 --> 00:50:37,160
Speaker 1: And what's your what's your general practice with with poetry?

903
00:50:38,239 --> 00:50:39,880
Speaker 1: Like does it hit you when it hits you or

904
00:50:40,239 --> 00:50:43,759
Speaker 1: do you give yourself like exercising assignments to you know,

905
00:50:44,160 --> 00:50:44,560
Speaker 1: to write.

906
00:50:44,880 --> 00:50:46,680
Speaker 4: I would really like to do that, and I would

907
00:50:46,800 --> 00:50:50,360
Speaker 4: really like to be more disciplined in my writing practice.

908
00:50:50,880 --> 00:50:54,240
Speaker 4: Now I'm older to understand why yoga is considered the practice.

909
00:50:54,600 --> 00:50:57,840
Speaker 4: I understand why law is considered the practice, you know.

910
00:50:58,360 --> 00:51:01,800
Speaker 4: And now you know, I'm getting into the fame of

911
00:51:01,880 --> 00:51:04,200
Speaker 4: mind that I need to treat my writing as a

912
00:51:04,280 --> 00:51:07,839
Speaker 4: practice so when I have an assignment, it doesn't take

913
00:51:07,920 --> 00:51:10,719
Speaker 4: me as long because like lately, you know, because I'm

914
00:51:10,719 --> 00:51:13,279
Speaker 4: not I'm not writing, you know, with the output that

915
00:51:13,400 --> 00:51:15,680
Speaker 4: I was. You know, it may take me a little

916
00:51:15,719 --> 00:51:19,960
Speaker 4: longer to write a piece, but I have to. You know,

917
00:51:20,040 --> 00:51:21,920
Speaker 4: I love putting way too much on my plate, so

918
00:51:22,040 --> 00:51:25,880
Speaker 4: I'm always fighting. I'm constantly fighting overwhelmed, you know, so

919
00:51:26,360 --> 00:51:30,520
Speaker 4: just trying to practice base, you know, now practice horn,

920
00:51:31,760 --> 00:51:35,880
Speaker 4: you know, put time into writing, but the production and

921
00:51:36,080 --> 00:51:38,960
Speaker 4: being a present husband and fathers, like, there's so much,

922
00:51:40,080 --> 00:51:44,239
Speaker 4: so I keep being overwhelmed. But I think it would

923
00:51:44,280 --> 00:51:49,239
Speaker 4: serve me better if I can find a discipline like

924
00:51:49,360 --> 00:51:52,400
Speaker 4: to reek or like you find they find something that

925
00:51:52,480 --> 00:51:54,919
Speaker 4: doesn't have to be you know, a sit down dude,

926
00:51:55,120 --> 00:51:58,480
Speaker 4: but you know, take ten minutes and you know, just

927
00:51:58,800 --> 00:52:01,840
Speaker 4: check in where mine and just right from there. I

928
00:52:01,920 --> 00:52:05,839
Speaker 4: think that would benefit me greater than the path of Okay, well,

929
00:52:06,640 --> 00:52:09,239
Speaker 4: you know, when I get something or I have to

930
00:52:09,280 --> 00:52:12,000
Speaker 4: write this out let me, I'll see where I am

931
00:52:12,160 --> 00:52:14,840
Speaker 4: and you know, at some point the inspiration will hit me,

932
00:52:15,520 --> 00:52:17,840
Speaker 4: you know, or figure out what the outline is. Like,

933
00:52:18,120 --> 00:52:23,279
Speaker 4: there's no there's no one, uh single approach to my

934
00:52:23,400 --> 00:52:25,520
Speaker 4: writing that is the one.

935
00:52:26,000 --> 00:52:26,719
Speaker 3: Sometimes for me.

936
00:52:27,040 --> 00:52:29,800
Speaker 6: Like it's something that you know, it goes from a

937
00:52:29,920 --> 00:52:32,279
Speaker 6: drought to a deluge, right, it just goes nothing and

938
00:52:32,360 --> 00:52:34,520
Speaker 6: then all of a sudden everything just kind of comes.

939
00:52:35,320 --> 00:52:36,960
Speaker 6: Do you have those moments where you kind of go

940
00:52:37,280 --> 00:52:39,520
Speaker 6: back and forth for the words just it's quiet, and

941
00:52:39,600 --> 00:52:41,280
Speaker 6: then all of a sudden it just comes out of nowhere.

942
00:52:41,520 --> 00:52:43,279
Speaker 4: Yeah, Like there's some poems that you know that will

943
00:52:43,320 --> 00:52:45,279
Speaker 4: it will take me weeks to write, but then you know,

944
00:52:45,320 --> 00:52:50,239
Speaker 4: there's time ross sit down and it'll yeah, you know,

945
00:52:50,360 --> 00:52:51,920
Speaker 4: then you finish it and then you you know, and

946
00:52:51,960 --> 00:52:53,560
Speaker 4: then you come back a couple of days later and

947
00:52:53,640 --> 00:52:55,320
Speaker 4: you read it. At least for me, my experience is

948
00:52:55,360 --> 00:52:58,719
Speaker 4: like I read it and then go, wow, I really

949
00:52:58,920 --> 00:53:05,719
Speaker 4: meant every word of that, yeah, you know, like and

950
00:53:06,239 --> 00:53:08,120
Speaker 4: for it to come out the way it came out

951
00:53:08,400 --> 00:53:12,080
Speaker 4: and every word of it be true. Wow, that's really dope. Again,

952
00:53:12,239 --> 00:53:15,160
Speaker 4: feeling like okay, well that's the channel and the channel's

953
00:53:15,200 --> 00:53:17,640
Speaker 4: opening up, and like does it all come and just

954
00:53:17,840 --> 00:53:20,080
Speaker 4: I'm writing as fast as I can.

955
00:53:21,080 --> 00:53:24,040
Speaker 1: Let me ask, because I will say, especially in the

956
00:53:24,120 --> 00:53:27,840
Speaker 1: times that we live now, this entire year feels like

957
00:53:27,920 --> 00:53:31,680
Speaker 1: a five year period. I feel like everything that's happened

958
00:53:31,719 --> 00:53:33,920
Speaker 1: to me this year happened like five years ago, and

959
00:53:33,960 --> 00:53:36,680
Speaker 1: I'm reading lines like, oh, holy shit, that was March.

960
00:53:37,719 --> 00:53:42,720
Speaker 1: So my question to you is one, I'm really curious

961
00:53:42,800 --> 00:53:48,120
Speaker 1: about your latest miles long album title, which is Hiding

962
00:53:48,160 --> 00:53:52,080
Speaker 1: in Plaine View. You'll be pressed to find any interview

963
00:53:52,160 --> 00:53:55,680
Speaker 1: I've done in the last year where the quote hiding

964
00:53:55,760 --> 00:54:01,600
Speaker 1: in Plaine Sight literally was that was my story, like,

965
00:54:01,880 --> 00:54:04,480
Speaker 1: you know, even whatever, like the evolution of who I

966
00:54:04,560 --> 00:54:07,879
Speaker 1: am now I was the king of hiding in Plain

967
00:54:08,040 --> 00:54:12,440
Speaker 1: Sight like and everything. So one that struggle with me.

968
00:54:12,560 --> 00:54:16,520
Speaker 1: But two, it's also seven years in between projects, which

969
00:54:17,440 --> 00:54:19,640
Speaker 1: you know, if this one year feels like five years

970
00:54:19,680 --> 00:54:21,759
Speaker 1: that I know that seven years for you has to

971
00:54:21,800 --> 00:54:23,320
Speaker 1: almost be like twenty years.

972
00:54:23,719 --> 00:54:26,520
Speaker 4: I forgot what album was. So Stevie had an album

973
00:54:26,600 --> 00:54:28,560
Speaker 4: coming out and it was had been a lot of

974
00:54:28,680 --> 00:54:32,759
Speaker 4: years since album, and they asked him about why, you

975
00:54:32,840 --> 00:54:35,719
Speaker 4: know what took so long, and he said, you know,

976
00:54:35,840 --> 00:54:38,960
Speaker 4: sometimes you have to live life to have something to

977
00:54:39,000 --> 00:54:41,880
Speaker 4: write about or write about the facts, you know. So

978
00:54:42,200 --> 00:54:44,880
Speaker 4: a lot of it was just you know, adjusting to

979
00:54:45,120 --> 00:54:48,520
Speaker 4: you know, moving to Atlanta, was you know, being on

980
00:54:48,640 --> 00:54:52,440
Speaker 4: the resident, you know, being a husband and father. You know,

981
00:54:52,760 --> 00:54:56,840
Speaker 4: just at some point it's really hard to balance orther.

982
00:54:57,239 --> 00:55:01,680
Speaker 4: I've not become successful at balancing it at all. The

983
00:55:01,760 --> 00:55:05,399
Speaker 4: three things that I can't let falter is work, my wife,

984
00:55:05,440 --> 00:55:09,880
Speaker 4: and my daughter. So I found myself in the you

985
00:55:09,960 --> 00:55:14,240
Speaker 4: know days of especially during the pandemic and not having

986
00:55:15,000 --> 00:55:18,880
Speaker 4: child care help. There were days where I didn't get

987
00:55:18,880 --> 00:55:21,920
Speaker 4: to touch music at all because I had to you know,

988
00:55:22,120 --> 00:55:23,440
Speaker 4: there was work and I had to do with my

989
00:55:23,560 --> 00:55:28,560
Speaker 4: daughter and my wife. So just in that of just

990
00:55:28,680 --> 00:55:33,239
Speaker 4: living life outside of music and poetry, there was just

991
00:55:33,400 --> 00:55:36,160
Speaker 4: all these things that were you know, forming for me

992
00:55:36,280 --> 00:55:40,200
Speaker 4: thought processes. You know, what I'm thinking about, politics, what

993
00:55:40,440 --> 00:55:43,879
Speaker 4: I'm thinking about, you know, the state of hip hop

994
00:55:44,680 --> 00:55:48,840
Speaker 4: now versus when I wrote Project Image, you know, on

995
00:55:48,920 --> 00:55:52,120
Speaker 4: an album that came out seventeen years ago. Whatever R

996
00:55:52,200 --> 00:55:53,920
Speaker 4: It's like where am I now? Where am I with?

997
00:55:55,719 --> 00:55:55,880
Speaker 5: You know?

998
00:55:56,360 --> 00:55:59,480
Speaker 4: How I see? How I see the game, how I

999
00:55:59,520 --> 00:56:02,719
Speaker 4: see the mate? How much? How do I in some way?

1000
00:56:02,880 --> 00:56:09,040
Speaker 4: It's also been like how do I get across what

1001
00:56:09,239 --> 00:56:13,640
Speaker 4: mister Cosby was trying to get across? But it got

1002
00:56:13,719 --> 00:56:14,239
Speaker 4: sucked up?

1003
00:56:16,920 --> 00:56:17,040
Speaker 1: Right?

1004
00:56:18,160 --> 00:56:18,319
Speaker 4: Right?

1005
00:56:18,760 --> 00:56:20,359
Speaker 2: What doctor Dyson wrote a book about?

1006
00:56:20,960 --> 00:56:22,239
Speaker 4: Right right? Right?

1007
00:56:22,440 --> 00:56:24,279
Speaker 3: Yes, yes, because I was going to ask you if

1008
00:56:24,320 --> 00:56:26,239
Speaker 3: you and if you have you know, I haven't heard it.

1009
00:56:26,320 --> 00:56:29,440
Speaker 6: You know, my my apologies, but have you written a

1010
00:56:29,920 --> 00:56:33,120
Speaker 6: poem about mister Cosby and your experience with or what

1011
00:56:33,360 --> 00:56:34,400
Speaker 6: is that you would explore?

1012
00:56:35,560 --> 00:56:38,160
Speaker 4: There's no, there's really no reason for me, gotcha.

1013
00:56:38,640 --> 00:56:40,239
Speaker 6: And when I say read about I don't mean like

1014
00:56:40,360 --> 00:56:44,440
Speaker 6: about him, but about the experience about whatever is it?

1015
00:56:44,920 --> 00:56:50,080
Speaker 4: Yeah, that's not a that's not a poem yet. And

1016
00:56:50,280 --> 00:56:53,239
Speaker 4: at some point again, I'm living life, so at some

1017
00:56:53,360 --> 00:56:54,960
Speaker 4: point it may become come up.

1018
00:56:55,560 --> 00:56:57,160
Speaker 1: Yeah, but I don't know.

1019
00:56:57,360 --> 00:57:03,920
Speaker 4: And now that you plan to see something made definitely, so.

1020
00:57:04,040 --> 00:57:05,880
Speaker 2: Many, so many things, so many.

1021
00:57:07,640 --> 00:57:09,440
Speaker 5: Even from what you were talking about with Malcolm and

1022
00:57:09,560 --> 00:57:11,200
Speaker 5: Eddie and what you learned and how you grew up

1023
00:57:11,400 --> 00:57:14,799
Speaker 5: like in that TV world, which is just a one

1024
00:57:14,840 --> 00:57:18,400
Speaker 5: of a kind experience experience for that time, like and

1025
00:57:18,520 --> 00:57:21,240
Speaker 5: having that power like you said when you realize you

1026
00:57:21,320 --> 00:57:24,040
Speaker 5: weren't him, and walking in that writer's there's so many angles.

1027
00:57:23,960 --> 00:57:28,280
Speaker 4: To take, you know, likes just being present to it all.

1028
00:57:28,400 --> 00:57:31,520
Speaker 2: And to the doctor Dyson's point as well.

1029
00:57:33,280 --> 00:57:36,640
Speaker 1: Wait, what book was that like, because it's Bill Cosby, right.

1030
00:57:36,800 --> 00:57:39,000
Speaker 4: Yeah, that was what the name of the book was.

1031
00:57:39,360 --> 00:57:41,000
Speaker 5: He wrote a whole book about what he said about

1032
00:57:41,080 --> 00:57:44,200
Speaker 5: us on that faithful day they're usually people talk about Yeah.

1033
00:57:44,280 --> 00:57:45,520
Speaker 1: Okay, gotcha.

1034
00:57:46,320 --> 00:57:48,240
Speaker 4: So again I think this is part of it was,

1035
00:57:48,720 --> 00:57:53,320
Speaker 4: you know, how do I how do one not have

1036
00:57:53,480 --> 00:57:57,680
Speaker 4: what happened to his message happened to you know, for

1037
00:57:57,880 --> 00:58:00,560
Speaker 4: for the message I'm trying to you know. So there

1038
00:58:00,560 --> 00:58:04,040
Speaker 4: were people that actually consulted with like Professor Daniel Williams

1039
00:58:04,720 --> 00:58:07,440
Speaker 4: over at Howard I, you know, that's the homiees like

1040
00:58:07,760 --> 00:58:11,200
Speaker 4: I conferred with her with you know, some of the writing, uh,

1041
00:58:11,440 --> 00:58:13,640
Speaker 4: just to kind of make sure okay, you know, And

1042
00:58:13,760 --> 00:58:17,720
Speaker 4: and there's a certain you know lens through which I'm

1043
00:58:17,920 --> 00:58:19,880
Speaker 4: you know, because of a lens through what I'm watching,

1044
00:58:19,920 --> 00:58:23,920
Speaker 4: I'm not necessarily aware of how this could be misinterpreted,

1045
00:58:25,480 --> 00:58:28,479
Speaker 4: you know, in another way. So you know, Dana helped

1046
00:58:28,520 --> 00:58:32,120
Speaker 4: me out with that a great deal. And there's another

1047
00:58:32,160 --> 00:58:34,000
Speaker 4: piece I took to another poet just to kind of

1048
00:58:34,040 --> 00:58:37,200
Speaker 4: get some feedback on. So just all of these things

1049
00:58:37,240 --> 00:58:37,920
Speaker 4: have been brewing.

1050
00:58:38,480 --> 00:58:39,960
Speaker 5: One of the tracks on here I was listening to.

1051
00:58:40,240 --> 00:58:41,880
Speaker 5: I was listening to it, and it actually made me

1052
00:58:41,960 --> 00:58:46,000
Speaker 5: think about what happened to Amir this year in February, Like,

1053
00:58:46,080 --> 00:58:47,600
Speaker 5: and I was like, but he is he referring to that?

1054
00:58:47,960 --> 00:58:50,280
Speaker 2: It was Ai? Which track was it?

1055
00:58:50,400 --> 00:58:52,840
Speaker 5: But yeah, what happened at the Oscars, It made me

1056
00:58:53,000 --> 00:58:55,560
Speaker 5: It was talking about that and showing their true feelings

1057
00:58:55,640 --> 00:58:58,760
Speaker 5: and when when black men really put themselves out there.

1058
00:58:59,080 --> 00:59:01,280
Speaker 2: They just made me think of that in that way.

1059
00:59:02,760 --> 00:59:07,000
Speaker 1: For you, though, in March of twenty twenty, like what

1060
00:59:07,360 --> 00:59:09,680
Speaker 1: adjustments have you had to meet? And like how did

1061
00:59:09,720 --> 00:59:13,640
Speaker 1: you deal in the last two years from from the

1062
00:59:13,840 --> 00:59:15,960
Speaker 1: pandemic and quarantine until where you are now?

1063
00:59:16,840 --> 00:59:19,880
Speaker 4: That's a great question. Like for me during that time,

1064
00:59:20,920 --> 00:59:22,160
Speaker 4: like it was a you know, it was a fuck

1065
00:59:22,240 --> 00:59:25,320
Speaker 4: that time, but it was a beautiful time for you know,

1066
00:59:25,440 --> 00:59:28,120
Speaker 4: for my family, because it was literally me, my wife,

1067
00:59:28,160 --> 00:59:32,040
Speaker 4: and my daughter right right, you know. And for my

1068
00:59:32,200 --> 00:59:36,080
Speaker 4: daughter to have mommy and Papa both at home all

1069
00:59:36,200 --> 00:59:42,240
Speaker 4: day every day she was in heaven. So for our unit,

1070
00:59:42,960 --> 00:59:46,640
Speaker 4: you know, it made our unit stronger in that we

1071
00:59:46,920 --> 00:59:51,120
Speaker 4: had the opportunity to have to be in each other's

1072
00:59:51,160 --> 00:59:55,240
Speaker 4: presence like all the time and and really really enjoy

1073
00:59:55,320 --> 00:59:57,040
Speaker 4: each other, you know, and being able to have that

1074
00:59:57,200 --> 01:00:00,840
Speaker 4: time because my daughter was two when COVID broke out,

1075
01:00:00,920 --> 01:00:02,680
Speaker 4: So to be able to have that kind of time

1076
01:00:03,240 --> 01:00:07,680
Speaker 4: and that kind of family time uninterrupted by work felt

1077
01:00:07,760 --> 01:00:11,920
Speaker 4: really good, you know. So I think that that kind

1078
01:00:11,960 --> 01:00:15,919
Speaker 4: of informed really everything else, if that makes sense.

