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Speaker 1: Welcome back to the Bob Leftstitch podcast. I guess today

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Speaker 1: is one and only Betty. Looked at Betty, what would

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Speaker 1: look like growing up in Detroit of the fifties.

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Speaker 2: I didn't necessarily grow up in Detroit. Grew up in

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Speaker 2: show business, so it was like when I was young

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Speaker 2: in Detroit, I was in show business. My granddaughter right

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Speaker 2: now is doing a documentary they're putting together for the

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Speaker 2: area that I grew up in Detroit, on the North End.

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Speaker 2: It's being declared historical this year. The North End is

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Speaker 2: where blacks moved from what was called Black Bottom. Sarah Vaughan,

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Speaker 2: Willie John, one of the Temptations, Smokey Robinson lived across

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Speaker 2: the alley from man Orrita lived across the street from him.

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Speaker 2: One of the biggest black stars of the early forties,

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Speaker 2: early fifties and mid fifties, Sugar shild Robinson, lived on

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Speaker 2: the next block from me. So it's quite a historical area.

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Speaker 2: Jackie Wilson del Reese. So I didn't know those people

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Speaker 2: until I started to sing, and the first time that

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Speaker 2: I went on stage was the first time I'd ever

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Speaker 2: seen the stage.

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Speaker 1: Let's go back, So what did your parents do for

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Speaker 1: a living.

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Speaker 2: Well, everybody's parents worked for General Motors, and so Chrisler's

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Speaker 2: I'm a General Motors baby.

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Speaker 1: Which company? Did your father work for?

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Speaker 2: General Motors? Everybody in my family worked for General Motors,

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Speaker 2: And it was almost like a Clannish or Cripson Bloods

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Speaker 2: kind of thing. It's like everybody's family worked at the

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Speaker 2: place because you could get your relative job if you

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Speaker 2: work there. So most of my family worked at all

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Speaker 2: of the General Motors companies and the part plants from

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Speaker 2: Canada to Muskegon, Michigan, where they made parts, which is

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Speaker 2: where my parents came to from Louisiana.

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Speaker 1: Tell me about your parents leaving Louisiana come into Muskegan.

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Speaker 2: Well, that's where I was born. And in nineteen forty six,

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Speaker 2: certainly if you were black, you could not drop in

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Speaker 2: on the bar after work and have a drink. You

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Speaker 2: had to come to my house and my parents sol

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Speaker 2: corn liquor. We had a jukebox in the living room,

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Speaker 2: which is how I learned all of my songs until

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Speaker 2: I was three, So my repertoire consisted of the songs

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Speaker 2: that were on the jukebox until I was three, and

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Speaker 2: I had developed my own.

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Speaker 1: Do you remember what songs from the jukebox.

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Speaker 2: Well, not all of them, but a song that I

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Speaker 2: do on my show even now, a song a woman

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Speaker 2: whose name was Annie Laurie, and it was called it

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Speaker 2: Hurts to Be in Love. And I could when I

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Speaker 2: tell the audience when I do it now. They used

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Speaker 2: to stand me on top of the jukebox and I

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Speaker 2: would sing the song, and I had on just a

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Speaker 2: little T shirt and my diaper, and I would roll

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Speaker 2: my stomach all the way down in time with the

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Speaker 2: music and all the way back. And I always tell

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Speaker 2: them I won't be doing that this evening, but that

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Speaker 2: is what I did. But there were I had a

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Speaker 2: teenage sister. She was thirteen years old, and when I

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Speaker 2: was born, and so all the current popular music was

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Speaker 2: on the jukebox, which she liked, which was Little Lester

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Speaker 2: and BB King and Chuck Willis and I've Hunter and

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Speaker 2: all those people. And then my father liked the gospel

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Speaker 2: so and blues, so there was all the blues songs.

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Speaker 2: And then my mother liked almost anything that white people sung.

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Speaker 2: She liked Roy Rogers and Dale Evans, gin Ow Tree,

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Speaker 2: read Foley, and I knew the words to all of

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Speaker 2: these people's songs. I didn't know they were different. I

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Speaker 2: just thought they were all songs. And of course, not

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Speaker 2: being able to go anywhere to drink other than my house.

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Speaker 2: In nineteen forty six, forty seven, and forty eight, all

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Speaker 2: of the five Blind Boys, the Soul Stirs, the Pilgrim

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Speaker 2: Travelers all came to my house to eat barbecue sandwiches

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Speaker 2: and fried chicken sandwiches and get drunk and sing it.

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Speaker 2: They rehearsed there and I heard them. I saw Sam

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Speaker 2: Cook the first week he was with the Soul Stirs

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Speaker 2: because they had a gig and Muskegon and they came

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Speaker 2: to my house see eat and drink.

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Speaker 1: How did your parents meet?

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Speaker 2: How did they meet?

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Speaker 1: Yeah?

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Speaker 2: My father was working in Plain dealing, Louisiana, which is

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Speaker 2: where he's from, and one of the guys he was

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Speaker 2: working with knew my sister, my mother, who had five sisters.

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Speaker 2: And the women that like these guys who worked on

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Speaker 2: the railroad were they would come and bring them lunches

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Speaker 2: every day. You know, if you liked one, and if

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Speaker 2: you were hitting on one, that's how you introduced yourself.

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Speaker 2: You would come and bring in but lunch, and that's

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Speaker 2: how they met. I know, my aunt told me that

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Speaker 2: when my mother came and got off the train, she

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Speaker 2: had been talking about how fretty my mother was, and

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Speaker 2: it was so funny. My aunt said, she said, she

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Speaker 2: is pretty pretty, and my daddy certainly saw so.

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Speaker 1: Okay, tell me about the corn liquor business.

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Speaker 2: Well, that, of course, you know, was prevalent in the South.

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Speaker 2: It created the stock car races and everything several other things.

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Speaker 2: But all the people who in my family and cousins

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Speaker 2: and whatever, who moved to Michigan, they brought the corn

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Speaker 2: liquor with them, and they knew each other so they

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Speaker 2: could buy it from They didn't have to take a

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Speaker 2: chance of trying to go into a liquor store and

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Speaker 2: buy something. They all came to my house, so one

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Speaker 2: of my cousin's houses in Muskegon, it was. We were

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Speaker 2: in the projects that were built for the returning soldiers

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Speaker 2: in forty five and forty six. Then they turned them

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Speaker 2: into public projects and that's where we lived. And you

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Speaker 2: that's almost like living in a huge apartment building, except

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Speaker 2: it was all on the same level, so you could

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Speaker 2: go right up your back door into somebody else's front door,

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Speaker 2: you know, and they all they work together every day

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Speaker 2: at the parts plants, and you could run a tab,

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Speaker 2: and the half pintes cost fifty cents, and a pine

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Speaker 2: cost a dollar, and you could run a tab all

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Speaker 2: that week. If you didn't have a family or a wife,

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Speaker 2: you could comment. My mother had barbecue and fried chicken

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Speaker 2: and fried fish, and so it was. That was the

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Speaker 2: environment I actually grew up here.

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Speaker 1: Okay, are you a good cook? Can you cook barbecue

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Speaker 1: and fried fish?

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Speaker 2: Oh? That's what my career has been so up and down.

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Speaker 2: You us, I learned to cook. You have to cook

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Speaker 2: if you around my mother and the people I grew

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Speaker 2: up with, you have to learn that, they say, all

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Speaker 2: like women know how to at least fried chicken, fry fish.

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Speaker 2: But I learned a lot of the others. And then

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Speaker 2: when I started to travel, I started to learn what

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Speaker 2: I was having an opportunity to eat. So now we cook.

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Speaker 2: I cook everything, and Kevin Nass quite an entertainment with

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Speaker 2: eating because I can cook almost anything.

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Speaker 1: Okay, it sounds like your father had a big personality

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Speaker 1: that everybody gathered at your house. Was that the case?

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Speaker 2: Yeah, Well, my mother had the big personality. Ah, she

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Speaker 2: had the food food. My father just wanted another drink.

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Speaker 2: But of course they all knew each other. As I said,

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Speaker 2: they worked on the line together. They saw each other

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Speaker 2: all day every day. And the ones that came from

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Speaker 2: Louisiana drunk or sober, went to Mass on Sunday, just

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Speaker 2: the way they do a New orleance. I always tell

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Speaker 2: the joke that in New Orleans and then mouskeige, and

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Speaker 2: you know how when the priest the minister said something

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Speaker 2: and then the whole congregation answers in some kind of

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Speaker 2: singing response, the whole church smells like alcohol for the

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Speaker 2: for the first one and then it melts.

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Speaker 1: Okay, growing up, I didn't know anybody who had a

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Speaker 1: jukebox in their house. That seemed pretty exotic to me.

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Speaker 2: Well, we actually brought it to Detroit with us, well,

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Speaker 2: not brought it to Detroit with us. We got in

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Speaker 2: line with another jukebox company. So we did for a

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Speaker 2: while have a juke box in our house in Detroit,

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Speaker 2: but then we became more sophisticated and had a record player.

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Speaker 1: Okay, So what was responsible for your family moving from

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Speaker 1: a squie into Detroit.

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Speaker 2: Well, my father his brother worked at General Motors proper

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Speaker 2: as they called it in Pontiac, and he got him

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Speaker 2: a job there, and so we moved to Pontiac.

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Speaker 1: Okay, you're singing it three years old, you're a star,

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Speaker 1: your role of your stomach? What happens when you turned four?

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Speaker 2: Robert, I was not. I didn't never come a star

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Speaker 2: rolling my stomach. Well, I was a start at projects.

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Speaker 2: But we were in Detroit by the time I was four.

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Speaker 2: We left Detroit when I was maybe like, I mean,

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Speaker 2: left Muskegan when I was like maybe three and a

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Speaker 2: half and came to Pontiac, where we lived for about

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Speaker 2: a year or so, and then we moved to Detroit.

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Speaker 2: And I pretty much was always different from everybody else

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Speaker 2: their children. I never had a desire, first of all,

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Speaker 2: to be a child, so that made me a pretty

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Speaker 2: difficult child and a pretty different child. It wasn't that

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Speaker 2: I was bad, as they say children are bad. I

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Speaker 2: just wanted to do with grown people and that was

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Speaker 2: the way I acted.

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Speaker 1: Okay, And what was school like?

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Speaker 2: I really was never scholastic. I did not. We just

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Speaker 2: believe it or not, had our fifth grade reunion and

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Speaker 2: all the people that I was in the fifth grade

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Speaker 2: with were there, and it was so funny because I

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Speaker 2: was voted most likely not to succeed at at all.

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Speaker 2: So for me to walk into the room and have

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Speaker 2: everybody say that he Joe asked, because I can't believe

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Speaker 2: your Betty loved did you finish high school? No, that

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Speaker 2: was really I really just didn't want to do what

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Speaker 2: they were doing at all, And then I didn't want

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Speaker 2: to meet them every morning. At the same time, I

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Speaker 2: wasn't interested in anything that they were saying. If Mother

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Speaker 2: and Nessa had known I was gonna love history the

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Speaker 2: way I do now, she would have just given me

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Speaker 2: the A and said she's gonna get better. But I'm

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Speaker 2: or the person now that Mother and Nesta would have

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Speaker 2: wanted me to be.

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Speaker 1: Okay, so tell me where you start singing after you

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Speaker 1: moved to a Pontiac in Detroit.

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Speaker 2: Well, but Pontiac's still just a little girl who didn't

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Speaker 2: go anywhere by herself Detroit up until I was like,

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Speaker 2: out this place. I'm telling you that my granddaughter is

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Speaker 2: doing the research on the North End. When we moved there,

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Speaker 2: I guess I was maybe seven, and so it was like,

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Speaker 2: did you know that Liverpool A John that's right up

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Speaker 2: the street, And did you know that Jackie Wilson. So

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Speaker 2: I knew these people's records, but I never saw them.

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Speaker 2: I just heard their names and I knew they were there.

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Speaker 2: So then we moved farther up the north end, and

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Speaker 2: I was in like the fifth grade, and did you

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Speaker 2: know Smoky Robinson lived across the alley from even whatever,

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Speaker 2: and they were more real to me then. Before that,

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Speaker 2: I had never seen people in person who sung, and

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Speaker 2: I had never seen a show. When I went on

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Speaker 2: the stage in nineteen sixty three with my man, I

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Speaker 2: had never seen a microphone, and I had never been

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Speaker 2: on a stage. I had never been to a night club,

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Speaker 2: had never I was invented out of all cloth right

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Speaker 2: there in one weekend.

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Speaker 1: Tell me about your singing career from age three, where

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Speaker 1: you're singing along with the jukebox to then ultimately getting

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Speaker 1: on the stage for the first time. What is going on?

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Speaker 2: Nothing but going to school being what they call bad

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Speaker 2: and being difficult because all I did was kind of

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Speaker 2: listen to music, and I did come. I found the

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Speaker 2: homework not difficult to do, so I did it, but

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Speaker 2: I didn't go all still. All I had was the jukebox.

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Speaker 2: My parents didn't go out to dinner or go to

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Speaker 2: hear people sing they came to our house, so they

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Speaker 2: were on the jukebox. So I'd never seen anybody walk

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Speaker 2: up on the stage or or anything like that until

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Speaker 2: that weekend that I started singing. I met. I wasn't

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Speaker 2: supposed to go, but there was a place called the

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Speaker 2: Greystone all Woman Detroit, which is where everyone you've ever

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Speaker 2: heard of from Detroit had to go and do performances

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Speaker 2: for the DJs to get your recording played. And I

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Speaker 2: heard about it on the radio every day. The DJs

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Speaker 2: were pushing it, and so I just went and I

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Speaker 2: met this girl whose name was Ginger and her full

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Speaker 2: name was Sure. Her middle name was Lovette, and she

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Speaker 2: knew every number man singer. I loved her. I just

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Speaker 2: adore her. My mother hated her, but Ginger kind of

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Speaker 2: took me under her wing, and I went to Graystone

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Speaker 2: for about two months, and I met Timmy Shaw, who

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Speaker 2: introduced me to Johnny May Matthews, who recorded My Man

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Speaker 2: on Me. And I swear to you all of this

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Speaker 2: happened in a month.

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Speaker 1: Okay, just going back, were you singing in school? Were

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Speaker 1: you singing at church? Were you singing in the living room?

