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

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Speaker 1: episode was produced by the team at Pandora.

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Speaker 2: What up, y'all is Layah from Team Supreme. Okay, So

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Speaker 2: it's June, and you know it is Black Music Month. Now,

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Speaker 2: This month and its cause was started by my godmother,

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Speaker 2: Dianna Williams, the legendary Kenny Gamble, and the great and

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Speaker 2: right back in nineteen seventy nine after being invited to

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Speaker 2: the White House along with the Black Music Association. Now,

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Speaker 2: the Black Music Association was a group of black folks

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Speaker 2: that were the best of the best of the music industry.

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Speaker 2: I'm talking record execs, I'm talking radio people, I'm talking artists.

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Speaker 2: I'm talking to everybody from Clarence Avon and Frankie Crocker

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Speaker 2: to Percy Sutton, everybody in the middle right. So they

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Speaker 2: all get invited to this big party on the White

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Speaker 2: House lawn June seventh, nineteen seventy nine. And before the

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Speaker 2: performances started, President Carter said many things addressing and reminding

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Speaker 2: people of the importance of Black Music Month, and one

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Speaker 2: of the things he said was end quote in many ways,

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Speaker 2: the feelings of our own black citizens throughout the history

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Speaker 2: of our country has been accurately expressed in the music,

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Speaker 2: and it presents a kind of history of our nation

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Speaker 2: when you go back and see.

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Speaker 3: The evolution of black music words.

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Speaker 2: So we've spoken a lot about Black Music Month on

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Speaker 2: Questlove Supreme, and this June we are running a different

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Speaker 2: episode from the QLs archives every single day in the name,

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Speaker 2: Spirit and Cause of Black Music Month. We're kicking things

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Speaker 2: off with the Godmother, herself, mine and yours. I'm talking

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Speaker 2: about Miss Dianna Williams.

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Speaker 4: Now.

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Speaker 2: This is from our twenty nineteen conversation live in person

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Speaker 2: at Larry Gold Studios.

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Speaker 5: Enjoy Suprima Sun Sun Supremo Role called Subprima Sun sub

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Speaker 5: Prie Mo Role call Supremeau Sun Suprema roll call Supremo

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Speaker 5: Sun Sun Up Breme my roll.

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Speaker 4: What's love in the place?

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Speaker 2: Yeah?

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Speaker 4: With the end and the fan Yeah, is that so cool?

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Speaker 6: Yeah?

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Speaker 4: I am Supreme, Roll came up, Brave Up Supremo role.

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Speaker 4: My name is Fante, Yeah, and I can say our

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Speaker 4: hung Yeah with that beautiful lady. Yeah from Unsung Roll Up.

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Speaker 5: Brave Son Supreme roll called Suprema Sun Sun.

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Speaker 7: Supreme A roll call.

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Speaker 8: My name is Sugar, Yeah, and I hope that one day. Yeah,

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Speaker 8: I can be a guest. Yeah on Soulful Sunday Up.

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Speaker 5: Brave Supreme Roll Supreme, Supreme Role.

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Speaker 9: My name is Bill, Yeah to the extreme. Yeah, oh

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Speaker 9: well that's with Yeah every moonbeas.

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Speaker 4: Suprema Son Supremo.

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Speaker 5: Roll called Suprema Son Son Supremo.

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Speaker 4: Roll called Bill.

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Speaker 2: Yeah.

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Speaker 4: And here's the thing.

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Speaker 8: Yeah, last night, Yeah, too many Chicken.

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Speaker 4: Supremo. Roll call Suprema So Supremo.

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Speaker 3: Roll call.

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Speaker 2: It's like yeah, and my god mother Dianna, Yeah mother

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Speaker 2: black music mom.

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Speaker 3: Yeah, nobody knows it better.

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Speaker 5: Roll call Suprema Son Sign Supremo. Roll call Suprema Son

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Speaker 5: Son Supremo.

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Speaker 9: Roll call.

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Speaker 10: My name is Dianna, Yeah, not Banana. Yeah, light skinning

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Speaker 10: like one. Yeah, but I'm Danna.

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Speaker 5: Roll So Supremo, roll Suprema So So Suprevo. Roll call

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Speaker 5: Suprema Son Son Supremo.

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Speaker 4: Roll Nice, nice one. Ladies and gentlemen, Welcome to another

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Speaker 4: episode of Questlove Supreme. We are officially back home. We

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Speaker 4: are back home, Steve. We are back Steve, back where

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Speaker 4: we below? How do you feel to be bad?

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Speaker 10: Ladies?

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Speaker 4: We are live, okay, we are recording right, We are

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Speaker 4: recording right now at Milk Boy Studio formerly known and

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Speaker 4: still sort of conduct currently known as the Studio. We

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Speaker 4: are actually in the room where the lyrics of You

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Speaker 4: Got Me, the Song that Changed My Life was was recorded.

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Speaker 4: The vocals were done all the things while a part

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Speaker 4: vocals were done here, as subsequently every Roots album afterwards,

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Speaker 4: from Phrenology on down to Rising Down. But we are

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Speaker 4: in studio A a lot of a lot of Philadelphia history. Wow. Yeah,

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Speaker 4: in this room smells like yeah PTSD Steve Man.

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Speaker 8: I'm telling you, it's gritty here, it's got the grit.

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Speaker 9: And this is one of the places that Rich made

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Speaker 9: me cut vocals like verse like thirty damn times.

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Speaker 4: Like it was. Yeah. I told like this it's all

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Speaker 4: Rich Nichols here.

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Speaker 7: Yeah, yeah, this is this is the spirit of the Rich.

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Speaker 2: Nichols episode showed me poring in the room. Next you're

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Speaker 2: first born, not my first, but my first Rich Nichols.

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Speaker 7: Oh no, wow, okay, Nate Saturday morning.

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Speaker 4: Can we do this right now? We have yes in

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Speaker 4: the room.

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Speaker 7: Oh wait a minute, would you like the honor?

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Speaker 2: Ya?

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Speaker 10: Don't do that to me.

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Speaker 3: You prepared and you wrote it down.

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Speaker 4: I'd have to see.

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Speaker 7: I'll come like like, uh what do you call it?

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Speaker 10: Uh, you can do the cleanup?

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Speaker 3: Can I do it?

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Speaker 10: But you have to do the No.

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Speaker 4: I think this. I think it's only apropos and and

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Speaker 4: for you, I agree to introduce our guest today. Okay,

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Speaker 4: if i'm if, i'm if I'm based on you're talking,

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Speaker 4: I feel like I feel like this is the chip

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Speaker 4: off the old block here.

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Speaker 3: So yeah, it's a it's a small chip of a

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Speaker 3: big block.

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Speaker 10: How about it.

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Speaker 2: I'm the small ship of a blick box. You're gonna

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Speaker 2: make me be boxes, all right? So, ladies and gentlemen,

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Speaker 2: boys and girls. The woman who wait, you know what

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Speaker 2: it is, Deanna.

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Speaker 4: You have a way. You have a way to make

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Speaker 4: everyone who lose their cool. Yo, I'm good over here.

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Speaker 3: What it's just me and a mirror.

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Speaker 4: I'm literally I feel I can be in the room

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Speaker 4: with any human being and just be like, no big deal,

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Speaker 4: President Obama, Michael Jordan's whatever, Stevie and I'll be down

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Speaker 4: on the second like. But with Deanna, there's there's a

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Speaker 4: very regal like I always sit up stravery regal collegemen.

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Speaker 4: All right, So that yeah, this this we we are

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Speaker 4: in the presence of royalty right now. This is gonna

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Speaker 4: be the longest introduction ever, the most eloquent when I've

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Speaker 4: ever done in the.

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Speaker 7: History of the show. Yes, exactly from the No.

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Speaker 4: Seriously, this woman has history in the city of Philadelphia.

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Speaker 4: I've I'm in my career took uh uh a. I

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Speaker 4: can't even talk. It's hard to describe. Have some barriers

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Speaker 4: and relax, listen, start with your you can start with

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Speaker 4: that way. I will. Yeah, I will say that I first,

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Speaker 4: my my first real entrance into the non nepotism Le

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Speaker 4: Andrews world that I came from, really started with I

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Speaker 4: am and interning.

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Speaker 2: And network International Association of African American Music.

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Speaker 4: Yes, she wow, she is about No one know what

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Speaker 4: I am. You're talking about NAS album?

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Speaker 7: Yes, where is this going?

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Speaker 4: Oh my god, I'm not gonna let it be ten

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Speaker 4: minutes before I say, Ladies and jon.

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Speaker 10: I'm thrilled and honored to be with you and Radio

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Speaker 10: Legend officially welcome you to the city of brotherly love

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Speaker 10: sisterly affects.

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Speaker 3: So she also coined that term.

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Speaker 2: I forgot to mention that the sisterly affection part. Yes,

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Speaker 2: animations and things like that.

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Speaker 10: Yeah, inclusion right, women have been part of the fabric

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Speaker 10: of Philadelphia and everywhere every place for as long as.

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Speaker 7: I've listened to Philly radio. Right now, her voice is

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Speaker 7: very soothing.

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Speaker 4: Yeah it is.

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Speaker 7: I feel like she's going to turn around and interview

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Speaker 7: us any moments.

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Speaker 10: It's discourse, it's conversation with human exchange.

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Speaker 4: Always spoke. I was about to say, the one area

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Speaker 4: that you have not affected is because sometimes you clean

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Speaker 4: up for a company and then you're like the Lenny

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Speaker 4: Kravits episode, which yeah, god for we did get which

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Speaker 4: we did that one episode.

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Speaker 7: You cleaned up nicely, you know. But I'm just saying that.

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Speaker 2: It was.

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Speaker 6: Right.

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Speaker 10: Sound like whatever I raised right there, she.

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Speaker 4: Knew when when this voice come to be? When did you?

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Speaker 4: I feel like you're always in regal honey milk. I

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Speaker 4: feel like the term honey milk or whatever.

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Speaker 10: No, that's not what my lover says when we're fighting,

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Speaker 10: not at all.

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Speaker 2: No.

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Speaker 10: I grew up, first of all. I'll take you back

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Speaker 10: to the beginning. I was born in Queens, raised as

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Speaker 10: a small young girl in the Bronx and ten my

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Speaker 10: family moved to Puerto Rico. My mother's Puerto Rican. I'm

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Speaker 10: half Puerto Rican, so my mother was a college professor

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Speaker 10: So we moved to pr to bayamong which is where

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Speaker 10: a lot of my family is, and I spent two

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Speaker 10: years perfecting my non Spanish, my new Yurekan Spanish.

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Speaker 4: So you had a new Yurekan voice.

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Speaker 10: Uh well, well no, just no accent if you're talking

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Speaker 10: about I read it, write it, and speak it. And

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Speaker 10: I learned to do that. I learned how to speak it.

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Speaker 10: I learned Spanish before I learned English because my mother

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Speaker 10: was in school, my father was working, but my grandmother,

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Speaker 10: who spoke no English whatsoever, was my caretaker. So I

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Speaker 10: learned Spanish before I learned English, or probably simultaneously. And

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Speaker 10: it's mom, my mother's mom. My maternal side of the

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Speaker 10: family is Puerto Rican. My father's from Culpeper. My father

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Speaker 10: has transitioned, but my people were from Culpeper, Virginia. So yeah, Spanish, English,

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Speaker 10: but New York. And then when we moved back to

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Speaker 10: the States, I grew up in Harlem as a teenager.

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Speaker 10: So I was informed by this amazing upbringing that I

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Speaker 10: had in New York, a cosmopolitan city with people from

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Speaker 10: all you know, spectrums, all parts of the world, and

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Speaker 10: all social economic backgrounds. So my, when I consider my formulation,

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Speaker 10: my development. It's as a result of being in this

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Speaker 10: gumbo of humanity in New York City.

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Speaker 7: You were how old when you came back to I

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Speaker 7: was about.

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Speaker 10: Twelve twelve, So I spent my formative teenage years in Harlem,

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Speaker 10: the Schomberg And I have a.

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Speaker 4: Question the hollow. Yes, okay, I'm curbly I have I'm

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Speaker 4: currently working on a project right now that I didn't

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Speaker 4: even know existed until about a year ago. But the

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Speaker 4: world doesn't seem to know.

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Speaker 2: That.

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Speaker 4: On the summer of nineteen sixty nine, a festival was

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Speaker 4: thrown in Harlem with I mean, in short, we called

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Speaker 4: it black Woodstock. It was Nina Simone, sly On, the

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Speaker 4: Family Stone, the Stables, singers, Jesse Jackson. Literally like when

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Speaker 4: you see the footage, it's forty thousand people in a

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Speaker 4: Harlem park in the summer of sixty nine.

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Speaker 10: Was it Mount Morris Park?

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Speaker 4: Yep?

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Speaker 10: Mount Morris Park?

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Speaker 4: Yes, okay, I recollection of Mount Morris Park that period.

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Speaker 10: And well no, sixty nine, No, but Mount Morris Park absolutely,

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Speaker 10: because I spent many times there for free concerts. Really yeah, absolutely?

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Speaker 4: What was the environment musically in Harlem? Like, because I

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Speaker 4: mean as much as I hear about the folklore of Harlem,

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Speaker 4: not even in the jazz since but post jazz, I

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Speaker 4: don't have a feel of what the culture was like

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Speaker 4: it was.

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Speaker 10: I mean, we're talking about the birthplace of the Harlem Renaissance.

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Speaker 10: Harlem has always been a capital, a mecca of music

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Speaker 10: and culture. So I grew up hearing music everywhere in Harlem.

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Speaker 10: It was blasting out of people's radios, in their cars

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Speaker 10: and their homes, the free concerts. I had a program

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Speaker 10: in Harlem called Jazzmobile that was founded by are you

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Speaker 10: familiar with this doctor? Billy Taylor was the founder of

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Speaker 10: Jazzmobile and it provided free lessons to inner city youth.

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Speaker 10: So for me, I studied the flute and my teacher

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Speaker 10: was the legendary Jimmy Heath. What yes, Yes, Jimmy Heath

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Speaker 10: was my flute teacher. And ironically, years later I ran

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Speaker 10: into him in Saint Louis. He was with his brothers,

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Speaker 10: the Heath brothers. Yeah, and he was We were in

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Speaker 10: the Ritz Carlton. I was there to attend Steve mckeever's wedding.

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Speaker 10: Steve mckever, the founder of Hidden Beach who signed Jill

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Speaker 10: Scott and many others from Philadelphia.

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Speaker 4: Kindred such a radio person, I wouldn't have trying to

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Speaker 4: get you there.

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Speaker 10: That's okay. So anyway, I saw Jimmy, and Jimmy calls

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Speaker 10: me over and he says to his brothers, Deanna was

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Speaker 10: my best student.

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Speaker 2: I wanted to bore a whole go through the floor

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Speaker 2: because I am so bad, horrible, talent less. You probably

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Speaker 2: was the prettiest, well lovely, but honey, I could not.

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Speaker 2: You know, you have to be able to improvise, and

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Speaker 2: I just did not have those skills.

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Speaker 10: I had an appreciation of sensitivity, a passion for the music,

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Speaker 10: but I just don't have any talent.

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Speaker 7: So I always hear about.

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Speaker 4: Maybe like from the generation that came before I came up,

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Speaker 4: and I guess, like, I'm I'm one of the last

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Speaker 4: people that like the idea of like music appreciation and

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Speaker 4: who knows what this uh instrument it is? And oh,

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Speaker 4: I want to try that a viola, you know that

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Speaker 4: sort of thing. But was it just expected even if

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Speaker 4: you didn't have musical talent. Was it just expected like

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Speaker 4: for a non musical person you just saw the flute

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Speaker 4: and was like, okay, No.

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Speaker 10: Actually, my first boyfriend that I lost my virginity too,

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Speaker 10: from Brooklyn, Lethal he played the flute. So as a

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Speaker 10: result of being around him in intimate circumstances, one day

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Speaker 10: I just picked up his instrument. I'mad and I.

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Speaker 3: Started remember super class and.

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Speaker 10: I'm telling you what happened anyway, That's how I came

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Speaker 10: to study the flute. Yeah, but interesting, So to your question,

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Speaker 10: a mirror the question about music. Music and Harlem was everywhere,

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Speaker 10: and even people who did not have talent or could

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Speaker 10: play an instrument had an appreciation. We used to when

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Speaker 10: we got music, we would sit together in a group

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Speaker 10: and devour an album. We would read the liner notes,

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Speaker 10: because back in the day everybody did liner notes for

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Speaker 10: their music. We would read where it was recorded, who

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Speaker 10: was the engineer, where everything, all of the details the

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Speaker 10: minutia of a record. Not just did we absorb the music.

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Speaker 10: Of course, we were smoking weed at that time, okay,

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Speaker 10: all right, yeah, and we would just we were very

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Speaker 10: knowledgeable when it came to music. That was expected of us,

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Speaker 10: especially growing up in Harlem. That was the expectation that

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Speaker 10: you were down whatever was new coming out, that you

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Speaker 10: were going to their shows, that you were up on

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Speaker 10: what was happening musically.

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Speaker 4: Do you have any siblings.

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Speaker 10: I'm an only child.

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Speaker 4: What yeah, cousins.

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Speaker 10: Exactly, I've got tons of cousins.

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Speaker 4: So how did now this is unusual because usually, uh,

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Speaker 4: it's the trickle cultural trickle down, a system of the

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Speaker 4: older sibling puts the youngest one onto something and you

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Speaker 4: absorb it. So who was your jaddy?

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Speaker 8: My father?

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Speaker 10: My father played the radio all the time. We listened

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Speaker 10: to w ABC, the good Guys, and we also listened

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Speaker 10: to w w r L, which was the African American

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Speaker 10: AM station. So I grew up hearing, you know, all

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Speaker 10: the mixed sounds because back in the day when I

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Speaker 10: grew up, they played black and white artist on w ABC.

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Speaker 10: But then wwr L only all black music. So that's

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Speaker 10: where I got my ears. My daddy big on music.

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Speaker 2: But the only all black station was the AMWWRL, Yeah,

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Speaker 2: the AM station.

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Speaker 11: Who were the personalities of the day, Well, Enoch Gregory,

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Speaker 11: just you know, the good guys.

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Speaker 10: I can't remember all the names, cousin Bruce. I mean,

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Speaker 10: there were a ton of radio personalities. But the first

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Speaker 10: woman that I ever heard on the radio, Vy Higginson.

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Speaker 10: Vy Higginson, Well, she was on WBLS. Frankie Crocker and

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Speaker 10: we're talking early seventies because I graduated from high school

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Speaker 10: seventy one, the year that Marvin Gay released What's Going

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Speaker 10: On That That is the soundtrack to My Life. That's

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Speaker 10: the musica Franklin.

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Speaker 7: That's what I just came out as you regret because

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Speaker 7: that was yeah, yeah, yeah, it did.

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Speaker 10: That's when it came out.

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Speaker 4: Can you imagine going out into the world and wow.

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Speaker 4: So yeah.

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Speaker 10: Then w l I b FM became WBLS and that's

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Speaker 10: where I heard Vy Higginson. And when I heard her,

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Speaker 10: I just fell in love. I was enamored with her voice,

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Speaker 10: her her style. It sounded like you were in her bedroom.

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Speaker 10: It sounded very intimate, and that's what I went back to.

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Speaker 10: Absolutely absolutely she.

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Speaker 4: Was on air personality.

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Speaker 10: Like she was an on air personality. She's still on

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Speaker 10: the radio now on the station that's online in New

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Speaker 10: York and what but she was Doris Troy's sister her

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Speaker 10: and she did the play Mama I Want to Sing.

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Speaker 10: That's by Higginson who produced it, and Doris Troy just

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Speaker 10: well and look that was her sister Higginson. Okay, yeah,

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Speaker 10: And Frankie Crocker. I'm a graduate of Frankie Crocker University,

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Speaker 10: but I kind.

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Speaker 7: Of want to go to school the Frankie Crocker School.

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Speaker 4: Okay, So besplaying the magnitude of the power that Frankie

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Speaker 4: Crocker had on New York and nationwide.

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Speaker 10: Frankie Crocker was a radio personality and a programmer. I

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Speaker 10: would say he was the dean of FM Black Radio

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Speaker 10: at its at the beginning, and he programmed WBLS one

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Speaker 10: oh seven point five in New York and later other

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Speaker 10: stations around the country. But he had the most effortless style,

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Speaker 10: very commanding presence on the radio, and he introduced New

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Speaker 10: York audiences to Barry White disco, the sound of Philadelphia.

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Speaker 10: But he would all so mix and maybe he would

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Speaker 10: throw in some Frank Sinatra. He could do that because

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Speaker 10: he was the program director. But it was an eclectic sound,

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Speaker 10: and he said it was three hundred and sixty degrees

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Speaker 10: of the total experience of black music. So Frankie Crocker

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Speaker 10: hired me after I spent two years in Washington, DC

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Speaker 10: at w h u R ninety six point three, which

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Speaker 10: is also a very important radio station in the history

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Speaker 10: of music and black radio because it was the home

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Speaker 10: of the original Quiet Storm as created by Kathy Hughes,

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Speaker 10: who is my best friend. Also the founder of Radio one,

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Speaker 10: TV one Interactive one Urban one. Melvin Lindsay was He

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Speaker 10: wasn't the first host, but he became. Yeah, there was some.

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Speaker 2: There were I think two other hosts. Yeah, also from

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Speaker 2: BT exactly Video Soul, like our.

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Speaker 3: First black celebrities who passed from HIV exactly.

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Speaker 10: That's very true, Layah. But Melvioyn was also my protege

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Speaker 10: because he was a student. Howard University owned the radio station,

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Speaker 10: but it was a commercial outlet in the middle of

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Speaker 10: the dial, and Frankie Crocker liberally borrowed from what we

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Speaker 10: were doing in Washington d C. Okay GC, Yeah, that's

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Speaker 10: true after a while, but that's where I started as

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Speaker 10: Ebony Moonbeams at w h U R and d C.

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Speaker 10: I did not go to Howard. I was very very silly.

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Speaker 10: I was very caught up. I was hired on the

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Speaker 10: eve of my nineteenth birthday by a gentleman named Bob

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Speaker 10: Nighthawk Terry, who's also another legendary if you saw the

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Speaker 10: movie Talk to Me Labasaid's character. But that was the

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Speaker 10: gentleman who hired me and gave me my break in

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Speaker 10: radio in d C. So two years after being Ebny

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Speaker 10: Moonbeams and being in DC, I got a call on

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Speaker 10: the hotline from Frankie Crocker offering me a job first

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Speaker 10: in Saint Louis. That didn't work out too well. I

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Speaker 10: went to Saint Louis. In all due respect to Saint Louis,

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Speaker 10: it was just too small for me. Okay, it just wasn't.