1079
01:00:17,480 --> 01:00:19,120
Speaker 3: Did you do a lot of writing during that time

1080
01:00:19,440 --> 01:00:19,800
Speaker 3: or was it?

1081
01:00:20,040 --> 01:00:23,240
Speaker 4: Yeah? So what happened was I know, So I've been

1082
01:00:23,320 --> 01:00:28,640
Speaker 4: knee deep and I've been deep inable to forever. Like

1083
01:00:29,520 --> 01:00:32,880
Speaker 4: I took him able to online course at Berkeley in

1084
01:00:33,000 --> 01:00:37,200
Speaker 4: like twenty fourteen, right, so I'm I had able to

1085
01:00:37,240 --> 01:00:40,560
Speaker 4: it was able to three point five, right, and I

1086
01:00:40,680 --> 01:00:44,200
Speaker 4: was eleven, you know, But back then I didn't really

1087
01:00:44,280 --> 01:00:46,320
Speaker 4: understand it, so I put it away until they came out,

1088
01:00:46,440 --> 01:00:49,240
Speaker 4: till nine came out. But so twenty twenty, I was like,

1089
01:00:50,080 --> 01:00:54,640
Speaker 4: I'm going to do a record, and I'm going to

1090
01:00:54,760 --> 01:00:58,120
Speaker 4: do all the production of myself. Not because that's what

1091
01:00:58,200 --> 01:01:01,360
Speaker 4: I want to do moving forward, but since you know,

1092
01:01:01,440 --> 01:01:05,000
Speaker 4: let this be my quarantine me myself and able to

1093
01:01:05,320 --> 01:01:06,880
Speaker 4: eat get the ship.

1094
01:01:07,520 --> 01:01:07,720
Speaker 1: Yeah.

1095
01:01:07,880 --> 01:01:10,840
Speaker 4: So that's where a lot of the record came from,

1096
01:01:11,680 --> 01:01:15,040
Speaker 4: because you know, I got into a five song EP,

1097
01:01:15,640 --> 01:01:18,280
Speaker 4: and then I did a great job of self sabotageing myself,

1098
01:01:18,320 --> 01:01:21,240
Speaker 4: said well, maybe let me add two more songs, right,

1099
01:01:21,520 --> 01:01:23,680
Speaker 4: let me be flushed that with seven songs, right, I'm

1100
01:01:23,680 --> 01:01:27,200
Speaker 4: gonna do that, And then life happened and it never

1101
01:01:27,280 --> 01:01:29,720
Speaker 4: got done right, as you know, just kind of sat

1102
01:01:29,800 --> 01:01:31,360
Speaker 4: warning or something, but they kind of sat on it.

1103
01:01:31,440 --> 01:01:35,000
Speaker 4: It wasn't you know, at the height of a priority list,

1104
01:01:35,480 --> 01:01:38,840
Speaker 4: especially now when everything's streaming, It's like, well, one, I

1105
01:01:38,880 --> 01:01:42,440
Speaker 4: can put it out whenever. I'm not gonna make any

1106
01:01:42,480 --> 01:01:45,160
Speaker 4: money off of it, so there's really no rush into finishing.

1107
01:01:45,200 --> 01:01:48,120
Speaker 4: So I did all of that, the self sabotage, finishing

1108
01:01:48,160 --> 01:01:52,200
Speaker 4: the record, and then last year when the Grammys announced

1109
01:01:52,200 --> 01:01:54,600
Speaker 4: they were doing the uh you know, finally doing the

1110
01:01:55,520 --> 01:02:01,280
Speaker 4: spoken word poetry category, I was like, was that, Yeah, Yeah,

1111
01:02:01,360 --> 01:02:02,040
Speaker 4: this is the first.

1112
01:02:01,920 --> 01:02:04,240
Speaker 2: Year I thought there was always a spoken word.

1113
01:02:04,400 --> 01:02:11,919
Speaker 4: Yeah, but not so spoken word traditionally was included poetry, audiobooks,

1114
01:02:11,920 --> 01:02:14,120
Speaker 4: audiobook to comedy.

1115
01:02:14,400 --> 01:02:17,760
Speaker 1: Yeah, so you got your own category. Yeah.

1116
01:02:17,840 --> 01:02:22,520
Speaker 4: So like two years ago, say cool Edwards had an

1117
01:02:22,560 --> 01:02:27,120
Speaker 4: album that was nominated, but Michelle Obama won right.

1118
01:02:30,160 --> 01:02:30,640
Speaker 1: Right, like.

1119
01:02:32,200 --> 01:02:36,160
Speaker 4: Exactly, So finally, after years of campaigning, they finally opened

1120
01:02:36,240 --> 01:02:39,640
Speaker 4: up the best Spoken word Poetry album.

1121
01:02:40,720 --> 01:02:46,320
Speaker 1: Can I take this rare ten seconds out to pick

1122
01:02:46,440 --> 01:02:50,800
Speaker 1: up my sister, Dawn Thompson. I rarely, I mean I

1123
01:02:51,280 --> 01:02:55,720
Speaker 1: rarely go there, but I will say that I've never

1124
01:02:55,960 --> 01:03:03,160
Speaker 1: known a human being that is on damn near at

1125
01:03:03,320 --> 01:03:10,760
Speaker 1: Tasmanian devil level of trying to bring change to me,

1126
01:03:11,600 --> 01:03:17,440
Speaker 1: to Naris and the entire Grammy organization. And I think

1127
01:03:17,520 --> 01:03:19,560
Speaker 1: even saying that might be putting on the spot a

1128
01:03:19,600 --> 01:03:20,360
Speaker 1: little bit too much.

1129
01:03:20,840 --> 01:03:23,160
Speaker 5: Yeah, but she's doing it the right way locally too,

1130
01:03:23,400 --> 01:03:25,480
Speaker 5: like for her hometown, Like that's what's upping.

1131
01:03:25,560 --> 01:03:29,040
Speaker 1: Yeah, But I mean like she's really in the trenches

1132
01:03:29,160 --> 01:03:31,960
Speaker 1: in ways that I never because the thing is is like, yeah,

1133
01:03:32,040 --> 01:03:34,520
Speaker 1: I'm a part of the academy, but I don't go

1134
01:03:34,600 --> 01:03:36,520
Speaker 1: to those DAN meetings. You guys.

1135
01:03:36,880 --> 01:03:38,720
Speaker 5: Amir's not saying his sister is the president of the

1136
01:03:38,720 --> 01:03:40,880
Speaker 5: local Philadelphia chapter of NEARS.

1137
01:03:41,480 --> 01:03:44,800
Speaker 1: Yes, I'm sorry, I forgot that part. Yes, but you know,

1138
01:03:45,200 --> 01:03:49,760
Speaker 1: she also is like there for countless and billions of

1139
01:03:49,840 --> 01:03:52,840
Speaker 1: hours for like things that you don't think about, but

1140
01:03:53,120 --> 01:03:56,280
Speaker 1: like the level of happiness that she felt. And it

1141
01:03:56,400 --> 01:03:58,800
Speaker 1: wasn't like she was giving me a daily progress report

1142
01:03:59,160 --> 01:04:01,919
Speaker 1: of Okay, I'm working on trying to get these these

1143
01:04:02,160 --> 01:04:04,520
Speaker 1: categories and da da dada. It wasn't like that. But

1144
01:04:04,640 --> 01:04:09,720
Speaker 1: I just know that one of her biggest challenges was,

1145
01:04:10,320 --> 01:04:13,280
Speaker 1: all right, I now have to be the change that

1146
01:04:13,920 --> 01:04:17,080
Speaker 1: I want to see implemented in an industry, you know,

1147
01:04:17,200 --> 01:04:19,520
Speaker 1: because she came to the industry just like I did

1148
01:04:19,680 --> 01:04:20,440
Speaker 1: as an artist.

1149
01:04:21,960 --> 01:04:23,840
Speaker 2: Alicia Butterfield too, because you know.

1150
01:04:24,320 --> 01:04:28,360
Speaker 1: Yeah, exactly the doing it. And yeah, my whole point

1151
01:04:28,520 --> 01:04:32,000
Speaker 1: is with my sister that sorry, I got to well, no, no, no,

1152
01:04:32,040 --> 01:04:35,800
Speaker 1: I'm saying I got in the door, you know, luckily,

1153
01:04:35,880 --> 01:04:38,520
Speaker 1: to make to make a living, I got in the door.

1154
01:04:39,640 --> 01:04:42,520
Speaker 1: She had to go kind of the scenic route to

1155
01:04:42,560 --> 01:04:45,200
Speaker 1: get there. But I definitely know that she was a

1156
01:04:45,320 --> 01:04:50,520
Speaker 1: part of almost, you know, a long, long, long, long,

1157
01:04:50,680 --> 01:04:56,440
Speaker 1: long process of getting these these categories changed so that

1158
01:04:56,760 --> 01:04:59,320
Speaker 1: other arts you know, so that artists can actually get

1159
01:04:59,360 --> 01:05:00,720
Speaker 1: to reap the benef fits o their work.

1160
01:05:00,920 --> 01:05:03,880
Speaker 5: And quick disclaimer for people who don't know, Don Thompson

1161
01:05:04,080 --> 01:05:06,640
Speaker 5: is coming from an independent artist perspective, and she's not

1162
01:05:06,800 --> 01:05:08,600
Speaker 5: there for her her brother relations.

1163
01:05:08,640 --> 01:05:10,400
Speaker 2: She's there because she knows the struggle.

1164
01:05:10,360 --> 01:05:12,600
Speaker 1: Big up to doing it. For that, I have to

1165
01:05:12,640 --> 01:05:15,080
Speaker 1: say that I said at the top, like everything that

1166
01:05:15,200 --> 01:05:18,400
Speaker 1: you said, especially with being a self saboteury and all

1167
01:05:18,440 --> 01:05:24,880
Speaker 1: those things like that that has been me decades, Like

1168
01:05:25,040 --> 01:05:30,040
Speaker 1: I'm now just dealing with this year of setting myself

1169
01:05:30,360 --> 01:05:35,000
Speaker 1: of all those things, like of me noticing how I

1170
01:05:35,200 --> 01:05:40,840
Speaker 1: hold back my own process and those things. So I

1171
01:05:40,920 --> 01:05:42,640
Speaker 1: feel like I'm hearing the code words from you and

1172
01:05:42,720 --> 01:05:46,720
Speaker 1: I'm like, oh wow, this might be a verse of

1173
01:05:46,760 --> 01:05:47,360
Speaker 1: a feather moment.

1174
01:05:47,960 --> 01:05:51,840
Speaker 4: Yeah, congratulations for one being able to acknowledge it and

1175
01:05:53,120 --> 01:05:56,120
Speaker 4: being courageous enough to you know, not do things the

1176
01:05:56,160 --> 01:05:57,080
Speaker 4: same way.

1177
01:05:58,000 --> 01:06:00,080
Speaker 1: Right, It's do an everyday struggle though.

1178
01:06:00,120 --> 01:06:03,640
Speaker 4: No doubt. No, Yeah, yeah, I resemble that remark.

1179
01:06:04,280 --> 01:06:07,640
Speaker 1: Tomorrow's a new day, you know what I mean. But

1180
01:06:08,240 --> 01:06:11,640
Speaker 1: you know, at least I'm at least very much aware

1181
01:06:11,800 --> 01:06:14,040
Speaker 1: of you know, you could either manifest something or you

1182
01:06:14,400 --> 01:06:18,960
Speaker 1: could manifuc something. I've been the king of man of

1183
01:06:19,000 --> 01:06:20,000
Speaker 1: fucking for a long time.

1184
01:06:20,160 --> 01:06:25,720
Speaker 4: So wow, Okay, I'm gonna tell you her, like the

1185
01:06:25,840 --> 01:06:28,720
Speaker 4: real real ship. Let's go, that's what we're here for.

1186
01:06:29,160 --> 01:06:32,480
Speaker 4: I want to name the album Blackfist Beautiful.

1187
01:06:34,240 --> 01:06:35,080
Speaker 2: Who Walked Your Back?

1188
01:06:35,400 --> 01:06:40,720
Speaker 4: My wife she was like, she was like, you know

1189
01:06:40,800 --> 01:06:48,160
Speaker 4: that's corny, right, It's just right. That's exactly what she said.

1190
01:06:48,400 --> 01:06:51,160
Speaker 4: That's exactly what she said. It leaves nothing to the imagination,

1191
01:06:51,680 --> 01:06:52,360
Speaker 4: oh dude.

1192
01:06:52,440 --> 01:06:56,960
Speaker 2: And I was like, but how do I show that

1193
01:06:57,000 --> 01:06:57,640
Speaker 2: I'm just black?

1194
01:07:00,160 --> 01:07:03,800
Speaker 4: So you know I can't. So I'd always loved the

1195
01:07:04,640 --> 01:07:07,880
Speaker 4: I'd always learned love the title Hiding and Playing View,

1196
01:07:08,480 --> 01:07:11,240
Speaker 4: And so I was like, okay, I'm a name. I'm

1197
01:07:11,360 --> 01:07:13,640
Speaker 4: named the album Hiding and Playing View. I told my

1198
01:07:13,720 --> 01:07:17,440
Speaker 4: wife and she was like, you know, you're not really hiding.

1199
01:07:17,560 --> 01:07:20,880
Speaker 4: I mean, everything you're writing about is exactly what you feel,

1200
01:07:22,640 --> 01:07:26,160
Speaker 4: so you're not really hiding. So she was like, in

1201
01:07:26,240 --> 01:07:32,080
Speaker 4: what ways do you hide? Damn it? So she put

1202
01:07:32,160 --> 01:07:33,720
Speaker 4: me in that and she put me in that space.

1203
01:07:33,720 --> 01:07:39,280
Speaker 4: She's like, right about that, yes, yes, yes, you know.

1204
01:07:39,560 --> 01:07:42,160
Speaker 4: And then that poem was actually something different too, because it, uh,

1205
01:07:42,360 --> 01:07:46,200
Speaker 4: it started different and the play on words like it's

1206
01:07:46,280 --> 01:07:49,040
Speaker 4: so fucking dope, and I, you know, I was mixing

1207
01:07:49,120 --> 01:07:50,760
Speaker 4: with this other poem and trying to show some kind

1208
01:07:50,800 --> 01:07:53,920
Speaker 4: of vulnerability, like let me start the poem, you know,

1209
01:07:54,440 --> 01:07:57,720
Speaker 4: just spitting like like you know, technical ship, so you

1210
01:07:57,800 --> 01:07:59,880
Speaker 4: know that I'm a worsmith and and I can do

1211
01:08:00,080 --> 01:08:01,920
Speaker 4: things with words, and then let me hit you with

1212
01:08:02,000 --> 01:08:04,520
Speaker 4: the vulnerable. And to me, I thought it was dope.

1213
01:08:05,640 --> 01:08:08,920
Speaker 4: And my wife was like, yeah, sounds like two different poems.

1214
01:08:09,920 --> 01:08:13,040
Speaker 4: I'm like, all right, cool, you're not really a poet,

1215
01:08:13,120 --> 01:08:13,800
Speaker 4: like you don't really.

1216
01:08:17,040 --> 01:08:18,920
Speaker 1: So she's your sounding board.

1217
01:08:19,320 --> 01:08:22,680
Speaker 4: Yeah, yeah, yes, but I called another poet friend of

1218
01:08:22,720 --> 01:08:26,920
Speaker 4: mine out, but it's like, yo, you know, I feel

1219
01:08:26,960 --> 01:08:27,920
Speaker 4: like two different poems.

1220
01:08:31,520 --> 01:08:35,519
Speaker 1: Okay. I use the term kill your kids, because when

1221
01:08:35,560 --> 01:08:40,559
Speaker 1: you know, when you create something, you know, like right now,

1222
01:08:41,000 --> 01:08:46,080
Speaker 1: there's over six hundred roots ideas and it's like, dude,

1223
01:08:46,200 --> 01:08:49,040
Speaker 1: just pick fourteen and let's have the record already, so

1224
01:08:50,200 --> 01:08:54,000
Speaker 1: you know, you don't want to let the other five

1225
01:08:54,160 --> 01:08:58,080
Speaker 1: hundred and eighty four songs go, but you know they're

1226
01:08:58,120 --> 01:09:00,559
Speaker 1: going to have to go down the drain eventually, at

1227
01:09:00,640 --> 01:09:04,400
Speaker 1: least for this project. But how open are you two

1228
01:09:05,800 --> 01:09:09,600
Speaker 1: take that advice. Well, okay, I know that you said that.

1229
01:09:09,720 --> 01:09:11,680
Speaker 1: You know your wife's not you're not a poet, your

1230
01:09:11,720 --> 01:09:15,439
Speaker 1: da da da dada. I tend to keep I keep,

1231
01:09:15,560 --> 01:09:20,200
Speaker 1: I keep an expert, and I keep what I call

1232
01:09:20,320 --> 01:09:22,320
Speaker 1: the And I'm being very nice when I say this,

1233
01:09:22,880 --> 01:09:27,800
Speaker 1: the common person factor behind their backs. I'm like the factor.

1234
01:09:28,280 --> 01:09:31,720
Speaker 1: So but I think that it's it's good to have

1235
01:09:31,800 --> 01:09:36,360
Speaker 1: both opinions of people that have no emotional connection to

1236
01:09:36,400 --> 01:09:38,880
Speaker 1: you whatsoever, and your work to give an opinion.

1237
01:09:39,360 --> 01:09:42,479
Speaker 6: And usually with great art you'll find out that you know,

1238
01:09:42,600 --> 01:09:44,800
Speaker 6: like as in the case of you, Malcolm, your wife

1239
01:09:44,880 --> 01:09:47,000
Speaker 6: is saying one thing, but then you hit your poet homie,

1240
01:09:47,400 --> 01:09:48,800
Speaker 6: he's saying the same thing as well.