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Speaker 1: Before this?

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Speaker 2: Everywhere that I ever sung in school. They let me sing.

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Speaker 2: They let me in the talent show once, but I

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Speaker 2: sung I'm a Hog for you baby, and Mother Nesta

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Speaker 2: put me out of the talent show. They put me

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Speaker 2: in the Christmas show once, and then I said the

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Speaker 2: wrong thing to marry because I wanted to play Mary.

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Speaker 2: And then they put me in the choir and I

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Speaker 2: wouldn't stop hanging with the boys in their area. So

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Speaker 2: I got put out of all the singing things that

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Speaker 2: I ever did in school. But now I'm a Hog

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Speaker 2: for you baby was good.

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Speaker 1: You go to the ballroom. How do you ultimately decide

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Speaker 1: to take the stage.

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Speaker 2: I wanted to sing, but as I told you, I

255
00:17:09,480 --> 00:17:12,480
Speaker 2: never knew people who could sing. I just knew the

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Speaker 2: ones in the jukebox and then the ones that saw

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Speaker 2: on television. So then hearing about these people on the radio,

258
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Speaker 2: they were advertising them being at this place every weekend.

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Speaker 2: And so when I went and Ginger introduced me to

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Speaker 2: Timmy Shaw, well, first I met I was in the hospital, actually,

261
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Speaker 2: and I met a singer who came to see the

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Speaker 2: girl in the bed next to me. But she went

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Speaker 2: to have some X rays and he came to see

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Speaker 2: her and she wasn't there. So I talked to him

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Speaker 2: because it was eleven o'clock in the morning, and he

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Speaker 2: on a black mohair suit, sleep my care and some

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Speaker 2: pat leather shoes, and I was instantly in love. And

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Speaker 2: it was Willie Jones, who sung with the Royal Jokers,

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Speaker 2: and I'm like a real entertainer that I right here.

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Speaker 2: So he and I. I was sixteen, he was twenty four,

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Speaker 2: twenty five, but I was really I'm still precocious. I

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Speaker 2: don't think you're gonna apply that to an adult at

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Speaker 2: this point. But I met him and he wrote a

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Speaker 2: song for me. He was singing, and I said I

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Speaker 2: can sing, and he said that heres. So I started

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Speaker 2: to sing along with him one night when we were out.

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Speaker 2: And the reason I was able to go out with

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Speaker 2: him was because I had had a child, and usually

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Speaker 2: in the at point, if you had a child, you

280
00:19:02,400 --> 00:19:05,920
Speaker 2: were considered glowing. So I was able to go out

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Speaker 2: then after nine or ten o'clock or whatever. And when

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Speaker 2: I met him, he took me to see the Old

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00:19:12,200 --> 00:19:16,879
Speaker 2: Jokers perform, and I knew someone then who was actually

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Speaker 2: on the stage singing, and he wrote this song for me,

285
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Speaker 2: and then he disappeared. I didn't know that he was

286
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Speaker 2: later white disappeared. But anyway, when I met Timmy and

287
00:19:29,760 --> 00:19:33,320
Speaker 2: he took me to meet Johnny May, I said, well,

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Speaker 2: I have a song. I said, A man wrote it

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Speaker 2: for me. His name is Willie Jones. She said Willie

290
00:19:40,280 --> 00:19:44,640
Speaker 2: Jones were old jokers. I said, yes, that's him, and

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00:19:44,680 --> 00:19:47,440
Speaker 2: she said, let me hear it. So I sung the

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Speaker 2: something and the song was about a teenage girl. It

293
00:19:51,160 --> 00:19:54,240
Speaker 2: was called shut your mouth and don't talk back, and

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Speaker 2: it was about a teenage girl who had stayed out

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Speaker 2: later and she was supposed to and her mama met

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Speaker 2: her at the door in the whole bit, and she said,

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Speaker 2: it's a great song. And I sung it and and

298
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Speaker 2: she introduced me to my Man, which I sung and recorded,

299
00:20:11,840 --> 00:20:14,960
Speaker 2: and that was supposed to be the B side. But

300
00:20:15,080 --> 00:20:19,840
Speaker 2: when the DJ's her recording, which came out that week

301
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Speaker 2: after I recorded it, because they were playing demos and

302
00:20:24,119 --> 00:20:27,280
Speaker 2: you could get you could tell from how many the

303
00:20:27,280 --> 00:20:30,800
Speaker 2: response you got from the demos, how many initial records

304
00:20:30,800 --> 00:20:34,600
Speaker 2: you should have pressed up. People didn't just send it

305
00:20:34,640 --> 00:20:39,760
Speaker 2: to get thousands of records pressed so so the records

306
00:20:39,760 --> 00:20:42,560
Speaker 2: seemed to indicate. The response seemed to indicate that my

307
00:20:42,680 --> 00:20:45,560
Speaker 2: Man was what they wanted to play it, and what

308
00:20:45,640 --> 00:20:48,879
Speaker 2: they did play and put went into the national R

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00:20:48,920 --> 00:20:52,600
Speaker 2: and B charts and cash box and billboard. All of

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Speaker 2: this happened, this started, in all this, This was only

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Speaker 2: like the end of September.

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Speaker 1: Okay, going back, You'd never been on stage before, you'd

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Speaker 1: never been in front of a microphone. You go to

314
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Speaker 1: the ballroom a few times. How do you end up

315
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Speaker 1: on stage.

316
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Speaker 2: When the record came out?

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Speaker 1: No? Wait, wait, weren't you on stage before the record

318
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Speaker 1: came out?

319
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Speaker 2: Nope? I just knew that people then who are on

320
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Speaker 2: the stage. And when I recorded, gosh, you have the

321
00:21:37,840 --> 00:21:44,400
Speaker 2: recording studio, I was sixteen and the guitar player who's

322
00:21:44,440 --> 00:21:49,000
Speaker 2: playing the lead lick in my man, Leroy Manuel, was fifteen,

323
00:21:49,760 --> 00:21:53,480
Speaker 2: and they had stuck him out of his bedroom to

324
00:21:53,560 --> 00:21:57,400
Speaker 2: do the recording session. He's a really big person in

325
00:21:57,440 --> 00:22:02,000
Speaker 2: Canada now, and I just I'm so proud of him.

326
00:22:02,160 --> 00:22:04,879
Speaker 2: But he and I were just kids there. But the

327
00:22:04,960 --> 00:22:09,800
Speaker 2: people who were on the recording were grown recording artists

328
00:22:10,040 --> 00:22:14,080
Speaker 2: make grown musicians and whatever. And Johnny May was singing

329
00:22:14,080 --> 00:22:16,440
Speaker 2: in my ear and telling me how to sing the song.

330
00:22:17,200 --> 00:22:20,359
Speaker 2: And then they pressed up some them o's so that

331
00:22:20,840 --> 00:22:24,160
Speaker 2: next weekend, I had to go and do a record hop.

332
00:22:24,960 --> 00:22:29,359
Speaker 2: But we had at that time a new place which

333
00:22:29,640 --> 00:22:33,600
Speaker 2: was having you sing your songs with the band live,

334
00:22:34,320 --> 00:22:37,640
Speaker 2: and I had only done that the week before one

335
00:22:37,760 --> 00:22:41,720
Speaker 2: time when I recorded, so they called my name. I

336
00:22:41,760 --> 00:22:47,920
Speaker 2: went up on the stage and it said out it off,

337
00:22:50,480 --> 00:22:52,720
Speaker 2: and I said.

338
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Speaker 1: And then okay.

339
00:22:57,359 --> 00:23:01,399
Speaker 2: But wait a minute. Marvin Kate had at stubborn kind

340
00:23:01,400 --> 00:23:03,680
Speaker 2: of fell out, thick or chick, whatever it was, came

341
00:23:03,680 --> 00:23:06,960
Speaker 2: out the same day. He's sitting there stage, just kind

342
00:23:06,960 --> 00:23:10,719
Speaker 2: of a step up, and so he's sitting next to

343
00:23:10,800 --> 00:23:16,280
Speaker 2: it and he counts off, and I didn't know how

344
00:23:16,320 --> 00:23:18,160
Speaker 2: to make the man start playing.

345
00:23:21,040 --> 00:23:26,800
Speaker 1: So okay. Do you think from a young age you

346
00:23:26,920 --> 00:23:30,480
Speaker 1: were desperate to be a famous singer? Did you have

347
00:23:30,560 --> 00:23:32,680
Speaker 1: that desire or just have the desire to get out

348
00:23:32,680 --> 00:23:35,560
Speaker 1: of the house or be famous or make money? What

349
00:23:36,119 --> 00:23:36,800
Speaker 1: was in your mind?

350
00:23:37,240 --> 00:23:39,960
Speaker 2: I didn't know that I could be a famous singer.

351
00:23:40,040 --> 00:23:43,440
Speaker 2: I didn't know any famous singers. It was only after

352
00:23:43,480 --> 00:23:47,520
Speaker 2: we got to each White and I knew about Smoking

353
00:23:47,600 --> 00:23:51,719
Speaker 2: Poppinson and these other people. I didn't know. I just

354
00:23:51,960 --> 00:23:56,240
Speaker 2: anybody could do it. I thought these people were special

355
00:23:56,560 --> 00:24:01,439
Speaker 2: people somehow that I didn't know anyone who and I

356
00:24:01,640 --> 00:24:05,320
Speaker 2: never nobody in my family knew anyone who sung, so I,

357
00:24:05,480 --> 00:24:07,840
Speaker 2: you know, than the gospel people, and I didn't want

358
00:24:07,880 --> 00:24:13,000
Speaker 2: to sing in church, and so no, I. After I

359
00:24:13,119 --> 00:24:17,800
Speaker 2: knew them, then all of my thoughts this started if

360
00:24:17,880 --> 00:24:21,320
Speaker 2: like maybe the sixth grade. Then all of my thoughts

361
00:24:21,359 --> 00:24:25,880
Speaker 2: were strictly I want to be a singer, and then

362
00:24:26,400 --> 00:24:29,359
Speaker 2: after a while, I want to be a star. But

363
00:24:30,000 --> 00:24:33,840
Speaker 2: you're Smoky Robinson lived across the alley from me. He

364
00:24:33,960 --> 00:24:37,240
Speaker 2: wasn't a star, so he was just a finger. But

365
00:24:37,359 --> 00:24:39,240
Speaker 2: I liked the way they were doing it. I like

366
00:24:39,320 --> 00:24:42,119
Speaker 2: the way they lived, and I loved shiny suits and

367
00:24:42,200 --> 00:24:45,959
Speaker 2: the shiny hair and the shiny ear rings, and I

368
00:24:46,040 --> 00:24:50,360
Speaker 2: wanted to sing. So then after I got into it,

369
00:24:50,560 --> 00:24:54,080
Speaker 2: the next two weeks, I wanted to be a star.

370
00:24:54,920 --> 00:24:59,760
Speaker 2: And then oh god, after that, I wanted to be rich.

371
00:25:00,960 --> 00:25:02,600
Speaker 2: So it came in increments.

372
00:25:03,880 --> 00:25:09,720
Speaker 1: Okay, the record is ultimately distributed by Atlantic Records. Did

373
00:25:09,760 --> 00:25:13,040
Speaker 1: you have any contact with anybody Atlantic Records?

374
00:25:13,359 --> 00:25:19,479
Speaker 2: Yes, Robert West and Johnny Mae Matthews, because Johnny Maye

375
00:25:19,560 --> 00:25:23,000
Speaker 2: Matthews was one of the only producers in Detroit at

376
00:25:23,040 --> 00:25:27,520
Speaker 2: the time who had Big Contacts, which was at Atlantic.

377
00:25:27,960 --> 00:25:30,359
Speaker 2: I have no idea how that happened. Well, it was

378
00:25:30,400 --> 00:25:33,360
Speaker 2: because of the Falcons. He had the Falcons and they

379
00:25:33,359 --> 00:25:37,240
Speaker 2: had just had a big record, and Robert West knew

380
00:25:37,760 --> 00:25:44,480
Speaker 2: Jerry Wexler and I'm ed Hurdigain, and so when Atlantic

381
00:25:44,680 --> 00:25:48,239
Speaker 2: bought my man, I had the opportunity to talk with

382
00:25:48,320 --> 00:25:52,440
Speaker 2: them on the phone. And Jerry Wexler and I remained

383
00:25:53,600 --> 00:25:59,359
Speaker 2: friends for most of my early career. I used to

384
00:25:59,440 --> 00:26:02,600
Speaker 2: call him on the phone at home in the middle

385
00:26:02,640 --> 00:26:05,080
Speaker 2: of the night and say, mister Weckster, would you send

386
00:26:05,080 --> 00:26:10,960
Speaker 2: me fifty dollars, which was a big deal. Hey, she

387
00:26:11,040 --> 00:26:13,520
Speaker 2: can pick up the phone and call New York and

388
00:26:13,560 --> 00:26:16,919
Speaker 2: give fifty dollars at Western Union and a snap. So

389
00:26:17,119 --> 00:26:22,879
Speaker 2: I had I had the attitude that I've maintained since then.

390
00:26:24,160 --> 00:26:28,720
Speaker 1: Okay, your record is successful and you go on the road.

391
00:26:29,080 --> 00:26:30,160
Speaker 1: Tell me about that.

392
00:26:33,520 --> 00:26:37,840
Speaker 2: It was. Remember now this is this is weeks old.

393
00:26:38,840 --> 00:26:43,440
Speaker 2: So I'm theoretically still my friend Ginger, who is a groofie.

394
00:26:44,840 --> 00:26:48,399
Speaker 2: Every time Clyde makes Fatter opened his dressing room door,

395
00:26:48,600 --> 00:26:53,159
Speaker 2: I was standing there. Every time any can over this

396
00:26:53,400 --> 00:27:00,399
Speaker 2: dressing room door, I was standing here. Barbara Lynne was

397
00:27:00,440 --> 00:27:02,439
Speaker 2: with her, so she had to act nice.

398
00:27:02,800 --> 00:27:04,600
Speaker 1: But I was grown.

399
00:27:05,640 --> 00:27:10,160
Speaker 2: I was just about seventeen, and I had a record.