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Speaker 2: Man.

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Speaker 10: My mama went with me and she was like, oh,

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Speaker 10: not too much culture here. We gotta go. We have

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Speaker 10: to go someplace else. It's true, it is. My mom

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Speaker 10: is from there.

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Speaker 3: I used to get my Oh my god, no Jerry

385
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Speaker 3: Curls until like two thousands.

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Speaker 10: Yeah, that wasn't That wasn't working for me. And then

387
00:23:19,160 --> 00:23:21,280
Speaker 10: he offered me a job in Chicago. That didn't work

388
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Speaker 10: either because the owners called me and said the money

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Speaker 10: that mister Crocker offered you, we cannot afford to pay you.

390
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Speaker 10: And I was like, okay, deuces. And then he called

391
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Speaker 10: me again on the hotline at w h R. At

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Speaker 10: this point I was doing mid days and he said,

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Speaker 10: come come to New York, come come to be La,

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Speaker 10: come home, come home.

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Speaker 4: Wow, this is this is the episode I've been waiting

396
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Speaker 4: for and all the questions I've had about every city,

397
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Speaker 4: Can you explain why DC is such an important mecca

398
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Speaker 4: for black music and being the Chocolate City and even

399
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Speaker 4: even now to day like shows that we do in

400
00:24:02,440 --> 00:24:08,240
Speaker 4: DC are way different. Maybe Detroit comes in a comes

401
00:24:08,280 --> 00:24:12,639
Speaker 4: in a close second, But what is it about d C?

402
00:24:13,720 --> 00:24:19,040
Speaker 4: So I'm assuming that the musical diet that the city

403
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Speaker 4: is raised on that determines the the caliber of artists that.

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00:24:25,840 --> 00:24:26,880
Speaker 7: That come through the city.

405
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Speaker 4: Am I correct?

406
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Speaker 10: Yeah, you mentioned Chocolate City. It was definitively Chocolate City

407
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Speaker 10: when I was there. It's been ultra gentified gentrified now,

408
00:24:35,040 --> 00:24:38,120
Speaker 10: so it is no longer Chocolate City. But the DC

409
00:24:38,320 --> 00:24:41,879
Speaker 10: that you're referring to, you know, it's the DMV, so

410
00:24:42,040 --> 00:24:45,840
Speaker 10: it's the district of Columbia, Virginia and Maryland. But this

411
00:24:46,080 --> 00:24:47,160
Speaker 10: you had the migration.

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Speaker 2: You have people coming from the South, even the Midwest,

413
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Speaker 2: moving to d C for government jobs.

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Speaker 10: It's a government city. It's the you know, the nation's capital,

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00:24:56,000 --> 00:24:58,080
Speaker 10: largest black middle class in the country. There you go,

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Speaker 10: So it created this middle class, but it people who

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Speaker 10: had disposable income, and you know, music is at the

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00:25:03,760 --> 00:25:07,439
Speaker 10: core of our DNA for black folks, all due respect

419
00:25:07,480 --> 00:25:09,640
Speaker 10: to everybody else, but for us, I think we're born

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00:25:09,760 --> 00:25:14,160
Speaker 10: in our DNA with a sponge that can absorb all

421
00:25:14,200 --> 00:25:18,280
Speaker 10: the genres of our creation. And so in DC you

422
00:25:18,400 --> 00:25:22,959
Speaker 10: had this middle class, You had people who had disposable income.

423
00:25:23,359 --> 00:25:26,840
Speaker 10: They bought tickets to every show, they went to the clubs.

424
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Speaker 10: You know, it was just part of our culture to

425
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Speaker 10: embrace music and the artists that came through town. Not

426
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Speaker 10: to mention Go Go, well, Go Go of course the

427
00:25:36,840 --> 00:25:41,480
Speaker 10: genre that was born exclusively in DC and Chuck Brown,

428
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Speaker 10: all of those people were my friends.

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Speaker 4: Can we finally have this conversation about go Go? Yes?

430
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Speaker 12: Yes, yeah, you know what point I'm about to bring up? Well,

431
00:25:50,800 --> 00:25:53,200
Speaker 12: I just wanted to what year would you say was

432
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Speaker 12: the origin the beginning of Go Go?

433
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Speaker 10: Early seventies. By the time I got to d C

434
00:25:58,359 --> 00:26:00,639
Speaker 10: in nineteen seventy three, when I got there, it was

435
00:26:00,720 --> 00:26:05,320
Speaker 10: in full swing. Trouble fun, all of that was in

436
00:26:05,440 --> 00:26:05,960
Speaker 10: full swing.

437
00:26:06,480 --> 00:26:09,480
Speaker 4: I think the thing is is that, Okay, I know

438
00:26:09,640 --> 00:26:14,440
Speaker 4: that early soul searcher forty five's I have for more breakbeat, traditional,

439
00:26:15,600 --> 00:26:18,040
Speaker 4: right and all that stuff that that Chuck Brown did before.

440
00:26:18,240 --> 00:26:21,280
Speaker 7: Like, Okay, this is authentic Go Go.

441
00:26:21,880 --> 00:26:27,680
Speaker 4: However, I truly believe and this is where this my

442
00:26:27,920 --> 00:26:31,720
Speaker 4: This is a very unpopular take on the history of

443
00:26:31,800 --> 00:26:35,879
Speaker 4: Go Go, but I believe the DNA of Go Go

444
00:26:36,560 --> 00:26:41,080
Speaker 4: starts with Grover Washington Junior's Mister Magic.

445
00:26:42,520 --> 00:26:42,920
Speaker 7: I've heard that.

446
00:26:43,040 --> 00:26:45,879
Speaker 4: I've heard that before. I've heard that before. The rhythm

447
00:26:46,000 --> 00:26:48,119
Speaker 4: palette of Go Go is.

448
00:26:50,440 --> 00:26:54,840
Speaker 3: Ye, Mister Magic seventy three, And so.

449
00:26:57,520 --> 00:27:03,240
Speaker 4: I'm just saying that I I would assume that with

450
00:27:03,840 --> 00:27:11,800
Speaker 4: that sort of backdrop, we definitely played it a lot. Fact,

451
00:27:11,840 --> 00:27:14,280
Speaker 4: many bands have played it and played it and played

452
00:27:14,359 --> 00:27:15,760
Speaker 4: and put it into the repertoire.

453
00:27:17,240 --> 00:27:18,680
Speaker 3: Yeah, it was about ship in DC.

454
00:27:20,400 --> 00:27:29,360
Speaker 4: So I wonder if any DC music historians will back

455
00:27:29,480 --> 00:27:30,600
Speaker 4: me up in the fact.

456
00:27:30,440 --> 00:27:37,440
Speaker 2: That they're gonna do what I did with it. I

457
00:27:37,560 --> 00:27:42,400
Speaker 2: started in seventy two, right there, that's possible. But when

458
00:27:42,440 --> 00:27:44,480
Speaker 2: I got there in seventy three, it was it was

459
00:27:45,200 --> 00:27:47,480
Speaker 2: everybody everywhere. I mean, you could not go to a

460
00:27:47,560 --> 00:27:48,960
Speaker 2: club and not hear Go Go music.

461
00:27:49,040 --> 00:27:51,080
Speaker 3: It was just so could they have been an influence

462
00:27:51,160 --> 00:27:53,160
Speaker 3: on him? Could possibly?

463
00:27:53,320 --> 00:27:53,840
Speaker 4: You know what I mean?

464
00:27:53,920 --> 00:27:54,760
Speaker 10: In the reverse though?

465
00:27:54,880 --> 00:27:59,000
Speaker 4: I okay, I'm just saying that most Go Go that

466
00:27:59,160 --> 00:28:02,800
Speaker 4: I know of, like The first example that it was

467
00:28:02,840 --> 00:28:06,240
Speaker 4: truly played to me was around seventy eight, seventy nine.

468
00:28:07,800 --> 00:28:12,399
Speaker 4: But I've investigated, I've investigated many of those DC funk

469
00:28:12,480 --> 00:28:16,760
Speaker 4: bands and all my record collections, and that kind of

470
00:28:17,000 --> 00:28:23,560
Speaker 4: the music was still post soul, post p funk ish,

471
00:28:23,760 --> 00:28:27,159
Speaker 4: that sort of thing. And so I'm just saying I'm

472
00:28:27,160 --> 00:28:29,560
Speaker 4: putting it out there. I'm going to find somebody the best.

473
00:28:29,560 --> 00:28:31,800
Speaker 10: But we're also talking about the home of Marvin Gay,

474
00:28:32,480 --> 00:28:36,600
Speaker 10: Boom drop to Ellington, Duke Ellington.

475
00:28:36,760 --> 00:28:40,440
Speaker 4: I mean, just ye, that's right, when Marvin Gay got

476
00:28:40,520 --> 00:28:44,280
Speaker 4: his band, Who do you come to Philadelphia again?

477
00:28:44,440 --> 00:28:46,080
Speaker 3: But when you want to play weekend shows?

478
00:28:46,080 --> 00:28:47,240
Speaker 10: Where you go DC?

479
00:28:47,960 --> 00:28:50,880
Speaker 4: When you want to do a Saturday and a Sundakay, Okay, okay,

480
00:28:51,000 --> 00:28:54,040
Speaker 4: I'm I'm not going to find anybody back up this argument.

481
00:28:55,280 --> 00:29:02,280
Speaker 4: So of your formative years, what city, what city do

482
00:29:02,400 --> 00:29:05,200
Speaker 4: you feel I had the most culture as far as

483
00:29:07,360 --> 00:29:11,720
Speaker 4: impact in richness in black music? Is it DC? Is

484
00:29:11,800 --> 00:29:12,400
Speaker 4: it New York?

485
00:29:13,600 --> 00:29:16,840
Speaker 10: Philadelphi is a combination. So again, I grew up in Harlem,

486
00:29:17,480 --> 00:29:21,680
Speaker 10: I spent radio formative years in DC in Chocolate City

487
00:29:21,840 --> 00:29:25,120
Speaker 10: with black folks, and then I came to Philadelphia and

488
00:29:25,280 --> 00:29:28,800
Speaker 10: Philadelphia at the point when I came to Philadelphia, I

489
00:29:28,920 --> 00:29:32,880
Speaker 10: came because I started dating Kenny Gamble and instantly fell

490
00:29:32,920 --> 00:29:35,600
Speaker 10: in love with him. So when I came to Philadelphia,

491
00:29:35,960 --> 00:29:39,760
Speaker 10: the sound of Philly was in full throttle, and we're

492
00:29:39,840 --> 00:29:44,480
Speaker 10: talking Harold Melvin and the Blue Notes. Teddy was still

493
00:29:44,520 --> 00:29:47,160
Speaker 10: in the group when I came. He started as the

494
00:29:47,240 --> 00:29:51,680
Speaker 10: drummer and then moved into the lead position. But it

495
00:29:51,800 --> 00:29:54,840
Speaker 10: was Patti LaBelle and the People's Choice and the tramps

496
00:29:54,920 --> 00:29:58,880
Speaker 10: and the Delphonics and the stylistics and all of that

497
00:29:59,200 --> 00:30:02,160
Speaker 10: was going on when I initially came to Philly in

498
00:30:02,320 --> 00:30:05,200
Speaker 10: the mid seventies, And the first time I really came

499
00:30:05,280 --> 00:30:08,520
Speaker 10: here was with Gene Karn, who is the godmother to

500
00:30:08,840 --> 00:30:12,240
Speaker 10: my oldest son, Khalif Jane was about to sign her

501
00:30:12,360 --> 00:30:15,000
Speaker 10: deal with Gamble. But I had met Gamble a year

502
00:30:15,120 --> 00:30:19,200
Speaker 10: earlier in DC when I was hosting an OJ's concert

503
00:30:19,600 --> 00:30:23,880
Speaker 10: and we formed our friendship. But when I first visited Philadelphia,

504
00:30:23,920 --> 00:30:26,560
Speaker 10: international was with Gene when she signed her deal.

505
00:30:26,920 --> 00:30:28,840
Speaker 4: Was it always on three thirteen Broad Street?

506
00:30:28,960 --> 00:30:29,920
Speaker 10: It was three or nine?

507
00:30:30,800 --> 00:30:34,760
Speaker 4: I'm sorry, Yeah, three thirteen was my high school. Oh, okay,

508
00:30:35,520 --> 00:30:36,160
Speaker 4: performing arts.

509
00:30:36,320 --> 00:30:39,680
Speaker 12: Yeah, just to go back to the Chuck Brown, go go,

510
00:30:39,840 --> 00:30:41,880
Speaker 12: mister Matcha think I found a quote from Chuck Brown

511
00:30:41,880 --> 00:30:45,560
Speaker 12: about that. Yes, and he basically admits that he got

512
00:30:45,600 --> 00:30:47,719
Speaker 12: it from Grover, but says it Grover they both got

513
00:30:47,720 --> 00:30:50,160
Speaker 12: it from somewhere else. And the quote is all I

514
00:30:50,240 --> 00:30:51,840
Speaker 12: did was break the beat in half. I got it

515
00:30:51,880 --> 00:30:54,120
Speaker 12: from Grover, for sure, but we really both got that

516
00:30:54,240 --> 00:30:56,880
Speaker 12: from the spirit from gospel. It's an old church beat.

517
00:30:57,360 --> 00:30:58,640
Speaker 10: Oh sucks, look at that.

518
00:31:00,720 --> 00:31:07,560
Speaker 7: I'll give you half a Okay, all right, okay, I'll let.

519
00:31:07,520 --> 00:31:07,840
Speaker 4: That one go.

520
00:31:09,440 --> 00:31:11,160
Speaker 10: Thank you for that clarificationtimes.

521
00:31:11,560 --> 00:31:13,360
Speaker 4: Yeah, I gotta get the truth out there.

522
00:31:13,520 --> 00:31:25,520
Speaker 7: Yeah, So Philadelphia in in the well really at the

523
00:31:25,560 --> 00:31:26,000
Speaker 7: height of it.

524
00:31:26,480 --> 00:31:28,840
Speaker 4: First of all, do you credit Gamble and Huff for

525
00:31:30,240 --> 00:31:34,160
Speaker 4: being the proprietors of disco? Many have said that absolutely. Well,

526
00:31:34,440 --> 00:31:39,000
Speaker 4: Isaac started first because he had strings, and very white

527
00:31:39,080 --> 00:31:41,280
Speaker 4: because he's the first to go to one hundred and

528
00:31:41,640 --> 00:31:47,200
Speaker 4: twenty and b bms. But you know, as far as

529
00:31:47,320 --> 00:31:51,560
Speaker 4: the thechine and the class, and plus you know young Earl,

530
00:31:51,600 --> 00:31:54,000
Speaker 4: young young, I don't get you.

531
00:31:54,320 --> 00:31:56,000
Speaker 10: Earl will not let you get out of a room

532
00:31:56,040 --> 00:32:01,040
Speaker 10: without giving him his pops the drum to the second

533
00:32:01,240 --> 00:32:04,240
Speaker 10: it was very second and forever and Earl Young the

534
00:32:04,320 --> 00:32:07,360
Speaker 10: founder of the Tramps and the drummer but also the

535
00:32:07,520 --> 00:32:12,000
Speaker 10: studio drummer for many, not all, of the Gamble Hooff songs.

536
00:32:12,640 --> 00:32:17,440
Speaker 10: So I definitely give them credit acknowledge he did. He

537
00:32:17,720 --> 00:32:20,360
Speaker 10: played with everybody, but he was a primary drummer for

538
00:32:20,640 --> 00:32:23,600
Speaker 10: many of the Gamble Hoff sessions. So yeah, So when

539
00:32:23,640 --> 00:32:27,000
Speaker 10: I came here, initially it was hetty because there was

540
00:32:27,240 --> 00:32:30,360
Speaker 10: all kinds of music. It was jazz. It wasn't just

541
00:32:30,600 --> 00:32:33,040
Speaker 10: Gamble and huff on what they were doing. It was

542
00:32:33,240 --> 00:32:36,040
Speaker 10: you know, I knew of the tradition of great gospel artists,

543
00:32:36,360 --> 00:32:39,640
Speaker 10: the Dixie Hummingbirds. I met Ira Tucker when I first

544
00:32:39,840 --> 00:32:43,200
Speaker 10: moved here. Ira Tucker Senior. You know that we're talking

545
00:32:43,240 --> 00:32:47,120
Speaker 10: about the Ward Singers, all of that. Rosetta Thorpe, you know,

546
00:32:47,760 --> 00:32:50,520
Speaker 10: Fonte and I were talking about that yesterday. Rosetta Thorpe,

547
00:32:50,840 --> 00:32:54,080
Speaker 10: the mother of rock and roll here Philadelphia.

548
00:32:54,200 --> 00:32:58,920
Speaker 4: Really, yes, did not know that what no I help

549
00:32:59,000 --> 00:33:01,400
Speaker 4: inducted in a rock and roll I did not know that,

550
00:33:01,720 --> 00:33:04,680
Speaker 4: don't you know? King Britt and he was on his

551
00:33:04,760 --> 00:33:05,360
Speaker 4: Big Sister.

552
00:33:05,880 --> 00:33:10,760
Speaker 10: Yeah project project on. She wasn't born here, but she

553
00:33:11,000 --> 00:33:13,960
Speaker 10: lived here lived, she lived here, and she died here.

554
00:33:14,600 --> 00:33:20,040
Speaker 4: So yes, each one teacher, while we're at it, to

555
00:33:20,160 --> 00:33:23,760
Speaker 4: the person that keeps on putting Beachy Thompson from the

556
00:33:23,840 --> 00:33:28,360
Speaker 4: Dixie Hummingbirds as my great grandfather, he is not true,

557
00:33:29,360 --> 00:33:33,240
Speaker 4: and I'm the one that keeps erasing it. So yeah, Like,

558
00:33:33,600 --> 00:33:37,480
Speaker 4: I just want to put that out there too, Wikipedia,

559
00:33:38,960 --> 00:33:41,480
Speaker 4: because every journalist is like, you know, three generations and

560
00:33:41,560 --> 00:33:45,480
Speaker 4: I'm like, no, Beachie Thompson is not my grandfather.

561
00:33:45,760 --> 00:33:49,600
Speaker 7: So I just want to put that out there. That's important.

562
00:33:51,440 --> 00:34:00,200
Speaker 4: So any like, are there any notable historical Philadelphia h

563
00:34:02,040 --> 00:34:15,520
Speaker 4: musical stories that you've seen firsthand? That so many? Oh?

564
00:34:15,760 --> 00:34:19,000
Speaker 10: Well, Teddy was my neighbor. He was my physical borrow

565
00:34:19,120 --> 00:34:22,400
Speaker 10: cup of sugar neighbor and also one of my closest

566
00:34:22,440 --> 00:34:26,319
Speaker 10: friends to his transition. In fact, I delivered the obituary

567
00:34:26,480 --> 00:34:33,600
Speaker 10: at his memorial watching Teddy Pendergrass leave the situation with

568
00:34:33,719 --> 00:34:35,920
Speaker 10: Harold because they were fighting. They were duking it out.

569
00:34:36,000 --> 00:34:38,880
Speaker 10: I mean, they were having physical fights. It was abusive

570
00:34:39,000 --> 00:34:41,919
Speaker 10: and out of control by the time he left the group.

571
00:34:42,360 --> 00:34:46,960
Speaker 10: But to see Teddy Pendergrass go from being with the

572
00:34:47,040 --> 00:34:51,160
Speaker 10: group and then becoming one of the biggest artists in

573
00:34:51,560 --> 00:34:54,440
Speaker 10: soul music and and he was crossing over pop. He

574
00:34:54,600 --> 00:34:57,239
Speaker 10: was going to become a movie star. He had a

575
00:34:57,400 --> 00:35:03,640
Speaker 10: Teddy Jeans line. Gambell, Yes, Teddy Jeans. But to witness

576
00:35:03,760 --> 00:35:07,080
Speaker 10: that was pretty spectacular. Just to see the energy that

577
00:35:07,200 --> 00:35:09,840
Speaker 10: happened as a result of the sound of Philadelphia worldwide,

578
00:35:10,400 --> 00:35:12,600
Speaker 10: that was pretty heady. I mean, I have tons of

579
00:35:12,640 --> 00:35:14,000
Speaker 10: stories with the jelly artists.

580
00:35:14,040 --> 00:35:17,080
Speaker 4: Did you have any influence in getting him to finally

581
00:35:17,120 --> 00:35:19,759
Speaker 4: settle down with a natural as opposed.

582
00:35:19,440 --> 00:35:23,000
Speaker 10: To what Teddy? No, absolutely not. Teddy had many hairstyles

583
00:35:23,360 --> 00:35:30,520
Speaker 10: during the duration. Yeah, that was before me, And had

584
00:35:30,560 --> 00:35:32,439
Speaker 10: I known him at the time, I would have said,

585
00:35:35,040 --> 00:35:36,279
Speaker 10: your hair prettier than mine.

586
00:35:36,360 --> 00:35:37,360
Speaker 4: You need to all that.

587
00:35:38,440 --> 00:35:41,600
Speaker 10: No, Teddy, Teddy was quite something, quite extraordinary. You met

588
00:35:41,680 --> 00:35:43,680
Speaker 10: him a mirror. Yeah, yeah, you were in the room

589
00:35:43,719 --> 00:35:47,040
Speaker 10: with him. You know, he had a magnetic energy unlike

590
00:35:47,160 --> 00:35:50,960
Speaker 10: which same thing that Marvin had. There's only a few people.

591
00:35:51,320 --> 00:35:55,080
Speaker 10: Sam Cook had it that, that Jennison Qua, Miles Davis

592
00:35:55,120 --> 00:35:57,960
Speaker 10: had it. Miles Davis, my good friend, Miles Davis. He

593
00:35:58,040 --> 00:36:10,520
Speaker 10: definitely hasty. Okay, okay, we're talking early seventies when I

594
00:36:10,640 --> 00:36:13,840
Speaker 10: was in d C and am to May who is

595
00:36:14,160 --> 00:36:17,680
Speaker 10: a beloved of mine, a connection another Heath. Well, that's

596
00:36:17,719 --> 00:36:20,840
Speaker 10: how I met him through his father, Jimmy Heath. But

597
00:36:21,000 --> 00:36:24,640
Speaker 10: he was playing percussions. He was playing conga's with Miles

598
00:36:25,000 --> 00:36:27,080
Speaker 10: and they came to d C and I was on

599
00:36:27,120 --> 00:36:29,239
Speaker 10: the air at w HR. He said, come by check

600
00:36:29,280 --> 00:36:32,680
Speaker 10: out the show. So after the set, he introduces me

601
00:36:32,800 --> 00:36:35,760
Speaker 10: to Miles and he says, Miles me Deanna. Deanna, meet Miles,

602
00:36:36,320 --> 00:36:44,080
Speaker 10: and Miles says, marry me. I'm standing there looking at

603
00:36:44,160 --> 00:36:48,759
Speaker 10: him like no, and he says, well why not? And

604
00:36:48,920 --> 00:36:51,400
Speaker 10: I said, because I just met you. I don't know

605
00:36:51,520 --> 00:36:54,200
Speaker 10: you like that. But I had on this long white

606
00:36:54,320 --> 00:36:57,000
Speaker 10: dress and a white gaylea my head wrap. And he

607
00:36:57,120 --> 00:37:00,800
Speaker 10: says to me, but you look like a motherfuck can bribe.