1241
01:09:49,040 --> 01:09:51,240
Speaker 3: So it's like there's a universal proof that's there, you

1242
01:09:51,280 --> 01:09:51,599
Speaker 3: know what I mean.

1243
01:09:51,760 --> 01:10:00,479
Speaker 4: So did the other three people truth get back at

1244
01:10:00,520 --> 01:10:03,200
Speaker 4: my wife like you got it? I won't. I won't

1245
01:10:03,200 --> 01:10:04,960
Speaker 4: sleep on you next time. So then when I when

1246
01:10:05,000 --> 01:10:08,160
Speaker 4: I totally rewrote the poem right and I was like, ah,

1247
01:10:08,400 --> 01:10:10,800
Speaker 4: this is ah, this is dope right here, like this

1248
01:10:10,960 --> 01:10:13,000
Speaker 4: is it, and I played it for her. She was like,

1249
01:10:13,960 --> 01:10:16,400
Speaker 4: let me read it. I needed to see it. And

1250
01:10:16,640 --> 01:10:18,920
Speaker 4: then there were there were there were a couple of

1251
01:10:19,040 --> 01:10:23,800
Speaker 4: tweaks that she made that made me go, thank you,

1252
01:10:23,880 --> 01:10:28,000
Speaker 4: Malcolm for not sleeping on your wife yet again. Right,

1253
01:10:28,479 --> 01:10:30,439
Speaker 4: So she just gave me some some tweaks and some

1254
01:10:30,600 --> 01:10:35,880
Speaker 4: finishing touches. That really makes it, you know, really what

1255
01:10:36,040 --> 01:10:39,120
Speaker 4: it is. So so so I stay open. But at

1256
01:10:39,160 --> 01:10:44,120
Speaker 4: the same time, I gotta tell you the story. Ah,

1257
01:10:44,840 --> 01:10:48,320
Speaker 4: and you know it's it's fucked up, but but let's go.

1258
01:10:48,680 --> 01:10:50,080
Speaker 4: It says a lot about a lot of people and

1259
01:10:50,160 --> 01:10:51,960
Speaker 4: then also says a lot about how I feel about

1260
01:10:52,040 --> 01:10:55,000
Speaker 4: myself and and and who I am and owning myself. Right.

1261
01:10:55,520 --> 01:10:59,240
Speaker 4: So wrote the song with Wayman Tisdale. Okay, right, we

1262
01:10:59,320 --> 01:11:01,639
Speaker 4: were doing a jam session and you know, we recorded

1263
01:11:01,680 --> 01:11:04,800
Speaker 4: it whatever, and you know, we had like a little

1264
01:11:04,840 --> 01:11:07,880
Speaker 4: demo was in my hard drive. You know, Wayman passed

1265
01:11:08,479 --> 01:11:11,040
Speaker 4: and you know I pulled that out. Was like, you

1266
01:11:11,080 --> 01:11:13,120
Speaker 4: should do something, should do something with that. So I

1267
01:11:13,920 --> 01:11:18,960
Speaker 4: I arranged this whole song based on this demo that

1268
01:11:19,040 --> 01:11:22,120
Speaker 4: he and I did. You know, I played the song

1269
01:11:22,240 --> 01:11:26,080
Speaker 4: live like for years our last record. I want to

1270
01:11:26,120 --> 01:11:29,320
Speaker 4: put the song on the record. I had Barty services

1271
01:11:29,400 --> 01:11:33,320
Speaker 4: with Chris Dave on another project, so I called him

1272
01:11:33,320 --> 01:11:35,479
Speaker 4: a favor from him. It was like, yo, you know,

1273
01:11:35,600 --> 01:11:37,360
Speaker 4: like this drum program is cool, but like I really

1274
01:11:37,439 --> 01:11:39,479
Speaker 4: need some live drums behind us. It was like cool,

1275
01:11:39,680 --> 01:11:42,519
Speaker 4: you know. So he comes in, he kills it. Then

1276
01:11:44,080 --> 01:11:46,720
Speaker 4: a few weeks later, I get a call because the

1277
01:11:46,800 --> 01:11:49,280
Speaker 4: engineer who has helped me produce that record was also

1278
01:11:49,360 --> 01:11:52,880
Speaker 4: producing Chris's record. Right, So I get a call and

1279
01:11:53,200 --> 01:11:57,000
Speaker 4: was like, yo, I got a surprise for you. Pino

1280
01:11:57,160 --> 01:12:05,519
Speaker 4: came through and lay based on your joint, right, I'm like, whoa,

1281
01:12:05,920 --> 01:12:08,519
Speaker 4: that's dope. But wait a minute, I'm playing bass on

1282
01:12:08,560 --> 01:12:12,599
Speaker 4: that record, okay, And that's the record that I wrote

1283
01:12:12,720 --> 01:12:17,160
Speaker 4: with Wayman I speaks performing this song live right, like

1284
01:12:17,280 --> 01:12:20,160
Speaker 4: that's my ship and my listen to it. Pino. You know,

1285
01:12:20,360 --> 01:12:24,519
Speaker 4: Pino did Pino right, So there's no that question about

1286
01:12:24,560 --> 01:12:28,280
Speaker 4: this ship was butter. It was a whole different vibe

1287
01:12:28,720 --> 01:12:31,360
Speaker 4: from what I had spent years with. And I'm like,

1288
01:12:32,880 --> 01:12:38,120
Speaker 4: so I went to seven different people. I said, listen,

1289
01:12:38,520 --> 01:12:42,320
Speaker 4: these are here's two approaches to the base I'm trying

1290
01:12:42,320 --> 01:12:44,720
Speaker 4: to I'm not sure which approach I'm gonna use for

1291
01:12:44,760 --> 01:12:46,400
Speaker 4: the song, which do you like?

1292
01:12:47,439 --> 01:12:48,720
Speaker 3: Didn't tell them who was playing what?

1293
01:12:48,960 --> 01:12:53,759
Speaker 4: No, No, they'll give them any backstory, right five other people,

1294
01:12:54,960 --> 01:12:57,120
Speaker 4: They're like, yo, it's really dope, but I really like

1295
01:12:57,240 --> 01:13:00,880
Speaker 4: this one and that's mine, right, okay. Uh. The two

1296
01:13:01,000 --> 01:13:04,600
Speaker 4: other people knew the story, and they were trying to

1297
01:13:04,640 --> 01:13:06,559
Speaker 4: convince me that it would be really dope because to say,

1298
01:13:06,560 --> 01:13:09,840
Speaker 4: I've got Pino and Chris Dave on my record, the

1299
01:13:10,280 --> 01:13:13,680
Speaker 4: Big Girl and the Algorithms and the whole nine. So

1300
01:13:14,960 --> 01:13:17,040
Speaker 4: so at the last minute I decided it was like,

1301
01:13:17,120 --> 01:13:19,280
Speaker 4: you know what, I'm gonna kick myself in the ass

1302
01:13:19,920 --> 01:13:21,840
Speaker 4: for the rest of my life every time I played

1303
01:13:21,840 --> 01:13:25,439
Speaker 4: this song and pinos on it and I'm not right,

1304
01:13:25,640 --> 01:13:27,760
Speaker 4: and again, not that I'm better than Pino, like that's

1305
01:13:27,840 --> 01:13:32,880
Speaker 4: not like, don't let anybody attempt to miss that. But

1306
01:13:33,360 --> 01:13:36,240
Speaker 4: so I ended up. I called I called the producers,

1307
01:13:36,240 --> 01:13:38,200
Speaker 4: and that was like, yo, I thought about it. I'm

1308
01:13:38,200 --> 01:13:41,360
Speaker 4: gonna use I'm gonna use my bass. He says, ah, well,

1309
01:13:41,439 --> 01:13:43,280
Speaker 4: you know what. You know, I didn't want to tell

1310
01:13:43,280 --> 01:13:45,439
Speaker 4: you this, you know, but Chris said if you play

1311
01:13:45,520 --> 01:13:48,560
Speaker 4: based on it, to take your drums off, and that

1312
01:13:48,760 --> 01:13:54,760
Speaker 4: producer was also supposed to mix my whole record. They said,

1313
01:13:54,840 --> 01:13:57,519
Speaker 4: so I gotta take Chris's drums off. I got to

1314
01:13:57,600 --> 01:14:00,640
Speaker 4: take my keys off, give you your files back, and

1315
01:14:00,720 --> 01:14:05,719
Speaker 4: you got to find somebody else to produce the record. Wow,

1316
01:14:06,880 --> 01:14:11,439
Speaker 4: that's real ship, that's real fucked up, but you go

1317
01:14:11,560 --> 01:14:14,519
Speaker 4: just do it. So is called high on love right,

1318
01:14:14,600 --> 01:14:18,680
Speaker 4: And you know, you may think it's you may think

1319
01:14:18,720 --> 01:14:20,960
Speaker 4: it's whack, but it's not whack. And if you said

1320
01:14:20,960 --> 01:14:23,360
Speaker 4: it was whacked, but like cool, that's your you know again,

1321
01:14:23,439 --> 01:14:26,320
Speaker 4: I'm not Pino right, it's not you know, I'm not

1322
01:14:26,439 --> 01:14:29,640
Speaker 4: saying it's you know, I do me right.

1323
01:14:31,840 --> 01:14:32,680
Speaker 1: So that's my thing.

1324
01:14:32,800 --> 01:14:35,559
Speaker 4: Like I had to really go, Wow, I'm getting ready

1325
01:14:35,640 --> 01:14:40,120
Speaker 4: to take Pino Paladino off my record for my ship.

1326
01:14:41,479 --> 01:14:42,680
Speaker 4: I feel that's strong about it.

1327
01:14:42,720 --> 01:14:47,360
Speaker 1: I stand up sometimes I will, and I can attest

1328
01:14:47,400 --> 01:14:50,000
Speaker 1: to this as well. Sometimes only the best won't do.

1329
01:14:51,520 --> 01:14:51,800
Speaker 4: Hmm.

1330
01:14:52,560 --> 01:14:57,400
Speaker 1: You know, I think I think oftentimes, especially you know,

1331
01:14:57,760 --> 01:15:00,040
Speaker 1: there's there's a BC in the A D. And And

1332
01:15:00,120 --> 01:15:05,280
Speaker 1: for me, I think the moment in which I learned

1333
01:15:05,320 --> 01:15:11,040
Speaker 1: this lesson this year where someone told me that, Okay,

1334
01:15:11,479 --> 01:15:16,080
Speaker 1: you get into something brand new and you're you're in

1335
01:15:16,200 --> 01:15:20,360
Speaker 1: the space of being a creative, and then once you're

1336
01:15:20,479 --> 01:15:24,240
Speaker 1: after that and you experienced some sort of success, then

1337
01:15:24,560 --> 01:15:27,800
Speaker 1: you're in a space of not being a creative, but

1338
01:15:28,000 --> 01:15:31,280
Speaker 1: you're in a space of where you're now succeeding. Like

1339
01:15:32,080 --> 01:15:35,000
Speaker 1: in other words, you're thinking about how to maximize or

1340
01:15:35,120 --> 01:15:38,519
Speaker 1: capitalize on a moment versus how to make the thing. Yeah,

1341
01:15:38,640 --> 01:15:42,680
Speaker 1: and it's it's sort of And the thing that I

1342
01:15:42,800 --> 01:15:45,320
Speaker 1: think that's being lost here, at least on their side

1343
01:15:45,360 --> 01:15:48,120
Speaker 1: of the fence, is that you know, this is still

1344
01:15:48,160 --> 01:15:51,760
Speaker 1: a creative expression for you. This is still therapeutic for you.

1345
01:15:52,160 --> 01:15:56,360
Speaker 1: This is still like it's your project. You know, it

1346
01:15:56,600 --> 01:16:01,200
Speaker 1: would be like me, like I think Chris Davis would

1347
01:16:01,200 --> 01:16:04,600
Speaker 1: I want him to drum in proxy of me on

1348
01:16:05,080 --> 01:16:07,880
Speaker 1: the next Roots record. That might be a little weird,

1349
01:16:08,000 --> 01:16:11,360
Speaker 1: you know what I mean, because I'm not making the

1350
01:16:11,479 --> 01:16:15,840
Speaker 1: Roots record as in like to be successful. But I'm yeah,

1351
01:16:15,920 --> 01:16:20,400
Speaker 1: it's like your creative expression. So you're you're well within

1352
01:16:20,439 --> 01:16:24,320
Speaker 1: your right. Even if the Lord Jesus Christ came down

1353
01:16:24,360 --> 01:16:26,640
Speaker 1: on Earth and plate based on you're doing, like you

1354
01:16:26,880 --> 01:16:36,120
Speaker 1: still gotta I understand your decision. You're your first joint

1355
01:16:36,160 --> 01:16:38,519
Speaker 1: came out in two thousand and two, I believe two

1356
01:16:38,760 --> 01:16:41,479
Speaker 1: and three. Yeah, it was it was like right after

1357
01:16:41,680 --> 01:16:47,439
Speaker 1: the millennium started. So are you able? And I'll ask

1358
01:16:47,479 --> 01:16:49,639
Speaker 1: you too, find like I feel like I'm interviewing two

1359
01:16:49,760 --> 01:16:52,679
Speaker 1: artists here. Is it easy to go back to listen

1360
01:16:52,760 --> 01:16:56,960
Speaker 1: to the first thing you ever created and you're fine

1361
01:16:57,000 --> 01:16:59,920
Speaker 1: with it or you're like super critical of it, you know,

1362
01:17:00,200 --> 01:17:03,679
Speaker 1: compared to it's twenty years into the game now.

1363
01:17:03,760 --> 01:17:08,839
Speaker 3: For you mistakes like oh god, man, all I here's mistakes.

1364
01:17:09,280 --> 01:17:11,840
Speaker 1: But but you know, but so the listening for you

1365
01:17:11,960 --> 01:17:12,920
Speaker 1: is like organics.

1366
01:17:13,240 --> 01:17:16,000
Speaker 3: Yeah, I'm like, oh my god, yeah. I mean I

1367
01:17:16,080 --> 01:17:17,400
Speaker 3: can listen to it, you know what I mean.

1368
01:17:17,439 --> 01:17:20,679
Speaker 6: I haven't listened to it, and sometimes I've been listen

1369
01:17:20,760 --> 01:17:23,439
Speaker 6: to it for the for the film, but like, I

1370
01:17:23,520 --> 01:17:26,439
Speaker 6: can listen to that stuff. But again, I just hear it.

1371
01:17:26,520 --> 01:17:30,000
Speaker 6: I'm just like, god, I sound so young, that sounds whatever,

1372
01:17:30,280 --> 01:17:32,479
Speaker 6: you know what I mean. And it's just you know,

1373
01:17:32,640 --> 01:17:34,000
Speaker 6: it's cringe, you know what I mean.

1374
01:17:34,439 --> 01:17:37,360
Speaker 1: Wow, And you made a POI fi classic.

1375
01:17:38,240 --> 01:17:38,840
Speaker 4: Thank you man.

1376
01:17:39,240 --> 01:17:42,160
Speaker 6: But I mean, but I just look at it over

1377
01:17:42,240 --> 01:17:44,479
Speaker 6: the time, just you know, the years I've been doing this,

1378
01:17:44,880 --> 01:17:47,639
Speaker 6: I just learned to look at albums as or whatever

1379
01:17:47,640 --> 01:17:49,920
Speaker 6: it is, album's polled, whatever you make. I just look

1380
01:17:49,960 --> 01:17:51,519
Speaker 6: at it as a snapshot of where you were at

1381
01:17:51,560 --> 01:17:52,760
Speaker 6: that time. You know what I mean, you have to

1382
01:17:52,800 --> 01:17:56,120
Speaker 6: look at it like a photograph, and you can't look

1383
01:17:56,160 --> 01:17:58,760
Speaker 6: at it like, oh man, I'm so much better now,

1384
01:17:59,080 --> 01:18:00,880
Speaker 6: you know. But it's like, yeah, am, but this is

1385
01:18:00,920 --> 01:18:04,280
Speaker 6: where I was back then, and and I better be

1386
01:18:04,400 --> 01:18:04,920
Speaker 6: better now.

1387
01:18:05,520 --> 01:18:08,680
Speaker 3: Exactly exactly because if I was looking at listening to

1388
01:18:08,760 --> 01:18:09,280
Speaker 3: the old.

1389
01:18:09,160 --> 01:18:11,680
Speaker 6: Ship like damn, this dude was better, like and I

1390
01:18:11,760 --> 01:18:13,320
Speaker 6: got a problem, nid you know what I mean, because

1391
01:18:13,320 --> 01:18:16,479
Speaker 6: I ain't got better, you know what I'm saying. If

1392
01:18:16,479 --> 01:18:18,200
Speaker 6: I feel like I got to chase my old ship.

1393
01:18:19,320 --> 01:18:20,960
Speaker 6: So yeah, that's that's kind of been my thing. But

1394
01:18:21,280 --> 01:18:24,000
Speaker 6: I've very rarely listen to older stuff. It's kind of

1395
01:18:24,040 --> 01:18:25,080
Speaker 6: cringe cringe worthy.

1396
01:18:26,120 --> 01:18:28,360
Speaker 4: How about for you, MALCHAELM Yeah, I can listen to

1397
01:18:28,479 --> 01:18:32,240
Speaker 4: old stuff and appreciate where I was at the time.

1398
01:18:32,880 --> 01:18:34,679
Speaker 4: And then also you know, I listened to that stuff

1399
01:18:34,720 --> 01:18:38,360
Speaker 4: and you know, again I appreciate it makes me really appreciate,

1400
01:18:39,000 --> 01:18:42,519
Speaker 4: you know, Malcolm, then, especially coming from the journey of

1401
01:18:42,680 --> 01:18:46,120
Speaker 4: how this whole thing started. Anyway, you know what I'm saying.