400
00:27:10,880 --> 00:27:14,080
Speaker 2: I knew all these stars, and I was just doing

401
00:27:14,160 --> 00:27:19,520
Speaker 2: what I wanted to do. But that was the most

402
00:27:19,640 --> 00:27:23,760
Speaker 2: exciting thing. The very first tour I ever went on

403
00:27:24,960 --> 00:27:27,200
Speaker 2: was well, the very first one was kind of a

404
00:27:27,640 --> 00:27:34,440
Speaker 2: regional because Robert West was partners with Herman Griffin, who

405
00:27:34,560 --> 00:27:39,240
Speaker 2: was Mary Wells's husband at the time, and Robert West

406
00:27:39,359 --> 00:27:41,959
Speaker 2: was my manager, so he put a little tour together

407
00:27:42,800 --> 00:27:47,000
Speaker 2: and on that little tour was Mary Wells mac Rice

408
00:27:47,680 --> 00:27:51,080
Speaker 2: who had just left the Falcons and wrote Mustang Sally

409
00:27:51,680 --> 00:27:58,600
Speaker 2: and that's what he was singing and me and I

410
00:27:58,640 --> 00:28:02,119
Speaker 2: think that was it. I think that was it on

411
00:28:02,480 --> 00:28:04,760
Speaker 2: but we didn't go We just went like maybe three

412
00:28:04,840 --> 00:28:09,440
Speaker 2: or four places. Then I came back a full fledged

413
00:28:09,440 --> 00:28:15,080
Speaker 2: star of course by this time that month and the

414
00:28:15,160 --> 00:28:19,359
Speaker 2: Victual with Clide Macpatter and Benny King, Clarence frog Manning,

415
00:28:19,440 --> 00:28:25,760
Speaker 2: Henry Barbara Lynne. The band was.

416
00:28:25,760 --> 00:28:35,119
Speaker 3: The the Royal Jokers, not the Royal Jokers, the Five

417
00:28:35,240 --> 00:28:39,840
Speaker 3: Royals band who was the leader of the fire Rolls.

418
00:28:39,840 --> 00:28:45,600
Speaker 2: It was their ban anyway, El Pauling, it was the

419
00:28:45,720 --> 00:28:50,920
Speaker 2: El Pauling band. So like Robert, I gotta tell you

420
00:28:50,960 --> 00:28:54,480
Speaker 2: twenty years later, when I was madly in love with

421
00:28:54,520 --> 00:28:58,560
Speaker 2: Clarence Paul, I told him. I said, on my first tour,

422
00:28:58,640 --> 00:29:02,600
Speaker 2: I was on the opens band called an orchestra called

423
00:29:02,680 --> 00:29:06,280
Speaker 2: Oh Paul, and he said, that's my brother.

424
00:29:07,560 --> 00:29:15,040
Speaker 1: I was like, Okay, how many days? How long does

425
00:29:15,080 --> 00:29:17,520
Speaker 1: this tour last? This big doer, and how far from

426
00:29:17,520 --> 00:29:18,360
Speaker 1: Detroit do you go?

427
00:29:18,840 --> 00:29:23,160
Speaker 2: Oh gosh. We went from the trua audience that was

428
00:29:23,240 --> 00:29:27,360
Speaker 2: the Chitland Circuit. We did the entire Chipland circuit. Everything

429
00:29:27,480 --> 00:29:31,800
Speaker 2: that the children Circuit consisted of then is where we

430
00:29:31,920 --> 00:29:39,840
Speaker 2: went north and south Carolina, Georgia, Tennessee cities in those

431
00:29:39,920 --> 00:29:45,680
Speaker 2: places as well, maybe three cities in some places Alabama.

432
00:29:47,640 --> 00:29:51,920
Speaker 2: As you got west, the Chidland Circuit didn't go that

433
00:29:52,240 --> 00:29:55,640
Speaker 2: like when you started Arkansas. You were going west, and

434
00:29:56,040 --> 00:29:59,640
Speaker 2: it went that way for some people. Now when we

435
00:29:59,760 --> 00:30:04,240
Speaker 2: came back north looped around to come back and end

436
00:30:04,680 --> 00:30:10,400
Speaker 2: in Ohio, People like clib mcfatter, Benny King, Clarence frog Man,

437
00:30:10,560 --> 00:30:16,560
Speaker 2: Henry went on north to do places that at that

438
00:30:16,760 --> 00:30:20,720
Speaker 2: point weren't doing rhythm and blues. You know, it had

439
00:30:20,760 --> 00:30:25,200
Speaker 2: to have crossed over like the Drifters and Climac Flatter did,

440
00:30:25,360 --> 00:30:28,880
Speaker 2: and like uh frog man Henry had done. Barbara Lynn

441
00:30:28,920 --> 00:30:31,280
Speaker 2: and I turned around and came home. The rest of

442
00:30:31,360 --> 00:30:32,520
Speaker 2: them went north.

443
00:30:33,520 --> 00:30:37,280
Speaker 1: Okay, what kind of venues were you playing on this tour?

444
00:30:38,600 --> 00:30:43,080
Speaker 2: Mostly halls? We went to north in South Carolina. They

445
00:30:43,120 --> 00:30:47,960
Speaker 2: were having the first dancers with their rope in between

446
00:30:48,080 --> 00:30:52,959
Speaker 2: the audience. And I always tell people, now, that's one

447
00:30:53,000 --> 00:30:55,880
Speaker 2: of the ways that I learned to cover the whole stage.

448
00:30:55,920 --> 00:30:59,000
Speaker 2: Because the promoter was saying, please don't look at one

449
00:30:59,680 --> 00:31:02,440
Speaker 2: one up on one side of the rope more than others.

450
00:31:02,760 --> 00:31:05,560
Speaker 2: Please try to go back and forth. And they were pleading,

451
00:31:05,760 --> 00:31:08,320
Speaker 2: please don't stay on one side of the rope. So

452
00:31:08,480 --> 00:31:11,000
Speaker 2: I had to keep going back and forth across the stage.

453
00:31:11,520 --> 00:31:14,760
Speaker 2: And so no, I just do that naturally, which is

454
00:31:14,800 --> 00:31:15,280
Speaker 2: a good thing.

455
00:31:15,960 --> 00:31:19,960
Speaker 1: Okay, you're traveling, what kind of bus? What kind of

456
00:31:20,120 --> 00:31:21,320
Speaker 1: rooms are you staying in?

457
00:31:22,920 --> 00:31:27,040
Speaker 2: Oh, we were saying in only black places along the highway.

458
00:31:27,360 --> 00:31:32,000
Speaker 2: We were peeing along the highway a lot, and going

459
00:31:32,080 --> 00:31:34,480
Speaker 2: to places that they may have. If they had a

460
00:31:34,600 --> 00:31:38,400
Speaker 2: restroom inside, we couldn't use them. But if they were

461
00:31:38,520 --> 00:31:41,880
Speaker 2: nice and kind people, they had an outdoor restroom we

462
00:31:41,920 --> 00:31:50,600
Speaker 2: could use. It was quite everything that you've heard and read.

463
00:31:50,760 --> 00:31:54,600
Speaker 2: I know when we went to Mississippi, my mother was

464
00:31:54,840 --> 00:31:58,320
Speaker 2: who was from Louisiana, was just terrified. She said, you

465
00:31:58,520 --> 00:32:01,200
Speaker 2: keep your big mouth closed and don't be looking those

466
00:32:01,240 --> 00:32:04,920
Speaker 2: white books in their face. I mean, she was very

467
00:32:05,440 --> 00:32:08,680
Speaker 2: serious because she knew I would talk to anyone, and

468
00:32:09,760 --> 00:32:11,840
Speaker 2: she felt that I may step out of my place.

469
00:32:12,800 --> 00:32:16,160
Speaker 2: And she was so nervous so whole while we were there.

470
00:32:18,920 --> 00:32:22,960
Speaker 1: Okay, you know you hear about going on the road.

471
00:32:23,040 --> 00:32:29,320
Speaker 1: You're seventeen years old. They're drugs, alcohol, sex, as grown

472
00:32:29,400 --> 00:32:31,360
Speaker 1: up as you are at the time. Do you grow

473
00:32:31,480 --> 00:32:32,200
Speaker 1: up a lot more?

474
00:32:33,360 --> 00:32:36,640
Speaker 2: Oh? Absolutely. I always tell people there are no children

475
00:32:36,760 --> 00:32:39,800
Speaker 2: in show business. I don't care how cute they are.

476
00:32:40,920 --> 00:32:44,120
Speaker 2: I don't care if their parents up with them. I

477
00:32:44,200 --> 00:32:48,360
Speaker 2: don't care if they're Osmas and their moorings. There are

478
00:32:48,920 --> 00:32:54,640
Speaker 2: no children in show business. And it's probably even worse today.

479
00:32:55,400 --> 00:32:58,760
Speaker 2: But no, that's no, there are no children in show business.

480
00:33:00,200 --> 00:33:03,480
Speaker 1: So you come off the road. Clyde McPhatter continues, But

481
00:33:03,560 --> 00:33:05,600
Speaker 1: you're now back in Detroit. What happens then?

482
00:33:07,600 --> 00:33:13,680
Speaker 2: Nothing? So all my friends told me you should go

483
00:33:13,800 --> 00:33:16,480
Speaker 2: to New York and tell those people you want your

484
00:33:16,720 --> 00:33:20,440
Speaker 2: contract back because they should make another record for you.

485
00:33:21,720 --> 00:33:25,720
Speaker 2: So I went to New York and I erst in

486
00:33:25,800 --> 00:33:29,400
Speaker 2: the Cherry Wexell's office. I said, I want to release

487
00:33:29,480 --> 00:33:33,560
Speaker 2: from my contract. And he said, well why because I

488
00:33:33,680 --> 00:33:35,520
Speaker 2: told you I've been talking to this man on the

489
00:33:35,640 --> 00:33:41,480
Speaker 2: phone at his home in the bedroom and and I said,

490
00:33:41,680 --> 00:33:45,360
Speaker 2: my friends told me that you should have put another

491
00:33:45,520 --> 00:33:53,960
Speaker 2: record out on it by now, like I know. He said, well,

492
00:33:54,400 --> 00:33:56,680
Speaker 2: maybe we intended to do another record. I said, well,

493
00:33:56,880 --> 00:34:00,960
Speaker 2: I need a record now. It's been so many months

494
00:34:01,000 --> 00:34:03,720
Speaker 2: and I didn't even know how many. It's the most

495
00:34:03,800 --> 00:34:07,320
Speaker 2: stupid thing Robert I ever did in my entire career.

496
00:34:08,680 --> 00:34:12,520
Speaker 2: He said that we have we're working with this young

497
00:34:12,680 --> 00:34:18,400
Speaker 2: and who was working with a new singer, Dion Warwick Kenny.

498
00:34:18,400 --> 00:34:23,080
Speaker 2: He's working at what was the name of the record label, Scepter.

499
00:34:24,040 --> 00:34:27,279
Speaker 2: He said, he's working with Scepter. And he said, but

500
00:34:27,520 --> 00:34:32,759
Speaker 2: we're working with him too, and his name is were Back,

501
00:34:33,719 --> 00:34:36,960
Speaker 2: and uh, we're gonna have to we're gonna talk to

502
00:34:37,080 --> 00:34:40,600
Speaker 2: him about you. I ain't never heard of him. I

503
00:34:40,920 --> 00:34:44,960
Speaker 2: don't care. My friend said, I have to get a

504
00:34:45,080 --> 00:34:50,359
Speaker 2: release from this contract. So Jerry said here's one dude,

505
00:34:51,600 --> 00:34:55,120
Speaker 2: I'm gonna write to this check of my own personal

506
00:34:55,280 --> 00:34:58,160
Speaker 2: check for five hundred dollars. I'm gonna give you a

507
00:34:58,239 --> 00:35:01,360
Speaker 2: big ug. You go on and do it, do what

508
00:35:01,520 --> 00:35:06,320
Speaker 2: you think should be done. The most stupid mistake I

509
00:35:06,440 --> 00:35:12,680
Speaker 2: have ever made in my entire life. You know what?

510
00:35:12,840 --> 00:35:18,040
Speaker 2: That left road open for No who was the next biggarist?

511
00:35:20,120 --> 00:35:25,560
Speaker 2: He surprank. But I'm there with the president in love

512
00:35:25,680 --> 00:35:28,640
Speaker 2: with me. I mean not that kind of love, but

513
00:35:28,760 --> 00:35:30,600
Speaker 2: in love with me because she just thought I was

514
00:35:30,680 --> 00:35:32,879
Speaker 2: so cute and that I sung like a grown woman.

515
00:35:33,880 --> 00:35:39,320
Speaker 2: And so No, I got this shit all under my belt.

516
00:35:39,480 --> 00:35:43,440
Speaker 2: Now my friends and I know lots of people in

517
00:35:43,520 --> 00:35:47,560
Speaker 2: show business. Now, now you have to think the reason

518
00:35:47,640 --> 00:35:50,040
Speaker 2: they were available for me to talk to was because

519
00:35:50,040 --> 00:35:52,640
Speaker 2: they weren't doing shit. So they were telling me what

520
00:35:52,840 --> 00:35:58,920
Speaker 2: to do, and I left them. I have no idea

521
00:35:59,160 --> 00:36:06,360
Speaker 2: where I was going or I really just at that point, Robert,

522
00:36:06,400 --> 00:36:11,480
Speaker 2: I thought that I thought that it was they would say,

523
00:36:11,600 --> 00:36:15,040
Speaker 2: oh my goodness, she's cute and she had this record,

524
00:36:15,400 --> 00:36:18,239
Speaker 2: let's make another record with her. And I thought all

525
00:36:18,320 --> 00:36:22,560
Speaker 2: the record companies with me saying that, and then I

526
00:36:22,719 --> 00:36:27,400
Speaker 2: didn't call, So.

527
00:36:29,040 --> 00:36:31,600
Speaker 1: So what happened next, uh something.