608
00:37:05,360 --> 00:37:11,239
Speaker 10: So from there we developed a very dear friendship and

609
00:37:12,280 --> 00:37:15,160
Speaker 10: went on for years until I started dating Kenny Gamble

610
00:37:15,520 --> 00:37:18,080
Speaker 10: and Gamble was like, I'm not having Miles Davis around

611
00:37:18,120 --> 00:37:20,879
Speaker 10: my woman, and it's not happening. It's not going down

612
00:37:21,040 --> 00:37:25,160
Speaker 10: like that. So but we we stayed friends for years.

613
00:37:25,400 --> 00:37:29,680
Speaker 4: You were the original coffee shop check. That's what what

614
00:37:29,880 --> 00:37:36,680
Speaker 4: is that? The the the the the Nubian goddess that

615
00:37:37,880 --> 00:37:44,920
Speaker 4: we would think of head wraps and since Yeah, but

616
00:37:45,840 --> 00:37:49,520
Speaker 4: she was ne It was like me, but I was after.

617
00:37:49,719 --> 00:37:50,600
Speaker 4: It was a mirror.

618
00:37:50,760 --> 00:37:53,160
Speaker 10: It was the post civil rights era. It was say

619
00:37:53,239 --> 00:37:56,640
Speaker 10: it loud, I'm black and I'm proud. So that, Yeah,

620
00:37:56,880 --> 00:37:59,719
Speaker 10: it was that period of awakening with black folks when

621
00:37:59,760 --> 00:38:02,640
Speaker 10: we were like, you know, no more, no more dogs

622
00:38:02,719 --> 00:38:06,480
Speaker 10: biting us, no more. It was past Montgomery and the

623
00:38:06,560 --> 00:38:09,840
Speaker 10: boycotts where we were like, we recognize our economic power

624
00:38:09,960 --> 00:38:13,000
Speaker 10: and our beauty and strength. We know whence we came from.

625
00:38:13,360 --> 00:38:16,120
Speaker 4: But once the Nixting era sort of set in, and

626
00:38:17,200 --> 00:38:19,920
Speaker 4: you know the leaders were killed in sixty eight, a

627
00:38:20,080 --> 00:38:22,320
Speaker 4: lot of that just cools off. And you know the

628
00:38:22,400 --> 00:38:24,400
Speaker 4: seventies was mad hedonism.

629
00:38:25,280 --> 00:38:25,600
Speaker 10: Oh I.

630
00:38:29,040 --> 00:38:29,600
Speaker 4: Disagree.

631
00:38:29,640 --> 00:38:33,319
Speaker 10: It was Mina Simone, Aretha Franklin, say it loud, I'm

632
00:38:33,320 --> 00:38:36,920
Speaker 10: black and I'm proud. That happened in the seventies. James Brown,

633
00:38:37,600 --> 00:38:39,320
Speaker 10: All of that was the seventies.

634
00:38:39,920 --> 00:38:44,160
Speaker 7: So you know my uncle Butcher who stole my Grandma'm Stevien.

635
00:38:44,640 --> 00:38:48,280
Speaker 10: Yeah, but here we go. You had you had brothers

636
00:38:48,320 --> 00:38:53,000
Speaker 10: coming back from Vietnam. Okay, they were distressed, and many

637
00:38:53,040 --> 00:38:56,600
Speaker 10: of them came back with habits heroin. I mean you know,

638
00:38:56,800 --> 00:38:58,920
Speaker 10: so we were starting to deal with the crack and

639
00:38:59,520 --> 00:39:02,560
Speaker 10: all of that happening in our communities. So it was

640
00:39:02,600 --> 00:39:03,120
Speaker 10: a lot going on.

641
00:39:03,280 --> 00:39:09,960
Speaker 4: Were you discouraged at all with as I will say

642
00:39:10,000 --> 00:39:16,359
Speaker 4: that afro centricity had its second way eighty six eighty

643
00:39:16,440 --> 00:39:19,440
Speaker 4: seven with the hip hop generation. But was there a

644
00:39:19,520 --> 00:39:26,719
Speaker 4: period between yeah, seventy nine eighty post disco, between eighty

645
00:39:26,760 --> 00:39:29,680
Speaker 4: and eighty five where you just felt like, oh, okay,

646
00:39:29,800 --> 00:39:33,840
Speaker 4: we're we're done this and now we're bourgeois, we're getting jobs,

647
00:39:33,920 --> 00:39:39,839
Speaker 4: we're perming our hair, nose stopping now. Yeah.

648
00:39:40,160 --> 00:39:43,879
Speaker 10: No, because I recognize that we're not monolithic. We're all

649
00:39:44,600 --> 00:39:47,359
Speaker 10: we're shades and variations, We're not all one thing.

650
00:39:48,120 --> 00:39:51,960
Speaker 2: So and Deana's always been this black so I know,

651
00:39:52,200 --> 00:39:54,400
Speaker 2: I mean black music moms started in the seventies and

652
00:39:54,480 --> 00:39:55,040
Speaker 2: it continues on.

653
00:39:55,200 --> 00:39:57,120
Speaker 10: So that's a whole you know, that's a yeah, not

654
00:39:57,239 --> 00:39:59,640
Speaker 10: the thing. No, we're not monolithic. So I saw all

655
00:39:59,719 --> 00:40:03,160
Speaker 10: type Some folks were bougie, some were still wearing their

656
00:40:03,200 --> 00:40:05,799
Speaker 10: hair natural, some were wearing braids. It was a whole

657
00:40:05,840 --> 00:40:06,720
Speaker 10: lot of stuff going.

658
00:40:06,600 --> 00:40:09,400
Speaker 4: On, right, But I'm just saying that you are unapologetically black,

659
00:40:10,000 --> 00:40:11,239
Speaker 4: and what else could I be.

660
00:40:11,800 --> 00:40:14,480
Speaker 7: But that's the thing for some people to.

661
00:40:16,880 --> 00:40:19,919
Speaker 4: Kind of spook that sat by the door their way

662
00:40:20,040 --> 00:40:24,920
Speaker 4: into society. They might have to change clothes a little bit.

663
00:40:25,200 --> 00:40:25,319
Speaker 2: Now.

664
00:40:25,840 --> 00:40:30,359
Speaker 10: First of all, remember so for me, I talked about

665
00:40:30,400 --> 00:40:35,400
Speaker 10: graduating from Frankie Crocker University. But then I was greatly

666
00:40:35,560 --> 00:40:39,120
Speaker 10: influenced by one of the blackest people I know, Kenny Gamble.

667
00:40:39,560 --> 00:40:43,400
Speaker 10: He was my man. So I was raised up as

668
00:40:43,440 --> 00:40:48,760
Speaker 10: a woman by a strong black man. That was my education.

669
00:40:49,280 --> 00:40:52,319
Speaker 10: And then again my parents, my family. I'm very clear

670
00:40:52,360 --> 00:40:55,520
Speaker 10: where I come from and who I am and so,

671
00:40:55,840 --> 00:40:59,400
Speaker 10: and it was very black. And my mother, although she

672
00:40:59,560 --> 00:41:02,960
Speaker 10: was poored, she recognized that she's an African woman. First

673
00:41:03,000 --> 00:41:04,680
Speaker 10: time I went to Africa, I went with my mama.

674
00:41:04,960 --> 00:41:09,160
Speaker 10: We went to Senegal to Ghana, and my mother disappeared

675
00:41:09,200 --> 00:41:12,200
Speaker 10: one day and we were like, where's Nancy, where's Nancy. Well,

676
00:41:12,239 --> 00:41:14,680
Speaker 10: my mother went to the marketplace and got her garb,

677
00:41:15,120 --> 00:41:17,560
Speaker 10: she got some sisters to meet, and she came back

678
00:41:17,719 --> 00:41:21,520
Speaker 10: garbed up okay, and had several outfits. And my mother

679
00:41:21,719 --> 00:41:24,759
Speaker 10: was like, yo, I'm an African woman. I know this,

680
00:41:25,560 --> 00:41:27,920
Speaker 10: And that's the spirit in which I was raised. I

681
00:41:28,080 --> 00:41:30,640
Speaker 10: was raised with a great deal of consciousness and exposure

682
00:41:30,680 --> 00:41:33,200
Speaker 10: to black folks. So growing up in Harlem, for me,

683
00:41:33,840 --> 00:41:36,680
Speaker 10: it was the Schomberg, it was Langston Hughes, it was

684
00:41:37,080 --> 00:41:41,200
Speaker 10: the Negro Ensemble Company. It was all this great energy

685
00:41:41,239 --> 00:41:42,800
Speaker 10: about blackness around me.

686
00:41:43,000 --> 00:41:44,520
Speaker 2: Do you think that's a little bit of a some

687
00:41:44,680 --> 00:41:47,200
Speaker 2: Northeast privilege when it comes to black folks in a

688
00:41:47,239 --> 00:41:49,279
Speaker 2: way too to be able to continue that because I

689
00:41:49,320 --> 00:41:51,520
Speaker 2: see what Amir is saying, and sometimes it depends on.

690
00:41:51,840 --> 00:41:53,759
Speaker 10: Where you are too physically.

691
00:41:54,520 --> 00:41:57,160
Speaker 2: Possibly, Yeah, I mean me and have that black conversation

692
00:41:57,200 --> 00:41:58,600
Speaker 2: all the time about the difference between the South and

693
00:41:58,640 --> 00:42:00,160
Speaker 2: the Northeast, And no.

694
00:42:00,200 --> 00:42:03,959
Speaker 10: There are differences, were definitely, but I celebrate our commonalities.

695
00:42:04,280 --> 00:42:07,839
Speaker 10: I recognize the differences. But you know, I just came

696
00:42:07,880 --> 00:42:10,920
Speaker 10: from a wellspring of black culture growing up in Harlem

697
00:42:11,800 --> 00:42:13,960
Speaker 10: and the Bronx, the home of hip hop a rap,

698
00:42:14,680 --> 00:42:17,000
Speaker 10: so you know for me early so let me tell

699
00:42:17,000 --> 00:42:19,200
Speaker 10: you this too. Also, when I was a teenager, I

700
00:42:19,320 --> 00:42:22,960
Speaker 10: met Royeers. I met a woman named Myrna Williams who

701
00:42:23,040 --> 00:42:27,680
Speaker 10: managed Royers. So I was fifteen meeting Royeers and hanging

702
00:42:27,719 --> 00:42:32,560
Speaker 10: out with people like Royeers and then Jimmy Heath, who

703
00:42:32,600 --> 00:42:36,120
Speaker 10: I mentioned to you, and then when I was about seventeen,

704
00:42:36,800 --> 00:42:40,080
Speaker 10: a girlfriend of mine named Brenda introduced me to Stevie Wonder.

705
00:42:40,719 --> 00:42:43,839
Speaker 10: So I met Stevie. I call him Stevelan. I met

706
00:42:43,840 --> 00:42:48,640
Speaker 10: Stevelan before I even got into radio, and he invited

707
00:42:48,680 --> 00:42:52,080
Speaker 10: me into the studio. He was doing music of my Mind. Yeah,

708
00:42:52,480 --> 00:42:56,120
Speaker 10: music of my Mind. So I was exposed.

709
00:42:56,560 --> 00:42:57,600
Speaker 4: And then I.

710
00:42:57,680 --> 00:43:00,640
Speaker 10: Mentioned the flute. I decided to take flute lessons because

711
00:43:00,640 --> 00:43:03,360
Speaker 10: I still was trying to trying to develop my talent

712
00:43:03,480 --> 00:43:07,400
Speaker 10: as a musician, and I met Bobby. I met Bobby,

713
00:43:07,520 --> 00:43:12,280
Speaker 10: but then I approached a gentleman to take flute lessons.

714
00:43:12,360 --> 00:43:15,560
Speaker 10: And his name is Hubert Laws all the greatest floutest

715
00:43:15,680 --> 00:43:18,560
Speaker 10: of all time. I will tell you that I never

716
00:43:19,320 --> 00:43:23,799
Speaker 10: got a flute lesson, but he taught me a lot.

717
00:43:31,719 --> 00:43:35,880
Speaker 10: So I started dating Hubert laws and as a result

718
00:43:35,960 --> 00:43:40,800
Speaker 10: of that relationship, I was exposed even greater too. He

719
00:43:40,920 --> 00:43:43,400
Speaker 10: would take me to Rudy Van Gelder's studio in Jersey.

720
00:43:45,120 --> 00:43:47,839
Speaker 10: I was signed to c t I at the time.

721
00:43:48,080 --> 00:43:49,160
Speaker 10: So who did I meet?

722
00:43:51,239 --> 00:43:51,760
Speaker 7: My favorite?

723
00:43:51,920 --> 00:43:54,560
Speaker 10: You love Pree Taylor. So I met Cree Taylor, Rudy

724
00:43:54,640 --> 00:44:03,120
Speaker 10: Van Gelder, Hank Crawford, Esther Phillips, Grover Washington Junior Freddie Hubbard, right,

725
00:44:03,239 --> 00:44:05,759
Speaker 10: and they performed with each other, they recorded with each other,

726
00:44:05,840 --> 00:44:07,880
Speaker 10: So I would go with Hubert to the sessions. But

727
00:44:08,000 --> 00:44:09,960
Speaker 10: one of my favorite sessions I think you can all

728
00:44:10,000 --> 00:44:13,360
Speaker 10: appreciate this is one day Hubert said he had a

729
00:44:13,480 --> 00:44:17,719
Speaker 10: session and he took me, deposited me in the control room.

730
00:44:18,080 --> 00:44:21,480
Speaker 10: And who was in the control room Quincy Jones and

731
00:44:21,600 --> 00:44:24,479
Speaker 10: Donnie Hathaway. Wow, so it was my first time meeting

732
00:44:24,600 --> 00:44:29,680
Speaker 10: Donnie and Charleston Blue is what they were recording. And

733
00:44:29,800 --> 00:44:32,120
Speaker 10: Hubert was on that session. So I sat in the

734
00:44:32,160 --> 00:44:34,600
Speaker 10: control room with them, and of course at that point

735
00:44:34,640 --> 00:44:38,960
Speaker 10: I knew who Donnie was. He was very shy, demure, quiet,

736
00:44:39,520 --> 00:44:45,200
Speaker 10: and Quincy calls Aretha Franklin and introduces Donnie to Aretha

737
00:44:45,320 --> 00:44:47,440
Speaker 10: on the phone and he tells Aretha you got to

738
00:44:47,480 --> 00:44:49,840
Speaker 10: hear him, you know, Donnie Hathaway. And of course he

739
00:44:49,960 --> 00:44:53,839
Speaker 10: was signed to Atlantic Records. So yeah, at this life,

740
00:44:53,880 --> 00:44:58,560
Speaker 10: these things aren't phasing you like I'm young. I'm young.

741
00:44:59,760 --> 00:45:00,440
Speaker 10: I'm taking it.

742
00:45:00,480 --> 00:45:03,239
Speaker 4: All in righteous Forrest Gump. But you know what I say,

743
00:45:05,719 --> 00:45:07,239
Speaker 4: it set the bar for me.

744
00:45:07,560 --> 00:45:10,320
Speaker 10: It set an appetite for me because what I have

745
00:45:10,480 --> 00:45:14,040
Speaker 10: discovered over time is that I am most intrigued and

746
00:45:14,160 --> 00:45:18,759
Speaker 10: attracted to the exceptional. And that's what I have had

747
00:45:18,880 --> 00:45:24,040
Speaker 10: all of my life. I have been involved friendships, romances

748
00:45:24,680 --> 00:45:29,359
Speaker 10: with people who are supremely gifted. I would say, that's

749
00:45:29,440 --> 00:45:29,920
Speaker 10: what I like.

750
00:45:30,719 --> 00:45:36,040
Speaker 4: I've to hear your opinion on life in twenty nineteen.

751
00:45:37,600 --> 00:45:40,840
Speaker 10: And where music is going, well, I say, never a

752
00:45:40,960 --> 00:45:43,120
Speaker 10: dull moment. That's how I approach life daily.

753
00:45:43,400 --> 00:45:44,120
Speaker 4: With human beings.

754
00:45:44,160 --> 00:45:46,439
Speaker 10: There's seven billion of us, right, Fante. We were talking

755
00:45:46,440 --> 00:45:49,600
Speaker 10: about this last night, but sliin the family Stone said,

756
00:45:50,160 --> 00:45:54,120
Speaker 10: everybody is a star. We all have our unique shine,

757
00:45:54,239 --> 00:45:58,320
Speaker 10: we have our individuality. We contribute to this energy that

758
00:45:58,520 --> 00:46:00,560
Speaker 10: keeps our planet around.

759
00:46:00,600 --> 00:46:02,920
Speaker 8: The song, I don't have to tell me I'm sugar, Steve.

760
00:46:04,320 --> 00:46:09,000
Speaker 2: You know that sugar and that Deanna is already You're

761
00:46:09,000 --> 00:46:12,560
Speaker 2: already forced to listen to everything from twenty eighteen and

762
00:46:12,600 --> 00:46:13,799
Speaker 2: back because she's a media coach.

763
00:46:13,880 --> 00:46:15,520
Speaker 4: So when you are going to say are you going

764
00:46:15,600 --> 00:46:19,680
Speaker 4: to be blue faces media, you know, it's like she

765
00:46:19,840 --> 00:46:21,200
Speaker 4: walked out on ya.

766
00:46:21,239 --> 00:46:24,360
Speaker 10: I did not so what so what was well? He

767
00:46:24,520 --> 00:46:26,840
Speaker 10: was disrespect You're still doing media coaching?

768
00:46:26,960 --> 00:46:29,200
Speaker 4: Yeah, and it's hardest development.

769
00:46:29,320 --> 00:46:32,239
Speaker 9: Yes, can you talk about that all entails because I

770
00:46:32,239 --> 00:46:34,000
Speaker 9: don't think a lot of people know. Could you teach

771
00:46:34,600 --> 00:46:36,080
Speaker 9: I had this this?

772
00:46:36,520 --> 00:46:38,840
Speaker 4: Okay, you just didn't you?

773
00:46:38,920 --> 00:46:40,279
Speaker 7: I got media coach?

774
00:46:40,840 --> 00:46:40,960
Speaker 2: Uh?

775
00:46:43,520 --> 00:46:46,000
Speaker 10: Did they not keep yourself in the mouth?

776
00:46:49,080 --> 00:46:50,040
Speaker 7: Yeah, because I was.

777
00:46:50,160 --> 00:46:50,520
Speaker 2: I was.

778
00:46:50,640 --> 00:46:53,680
Speaker 6: I did this thing for NBC, uh Sunday morning and

779
00:46:53,760 --> 00:46:55,320
Speaker 6: then immediately there afterwards.

780
00:46:59,719 --> 00:47:00,640
Speaker 7: But they told the guy.

781
00:47:00,719 --> 00:47:01,680
Speaker 4: He told me it did a good job.

782
00:47:01,719 --> 00:47:05,560
Speaker 7: But it's it's a lot. I'll be honest with you guys.

783
00:47:06,560 --> 00:47:12,200
Speaker 4: After episode ten, was like, nah, man, you say it

784
00:47:12,440 --> 00:47:14,239
Speaker 4: too much like Obama. I'm gonna get you. You were

785
00:47:14,440 --> 00:47:16,960
Speaker 4: you were, you were so like there was there was

786
00:47:16,960 --> 00:47:18,879
Speaker 4: actually a point back then when I was editing out

787
00:47:18,920 --> 00:47:19,560
Speaker 4: all of the us.

788
00:47:20,239 --> 00:47:22,680
Speaker 10: Those are called fillers. I call those fillers. They're all

789
00:47:22,760 --> 00:47:26,960
Speaker 10: part of natural conversation. But yeah, the overuse of it

790
00:47:27,160 --> 00:47:28,640
Speaker 10: is like all of us.

791
00:47:28,800 --> 00:47:30,719
Speaker 2: You know what I'm saying interesting because it's not a

792
00:47:30,800 --> 00:47:32,879
Speaker 2: lot of media coaches. I'm like, dang, who'd you get

793
00:47:32,960 --> 00:47:33,439
Speaker 2: great guy?

794
00:47:33,480 --> 00:47:33,680
Speaker 10: Mother?

795
00:47:33,680 --> 00:47:35,800
Speaker 3: Because really there's it's a handful of people who do.

796
00:47:35,880 --> 00:47:38,320
Speaker 10: It's a very niche part of the industry, but I do.

797
00:47:38,520 --> 00:47:41,680
Speaker 10: I call it artists development, human development with an emphasis

798
00:47:41,760 --> 00:47:44,400
Speaker 10: on media. But for me, it's I get a lot

799
00:47:44,440 --> 00:47:47,719
Speaker 10: of young artists, so I'm schooling them on what I

800
00:47:47,800 --> 00:47:50,000
Speaker 10: feel are the rudiments of things they need to know.

801
00:47:50,560 --> 00:47:54,880
Speaker 10: Going to Kanye's tea teach Kanye, Kanye, Kanye was one

802
00:47:54,880 --> 00:47:57,160
Speaker 10: of your students. She had to lead that one too. Yeah,

803
00:47:58,120 --> 00:47:58,400
Speaker 10: that was.

804
00:47:58,719 --> 00:47:58,960
Speaker 4: That was.

805
00:47:59,239 --> 00:48:02,040
Speaker 10: I was approached by Lee or Cohen called me directly

806
00:48:02,120 --> 00:48:05,759
Speaker 10: after the Taylor Swift incident and asked me. He said,

807
00:48:05,840 --> 00:48:09,120
Speaker 10: my friend needs help. Can you meet with Kanye. This

808
00:48:09,320 --> 00:48:11,600
Speaker 10: was months after he had already gone to Hawaii he

809
00:48:11,760 --> 00:48:14,160
Speaker 10: was recording. He came back and I met with him

810
00:48:14,160 --> 00:48:17,200
Speaker 10: at his home in New York, and he really didn't well.