1402
01:18:46,760 --> 01:18:49,720
Speaker 4: The fact that I can, I always wanted to. I

1403
01:18:49,720 --> 01:18:53,840
Speaker 4: always want to make timeless music, right, I want the

1404
01:18:53,960 --> 01:18:57,439
Speaker 4: content to be timeless. Use I still listen to Gil

1405
01:18:58,320 --> 01:19:00,639
Speaker 4: and like, you know, damn everything Gil was talking about,

1406
01:19:00,680 --> 01:19:08,720
Speaker 4: We're still ship. You know why the most I want

1407
01:19:08,760 --> 01:19:10,840
Speaker 4: someone to you know, to go back. And it's happening

1408
01:19:10,920 --> 01:19:12,720
Speaker 4: now because when I send people to like you know,

1409
01:19:12,840 --> 01:19:16,519
Speaker 4: the Spotify or the hiding in view album page, you know,

1410
01:19:16,640 --> 01:19:18,840
Speaker 4: the catalog comes up. So people who don't know that

1411
01:19:18,960 --> 01:19:20,720
Speaker 4: this is like my fourth record, they go back and

1412
01:19:20,800 --> 01:19:26,920
Speaker 4: they listen. But it's all still relevant, right, It's all

1413
01:19:27,160 --> 01:19:29,080
Speaker 4: still it's all still listenable.

1414
01:19:30,200 --> 01:19:30,360
Speaker 1: You know.

1415
01:19:30,479 --> 01:19:35,000
Speaker 4: I still stand behind you know, even you know I

1416
01:19:35,120 --> 01:19:37,000
Speaker 4: made like some you know, somethings better than others. I'll

1417
01:19:37,000 --> 01:19:41,679
Speaker 4: still stand behind. Just like my acting work. I'll stand

1418
01:19:41,800 --> 01:19:44,840
Speaker 4: behind anything in my body of work and my music

1419
01:19:45,240 --> 01:19:47,960
Speaker 4: I do to say, except I don't use nigga and

1420
01:19:48,360 --> 01:19:50,960
Speaker 4: my music anymore. Uh. But like you know, my first

1421
01:19:51,160 --> 01:19:58,200
Speaker 4: records I did right because I replaced it with common

1422
01:19:59,000 --> 01:20:01,280
Speaker 4: all right. And and actually and if you listen to

1423
01:20:01,800 --> 01:20:03,880
Speaker 4: on the album, there's a joint called so I Run

1424
01:20:03,960 --> 01:20:08,280
Speaker 4: Prelude and so on the record. I have doctor Daniel

1425
01:20:08,360 --> 01:20:12,920
Speaker 4: Black on the record, who is in my mind, okay go.

1426
01:20:13,200 --> 01:20:16,840
Speaker 4: He's assistant Assistant Professor of African American Studies at Clark

1427
01:20:18,160 --> 01:20:22,519
Speaker 4: so I interviewed him sometime last year because there's a

1428
01:20:22,640 --> 01:20:25,400
Speaker 4: bed of music in this piece called the Sante Sona

1429
01:20:26,080 --> 01:20:30,560
Speaker 4: that I wanted to have him just talk. So he

1430
01:20:31,040 --> 01:20:35,080
Speaker 4: ended up dropping so much knowledge that I put him

1431
01:20:35,760 --> 01:20:39,040
Speaker 4: all throughout the album. I will dare to say that

1432
01:20:39,920 --> 01:20:42,200
Speaker 4: my album Hiding and Playing View is one of them,

1433
01:20:42,720 --> 01:20:45,639
Speaker 4: is one of the most important albums to come out

1434
01:20:45,680 --> 01:20:49,080
Speaker 4: in twenty twenty two. And I know I'm putting a

1435
01:20:49,160 --> 01:20:53,080
Speaker 4: lot on it, but I'm also saying that because of

1436
01:20:53,520 --> 01:20:57,760
Speaker 4: the gems that Doctor Black is dropping all over this

1437
01:20:58,040 --> 01:21:03,479
Speaker 4: record is it's it's it's important. It's almost vital that

1438
01:21:04,000 --> 01:21:07,200
Speaker 4: we need to hear these messages. Like I tell people,

1439
01:21:07,439 --> 01:21:11,200
Speaker 4: my record is for us, it's for black boys, it's

1440
01:21:11,280 --> 01:21:15,439
Speaker 4: for black men, it's for black people. It's for non

1441
01:21:15,560 --> 01:21:19,000
Speaker 4: black people who have the foresight enough to see our

1442
01:21:19,160 --> 01:21:23,080
Speaker 4: self healing as an invitation for them to explore their

1443
01:21:23,160 --> 01:21:24,400
Speaker 4: own necessary healing.

1444
01:21:24,960 --> 01:21:26,559
Speaker 2: Okay, this is how we do a tribunal.

1445
01:21:26,600 --> 01:21:28,680
Speaker 5: I was wondering how you were to tribunal, and I

1446
01:21:28,760 --> 01:21:32,680
Speaker 5: think you finally got him out, because how do you

1447
01:21:32,800 --> 01:21:35,960
Speaker 5: keep them out but maybe still once get it in?

1448
01:21:36,800 --> 01:21:39,320
Speaker 2: So thank you.

1449
01:21:39,680 --> 01:21:43,840
Speaker 5: I'm gonna steal those words because this album black and

1450
01:21:43,880 --> 01:21:45,519
Speaker 5: Shit and ps he still named.

1451
01:21:45,360 --> 01:21:51,120
Speaker 4: The song you know, because there was I was working

1452
01:21:51,120 --> 01:21:53,080
Speaker 4: a song, couldn't figure out the title because initially it

1453
01:21:53,160 --> 01:21:55,920
Speaker 4: was just you know, C minor seven minor seven, So

1454
01:21:56,120 --> 01:21:58,280
Speaker 4: like I had to give it a real title. And

1455
01:21:58,439 --> 01:21:59,800
Speaker 4: once I you know, I got to write in the

1456
01:22:00,000 --> 01:22:05,040
Speaker 4: he's won't you name Matt blackf is beautiful? I was like,

1457
01:22:05,600 --> 01:22:07,519
Speaker 4: I thought you didn't like it. She was like, it's

1458
01:22:07,600 --> 01:22:10,519
Speaker 4: not right.

1459
01:22:10,680 --> 01:22:14,200
Speaker 2: That song is like all day she's Jenius.

1460
01:22:15,160 --> 01:22:19,479
Speaker 4: So yes she is, but so so I know I

1461
01:22:19,560 --> 01:22:22,360
Speaker 4: put a lot on on that album. But that's how

1462
01:22:22,439 --> 01:22:24,519
Speaker 4: I strongly feel about it. And again I strongly feel

1463
01:22:24,520 --> 01:22:28,120
Speaker 4: about that. I feel a big part of that statement

1464
01:22:28,360 --> 01:22:31,680
Speaker 4: is because of doctor Daniel Black and saying all that. Say,

1465
01:22:31,760 --> 01:22:34,200
Speaker 4: there's a prelude called so I run Prelude and he

1466
01:22:34,520 --> 01:22:42,479
Speaker 4: does a bit about niggah. Yeah, I think it's like

1467
01:22:43,680 --> 01:22:48,680
Speaker 4: but and even though I was adopting comrade before this conversation,

1468
01:22:49,640 --> 01:22:54,040
Speaker 4: he just has a really an interesting way that we

1469
01:22:54,120 --> 01:22:56,439
Speaker 4: should at least to consider.

1470
01:22:57,600 --> 01:23:00,840
Speaker 1: I'm open to hear what I say to struggle like.

1471
01:23:02,360 --> 01:23:03,920
Speaker 5: It is, but then it's like anything to keep them

1472
01:23:03,960 --> 01:23:06,400
Speaker 5: from saying it. So I don't know what we gotta do, right,

1473
01:23:07,080 --> 01:23:08,599
Speaker 5: it's get the numbers are growing.

1474
01:23:10,200 --> 01:23:12,800
Speaker 1: I know, I know that for me on the East

1475
01:23:12,840 --> 01:23:15,960
Speaker 1: Coast at least, like there's in Philly we had something

1476
01:23:15,960 --> 01:23:18,920
Speaker 1: that's similar to like the New Aurekan Society and that

1477
01:23:19,240 --> 01:23:22,479
Speaker 1: you know, like there's Trepeter Mason, Jill Scott, Ursula Rucky

1478
01:23:22,520 --> 01:23:26,960
Speaker 1: in Philly, New York. There's the New Eurekan Cafe where

1479
01:23:27,000 --> 01:23:31,479
Speaker 1: poets came. What was that environment in LA? Like where

1480
01:23:31,560 --> 01:23:35,280
Speaker 1: would one like if if Robin Harris is working out

1481
01:23:35,560 --> 01:23:39,880
Speaker 1: at the Comedy Act Theater, right, what was the New

1482
01:23:39,960 --> 01:23:41,200
Speaker 1: Aurekan or the.

1483
01:23:43,320 --> 01:23:43,360
Speaker 6: Like?

1484
01:23:43,520 --> 01:23:46,759
Speaker 1: Where did black poets hang in LA during that period

1485
01:23:46,880 --> 01:23:49,799
Speaker 1: in which you're looking for your tribe?

1486
01:23:50,000 --> 01:23:53,200
Speaker 4: Like, yeah, there are are two places of Fifth Street

1487
01:23:53,280 --> 01:23:57,640
Speaker 4: Dix in the Myrt Park, Okay, and that's where you're

1488
01:23:57,680 --> 01:24:00,800
Speaker 4: gonna find the open mics, the poets, the jazz heads,

1489
01:24:00,880 --> 01:24:03,840
Speaker 4: the old jazz heads, the young Jack's heads, everyone who

1490
01:24:04,960 --> 01:24:08,240
Speaker 4: everyone who was at at at Prinshaw High, every musician

1491
01:24:08,880 --> 01:24:12,439
Speaker 4: you know, spent time shedding at Fitz three Dicks. And

1492
01:24:12,680 --> 01:24:15,880
Speaker 4: then over in West l a uh, there is a

1493
01:24:15,960 --> 01:24:20,360
Speaker 4: place called Lucy Florence and every Tuesday night a poet

1494
01:24:20,400 --> 01:24:23,360
Speaker 4: by the name of Deep Red would do a what

1495
01:24:23,560 --> 01:24:28,280
Speaker 4: was called Red Sea poetry. But anybody who's coming coming

1496
01:24:28,360 --> 01:24:31,200
Speaker 4: coming up on the scene in La would work out

1497
01:24:31,439 --> 01:24:32,040
Speaker 4: at at.

1498
01:24:33,600 --> 01:24:34,280
Speaker 1: Right now, right now.

1499
01:24:34,320 --> 01:24:36,719
Speaker 4: He goes by spoken yoga on Instagram, but it's deeper

1500
01:24:36,720 --> 01:24:39,680
Speaker 4: as spoken yoga. But I always had to give him

1501
01:24:39,680 --> 01:24:43,360
Speaker 4: props because he provided He provided a really dope space

1502
01:24:43,439 --> 01:24:45,840
Speaker 4: and environment for you know, poets coming up. And there's

1503
01:24:45,840 --> 01:24:49,559
Speaker 4: also a fly poet, the fly poet in La, John Hensley. Uh,

1504
01:24:49,640 --> 01:24:52,000
Speaker 4: he would do a monthly thing, but he was he

1505
01:24:52,080 --> 01:24:54,519
Speaker 4: would only he would vet the poets. It would be

1506
01:24:54,520 --> 01:24:57,519
Speaker 4: a monthly thing, but they were all features. So he

1507
01:24:57,720 --> 01:25:00,760
Speaker 4: was really good about, you know, getting budgets to be

1508
01:25:00,800 --> 01:25:04,560
Speaker 4: able to pay you know poets to come in and

1509
01:25:05,240 --> 01:25:07,439
Speaker 4: you know, put some money in the pockets. But you

1510
01:25:07,479 --> 01:25:09,640
Speaker 4: would go to fly Poet knowing that you it was

1511
01:25:09,720 --> 01:25:11,840
Speaker 4: not an open mic. You were always going to get

1512
01:25:12,680 --> 01:25:20,080
Speaker 4: a hot legit poet on that stage. Damn response, When

1513
01:25:20,080 --> 01:25:25,000
Speaker 4: did you move to Atlanta in twenty eighteen? But no,

1514
01:25:25,080 --> 01:25:26,960
Speaker 4: but I have to go back because it would be

1515
01:25:26,960 --> 01:25:29,240
Speaker 4: it would be a huge disc if I didn't shout

1516
01:25:29,280 --> 01:25:32,679
Speaker 4: out The Poetry Lounge that was also another spot where

1517
01:25:33,439 --> 01:25:38,320
Speaker 4: uh and outside of La. The Poetry Lounge is probably

1518
01:25:38,400 --> 01:25:43,519
Speaker 4: the more popular, the more well known spot, but for

1519
01:25:43,640 --> 01:25:45,400
Speaker 4: those of us who were coming up on the scene

1520
01:25:45,640 --> 01:25:50,000
Speaker 4: in La, we were definitely a red Sea poetry. You know,

1521
01:25:50,000 --> 01:25:52,040
Speaker 4: a lot of people did work on at the Poetry

1522
01:25:52,080 --> 01:25:57,400
Speaker 4: Lounge and John Hilly spot. I just don't want to

1523
01:25:57,439 --> 01:25:58,000
Speaker 4: go out shout.

1524
01:25:58,080 --> 01:25:59,759
Speaker 1: It's kind of a part of my life that I missed,

1525
01:26:00,600 --> 01:26:04,040
Speaker 1: like in the early Square roots stays like Tuesday nights

1526
01:26:04,080 --> 01:26:12,080
Speaker 1: at University of pen you know, yes, exactly, like right, exactly,

1527
01:26:12,520 --> 01:26:14,240
Speaker 1: A lot of a lot of brothers who who who?

1528
01:26:14,640 --> 01:26:14,760
Speaker 4: Who?

1529
01:26:14,800 --> 01:26:14,960
Speaker 5: Who?

1530
01:26:15,200 --> 01:26:17,920
Speaker 1: Repeat words like this that that and this and that

1531
01:26:18,080 --> 01:26:23,479
Speaker 1: and the other and that, like I missed, I really miss.

1532
01:26:24,000 --> 01:26:25,840
Speaker 2: I just hear little brother songs. I'm sorry, I just

1533
01:26:25,920 --> 01:26:27,040
Speaker 2: hear yo man.

1534
01:26:27,280 --> 01:26:35,920
Speaker 1: I see that. That's what really drew me. See when

1535
01:26:35,960 --> 01:26:39,439
Speaker 1: I heard that first spansee, I was like, first of all, fante,

1536
01:26:39,760 --> 01:26:44,880
Speaker 1: fuck you. In second one, Sante, damn this moment. He's

1537
01:26:45,000 --> 01:26:51,920
Speaker 1: actually right, he is on. Like poetry was always for me,

1538
01:26:52,400 --> 01:26:54,040
Speaker 1: you know, And that's why I can appreciate with you

1539
01:26:54,680 --> 01:26:55,559
Speaker 1: because you know what you're saying.

1540
01:26:55,600 --> 01:26:58,800
Speaker 6: You know, I'm a poet Because for me coming up

1541
01:26:59,160 --> 01:27:03,200
Speaker 6: so much of poets they were failed and seas, you

1542
01:27:03,280 --> 01:27:06,320
Speaker 6: know what I mean, Like they weren't really they were

1543
01:27:06,479 --> 01:27:09,600
Speaker 6: you know guys, it's like they weren't good enough to

1544
01:27:09,760 --> 01:27:11,880
Speaker 6: be rappers. So they would kind of be in like

1545
01:27:12,000 --> 01:27:15,360
Speaker 6: this middle ground, this poetry thing.

1546
01:27:15,720 --> 01:27:16,719
Speaker 1: Now we're just critics.

1547
01:27:17,160 --> 01:27:19,080
Speaker 6: Yeah, but like but but all their poems would be

1548
01:27:19,080 --> 01:27:21,479
Speaker 6: about like it just being about fucking and ship you

1549
01:27:21,520 --> 01:27:24,360
Speaker 6: know what I mean, You know what I mean, it

1550
01:27:24,360 --> 01:27:25,280
Speaker 6: would just be like dude.

1551
01:27:27,560 --> 01:27:27,760
Speaker 4: Yeah.

1552
01:27:27,880 --> 01:27:30,920
Speaker 3: So so now so I can appreciate the way that

1553
01:27:31,080 --> 01:27:32,400
Speaker 3: you really take it poetry.

1554
01:27:32,479 --> 01:27:35,080
Speaker 1: And even for me, so you say North Carolina had

1555
01:27:35,080 --> 01:27:36,680
Speaker 1: a community, we did.

1556
01:27:36,800 --> 01:27:38,639
Speaker 4: We did, we did, we had. Yeah.

1557
01:27:38,680 --> 01:27:41,760
Speaker 6: So the song that he's referring to, if you're not uh,

1558
01:27:42,640 --> 01:27:45,800
Speaker 6: just so we know, songs called the Yo Yo's a

1559
01:27:45,880 --> 01:27:47,880
Speaker 6: verse I did it was on the song was a

1560
01:27:47,880 --> 01:27:48,519
Speaker 6: little brother song.

1561
01:27:48,880 --> 01:27:51,320
Speaker 1: It was it was a star as board. Like all right,

1562
01:27:52,080 --> 01:27:57,000
Speaker 1: Frante is really underselling it. Frante's underselling it. I say this,

1563
01:27:57,240 --> 01:28:01,080
Speaker 1: And I know I'm world famous for my my uh my,

1564
01:28:01,320 --> 01:28:07,240
Speaker 1: my over exaggerated hyper bolt, but I will say that

1565
01:28:07,479 --> 01:28:13,760
Speaker 1: Fonte's verse on Yo Yo like for me, for me,

1566
01:28:14,640 --> 01:28:17,559
Speaker 1: it was almost it was a star is born bust

1567
01:28:17,720 --> 01:28:23,200
Speaker 1: rhyme scenario verse for a tribe called quest because I

1568
01:28:23,439 --> 01:28:29,240
Speaker 1: just never I never heard someone just come over and

1569
01:28:29,400 --> 01:28:32,920
Speaker 1: look at my jinger and just be like snooped dog,

1570
01:28:33,120 --> 01:28:34,840
Speaker 1: like your toys.

1571
01:28:34,520 --> 01:28:38,000
Speaker 2: A little bit like somebody you thought you was playing

1572
01:28:38,040 --> 01:28:40,120
Speaker 2: with because and.