528
00:36:31,960 --> 00:36:35,680
Speaker 2: That's when I say now in interviews, I'm grateful, but

529
00:36:35,800 --> 00:36:40,799
Speaker 2: I'm still pissed. But I'm really grateful because I've never

530
00:36:40,960 --> 00:36:45,960
Speaker 2: spent a dime in this business. Not of course, someone

531
00:36:46,360 --> 00:36:52,920
Speaker 2: has always called and asked to record me. So after that,

532
00:36:54,480 --> 00:36:59,880
Speaker 2: my the accountant at Shaw artist who was the booking

533
00:37:00,040 --> 00:37:04,440
Speaker 2: agent for all black artists, then left. They unless they

534
00:37:04,480 --> 00:37:07,120
Speaker 2: got big enough to be that King Cole or that

535
00:37:07,320 --> 00:37:09,759
Speaker 2: was the barrier that you tried to cross at that

536
00:37:09,920 --> 00:37:13,719
Speaker 2: point to give where that King Cole was? If that

537
00:37:14,000 --> 00:37:17,560
Speaker 2: not that you were with Shaw Artists Corporation and they

538
00:37:17,640 --> 00:37:21,040
Speaker 2: booked everybody, and they booked me. They worked all of

539
00:37:21,120 --> 00:37:26,480
Speaker 2: the Atlantic artists and the accountant because I was always

540
00:37:26,600 --> 00:37:31,279
Speaker 2: calling to borrow money, so he and I became very

541
00:37:31,400 --> 00:37:35,280
Speaker 2: close and he started to manage me. Then I introduced

542
00:37:35,360 --> 00:37:40,439
Speaker 2: him to the Falcons, who Robert Weston died and left

543
00:37:40,520 --> 00:37:43,239
Speaker 2: them as well, and so he started to manage me

544
00:37:44,160 --> 00:37:51,800
Speaker 2: and the Falcons, and I that because I stayed in

545
00:37:51,880 --> 00:37:55,000
Speaker 2: New York after I did come without being asked, are

546
00:37:55,080 --> 00:37:58,520
Speaker 2: we're still young people? Now? First, don't get in show

547
00:37:58,600 --> 00:38:02,000
Speaker 2: business first, but then if you do, don't go to

548
00:38:02,120 --> 00:38:08,960
Speaker 2: New York or LA unless they send for you. So

549
00:38:09,840 --> 00:38:12,080
Speaker 2: I've been kicked out of both New York and LA

550
00:38:12,960 --> 00:38:19,520
Speaker 2: but New York five times, but I you know, somebody

551
00:38:19,600 --> 00:38:24,960
Speaker 2: called Cali call that did it's uneasy and each one

552
00:38:25,000 --> 00:38:28,200
Speaker 2: of the times it's was my friends, the manager from

553
00:38:29,440 --> 00:38:34,040
Speaker 2: the accountant from Shaw. Then he made a woman out

554
00:38:34,080 --> 00:38:39,839
Speaker 2: of me. Leland Archers, Kenny Rogers brother. I went back

555
00:38:39,880 --> 00:38:45,120
Speaker 2: to Detroit and recorded for Condition My Condition is In

556
00:38:45,400 --> 00:38:49,920
Speaker 2: for Ali McLaughlin and his record label, which took me

557
00:38:50,040 --> 00:38:58,520
Speaker 2: back to Atlantic briefly. And after that Leland Archers I

558
00:38:58,600 --> 00:39:04,279
Speaker 2: did the show what Condition my Condition is In? And

559
00:39:04,400 --> 00:39:07,640
Speaker 2: Leland Rogers heard it. I'd not heard it. I took

560
00:39:07,680 --> 00:39:10,600
Speaker 2: it to him when he came to Detroite and he

561
00:39:10,760 --> 00:39:15,840
Speaker 2: loved it. And they couldn't poor that they didn't have

562
00:39:16,000 --> 00:39:19,520
Speaker 2: WoT the pitts in at the time. And he loved

563
00:39:19,560 --> 00:39:21,320
Speaker 2: it though, and he said, my brother is starting a

564
00:39:21,400 --> 00:39:25,120
Speaker 2: new record label in Nashville, and he said, I think

565
00:39:25,719 --> 00:39:28,880
Speaker 2: he was, So he sent it to him and Leland

566
00:39:29,000 --> 00:39:31,040
Speaker 2: called me. He said, I know you don't remember me,

567
00:39:32,040 --> 00:39:34,719
Speaker 2: but I was your national promotion man for left me

568
00:39:34,840 --> 00:39:41,840
Speaker 2: down easy. So my career has been just like that

569
00:39:42,160 --> 00:39:45,520
Speaker 2: all the way up till now. It's been just like

570
00:39:45,719 --> 00:39:49,080
Speaker 2: that I met you when this. Now I own this.

571
00:39:49,840 --> 00:39:52,160
Speaker 2: I want to do this for you. I remember when

572
00:39:52,239 --> 00:39:57,200
Speaker 2: we It's everything. It's never been a normal, straight ahead

573
00:39:57,520 --> 00:39:59,399
Speaker 2: kind of flop over hit.

574
00:40:09,680 --> 00:40:13,000
Speaker 1: Okay, what was your state of mind during all this?

575
00:40:14,360 --> 00:40:16,719
Speaker 1: Did you think things were going to work out? Or

576
00:40:16,719 --> 00:40:19,239
Speaker 1: would you think you know that the phone was gonna ring?

577
00:40:19,360 --> 00:40:20,319
Speaker 1: Or do you think it was over?

578
00:40:22,640 --> 00:40:25,160
Speaker 2: Well, every time it ended, I thought it was over.

579
00:40:26,400 --> 00:40:28,839
Speaker 2: But here, get up, I said. The phone always rang,

580
00:40:29,760 --> 00:40:35,279
Speaker 2: somebody always called, and it's still kind of that way,

581
00:40:35,360 --> 00:40:38,560
Speaker 2: except that I'm kind of sick of that now. I'm

582
00:40:38,600 --> 00:40:42,760
Speaker 2: sick of it dying and then me wondering if somebody

583
00:40:42,960 --> 00:40:45,560
Speaker 2: is going to call or what's going to happen. And

584
00:40:45,680 --> 00:40:49,560
Speaker 2: everybody is called. Every time the phone is wronging, it's

585
00:40:49,719 --> 00:40:57,600
Speaker 2: been somebody is something with before and that makes me

586
00:40:57,719 --> 00:41:01,400
Speaker 2: feel good, though to note that anybody it's just like

587
00:41:01,560 --> 00:41:04,160
Speaker 2: when I left it not I can still call Jerry

588
00:41:04,200 --> 00:41:07,399
Speaker 2: Wexler and say send me fifty dollars. I can still

589
00:41:07,480 --> 00:41:11,200
Speaker 2: call any producer I've ever had that is still living

590
00:41:12,000 --> 00:41:15,239
Speaker 2: on the phone today and say send me fifty dollars. Well,

591
00:41:15,280 --> 00:41:21,120
Speaker 2: I'm glad. I don't have to. But I've just never

592
00:41:21,360 --> 00:41:28,880
Speaker 2: been a great record seller. If everyone that has hurt me,

593
00:41:29,040 --> 00:41:32,760
Speaker 2: that likes me can see me, and that hasn't happened.

594
00:41:33,480 --> 00:41:38,799
Speaker 2: Anytime I've been seen, it's been fine. But I don't

595
00:41:38,960 --> 00:41:42,160
Speaker 2: know right now. When you say I think it's over,

596
00:41:43,600 --> 00:41:47,160
Speaker 2: it's always over, because that's the way it seems to me.

597
00:41:48,160 --> 00:41:50,360
Speaker 2: But so I don't know what's gonna happen now. I

598
00:41:50,440 --> 00:41:55,600
Speaker 2: don't know. I want. I'm pissed at this point because

599
00:41:55,640 --> 00:41:59,880
Speaker 2: I shouldn't don't know what's going to happen at a

600
00:42:00,040 --> 00:42:04,399
Speaker 2: even even only paid twenty dollars, I shouldn't know what's

601
00:42:04,520 --> 00:42:05,320
Speaker 2: gonna happen.

602
00:42:05,840 --> 00:42:10,000
Speaker 1: Well, but you have a band and you play live dates.

603
00:42:11,160 --> 00:42:16,480
Speaker 2: Yes, yes, but it at this point, Robert, I had

604
00:42:16,560 --> 00:42:21,040
Speaker 2: thought that I would I call it a Ray Charles

605
00:42:22,520 --> 00:42:28,840
Speaker 2: my career. I have no desire to be Beyonce, but

606
00:42:29,000 --> 00:42:32,840
Speaker 2: I have a raging desire to be Ray Charles. I

607
00:42:33,000 --> 00:42:37,879
Speaker 2: met that lifestyle. I want to go fill an auditorium

608
00:42:37,880 --> 00:42:42,200
Speaker 2: and sing for two hours, them pay a large speed,

609
00:42:42,920 --> 00:42:47,640
Speaker 2: and then I do another one next week, all over

610
00:42:48,120 --> 00:42:48,560
Speaker 2: the world.

611
00:42:48,640 --> 00:42:54,440
Speaker 1: Okay, okay, what's the most important part here? The work

612
00:42:54,640 --> 00:42:59,840
Speaker 1: or getting paid or being known. When you say Ray Charles' career,

613
00:43:00,840 --> 00:43:01,919
Speaker 1: tell me a little bit more.

614
00:43:03,680 --> 00:43:08,760
Speaker 2: I had always thought that I would die broke and unknown,

615
00:43:10,400 --> 00:43:12,399
Speaker 2: and now I know I'm just gonna die broke.

616
00:43:15,160 --> 00:43:18,200
Speaker 1: Okay, when you go on the road with your band,

617
00:43:19,360 --> 00:43:21,000
Speaker 1: that's not profitable.

618
00:43:21,560 --> 00:43:28,799
Speaker 2: Not really. I hire the best musicians available. Now, when

619
00:43:28,800 --> 00:43:30,880
Speaker 2: I was able to have a band, I've been fortunate

620
00:43:31,000 --> 00:43:35,040
Speaker 2: enough in this fifth career I call it, which has

621
00:43:35,120 --> 00:43:37,239
Speaker 2: been going on for the last twenty years, and I

622
00:43:37,360 --> 00:43:41,359
Speaker 2: am extremely grateful for it. Well, twenty five years now,

623
00:43:41,760 --> 00:43:44,120
Speaker 2: I was able to have the same band that I

624
00:43:44,280 --> 00:43:47,759
Speaker 2: went into this fifth career from Detroit, and they were

625
00:43:47,840 --> 00:43:51,040
Speaker 2: with me for twenty years. But naturally, going all over

626
00:43:51,080 --> 00:43:54,560
Speaker 2: the world with me, everybody was looking at them. So

627
00:43:55,719 --> 00:43:58,719
Speaker 2: one went to this star, one went to that star.

628
00:44:00,320 --> 00:44:05,040
Speaker 2: And because we weren't a band, maybe they would have

629
00:44:05,080 --> 00:44:09,480
Speaker 2: felt compelled to be if we were a band. But

630
00:44:09,640 --> 00:44:12,680
Speaker 2: I'm not in a band. I have a man, and

631
00:44:12,840 --> 00:44:18,040
Speaker 2: in that I am unanimous. So that always causes a problem.

632
00:44:18,160 --> 00:44:22,520
Speaker 2: And I certainly can't anybody who's been in my band

633
00:44:22,600 --> 00:44:24,920
Speaker 2: who is left to go to be with someone bigger.

634
00:44:25,440 --> 00:44:30,239
Speaker 2: I can't say anything because I'm they're not. I'm not

635
00:44:30,400 --> 00:44:34,000
Speaker 2: in a band with them. They're my band, and that's

636
00:44:34,040 --> 00:44:36,200
Speaker 2: the way I wanted. That's the way Gambulist told me

637
00:44:36,280 --> 00:44:39,279
Speaker 2: to always keep it, and that's the way I've kept it.

638
00:44:39,840 --> 00:44:44,200
Speaker 2: So I probable I'm going to do some things now,

639
00:44:44,440 --> 00:44:48,160
Speaker 2: just some duos. Those will be profitable because they will

640
00:44:48,239 --> 00:44:53,799
Speaker 2: to be just and my new company at the end.

641
00:44:53,880 --> 00:44:59,120
Speaker 2: Stat Wick and he is very, very good and we're

642
00:44:59,200 --> 00:45:02,200
Speaker 2: kind of kind in spirits. Although he's younger than me,

643
00:45:02,440 --> 00:45:07,759
Speaker 2: although everybody is. But uh that I'm looking forward to you.

644
00:45:07,920 --> 00:45:10,400
Speaker 2: When I do the duet things, I sit and do

645
00:45:10,600 --> 00:45:12,480
Speaker 2: pretty much what you and I are doing now. I

646
00:45:12,600 --> 00:45:17,840
Speaker 2: tell stories about my career about other people that I know.

647
00:45:18,320 --> 00:45:24,319
Speaker 2: I lie on me and everybody and whatever. It's more

648
00:45:24,440 --> 00:45:26,920
Speaker 2: telling you, But it sounds like that. It's because so

649
00:45:27,080 --> 00:45:28,440
Speaker 2: much of it is so amazing.

650
00:45:29,400 --> 00:45:33,480
Speaker 1: You talk about your fifth career. During that time, the

651
00:45:33,640 --> 00:45:35,799
Speaker 1: business has changed dramatically.

652
00:45:36,320 --> 00:45:36,480
Speaker 2: Uh.

653
00:45:36,800 --> 00:45:40,440
Speaker 1: Atlantic you know was an independent company then owned by

654
00:45:40,600 --> 00:45:46,080
Speaker 1: Warner et cetera. So today although there are three major labels,

655
00:45:47,320 --> 00:45:50,399
Speaker 1: everybody's in their own business. You know, you could talk

656
00:45:50,520 --> 00:45:53,280
Speaker 1: you can talk beyond Sy you can talk Taylor Swift,

657
00:45:53,920 --> 00:45:56,120
Speaker 1: And there are plenty of people who don't know the music,

658
00:45:56,360 --> 00:45:58,600
Speaker 1: they might know the name, whereas when you were coming up,

659
00:45:58,680 --> 00:46:00,400
Speaker 1: when I was coming up, if if it was a

660
00:46:00,480 --> 00:46:04,680
Speaker 1: hit on the radio, literally everybody knew yes, yes, okay.