811
00:48:17,200 --> 00:48:19,919
Speaker 10: First of all, I was approached to coach him when

812
00:48:20,080 --> 00:48:23,160
Speaker 10: his first album was coming out, and he didn't want

813
00:48:23,160 --> 00:48:26,480
Speaker 10: any coaching. And I ran into him someplace and I said,

814
00:48:26,520 --> 00:48:28,640
Speaker 10: I was supposed to coach you. He says, Oh, I

815
00:48:28,719 --> 00:48:29,680
Speaker 10: know how to handle the media.

816
00:48:29,680 --> 00:48:30,279
Speaker 2: I know what to do.

817
00:48:30,440 --> 00:48:32,960
Speaker 10: I got this. I don't need any any I was like,

818
00:48:33,120 --> 00:48:35,439
Speaker 10: I'll do this back, brother, I love your music, piece

819
00:48:35,520 --> 00:48:38,440
Speaker 10: and blessings. But later I went to his home and

820
00:48:38,480 --> 00:48:41,880
Speaker 10: spent the afternoon with him and we talked about Taylor Swift.

821
00:48:41,960 --> 00:48:44,400
Speaker 10: We talked about life in general. I took him a

822
00:48:44,480 --> 00:48:47,319
Speaker 10: black obelisk and I gave that to him as a gift,

823
00:48:47,360 --> 00:48:48,839
Speaker 10: and he was like, well, what is this? I said,

824
00:48:48,840 --> 00:48:51,480
Speaker 10: it's an oblisk and it's Egyptian and you'll see it

825
00:48:51,560 --> 00:48:54,520
Speaker 10: in Rome, and you'll see it in Europe, in South America,

826
00:48:54,600 --> 00:48:56,320
Speaker 10: you'll see it everywhere. But it's Egyptian.

827
00:48:56,400 --> 00:48:57,560
Speaker 7: I'm looking at up right now.

828
00:48:57,600 --> 00:49:02,800
Speaker 10: The obliss. Yes, okay, d C. Washington Monument.

829
00:49:03,120 --> 00:49:08,279
Speaker 2: Okay, Yeah, like symbol, it's a fact.

830
00:49:08,400 --> 00:49:10,680
Speaker 10: But we wound up not working together. He really did

831
00:49:10,760 --> 00:49:12,480
Speaker 10: not want it. It was le Or who wanted it

832
00:49:12,640 --> 00:49:14,520
Speaker 10: for him and felt that he needed it. But Kanye

833
00:49:14,640 --> 00:49:19,320
Speaker 10: is the type of artist you don't. He's yeah, you don't, right.

834
00:49:19,480 --> 00:49:20,680
Speaker 4: All right, so can you give us?

835
00:49:20,920 --> 00:49:21,040
Speaker 2: Uh?

836
00:49:22,160 --> 00:49:26,319
Speaker 4: What do I do? Never does this? But I hope

837
00:49:26,320 --> 00:49:30,800
Speaker 4: you do. Yeah, because even now I still feel like

838
00:49:30,840 --> 00:49:34,440
Speaker 4: an amateur and doing this. We're gonna have to give

839
00:49:34,440 --> 00:49:35,399
Speaker 4: her a check after we'd done.

840
00:49:35,440 --> 00:49:41,759
Speaker 7: You know that, right, thank you. It's like a mere

841
00:49:41,800 --> 00:49:42,839
Speaker 7: drum on my record for free.

842
00:49:43,480 --> 00:49:43,840
Speaker 4: I do that.

843
00:49:44,040 --> 00:49:45,040
Speaker 7: I never charged for drummy.

844
00:49:45,120 --> 00:49:46,799
Speaker 4: Oh for really, you shouldn't have said that on the end.

845
00:49:46,840 --> 00:49:48,560
Speaker 4: Come on, my son, I literally.

846
00:49:48,280 --> 00:49:50,400
Speaker 10: Don't what do you whether is there something else you

847
00:49:50,520 --> 00:49:51,920
Speaker 10: charge for walking in or not?

848
00:49:52,080 --> 00:49:55,479
Speaker 4: I mean when you I'm at a place now where

849
00:49:56,200 --> 00:49:59,120
Speaker 4: you know, like druman is my passion, DJing is my

850
00:49:59,200 --> 00:50:02,000
Speaker 4: passion showing. Won't let me dj for free? But like

851
00:50:02,239 --> 00:50:04,160
Speaker 4: you know, if I like the person, I'll drummer. And

852
00:50:04,320 --> 00:50:04,960
Speaker 4: I think about it.

853
00:50:05,320 --> 00:50:07,359
Speaker 7: Okay, what am I going to do with the two

854
00:50:07,400 --> 00:50:08,000
Speaker 7: thousand bucks?

855
00:50:08,320 --> 00:50:19,359
Speaker 10: Like, yeah, two thousand bucks for the average person, there's

856
00:50:19,360 --> 00:50:21,759
Speaker 10: a whole lot of money in there. Thinking about it,

857
00:50:23,360 --> 00:50:23,920
Speaker 10: I see.

858
00:50:23,719 --> 00:50:25,920
Speaker 4: What he said. Let's also say that half of my

859
00:50:26,040 --> 00:50:27,800
Speaker 4: salary and this show is going to the staff.

860
00:50:27,920 --> 00:50:30,680
Speaker 7: So I'm huge just saying.

861
00:50:30,760 --> 00:50:32,799
Speaker 9: I like, for you, that would not be a lot

862
00:50:32,840 --> 00:50:34,759
Speaker 9: of money, but to the person that's giving it, it

863
00:50:34,840 --> 00:50:36,880
Speaker 9: would be a lot. So it's like, yeah, I just

864
00:50:36,960 --> 00:50:39,759
Speaker 9: keep your money. Yeah, I get I'm saying, But so,

865
00:50:39,880 --> 00:50:41,880
Speaker 9: what would be a better way Deanna to clean that up?

866
00:50:45,800 --> 00:50:46,560
Speaker 4: It's already done.

867
00:50:46,920 --> 00:50:48,800
Speaker 2: Diana worked with t I since the beginning, so I

868
00:50:48,920 --> 00:50:51,200
Speaker 2: know you know how to clean after the fact as well.

869
00:50:52,120 --> 00:50:55,520
Speaker 10: It's different with every artist. It's different. I tailor. I

870
00:50:55,560 --> 00:50:58,080
Speaker 10: have a program. I call it the influence system, and

871
00:50:58,480 --> 00:51:01,760
Speaker 10: it's influenced, meaning the ability to prevail upon the thoughts

872
00:51:01,800 --> 00:51:05,520
Speaker 10: and feelings of others, and that's what artists do. And

873
00:51:05,600 --> 00:51:07,520
Speaker 10: I don't just work with artists. I've also worked with

874
00:51:07,600 --> 00:51:11,759
Speaker 10: athletes like Alan Iverson, heavyweight boxer Roy Jones Junior. I

875
00:51:11,840 --> 00:51:14,680
Speaker 10: worked with executives. I worked with Michael Vick as well

876
00:51:14,760 --> 00:51:16,960
Speaker 10: when he came out of prison, and that was t

877
00:51:17,160 --> 00:51:19,840
Speaker 10: I called me one day and had Michael Vick on

878
00:51:19,880 --> 00:51:23,400
Speaker 10: the phone and said, Deanna is my person. You need

879
00:51:23,480 --> 00:51:26,640
Speaker 10: to get with Deanna. But Michael was not very happy

880
00:51:26,680 --> 00:51:29,600
Speaker 10: when he came out of jail because everybody kept asking

881
00:51:29,640 --> 00:51:32,520
Speaker 10: about the dog fighting and he was like, look, I

882
00:51:32,640 --> 00:51:34,680
Speaker 10: just served two years in jail. I don't want to

883
00:51:34,719 --> 00:51:37,359
Speaker 10: talk about this anymore. And I was like, Michael, let

884
00:51:37,400 --> 00:51:40,040
Speaker 10: me bring you to reality. You will be talking about

885
00:51:40,080 --> 00:51:42,759
Speaker 10: this for the rest of your life. It doesn't matter

886
00:51:42,880 --> 00:51:45,200
Speaker 10: even though you went to prison. This is part of

887
00:51:45,280 --> 00:51:48,040
Speaker 10: your story now. And you know people are very attached

888
00:51:48,040 --> 00:51:51,560
Speaker 10: to their dogs, and you were involved in the situation.

889
00:51:53,680 --> 00:51:54,440
Speaker 7: I hate dogs.

890
00:51:54,600 --> 00:52:05,200
Speaker 10: People. One of the many so different people Taylor, for instance,

891
00:52:05,280 --> 00:52:08,120
Speaker 10: I'll give you the Little Kim story. So Little Kim

892
00:52:08,840 --> 00:52:12,160
Speaker 10: was on the red carpet and Howard Stern asked her

893
00:52:12,320 --> 00:52:15,279
Speaker 10: what was it like to have sex with a big, fat,

894
00:52:15,400 --> 00:52:17,400
Speaker 10: ugly guy like big and small.

895
00:52:17,880 --> 00:52:19,240
Speaker 4: Now Kim is from the Brooks.

896
00:52:20,360 --> 00:52:22,960
Speaker 10: She wanted she just wanted to fight him, but she

897
00:52:23,120 --> 00:52:24,719
Speaker 10: was on the red carpet. It was I think the

898
00:52:24,880 --> 00:52:28,400
Speaker 10: MTV Music Awards, and so she kept it moving, but

899
00:52:28,480 --> 00:52:31,040
Speaker 10: she was very upset, very angry. At this time. She

900
00:52:31,160 --> 00:52:33,200
Speaker 10: was signed to Atlantic a little later and they said,

901
00:52:33,480 --> 00:52:36,040
Speaker 10: you have to do Howard Stern. This is when he

902
00:52:36,120 --> 00:52:40,080
Speaker 10: was still doing terrestrial radio before Sirius XM. And Kim

903
00:52:40,160 --> 00:52:41,879
Speaker 10: didn't want to do it, and they said, okay, we've

904
00:52:41,920 --> 00:52:45,080
Speaker 10: got the perfect person to help prep you for the

905
00:52:45,200 --> 00:52:48,800
Speaker 10: interview with Howard Stern. I went to the Trump Tower.

906
00:52:49,520 --> 00:52:51,720
Speaker 10: She was getting her face beat at five in the morning,

907
00:52:52,280 --> 00:52:55,120
Speaker 10: and we sat and worked on how to approach Howard,

908
00:52:55,560 --> 00:52:58,960
Speaker 10: what to say me anticipating the questions that he would

909
00:52:58,960 --> 00:53:02,560
Speaker 10: ask her, and and also I protected her. I was like,

910
00:53:02,880 --> 00:53:05,440
Speaker 10: if we're not going to let him ask you about Biggie,

911
00:53:05,840 --> 00:53:10,160
Speaker 10: you're going to bring up Biggie before he does, providing

912
00:53:10,360 --> 00:53:13,360
Speaker 10: control the narrative and providing the strategy and how we

913
00:53:13,480 --> 00:53:15,480
Speaker 10: were going to deal with that. So very early in

914
00:53:15,520 --> 00:53:18,320
Speaker 10: the interview, she says to Howard, you know you and

915
00:53:18,440 --> 00:53:20,520
Speaker 10: Biggie would have been boys. I think y'all would have

916
00:53:20,560 --> 00:53:23,239
Speaker 10: been friends. And he says, really, like, why why do

917
00:53:23,320 --> 00:53:25,920
Speaker 10: you say that? And she said, because you have a

918
00:53:25,960 --> 00:53:28,560
Speaker 10: big personality, and so did it big and I could

919
00:53:28,600 --> 00:53:30,920
Speaker 10: see the two of you being boys. So at that

920
00:53:31,080 --> 00:53:35,000
Speaker 10: point she disarmed him. Yeah, he did not say anything

921
00:53:35,080 --> 00:53:37,840
Speaker 10: negative about him, and that was her concern because she

922
00:53:37,960 --> 00:53:39,960
Speaker 10: was like, if he attacks my man one more time,

923
00:53:40,480 --> 00:53:42,759
Speaker 10: we're going to be fighting up in that studio. And

924
00:53:43,640 --> 00:53:46,320
Speaker 10: she just took control of the interview and the narrative

925
00:53:46,680 --> 00:53:50,719
Speaker 10: and she just had Howard Stern purring and in the

926
00:53:50,840 --> 00:53:54,719
Speaker 10: palm of her hand. That's because we prepared for him.

927
00:53:55,080 --> 00:53:57,640
Speaker 10: In fact, on that particular album, she had done a

928
00:53:57,800 --> 00:54:01,160
Speaker 10: song where she shouted him out and she said, Howard,

929
00:54:01,600 --> 00:54:04,719
Speaker 10: you paid the way for me as an artist who

930
00:54:04,719 --> 00:54:08,640
Speaker 10: deals with sexual issues. You paid the way with your

931
00:54:08,760 --> 00:54:12,120
Speaker 10: fights with the FCC, talking about sex all of that.

932
00:54:12,280 --> 00:54:16,680
Speaker 10: So Howard, thank you. That is part of how we prepped.

933
00:54:16,960 --> 00:54:18,719
Speaker 10: And when we left, I was in the green room,

934
00:54:19,080 --> 00:54:22,200
Speaker 10: Kim came in, hugged me high five. She was happy

935
00:54:22,280 --> 00:54:26,360
Speaker 10: with the results. Atlantic was happy. She was pleased Howard also,

936
00:54:27,360 --> 00:54:31,120
Speaker 10: So yeah, so it depends when Charlie Wilson came out

937
00:54:31,160 --> 00:54:34,600
Speaker 10: of rehab. I worked with him on how to talk

938
00:54:34,680 --> 00:54:41,280
Speaker 10: about the rehab experience and his path moving forward. Usher

939
00:54:41,840 --> 00:54:44,839
Speaker 10: I only worked with him on he wanted to talk

940
00:54:44,880 --> 00:54:51,560
Speaker 10: about being dyslexic. He had never discussed it publicly. Yeah,

941
00:54:52,080 --> 00:54:54,799
Speaker 10: and that's what we worked on. He was a big

942
00:54:54,880 --> 00:54:56,719
Speaker 10: star at the point where I worked with him, So

943
00:54:56,880 --> 00:55:00,279
Speaker 10: it varies. But I also work with new up and

944
00:55:00,360 --> 00:55:03,400
Speaker 10: coming emerging artists, and they don't know anything about how

945
00:55:03,440 --> 00:55:06,600
Speaker 10: to go to radio, how to go to television, they

946
00:55:06,640 --> 00:55:08,640
Speaker 10: don't know. They know how to create, they know how

947
00:55:08,680 --> 00:55:12,080
Speaker 10: to perform, but oftentimes they can't talk about what they do.

948
00:55:12,560 --> 00:55:15,120
Speaker 10: So back to your question, there was a woman at

949
00:55:15,160 --> 00:55:20,400
Speaker 10: Motown named Missus Powell, Missus Maxine Powell. She did the

950
00:55:20,560 --> 00:55:25,280
Speaker 10: artist development at Motown and Barry Gordy, right, Barry Gordy's

951
00:55:25,320 --> 00:55:28,800
Speaker 10: sisters recommended her because she had an etiquette charm school

952
00:55:28,960 --> 00:55:32,279
Speaker 10: in Detroit and prepared people to be models and what

953
00:55:32,800 --> 00:55:35,640
Speaker 10: have you. But remember many of the artists that Barry

954
00:55:35,680 --> 00:55:38,600
Speaker 10: Gordy signed out of Motown came straight from the hood,

955
00:55:38,719 --> 00:55:41,880
Speaker 10: from the projects, and they didn't know which fork to use.

956
00:55:42,360 --> 00:55:46,320
Speaker 10: They didn't have any idea of what to expect especially

957
00:55:46,480 --> 00:55:49,400
Speaker 10: with Barry taking them all over the world. So Missus

958
00:55:49,480 --> 00:55:53,440
Speaker 10: Powell prepped them, so I consider her the mother of

959
00:55:54,160 --> 00:55:58,640
Speaker 10: artist development and coaching. And then Suzanne DePass came in

960
00:55:58,840 --> 00:56:03,080
Speaker 10: later and took over from Missus Powell, and she worked

961
00:56:03,120 --> 00:56:07,400
Speaker 10: on prepping the Jackson five specifically, So I also credit

962
00:56:07,800 --> 00:56:11,880
Speaker 10: Suzanne to pass as being another mother of artist development.

963
00:56:12,200 --> 00:56:13,839
Speaker 10: So I studied everything that they did.

964
00:56:14,239 --> 00:56:21,480
Speaker 4: Who do you feel your greatest student was. I'm really

965
00:56:21,480 --> 00:56:27,400
Speaker 4: impressed with Yeah, that's where he got. I'm very impressed with.

966
00:56:28,920 --> 00:56:31,120
Speaker 10: Tip. But I give Tip a lot of credit. I mean,

967
00:56:31,160 --> 00:56:34,400
Speaker 10: he we worked together for eight years. Anytime he released

968
00:56:34,440 --> 00:56:38,960
Speaker 10: a record, anytime he did a book, a film, TV show, whatever,

969
00:56:39,120 --> 00:56:41,920
Speaker 10: he would call me go to Atlanta to his home.

970
00:56:41,960 --> 00:56:43,520
Speaker 10: We would lock up, or I'd go on the road

971
00:56:43,520 --> 00:56:46,279
Speaker 10: wherever he was and we would sit lock up talk

972
00:56:47,320 --> 00:56:50,120
Speaker 10: and just what I do what I did with Tip

973
00:56:50,200 --> 00:56:52,959
Speaker 10: is I would give him language and thoughts. I would

974
00:56:53,040 --> 00:56:55,879
Speaker 10: let him talk to me first express how he felt

975
00:56:55,920 --> 00:56:58,200
Speaker 10: about whatever it was, the music, the book, the film,

976
00:56:58,680 --> 00:57:01,160
Speaker 10: and then I would give a some language and ways

977
00:57:01,239 --> 00:57:03,319
Speaker 10: to discuss what he had done.

978
00:57:03,440 --> 00:57:06,520
Speaker 2: Because you're also proud of the Dave Matthews work too, right,

979
00:57:06,719 --> 00:57:07,759
Speaker 2: But I didn't work with Dave.

980
00:57:07,800 --> 00:57:10,479
Speaker 10: I worked with the band. I worked with the rest

981
00:57:10,520 --> 00:57:14,239
Speaker 10: of the band. Yes, they do talk. And this was

982
00:57:14,320 --> 00:57:17,200
Speaker 10: in preparation for the Sunday Morning show that you did

983
00:57:17,600 --> 00:57:19,840
Speaker 10: CBS Sunday Morning. They were doing a special one of

984
00:57:19,880 --> 00:57:23,760
Speaker 10: their members had died in a tragic accent. Remember that

985
00:57:24,480 --> 00:57:27,400
Speaker 10: they did not know how to talk about the passing

986
00:57:27,480 --> 00:57:30,080
Speaker 10: of their member even with each other. They had not

987
00:57:30,320 --> 00:57:33,920
Speaker 10: discussed the death with each other. So when I came in,

988
00:57:34,280 --> 00:57:40,000
Speaker 10: I've met with the members individually and then collectively. So yeah,

989
00:57:40,320 --> 00:57:41,160
Speaker 10: and so it varies.

990
00:57:41,320 --> 00:57:43,520
Speaker 9: What is something that you would say to an artist

991
00:57:43,640 --> 00:57:48,400
Speaker 9: that is an absolutely like talking dues and don'ts of

992
00:57:48,680 --> 00:57:50,840
Speaker 9: interviewing or whatever. What are the things that you would

993
00:57:50,840 --> 00:57:53,120
Speaker 9: say to artists like okay, absolutely, like do not.

994
00:57:53,280 --> 00:57:56,680
Speaker 10: Do this, Yeah, don't be on your phone, don't be disrespectful,

995
00:57:56,760 --> 00:58:00,400
Speaker 10: don't make do not not make eye contact. First of all,

996
00:58:00,440 --> 00:58:03,560
Speaker 10: I encourage my clients to do their homework, just like

997
00:58:03,680 --> 00:58:06,280
Speaker 10: I did with you, guys. I read up on you individually.

998
00:58:07,480 --> 00:58:08,600
Speaker 7: No, what did you find on.

999
00:58:10,920 --> 00:58:13,520
Speaker 10: You know, I'm scared, No, nothing to be scared of.

1000
00:58:14,080 --> 00:58:16,360
Speaker 10: But you know, you do your homework. That's the beginning.

1001
00:58:16,400 --> 00:58:18,720
Speaker 10: And that's the first tenant that I teach his preparation.

1002
00:58:19,240 --> 00:58:21,320
Speaker 10: So do your homework, know where you're going, know who

1003
00:58:21,360 --> 00:58:25,320
Speaker 10: you're speaking with. I'll listen to what they've done. If

1004
00:58:25,360 --> 00:58:28,280
Speaker 10: they're a print journalist, read something they've written. So I

1005
00:58:28,360 --> 00:58:30,560
Speaker 10: give them basic humnn ectquette and respect.

1006
00:58:31,200 --> 00:58:31,920
Speaker 7: So how do you did?

1007
00:58:31,960 --> 00:58:34,280
Speaker 12: You pretty much prepare for your first meeting with a

1008
00:58:34,320 --> 00:58:36,240
Speaker 12: client the same way you do. You do your research,

1009
00:58:36,280 --> 00:58:39,000
Speaker 12: you know, find out everything, you watch old interviews and

1010
00:58:39,160 --> 00:58:40,520
Speaker 12: like do you come up with like a list of

1011
00:58:40,840 --> 00:58:42,520
Speaker 12: you know, I saw this interview, I didn't like what

1012
00:58:42,640 --> 00:58:43,080
Speaker 12: you said here.

1013
00:58:43,600 --> 00:58:46,120
Speaker 10: Yeah, I'll sit with them. It depends on how many

1014
00:58:46,240 --> 00:58:49,880
Speaker 10: interviews they've done. Some artists i'll sit For instance, bow

1015
00:58:49,960 --> 00:58:53,040
Speaker 10: Wow bow Wow started, as you know, as a teenager.