1573
01:28:40,160 --> 01:28:42,360
Speaker 6: I was like, wait a minute, you were on our

1574
01:28:42,439 --> 01:28:45,320
Speaker 6: side of this, it was I didn't. So when I

1575
01:28:45,400 --> 01:28:47,400
Speaker 6: wrote that verse, it wasn't for y'all.

1576
01:28:47,400 --> 01:28:48,400
Speaker 4: I mean, like I looked at it.

1577
01:28:48,479 --> 01:28:50,920
Speaker 3: First off, I never even looked at y'all as like

1578
01:28:52,240 --> 01:28:53,840
Speaker 3: like y'all, I mean, we weren't in it.

1579
01:28:54,040 --> 01:28:57,840
Speaker 4: I didn't take personal look at y'all in that way.

1580
01:28:57,880 --> 01:28:59,680
Speaker 6: I didn't look at y'all as poets, you know what

1581
01:28:59,720 --> 01:29:02,880
Speaker 6: I'm saying. MC j'all were musicians. So nah, that was

1582
01:29:02,880 --> 01:29:04,360
Speaker 6: specifically for poetry.

1583
01:29:04,439 --> 01:29:07,439
Speaker 3: Like I did it. I was hosting this poetry night.

1584
01:29:07,600 --> 01:29:10,600
Speaker 6: I got this gig and it was in Durham and

1585
01:29:11,160 --> 01:29:13,960
Speaker 6: it was my friend Tracy Ivora and Matt Sherman.

1586
01:29:14,040 --> 01:29:14,439
Speaker 1: They hit this.

1587
01:29:14,560 --> 01:29:21,080
Speaker 6: Whoever they are, I love Tracy back to this day,

1588
01:29:21,240 --> 01:29:24,200
Speaker 6: love them, love them to this day. Tracy is actually

1589
01:29:24,240 --> 01:29:27,800
Speaker 6: the girl on the listening. That's w JLR slow Jams,

1590
01:29:27,840 --> 01:29:31,840
Speaker 6: that's Tracy. So she had this thing she was having

1591
01:29:31,880 --> 01:29:34,400
Speaker 6: this poetry night. She was like, Yo, we want you

1592
01:29:34,479 --> 01:29:37,000
Speaker 6: to come host it. And I was like, all right, cool,

1593
01:29:37,200 --> 01:29:39,479
Speaker 6: how much you're paying? And it was like one hundred

1594
01:29:39,520 --> 01:29:43,160
Speaker 6: dollars and like, nigga, one hundred dollars in two thousand,

1595
01:29:43,320 --> 01:29:44,040
Speaker 6: what shit?

1596
01:29:44,439 --> 01:29:45,880
Speaker 4: You want ten thouars A fill up?

1597
01:29:45,960 --> 01:29:48,120
Speaker 3: My damn my little monsters, nigga.

1598
01:29:48,160 --> 01:29:48,799
Speaker 4: I was eating.

1599
01:29:48,840 --> 01:29:51,800
Speaker 6: I'm like, hell, let's go. So I go and I

1600
01:29:51,960 --> 01:29:54,200
Speaker 6: do the joint and I'm hosting and I'm just being me,

1601
01:29:54,400 --> 01:29:55,599
Speaker 6: you know what I mean, I'm just doing me. I'm

1602
01:29:55,640 --> 01:29:58,120
Speaker 6: talking my shit, you know, just whatever, whatever. And the

1603
01:29:58,240 --> 01:30:01,439
Speaker 6: poets are coming up there and they're really bad like this,

1604
01:30:01,840 --> 01:30:06,120
Speaker 6: like they really they kind of sucked, and so I'm

1605
01:30:06,200 --> 01:30:06,920
Speaker 6: just talking my shit.

1606
01:30:07,000 --> 01:30:07,240
Speaker 4: Whatever.

1607
01:30:07,640 --> 01:30:10,600
Speaker 3: So afterwards, the next day we talked. She calls me

1608
01:30:10,800 --> 01:30:13,080
Speaker 3: after the gig and I get paid everything, and I'm like, yeah,

1609
01:30:13,120 --> 01:30:13,960
Speaker 3: so when's the next one?

1610
01:30:14,040 --> 01:30:14,559
Speaker 4: Like I'm ready.

1611
01:30:14,600 --> 01:30:15,960
Speaker 3: I'm like, I'm thinking it's gonna be a monthly.

1612
01:30:16,040 --> 01:30:18,559
Speaker 6: I got like a little monthly, my little residence or whatever,

1613
01:30:18,600 --> 01:30:19,840
Speaker 6: my little hundred dollars nigga.

1614
01:30:19,960 --> 01:30:20,680
Speaker 4: Shit, I'm out here.

1615
01:30:21,720 --> 01:30:22,599
Speaker 3: When the next joint?

1616
01:30:22,960 --> 01:30:23,479
Speaker 4: She was like.

1617
01:30:24,960 --> 01:30:29,280
Speaker 6: Yeah, So we kind of got some complaint from the patrons.

1618
01:30:29,400 --> 01:30:31,760
Speaker 6: You know what I mean, you know, because I'm like, well,

1619
01:30:31,800 --> 01:30:33,639
Speaker 6: what can paint? Well, you know it was you saying

1620
01:30:33,720 --> 01:30:37,720
Speaker 6: the IN word. I said, well, trace it.

1621
01:30:37,840 --> 01:30:43,160
Speaker 3: I don't say the N word. I say, nigga, let's

1622
01:30:43,160 --> 01:30:45,439
Speaker 3: clear that shit up real fast, you know what I mean.

1623
01:30:45,640 --> 01:30:47,360
Speaker 4: Like I'm just being me, you know what I mean.

1624
01:30:47,920 --> 01:30:50,680
Speaker 6: And but so yeah, so I think like maybe like

1625
01:30:50,720 --> 01:30:52,720
Speaker 6: a week or two later I wrote that verse. And

1626
01:30:52,840 --> 01:30:54,360
Speaker 6: it wasn't at poor.

1627
01:30:55,800 --> 01:30:57,800
Speaker 1: I can't believe in finding this story out now.

1628
01:30:58,760 --> 01:31:01,479
Speaker 6: It wasn't about poets or any you know whatever. It

1629
01:31:01,640 --> 01:31:06,040
Speaker 6: was just about the pretentiousness of that scene, about people

1630
01:31:06,080 --> 01:31:08,439
Speaker 6: with the craft. It was just the pretensiousness of the scene.

1631
01:31:08,479 --> 01:31:11,240
Speaker 6: It was just like, you know, y'all up here like

1632
01:31:11,360 --> 01:31:14,200
Speaker 6: claiming to be a higher level of conscience or whatever,

1633
01:31:14,439 --> 01:31:18,080
Speaker 6: but the rappers are rapping about fucking girls and y'all

1634
01:31:18,280 --> 01:31:20,559
Speaker 6: just up here scene talking about.

1635
01:31:20,880 --> 01:31:23,320
Speaker 3: Girls, Like get the funk out of here, you know

1636
01:31:23,400 --> 01:31:26,240
Speaker 3: what I mean. So that was where that verse came from.

1637
01:31:26,360 --> 01:31:27,719
Speaker 3: It came from every real place.

1638
01:31:27,840 --> 01:31:30,400
Speaker 1: But well that was the Star's war movement.

1639
01:31:35,000 --> 01:31:36,400
Speaker 2: Hit us after you do moutholm.

1640
01:31:38,120 --> 01:31:45,400
Speaker 1: You know it's funny. You got a little fontet, can

1641
01:31:45,439 --> 01:31:47,240
Speaker 1: we at least do rapid fire about.

1642
01:31:47,280 --> 01:31:51,640
Speaker 3: Yeah, absolutely, yes, yes, yes, all okay, so A C. A.

1643
01:31:53,640 --> 01:31:57,080
Speaker 2: You read my mind. God damn it, mother, my motherfucker brother, come.

1644
01:31:56,960 --> 01:31:57,479
Speaker 4: On, come on.

1645
01:31:57,520 --> 01:32:00,519
Speaker 6: Always that is one of my favorite roles, was like

1646
01:32:00,560 --> 01:32:03,080
Speaker 6: your AC role, your son's and an art like talk

1647
01:32:03,120 --> 01:32:06,200
Speaker 6: about those roles where you they played. I don't wanna

1648
01:32:06,240 --> 01:32:08,240
Speaker 6: they play against type, you know what I mean, but

1649
01:32:08,760 --> 01:32:11,080
Speaker 6: something that you know, people wouldn't think, Oh, THEO is

1650
01:32:11,120 --> 01:32:12,840
Speaker 6: in the fucking motorcycle Gang, you know what I mean.

1651
01:32:13,640 --> 01:32:15,800
Speaker 6: You know, so talk about like the OJ, the A C.

1652
01:32:15,960 --> 01:32:18,280
Speaker 6: Co Collins Man, how'd you prepare for that? Yeah, I

1653
01:32:18,320 --> 01:32:21,400
Speaker 6: mean that's a whole you know, my whole journey.

1654
01:32:21,880 --> 01:32:25,240
Speaker 4: You know, post Cosby has always been trying to you know,

1655
01:32:25,400 --> 01:32:28,600
Speaker 4: shed some of that THEO to come energy, and you know,

1656
01:32:29,040 --> 01:32:31,360
Speaker 4: especially Cosby was really my first comedy role. I was

1657
01:32:31,400 --> 01:32:35,240
Speaker 4: doing dramatic work before. Cosby was always known for comedy

1658
01:32:35,560 --> 01:32:38,320
Speaker 4: and because I had done because sitcom is so you

1659
01:32:38,400 --> 01:32:42,160
Speaker 4: know ingrained in me. I've done a lot of work too,

1660
01:32:42,960 --> 01:32:46,919
Speaker 4: you know, move myself away from that. So I'm constantly

1661
01:32:47,000 --> 01:32:49,840
Speaker 4: looking for roles to kind of go against type and

1662
01:32:50,640 --> 01:32:55,320
Speaker 4: AC Really, now I think about it sparked off a

1663
01:32:56,479 --> 01:33:00,600
Speaker 4: bunch of things that kind of helped move me to

1664
01:33:00,760 --> 01:33:04,680
Speaker 4: this side. You know, the thing I loved about a

1665
01:33:04,800 --> 01:33:06,800
Speaker 4: C was one that there wasn't a whole lot of

1666
01:33:06,920 --> 01:33:10,000
Speaker 4: research to be done on him because it just wasn't

1667
01:33:10,000 --> 01:33:14,479
Speaker 4: a lot. But you know, what I recognize is, you know,

1668
01:33:15,439 --> 01:33:17,519
Speaker 4: you know, he and OJ they used to be they

1669
01:33:17,520 --> 01:33:19,640
Speaker 4: were both the men, right, But then you spend your

1670
01:33:19,680 --> 01:33:23,000
Speaker 4: life like you're the man sitting next to the man,

1671
01:33:23,360 --> 01:33:27,000
Speaker 4: the man you know, and you live such a lifestyle

1672
01:33:27,200 --> 01:33:33,959
Speaker 4: now that your you know, your relationship, your livelihood depends

1673
01:33:34,120 --> 01:33:39,360
Speaker 4: upon your relationship with him, you know. And I've never

1674
01:33:39,479 --> 01:33:42,240
Speaker 4: I've never really been I've never been the man now

1675
01:33:42,280 --> 01:33:44,519
Speaker 4: that I would ever call myself the man amongst my friends,

1676
01:33:44,600 --> 01:33:46,479
Speaker 4: but I've never been the man sitting next to the

1677
01:33:46,560 --> 01:33:50,000
Speaker 4: man right. So, but I know a lot of those do.

1678
01:33:50,400 --> 01:33:52,320
Speaker 4: So it was it was fun to be able to,

1679
01:33:52,680 --> 01:33:55,880
Speaker 4: you know, to play that side of a relationship that

1680
01:33:56,080 --> 01:33:57,559
Speaker 4: I saw all my life.

1681
01:33:58,040 --> 01:33:58,880
Speaker 2: Is he still with us?

1682
01:33:59,520 --> 01:34:00,840
Speaker 4: Yeah, as far as I know.

1683
01:34:00,960 --> 01:34:04,320
Speaker 3: Yeah, did you have any talks with him prior to

1684
01:34:04,400 --> 01:34:06,040
Speaker 3: the role where there any none of that?

1685
01:34:07,360 --> 01:34:09,280
Speaker 4: Yeah, I still haven't talked to him.

1686
01:34:09,760 --> 01:34:14,320
Speaker 5: Now you killed that role, thank you, and did that

1687
01:34:14,520 --> 01:34:17,160
Speaker 5: role lead to working with Ryan Murphy again and what

1688
01:34:17,360 --> 01:34:20,080
Speaker 5: is it like going from that to American Horror?

1689
01:34:21,240 --> 01:34:23,920
Speaker 4: So I started American Horror Story. I did that first, okay, okay,

1690
01:34:24,000 --> 01:34:28,439
Speaker 4: so sorry and then so what was fun though? For

1691
01:34:29,439 --> 01:34:32,320
Speaker 4: for people? Forus OJ? I actually auditioned for Chris Darton.

1692
01:34:33,360 --> 01:34:33,679
Speaker 3: Wow.

1693
01:34:34,840 --> 01:34:39,080
Speaker 4: And that was literally that was one of the best

1694
01:34:39,240 --> 01:34:44,560
Speaker 4: auditions in my life. Like the cash director helped my

1695
01:34:44,600 --> 01:34:46,760
Speaker 4: agent up with email like an hour after I left

1696
01:34:46,840 --> 01:34:51,320
Speaker 4: and like gave me pomps. I was like, I was like,

1697
01:34:51,479 --> 01:34:53,439
Speaker 4: this is this is that one? Like I'm about to

1698
01:34:53,520 --> 01:35:01,639
Speaker 4: blow off this motherfucker he was he was done. Months

1699
01:35:01,680 --> 01:35:06,800
Speaker 4: went by and I heard nothing right, and then I

1700
01:35:06,960 --> 01:35:11,839
Speaker 4: was like okay, and then out of the blue, Ryan's

1701
01:35:11,920 --> 01:35:14,559
Speaker 4: office called me and offered me the A C roll

1702
01:35:15,680 --> 01:35:19,200
Speaker 4: And so based on, you know, the audition for for Chris.

1703
01:35:19,720 --> 01:35:21,640
Speaker 4: So then when I saw Sterling, I was like.

1704
01:35:22,760 --> 01:35:27,200
Speaker 3: What right, of course, right right? What are we talking about?

1705
01:35:28,000 --> 01:35:28,639
Speaker 2: That made him?

1706
01:35:29,040 --> 01:35:31,640
Speaker 4: That made him to really he just I mean, he

1707
01:35:32,000 --> 01:35:38,000
Speaker 4: he put his everything, everything from his to his achilles

1708
01:35:38,080 --> 01:35:42,479
Speaker 4: heel he put in that, you know, So, yeah, yeah,

1709
01:35:42,560 --> 01:35:42,960
Speaker 4: I get it.

1710
01:35:45,400 --> 01:35:50,120
Speaker 1: I gotta ask. Speaking of that, Lenny have revealed to

1711
01:35:50,240 --> 01:35:54,719
Speaker 1: me that they first came to him. Did he reveal

1712
01:35:54,800 --> 01:35:59,479
Speaker 1: that on our episode? Uh? That before Cuba Gooding? Like,

1713
01:36:00,120 --> 01:36:04,000
Speaker 1: I know, this is real hard to imagine, but like OJ,

1714
01:36:04,760 --> 01:36:10,960
Speaker 1: Lenny and O J are dopel gangers. You gotta you

1715
01:36:11,040 --> 01:36:14,360
Speaker 1: gotta google it together. There's there's a period of OJ's.

1716
01:36:14,000 --> 01:36:15,040
Speaker 2: Life something about cravit.

1717
01:36:15,160 --> 01:36:18,800
Speaker 1: Y'all. Just so, yeah, what other Lenny? Not Lenny White?

1718
01:36:20,280 --> 01:36:21,920
Speaker 2: Nobody never heard the comparison.

1719
01:36:23,000 --> 01:36:24,479
Speaker 1: Or Lenny White the drummer anyway.

1720
01:36:25,000 --> 01:36:25,280
Speaker 4: No, no, no.

1721
01:36:25,960 --> 01:36:30,880
Speaker 1: When I was watching Ezra's OJ documentary on episode two,

1722
01:36:31,080 --> 01:36:34,280
Speaker 1: you know it's a four part documentary, episode two, I

1723
01:36:34,400 --> 01:36:37,040
Speaker 1: was like, damn, I never knew that OJ looked like

1724
01:36:37,120 --> 01:36:39,080
Speaker 1: Lenny Kravitz. And I hit him up like yo, like

1725
01:36:40,400 --> 01:36:42,160
Speaker 1: did you know you guys were twins? And he's like yo,

1726
01:36:42,320 --> 01:36:46,320
Speaker 1: they offered me the role and he didn't take it, Like.

1727
01:36:47,240 --> 01:36:48,559
Speaker 2: I gotta think about his butler roll.

1728
01:36:48,600 --> 01:36:50,280
Speaker 4: That will be the look he didn't want.

1729
01:36:50,400 --> 01:36:53,559
Speaker 1: Yeah, Like, but did you did you realize that all

1730
01:36:53,640 --> 01:36:58,679
Speaker 1: that that Lenny at one point was being courted heavily

1731
01:36:58,840 --> 01:37:01,280
Speaker 1: to play OJ's well before.

1732
01:37:02,160 --> 01:37:04,000
Speaker 4: No, I didn't know that. It's my first I mean,

1733
01:37:04,000 --> 01:37:07,800
Speaker 4: I'm not I mean that that doesn't that doesn't surprise me. Yeah,

1734
01:37:08,880 --> 01:37:09,960
Speaker 4: so yeah, never, I didn't hear that.

1735
01:37:10,600 --> 01:37:12,599
Speaker 5: It's so beautiful the way it worked out, though, because

1736
01:37:12,680 --> 01:37:15,320
Speaker 5: people love when they saw you on the screen, like

1737
01:37:15,360 --> 01:37:17,479
Speaker 5: it was a it was a beautiful like surprise.