661
00:46:05,320 --> 00:46:12,320
Speaker 1: So the game has changed a little bit. So you

662
00:46:12,600 --> 00:46:18,720
Speaker 1: had this incredible recognition at the Kennedy Center Honors. First,

663
00:46:18,840 --> 00:46:20,040
Speaker 1: how did that come to be?

664
00:46:24,200 --> 00:46:26,640
Speaker 2: But you know Kevin right, well, you know Kevin better.

665
00:46:26,480 --> 00:46:30,160
Speaker 1: Than you do me, right, that's your For those who

666
00:46:30,160 --> 00:46:30,520
Speaker 1: don't know.

667
00:46:30,800 --> 00:46:35,680
Speaker 2: He knows everything everyone who has ever stepped up to

668
00:46:35,800 --> 00:46:39,399
Speaker 2: a microphone. And it really annoys me because he knows

669
00:46:39,480 --> 00:46:46,240
Speaker 2: more black people than I do. But anyway, he called

670
00:46:46,320 --> 00:46:49,800
Speaker 2: the Kennedy Center Honors and he said, my wife is

671
00:46:49,880 --> 00:46:53,439
Speaker 2: Petty Covett. They were honoring George Jones, and he said

672
00:46:53,520 --> 00:46:59,120
Speaker 2: she's as a new recording choices by George soon and

673
00:46:59,280 --> 00:47:02,759
Speaker 2: he sent it to them and they loved it. And

674
00:47:03,560 --> 00:47:07,000
Speaker 2: Michael Stevens, who is the producers that Ken honors, who

675
00:47:07,160 --> 00:47:11,800
Speaker 2: was the son of the movie producer George Stevens, he

676
00:47:12,400 --> 00:47:15,680
Speaker 2: loved it. He said, so many people are coming from

677
00:47:15,760 --> 00:47:19,359
Speaker 2: Nashville to honor George Jones. He said, we just don't

678
00:47:19,480 --> 00:47:24,040
Speaker 2: have anything else. Another song. They said, well, we do

679
00:47:24,200 --> 00:47:31,280
Speaker 2: have songs. One song by the Hoop and I said

680
00:47:32,520 --> 00:47:39,120
Speaker 2: the what of course my husband knew it and he

681
00:47:39,320 --> 00:47:50,480
Speaker 2: played it for me and I said, yeah, but I

682
00:47:51,600 --> 00:47:58,360
Speaker 2: learned the song and I met the music director Rob Mathis,

683
00:47:58,520 --> 00:48:00,160
Speaker 2: talked to him on the phone, told him and I

684
00:48:00,280 --> 00:48:04,200
Speaker 2: wanted to do well. Got a key really is mostly

685
00:48:04,280 --> 00:48:06,719
Speaker 2: what we did. So when we got there for the

686
00:48:06,840 --> 00:48:12,400
Speaker 2: sound check or the rehearsal sound check, I called he

687
00:48:12,600 --> 00:48:16,680
Speaker 2: and Michael's side and I said, I can sing the song,

688
00:48:17,920 --> 00:48:22,359
Speaker 2: but I can't sing it like that and they said,

689
00:48:22,520 --> 00:48:30,239
Speaker 2: like what I said, like it goes. So he said, well,

690
00:48:30,360 --> 00:48:34,240
Speaker 2: can you sing it to me Rob Matthitts, the music director,

691
00:48:34,880 --> 00:48:37,560
Speaker 2: I said, I can sing it to you fuck a

692
00:48:37,640 --> 00:48:40,080
Speaker 2: ball and you can just kind of pick up when

693
00:48:40,200 --> 00:48:42,800
Speaker 2: following because I knew how I wanted to sing it.

694
00:48:43,360 --> 00:48:46,239
Speaker 2: And I sung it to him and he told the

695
00:48:46,400 --> 00:48:50,080
Speaker 2: man he said, we're going to take an our break

696
00:48:50,360 --> 00:48:53,160
Speaker 2: and come back, and he went and sat down and

697
00:48:53,239 --> 00:48:59,440
Speaker 2: bote that arrangement for me in that hour and it

698
00:48:59,600 --> 00:49:04,120
Speaker 2: just went flawlessly. I was nervouses, I don't know what,

699
00:49:04,520 --> 00:49:10,359
Speaker 2: but it just went flawlessly. And when I walked out

700
00:49:10,440 --> 00:49:16,560
Speaker 2: into the stage, Robert it was looking at the stage

701
00:49:16,640 --> 00:49:18,920
Speaker 2: put the stage put to your audience in your mind.

702
00:49:20,320 --> 00:49:25,560
Speaker 2: When I looked out fourth row, Aretha Franklin was sitting

703
00:49:26,560 --> 00:49:33,799
Speaker 2: about halfway the audience. Over from her, like Beyonce. Up

704
00:49:33,880 --> 00:49:38,680
Speaker 2: in the balcony was The Who and Pete Townshend, and

705
00:49:39,280 --> 00:49:46,200
Speaker 2: next to them was Barbara Streisson. So see see where

706
00:49:46,239 --> 00:49:49,880
Speaker 2: you can see this, because it really happened like this.

707
00:49:50,280 --> 00:49:53,440
Speaker 2: I walked out there, I started singing, and after I

708
00:49:53,520 --> 00:50:02,160
Speaker 2: got settled into the song, Aretha's mouth said I thought

709
00:50:02,239 --> 00:50:11,319
Speaker 2: she was here. Then it was Beyonce Who.

710
00:50:13,040 --> 00:50:17,400
Speaker 1: Wait, you're mouthing the words from I know, but but

711
00:50:18,200 --> 00:50:20,720
Speaker 1: but you can say for my audience, what example I'm.

712
00:50:20,600 --> 00:50:22,840
Speaker 2: Telling you after because I want you to see what

713
00:50:23,080 --> 00:50:26,600
Speaker 2: I was saying. Okay, So I'm looking at them. I

714
00:50:26,719 --> 00:50:31,080
Speaker 2: couldn't hear them either, but okay. Then I look up

715
00:50:31,120 --> 00:50:35,120
Speaker 2: in the balcony and Barbara Streisen is looking at She

716
00:50:35,280 --> 00:50:40,080
Speaker 2: pulls Pete Townsend over. She says, did you write that?

717
00:50:41,600 --> 00:50:45,960
Speaker 2: And he was looking at her, perplexed with tears in

718
00:50:46,040 --> 00:50:51,360
Speaker 2: his eyes. And I call it my three Stooges slap.

719
00:50:51,960 --> 00:50:52,840
Speaker 1: It was just a.

720
00:50:54,760 --> 00:51:02,960
Speaker 2: I've never felt so good in my entire career. And

721
00:51:03,120 --> 00:51:06,480
Speaker 2: it went fabulously well and of course, Michael Stevens, the

722
00:51:06,600 --> 00:51:12,120
Speaker 2: music director, became a producer and did that out here. Again,

723
00:51:13,040 --> 00:51:15,960
Speaker 2: I didn't go to the studio. I didn't do anything.

724
00:51:16,560 --> 00:51:22,160
Speaker 2: He produced an album on me. The interpretations out that

725
00:51:22,320 --> 00:51:25,400
Speaker 2: one caused something else to happen. But I've not.

726
00:51:26,200 --> 00:51:29,320
Speaker 1: Wait wait, wait a little bit slower. Okay, you have

727
00:51:29,480 --> 00:51:34,040
Speaker 1: your experience on stage the Kenny Center Kenny Center Honors.

728
00:51:34,680 --> 00:51:39,040
Speaker 1: Certainly prior to the final version we had last year

729
00:51:40,840 --> 00:51:46,239
Speaker 1: was during Christmas. The ratings were unbelievable. Everybody saw you

730
00:51:46,520 --> 00:51:49,879
Speaker 1: and you were the star of the show. Everybody knew

731
00:51:51,239 --> 00:51:56,720
Speaker 1: so other than the moment and then making another label,

732
00:51:57,040 --> 00:51:59,320
Speaker 1: did it change your life in any way where people

733
00:51:59,480 --> 00:52:02,000
Speaker 1: coming out of we want an interview, We want to

734
00:52:02,080 --> 00:52:05,440
Speaker 1: do this. When you walk down the street, did someone recognize?

735
00:52:05,560 --> 00:52:06,840
Speaker 1: Did it change your life?

736
00:52:07,440 --> 00:52:14,600
Speaker 2: That is why this is my fifth career, because every

737
00:52:15,040 --> 00:52:21,560
Speaker 2: time it happened, it changed my life. In other words,

738
00:52:22,080 --> 00:52:27,680
Speaker 2: the sugar always turned to shit, and I've seen more

739
00:52:27,760 --> 00:52:32,480
Speaker 2: of that than most people have. I even think that

740
00:52:32,680 --> 00:52:38,240
Speaker 2: things that's happened so instantaneously. Now, if this fifth career

741
00:52:38,320 --> 00:52:43,600
Speaker 2: had happened right now, it may have had more stick

742
00:52:43,680 --> 00:52:49,440
Speaker 2: to itiveness. But every when my man came out. It

743
00:52:49,800 --> 00:52:52,920
Speaker 2: was in the charts on a major record label. I've

744
00:52:53,000 --> 00:52:57,400
Speaker 2: been singing one month when let Me Down Easy it

745
00:52:57,520 --> 00:53:01,720
Speaker 2: came out. I was on the labels that was owned

746
00:53:02,440 --> 00:53:05,800
Speaker 2: by the mafia. I could do anything I asked for.

747
00:53:06,080 --> 00:53:09,560
Speaker 2: I wanted to be on Shindig and was. I went

748
00:53:10,120 --> 00:53:16,640
Speaker 2: everywhere I showed with James Brown. Then the next time,

749
00:53:17,160 --> 00:53:22,280
Speaker 2: every time it happened, it was the biggest life changing

750
00:53:22,560 --> 00:53:29,080
Speaker 2: thing that had happened to me. Yes, it changed my life.

751
00:53:29,719 --> 00:53:33,880
Speaker 2: When the thing you're talking about after that, it called

752
00:53:33,920 --> 00:53:35,000
Speaker 2: something else to happen.

753
00:53:37,800 --> 00:53:40,280
Speaker 1: Okay, just do a little fill in for a second.

754
00:53:40,360 --> 00:53:41,920
Speaker 1: How did you end up on Broadway?

755
00:53:45,520 --> 00:53:50,680
Speaker 2: My manager Jim Lewis, who told me early on during

756
00:53:50,800 --> 00:53:56,520
Speaker 2: that period between coming back from New York and having

757
00:53:56,560 --> 00:54:00,840
Speaker 2: a lot of local regional records that I did not

758
00:54:01,000 --> 00:54:08,480
Speaker 2: pay for, but he had me learning songs like God

759
00:54:08,560 --> 00:54:13,200
Speaker 2: Bless the Child and Sweet Georgia Brown and it Don't

760
00:54:13,280 --> 00:54:17,960
Speaker 2: Be a Thing. And my band and I, who is sixteen,

761
00:54:18,120 --> 00:54:23,160
Speaker 2: seventeen and eighteen and I was twenty three, we were

762
00:54:23,320 --> 00:54:30,640
Speaker 2: like because we were rehearsing sin Family Stone and whatever

763
00:54:30,640 --> 00:54:33,040
Speaker 2: it was hot at the time. So he made us

764
00:54:33,120 --> 00:54:36,080
Speaker 2: learn these songs. Though and made us work with the

765
00:54:36,160 --> 00:54:38,960
Speaker 2: biggest or the stud air at the time, Jimmy Wilkins

766
00:54:39,520 --> 00:54:44,120
Speaker 2: and he was the biggest man at the Detroit Musicians

767
00:54:44,239 --> 00:54:50,320
Speaker 2: Union Local five, and Jim Lewis. So we were thrown

768
00:54:50,400 --> 00:54:52,800
Speaker 2: into this sing We did all the big gigs. We

769
00:54:52,920 --> 00:54:55,600
Speaker 2: sung at the mirrors and arc roll ball, we did everything.

770
00:54:56,840 --> 00:55:05,960
Speaker 2: So when they called me, Vivian Meade was being replaced.

771
00:55:06,040 --> 00:55:09,920
Speaker 2: The problem was Vivian Red created and won the Tony

772
00:55:10,040 --> 00:55:15,480
Speaker 2: for the lead role in Bubbling Brown Sugar. They called

773
00:55:15,600 --> 00:55:21,840
Speaker 2: me in they knew who I was. Debbie Allen, husband

774
00:55:23,040 --> 00:55:26,640
Speaker 2: had been our bass player when I came to New

775
00:55:26,719 --> 00:55:33,120
Speaker 2: York the first time fifteen years before that, and told

776
00:55:33,400 --> 00:55:39,440
Speaker 2: her to tell them to call me. So if the

777
00:55:39,719 --> 00:55:43,320
Speaker 2: irony of my career it has just been like I

778
00:55:43,400 --> 00:55:46,480
Speaker 2: was saying with Leland Rogers being Kenny Roger's brother, and

779
00:55:46,560 --> 00:55:50,080
Speaker 2: that same thing happened again. So Debbie had them called

780
00:55:50,160 --> 00:55:53,880
Speaker 2: me because Debbie could dance the role, but she couldn't

781
00:55:54,040 --> 00:55:59,200
Speaker 2: sing it, and I couldn't dance. I could sing it,

782
00:55:59,360 --> 00:56:03,400
Speaker 2: and that was most important part. So when the producer

783
00:56:03,520 --> 00:56:07,800
Speaker 2: called me, he said can you dance? I said, of

784
00:56:07,840 --> 00:56:12,120
Speaker 2: course I can dance. Some black and he said, well,

785
00:56:12,440 --> 00:56:15,600
Speaker 2: whatever he's say, can you tap dance? I said no.

786
00:56:17,040 --> 00:56:19,879
Speaker 2: He said, well look at it this way, you learn

787
00:56:20,000 --> 00:56:24,759
Speaker 2: the other dances. It's just another dance you're learning if

788
00:56:24,840 --> 00:56:32,160
Speaker 2: you can dance. So I went to the audition Jim Lewis,

789
00:56:32,239 --> 00:56:35,120
Speaker 2: who had taught me all these songs and had every

790
00:56:35,360 --> 00:56:39,000
Speaker 2: faith in me. He wasn't even thinking about dancer. He

791
00:56:39,160 --> 00:56:41,480
Speaker 2: was thinking, get her an understory and let her dance.