1016
00:58:53,800 --> 00:58:57,480
Speaker 10: Chat He started as a teenager, and by the time

1017
00:58:58,520 --> 00:59:01,200
Speaker 10: his mother, who was his managed and his publicist, Patty

1018
00:59:01,240 --> 00:59:04,720
Speaker 10: Webster at the time, brought me in. He was angry

1019
00:59:05,080 --> 00:59:08,640
Speaker 10: with Jermaine Dupree and every interview that he was doing

1020
00:59:08,720 --> 00:59:12,840
Speaker 10: he was hostile, angry, upset, and so they brought me

1021
00:59:12,960 --> 00:59:15,960
Speaker 10: in to calm him down and to give him a

1022
00:59:16,040 --> 00:59:19,800
Speaker 10: way to express his disappointment and his love for Jermaine

1023
00:59:20,200 --> 00:59:22,560
Speaker 10: so initially he was like, I don't need I'm a star,

1024
00:59:22,680 --> 00:59:25,200
Speaker 10: I don't need any coaching. The very first time I

1025
00:59:25,240 --> 00:59:27,880
Speaker 10: went to his home and he just wasn't in the

1026
00:59:27,920 --> 00:59:30,360
Speaker 10: frame of mind. So I won't work with someone if

1027
00:59:30,400 --> 00:59:34,360
Speaker 10: they're not willing, if they're not open to the process,

1028
00:59:34,960 --> 00:59:38,720
Speaker 10: and so I left. However, the next time I saw

1029
00:59:38,800 --> 00:59:41,000
Speaker 10: him was up at the Sony Building, and when I

1030
00:59:41,080 --> 00:59:42,880
Speaker 10: got off the elevator, he was standing there and he

1031
00:59:43,080 --> 00:59:45,160
Speaker 10: ran away. I never had a man run away from me.

1032
00:59:47,960 --> 00:59:51,720
Speaker 10: But when he came back, I said, give me fifteen minutes,

1033
00:59:52,000 --> 00:59:55,720
Speaker 10: fifteen minutes and then you can leave. And I had

1034
00:59:55,840 --> 00:59:59,080
Speaker 10: ordered all of his interviews, and we sat and watched

1035
00:59:59,200 --> 01:00:02,040
Speaker 10: his interviews, and I said, all we're gonna do today

1036
01:00:02,600 --> 01:00:04,840
Speaker 10: is count how many times you say you know what

1037
01:00:04,960 --> 01:00:07,560
Speaker 10: I mean, you know what I'm saying, and then.

1038
01:00:09,760 --> 01:00:10,960
Speaker 7: Watch a video of yourself.

1039
01:00:11,400 --> 01:00:11,800
Speaker 10: There you go.

1040
01:00:12,880 --> 01:00:14,680
Speaker 6: Because when I did the media training, he made me

1041
01:00:14,840 --> 01:00:18,440
Speaker 6: watch me. He filmed me having an interview with this guy,

1042
01:00:18,520 --> 01:00:21,480
Speaker 6: and then we watched it, and it's really uncomfortable and

1043
01:00:21,520 --> 01:00:23,360
Speaker 6: it's really hard to watch yourself. And then you stop

1044
01:00:23,440 --> 01:00:25,840
Speaker 6: because I kept on like not dropping my eyes and

1045
01:00:25,920 --> 01:00:27,720
Speaker 6: like playing with my hands and looking like an idiot,

1046
01:00:27,720 --> 01:00:28,960
Speaker 6: and I was like, oh, I look like an idiot.

1047
01:00:29,240 --> 01:00:33,840
Speaker 10: Yeah yeah, So watching yourself, hearing yourself you're absolutely correct,

1048
01:00:34,320 --> 01:00:37,440
Speaker 10: allows you to. But Rome wasn't built in a day,

1049
01:00:37,640 --> 01:00:41,360
Speaker 10: so you don't change overnight. But mindfulness, being aware of

1050
01:00:41,480 --> 01:00:44,080
Speaker 10: your tics, of your body language, of your lack of

1051
01:00:44,200 --> 01:00:47,880
Speaker 10: eye contact, whatever it is, So studying it, if you

1052
01:00:48,040 --> 01:00:52,280
Speaker 10: really applying yourself, will help. So that day we watch,

1053
01:00:52,400 --> 01:00:54,200
Speaker 10: I said, just count. That's all I want you to

1054
01:00:54,280 --> 01:00:55,800
Speaker 10: do is count how many times you say you know

1055
01:00:55,880 --> 01:00:57,720
Speaker 10: what I mean, you know what I'm saying. And of

1056
01:00:57,800 --> 01:01:00,680
Speaker 10: course when he counted up to about fifty after watching

1057
01:01:00,760 --> 01:01:05,600
Speaker 10: all of these things, that was right minutes, he turns

1058
01:01:05,640 --> 01:01:09,000
Speaker 10: around and says, okay, Deanna help me. He recognized at

1059
01:01:09,000 --> 01:01:10,840
Speaker 10: that point that he had a problem and an issue,

1060
01:01:11,120 --> 01:01:15,200
Speaker 10: and he was amenable to the process issues.

1061
01:01:16,640 --> 01:01:19,920
Speaker 4: Valid question, Yes, how did you get into doing this?

1062
01:01:20,480 --> 01:01:22,760
Speaker 10: Well, my background is radio. As I said, I started,

1063
01:01:26,480 --> 01:01:28,320
Speaker 10: what was the is it?

1064
01:01:28,400 --> 01:01:33,600
Speaker 4: Because rappers are known as rappers.

1065
01:01:33,720 --> 01:01:36,400
Speaker 10: I've worked with heavy metal artists. I've worked with pop

1066
01:01:36,560 --> 01:01:39,080
Speaker 10: artist I mean, I worked with Justin Bieber on his

1067
01:01:39,200 --> 01:01:42,600
Speaker 10: first album. I worked with Rihanna on her very first album.

1068
01:01:42,920 --> 01:01:47,160
Speaker 10: So I've worked with artists and all genres. Yeah, we all,

1069
01:01:47,960 --> 01:01:52,480
Speaker 10: I mean we all need help you. Influence Entertainment is

1070
01:01:52,600 --> 01:01:54,720
Speaker 10: my company, and it is me. I am the one

1071
01:01:54,760 --> 01:01:57,720
Speaker 10: that does the coaching. People are hiring me for my

1072
01:01:57,800 --> 01:02:02,000
Speaker 10: expertise and my ability and must success getting people to

1073
01:02:02,080 --> 01:02:06,160
Speaker 10: be better. I am about inspiration. I am constantly drawing

1074
01:02:06,240 --> 01:02:11,479
Speaker 10: inspiration everywhere, and I like helping people be their best

1075
01:02:11,880 --> 01:02:13,400
Speaker 10: because that's what I aspired to be.

1076
01:02:13,640 --> 01:02:16,600
Speaker 2: But follow up on what Bill said. What was the

1077
01:02:16,760 --> 01:02:18,680
Speaker 2: moment though, god mother, because even I don't know when

1078
01:02:18,680 --> 01:02:19,720
Speaker 2: you were like, I'm.

1079
01:02:19,760 --> 01:02:22,280
Speaker 10: Going to do this all right? So I was managing

1080
01:02:22,360 --> 01:02:27,720
Speaker 10: an artist named Gary Taylor. He's a songwriter, just gets

1081
01:02:27,760 --> 01:02:31,880
Speaker 10: better with That's right exactly. I was managing asshole Gary.

1082
01:02:41,160 --> 01:02:52,040
Speaker 4: Gets the fact that in the coolest manner, I'm just being.

1083
01:02:54,440 --> 01:02:56,240
Speaker 10: Yeah, I.

1084
01:02:59,720 --> 01:03:00,320
Speaker 7: Want to be your friend.

1085
01:03:00,760 --> 01:03:01,600
Speaker 10: Okay, we can work.

1086
01:03:03,880 --> 01:03:04,560
Speaker 4: Yeah, that's right.

1087
01:03:04,640 --> 01:03:07,640
Speaker 10: I offered to appreciate your wedding. I've officiated two weddings,

1088
01:03:08,360 --> 01:03:10,480
Speaker 10: so yeah, well, well.

1089
01:03:12,680 --> 01:03:13,360
Speaker 4: Get married.

1090
01:03:14,840 --> 01:03:20,640
Speaker 6: A ride or die ceremony, not to get meiciate our rider.

1091
01:03:22,320 --> 01:03:22,480
Speaker 2: Yeah.

1092
01:03:23,280 --> 01:03:29,520
Speaker 10: So where were we helped me? Although you know I

1093
01:03:29,520 --> 01:03:31,760
Speaker 10: will tell you. So I managed him and I got

1094
01:03:31,840 --> 01:03:34,760
Speaker 10: dragged into managing I don't like management. It's just not

1095
01:03:35,080 --> 01:03:38,320
Speaker 10: my skill set is not you did Carol. I managed

1096
01:03:38,400 --> 01:03:42,120
Speaker 10: Carol Ritick as well Philadelphia's own Carol Ritick. But with Gary,

1097
01:03:42,320 --> 01:03:44,680
Speaker 10: it was just hard talking with him. In fact, we

1098
01:03:44,760 --> 01:03:47,720
Speaker 10: were in Chattanooga, Tennessee, in the back of his limousine

1099
01:03:48,960 --> 01:03:51,360
Speaker 10: on a promo tour. We couldn't afford a road manager

1100
01:03:51,560 --> 01:03:53,920
Speaker 10: road manager, so I went out with him and he

1101
01:03:54,160 --> 01:03:57,560
Speaker 10: was so difficult the entire trip. And I said to him,

1102
01:03:57,600 --> 01:04:00,320
Speaker 10: you know, Gary, you write these great love songs. Part

1103
01:04:00,360 --> 01:04:03,280
Speaker 10: of your problem is you you need good love.

1104
01:04:03,440 --> 01:04:04,240
Speaker 4: You need some loving.

1105
01:04:04,800 --> 01:04:07,640
Speaker 10: You need somebody to you really.

1106
01:04:07,480 --> 01:04:10,720
Speaker 4: Do, because you're lacking asshole.

1107
01:04:12,080 --> 01:04:14,600
Speaker 10: And you're an asshole. And you know how, He goes

1108
01:04:14,680 --> 01:04:16,320
Speaker 10: to the record label says, I don't want to work

1109
01:04:16,320 --> 01:04:19,080
Speaker 10: with her anymore. She reminds me of my ex wife

1110
01:04:19,360 --> 01:04:22,880
Speaker 10: all stuff. I'm like, okay, well, I don't want to

1111
01:04:22,920 --> 01:04:25,320
Speaker 10: work with you either. And furthermore, here's the number four,

1112
01:04:25,840 --> 01:04:33,240
Speaker 10: not a psychologist, but a psychiatristic medicine. And then my

1113
01:04:33,360 --> 01:04:36,080
Speaker 10: partner at the time plays a tape for me. Gary

1114
01:04:36,200 --> 01:04:39,560
Speaker 10: sent this to you. He wants to make up. And

1115
01:04:40,000 --> 01:04:43,840
Speaker 10: she puts a cassette in the car and it's Anita Baker.

1116
01:04:44,480 --> 01:04:45,800
Speaker 8: Good Love Wow.

1117
01:04:46,360 --> 01:04:50,640
Speaker 10: And he wrote the song inspired by me telling him

1118
01:04:51,080 --> 01:04:52,960
Speaker 10: because in the song he says, I want to know

1119
01:04:53,120 --> 01:04:57,080
Speaker 10: what good love feels like, good love, good love, good

1120
01:04:57,240 --> 01:05:01,120
Speaker 10: morning to night. So yeah, Gary Taylor, but he was

1121
01:05:01,200 --> 01:05:04,360
Speaker 10: signed to Virgin Music. I'm sorry Virgin.

1122
01:05:04,440 --> 01:05:04,600
Speaker 4: Yes.

1123
01:05:04,840 --> 01:05:06,320
Speaker 10: And the woman who was the head of the Black

1124
01:05:06,400 --> 01:05:09,760
Speaker 10: music division, Sharon Haywood, why.

1125
01:05:09,640 --> 01:05:10,040
Speaker 7: Do I know that?

1126
01:05:12,480 --> 01:05:13,520
Speaker 4: Yes, yeah, I think that.

1127
01:05:17,680 --> 01:05:20,880
Speaker 10: Encyclopedia. Sharon Haywood takes me to lunch one day and

1128
01:05:21,000 --> 01:05:25,120
Speaker 10: she says, this is after the Gary Taylor debacle. She says,

1129
01:05:25,400 --> 01:05:28,360
Speaker 10: you get along with artists, you overstand them. Well, I

1130
01:05:28,480 --> 01:05:30,280
Speaker 10: use the word overstand. She said, you get them, they

1131
01:05:30,360 --> 01:05:33,440
Speaker 10: get you. You should do artist development. I have never

1132
01:05:33,600 --> 01:05:37,200
Speaker 10: considered it until that day when Sharon says to me,

1133
01:05:37,320 --> 01:05:40,480
Speaker 10: you should do that. And I was like, my first

1134
01:05:40,600 --> 01:05:43,960
Speaker 10: job Jimmy jam and Terry Lewis. I worked with a

1135
01:05:44,000 --> 01:06:01,800
Speaker 10: group called Solo, So Jimmy and Terry Vertical hold Stone,

1136
01:06:02,680 --> 01:06:04,520
Speaker 10: and my third was D'Angelo.

1137
01:06:04,920 --> 01:06:05,160
Speaker 4: Wow.

1138
01:06:05,360 --> 01:06:07,600
Speaker 10: I coached D'Angelo. He was my third artist and he

1139
01:06:07,720 --> 01:06:12,919
Speaker 10: remains to this day my most precious person. Yes, yeah,

1140
01:06:13,600 --> 01:06:16,200
Speaker 10: so that's how it started twenty five years ago. So

1141
01:06:16,240 --> 01:06:18,240
Speaker 10: I've been coaching twenty five years.

1142
01:06:22,640 --> 01:06:26,680
Speaker 7: Wait, we didn't even bring up the origins of black music.

1143
01:06:28,680 --> 01:06:30,440
Speaker 10: We skipped the seventies, but we went in the seventies.

1144
01:06:30,880 --> 01:06:34,400
Speaker 4: Let's go back in time. Okay, So you are the proprietor,

1145
01:06:34,480 --> 01:06:36,480
Speaker 4: the inventor of black music.

1146
01:06:36,320 --> 01:06:41,040
Speaker 10: Month Gamble Okay, ed wright myself.

1147
01:06:41,320 --> 01:06:44,960
Speaker 4: So why did you feel that it was necessary? And

1148
01:06:45,120 --> 01:06:48,040
Speaker 4: when when was it first officiated?

1149
01:06:48,160 --> 01:06:51,840
Speaker 10: Or nineteen nineteen seventy eight nine? We went to the

1150
01:06:51,880 --> 01:06:54,840
Speaker 10: White House, We petitioned the White House to President Jimmy

1151
01:06:54,880 --> 01:07:00,720
Speaker 10: Carter was in the House. White, Yeah, black music then, yes, Georgia,

1152
01:07:01,200 --> 01:07:05,480
Speaker 10: Georgia Farmer and so Gamble had gone to Nashville and

1153
01:07:05,720 --> 01:07:09,200
Speaker 10: was very impressed with Music City and the power of

1154
01:07:09,320 --> 01:07:12,440
Speaker 10: the CMA and what they were doing. They literally had

1155
01:07:12,640 --> 01:07:16,960
Speaker 10: established a geographic region and made music the core of

1156
01:07:17,120 --> 01:07:19,800
Speaker 10: what was going on there. So he said, we need

1157
01:07:19,880 --> 01:07:22,440
Speaker 10: to do that in the black music industry. So that

1158
01:07:22,600 --> 01:07:25,680
Speaker 10: was the beginning of the BMA, the Black Music Association,

1159
01:07:26,320 --> 01:07:28,880
Speaker 10: And part of that endeavor was to have a period

1160
01:07:28,920 --> 01:07:32,560
Speaker 10: of time where we celebrate the outstanding contributions of people

1161
01:07:32,800 --> 01:07:36,960
Speaker 10: in the past, this generation and ones coming up. So

1162
01:07:37,200 --> 01:07:40,800
Speaker 10: it was really Gamble's Brainchild, and then you know, we

1163
01:07:40,880 --> 01:07:42,800
Speaker 10: were together at the time, I think we were on

1164
01:07:43,240 --> 01:07:46,840
Speaker 10: baby number two. We'd been together for years and there

1165
01:07:46,880 --> 01:07:51,000
Speaker 10: were local chapters established around the country. But what happened

1166
01:07:51,080 --> 01:07:53,240
Speaker 10: was some years later when I was producing I am

1167
01:07:53,400 --> 01:07:57,080
Speaker 10: that you referenced earlier mire the International Association of African

1168
01:07:57,120 --> 01:08:02,200
Speaker 10: American Music, which was it is a non UH, non

1169
01:08:02,320 --> 01:08:07,160
Speaker 10: membership advocacy organization dedicated to the preservation promotion of black

1170
01:08:07,280 --> 01:08:13,120
Speaker 10: music worldwide. So I wrote President Bill Clinton asking him

1171
01:08:13,200 --> 01:08:16,000
Speaker 10: to host a reception very similar to what Jimmy Carter

1172
01:08:16,080 --> 01:08:18,840
Speaker 10: had done on the White House lawn where we had

1173
01:08:18,960 --> 01:08:22,000
Speaker 10: Evelyn King and tons of people. I want to do

1174
01:08:22,040 --> 01:08:25,880
Speaker 10: to break down that date, took some historic photos Ronla,

1175
01:08:27,760 --> 01:08:32,160
Speaker 10: Evelyn Champagne, King Berry, Chuck Berry was there as well.

1176
01:08:32,720 --> 01:08:34,600
Speaker 10: Williams was there. It was an interesting.

1177
01:08:36,479 --> 01:08:53,599
Speaker 9: I felt Williams Rezai yeah, yeah, yeah, it's.

1178
01:08:53,439 --> 01:08:54,240
Speaker 4: Got to be the same guy.

1179
01:08:54,800 --> 01:08:55,000
Speaker 5: Yeah.

1180
01:08:55,640 --> 01:08:58,280
Speaker 10: So anyway, I went to Clinton. I wrote the White

1181
01:08:58,320 --> 01:09:00,920
Speaker 10: House and asked them to hold us some reception, and

1182
01:09:01,040 --> 01:09:03,400
Speaker 10: they said, well, we see where Jimmy Carter held this

1183
01:09:03,560 --> 01:09:06,200
Speaker 10: reception back in the seventies, but he did not sign

1184
01:09:06,240 --> 01:09:10,320
Speaker 10: a presidential proclamation. So just go get some legislation, come

1185
01:09:10,439 --> 01:09:12,880
Speaker 10: back to us, and we'll do stuff in the White

1186
01:09:12,920 --> 01:09:16,439
Speaker 10: House and recognize June Black Music Month. So it took

1187
01:09:16,479 --> 01:09:19,920
Speaker 10: me a few years. I had Senator Arlen Spector, who

1188
01:09:20,040 --> 01:09:23,880
Speaker 10: was a Republican from Pennsylvania. I had Congressman Shaka Fatah.

1189
01:09:24,400 --> 01:09:27,120
Speaker 10: I literally put my most comfortable pair of shoes, not

1190
01:09:27,240 --> 01:09:30,040
Speaker 10: these manolos, and walked around.

1191
01:09:33,720 --> 01:09:38,519
Speaker 2: Capitol Hill and petitioned and bagued and you know, brought

1192
01:09:38,600 --> 01:09:41,160
Speaker 2: statistics about the power of black music.

1193
01:09:41,160 --> 01:09:45,679
Speaker 10: That we're a multi billion dollar entity, not just feel good.

1194
01:09:46,439 --> 01:09:50,559
Speaker 10: You know, it's a business, it's an economy. And took

1195
01:09:50,600 --> 01:09:54,479
Speaker 10: a few years, but we got legislation passed saying June

1196
01:09:55,120 --> 01:09:58,080
Speaker 10: is Black Music Month. And then I went back to

1197
01:09:58,160 --> 01:10:01,360
Speaker 10: the White House. And at that point I had several

1198
01:10:01,479 --> 01:10:05,080
Speaker 10: private meetings in the Oval Office with Bill Clinton and

1199
01:10:05,240 --> 01:10:09,640
Speaker 10: took delegations of people in the industry, artist as well

1200
01:10:09,680 --> 01:10:14,920
Speaker 10: as executives to the White House. And so yeah, so

1201
01:10:15,120 --> 01:10:19,160
Speaker 10: Gamble and I and we worked together even after we separated.

1202
01:10:19,320 --> 01:10:21,880
Speaker 10: We are partners in life. We have three kids, we

1203
01:10:21,960 --> 01:10:24,960
Speaker 10: have a grandson. He's the head of my family, the

1204
01:10:25,040 --> 01:10:27,960
Speaker 10: love of my life. And this was part of our

1205
01:10:28,000 --> 01:10:31,320
Speaker 10: mission in our work. We are about making people aware

1206
01:10:31,960 --> 01:10:37,720
Speaker 10: of black music and its potency not just economically, but

1207
01:10:37,880 --> 01:10:42,040
Speaker 10: how it informs everything and everybody change your life.

1208
01:10:44,320 --> 01:10:47,880
Speaker 9: How about that I want to ask you was in

1209
01:10:48,000 --> 01:10:50,000
Speaker 9: regards to unsung because that was how I first came

1210
01:10:50,120 --> 01:10:52,639
Speaker 9: about your work, and I told you about it when

1211
01:10:52,640 --> 01:10:55,559
Speaker 9: we were speaking last night. How I just kept seeing

1212
01:10:55,600 --> 01:10:58,000
Speaker 9: you pop up in every unsung and I was like, Wow,

1213
01:10:58,040 --> 01:11:01,040
Speaker 9: I gotta figure out who she is. Yes, she was

1214
01:11:01,080 --> 01:11:01,760
Speaker 9: the Unsung lady.

1215
01:11:01,800 --> 01:11:02,320
Speaker 7: That was really well.

1216
01:11:02,360 --> 01:11:03,760
Speaker 4: I was like, oh, yeah, that's the Unsung lady.

1217
01:11:03,920 --> 01:11:06,720
Speaker 9: So when we first met at World Cafe Live after

1218
01:11:06,920 --> 01:11:10,040
Speaker 9: Things after Foreign Shange show and Nick brought you backstage,

1219
01:11:10,080 --> 01:11:11,280
Speaker 9: I was like, oh it's done, Sung lady.

1220
01:11:11,320 --> 01:11:14,160
Speaker 4: Oh shit, so one thing, yeah.

1221
01:11:15,760 --> 01:11:21,360
Speaker 9: Right, so it's even crazy one thing and every unsung

1222
01:11:21,560 --> 01:11:26,280
Speaker 9: like every every storyline and unsung is and then hip

1223
01:11:26,320 --> 01:11:29,240
Speaker 9: hop they were doing so great and then hip hop.

1224
01:11:29,600 --> 01:11:35,000
Speaker 9: So what were your personal feelings and when rap started,

1225
01:11:35,120 --> 01:11:38,479
Speaker 9: you know, dominating? Uh, what was your personal feelings on

1226
01:11:38,760 --> 01:11:42,640
Speaker 9: on rap music and how did you make that transition?