1738
01:37:17,600 --> 01:37:21,640
Speaker 1: Like the thing that I admire about the roles that

1739
01:37:21,720 --> 01:37:24,000
Speaker 1: you chose, Like you happen to always show up on

1740
01:37:24,200 --> 01:37:30,200
Speaker 1: shows that I watch a lot, like, you know, just

1741
01:37:30,320 --> 01:37:32,600
Speaker 1: on the road, I watch everything, so like when you

1742
01:37:32,680 --> 01:37:36,720
Speaker 1: were in community, Detroiters is one of my all time

1743
01:37:36,760 --> 01:37:42,120
Speaker 1: favorite shows, you know, on the little because I know

1744
01:37:42,280 --> 01:37:45,360
Speaker 1: the people to do the production, even the girlfriend's gut

1745
01:37:45,439 --> 01:37:51,320
Speaker 1: to divorce you, Like, there's so much all all of

1746
01:37:51,400 --> 01:37:57,200
Speaker 1: the shows that you've done. Is acting still like a

1747
01:37:57,360 --> 01:38:02,120
Speaker 1: journey that you enjoy or or is it like it's

1748
01:38:02,200 --> 01:38:04,639
Speaker 1: cool but you know, like music's like like what's your

1749
01:38:04,800 --> 01:38:06,559
Speaker 1: what's your fifty ballants?

1750
01:38:06,600 --> 01:38:06,720
Speaker 4: Here?

1751
01:38:07,000 --> 01:38:07,160
Speaker 1: Right?

1752
01:38:08,160 --> 01:38:12,000
Speaker 4: The acting? I mean, one, it's my bread and butter, right,

1753
01:38:12,400 --> 01:38:16,599
Speaker 4: But I'm also you know, I'm hitting a new stride

1754
01:38:17,640 --> 01:38:20,519
Speaker 4: as an actor. So my craft is you know, I

1755
01:38:20,640 --> 01:38:22,880
Speaker 4: have a better handle on my craft. It's just even

1756
01:38:22,920 --> 01:38:27,400
Speaker 4: these five seasons I've been doing on The Resident, The

1757
01:38:27,479 --> 01:38:32,400
Speaker 4: Resident has really been a great playground, you know, to

1758
01:38:32,680 --> 01:38:38,040
Speaker 4: to work on certain tools I need as I continue

1759
01:38:38,080 --> 01:38:42,599
Speaker 4: on this journey of mastery of my craft. So I'm

1760
01:38:42,680 --> 01:38:45,400
Speaker 4: always looking to to get better. I have this this

1761
01:38:45,720 --> 01:38:50,479
Speaker 4: really dope show coming out on Fox called Accused. It's

1762
01:38:50,520 --> 01:38:55,120
Speaker 4: a courtroom anthology series, so like Twilight Zone or Black Mirror,

1763
01:38:55,280 --> 01:39:00,760
Speaker 4: every episode is its standalone. Yeah, but so I have

1764
01:39:00,800 --> 01:39:05,800
Speaker 4: an episode of that, and these five seasons on The

1765
01:39:05,960 --> 01:39:09,400
Speaker 4: Resident have greatly and even informed that role because that

1766
01:39:09,560 --> 01:39:12,439
Speaker 4: role is again a very different role. It was very

1767
01:39:12,520 --> 01:39:16,679
Speaker 4: demanding emotionally, So just having that experience was like wow,

1768
01:39:16,840 --> 01:39:20,040
Speaker 4: like like I am I say, with The Resident, I

1769
01:39:20,120 --> 01:39:24,839
Speaker 4: have finally I'm finally beginning to handle on my craft

1770
01:39:25,479 --> 01:39:30,080
Speaker 4: that I've been chasing since Cosby. M hmm. So there's

1771
01:39:30,280 --> 01:39:33,400
Speaker 4: all of that and it's like, oh wow, there's all

1772
01:39:33,479 --> 01:39:38,160
Speaker 4: of that that's informed where I am. Now, Fuck what's next?

1773
01:39:39,200 --> 01:39:42,439
Speaker 4: You know, Like I'm excited about that. And then instead

1774
01:39:42,439 --> 01:39:45,960
Speaker 4: of me stressing about you know what the next job

1775
01:39:46,080 --> 01:39:47,679
Speaker 4: is going to be, I have the music.

1776
01:39:48,520 --> 01:39:51,280
Speaker 6: Yeah right, I would say, man, I would say, bro,

1777
01:39:51,439 --> 01:39:53,519
Speaker 6: like I just from as someone that you know, grew

1778
01:39:53,640 --> 01:39:58,400
Speaker 6: up like watch you on Cosby and who I knew

1779
01:39:58,400 --> 01:40:00,519
Speaker 6: you were older than me, but you know but just

1780
01:40:00,600 --> 01:40:02,960
Speaker 6: you know, in the same range, you know what I'm saying.

1781
01:40:03,400 --> 01:40:07,320
Speaker 6: But like I always admired, I thought you really grew

1782
01:40:07,400 --> 01:40:10,040
Speaker 6: into yourself really well you know what I mean in

1783
01:40:10,160 --> 01:40:13,320
Speaker 6: terms of you know what I mean, in terms of

1784
01:40:13,439 --> 01:40:16,240
Speaker 6: just like your transition and going from because I mean

1785
01:40:16,320 --> 01:40:20,559
Speaker 6: we you know, I mean child actors, no doubt. Well, comrade, listen,

1786
01:40:20,800 --> 01:40:27,880
Speaker 6: I say that, thank you, thank you. I think, yeah,

1787
01:40:28,360 --> 01:40:31,800
Speaker 6: comrades up out here, really you know what I mean.

1788
01:40:32,520 --> 01:40:35,639
Speaker 6: But nah, you know, so you know, most child actors

1789
01:40:35,680 --> 01:40:38,799
Speaker 6: that's a sub transition to make. But I've always admired

1790
01:40:39,000 --> 01:40:42,200
Speaker 6: just the way you've kind of transition, and you've always

1791
01:40:42,200 --> 01:40:44,759
Speaker 6: seemed to pick roles that were you and it seemed

1792
01:40:44,840 --> 01:40:47,760
Speaker 6: like it was really yeah, just like a lot of

1793
01:40:47,840 --> 01:40:50,439
Speaker 6: class and you just brought I think, you know when

1794
01:40:50,439 --> 01:40:53,960
Speaker 6: you talk about your process and how you're growing, you know,

1795
01:40:54,200 --> 01:40:56,080
Speaker 6: older and kind of you feel like there's another level

1796
01:40:56,120 --> 01:40:57,200
Speaker 6: of mastery just there.

1797
01:40:57,680 --> 01:40:57,840
Speaker 3: You know.

1798
01:40:58,080 --> 01:41:01,439
Speaker 6: I see that, man, It really shine through and everything

1799
01:41:01,520 --> 01:41:03,760
Speaker 6: you do, you know what I mean, And I really

1800
01:41:03,760 --> 01:41:04,959
Speaker 6: appreciate it for really.

1801
01:41:05,200 --> 01:41:07,000
Speaker 1: I got to ask fan out questions though.

1802
01:41:07,280 --> 01:41:08,760
Speaker 2: All right, let's go, I got some soul.

1803
01:41:09,240 --> 01:41:13,600
Speaker 1: Okay, So a year before the pandemic. All right, so

1804
01:41:13,680 --> 01:41:17,839
Speaker 1: the Roots lived, you know, we moved to London, England,

1805
01:41:17,960 --> 01:41:20,639
Speaker 1: like in ninety three when we got our record deal,

1806
01:41:21,520 --> 01:41:25,040
Speaker 1: moved over there and kind of kept an apartment there

1807
01:41:25,720 --> 01:41:28,160
Speaker 1: so that we could tour all of Europe extensively without

1808
01:41:28,200 --> 01:41:30,240
Speaker 1: it being like really heavy on our pockets, you know,

1809
01:41:30,400 --> 01:41:32,920
Speaker 1: paying for flights back and forth to the States. Like

1810
01:41:33,000 --> 01:41:35,400
Speaker 1: we're just going to live in Europe and so like

1811
01:41:36,120 --> 01:41:38,760
Speaker 1: London's the second home for us. So we did this

1812
01:41:39,000 --> 01:41:45,280
Speaker 1: gig in London and it's like our biggest crowd yet.

1813
01:41:45,320 --> 01:41:48,680
Speaker 1: So it's like fifteen thousand people, and this is not

1814
01:41:49,240 --> 01:41:52,000
Speaker 1: like a festival, this is just like a regular roots

1815
01:41:52,040 --> 01:41:57,120
Speaker 1: show outdoors. And I'm staring at this woman and I'm like,

1816
01:41:57,439 --> 01:42:01,080
Speaker 1: I know you from so where I don't know where

1817
01:42:01,120 --> 01:42:04,439
Speaker 1: I know And she just stood out like she stood

1818
01:42:04,439 --> 01:42:07,280
Speaker 1: in the middle. And then I did a DJ gig

1819
01:42:08,400 --> 01:42:15,360
Speaker 1: and that same woman was like was was was was there?

1820
01:42:15,840 --> 01:42:19,760
Speaker 1: And I was like, where do I know you from?

1821
01:42:20,680 --> 01:42:23,120
Speaker 1: At the end of the night, I was like, excuse me,

1822
01:42:23,320 --> 01:42:28,400
Speaker 1: where do we know each other? And she says, yeah,

1823
01:42:28,520 --> 01:42:33,880
Speaker 1: my name is Denise Pearson. I was like, fucking five star,

1824
01:42:34,040 --> 01:42:38,679
Speaker 1: Denise Pearson, where you started laughing. I was like, wait,

1825
01:42:38,760 --> 01:42:42,320
Speaker 1: you know, I said, wait, always hung with Malcolm Tomorrow

1826
01:42:42,360 --> 01:42:48,960
Speaker 1: Warner like for me, for me like and then and

1827
01:42:49,040 --> 01:42:52,120
Speaker 1: then taking taken to the very top of this episode

1828
01:42:52,680 --> 01:42:57,240
Speaker 1: when I told you, like vicariously, who am I living with? Like?

1829
01:42:57,360 --> 01:42:58,479
Speaker 1: Who am I living through?

1830
01:42:58,880 --> 01:43:00,880
Speaker 2: What is you gotta give us?

1831
01:43:01,680 --> 01:43:07,320
Speaker 1: Give me a second like for me in watching and

1832
01:43:07,520 --> 01:43:12,240
Speaker 1: watching you as a kid vicariously living like I would

1833
01:43:12,320 --> 01:43:15,600
Speaker 1: just like, wow, man, the only two people like I

1834
01:43:15,680 --> 01:43:19,240
Speaker 1: knew Eddie Murphy mentioned them once and you were always

1835
01:43:19,320 --> 01:43:27,759
Speaker 1: hanging with five Star? Do you not know five Star? No? Okay,

1836
01:43:28,000 --> 01:43:29,840
Speaker 1: all right, this this is all I said. You remember

1837
01:43:29,840 --> 01:43:35,000
Speaker 1: the Jimmy jam episode where you know he spoke of

1838
01:43:35,880 --> 01:43:39,120
Speaker 1: who's our our our my Philly comrade. Oh Nick Martin

1839
01:43:39,160 --> 01:43:43,040
Speaker 1: Nelly when we talked about people that bite jam and Lewis,

1840
01:43:43,720 --> 01:43:48,160
Speaker 1: Nick Martin Nelly was basically, I don't want to insult

1841
01:43:48,439 --> 01:43:53,760
Speaker 1: Nick Martinelly. I'm saying this through the mind of Jimmy Jam.

1842
01:43:54,240 --> 01:43:55,920
Speaker 1: If you can't get Jam and Lewis, you can get

1843
01:43:56,000 --> 01:43:58,720
Speaker 1: Nick Martin Elly and almost get the same results. So

1844
01:43:58,920 --> 01:44:03,080
Speaker 1: like loose ends five Star like he was.

1845
01:44:03,320 --> 01:44:06,400
Speaker 2: Sid Star from the group five Star.

1846
01:44:07,160 --> 01:44:11,320
Speaker 1: Yeah, oh shit. So I'll just say that production wise,

1847
01:44:11,600 --> 01:44:16,400
Speaker 1: like Nick Martinelli had took jam and Lewis's SOS band

1848
01:44:16,560 --> 01:44:20,840
Speaker 1: sound and gave it to Lowsens, gave it to Phyllis Hymon.

1849
01:44:21,120 --> 01:44:24,120
Speaker 1: I only want to be your girl. That's going and

1850
01:44:24,920 --> 01:44:29,599
Speaker 1: five Star, which is basically in my mind, if if

1851
01:44:30,080 --> 01:44:34,519
Speaker 1: pre controlled Janet Jackson had a group like her brothers,

1852
01:44:34,720 --> 01:44:38,679
Speaker 1: it was this group. They were, but they were biggest ship.

1853
01:44:38,880 --> 01:44:41,360
Speaker 4: They were Jacksons Europe.

1854
01:44:41,840 --> 01:44:44,280
Speaker 1: They were definitely the Jacksons of Europe. And at the

1855
01:44:44,520 --> 01:44:48,400
Speaker 1: time and at the time when the Jackson's resorted kind

1856
01:44:48,439 --> 01:44:53,680
Speaker 1: of running on empty between eighty four and on, like

1857
01:44:53,800 --> 01:44:56,600
Speaker 1: there was no there was nobody to really scratch that

1858
01:44:56,760 --> 01:45:00,680
Speaker 1: itch of watching five people dance at the same time

1859
01:45:00,760 --> 01:45:02,640
Speaker 1: and do those same moves at the jet. You know,

1860
01:45:02,720 --> 01:45:05,000
Speaker 1: It's like after the Victory Tour, the Jackson's were pretty

1861
01:45:05,080 --> 01:45:08,040
Speaker 1: much over in eighty four, so five Star kind of

1862
01:45:08,120 --> 01:45:12,960
Speaker 1: took their place. There was a new addition, but five

1863
01:45:13,040 --> 01:45:16,400
Speaker 1: Star was really that anyway. Like, you know, they were

1864
01:45:16,520 --> 01:45:18,639
Speaker 1: always hanging with Malcolm jam and I was like, wow,

1865
01:45:18,760 --> 01:45:21,560
Speaker 1: man like, he's so lucky to know them, man like.

1866
01:45:23,240 --> 01:45:26,240
Speaker 1: But I just want to ask you, in general, you're

1867
01:45:26,520 --> 01:45:30,000
Speaker 1: experiencing life and coming of age during a period in

1868
01:45:30,200 --> 01:45:36,120
Speaker 1: which might seem normal to you then but now is

1869
01:45:36,320 --> 01:45:40,519
Speaker 1: like everything you experienced was a classic moment. Like you

1870
01:45:40,680 --> 01:45:44,360
Speaker 1: saw Prime New Edition. I mean, like you were hanging

1871
01:45:44,400 --> 01:45:49,400
Speaker 1: with Houdini, like you're in the Funky Beat video, right yeah, yeah, yeah, right,

1872
01:45:49,600 --> 01:45:54,479
Speaker 1: like you're hanging with like I mean, Run DMC raising

1873
01:45:54,680 --> 01:45:57,760
Speaker 1: how era Run DMC was the musical guests on your

1874
01:45:57,880 --> 01:46:03,479
Speaker 1: episode of SNL. Matter of fact, that man out. No,

1875
01:46:03,600 --> 01:46:06,800
Speaker 1: I'm just saying, like Swike Lee even did his little

1876
01:46:07,080 --> 01:46:11,280
Speaker 1: short film join on Malcolm's episode, Like I'm almost certain,

1877
01:46:11,880 --> 01:46:13,519
Speaker 1: like this is the one moment where I wish all

1878
01:46:13,560 --> 01:46:16,160
Speaker 1: five of us were together because I know you probably

1879
01:46:16,200 --> 01:46:18,679
Speaker 1: were also a Latin quarter.

1880
01:46:20,640 --> 01:46:24,760
Speaker 7: Regular that well yeah, when I was too young to

1881
01:46:24,800 --> 01:46:27,600
Speaker 7: even be up in there, right, But I'm just saying, like,

1882
01:46:28,080 --> 01:46:33,600
Speaker 7: just in general, I feel like I'm what was it

1883
01:46:33,760 --> 01:46:34,200
Speaker 7: like to be you?

1884
01:46:35,080 --> 01:46:35,240
Speaker 5: Right?

1885
01:46:35,640 --> 01:46:38,200
Speaker 1: You know, I don't want to sound like old boy

1886
01:46:38,280 --> 01:46:41,920
Speaker 1: interviewing Paul McCartney on Saturday Live, like that was cool,

1887
01:46:42,360 --> 01:46:46,160
Speaker 1: but like you were the man when like the Prince

1888
01:46:46,280 --> 01:46:51,200
Speaker 1: I wish I knew was I became his friend like

1889
01:46:51,680 --> 01:46:56,320
Speaker 1: after the fact, you know, but what was it like

1890
01:46:56,479 --> 01:46:59,400
Speaker 1: during that period to be in that, to be in

1891
01:47:01,160 --> 01:47:04,599
Speaker 1: the eye of the storm, because I mean, for all,

1892
01:47:05,520 --> 01:47:07,639
Speaker 1: the thing that we can't take away from that show

1893
01:47:09,320 --> 01:47:17,080
Speaker 1: is the domino effect of ideas and seeds planet. I mean,

1894
01:47:17,120 --> 01:47:19,679
Speaker 1: I started with the hip hop thing, but I'm certain

1895
01:47:19,760 --> 01:47:22,680
Speaker 1: that a lot of us were looking at you know,

1896
01:47:22,920 --> 01:47:27,400
Speaker 1: black college is different. We were looking at education different.

1897
01:47:27,479 --> 01:47:28,960
Speaker 3: We were looking the first time here in night time

1898
01:47:29,000 --> 01:47:29,599
Speaker 3: at the right time.

1899
01:47:29,960 --> 01:47:34,160
Speaker 1: Rachel, Like, that was right, so many firsts. So like

1900
01:47:34,880 --> 01:47:40,160
Speaker 1: for you in general, what was your experience like just

1901
01:47:40,439 --> 01:47:44,040
Speaker 1: in the eye of the Storm between eighty four and

1902
01:47:44,240 --> 01:47:45,760
Speaker 1: ninety two, you.