792
00:56:42,400 --> 00:56:44,440
Speaker 2: He was so thrilled that I was going to be

793
00:56:44,560 --> 00:56:47,120
Speaker 2: singing these songs that came out of the era. He

794
00:56:47,320 --> 00:56:51,239
Speaker 2: came from the Duke Kellington Jimmy Lunsword era, and he

795
00:56:51,400 --> 00:56:54,200
Speaker 2: had taught me all these songs. I never had a

796
00:56:54,840 --> 00:56:57,239
Speaker 2: call for these songs, which is why I didn't want

797
00:56:57,280 --> 00:57:00,279
Speaker 2: to learn them. But I had learned them. I went

798
00:57:00,360 --> 00:57:03,080
Speaker 2: up on this stage and a sun God child, I

799
00:57:03,120 --> 00:57:08,440
Speaker 2: had sung Speech Brown. They hired me that day. I

800
00:57:08,560 --> 00:57:11,439
Speaker 2: had to go to rehearsal the next morning. It took

801
00:57:12,520 --> 00:57:15,000
Speaker 2: three weeks for my clothes to catch up with me

802
00:57:15,560 --> 00:57:19,280
Speaker 2: because I went on tour that week. When they left

803
00:57:19,480 --> 00:57:27,240
Speaker 2: New York and Honey Coles was telling that directory, he said,

804
00:57:27,320 --> 00:57:31,000
Speaker 2: she's not a dancer, she's a singer. He said, don't

805
00:57:31,080 --> 00:57:34,280
Speaker 2: count to her, sing to her say ba a bute

806
00:57:34,920 --> 00:57:41,480
Speaker 2: bute bout as opposed to one and two and one

807
00:57:41,640 --> 00:57:44,080
Speaker 2: and two. And I didn't know one and two and

808
00:57:44,200 --> 00:57:47,520
Speaker 2: three went so honey, Coloes put his arm around me

809
00:57:47,880 --> 00:57:50,760
Speaker 2: and sung it to me and talked to me those

810
00:57:50,880 --> 00:57:53,840
Speaker 2: few steps that I had to do to get on

811
00:57:54,040 --> 00:57:59,360
Speaker 2: the stage at the end of that week, the first

812
00:57:59,480 --> 00:58:02,800
Speaker 2: time I had ever been in a show or on

813
00:58:03,000 --> 00:58:07,640
Speaker 2: a Broadway stage of my life. I did that. And

814
00:58:07,720 --> 00:58:10,520
Speaker 2: the next morning I got up and went to rehearsal,

815
00:58:11,000 --> 00:58:17,720
Speaker 2: and he taught me, and I did that all day,

816
00:58:18,200 --> 00:58:21,560
Speaker 2: and I did that that night. Then the next morning

817
00:58:21,880 --> 00:58:24,960
Speaker 2: I got off. And when I learned how to do

818
00:58:25,080 --> 00:58:29,240
Speaker 2: the book and win, every day I went to rehearsal.

819
00:58:29,960 --> 00:58:33,600
Speaker 2: My feet. I had never used all the muscles in

820
00:58:33,760 --> 00:58:36,920
Speaker 2: my feet like that. I danced all night. You know

821
00:58:37,040 --> 00:58:41,320
Speaker 2: how to dance, but I had never done that. Most

822
00:58:41,680 --> 00:58:44,800
Speaker 2: professional dancing is down on you. The balls of your feet,

823
00:58:45,360 --> 00:58:47,600
Speaker 2: the balls of my feet, if you touched them with

824
00:58:47,720 --> 00:58:52,080
Speaker 2: your finger, I would screamed. They were so sore. And

825
00:58:53,000 --> 00:58:56,120
Speaker 2: I got through that week. Then I got through the

826
00:58:56,240 --> 00:58:59,000
Speaker 2: next week, and the songs I was stopped in the show.

827
00:58:59,480 --> 00:59:03,240
Speaker 2: You know songs, So that was keeping the producer police

828
00:59:04,160 --> 00:59:06,200
Speaker 2: and they just had to teach me to dance, and

829
00:59:06,320 --> 00:59:11,280
Speaker 2: that to two weeks, and that's how I wound up

830
00:59:11,320 --> 00:59:11,840
Speaker 2: in the show.

831
00:59:12,080 --> 00:59:15,360
Speaker 1: You're right, but you stayed with the show a long time, right.

832
00:59:15,400 --> 00:59:19,480
Speaker 2: Yeah, because each show the closest like that was getting

833
00:59:19,520 --> 00:59:24,240
Speaker 2: ready to be the Broadway show, which was gonna stay there.

834
00:59:24,880 --> 00:59:29,840
Speaker 2: After the original stars left and went to Europe on

835
00:59:29,960 --> 00:59:34,120
Speaker 2: a Europe show, they made a road show as well.

836
00:59:34,480 --> 00:59:37,440
Speaker 2: The ones that didn't go to Europe, Honey Coals and

837
00:59:37,520 --> 00:59:41,480
Speaker 2: the people that were left with me, we went on

838
00:59:41,800 --> 00:59:47,800
Speaker 2: the road here in America, so we did that for

839
00:59:48,640 --> 00:59:51,320
Speaker 2: I guess. I did that for a year. Then they

840
00:59:51,360 --> 00:59:53,320
Speaker 2: had a bus and truck show. I did that for

841
00:59:53,840 --> 00:59:57,440
Speaker 2: six months. Then they had some old show and I

842
00:59:57,560 --> 01:00:00,560
Speaker 2: did that. So I did wrote three to times in

843
01:00:00,680 --> 01:00:04,200
Speaker 2: three different capacities. They get less and less, you know,

844
01:00:04,480 --> 01:00:07,000
Speaker 2: like when you get down the bus and truck, which

845
01:00:07,080 --> 01:00:10,000
Speaker 2: is what I did with Cab Caliway. It had gotten

846
01:00:10,080 --> 01:00:13,240
Speaker 2: down to where we were all traveling by bus and

847
01:00:13,320 --> 01:00:16,440
Speaker 2: all the equipment was being carried and costumes are being

848
01:00:16,520 --> 01:00:20,200
Speaker 2: carried by truck. And of course had learned more then

849
01:00:20,480 --> 01:00:26,720
Speaker 2: with Mabel Lee and with Cab, Caliway and Cab. When

850
01:00:26,760 --> 01:00:30,760
Speaker 2: I was doing this show, he disliked all the young

851
01:00:30,840 --> 01:00:34,240
Speaker 2: people on the show at first. He got like some

852
01:00:34,400 --> 01:00:37,800
Speaker 2: of them a little bitter. But he liked me because

853
01:00:38,040 --> 01:00:41,120
Speaker 2: of the ethic that Jim Lewis had given me. I

854
01:00:41,240 --> 01:00:43,880
Speaker 2: want make up. Every day when we went to the

855
01:00:44,000 --> 01:00:48,160
Speaker 2: airport to where I was dressed, and he always had

856
01:00:48,240 --> 01:00:51,520
Speaker 2: on an ascot or a tie or whatever. And he said,

857
01:00:51,560 --> 01:00:54,160
Speaker 2: that's the way it starts. It's supposed to look when

858
01:00:54,240 --> 01:00:57,120
Speaker 2: they when they travel, these chicks and these house shoes,

859
01:00:57,240 --> 01:01:01,240
Speaker 2: these rollers in theirs. He would be so mad, but

860
01:01:01,560 --> 01:01:03,640
Speaker 2: he let me ride with him when we were on

861
01:01:03,800 --> 01:01:09,360
Speaker 2: the road in his Lincoln Cottmental and I rode with him,

862
01:01:10,120 --> 01:01:12,520
Speaker 2: and then I told my husband, I said, I think

863
01:01:12,680 --> 01:01:15,200
Speaker 2: secretly the reason he let me ride with him is

864
01:01:15,200 --> 01:01:18,200
Speaker 2: because I would jump out of the car at the

865
01:01:18,400 --> 01:01:22,160
Speaker 2: ATM machines and go and put not ATM machines the

866
01:01:22,240 --> 01:01:27,520
Speaker 2: off track, betting the off track, betting the otb otbs.

867
01:01:28,000 --> 01:01:30,400
Speaker 2: I would run and put his bets in for him,

868
01:01:30,960 --> 01:01:33,440
Speaker 2: because we bet the whole while we were in New England.

869
01:01:33,520 --> 01:01:36,480
Speaker 2: They have in New England they have otv's, So I

870
01:01:36,520 --> 01:01:38,200
Speaker 2: would jump out of the car and go and put

871
01:01:38,240 --> 01:01:40,280
Speaker 2: his betsend for him. I said that was why he

872
01:01:40,400 --> 01:01:43,640
Speaker 2: had me ride with him. He'd have somebody cute who

873
01:01:43,720 --> 01:01:47,040
Speaker 2: could run and do all things he wanted done. But

874
01:01:47,200 --> 01:01:51,120
Speaker 2: I learned so much just in conversation. And since that's

875
01:01:51,280 --> 01:01:54,240
Speaker 2: the show business. I got in show business to be

876
01:01:54,680 --> 01:01:58,560
Speaker 2: in the one I had seen in movies and on television.

877
01:01:59,200 --> 01:01:59,800
Speaker 1: He was it.

878
01:02:00,160 --> 01:02:02,760
Speaker 2: And he just told me so many stories and I

879
01:02:02,960 --> 01:02:03,360
Speaker 2: love them.

880
01:02:11,840 --> 01:02:14,920
Speaker 1: Okay, when you were in the road show, since you

881
01:02:15,040 --> 01:02:18,000
Speaker 1: brought up finances, did you make good money working in

882
01:02:18,120 --> 01:02:18,439
Speaker 1: the show?

883
01:02:18,920 --> 01:02:22,800
Speaker 2: Yes, yes, more money than I had ever made before

884
01:02:24,480 --> 01:02:28,840
Speaker 2: because nothing had lasted that consistently before. But I've never

885
01:02:29,000 --> 01:02:35,320
Speaker 2: made consider just the way this is like. If I

886
01:02:35,440 --> 01:02:40,680
Speaker 2: understand the envy the way it's described, it's wishing that

887
01:02:40,880 --> 01:02:44,280
Speaker 2: the other person didn't have it and you did. And

888
01:02:44,400 --> 01:02:46,680
Speaker 2: I don't feel that way because I'm so glad for

889
01:02:47,480 --> 01:02:49,880
Speaker 2: all of certainly all the people I grew up with.

890
01:02:50,680 --> 01:02:54,000
Speaker 2: But look at who I grew up with. They're all millionaires,

891
01:02:55,360 --> 01:02:58,760
Speaker 2: and I have done the same thing that they don't

892
01:02:59,080 --> 01:03:03,440
Speaker 2: gone the same thing, but things have just fallen differently

893
01:03:03,600 --> 01:03:06,080
Speaker 2: for them than they have for me, And I think

894
01:03:07,000 --> 01:03:09,600
Speaker 2: that is what I mean when I say I'm absolutely

895
01:03:11,920 --> 01:03:17,480
Speaker 2: thrill and grateful because I had done things that no

896
01:03:17,680 --> 01:03:21,040
Speaker 2: one else in my family would ever dreamed of doing.

897
01:03:22,040 --> 01:03:22,120
Speaker 1: But.

898
01:03:23,680 --> 01:03:26,280
Speaker 2: Pissed because I haven't got as much money as.

899
01:03:27,160 --> 01:03:31,280
Speaker 1: Okay, you're living on the north side of Detroit. You

900
01:03:31,440 --> 01:03:37,720
Speaker 1: mentioned all these household names irrelevant of finances. Are those

901
01:03:37,840 --> 01:03:40,400
Speaker 1: people your friends at this point? Do you know that

902
01:03:40,400 --> 01:03:43,800
Speaker 1: it's the ones who are still alive? Are they you say, Oh,

903
01:03:43,840 --> 01:03:46,080
Speaker 1: they're in show business, they used to live in the neighborhood.

904
01:03:46,080 --> 01:03:49,320
Speaker 1: I've crossed paths with them once or twice. Or are

905
01:03:49,400 --> 01:03:51,080
Speaker 1: these people you're friends?

906
01:03:52,000 --> 01:03:54,440
Speaker 2: Oh? No, all of them were. You have to remember

907
01:03:54,880 --> 01:03:56,920
Speaker 2: we have a joke that white people think that all

908
01:03:57,000 --> 01:04:00,160
Speaker 2: black people know each other. In nineteen sixty two, they

909
01:04:00,280 --> 01:04:02,680
Speaker 2: did because they all went to the same church, the

910
01:04:02,760 --> 01:04:07,880
Speaker 2: same supermarket. I know all these people personally. The ones

911
01:04:07,920 --> 01:04:11,880
Speaker 2: who aren't dead or who have not gone to God,

912
01:04:13,560 --> 01:04:17,400
Speaker 2: I'm friends with. I was friends with the Tops Attempts,

913
01:04:18,560 --> 01:04:24,840
Speaker 2: oh until they died. Of so many of them. If

914
01:04:24,880 --> 01:04:27,400
Speaker 2: they aren't dead or having gone to God, I'm still

915
01:04:27,480 --> 01:04:28,040
Speaker 2: friends with them.

916
01:04:29,640 --> 01:04:34,320
Speaker 1: Okay, you have this Broadway run in a show that

917
01:04:34,960 --> 01:04:38,880
Speaker 1: is touring that doesn't lead to another Broadway role.

918
01:04:41,960 --> 01:04:45,120
Speaker 2: I wouldn't do. I'm not. Everybody think it's because I'm

919
01:04:45,160 --> 01:04:48,520
Speaker 2: so animated I can act, But all I can act

920
01:04:48,680 --> 01:04:51,360
Speaker 2: like is me. I can't act like my name is

921
01:04:51,480 --> 01:04:54,560
Speaker 2: Natasha and I have five children a husband who beats me.

922
01:04:55,040 --> 01:05:00,840
Speaker 2: I really think that actors, well, I I like actors

923
01:05:00,920 --> 01:05:03,440
Speaker 2: better than I do singers, because I think that that's

924
01:05:03,520 --> 01:05:06,360
Speaker 2: a either you can saying it's a gift or you've

925
01:05:06,400 --> 01:05:09,200
Speaker 2: got some kind of trick or something that you fool people.