1227
01:11:43,120 --> 01:11:45,840
Speaker 9: Whereas maybe some of your other peers was just like, ah,

1228
01:11:45,960 --> 01:11:49,000
Speaker 9: this is this is bullshit. You seem just from you know,

1229
01:11:49,080 --> 01:11:52,200
Speaker 9: our conversations, you seem to be really open to not

1230
01:11:52,400 --> 01:11:55,960
Speaker 9: just working with rappers, but also just really embracing the

1231
01:11:56,040 --> 01:11:59,000
Speaker 9: culture and you know, and accepting it.

1232
01:11:59,160 --> 01:12:00,479
Speaker 4: So what was like for you.

1233
01:12:00,800 --> 01:12:03,960
Speaker 10: I grew up in the Boogie Dann Bronx. I come

1234
01:12:04,080 --> 01:12:10,080
Speaker 10: from where rap music was born, and furthermore, growing up

1235
01:12:10,280 --> 01:12:13,799
Speaker 10: in the late sixties seventies in New York in Harlem.

1236
01:12:14,120 --> 01:12:17,120
Speaker 10: Who did I hear? I heard the last poets. I

1237
01:12:17,240 --> 01:12:18,360
Speaker 10: heard the last poets.

1238
01:12:18,479 --> 01:12:20,559
Speaker 2: And for folks who are not up on the last poets,

1239
01:12:21,320 --> 01:12:24,080
Speaker 2: listen to them and you will hear the seeds, the.

1240
01:12:24,200 --> 01:12:27,160
Speaker 10: Beginnings Nikki Giovanni.

1241
01:12:28,479 --> 01:12:30,960
Speaker 2: That's what I grew up on, in addition to hearing

1242
01:12:31,760 --> 01:12:34,599
Speaker 2: rap in the Bronx and then of course the Sugar

1243
01:12:34,680 --> 01:12:35,160
Speaker 2: Hill Gang.

1244
01:12:35,760 --> 01:12:40,200
Speaker 10: That was revolutionary. So I embraced it, and as it evolved,

1245
01:12:40,600 --> 01:12:44,000
Speaker 10: as a rap evolved, I kept up with it.

1246
01:12:44,600 --> 01:12:46,760
Speaker 2: And a lot of the people that I worked with

1247
01:12:47,040 --> 01:12:49,640
Speaker 2: in the industry came out of rap. They came out

1248
01:12:49,680 --> 01:12:52,280
Speaker 2: of that, so it was never difficult for me. And

1249
01:12:52,320 --> 01:12:54,680
Speaker 2: as far as Unsung is concerned, it started in two

1250
01:12:54,720 --> 01:12:55,400
Speaker 2: thousand and eight.

1251
01:12:56,120 --> 01:13:00,240
Speaker 10: The first season was the Donnie Hathaway Phyllis High, then

1252
01:13:00,360 --> 01:13:03,360
Speaker 10: the Clark Sisters. I didn't do the Clark sisters, but

1253
01:13:03,439 --> 01:13:05,320
Speaker 10: I did the other ones. Well. First of all, I

1254
01:13:05,360 --> 01:13:08,640
Speaker 10: knew Philip Symon, I'd met Donnie Hathaway. I played his

1255
01:13:08,840 --> 01:13:13,120
Speaker 10: music from the beginning of him releasing music. So oftentimes

1256
01:13:13,200 --> 01:13:16,519
Speaker 10: in these stories that are shared on UNSUNG, I have

1257
01:13:16,680 --> 01:13:19,040
Speaker 10: first hand knowledge of these people, and I'm able and

1258
01:13:19,120 --> 01:13:20,280
Speaker 10: many of them my friends.

1259
01:13:20,520 --> 01:13:22,800
Speaker 3: Philip Symon was there, Mr. She was there to year

1260
01:13:22,840 --> 01:13:24,840
Speaker 3: you intern and I am. Do you remember that? Do

1261
01:13:24,840 --> 01:13:26,599
Speaker 3: you remember seeing Philip Symon walking around?

1262
01:13:27,640 --> 01:13:30,880
Speaker 7: I remember, yes, that was ninety one.

1263
01:13:31,120 --> 01:13:33,000
Speaker 10: Yeah, ninety one is when we did the first I

1264
01:13:33,120 --> 01:13:36,920
Speaker 10: AM celebration. Yeah, what were your remembrances? What are your

1265
01:13:36,960 --> 01:13:39,960
Speaker 10: recollections of me in ninety one? Amir umm?

1266
01:13:40,400 --> 01:13:46,720
Speaker 4: Because I was frantic to see everything I learned early. Well,

1267
01:13:46,920 --> 01:13:50,200
Speaker 4: now I kind of make the I always used the

1268
01:13:50,640 --> 01:13:55,560
Speaker 4: Ray Kroc Ronald McDonald example of Ray Kroc is the

1269
01:13:55,960 --> 01:14:00,960
Speaker 4: power behind the movement, whereas people knew Ronald McDonald and

1270
01:14:01,040 --> 01:14:03,120
Speaker 4: think that he runs McDonald's, but it's really the person

1271
01:14:03,200 --> 01:14:06,960
Speaker 4: in power. So I knew you were the person in power.

1272
01:14:07,560 --> 01:14:13,080
Speaker 4: And I've just always been one to observe from afar.

1273
01:14:13,680 --> 01:14:15,200
Speaker 7: So I was about to say, this is.

1274
01:14:15,200 --> 01:14:18,599
Speaker 4: Probably the most we've ever been in a room together

1275
01:14:19,520 --> 01:14:24,439
Speaker 4: speaking in our decade's history.

1276
01:14:24,880 --> 01:14:27,040
Speaker 10: So usually.

1277
01:14:32,439 --> 01:14:33,680
Speaker 4: Hands down, you scare the ship out.

1278
01:14:39,479 --> 01:14:40,120
Speaker 10: No, I.

1279
01:14:41,720 --> 01:14:46,640
Speaker 4: Study people. I'm getting truth be told. I'm working on that.

1280
01:14:46,960 --> 01:14:53,320
Speaker 4: I'm so insular and in my shell that I don't

1281
01:14:53,960 --> 01:14:58,120
Speaker 4: even with Stevie one. I mean, they're they're luminaries who like, hey,

1282
01:14:58,200 --> 01:14:59,680
Speaker 4: let's go out to dinner, let's hang it. I'm like,

1283
01:15:00,040 --> 01:15:00,400
Speaker 4: I'm cool.

1284
01:15:00,479 --> 01:15:00,880
Speaker 3: I'm cool.

1285
01:15:01,840 --> 01:15:03,680
Speaker 4: I've been that way for a long time. I'm just

1286
01:15:03,840 --> 01:15:09,320
Speaker 4: slowly getting out of that that that that Rapunzel protective

1287
01:15:09,400 --> 01:15:10,280
Speaker 4: phase of my life.

1288
01:15:10,920 --> 01:15:14,080
Speaker 7: So but no, back then, I.

1289
01:15:15,880 --> 01:15:17,680
Speaker 4: Used it for everything it was worth. I mean I

1290
01:15:17,840 --> 01:15:20,479
Speaker 4: made I think that was the day that I became

1291
01:15:20,640 --> 01:15:26,040
Speaker 4: friends with Chuck and Hank Uh Chuck d and Hank

1292
01:15:26,120 --> 01:15:28,840
Speaker 4: Shockley of Public Enemy Public.

1293
01:15:29,400 --> 01:15:35,200
Speaker 10: I am yeah, oh really I was off. Yeah, okay, yeah.

1294
01:15:36,000 --> 01:15:38,040
Speaker 2: I tried to explain that because Meir, you like what

1295
01:15:38,160 --> 01:15:40,920
Speaker 2: every year I am, you like evolved and matriculated like

1296
01:15:41,000 --> 01:15:43,439
Speaker 2: you was intern one year, then I remember you did

1297
01:15:43,560 --> 01:15:45,760
Speaker 2: like the Showcase. Another year you went the Roots. Yeah,

1298
01:15:45,800 --> 01:15:47,400
Speaker 2: and then next year you did a tribute to like

1299
01:15:47,520 --> 01:15:48,400
Speaker 2: Jazzy Jeff or something.

1300
01:15:48,479 --> 01:15:48,639
Speaker 4: Yeah.

1301
01:15:48,760 --> 01:15:50,720
Speaker 10: You remember when when I had the Roots at the

1302
01:15:50,760 --> 01:15:51,479
Speaker 10: Kennedy Center.

1303
01:15:52,000 --> 01:15:54,760
Speaker 4: Do you remember, Yes, I remember that was speaking to

1304
01:15:54,840 --> 01:15:55,120
Speaker 4: a group.

1305
01:15:55,160 --> 01:15:56,880
Speaker 10: You performed and talked to a group of kids.

1306
01:15:56,920 --> 01:16:00,599
Speaker 4: I think that was the Public Enemy performing thing. Yes,

1307
01:16:00,800 --> 01:16:04,400
Speaker 4: I remember all four of my I ams. They were crucial.

1308
01:16:04,720 --> 01:16:08,599
Speaker 4: I will say, probably the greatest night of my life. Okay,

1309
01:16:08,640 --> 01:16:10,360
Speaker 4: I've seen you.

1310
01:16:12,320 --> 01:16:13,960
Speaker 10: And where did you meet? Where did you meet? In

1311
01:16:14,040 --> 01:16:18,280
Speaker 10: my in your penthouse suite? And was on the piano.

1312
01:16:18,880 --> 01:16:20,759
Speaker 10: It was post an event that I honored.

1313
01:16:21,200 --> 01:16:25,080
Speaker 4: I was going to say that was probably the first

1314
01:16:25,520 --> 01:16:28,840
Speaker 4: magical night for for a career at that point where

1315
01:16:28,880 --> 01:16:31,880
Speaker 4: it was sort of like, uh, I don't belong in

1316
01:16:31,920 --> 01:16:34,200
Speaker 4: the room, that sort of thing that was. That was

1317
01:16:34,320 --> 01:16:37,400
Speaker 4: a moment where the best part of that night was

1318
01:16:39,680 --> 01:16:44,599
Speaker 4: sitting with Andre Fisher UH drummer of Rufus and uh

1319
01:16:45,120 --> 01:16:47,759
Speaker 4: married and then later Nat he was there with Natalie,

1320
01:16:48,720 --> 01:16:51,320
Speaker 4: so I sat. I basically had my first quest love

1321
01:16:51,400 --> 01:16:57,160
Speaker 4: Supreme with Andre Fisher and Natalie Cole while Stevie Wonders

1322
01:16:57,240 --> 01:17:02,320
Speaker 4: is casually going through his calvic o hits in the

1323
01:17:02,600 --> 01:17:05,280
Speaker 4: in the in the piano in this week it was

1324
01:17:05,400 --> 01:17:07,240
Speaker 4: like three hours, like to the point where you go

1325
01:17:07,320 --> 01:17:09,640
Speaker 4: all the boy like, hey, he's doing creeping when you

1326
01:17:09,720 --> 01:17:13,880
Speaker 4: go sit down. When I come back, maybe he'll.

1327
01:17:13,760 --> 01:17:16,080
Speaker 10: Be on the sirt Duke, and I think we should explain.

1328
01:17:16,360 --> 01:17:17,200
Speaker 8: I am did.

1329
01:17:17,240 --> 01:17:23,520
Speaker 10: I produced an annual music celebration, a conference that had panels, luncheons,

1330
01:17:24,200 --> 01:17:28,639
Speaker 10: and gala, a gala where we honored everybody from Little

1331
01:17:28,720 --> 01:17:33,559
Speaker 10: Jimmy Scott to Shaka Khan, Stevie Wonder, Babyface La Read

1332
01:17:34,400 --> 01:17:37,280
Speaker 10: New Edition, tons of people and this went on for

1333
01:17:37,920 --> 01:17:39,160
Speaker 10: sixteen years.

1334
01:17:39,240 --> 01:17:46,120
Speaker 4: I gotta ask, Okay, how hard is it to organize?

1335
01:17:46,960 --> 01:17:49,200
Speaker 4: Because I don't feel like you're the peron. I don't

1336
01:17:49,200 --> 01:17:51,640
Speaker 4: feel like you're the Ray Crock in the position of

1337
01:17:52,240 --> 01:17:55,479
Speaker 4: they got this. I feel like your hands on you

1338
01:17:55,640 --> 01:17:57,240
Speaker 4: talk to people, I mean you talk to us, and

1339
01:17:57,560 --> 01:18:01,280
Speaker 4: we were not through, you know, like then, so I

1340
01:18:01,479 --> 01:18:06,000
Speaker 4: felt as though you had your imprint on literally every

1341
01:18:06,160 --> 01:18:13,720
Speaker 4: aspect of from the smallest talking session to the networking

1342
01:18:13,920 --> 01:18:17,240
Speaker 4: part of the night to the big gallad dinner. How

1343
01:18:17,400 --> 01:18:23,000
Speaker 4: hard was it to manage, micromanage whatever? How hard was

1344
01:18:23,040 --> 01:18:24,400
Speaker 4: it to organize that event?

1345
01:18:24,880 --> 01:18:27,040
Speaker 10: It was challenging, but I also had a lot of

1346
01:18:27,200 --> 01:18:30,680
Speaker 10: energy and again the passion and commitment to preserve and

1347
01:18:30,720 --> 01:18:34,000
Speaker 10: promote our music. And like you said, I wasn't even

1348
01:18:34,040 --> 01:18:35,360
Speaker 10: aware that Hank Shockley was there.

1349
01:18:35,880 --> 01:18:38,880
Speaker 2: I mean there was so everybody came, Teddy Wiley, every

1350
01:18:39,000 --> 01:18:41,200
Speaker 2: Jimmy Caster, everybody came.

1351
01:18:41,840 --> 01:18:45,439
Speaker 10: It was just the magnet for artist. And again because

1352
01:18:45,680 --> 01:18:49,000
Speaker 10: of me being on the radio one two, because of

1353
01:18:49,080 --> 01:18:53,080
Speaker 10: my relationship with Gamble three. My partner at the time

1354
01:18:53,120 --> 01:18:56,960
Speaker 10: also had a lot of relationships, so it facilitated. And

1355
01:18:57,080 --> 01:19:02,519
Speaker 10: I'm a passionate letter writer. I'm a letter writing motherfucker. Okay,

1356
01:19:05,400 --> 01:19:09,519
Speaker 10: So my letters just again the passion that I have

1357
01:19:09,760 --> 01:19:12,639
Speaker 10: for our culture music. So I got all those people.

1358
01:19:12,960 --> 01:19:15,479
Speaker 10: I paid no one. All the years that people came

1359
01:19:15,560 --> 01:19:17,840
Speaker 10: in and distributes, I did not pay anybody.

1360
01:19:18,360 --> 01:19:21,920
Speaker 4: Is it important to remember names and make connections?

1361
01:19:22,840 --> 01:19:26,360
Speaker 10: Absolutely, it's you know this, it's a relationship business. Think

1362
01:19:26,400 --> 01:19:28,280
Speaker 10: of all of us. It's all about your.

1363
01:19:28,200 --> 01:19:31,840
Speaker 2: Relationships and how you connect with people. It's a give

1364
01:19:31,880 --> 01:19:32,240
Speaker 2: and take.

1365
01:19:32,800 --> 01:19:35,960
Speaker 9: So relationships can get you places sometimes where even money can't.

1366
01:19:36,080 --> 01:19:38,240
Speaker 10: Absolutely, at the end of the day, it is how

1367
01:19:38,320 --> 01:19:39,200
Speaker 10: you feel about another.

1368
01:19:39,320 --> 01:19:40,880
Speaker 4: You don't want to fuck with somebody, it don't even

1369
01:19:40,920 --> 01:19:42,320
Speaker 4: matter the check is so good.

1370
01:19:42,880 --> 01:19:45,160
Speaker 10: So with for instance, with the Roots, I mean, you know,

1371
01:19:45,800 --> 01:19:48,519
Speaker 10: and you know, Rich was a tough one, but I

1372
01:19:48,840 --> 01:19:53,679
Speaker 10: went passionately, and I thought you guys were very talented.

1373
01:19:53,760 --> 01:19:56,400
Speaker 10: I recognize that's the other thing. I have a good year,

1374
01:19:56,439 --> 01:19:59,240
Speaker 10: and I for talent. Back to m two May, who

1375
01:19:59,280 --> 01:20:00,840
Speaker 10: I know that you guys have had on the show,

1376
01:20:01,439 --> 01:20:03,400
Speaker 10: and too. May introduced me to Spike Lee. We were

1377
01:20:03,400 --> 01:20:06,599
Speaker 10: at a party in Brooklyn. He had just finished shooting

1378
01:20:07,040 --> 01:20:09,960
Speaker 10: She's Got to Have It Wow, just finished and I

1379
01:20:10,120 --> 01:20:13,840
Speaker 10: met Spike and I love cinema, so immediately I was

1380
01:20:13,920 --> 01:20:17,080
Speaker 10: interested in his film and him, and that's when we

1381
01:20:17,200 --> 01:20:20,800
Speaker 10: started developing our friendship. And then at one point he's like,

1382
01:20:21,680 --> 01:20:23,720
Speaker 10: you and Stevie Wonder are friends. I was like, yeah,

1383
01:20:24,080 --> 01:20:26,280
Speaker 10: he said, I would love to meet Stevie.

1384
01:20:26,600 --> 01:20:27,400
Speaker 4: You hook him up.

1385
01:20:27,680 --> 01:20:30,160
Speaker 10: He wrote about it in his books. I introduced Spike

1386
01:20:30,240 --> 01:20:33,160
Speaker 10: Lee to Stevie Wander, I wrote, Stevie and I said,

1387
01:20:33,360 --> 01:20:36,240
Speaker 10: I called him. I said, Steve Lan talented filmmaker. I

1388
01:20:36,320 --> 01:20:37,720
Speaker 10: think he is going to be one of the most

1389
01:20:37,800 --> 01:20:42,519
Speaker 10: brilliant directors of our time. And of course that has

1390
01:20:42,560 --> 01:20:45,599
Speaker 10: come to pass. So yes, I'm very proud of that introduction.

1391
01:20:45,800 --> 01:20:48,400
Speaker 4: So you are a bridge. What other bridge connections have you?

1392
01:20:49,439 --> 01:20:52,560
Speaker 10: Many? Many, many many many? Really, I mean, I'm I

1393
01:20:52,760 --> 01:20:56,360
Speaker 10: want I just I like us connecting. I like us

1394
01:20:56,439 --> 01:20:59,320
Speaker 10: being productive from the energy that we create. I love that.

1395
01:21:00,040 --> 01:21:01,639
Speaker 10: Like I said, I think what makes me a great

1396
01:21:01,720 --> 01:21:05,000
Speaker 10: artist development coach is that I'm interested in seeing people

1397
01:21:06,200 --> 01:21:11,120
Speaker 10: reach their maximum potential. So a lot of connections. I mean,

1398
01:21:11,280 --> 01:21:14,800
Speaker 10: I feel, as I mentioned earlier in our conversation, I

1399
01:21:14,960 --> 01:21:19,439
Speaker 10: am attracted to the gifted. I am attracted to the talented.

1400
01:21:19,520 --> 01:21:23,760
Speaker 10: Tenth I'm attracted to people who are exceptional, and I

1401
01:21:23,880 --> 01:21:27,439
Speaker 10: have been blessed to have had relationships with these people

1402
01:21:28,160 --> 01:21:31,120
Speaker 10: through the course of my experience, and it feeds me.

1403
01:21:31,600 --> 01:21:34,120
Speaker 10: It gives me the energy to propel me further to

1404
01:21:34,240 --> 01:21:36,519
Speaker 10: help others. I believe I was put on this planet

1405
01:21:36,840 --> 01:21:42,360
Speaker 10: to inspire. I'm amused. I'm real clear on what I am.

1406
01:21:42,560 --> 01:21:43,200
Speaker 10: I am immused.

1407
01:21:49,120 --> 01:21:51,400
Speaker 3: Somebody Donald Doland, baby, what does that well?

1408
01:21:51,640 --> 01:21:53,360
Speaker 10: I've been told that that was written for me.

1409
01:21:59,000 --> 01:21:59,720
Speaker 4: That's the version of.

1410
01:22:05,760 --> 01:22:09,519
Speaker 10: Just crushed a lot, Yeah, yeah, lots of songs. I mean,

1411
01:22:09,720 --> 01:22:13,040
Speaker 10: George Cables wrote Ebony Moonbeams. He's a piano player, and

1412
01:22:13,920 --> 01:22:16,920
Speaker 10: I was told that he heard my saw my my

1413
01:22:17,120 --> 01:22:22,439
Speaker 10: show and wrote it. And then Bobby Hutchison recorded Ebony Moonbeams,

1414
01:22:22,479 --> 01:22:26,439
Speaker 10: and then Freddie Hubbard, who was a friend recorded Ebony Moonbeams. So,

1415
01:22:27,320 --> 01:22:31,040
Speaker 10: uh yeah, so where's that name Moonbeams come from? I

1416
01:22:31,160 --> 01:22:33,000
Speaker 10: was walking down the street in New York. I was

1417
01:22:33,000 --> 01:22:35,679
Speaker 10: starting a TV show while I was at City College

1418
01:22:35,800 --> 01:22:37,880
Speaker 10: in New York. I went in as a major. Had

1419
01:22:37,920 --> 01:22:39,840
Speaker 10: to change that real quick, I told you, because that

1420
01:22:40,280 --> 01:22:42,880
Speaker 10: wasn't working. And I saw a spotlight going through the

1421
01:22:42,960 --> 01:22:45,040
Speaker 10: moon and I needed a name for my show, and

1422
01:22:45,120 --> 01:22:47,960
Speaker 10: I was like, ooh, there's a moonbeam, and everything at

1423
01:22:47,960 --> 01:22:51,559
Speaker 10: that time was black, right ebony, So I just put

1424
01:22:51,640 --> 01:22:53,920
Speaker 10: Ebony Moonbeams together and that was the birth of my

1425
01:22:54,400 --> 01:22:56,840
Speaker 10: radio handle while I was in DC, and it's just

1426
01:22:56,960 --> 01:22:59,479
Speaker 10: kind of followed me all my life. In fact, Gamble

1427
01:22:59,560 --> 01:23:03,120
Speaker 10: calls me Moonbeams to this day, so that's kind of

1428
01:23:03,200 --> 01:23:06,320
Speaker 10: like his name for me. But yeah, and you know,

1429
01:23:06,760 --> 01:23:10,439
Speaker 10: I always wanted and I've met presidents and leaders and

1430
01:23:10,560 --> 01:23:13,840
Speaker 10: all manner of celebrity and people, but the person that

1431
01:23:13,920 --> 01:23:18,360
Speaker 10: I wanted to meet the most was Gordon Parks. As

1432
01:23:18,400 --> 01:23:21,240
Speaker 10: a young girl, I saw an exhibition called Harlem on

1433
01:23:21,320 --> 01:23:25,600
Speaker 10: My Mind at the Metropolitan Museum and that just I

1434
01:23:25,680 --> 01:23:28,720
Speaker 10: saw the photographs of Gordon Parks for the first time,

1435
01:23:28,840 --> 01:23:32,760
Speaker 10: and James Vandersey and I just became totally enamored with

1436
01:23:32,960 --> 01:23:36,479
Speaker 10: their narrative and how they document it, not just black people,

1437
01:23:36,560 --> 01:23:40,080
Speaker 10: but people period. And so for me, my mission became

1438
01:23:41,040 --> 01:23:44,400
Speaker 10: meeting Gordon Parks. And I spent an inordinate amount of

1439
01:23:44,479 --> 01:23:47,000
Speaker 10: time trying to figure out who I knew, who could

1440
01:23:47,040 --> 01:23:49,600
Speaker 10: introduce me to him and what have you. And I

1441
01:23:49,720 --> 01:23:58,200
Speaker 10: was not very successful. Yes, yes, absolutely absolutely did you

1442
01:23:58,240 --> 01:24:00,120
Speaker 10: ever get to meet him? Well, again I told told

1443
01:24:00,120 --> 01:24:03,800
Speaker 10: you I'm a passionate letter writer. Yes, I kept writing him.