1903
01:47:45,800 --> 01:47:49,280
Speaker 4: Couldn't tell me shit, Oh no, were you an asshole? No?

1904
01:47:49,400 --> 01:47:51,760
Speaker 4: It wasn't an asshole. It wasn't that, not at all.

1905
01:47:52,960 --> 01:47:55,760
Speaker 4: When it was when I first started working pre Cosby, right,

1906
01:47:56,080 --> 01:47:59,920
Speaker 4: I was doing like Matt Houston Fame I was doing.

1907
01:48:00,000 --> 01:48:04,400
Speaker 4: I was doing two plays at the same time. Like

1908
01:48:04,479 --> 01:48:07,280
Speaker 4: I'm in seventh grade and like I'm feeling like I'm

1909
01:48:07,280 --> 01:48:09,880
Speaker 4: at school when people recognizing them from TV. So I'm like, yo,

1910
01:48:10,120 --> 01:48:17,040
Speaker 4: I'm that comrade. Right, I was like, yo, I'm the ship.

1911
01:48:17,280 --> 01:48:19,439
Speaker 4: Like so I was in that space. Then eighth grade

1912
01:48:19,520 --> 01:48:22,439
Speaker 4: came around and I could not book an audition to

1913
01:48:22,479 --> 01:48:24,840
Speaker 4: save my life. I was going on like four or

1914
01:48:24,880 --> 01:48:28,760
Speaker 4: five callbacks, not booking anything, and it was hurting my soul.

1915
01:48:29,360 --> 01:48:32,160
Speaker 4: But the message I got was like, Wow, this is

1916
01:48:32,200 --> 01:48:36,200
Speaker 4: all cool, but this can go away just like that

1917
01:48:36,880 --> 01:48:39,600
Speaker 4: control over ye. And as soon as I got that epiphany,

1918
01:48:40,000 --> 01:48:43,559
Speaker 4: I book cosme. So, so that's the first filter through

1919
01:48:43,640 --> 01:48:46,120
Speaker 4: which I have. You know, I handled my whole journey.

1920
01:48:47,479 --> 01:48:50,040
Speaker 4: So I wasn't well so so the beautiful thing was

1921
01:48:50,120 --> 01:48:53,840
Speaker 4: I wasn't an ass, but I was very present to

1922
01:48:54,880 --> 01:48:56,479
Speaker 4: this life that I'm living.

1923
01:48:57,200 --> 01:48:57,639
Speaker 2: That's good.

1924
01:48:58,200 --> 01:49:01,280
Speaker 4: And being in New York had a a great deal

1925
01:49:01,360 --> 01:49:04,120
Speaker 4: to do with that, because I wasn't in Hollywood, and

1926
01:49:04,240 --> 01:49:08,200
Speaker 4: my best friends weren't on the same lot two stages

1927
01:49:08,280 --> 01:49:11,320
Speaker 4: down in their show. We were in New York. But

1928
01:49:11,680 --> 01:49:15,120
Speaker 4: when we were first in Brooklyn, the NBC studios didn't

1929
01:49:15,120 --> 01:49:17,320
Speaker 4: have a commasary, so at lunch we had to go

1930
01:49:17,439 --> 01:49:20,280
Speaker 4: out into the neighborhood and pick up our lunch wherever

1931
01:49:20,360 --> 01:49:23,000
Speaker 4: we decided we're gonna eat right, and we're on the

1932
01:49:23,120 --> 01:49:26,080
Speaker 4: number one television show in the world.

1933
01:49:26,640 --> 01:49:28,479
Speaker 1: There wasn't commisary there, not, not.

1934
01:49:28,520 --> 01:49:30,720
Speaker 4: At this particular because we were like an avenue m

1935
01:49:30,840 --> 01:49:32,920
Speaker 4: and E's fourteenth Street, like this is like deep in Brooklyn?

1936
01:49:33,320 --> 01:49:37,280
Speaker 1: Can I side note? Yeah, the last season of Cosby

1937
01:49:38,240 --> 01:49:40,400
Speaker 1: you know it was on the catering staff there, right,

1938
01:49:41,560 --> 01:49:46,280
Speaker 1: what the head cook Cracy? Yeah yeah, yeah, yeah, yeah, yeah, yeah,

1939
01:49:46,360 --> 01:49:49,920
Speaker 1: that's how she She started out as a one of

1940
01:49:49,960 --> 01:49:53,599
Speaker 1: the head chefs at the Cosby Man, which then led

1941
01:49:53,640 --> 01:49:54,920
Speaker 1: her to life.

1942
01:49:55,920 --> 01:49:59,200
Speaker 4: Yeah, no doubt, I remember Grace. Yeah, yeah, she's cool.

1943
01:49:59,479 --> 01:50:02,559
Speaker 6: But yeah, in terms of the because y'all were very

1944
01:50:02,720 --> 01:50:07,880
Speaker 6: you know, y'all are children, were did they because you

1945
01:50:07,920 --> 01:50:11,200
Speaker 6: talked about how Cosby in the writer's room, how he

1946
01:50:11,240 --> 01:50:13,200
Speaker 6: would talk about you know, you know, we're not gonna

1947
01:50:13,200 --> 01:50:13,360
Speaker 6: do that.

1948
01:50:13,400 --> 01:50:14,000
Speaker 4: I'm not gonna do that.

1949
01:50:14,600 --> 01:50:18,280
Speaker 6: Did he or Felicia or just any of the adults

1950
01:50:18,320 --> 01:50:20,120
Speaker 6: on the show, did they kind of give y'all game

1951
01:50:20,400 --> 01:50:21,760
Speaker 6: as young actors as well?

1952
01:50:22,240 --> 01:50:23,680
Speaker 3: It was the educational it that way.

1953
01:50:24,320 --> 01:50:27,640
Speaker 4: It was for me, it was just watching, okay, right,

1954
01:50:27,840 --> 01:50:30,400
Speaker 4: that just means like understanding, you know, we're on this

1955
01:50:30,560 --> 01:50:35,000
Speaker 4: number one television show in the world. But every weekend,

1956
01:50:35,120 --> 01:50:38,880
Speaker 4: mister Cosby is in Atlanta, Tahoe, or Vegas doing stand

1957
01:50:38,960 --> 01:50:41,600
Speaker 4: up Friday, Saturday, Sunday and then be the work the

1958
01:50:41,680 --> 01:50:45,519
Speaker 4: first person back at work on Monday, right. So I'm

1959
01:50:45,520 --> 01:50:48,640
Speaker 4: seeing like, I'm seeing that kind of grind, you know,

1960
01:50:48,720 --> 01:50:51,120
Speaker 4: and I'm seeing the you know, the work that he's

1961
01:50:51,160 --> 01:50:55,000
Speaker 4: putting into the show. I'm seeing the fights that he's having.

1962
01:50:55,640 --> 01:50:58,280
Speaker 4: Uh So, so much of that was was just by

1963
01:50:58,360 --> 01:51:02,639
Speaker 4: watching watching him. I've probably I'm sure I've learned more

1964
01:51:02,680 --> 01:51:05,840
Speaker 4: from him than more from him from watching him than

1965
01:51:05,920 --> 01:51:09,160
Speaker 4: him sitting me down a bit. But I listened, and

1966
01:51:09,280 --> 01:51:12,040
Speaker 4: he's one of those people who is willing to share

1967
01:51:12,080 --> 01:51:14,519
Speaker 4: all of his knowledge with anyone who's willing to listen.

1968
01:51:15,520 --> 01:51:17,400
Speaker 4: So I also, you know, I listened a lot. I

1969
01:51:17,479 --> 01:51:19,240
Speaker 4: listened to you know, I was, I mean I was.

1970
01:51:19,680 --> 01:51:24,439
Speaker 4: It was a great apprenticeship in terms of running a show, uh,

1971
01:51:24,640 --> 01:51:30,439
Speaker 4: in terms of handling the responsibility of living in the

1972
01:51:30,479 --> 01:51:31,040
Speaker 4: public eye.

1973
01:51:36,120 --> 01:51:39,639
Speaker 1: You guess directed the special ED episode? Correct?

1974
01:51:40,400 --> 01:51:43,680
Speaker 4: I directed like like six episodes, but not the one

1975
01:51:43,920 --> 01:51:44,280
Speaker 4: ED was on?

1976
01:51:45,080 --> 01:51:45,559
Speaker 2: Which ones?

1977
01:51:45,640 --> 01:51:47,240
Speaker 4: Did you do? Well?

1978
01:51:47,280 --> 01:51:47,920
Speaker 2: Give us a couple?

1979
01:51:48,400 --> 01:51:51,880
Speaker 1: I know them all about heart but no, no, no,

1980
01:51:52,040 --> 01:51:52,360
Speaker 1: I don't know.

1981
01:51:52,840 --> 01:52:00,600
Speaker 4: I think off to see the Wretched, got drunk and

1982
01:52:00,680 --> 01:52:02,800
Speaker 4: they went to the Uh they went to see some

1983
01:52:03,280 --> 01:52:07,600
Speaker 4: some some group, yes, in Philly, and Clifford Claire had

1984
01:52:07,640 --> 01:52:10,680
Speaker 4: to drive the Philly to go get them, and.

1985
01:52:10,680 --> 01:52:13,680
Speaker 2: They had to play a drinking make fun ye no, no,

1986
01:52:13,840 --> 01:52:16,360
Speaker 2: not that one drink they.

1987
01:52:16,320 --> 01:52:18,120
Speaker 4: Were they were in Philly, they got these tickets, they

1988
01:52:18,200 --> 01:52:20,519
Speaker 4: drove up, you know, letting by know and then I

1989
01:52:20,560 --> 01:52:24,640
Speaker 4: think a scalper scammed them and took the ticket and

1990
01:52:24,720 --> 01:52:26,280
Speaker 4: then they the car broke down.

1991
01:52:26,840 --> 01:52:27,639
Speaker 1: Remember that episode.

1992
01:52:27,720 --> 01:52:29,840
Speaker 4: They lied to Clifford Claire about where they were going,

1993
01:52:29,880 --> 01:52:31,639
Speaker 4: so cliff clar had to drive to Philly to get

1994
01:52:31,680 --> 01:52:32,519
Speaker 4: them and bring them back.

1995
01:52:32,560 --> 01:52:36,439
Speaker 1: And so when you're doing directing, like I've noticed that

1996
01:52:36,600 --> 01:52:40,120
Speaker 1: some of those episodes you weren't in at all, Like

1997
01:52:40,360 --> 01:52:42,720
Speaker 1: was that by design? Like, Okay, my character won't be

1998
01:52:42,800 --> 01:52:44,679
Speaker 1: in this particular episode like I will.

1999
01:52:45,400 --> 01:52:48,280
Speaker 4: I think in the in the episodes that I directed,

2000
01:52:48,320 --> 01:52:49,519
Speaker 4: they definitely wrote me lighter.

2001
01:52:50,160 --> 01:52:50,240
Speaker 6: Uh.

2002
01:52:50,600 --> 01:52:52,280
Speaker 4: Just sometimes there are just times we running them for

2003
01:52:52,960 --> 01:52:54,519
Speaker 4: you know, for whatever reason.

2004
01:52:55,240 --> 01:52:57,640
Speaker 5: At the point when THEO went to college, did they

2005
01:52:57,680 --> 01:53:00,120
Speaker 5: start asking you for your opinions on things like or

2006
01:53:00,160 --> 01:53:02,360
Speaker 5: did they ever before that or at any point did

2007
01:53:02,439 --> 01:53:05,000
Speaker 5: you have any on the writing. It was moments when

2008
01:53:05,160 --> 01:53:06,880
Speaker 5: I saw you come home and like they were listening,

2009
01:53:06,960 --> 01:53:08,560
Speaker 5: you were listening the day Last Soul, and I was

2010
01:53:08,640 --> 01:53:10,560
Speaker 5: like in my you know, in my mind, I'm like

2011
01:53:11,320 --> 01:53:14,240
Speaker 5: Malcolm did that because right, like.

2012
01:53:15,040 --> 01:53:17,559
Speaker 4: Yeah, stuff like that, like the so the very last episode,

2013
01:53:18,080 --> 01:53:21,040
Speaker 4: I submitted the demo. Me and Spaceman Patterson submitted a

2014
01:53:21,080 --> 01:53:24,160
Speaker 4: demo for the theme song. They ended up not using

2015
01:53:24,240 --> 01:53:26,960
Speaker 4: our demo, but they used the drum track of that

2016
01:53:27,080 --> 01:53:30,920
Speaker 4: programmed like they used my drum patterns, right, they changed

2017
01:53:30,920 --> 01:53:32,639
Speaker 4: the sounds, but they used my drums just like. Okay,

2018
01:53:33,240 --> 01:53:36,679
Speaker 4: got it? So, I mean there was there was definitely

2019
01:53:37,240 --> 01:53:37,600
Speaker 4: wait for.

2020
01:53:37,640 --> 01:53:41,639
Speaker 1: The last season. Yeah, so you helped do the music

2021
01:53:41,840 --> 01:53:44,240
Speaker 1: of when they're dancing in front of the brick wall

2022
01:53:44,400 --> 01:53:48,599
Speaker 1: the brother Hell House. Yeah yeah, yeah, but wait, oh god,

2023
01:53:48,680 --> 01:53:50,280
Speaker 1: I have so many questions to ask.

2024
01:53:50,120 --> 01:53:55,360
Speaker 2: You now the intros so not even the intro, okay, but.

2025
01:53:55,360 --> 01:53:59,040
Speaker 1: I always wanted to know. Okay, there was one. There

2026
01:53:59,120 --> 01:54:02,560
Speaker 1: was one particular episode in which, for the life of me,

2027
01:54:03,520 --> 01:54:07,559
Speaker 1: I will never understand how this happened. You know, Normally,

2028
01:54:07,840 --> 01:54:13,600
Speaker 1: they will make if someone's listening to outside music, you know,

2029
01:54:13,720 --> 01:54:17,200
Speaker 1: they'll have whatever, I know, like Stuke Gartner, somebody would

2030
01:54:18,040 --> 01:54:20,920
Speaker 1: make up a song, a fictional song or whatever for

2031
01:54:21,040 --> 01:54:24,600
Speaker 1: you guys to listen to. But this one particular episode,

2032
01:54:25,320 --> 01:54:30,200
Speaker 1: I couldn't believe that, not only uh was like black

2033
01:54:30,240 --> 01:54:32,919
Speaker 1: you Who. Like if if you remember the the episode,

2034
01:54:33,440 --> 01:54:35,280
Speaker 1: this is when I first got a VCR, So you remember,

2035
01:54:35,360 --> 01:54:37,080
Speaker 1: like when you first get your VCR and you just

2036
01:54:37,160 --> 01:54:39,800
Speaker 1: record any and everything or am I way too older

2037
01:54:39,840 --> 01:54:43,680
Speaker 1: than you? I'm way older than you too, So I'm

2038
01:54:43,760 --> 01:54:45,600
Speaker 1: just saying that when you get a VCR, you record

2039
01:54:45,720 --> 01:54:48,600
Speaker 1: everything and you watch it over again. So this one

2040
01:54:48,640 --> 01:54:54,120
Speaker 1: particular episode they use the actual black you who Guess

2041
01:54:54,160 --> 01:54:59,400
Speaker 1: Who's coming to dinner, which is uh, spoony, spooky right right,

2042
01:55:00,000 --> 01:55:02,720
Speaker 1: which you know the whole I say amon thing, But

2043
01:55:03,000 --> 01:55:06,920
Speaker 1: for me, I always wanted to know. So there's a

2044
01:55:07,000 --> 01:55:12,280
Speaker 1: scene where Vanessa and Robert are listening to Cosmic Slot

2045
01:55:12,360 --> 01:55:15,760
Speaker 1: by Funkadelic, and I was like, Yo, these two are

2046
01:55:15,880 --> 01:55:20,200
Speaker 1: twelve years old. Wow, what do they know about listening

2047
01:55:20,280 --> 01:55:24,040
Speaker 1: to a song from nineteen seventy three about a mother

2048
01:55:25,400 --> 01:55:27,800
Speaker 1: that has to turn tricks in the alleyway to feed

2049
01:55:27,840 --> 01:55:31,600
Speaker 1: her Like it was such. I was watching it with

2050
01:55:31,680 --> 01:55:35,200
Speaker 1: a musician friend of my dad's and he was like,

2051
01:55:35,240 --> 01:55:38,240
Speaker 1: wait a minute, are they really playing Cosmic Slot by

2052
01:55:38,320 --> 01:55:40,840
Speaker 1: Funkadelic right now? On the cosby That was like one

2053
01:55:40,840 --> 01:55:43,560
Speaker 1: of the most revolutionary moments. But I always wanted to know,

2054
01:55:44,640 --> 01:55:48,480
Speaker 1: like I know that wasn't by accident or like, I

2055
01:55:48,600 --> 01:55:51,879
Speaker 1: know that was on purpose? Who would is that? The writers?

2056
01:55:52,320 --> 01:55:52,520
Speaker 5: Is that.

2057
01:55:54,120 --> 01:55:59,320
Speaker 4: That was either mister Cosby or Stut Gardner. Probably mister Cosby.

2058
01:56:00,080 --> 01:56:00,320
Speaker 1: Wow.

2059
01:56:00,720 --> 01:56:04,840
Speaker 4: So at the time I know that scene, I was

2060
01:56:04,880 --> 01:56:09,000
Speaker 4: probably too young to know cosmic slop so right, But

2061
01:56:09,120 --> 01:56:11,840
Speaker 4: now that you're saying that because I know the song, like,

2062
01:56:12,280 --> 01:56:16,640
Speaker 4: that's such a genius It's such a genius move.

2063
01:56:18,440 --> 01:56:21,200
Speaker 1: Yeah, so that was that. I mean that that really

2064
01:56:21,240 --> 01:56:25,160
Speaker 1: turned me on. Before that moment, those Funkadelic records were

2065
01:56:25,480 --> 01:56:27,720
Speaker 1: just scary album covers in my dad's collection and I

2066
01:56:27,800 --> 01:56:31,840
Speaker 1: was like whatever, And then suddenly like, oh wait, this

2067
01:56:32,040 --> 01:56:34,880
Speaker 1: was on the Cosby Show. Like literally every it's a.