926
01:05:09,760 --> 01:05:15,080
Speaker 2: But acting is you have to believe the person's name

927
01:05:15,280 --> 01:05:20,400
Speaker 2: is Ili May and they kill five people. And I

928
01:05:20,600 --> 01:05:24,440
Speaker 2: think acting is hard and I cannot do it. But

929
01:05:24,600 --> 01:05:28,080
Speaker 2: people think because I'm so animated in my speech and

930
01:05:28,400 --> 01:05:31,520
Speaker 2: just natural me that I can do it. I can't

931
01:05:31,600 --> 01:05:35,520
Speaker 2: remember all those words and assume a whole other attitude

932
01:05:35,600 --> 01:05:38,840
Speaker 2: that isn't me. So when I went to try out

933
01:05:39,080 --> 01:05:42,800
Speaker 2: for and then the dancing, I mean the things you

934
01:05:42,920 --> 01:05:45,400
Speaker 2: have to do in New York to do these shows.

935
01:05:46,080 --> 01:05:50,280
Speaker 2: Unless you've been somebody as a lead actor actress, then

936
01:05:50,280 --> 01:05:53,200
Speaker 2: they want you to come and read things and dance

937
01:05:53,720 --> 01:05:58,280
Speaker 2: and just auditioning itself. I mean, my thing to your

938
01:05:58,320 --> 01:06:03,240
Speaker 2: auditioners are can you say my attitude to be in

939
01:06:03,440 --> 01:06:07,640
Speaker 2: theater is not good. I do the best I can

940
01:06:07,840 --> 01:06:12,920
Speaker 2: to be in the recording industry and working nightclubs with

941
01:06:13,160 --> 01:06:17,240
Speaker 2: theater I could never do. I've done it once and

942
01:06:17,440 --> 01:06:20,040
Speaker 2: that was because they called n.

943
01:06:22,240 --> 01:06:25,040
Speaker 1: Okay, let's go back to the Kennedy Center Honors.

944
01:06:25,560 --> 01:06:31,840
Speaker 2: Let me call Kevin. Kevin. I did not rearrange it.

945
01:06:32,360 --> 01:06:38,640
Speaker 1: You said that you couldn't sing it that way. Do

946
01:06:38,720 --> 01:06:39,480
Speaker 1: you need Kevin?

947
01:06:40,320 --> 01:06:41,040
Speaker 2: No, he's here.

948
01:06:42,440 --> 01:06:44,800
Speaker 1: Well, I was just talking to you. But in any event,

949
01:06:45,360 --> 01:06:47,920
Speaker 1: how did you come up with the way you wanted

950
01:06:48,000 --> 01:06:48,440
Speaker 1: to sing it?

951
01:06:50,960 --> 01:06:55,480
Speaker 2: That is so amazing to me. You don't think it

952
01:06:55,560 --> 01:07:00,560
Speaker 2: would be more difficult for me to sing something like

953
01:07:00,800 --> 01:07:07,320
Speaker 2: someone else then singing it like me. But the way

954
01:07:07,400 --> 01:07:12,880
Speaker 2: people understand it is the wrong way. I don't come

955
01:07:13,560 --> 01:07:17,640
Speaker 2: up with it. That's the way it sounded to me.

956
01:07:20,080 --> 01:07:23,440
Speaker 2: I don't. That was one of the early things with

957
01:07:23,600 --> 01:07:27,520
Speaker 2: Jim when he was teaching me all of these Sarah

958
01:07:27,760 --> 01:07:32,320
Speaker 2: Faun and Billy They songs. I thought I couldn't sing

959
01:07:32,400 --> 01:07:34,320
Speaker 2: them because I knew I couldn't sing them like that.

960
01:07:35,320 --> 01:07:38,720
Speaker 2: So I thought I was singing them wrong because I

961
01:07:38,840 --> 01:07:43,880
Speaker 2: couldn't sing them that way. But Jim said stupid woman.

962
01:07:44,240 --> 01:07:49,080
Speaker 2: That's the idea. You're supposed to sing them and sound different.

963
01:07:50,480 --> 01:07:53,880
Speaker 2: I said, but they only sound good if you sing

964
01:07:54,000 --> 01:07:58,240
Speaker 2: them like that, and he said, no that, no, no, here,

965
01:07:58,840 --> 01:08:03,000
Speaker 2: let's start all over again. Yeah. It was a long

966
01:08:03,160 --> 01:08:06,800
Speaker 2: time before I realized that it was okay for me

967
01:08:06,920 --> 01:08:11,680
Speaker 2: to sound different and sing the songs different. I wanted

968
01:08:11,760 --> 01:08:14,720
Speaker 2: to sing them like the people who sung them.

969
01:08:16,760 --> 01:08:21,880
Speaker 1: Okay, so you've made albums of rock tunes, you've made

970
01:08:21,920 --> 01:08:26,000
Speaker 1: albums of admitting, album of Dylan tunes. You're telling me

971
01:08:26,840 --> 01:08:30,519
Speaker 1: there's not a long process of rearranging how you're going

972
01:08:30,600 --> 01:08:33,200
Speaker 1: to do it. You just hear the song and then

973
01:08:33,240 --> 01:08:34,200
Speaker 1: you do it your way.

974
01:08:37,280 --> 01:08:45,360
Speaker 2: Robert, it's the exact same thing that happens in bed. Okay,

975
01:08:47,640 --> 01:08:51,839
Speaker 2: you don't. You may have seen a sixth film or whatever,

976
01:08:52,000 --> 01:08:55,680
Speaker 2: and let may have given you the initial idea, but

977
01:08:55,960 --> 01:09:00,800
Speaker 2: everybody's different in bed. Credit says, Okay, Henry did this

978
01:09:01,439 --> 01:09:04,759
Speaker 2: just like this, so I'm gonna turn her face around.

979
01:09:05,000 --> 01:09:09,000
Speaker 2: Maybe when you were younger, but everybody's different. And singing

980
01:09:09,640 --> 01:09:14,519
Speaker 2: being a thing that you aren't taught. Either you can sing,

981
01:09:14,880 --> 01:09:19,920
Speaker 2: damn it, or you can't. And I really can't sing.

982
01:09:20,200 --> 01:09:22,840
Speaker 2: But I'm able to present the tunes and present my

983
01:09:23,000 --> 01:09:26,000
Speaker 2: feelings along with them. And my voice doesn't sound awful.

984
01:09:26,840 --> 01:09:29,960
Speaker 2: But when you listen to Louis Armstrong, he can make

985
01:09:30,040 --> 01:09:33,760
Speaker 2: you cry, he can make you laugh. He doesn't sound beautiful.

986
01:09:34,880 --> 01:09:38,519
Speaker 2: But I thought that as a girl, for sure, I

987
01:09:38,680 --> 01:09:42,439
Speaker 2: needed to sound a little more nanse elutionist. And it

988
01:09:42,600 --> 01:09:47,360
Speaker 2: was years before I accepted that the way I sung

989
01:09:47,760 --> 01:09:49,679
Speaker 2: was the way I sung.

990
01:09:52,240 --> 01:09:58,640
Speaker 1: Okay, you said you had a child at sixteen. Sometimes

991
01:10:00,000 --> 01:10:06,280
Speaker 1: I didn't say that I did that well, put was

992
01:10:06,439 --> 01:10:11,160
Speaker 1: that a bump in the road, a tragedy or was

993
01:10:11,320 --> 01:10:13,640
Speaker 1: that you know this? You know I'm pregnant. I have

994
01:10:13,720 --> 01:10:14,479
Speaker 1: a baby. That's it.

995
01:10:16,479 --> 01:10:21,439
Speaker 2: Now. It's pretty bad for my people. They always you

996
01:10:21,520 --> 01:10:24,200
Speaker 2: always want the guy to do right, and you take

997
01:10:24,240 --> 01:10:27,840
Speaker 2: care of the baby. But this thing I'm telling you.

998
01:10:28,240 --> 01:10:31,840
Speaker 2: When I met Lee Jones, my daughter was six months old,

999
01:10:32,760 --> 01:10:35,559
Speaker 2: and I had my sister, who was thirteen years older

1000
01:10:35,560 --> 01:10:38,880
Speaker 2: than me, was still there and my mother and they

1001
01:10:39,080 --> 01:10:43,960
Speaker 2: took the baby. They just took the baby. At one point,

1002
01:10:44,680 --> 01:10:47,760
Speaker 2: I said, I'm leaving and I'm taking my baby. And

1003
01:10:47,920 --> 01:10:50,640
Speaker 2: I always cry about it when I get drunk. It

1004
01:10:50,800 --> 01:10:53,639
Speaker 2: was the first time that, the only time I pushed

1005
01:10:53,800 --> 01:10:57,080
Speaker 2: my sister. She was trying to take the baby. Had

1006
01:10:57,200 --> 01:10:59,840
Speaker 2: she not taken the baby, they probably wouldn't have even

1007
01:11:00,080 --> 01:11:03,080
Speaker 2: been a baby. But they wanted me. I was the

1008
01:11:03,200 --> 01:11:06,160
Speaker 2: first person my family make one hundred dollars in one

1009
01:11:06,640 --> 01:11:11,639
Speaker 2: day in cash money and bring it home. They wanted

1010
01:11:11,960 --> 01:11:16,000
Speaker 2: me to sing. They said, you all these women in

1011
01:11:16,080 --> 01:11:20,160
Speaker 2: this house. My grandson now calls all his women, but

1012
01:11:21,280 --> 01:11:24,400
Speaker 2: he's the first boy in one hundred years. But my

1013
01:11:25,000 --> 01:11:28,599
Speaker 2: mother and my sister wanted me to sing. We've never

1014
01:11:29,400 --> 01:11:34,120
Speaker 2: had anything or done anything. And people were talking about

1015
01:11:34,200 --> 01:11:38,600
Speaker 2: me on a radio and recognizing me in a supermarket

1016
01:11:38,680 --> 01:11:42,080
Speaker 2: and whatever. They didn't say, come home and be a

1017
01:11:42,160 --> 01:11:47,280
Speaker 2: good mother. They said, we got this. You go sing,

1018
01:11:48,360 --> 01:11:49,320
Speaker 2: and they raised her.

1019
01:11:50,960 --> 01:11:52,200
Speaker 1: How many children do you have?

1020
01:11:52,720 --> 01:11:52,760
Speaker 2: What?

1021
01:11:54,479 --> 01:11:54,839
Speaker 1: Okay?

1022
01:11:55,240 --> 01:11:57,000
Speaker 2: And be he's it?

1023
01:11:59,240 --> 01:12:00,960
Speaker 1: And how many times you've been married?

1024
01:12:04,360 --> 01:12:10,599
Speaker 2: Only only the times that were necessary? Three times since

1025
01:12:10,600 --> 01:12:11,719
Speaker 2: it is my third husband.

1026
01:12:12,560 --> 01:12:15,920
Speaker 1: But wait, wait, wait wait wait now you sometimes didn't No,

1027
01:12:17,000 --> 01:12:19,000
Speaker 1: I want to know what you meant, but you said

1028
01:12:19,120 --> 01:12:20,400
Speaker 1: only when necessary?

1029
01:12:20,479 --> 01:12:24,400
Speaker 2: What is that? Like? I just uh you? You you

1030
01:12:24,520 --> 01:12:26,880
Speaker 2: tend to punk out in this business an awful lot,

1031
01:12:27,360 --> 01:12:31,160
Speaker 2: and you just want somebody to share a misery with you. Uh,

1032
01:12:31,439 --> 01:12:34,000
Speaker 2: so I married one time for that, and I married

1033
01:12:34,040 --> 01:12:37,680
Speaker 2: one time because after I was pregnant at sixteen, they

1034
01:12:37,760 --> 01:12:41,120
Speaker 2: said you're supposed to get married, and so we did,

1035
01:12:41,200 --> 01:12:44,760
Speaker 2: and we're together for gosh, the whole six months, I

1036
01:12:44,840 --> 01:12:49,360
Speaker 2: believe it was. But we stayed friends until he died.

1037
01:12:50,040 --> 01:12:53,760
Speaker 2: He actually worked on Kevin's car. He's a mechanic. He

1038
01:12:53,880 --> 01:12:57,759
Speaker 2: actually worked on Kevin's car when Kevin came to detit

1039
01:12:57,920 --> 01:13:02,640
Speaker 2: after I met him and my ex husband was a

1040
01:13:02,760 --> 01:13:09,120
Speaker 2: manager for the Hired hotels, and Kevin actually went with

1041
01:13:09,320 --> 01:13:14,880
Speaker 2: me to his funeral. Every man, every producer that I

1042
01:13:14,960 --> 01:13:19,920
Speaker 2: have ever been, anybody I've ever been involved with, unless

1043
01:13:20,160 --> 01:13:23,120
Speaker 2: I stopped speaking to them, I can pick up the

1044
01:13:23,200 --> 01:13:26,240
Speaker 2: phone and call them right now.

1045
01:13:28,479 --> 01:13:29,599
Speaker 1: How did you meet Kevin?

1046
01:13:34,600 --> 01:13:38,640
Speaker 2: Kevin sent me an email after I've been online for

1047
01:13:39,840 --> 01:13:43,840
Speaker 2: maybe two weeks or weeks, and he said, my name

1048
01:13:44,000 --> 01:13:47,720
Speaker 2: is Kevin Kylie. I've been a fan of yours for

1049
01:13:48,479 --> 01:13:53,080
Speaker 2: eleven years and I found out that you were heading

1050
01:13:53,400 --> 01:13:59,840
Speaker 2: letting Black record you, and I one suggest that you

1051
01:14:00,120 --> 01:14:04,599
Speaker 2: don't do that. It's been years since you've been several

1052
01:14:04,720 --> 01:14:08,720
Speaker 2: years since you've had a record of any note, and

1053
01:14:09,160 --> 01:14:13,800
Speaker 2: everybody he's recorded, it's been bad, and I don't want

1054
01:14:13,880 --> 01:14:19,400
Speaker 2: you to do that. So I sent him a message back,

1055
01:14:20,080 --> 01:14:23,960
Speaker 2: one of the first messages I ever because at first

1056
01:14:24,040 --> 01:14:26,200
Speaker 2: I thought if I touched these keys, I'm gonna blow

1057
01:14:26,320 --> 01:14:29,120
Speaker 2: up mere I say, someone from push the wrong ones.