1444
01:24:03,920 --> 01:24:07,880
Speaker 10: I kept writing until one day he had a vicious gatekeeper.

1445
01:24:07,920 --> 01:24:11,760
Speaker 10: Her name is Joanna Fiora Fiori. She is a photographer,

1446
01:24:12,120 --> 01:24:15,080
Speaker 10: but she was his assistant as well, and she was like, well,

1447
01:24:15,120 --> 01:24:18,320
Speaker 10: mister Parks is busy, mister Parks is sick. Mister It

1448
01:24:18,400 --> 01:24:21,040
Speaker 10: was always an excuse. And then finally one day, because

1449
01:24:21,040 --> 01:24:23,960
Speaker 10: I never stopped writing him, kept writing him, telling him

1450
01:24:24,000 --> 01:24:27,920
Speaker 10: how his photography, his art. For many who do not know,

1451
01:24:28,080 --> 01:24:33,680
Speaker 10: Gordon Parks directed Chaff The Learning Tree. He's he was

1452
01:24:33,760 --> 01:24:37,320
Speaker 10: a great director in addition to being a fabulous photographer

1453
01:24:37,439 --> 01:24:40,040
Speaker 10: and a writer. And then one day I got the call,

1454
01:24:40,720 --> 01:24:42,880
Speaker 10: mister Parks would like to invite you to his home

1455
01:24:42,960 --> 01:24:46,880
Speaker 10: for lunch and so, needless to say, the day he

1456
01:24:47,000 --> 01:24:51,800
Speaker 10: opened the door and I saw him just is pinching myself.

1457
01:24:51,479 --> 01:24:54,200
Speaker 3: And wearing a white button down as she sure was.

1458
01:24:54,880 --> 01:24:57,280
Speaker 10: Yeah, he sure was. His shirt was kind of open.

1459
01:24:57,680 --> 01:24:58,960
Speaker 10: He was just looking real sexy.

1460
01:24:59,040 --> 01:25:02,280
Speaker 2: And we became really good friends, to the point where

1461
01:25:02,640 --> 01:25:06,600
Speaker 2: the day of his memorial service, I went and his

1462
01:25:06,760 --> 01:25:09,320
Speaker 2: daughter came over to me and said, you know, my

1463
01:25:09,439 --> 01:25:12,000
Speaker 2: father spoke very fondly of you, and that meant everything

1464
01:25:12,120 --> 01:25:14,439
Speaker 2: to me because he was very dear to me.

1465
01:25:14,960 --> 01:25:16,400
Speaker 10: We were very very close friends.

1466
01:25:16,479 --> 01:25:20,920
Speaker 4: Gordon Park's hip hop historians. You shouldn't know that Gordon

1467
01:25:21,000 --> 01:25:23,839
Speaker 4: Parks shot the Great Day in Harlem.

1468
01:25:24,000 --> 01:25:27,840
Speaker 3: Yes, did he shoot you All Remix? No, was the

1469
01:25:27,880 --> 01:25:29,000
Speaker 3: Double Remix?

1470
01:25:29,720 --> 01:25:30,600
Speaker 4: Yeah he shot that.

1471
01:25:30,960 --> 01:25:32,880
Speaker 10: Wow, that one he did.

1472
01:25:33,479 --> 01:25:34,360
Speaker 7: Yeah, that was wow.

1473
01:25:34,760 --> 01:25:38,840
Speaker 4: That was his shot. It was really weird, like it

1474
01:25:39,720 --> 01:25:44,080
Speaker 4: was that day September twenty eighth, nineteen ninety eight, the

1475
01:25:45,000 --> 01:25:49,640
Speaker 4: whatever a Kum and I Day, Black Star, Black and

1476
01:25:49,760 --> 01:25:54,040
Speaker 4: Love movement, Like that day was such a surreal day

1477
01:25:54,520 --> 01:25:58,639
Speaker 4: in hip hop history, and he just stayed he first

1478
01:25:58,640 --> 01:26:03,559
Speaker 4: of all, I think the camera at the time. Sheena

1479
01:26:03,640 --> 01:26:10,800
Speaker 4: Lester was still editor at Double Excel, so you know,

1480
01:26:12,240 --> 01:26:14,920
Speaker 4: again you want to mean miss wart No, I just

1481
01:26:15,000 --> 01:26:16,760
Speaker 4: want to watch him. So I just like watched him

1482
01:26:16,800 --> 01:26:22,120
Speaker 4: from Afar and it was so chaotic that day because

1483
01:26:22,280 --> 01:26:26,840
Speaker 4: that was really the day that classic hip hop and

1484
01:26:27,160 --> 01:26:29,280
Speaker 4: kind of current hip hop was meeting for the first time.

1485
01:26:29,800 --> 01:26:33,160
Speaker 4: So you're watching like rock him, rock Him losing over

1486
01:26:33,280 --> 01:26:35,800
Speaker 4: Tarik was one of the weirdest things in my life

1487
01:26:35,920 --> 01:26:40,960
Speaker 4: ever seeing and like the Locks meeting, like all these

1488
01:26:41,560 --> 01:26:43,599
Speaker 4: grand Master Flash and all them. But he just stood

1489
01:26:43,640 --> 01:26:49,360
Speaker 4: there so cool and behind a camera that was easily

1490
01:26:51,000 --> 01:26:53,840
Speaker 4: I forget, I forget what Brandon was like.

1491
01:26:54,640 --> 01:26:55,720
Speaker 10: That's what I was just about to say.

1492
01:26:55,760 --> 01:26:56,160
Speaker 6: I like her.

1493
01:26:56,320 --> 01:26:58,120
Speaker 7: Yeah, it was a seventy one.

1494
01:26:58,680 --> 01:27:01,479
Speaker 10: I believe it was large format, yeah camera, and.

1495
01:27:02,960 --> 01:27:06,200
Speaker 4: He just he took eight shots and then walked. He

1496
01:27:06,720 --> 01:27:08,759
Speaker 4: packed his things and walked off in the sunset.

1497
01:27:10,760 --> 01:27:12,640
Speaker 10: He was one of the most humble people that I

1498
01:27:12,760 --> 01:27:15,879
Speaker 10: ever met for being put him in the genus category

1499
01:27:16,120 --> 01:27:18,479
Speaker 10: for real. I mean he could play the piano, he did,

1500
01:27:18,560 --> 01:27:21,400
Speaker 10: he did orchestrations, wrote symphonies.

1501
01:27:21,600 --> 01:27:23,360
Speaker 4: What was it about his work that attracted you?

1502
01:27:23,800 --> 01:27:25,320
Speaker 7: Because in what particular area?

1503
01:27:25,360 --> 01:27:26,519
Speaker 4: Because he did so many things.

1504
01:27:26,640 --> 01:27:29,280
Speaker 10: Photography again, I saw Harlem on my mind as a

1505
01:27:29,320 --> 01:27:34,000
Speaker 10: young girl the photographs captured what I what I knew,

1506
01:27:34,120 --> 01:27:38,200
Speaker 10: what I could relate to seeing our people. I just

1507
01:27:38,320 --> 01:27:41,599
Speaker 10: think he had a tremendous eye for capturing the pain,

1508
01:27:41,840 --> 01:27:46,040
Speaker 10: the sorrow, the love, the tenderness, all of that I

1509
01:27:46,240 --> 01:27:49,120
Speaker 10: just got from him. It was just so black, you know,

1510
01:27:49,360 --> 01:27:51,360
Speaker 10: just so black and so Yeah.

1511
01:27:51,560 --> 01:27:54,320
Speaker 9: One question I had, going back to just your artist

1512
01:27:54,400 --> 01:27:59,519
Speaker 9: development work, how in twenty nineteen with Twitter?

1513
01:28:00,120 --> 01:28:03,080
Speaker 4: Who how do you manage that?

1514
01:28:03,760 --> 01:28:06,280
Speaker 9: It being a time where artists can literally I can

1515
01:28:06,360 --> 01:28:08,559
Speaker 9: be three o'clock in the morning, drunk off my ass

1516
01:28:09,400 --> 01:28:10,240
Speaker 9: at home in my.

1517
01:28:10,439 --> 01:28:14,439
Speaker 4: Not me personal get drunk. Well, let me be let

1518
01:28:14,479 --> 01:28:14,760
Speaker 4: me good.

1519
01:28:14,880 --> 01:28:15,959
Speaker 7: I ain't gonna get drunk.

1520
01:28:15,720 --> 01:28:16,200
Speaker 4: And go on Twitter.

1521
01:28:16,320 --> 01:28:16,680
Speaker 7: Let's say that.

1522
01:28:16,960 --> 01:28:17,360
Speaker 10: There you go.

1523
01:28:17,920 --> 01:28:21,120
Speaker 9: But you know where people can artists can literally get canceled,

1524
01:28:21,280 --> 01:28:23,960
Speaker 9: say what they want and get canceled with no filter,

1525
01:28:24,200 --> 01:28:26,280
Speaker 9: and there's a direct line from them to the rest

1526
01:28:26,320 --> 01:28:26,759
Speaker 9: of the world.

1527
01:28:27,520 --> 01:28:30,200
Speaker 4: How do you manage that in twenty nineteen?

1528
01:28:30,360 --> 01:28:33,280
Speaker 9: And what is your advice to artists in this era

1529
01:28:33,439 --> 01:28:36,240
Speaker 9: where one tweet can get your shaky down?

1530
01:28:36,320 --> 01:28:36,880
Speaker 4: You ot it?

1531
01:28:37,000 --> 01:28:41,240
Speaker 10: Yeah, I review my client's Twitter, their's social media before

1532
01:28:41,240 --> 01:28:43,760
Speaker 10: I work with them, and I'll go in very early

1533
01:28:43,880 --> 01:28:46,800
Speaker 10: and say to them, you need to stay off of

1534
01:28:46,920 --> 01:28:50,320
Speaker 10: social media. I had to do that with Nikki Gilbert.

1535
01:28:50,560 --> 01:28:54,799
Speaker 10: She was doing the show and she was fighting with everybody.

1536
01:28:54,840 --> 01:28:57,479
Speaker 10: It was a constant fight in her social media, and

1537
01:28:57,600 --> 01:29:01,559
Speaker 10: I said, you need to stay off social media thirty days.

1538
01:29:01,640 --> 01:29:04,040
Speaker 10: That's all I'm asking is stay off. And she she

1539
01:29:04,160 --> 01:29:06,000
Speaker 10: later told me, she said, thank you for that. You

1540
01:29:06,120 --> 01:29:08,840
Speaker 10: saved my life because she was so stressed out fighting

1541
01:29:08,880 --> 01:29:12,160
Speaker 10: with people and bickering and arguing. So I'll review. Some

1542
01:29:12,280 --> 01:29:14,200
Speaker 10: people are really good with their social media, but I

1543
01:29:14,320 --> 01:29:17,400
Speaker 10: warned them, and I tell them, as you just said, Fante,

1544
01:29:17,560 --> 01:29:20,880
Speaker 10: you can ruin your career in one tweet. So when

1545
01:29:20,920 --> 01:29:22,920
Speaker 10: you write it, look at it. I've had to do

1546
01:29:23,040 --> 01:29:26,040
Speaker 10: that many many times, haven't you. Where you write something

1547
01:29:26,040 --> 01:29:29,200
Speaker 10: and you're like, what are the implications or consequences? You

1548
01:29:29,320 --> 01:29:32,639
Speaker 10: end up not hitting sins. I don't just delete that shit.

1549
01:29:32,840 --> 01:29:34,880
Speaker 10: Soy ya.

1550
01:29:39,360 --> 01:29:39,559
Speaker 6: Wow.

1551
01:29:39,760 --> 01:29:42,560
Speaker 2: Speaking of twenty nineteen, that's where we are. I was

1552
01:29:42,600 --> 01:29:45,080
Speaker 2: going to ask you about being in a me Too era,

1553
01:29:46,360 --> 01:29:50,400
Speaker 2: current Joe Biden era, where you have relationships with men

1554
01:29:50,520 --> 01:29:54,479
Speaker 2: of all different kind of eras and for women, I

1555
01:29:54,560 --> 01:29:57,679
Speaker 2: was going to ask you advice on that, because especially

1556
01:29:57,800 --> 01:30:02,240
Speaker 2: post Joe Biden where we're trying to figure out what's appropriate. Yes, yeah, yes,

1557
01:30:02,439 --> 01:30:04,760
Speaker 2: and you've been through it all because you know you

1558
01:30:05,040 --> 01:30:07,880
Speaker 2: are made. Yeah, you have to gauge and check people.

1559
01:30:07,960 --> 01:30:10,120
Speaker 2: If you are not that person that likes a hug,

1560
01:30:10,680 --> 01:30:13,120
Speaker 2: just extend your hand. Be real clear, this is not

1561
01:30:13,200 --> 01:30:15,200
Speaker 2: a hug. This is a handshake.

1562
01:30:16,320 --> 01:30:20,080
Speaker 10: You know, your body language tells volumes, speaks volumes about

1563
01:30:20,520 --> 01:30:23,560
Speaker 10: you know, you can set boundaries with people, and you

1564
01:30:23,680 --> 01:30:26,280
Speaker 10: have to do that sometimes. But sometimes people do not

1565
01:30:26,400 --> 01:30:27,880
Speaker 10: respect the boundaries.

1566
01:30:27,439 --> 01:30:28,840
Speaker 2: And they'll come in for a hug, and if you

1567
01:30:28,880 --> 01:30:30,800
Speaker 2: don't want it at that point, you just have to

1568
01:30:31,040 --> 01:30:32,880
Speaker 2: you know, you have to speak up and be very honest.

1569
01:30:32,960 --> 01:30:35,280
Speaker 2: You just cannot if you feel that you're being offended

1570
01:30:35,360 --> 01:30:38,519
Speaker 2: or people are doing something that is disturbing to you. Hey,

1571
01:30:38,640 --> 01:30:40,120
Speaker 2: the closed mouth does not get fed.

1572
01:30:40,240 --> 01:30:41,160
Speaker 10: You got to speak up.

1573
01:30:42,280 --> 01:30:43,040
Speaker 7: They're gonna get the point.

1574
01:30:43,240 --> 01:30:45,160
Speaker 9: Yeah, you have to let them know too, because you

1575
01:30:45,240 --> 01:30:47,880
Speaker 9: can't assume that a you can't assume they know and

1576
01:30:47,960 --> 01:30:50,599
Speaker 9: then be I think it's unfair to assume that they're

1577
01:30:50,600 --> 01:30:52,559
Speaker 9: doing it with bad intentions. You know what I'm saying.

1578
01:30:52,840 --> 01:30:54,880
Speaker 9: If someone comes in for a hug and you're not

1579
01:30:55,000 --> 01:30:56,800
Speaker 9: with it, you. I feel like you just have to

1580
01:30:56,840 --> 01:30:57,160
Speaker 9: say that.

1581
01:30:57,320 --> 01:31:00,800
Speaker 10: Because exactly speak up. Like today, you know, when I

1582
01:31:00,920 --> 01:31:03,160
Speaker 10: arrived at the studio, Fante gave me a hug that

1583
01:31:03,240 --> 01:31:07,920
Speaker 10: I did not want to release. I mean, who does

1584
01:31:08,040 --> 01:31:10,120
Speaker 10: not want that kind of hug? I mean you feel

1585
01:31:10,160 --> 01:31:13,559
Speaker 10: like you're being hugged? Okay, I accepted it.

1586
01:31:17,880 --> 01:31:25,360
Speaker 4: Definitely. People know, I can't place it boomerang.

1587
01:31:31,160 --> 01:31:34,160
Speaker 10: See how they have cut together the Biden videos. It

1588
01:31:34,240 --> 01:31:38,080
Speaker 10: looks creepy. You know, he's like this touching the child's forehead,

1589
01:31:38,200 --> 01:31:39,160
Speaker 10: the chin, under the.

1590
01:31:39,280 --> 01:31:41,439
Speaker 3: Neck and he's still the and it's still he was

1591
01:31:41,479 --> 01:31:42,200
Speaker 3: the vice president.

1592
01:31:42,320 --> 01:31:44,280
Speaker 2: So it's also for some women who don't say stuff,

1593
01:31:44,280 --> 01:31:45,519
Speaker 2: it's like, well, can he affect my life?

1594
01:31:45,520 --> 01:31:47,000
Speaker 3: If I tell this motherfucker to get off me? Is

1595
01:31:47,040 --> 01:31:47,840
Speaker 3: he gonna be like hey?

1596
01:31:49,560 --> 01:31:54,639
Speaker 10: Right again? You have to decide your what, your space

1597
01:31:54,800 --> 01:31:56,760
Speaker 10: and you and if you don't speak up, then that's

1598
01:31:56,840 --> 01:31:59,720
Speaker 10: kind of on you. If you are feeling uncomfortable with

1599
01:31:59,800 --> 01:32:00,960
Speaker 10: some wanted any.

1600
01:32:00,760 --> 01:32:03,479
Speaker 2: Time man woman anything like I went over to a

1601
01:32:03,520 --> 01:32:07,040
Speaker 2: girlfriend's house recently and her dog kept humping me, you know,

1602
01:32:07,200 --> 01:32:09,439
Speaker 2: and I had to be like, yo, get your dog,

1603
01:32:10,040 --> 01:32:12,320
Speaker 2: get your dog, and she put the dog in the cage.

1604
01:32:12,880 --> 01:32:18,519
Speaker 10: You know, Michael big Point, I would.

1605
01:32:18,400 --> 01:32:18,760
Speaker 4: Just like to.

1606
01:32:20,360 --> 01:32:25,960
Speaker 7: Dog was your din on the the Beyonce kiss.

1607
01:32:25,960 --> 01:32:29,200
Speaker 10: The Mari's a friend?

1608
01:32:30,120 --> 01:32:35,760
Speaker 4: I was like, opened, was that some awards show and

1609
01:32:35,840 --> 01:32:36,200
Speaker 4: double a.

1610
01:32:37,920 --> 01:32:38,040
Speaker 9: Uh?

1611
01:32:38,560 --> 01:32:39,240
Speaker 7: MARII Hardwick.

1612
01:32:39,400 --> 01:32:42,120
Speaker 9: He greeted Beyonce and first he came in and he

1613
01:32:42,120 --> 01:32:44,360
Speaker 9: gave her kiss on the cheek, hugged and it was

1614
01:32:44,400 --> 01:32:46,000
Speaker 9: like no problem, and then he went back for the

1615
01:32:46,040 --> 01:32:46,519
Speaker 9: double tap.

1616
01:32:46,600 --> 01:32:48,800
Speaker 4: He kissed her again and it looked kind of.

1617
01:32:50,360 --> 01:32:51,920
Speaker 3: Addressed Jay Z right who was sitting.

1618
01:32:52,160 --> 01:32:54,479
Speaker 10: That is not accurate. It started with jay Z he

1619
01:32:56,320 --> 01:33:00,439
Speaker 10: first and then walked around him to Beyonce, hugged her,

1620
01:33:00,600 --> 01:33:01,000
Speaker 10: kissed her.

1621
01:33:01,120 --> 01:33:02,120
Speaker 7: Were they in the movie together?

1622
01:33:03,560 --> 01:33:04,439
Speaker 4: No? I don't think so.

1623
01:33:05,360 --> 01:33:06,800
Speaker 10: No, I don't think so, but.

1624
01:33:08,280 --> 01:33:08,920
Speaker 4: I don't know.

1625
01:33:10,560 --> 01:33:13,439
Speaker 10: Maybe they know each other some kind obviously. But it

1626
01:33:13,600 --> 01:33:16,599
Speaker 10: was a double kiss and the double to the double tap.

1627
01:33:16,680 --> 01:33:18,519
Speaker 10: But you know what happened she I think she kind

1628
01:33:18,560 --> 01:33:20,160
Speaker 10: of moved so it almost when he kissed her, it

1629
01:33:20,200 --> 01:33:22,800
Speaker 10: looked like he was kissing her close to her mouth.

1630
01:33:23,640 --> 01:33:33,840
Speaker 2: So I think a black woman says power. Yeah, yeah, no,

1631
01:33:34,200 --> 01:33:36,800
Speaker 2: I think it just but he people the Beehive came

1632
01:33:36,840 --> 01:33:39,360
Speaker 2: for him. They were like, yo, you're wrong, that's about.

1633
01:33:39,720 --> 01:33:41,680
Speaker 2: But our man was standing right there. He is not

1634
01:33:41,760 --> 01:33:42,920
Speaker 2: a disrespectful person.

1635
01:33:43,360 --> 01:33:46,200
Speaker 10: I know, Amari. He's a good guy. And Layah, that

1636
01:33:46,320 --> 01:33:48,200
Speaker 10: wasn't nice. It wasn't but it wasn't.

1637
01:33:53,280 --> 01:33:58,920
Speaker 11: And I got it from her, Okay, get it from Okay.

1638
01:33:59,040 --> 01:34:03,519
Speaker 11: So before we wrap, Yes, what is next for you?

1639
01:34:04,479 --> 01:34:08,360
Speaker 4: You've she's going to media coach Bill Sherman.

1640
01:34:10,439 --> 01:34:13,120
Speaker 3: At Harvard. You've traveled to South Africa for.

1641
01:34:14,720 --> 01:34:15,000
Speaker 2: What do you?

1642
01:34:15,600 --> 01:34:16,760
Speaker 4: Isn't pict next?