2068
01:56:34,880 --> 01:56:36,320
Speaker 2: Lot of records that were found like that.

2069
01:56:36,560 --> 01:56:40,680
Speaker 1: Yeah, yeah, like with Candy and all that stuff. So again,

2070
01:56:40,880 --> 01:56:44,600
Speaker 1: I go back to my first question, what was for

2071
01:56:44,800 --> 01:56:49,200
Speaker 1: you like one of the coolest moments of the advantage

2072
01:56:50,160 --> 01:56:53,800
Speaker 1: of being your career because I you know, I also

2073
01:56:53,920 --> 01:56:56,360
Speaker 1: know that back then there was sort of this thing

2074
01:56:56,400 --> 01:57:00,720
Speaker 1: where it's like you versus here, I say.

2075
01:57:01,360 --> 01:57:08,880
Speaker 3: Damn it, you transition very well.

2076
01:57:11,520 --> 01:57:17,480
Speaker 1: Yeah, yo, for real, for real, dog for real, for

2077
01:57:17,640 --> 01:57:23,080
Speaker 1: real you Malcolm. Yeah, and I just felt like you've

2078
01:57:23,160 --> 01:57:27,520
Speaker 1: really never got your props for what you represented on

2079
01:57:27,720 --> 01:57:31,960
Speaker 1: that show. But just in general, like what was like

2080
01:57:32,080 --> 01:57:33,720
Speaker 1: one of the coolest moments of.

2081
01:57:35,320 --> 01:57:36,080
Speaker 3: That experience?

2082
01:57:36,400 --> 01:57:41,640
Speaker 1: Yeah, like meeting someone otherworldly or just like, wow, I

2083
01:57:42,000 --> 01:57:44,280
Speaker 1: get to see this concert because you know, like.

2084
01:57:45,400 --> 01:57:48,800
Speaker 4: That could be a two hour conversation in itself. I'm

2085
01:57:48,800 --> 01:57:50,880
Speaker 4: gonna tell you one that stands out because since you

2086
01:57:50,960 --> 01:57:57,120
Speaker 4: brought it up. So we're at SNL right, I'm rehearsing

2087
01:57:57,400 --> 01:58:00,600
Speaker 4: my opening monologue, and it was about I had just

2088
01:58:00,720 --> 01:58:02,520
Speaker 4: learned how to do the wop right because I was

2089
01:58:02,600 --> 01:58:05,560
Speaker 4: I was at I was at l Q, everybody was

2090
01:58:05,600 --> 01:58:07,800
Speaker 4: wopping and my man Darren Hie me finally taught me

2091
01:58:07,840 --> 01:58:12,200
Speaker 4: how to how to wop right. So old monologue is

2092
01:58:12,200 --> 01:58:14,160
Speaker 4: about me trying to learn this dance and then uh,

2093
01:58:14,520 --> 01:58:16,680
Speaker 4: Dana Carvey comes in and he's really trying to show

2094
01:58:16,760 --> 01:58:19,320
Speaker 4: me how to do the dance. It's a real goofy Uh.

2095
01:58:19,520 --> 01:58:26,160
Speaker 4: It's a real open monologue. So we were rehearsing and run, uh,

2096
01:58:26,280 --> 01:58:29,160
Speaker 4: you know, running Daryl coming and there they're early, so

2097
01:58:29,320 --> 01:58:32,360
Speaker 4: they're sitting down, Uh, they're watching us. You know, do

2098
01:58:32,560 --> 01:58:36,480
Speaker 4: the monologue and you know, the band starts playing and

2099
01:58:36,600 --> 01:58:41,000
Speaker 4: I start, you know, doing the walk mm hmmm finished

2100
01:58:41,000 --> 01:58:48,040
Speaker 4: the piece. Yo, did you hear that? They playing my melody?

2101
01:58:49,000 --> 01:58:52,120
Speaker 4: Run looked at me. He was like, yo, you did that.

2102
01:58:52,920 --> 01:58:55,680
Speaker 4: I was like yeah, he was like he gave me

2103
01:58:55,720 --> 01:59:00,520
Speaker 4: the look. Right, Run DMC is impressed because I'm want

2104
01:59:00,720 --> 01:59:05,120
Speaker 4: ESNL doing the wop having the band playing AIRGB and

2105
01:59:05,480 --> 01:59:09,160
Speaker 4: rock kims my medd right, Run is to meaning like

2106
01:59:10,360 --> 01:59:15,640
Speaker 4: this mon right wait and I'm like fifteen, like so

2107
01:59:15,760 --> 01:59:17,480
Speaker 4: to get that look from Run.

2108
01:59:18,600 --> 01:59:25,640
Speaker 1: Like wow, yeah, wow, this is a lot of them.

2109
01:59:25,640 --> 01:59:28,640
Speaker 4: But that's definitely you know for a fifteen year old kid,

2110
01:59:29,680 --> 01:59:31,600
Speaker 4: you know, love and Run DMC to get that kind

2111
01:59:31,640 --> 01:59:32,760
Speaker 4: of recognition, I.

2112
01:59:32,960 --> 01:59:35,520
Speaker 1: Think like spending night at an aunt's house or whatever,

2113
01:59:35,680 --> 01:59:38,560
Speaker 1: and you know, and I got to see that episode.

2114
01:59:38,640 --> 01:59:39,040
Speaker 4: Man, that.

2115
01:59:41,040 --> 01:59:44,200
Speaker 1: That that was everything, Yo, dog, I can I can

2116
01:59:44,320 --> 01:59:47,080
Speaker 1: nerd out forevery normally I'm about to look at the clock, right,

2117
01:59:47,440 --> 01:59:49,560
Speaker 1: Jesus Christ, this is a two and a half hour episode.

2118
01:59:50,400 --> 01:59:53,120
Speaker 2: Sorry, but I mean you're you know, you're a legend.

2119
01:59:53,240 --> 01:59:53,400
Speaker 5: Run.

2120
01:59:55,480 --> 01:59:58,400
Speaker 4: No, this is this is a living legend, friend, and

2121
01:59:58,480 --> 02:00:01,000
Speaker 4: I'm talking to legends. So it's whole thing.

2122
02:00:01,320 --> 02:00:02,840
Speaker 2: I do it all the time. It's really cool.

2123
02:00:04,200 --> 02:00:07,040
Speaker 1: I really thank you for talking to us and and

2124
02:00:07,600 --> 02:00:10,360
Speaker 1: and you know I'm one of your biggest fans. Dok

2125
02:00:10,440 --> 02:00:16,320
Speaker 1: and ways in ways in ways. I can't explain it.

2126
02:00:16,360 --> 02:00:19,200
Speaker 1: I just I thank you. I really don't have any

2127
02:00:19,240 --> 02:00:21,240
Speaker 1: other words, but you know, thank you. Thank you.

2128
02:00:21,760 --> 02:00:23,440
Speaker 2: Do people still walk up to you and say, I

2129
02:00:23,520 --> 02:00:25,000
Speaker 2: brought you in this world and I'll take you out?

2130
02:00:25,680 --> 02:00:31,240
Speaker 4: Fortunately not okay, good yeah, but but I mean just

2131
02:00:31,320 --> 02:00:34,880
Speaker 4: to like, like like this, wait a minute, didn't you

2132
02:00:34,960 --> 02:00:41,640
Speaker 4: just use something based on that Uhteh Sherman showcase I

2133
02:00:41,880 --> 02:00:43,680
Speaker 4: just heard I brought you in this world, I'll take

2134
02:00:43,720 --> 02:00:44,320
Speaker 4: you out reference.

2135
02:00:44,360 --> 02:00:46,080
Speaker 1: I don't know if it was a song reference or

2136
02:00:46,160 --> 02:00:47,000
Speaker 1: just a line reference.

2137
02:00:47,400 --> 02:00:49,880
Speaker 3: It might have been a line reference. But I okay, okay, okay,

2138
02:00:49,920 --> 02:00:51,760
Speaker 3: I didn't we didn't do a song I did. I

2139
02:00:52,000 --> 02:00:53,520
Speaker 3: just I'm crazy. I just thought of it.

2140
02:00:53,840 --> 02:00:57,240
Speaker 6: So the first podcast what It's just got me this job,

2141
02:00:57,680 --> 02:01:00,600
Speaker 6: the very first podcast I did, Man Shot, my Man,

2142
02:01:00,680 --> 02:01:03,800
Speaker 6: DJ Brainchild. Our first podcast is called.

2143
02:01:08,920 --> 02:01:13,160
Speaker 3: Yeah Jimmy Jams Yeah, and our logo was you. It

2144
02:01:13,320 --> 02:01:15,800
Speaker 3: was you in the shirt like this like that was

2145
02:01:15,880 --> 02:01:17,640
Speaker 3: our logo, Like it was that's right.

2146
02:01:17,880 --> 02:01:21,120
Speaker 1: I forgot the the the genesis of this very podcast

2147
02:01:22,680 --> 02:01:28,160
Speaker 1: was the Gordon cart podcast, which I stole. Yes, yeah, I.

2148
02:01:29,880 --> 02:01:30,520
Speaker 4: Mean we were done.

2149
02:01:30,560 --> 02:01:32,600
Speaker 3: That show was done by the time when we started this.

2150
02:01:32,760 --> 02:01:35,320
Speaker 3: But yeah, but nah, man, I know you. I said,

2151
02:01:35,320 --> 02:01:36,440
Speaker 3: had to say, you've been apart.

2152
02:01:36,800 --> 02:01:39,680
Speaker 6: You've been a part of our of our cultural you know,

2153
02:01:40,000 --> 02:01:42,120
Speaker 6: just everything for you very long time.

2154
02:01:42,280 --> 02:01:44,400
Speaker 3: And just to be able to see you still.

2155
02:01:44,360 --> 02:01:48,000
Speaker 6: Just after all these years, like still flourishing, still working

2156
02:01:48,280 --> 02:01:53,800
Speaker 6: and like still you know, got your good sense on

2157
02:01:53,880 --> 02:01:56,480
Speaker 6: no dope and no dumb ship like that, like you

2158
02:01:56,680 --> 02:01:58,680
Speaker 6: you make you make the fifties, You make your fifties

2159
02:01:58,720 --> 02:01:59,600
Speaker 6: look real good, brother, for.

2160
02:02:00,200 --> 02:02:03,640
Speaker 4: I appreciate that. Man. Well, I gotta say, just for me,

2161
02:02:04,000 --> 02:02:07,240
Speaker 4: this is, this is this has been I don't even

2162
02:02:07,360 --> 02:02:11,640
Speaker 4: know the word affirming. It's been wonderful. It's been, you know,

2163
02:02:11,840 --> 02:02:16,360
Speaker 4: just because I respect both of you so much, just

2164
02:02:16,480 --> 02:02:18,680
Speaker 4: you know, as an MC when we talk about it's

2165
02:02:18,720 --> 02:02:20,840
Speaker 4: like you guys, like I talk about this love hate

2166
02:02:20,880 --> 02:02:24,320
Speaker 4: relationship I have with hip hop, right, but there is

2167
02:02:24,520 --> 02:02:28,960
Speaker 4: still like I can't trash hip hop because you guys

2168
02:02:28,960 --> 02:02:33,280
Speaker 4: are still hip hop, right, I'm saying. So, you know, right,

2169
02:02:33,400 --> 02:02:36,880
Speaker 4: So it's like it's like, you know, Felicia Rashad, you

2170
02:02:36,920 --> 02:02:39,240
Speaker 4: know you will tell me that you know, the light

2171
02:02:39,360 --> 02:02:43,960
Speaker 4: and the dark will always coexist. They have to, right,

2172
02:02:44,600 --> 02:02:48,680
Speaker 4: There's always going to be that battle. So I disappreciate that,

2173
02:02:49,400 --> 02:02:52,280
Speaker 4: you know, you guys are still around and still relevant

2174
02:02:52,440 --> 02:02:54,880
Speaker 4: enough to be like, no, but yo, this is you know,

2175
02:02:55,000 --> 02:02:56,760
Speaker 4: we still got this, so we don't even really have

2176
02:02:56,920 --> 02:02:58,280
Speaker 4: to dog hip hop.

2177
02:02:58,640 --> 02:03:02,120
Speaker 3: Don't have that them have that we got. I think, God, yeah,

2178
02:03:02,480 --> 02:03:04,080
Speaker 3: no one expected it to last this long.

2179
02:03:04,160 --> 02:03:06,000
Speaker 6: Like no, I don't think anyone expected it to be

2180
02:03:06,280 --> 02:03:11,000
Speaker 6: fifty year olds that are still invested in the hip hop.

2181
02:03:11,200 --> 02:03:14,160
Speaker 6: I don't think anyone, even the record companies when they

2182
02:03:14,160 --> 02:03:14,640
Speaker 6: first started.

2183
02:03:14,640 --> 02:03:16,640
Speaker 3: I mean, I don't think anyone expected to last as

2184
02:03:16,680 --> 02:03:18,880
Speaker 3: long as it did. So the idea of.

2185
02:03:19,160 --> 02:03:22,480
Speaker 6: Growing old or growing up in hip hop, I mean,

2186
02:03:22,520 --> 02:03:24,920
Speaker 6: I think that's a rarely new conversation of like the

2187
02:03:25,040 --> 02:03:27,000
Speaker 6: last you know, decade or so, maybe you know what

2188
02:03:27,000 --> 02:03:27,240
Speaker 6: I mean.

2189
02:03:27,720 --> 02:03:29,560
Speaker 4: Look, I remember being twenty five, and I remember being like,

2190
02:03:30,000 --> 02:03:36,280
Speaker 4: nobody's gonna want to hear Comrades rapping at fifty wait

2191
02:03:36,400 --> 02:03:40,680
Speaker 4: for jay Z, But now here we are like yeah, yeah,

2192
02:03:40,680 --> 02:03:43,880
Speaker 4: I'm saying he is killing it. Slick is killing it

2193
02:03:44,000 --> 02:03:44,440
Speaker 4: like it's.

2194
02:03:44,440 --> 02:03:47,400
Speaker 2: You know, black thought, it's black killing it.

2195
02:03:47,680 --> 02:03:50,600
Speaker 4: He's the thought is in and he's on the level

2196
02:03:50,760 --> 02:03:55,760
Speaker 4: like all unto him. He owns his own lady, right right,

2197
02:03:55,920 --> 02:03:57,760
Speaker 4: you know what I'm saying. So so to have you

2198
02:03:57,880 --> 02:04:02,240
Speaker 4: guys still be relevant forces is just as a hip

2199
02:04:02,240 --> 02:04:06,960
Speaker 4: hop fan, I'm so appreciative, but just as you know,

2200
02:04:07,440 --> 02:04:09,880
Speaker 4: a fan of both of you guys. You know me,

2201
02:04:09,920 --> 02:04:12,280
Speaker 4: You're like, I've been rocking with y'all. Said back when

2202
02:04:12,520 --> 02:04:15,160
Speaker 4: Marvin Matt gave me this this single.

2203
02:04:18,960 --> 02:04:22,280
Speaker 1: You and Wesley were definitely one of the first, the

2204
02:04:22,720 --> 02:04:27,600
Speaker 1: first like pioneers or gods that came to.

2205
02:04:27,640 --> 02:04:29,880
Speaker 4: See us like that consistently.

2206
02:04:30,360 --> 02:04:33,320
Speaker 1: Yeah, you asked me if I remember the Belly Up Club.

2207
02:04:33,360 --> 02:04:36,680
Speaker 1: It's like yo, dog, like that whole bus Rider was

2208
02:04:36,720 --> 02:04:44,400
Speaker 1: like yo man, step steps. Yeah, And just that's what

2209
02:04:44,520 --> 02:04:44,840
Speaker 1: it was like.

2210
02:04:45,240 --> 02:04:48,160
Speaker 4: And just you know, I want to reiterate against I

2211
02:04:48,240 --> 02:04:52,040
Speaker 4: don't want it to get lost. And how influential you

2212
02:04:52,200 --> 02:04:55,400
Speaker 4: guys were on what I do musically.

2213
02:04:56,720 --> 02:05:01,760
Speaker 1: Well, that's because I watched you first. So yeah, this

2214
02:05:01,840 --> 02:05:02,680
Speaker 1: is specification.

2215
02:05:03,680 --> 02:05:05,400
Speaker 5: And on that note, I just want to say something

2216
02:05:05,480 --> 02:05:07,880
Speaker 5: that has not been said. Thank you for giving us

2217
02:05:07,920 --> 02:05:10,160
Speaker 5: a space to talk about one of all of our

2218
02:05:10,240 --> 02:05:13,000
Speaker 5: favorite shows of all times. It's not always easy to

2219
02:05:13,200 --> 02:05:16,120
Speaker 5: talk to speak lovingly about a thing that we love

2220
02:05:16,200 --> 02:05:18,600
Speaker 5: so much, but you know, things have changed and stuff.

2221
02:05:18,600 --> 02:05:21,560
Speaker 2: So thank you for engaging. The show is the show.

2222
02:05:21,680 --> 02:05:23,680
Speaker 2: The show raised us, you know what I'm saying, So

2223
02:05:24,160 --> 02:05:25,160
Speaker 2: thank you, Thank you.

2224
02:05:26,040 --> 02:05:30,560
Speaker 1: Doubt all right, so on behalf of fan Tikolo, Laya Sugar,

2225
02:05:30,640 --> 02:05:32,680
Speaker 1: Steve and I'm paying Bill.

2226
02:05:32,760 --> 02:05:33,960
Speaker 4: Y'all, y'all missed the flash.

2227
02:05:35,560 --> 02:05:38,200
Speaker 1: Thank you, Malcolm Jamal Warning, this is Quest Love signing

2228
02:05:38,240 --> 02:05:40,040
Speaker 1: off for Quest Love Supreme. If we will see you

2229
02:05:40,160 --> 02:05:46,400
Speaker 1: on the next go round. West Love Supreme is a

2230
02:05:46,440 --> 02:05:53,040
Speaker 1: production of iHeart Radio. For more podcasts from iHeart Radio,

2231
02:05:53,200 --> 02:05:56,600
Speaker 1: visit the iHeart Radio app, Apple Podcasts, or wherever you

2232
02:05:56,720 --> 02:05:57,840
Speaker 1: listen to your favorite shows.