1643
01:34:17,040 --> 01:34:20,000
Speaker 10: No, not at all, not at all. That's just too confining.

1644
01:34:20,280 --> 01:34:21,320
Speaker 10: That's not a book.

1645
01:34:22,240 --> 01:34:24,800
Speaker 8: You haven't written books, but I've approached.

1646
01:34:25,080 --> 01:34:27,719
Speaker 10: Yeah, write letters, I should collective letters.

1647
01:34:29,320 --> 01:34:32,360
Speaker 4: But if you write a book, well people feel certain.

1648
01:34:32,439 --> 01:34:35,120
Speaker 10: Nois well, you know, I respect that. Like even the

1649
01:34:35,200 --> 01:34:38,360
Speaker 10: stories I shared with you there, there's I didn't tell

1650
01:34:38,400 --> 01:34:42,080
Speaker 10: you anything super private and nothing that I don't think

1651
01:34:42,200 --> 01:34:45,400
Speaker 10: my clients would be adverse to me sharing. But I

1652
01:34:45,479 --> 01:34:49,520
Speaker 10: have been approached to write a book. I'm interested in documentaries.

1653
01:34:49,600 --> 01:34:54,120
Speaker 10: My long game always was producing documentaries. So that's why

1654
01:34:54,240 --> 01:34:58,559
Speaker 10: Fante being on Unsung suits me. I did executive produce,

1655
01:34:58,760 --> 01:35:02,200
Speaker 10: the co executive produce the episode on Teddy Pendergrass.

1656
01:35:03,160 --> 01:35:05,360
Speaker 4: And that was your thoughts on the Teddy documentary.

1657
01:35:06,360 --> 01:35:11,320
Speaker 7: Mm hmm, oh, hit me. I just watched because I

1658
01:35:11,439 --> 01:35:12,800
Speaker 7: watched it, and I mean.

1659
01:35:15,000 --> 01:35:19,559
Speaker 10: Nothing lest I watched it. I think I should give

1660
01:35:19,560 --> 01:35:23,000
Speaker 10: you contexts. I watched it with his widow, Joan Pendergrass,

1661
01:35:23,040 --> 01:35:27,760
Speaker 10: who is a dear friend. I watched it with Olivia Linchenstein,

1662
01:35:27,840 --> 01:35:33,160
Speaker 10: who is the director, her associate Tyreese and the sister

1663
01:35:33,200 --> 01:35:35,920
Speaker 10: who runs his company, and Charlie Mack. We had a

1664
01:35:35,960 --> 01:35:43,599
Speaker 10: private screening. Yes, absolutely well. He was like a son

1665
01:35:43,680 --> 01:35:47,280
Speaker 10: to Teddy and Teddy had picked him. Charlie Mack is

1666
01:35:47,320 --> 01:35:49,680
Speaker 10: the one who approached Teddy and said, need to do

1667
01:35:49,840 --> 01:35:55,280
Speaker 10: your biopic, and he introduced Tyreese to Teddy. Tyrees slept

1668
01:35:55,800 --> 01:35:57,840
Speaker 10: in the room in the hospital. Teddy was in the

1669
01:35:57,880 --> 01:36:02,519
Speaker 10: hospital nine months in intensive care before his passing. Tyrese

1670
01:36:02,600 --> 01:36:05,479
Speaker 10: came from California slept in the room with him. I

1671
01:36:05,520 --> 01:36:09,599
Speaker 10: will forever love him for his devotion, his dedication to Teddy.

1672
01:36:10,200 --> 01:36:12,120
Speaker 10: It was more than a movie. They developed a very

1673
01:36:12,160 --> 01:36:16,080
Speaker 10: strong bond and Teddy gave his blessings to have Tyrese

1674
01:36:16,520 --> 01:36:20,760
Speaker 10: portray him in the biopic, which is now official Lee

1675
01:36:20,880 --> 01:36:24,439
Speaker 10: Daniels as directing. But back to the documentary, I watched it,

1676
01:36:25,160 --> 01:36:29,439
Speaker 10: and I was extremely happy to hear my friend's voice,

1677
01:36:30,000 --> 01:36:33,439
Speaker 10: to see him when he was able body walking. All

1678
01:36:33,520 --> 01:36:36,400
Speaker 10: of that, there was footage that I had never previously seen.

1679
01:36:36,880 --> 01:36:39,519
Speaker 10: But at the end of the day I read Olivia.

1680
01:36:39,760 --> 01:36:43,960
Speaker 10: At the end of the documentary, I felt very disrespected

1681
01:36:44,720 --> 01:36:49,439
Speaker 10: for my ex Kenny Gamble. I felt that Shep Gordon

1682
01:36:50,200 --> 01:36:55,160
Speaker 10: made comments suggesting that Gamble and Huff abandoned Teddy, which

1683
01:36:55,240 --> 01:36:58,400
Speaker 10: is the furthest thing from the truth. Teddy did not

1684
01:36:58,479 --> 01:37:01,280
Speaker 10: think he could sing anymore. Teddy didn't want to live.

1685
01:37:01,400 --> 01:37:04,599
Speaker 10: Teddy wanted to commit suicide. So when Gamble and Hoffs

1686
01:37:04,640 --> 01:37:08,800
Speaker 10: severed their relationship recording wise with Teddy, what what The

1687
01:37:08,920 --> 01:37:10,720
Speaker 10: man was on the edge of life and didn't think

1688
01:37:10,760 --> 01:37:13,800
Speaker 10: he could sing, So that's what happened. But the way

1689
01:37:13,920 --> 01:37:16,800
Speaker 10: Sheep was representing it and the way she was representing

1690
01:37:17,040 --> 01:37:19,160
Speaker 10: I also didn't like the amount of time they spent

1691
01:37:19,600 --> 01:37:25,920
Speaker 10: on the taz Lang murder. That was bothering bothersome because Teddy.

1692
01:37:26,200 --> 01:37:26,759
Speaker 7: It left.

1693
01:37:30,080 --> 01:37:34,080
Speaker 2: A little inference here that Teddy was involved or who

1694
01:37:34,160 --> 01:37:36,320
Speaker 2: had the most to gain from her death.

1695
01:37:36,520 --> 01:37:40,640
Speaker 4: So what were your feelings on Sonny Hopson's comments.

1696
01:37:40,360 --> 01:37:43,559
Speaker 2: About the same thing, Same thing, Sonny's been running around

1697
01:37:43,600 --> 01:37:47,400
Speaker 2: for years making allegations in the windows or suggestions that

1698
01:37:47,520 --> 01:37:50,040
Speaker 2: Teddy was involved and that, so of course I have

1699
01:37:50,120 --> 01:37:52,120
Speaker 2: problems with that as well, And.

1700
01:37:54,160 --> 01:37:58,640
Speaker 10: So you know, I let her know, and Joan Pendergrass

1701
01:37:59,040 --> 01:38:03,040
Speaker 10: opened up her husband's archives to Olivia. They made three

1702
01:38:03,120 --> 01:38:05,800
Speaker 10: separate trips to Boston, which is where Teddy's widow lives,

1703
01:38:06,280 --> 01:38:08,880
Speaker 10: where she opened up the archives. So it was nice

1704
01:38:08,920 --> 01:38:12,520
Speaker 10: to hear Teddy's voice because he pretty much guided the documentary.

1705
01:38:12,840 --> 01:38:17,240
Speaker 10: He narrated it because she had access to those tapes.

1706
01:38:17,800 --> 01:38:23,000
Speaker 10: She did not mention Joan. She interviewed Joan, but decided

1707
01:38:23,040 --> 01:38:27,000
Speaker 10: to exclude reference to Joan. And meanwhile, I saw I

1708
01:38:27,040 --> 01:38:29,040
Speaker 10: didn't know all of Teddy's girlfriends, but I knew the

1709
01:38:29,080 --> 01:38:31,840
Speaker 10: main ones, and I saw a bunch of random chicks

1710
01:38:31,920 --> 01:38:34,800
Speaker 10: up in that documentary that Joan never knew of. I

1711
01:38:34,880 --> 01:38:38,160
Speaker 10: didn't know anything about. It was crazy. So at the

1712
01:38:38,320 --> 01:38:40,880
Speaker 10: end of the day, it had value because it did

1713
01:38:40,960 --> 01:38:44,400
Speaker 10: tell some of his story. But I felt disrespected because

1714
01:38:44,439 --> 01:38:49,440
Speaker 10: of how she treated Joan and the inferences or suggestions

1715
01:38:50,120 --> 01:38:54,320
Speaker 10: that Teddy was involved in Tazz's murder, and that Gamble

1716
01:38:54,400 --> 01:38:58,519
Speaker 10: and Huff abandoned Teddy Gamble helped pay for Teddy's funeral.

1717
01:38:59,240 --> 01:39:02,400
Speaker 10: Gamble went to the hospital. I would bump into Gamble

1718
01:39:02,479 --> 01:39:06,800
Speaker 10: with our children in Brynmar hospital. I never once saw

1719
01:39:07,080 --> 01:39:10,519
Speaker 10: Shep Gordon, nor did I ever see Danny Marcus in

1720
01:39:10,680 --> 01:39:14,720
Speaker 10: the hospital. However, Danny knew how to find his way

1721
01:39:14,760 --> 01:39:18,400
Speaker 10: to a telephone to ask Joan when Teddy died, could

1722
01:39:18,479 --> 01:39:24,120
Speaker 10: he represent the estate the same person Danny Marcus was

1723
01:39:24,640 --> 01:39:28,880
Speaker 10: manager a manager with Shep Gordon of ty Yeah, and

1724
01:39:28,960 --> 01:39:32,519
Speaker 10: when Teddy needed financial help and went to Danny, but

1725
01:39:32,640 --> 01:39:35,800
Speaker 10: when he died they wanted to be in control of

1726
01:39:35,840 --> 01:39:40,280
Speaker 10: the estate. I have problems with those people, and I'm

1727
01:39:40,400 --> 01:39:42,559
Speaker 10: happy to have this opportunity to go on the record

1728
01:39:42,600 --> 01:39:46,600
Speaker 10: and say again parts of the documentary had value and

1729
01:39:46,760 --> 01:39:50,479
Speaker 10: were good, and then the parts just negated a lot

1730
01:39:50,560 --> 01:39:54,439
Speaker 10: of it. To me and with Joan. I told the director,

1731
01:39:54,479 --> 01:39:56,639
Speaker 10: I said, you could have kirnned at the end, because

1732
01:39:56,640 --> 01:39:59,719
Speaker 10: they kirned at the end of the film that Teddy

1733
01:39:59,760 --> 01:40:02,920
Speaker 10: went on to have four gold albums. But not only

1734
01:40:03,000 --> 01:40:05,519
Speaker 10: did Teddy go on to have four albums, he got

1735
01:40:05,560 --> 01:40:08,880
Speaker 10: his ged, he went to Drexel University, he fell in

1736
01:40:08,960 --> 01:40:12,840
Speaker 10: love again and he married Joan. Yes, sir, he went

1737
01:40:12,920 --> 01:40:15,760
Speaker 10: to college. He did not graduate, but he attended at

1738
01:40:15,760 --> 01:40:18,880
Speaker 10: Trexel University. She could have chir on that. And he

1739
01:40:19,040 --> 01:40:24,040
Speaker 10: established a foundation to help other paralygics and quads. He

1740
01:40:24,160 --> 01:40:26,760
Speaker 10: was a quadriplegic. So I just felt like, you know,

1741
01:40:26,840 --> 01:40:29,040
Speaker 10: she said, oh, we decided to ended it Live Aid.

1742
01:40:29,400 --> 01:40:31,240
Speaker 10: By the way, I went with him that day to

1743
01:40:31,400 --> 01:40:35,759
Speaker 10: Live Aid. That was his first public performance post his accident.

1744
01:40:36,120 --> 01:40:39,160
Speaker 10: He was terrified, but he got through it. So I

1745
01:40:39,320 --> 01:40:41,120
Speaker 10: encourage people to still see the doc.

1746
01:40:41,640 --> 01:40:44,040
Speaker 2: But at the same time, you know, now you're hearing

1747
01:40:44,160 --> 01:40:46,479
Speaker 2: my notes, there's a lot of behind the scenes.

1748
01:40:47,280 --> 01:40:48,000
Speaker 7: Wait ask you.

1749
01:40:48,840 --> 01:40:54,120
Speaker 4: Okay, since we kind of brought up Tesz, is there

1750
01:40:54,280 --> 01:41:02,439
Speaker 4: anything can you explain what the environment was like in

1751
01:41:02,560 --> 01:41:07,760
Speaker 4: Philadelphia at least with the legend of was the was

1752
01:41:07,800 --> 01:41:09,920
Speaker 4: the junior Black Mafia trying to get in the music

1753
01:41:10,000 --> 01:41:15,639
Speaker 4: business or like I mean again, I'm I only hear

1754
01:41:16,920 --> 01:41:20,639
Speaker 4: things in hindsight, like thirty years forty years after the fact,

1755
01:41:21,360 --> 01:41:25,760
Speaker 4: But what was the presence of them in Philadelphia at all?

1756
01:41:25,920 --> 01:41:26,960
Speaker 4: Is there anything you can speak on?

1757
01:41:27,400 --> 01:41:30,520
Speaker 10: No, I just I mean everywhere you got Black Mafia's,

1758
01:41:30,600 --> 01:41:33,680
Speaker 10: you got them. You got the Mafia everywhere you got

1759
01:41:33,840 --> 01:41:38,120
Speaker 10: organized crime, involved in unorganized and organized living.

1760
01:41:39,120 --> 01:41:40,880
Speaker 4: But I'm just saying that it was so different back

1761
01:41:41,080 --> 01:41:44,640
Speaker 4: especially Okay Joe and Sylvia Robinson. Yeah, I was.

1762
01:41:44,680 --> 01:41:47,240
Speaker 10: Pretty sheltered from all of that a mirror. I just didn't.

1763
01:41:47,680 --> 01:41:50,559
Speaker 4: I didn't so even in Dillian radio and stuff.

1764
01:41:50,720 --> 01:41:53,519
Speaker 10: Yeah, but I didn't. They didn't mess with me. I

1765
01:41:53,600 --> 01:41:56,520
Speaker 10: was kind of Gamble's woman. I didn't. I was insulated

1766
01:41:56,600 --> 01:41:58,840
Speaker 10: from that. I didn't have to deal with that.

1767
01:42:01,760 --> 01:42:03,840
Speaker 4: But I mean, was there, it was.

1768
01:42:04,479 --> 01:42:06,920
Speaker 10: I'm saying it was there, it is, it is here,

1769
01:42:07,160 --> 01:42:11,040
Speaker 10: it is everywhere. Yes, yeah, but I was a little,

1770
01:42:11,479 --> 01:42:16,080
Speaker 10: as I said, protected and insular. Oh okay, it's just

1771
01:42:16,120 --> 01:42:17,479
Speaker 10: part of life. Good answer.

1772
01:42:17,800 --> 01:42:18,120
Speaker 7: I don't know.

1773
01:42:18,200 --> 01:42:22,479
Speaker 10: That's real talk, actual good You don't you know what

1774
01:42:22,520 --> 01:42:24,559
Speaker 10: I'm saying, but you know what I mean. I want

1775
01:42:24,600 --> 01:42:26,760
Speaker 10: to take a moment to thank you all for having

1776
01:42:26,880 --> 01:42:30,280
Speaker 10: me today because I respect what you do. Having an

1777
01:42:30,320 --> 01:42:33,840
Speaker 10: opportunity to have long form discussions about the history and

1778
01:42:33,920 --> 01:42:37,439
Speaker 10: the culture is significant. So the role that each of

1779
01:42:37,520 --> 01:42:42,040
Speaker 10: you play with this broadcast, with your podcast is significant.

1780
01:42:42,520 --> 01:42:46,760
Speaker 10: And personally, I'm so very proud of Laiah because I

1781
01:42:47,040 --> 01:42:48,040
Speaker 10: changed her diapers.

1782
01:42:48,720 --> 01:42:49,000
Speaker 4: I was.

1783
01:42:59,360 --> 01:43:01,759
Speaker 10: The fact that she holds her own with you, gentlemen,

1784
01:43:01,800 --> 01:43:04,320
Speaker 10: because you're all formidable, as is she.

1785
01:43:05,280 --> 01:43:07,519
Speaker 4: But you do it, but you do it.

1786
01:43:08,000 --> 01:43:11,840
Speaker 10: And I'm very proud of her because in the entertainment game,

1787
01:43:12,439 --> 01:43:15,599
Speaker 10: she has so many capacities as a woman in this business,

1788
01:43:15,600 --> 01:43:18,479
Speaker 10: as a professional, and I love her. I love listening

1789
01:43:18,520 --> 01:43:20,800
Speaker 10: to her on the radio, I love watching her on TV.

1790
01:43:21,600 --> 01:43:26,479
Speaker 10: And I think that's promise. Well you guys, yeah, well

1791
01:43:26,520 --> 01:43:28,719
Speaker 10: that's fine, And I'll take some of the credit because

1792
01:43:29,240 --> 01:43:32,320
Speaker 10: I support her. I believe in her. She represents the

1793
01:43:32,479 --> 01:43:35,160
Speaker 10: now in the future for me as a woman in

1794
01:43:35,240 --> 01:43:37,200
Speaker 10: this game. So I'm very proud of you. I love

1795
01:43:37,280 --> 01:43:39,360
Speaker 10: you dearly, and all.

1796
01:43:42,640 --> 01:43:43,599
Speaker 7: Guest has done the sign.

1797
01:43:48,640 --> 01:43:52,920
Speaker 2: I can't wait to officiate your wedding. I'm available, amir

1798
01:43:53,080 --> 01:43:56,040
Speaker 2: if you should ever get married. I'm willing to do

1799
01:43:56,200 --> 01:43:58,559
Speaker 2: that last already.

1800
01:44:00,160 --> 01:44:00,639
Speaker 4: Oh you mean.

1801
01:44:08,280 --> 01:44:08,760
Speaker 10: How about that?

1802
01:44:09,880 --> 01:44:12,000
Speaker 2: I love Fontage and when he was talking about Nicola

1803
01:44:12,160 --> 01:44:15,320
Speaker 2: because I loved the foreign exchange, and so I developed

1804
01:44:15,360 --> 01:44:18,320
Speaker 2: a friendship with Nicole and that's how I met Fontage.

1805
01:44:18,840 --> 01:44:20,519
Speaker 4: Him back crazy, did you?

1806
01:44:20,840 --> 01:44:20,880
Speaker 10: So?

1807
01:44:21,160 --> 01:44:23,360
Speaker 4: Can I tell the DM story? Is that or just that?

1808
01:44:23,640 --> 01:44:24,040
Speaker 10: Go ahead?

1809
01:44:25,439 --> 01:44:28,960
Speaker 4: This is the moment I really met Diana Williams.

1810
01:44:29,280 --> 01:44:33,000
Speaker 9: Okay, and she revealed more about me, revealed more about

1811
01:44:33,040 --> 01:44:34,839
Speaker 9: her than any interview, any anything.

1812
01:44:35,400 --> 01:44:35,719
Speaker 7: Okay.

1813
01:44:36,000 --> 01:44:39,240
Speaker 9: So we had met backstage at the at the World

1814
01:44:39,280 --> 01:44:42,320
Speaker 9: Cafe Live thing, and so from that point on, like

1815
01:44:42,360 --> 01:44:44,840
Speaker 9: we follow each other on Twitter and everything. So we're

1816
01:44:44,880 --> 01:44:47,040
Speaker 9: talking on Twitter one night and it was late one night,

1817
01:44:47,600 --> 01:44:49,920
Speaker 9: and I don't remember what we were talking about, but

1818
01:44:50,040 --> 01:44:51,800
Speaker 9: it was talking about something on the timeline and then

1819
01:44:51,880 --> 01:44:54,160
Speaker 9: we like we got into the d MS and so

1820
01:44:54,280 --> 01:44:55,160
Speaker 9: we were laughing about something.

1821
01:44:55,200 --> 01:44:55,720
Speaker 7: So I just said her.

1822
01:44:55,720 --> 01:44:57,240
Speaker 9: I was like, oh, sorry, you been It was good

1823
01:44:57,320 --> 01:45:01,519
Speaker 9: meets everything, and she was like, fante, I'm tired, and

1824
01:45:01,640 --> 01:45:04,599
Speaker 9: I you know, immediately I was just saying, I said, okay, well,

1825
01:45:04,600 --> 01:45:06,560
Speaker 9: I'm thinking, I'm Eve been working so hard, you know,

1826
01:45:06,720 --> 01:45:09,360
Speaker 9: like what's what's going on? And she gives me the

1827
01:45:09,439 --> 01:45:12,240
Speaker 9: greatest response that let me know that she was the illest.

1828
01:45:13,040 --> 01:45:15,759
Speaker 9: She said, I'm tired of niggas.

1829
01:45:20,600 --> 01:45:21,040
Speaker 5: I said.

1830
01:45:22,720 --> 01:45:23,840
Speaker 3: I said, I am to.

1831
01:45:25,840 --> 01:45:28,080
Speaker 4: Say so much that let me know.

1832
01:45:28,200 --> 01:45:31,320
Speaker 9: I said, yo, yo, she the realers one out. From

1833
01:45:31,400 --> 01:45:34,400
Speaker 9: that point on, we've been cool. I said, listen because

1834
01:45:34,400 --> 01:45:36,479
Speaker 9: she's so eloquent, and so you know, because you said,

1835
01:45:36,560 --> 01:45:40,400
Speaker 9: like her alreadyything, she just said, I'm tired of niggas.

1836
01:45:40,640 --> 01:45:46,400
Speaker 4: Boy, I felt that ship in my soul on behalf

1837
01:45:46,400 --> 01:45:53,320
Speaker 4: of Light Fante, Boss Bill, Unpaid Bill, Sugar, Steve and myself. Niggas.

1838
01:45:55,040 --> 01:46:00,559
Speaker 4: Thank you coming on the shelf. You's been a long

1839
01:46:00,680 --> 01:46:05,040
Speaker 4: time this Quests Loves Supreme only on Pandora. We will

1840
01:46:05,040 --> 01:46:06,560
Speaker 4: see you on the next go round. Thank you.

1841
01:46:07,760 --> 01:46:11,479
Speaker 1: Quest Love Supreme is a production of iHeartRadio. This classic

1842
01:46:11,560 --> 01:46:12,920
Speaker 1: episode was produced.

1843
01:46:12,600 --> 01:46:14,280
Speaker 4: By the team at Pandora.

1844
01:46:16,800 --> 01:46:21,160
Speaker 1: For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1845
01:46:21,640 --> 01:46:23,320
Speaker 1: or wherever you listen to your favorite shows.