1058
01:14:29,200 --> 01:14:36,040
Speaker 2: But I said, who the fuck are you if you

1059
01:14:36,120 --> 01:14:38,120
Speaker 2: don't have any money to take me in the studio,

1060
01:14:38,600 --> 01:14:45,679
Speaker 2: sit down somewhere and shut off. And then after Ali

1061
01:14:45,800 --> 01:14:49,040
Speaker 2: sent me one back and he said, I'm an antique

1062
01:14:49,400 --> 01:14:53,160
Speaker 2: glass dealer and I will be doing a show in Leshroit.

1063
01:14:54,560 --> 01:14:57,600
Speaker 2: I would like to take you out to dinner and

1064
01:14:59,160 --> 01:15:05,160
Speaker 2: apologize whatever we were having. And he did, and he

1065
01:15:06,680 --> 01:15:08,760
Speaker 2: took me out to dinner, and then I took him

1066
01:15:08,760 --> 01:15:13,240
Speaker 2: to all the places in our own and that worked well.

1067
01:15:13,640 --> 01:15:17,840
Speaker 2: They frightening. I always have if I have one white

1068
01:15:17,880 --> 01:15:20,720
Speaker 2: person to my own, I always liked to take them

1069
01:15:20,760 --> 01:15:22,920
Speaker 2: into the belly of the music that they say they

1070
01:15:23,040 --> 01:15:27,360
Speaker 2: love so much. So that was what I did Kevin,

1071
01:15:27,479 --> 01:15:32,160
Speaker 2: and he loved it, and he came back to do

1072
01:15:32,240 --> 01:15:35,320
Speaker 2: another show. Then he came back to do another show.

1073
01:15:36,080 --> 01:15:38,880
Speaker 2: Then it came back and he brought this with him.

1074
01:15:40,000 --> 01:15:43,639
Speaker 1: And which was a ring were audio only.

1075
01:15:44,120 --> 01:15:49,000
Speaker 2: Oh I'm sorry, and he asked me and am. Actually

1076
01:15:49,080 --> 01:15:51,760
Speaker 2: I was in the middle of a rehearsal with the

1077
01:15:51,920 --> 01:15:56,599
Speaker 2: band that was going to be this fifth career band,

1078
01:15:57,560 --> 01:16:00,599
Speaker 2: with a record that at the time the record company

1079
01:16:00,640 --> 01:16:05,040
Speaker 2: owner had disappeared. We could not find him, and we

1080
01:16:05,160 --> 01:16:07,840
Speaker 2: were just going to go forward and put the record

1081
01:16:07,880 --> 01:16:12,040
Speaker 2: out and do the songs. So Kevin came into all

1082
01:16:12,120 --> 01:16:14,840
Speaker 2: of that and helped me a lot with all of that,

1083
01:16:15,640 --> 01:16:18,280
Speaker 2: but we thought that it was the best record at

1084
01:16:18,320 --> 01:16:21,280
Speaker 2: that point that I had ever recorded. And in the

1085
01:16:21,360 --> 01:16:25,040
Speaker 2: owner of record company just dispute.

1086
01:16:26,040 --> 01:16:26,960
Speaker 1: That show business.

1087
01:16:30,720 --> 01:16:33,920
Speaker 2: Tell me about it, baby, Okay.

1088
01:16:34,040 --> 01:16:37,920
Speaker 1: You talk about this parapatetic career ups and downs?

1089
01:16:38,200 --> 01:16:39,960
Speaker 2: What how did tarapathetic mean?

1090
01:16:40,280 --> 01:16:43,200
Speaker 1: Well, let's leave that for another thing. That's sort of

1091
01:16:43,320 --> 01:16:47,400
Speaker 1: like a hollowns whatever. How did you survive.

1092
01:16:50,439 --> 01:16:55,679
Speaker 2: Well as somebody? If somebody was always willing to spend

1093
01:16:55,840 --> 01:17:01,080
Speaker 2: thousands of dollars to record me, then other people like

1094
01:17:01,200 --> 01:17:07,200
Speaker 2: I believe it's a line in Streetcar named desire, and

1095
01:17:07,280 --> 01:17:10,760
Speaker 2: girlfriend says, I've always depended upon the kindness of strangers,

1096
01:17:12,400 --> 01:17:15,880
Speaker 2: and I've never met a stranger who didn't like me,

1097
01:17:17,000 --> 01:17:21,160
Speaker 2: and I've never been ashamed to say I need this

1098
01:17:22,479 --> 01:17:25,360
Speaker 2: whole thing here. Will you help me get it, and.

1099
01:17:27,160 --> 01:17:27,439
Speaker 3: They have.

1100
01:17:27,920 --> 01:17:33,920
Speaker 2: I met. The business itself has been kind in one way,

1101
01:17:34,680 --> 01:17:39,840
Speaker 2: and then the other people have helped me stay in

1102
01:17:40,400 --> 01:17:46,439
Speaker 2: the business. But people have the stories, Robert, the things

1103
01:17:46,439 --> 01:17:48,240
Speaker 2: that I've told you this evening. I mean, if we

1104
01:17:48,400 --> 01:17:54,040
Speaker 2: went through it record by record, you could say it

1105
01:17:54,520 --> 01:17:58,280
Speaker 2: really it's just been phenomenal. And that makes it so

1106
01:17:58,439 --> 01:18:02,400
Speaker 2: much more frustrating how all of these people could have

1107
01:18:02,479 --> 01:18:06,519
Speaker 2: spent all of these millions of dollars on me and

1108
01:18:06,680 --> 01:18:09,280
Speaker 2: I still can't get it together work. I don't have

1109
01:18:09,400 --> 01:18:14,360
Speaker 2: to hustle. And when I say hustle, I mean have

1110
01:18:14,560 --> 01:18:18,640
Speaker 2: it doing smaller eggs, or not being able to have

1111
01:18:18,800 --> 01:18:24,439
Speaker 2: the whole band with me, or like the Rolling Stones,

1112
01:18:24,720 --> 01:18:28,320
Speaker 2: not being able being able to work when I choose

1113
01:18:28,840 --> 01:18:33,479
Speaker 2: to work for as long as I choose to work.

1114
01:18:34,720 --> 01:18:37,920
Speaker 2: And I think that is when somebody says you don't

1115
01:18:38,800 --> 01:18:42,760
Speaker 2: I can't imagine anybody saying you don't deserve that. Nick

1116
01:18:42,840 --> 01:18:45,880
Speaker 2: and I of the same age. I sing as well

1117
01:18:45,960 --> 01:18:49,120
Speaker 2: as he does. I've had as many records as he has.

1118
01:18:49,240 --> 01:18:52,439
Speaker 2: The only thing is mine just didn't sell. Like it's

1119
01:18:54,880 --> 01:19:01,720
Speaker 2: so I just I am extremely grateful, but I'm I'm

1120
01:19:01,840 --> 01:19:04,800
Speaker 2: just really pissed. At that. But I mean it's like

1121
01:19:04,920 --> 01:19:07,800
Speaker 2: if you go and get into a crap game. I mean,

1122
01:19:07,880 --> 01:19:12,519
Speaker 2: everybody at the table doesn't win, and I'm just one

1123
01:19:12,560 --> 01:19:15,760
Speaker 2: of the ones who did not have that. But as

1124
01:19:15,840 --> 01:19:20,120
Speaker 2: I said, I'm not going to die obscure. I know

1125
01:19:20,479 --> 01:19:25,280
Speaker 2: that I've done some things that were milestones in this industry.

1126
01:19:25,320 --> 01:19:29,000
Speaker 2: And I know that my granddaughter and my grandson will

1127
01:19:29,080 --> 01:19:33,559
Speaker 2: be able to somebody's gonna want to talk to them

1128
01:19:33,840 --> 01:19:38,439
Speaker 2: about me for all of their lives. Somebody's studying music,

1129
01:19:38,640 --> 01:19:43,320
Speaker 2: somebody's studying black music. So I'm really grateful for all

1130
01:19:43,520 --> 01:19:47,519
Speaker 2: those things. I thought those things weren't gonna happen, you know.

1131
01:19:47,640 --> 01:19:52,519
Speaker 2: I thought it like the first of ten years, and

1132
01:19:52,880 --> 01:19:57,559
Speaker 2: nothing happened from them. Of monument, I thought, I'm going

1133
01:19:57,600 --> 01:19:59,840
Speaker 2: to die obscure. Nobody's gonna even know I was here.

1134
01:20:00,560 --> 01:20:03,719
Speaker 2: Like the people, many of the singers that Jim played

1135
01:20:03,920 --> 01:20:07,880
Speaker 2: recordings for that he listened to when he was a

1136
01:20:07,960 --> 01:20:12,719
Speaker 2: teenager in the thirties, I've never heard of these people before,

1137
01:20:13,880 --> 01:20:17,720
Speaker 2: and they work forever to get these recordings that I said,

1138
01:20:17,760 --> 01:20:21,160
Speaker 2: I'm going to be one of them. But thank goodness,

1139
01:20:21,439 --> 01:20:26,160
Speaker 2: enough things have happened to me. Just you I met

1140
01:20:26,200 --> 01:20:30,200
Speaker 2: the people that know you. So many things have happened

1141
01:20:30,240 --> 01:20:30,439
Speaker 2: to me.

1142
01:20:30,880 --> 01:20:32,240
Speaker 1: I know that.

1143
01:20:34,240 --> 01:20:37,240
Speaker 2: When I get through bugging everybody and die, I know

1144
01:20:37,360 --> 01:20:39,400
Speaker 2: I'm not going to die. I thought I was just

1145
01:20:39,520 --> 01:20:43,040
Speaker 2: going to be dead and broke.

1146
01:20:52,439 --> 01:20:54,599
Speaker 1: Did you ever have to get a street job?

1147
01:20:56,520 --> 01:21:00,160
Speaker 2: Yeah? I invented one the high schools that I went to,

1148
01:21:01,000 --> 01:21:04,320
Speaker 2: I had to take my grandchildren to the school every morning.

1149
01:21:05,439 --> 01:21:07,760
Speaker 2: One of the things that I did while I was

1150
01:21:07,800 --> 01:21:11,320
Speaker 2: waiting for this fifth career. Right before it, my grandchildren

1151
01:21:11,360 --> 01:21:13,720
Speaker 2: were going to school. My daughter was working. She's a

1152
01:21:13,840 --> 01:21:18,479
Speaker 2: Detroit teacher for forty years. She just retired last week.

1153
01:21:19,320 --> 01:21:24,320
Speaker 2: And every morning we'd stand there at the bus stop.

1154
01:21:24,840 --> 01:21:27,040
Speaker 2: I mean where I had stood at the bus stop

1155
01:21:27,200 --> 01:21:30,720
Speaker 2: going to Northern High School, and these young ladies were

1156
01:21:30,720 --> 01:21:33,560
Speaker 2: sitting there, and he's smoking, and if he's sitting on

1157
01:21:33,640 --> 01:21:37,240
Speaker 2: the little stupid they last gapped open. Well, combed it

1158
01:21:37,360 --> 01:21:41,240
Speaker 2: boyfriend's hair or picking it out or whatever. So I

1159
01:21:41,439 --> 01:21:44,280
Speaker 2: went and I went to the office. I dropped them

1160
01:21:44,479 --> 01:21:46,439
Speaker 2: the kids off one morning and I came back to

1161
01:21:46,560 --> 01:21:48,960
Speaker 2: the school and I said, I went to the school.

1162
01:21:49,080 --> 01:21:52,040
Speaker 2: I said, my name is Betty. I'm a recording artist.

1163
01:21:52,600 --> 01:21:54,840
Speaker 2: One of the first time I ever saw was here

1164
01:21:55,200 --> 01:21:58,200
Speaker 2: at the Northern Gym and whatever. And I said, these

1165
01:21:58,240 --> 01:22:02,960
Speaker 2: young ladies are sitting out here. They looked horrible. I said,

1166
01:22:03,200 --> 01:22:06,519
Speaker 2: they looked just like I probably would have looked had

1167
01:22:06,600 --> 01:22:09,880
Speaker 2: show business not saved me. I want to start a

1168
01:22:10,000 --> 01:22:13,960
Speaker 2: class teaching them they can't cuss, they can smoke, or

1169
01:22:14,360 --> 01:22:17,080
Speaker 2: I want to teach them how whole cigarettes, how to

1170
01:22:17,320 --> 01:22:21,120
Speaker 2: cust appropriately, and how to sit up straight and not

1171
01:22:21,439 --> 01:22:24,360
Speaker 2: fix their boyfriend's hair on the side of the street.

1172
01:22:24,840 --> 01:22:31,000
Speaker 2: And they gave me a job doing that, and then

1173
01:22:31,040 --> 01:22:33,080
Speaker 2: I got tired of it. It was boring.

1174
01:22:34,320 --> 01:22:36,040
Speaker 1: Wit did you get paid to do that?

1175
01:22:36,360 --> 01:22:40,240
Speaker 2: Yell? Shit, I am not a philathropist. I do not

1176
01:22:40,880 --> 01:22:44,040
Speaker 2: do volunteer work, I told them, and I told them

1177
01:22:44,080 --> 01:22:47,479
Speaker 2: how much I wanted, and all the other teachers in

1178
01:22:47,560 --> 01:22:50,880
Speaker 2: the school, which was so thrilling to me. I had

1179
01:22:50,920 --> 01:22:53,120
Speaker 2: a little gig. Then I was doing a little local

1180
01:22:53,200 --> 01:22:56,479
Speaker 2: television show and Detroit and I had a little gig

1181
01:22:56,600 --> 01:23:00,439
Speaker 2: which is three pieces, and all the teachers. It's came

1182
01:23:00,479 --> 01:23:00,880
Speaker 2: to see me.

1183
01:23:04,120 --> 01:23:10,920
Speaker 1: Okay, you talk about your word daughter retiring, You're gonna

1184
01:23:10,920 --> 01:23:13,160
Speaker 1: be eighty. You theoretically could retire.

1185
01:23:13,760 --> 01:23:15,960
Speaker 2: No, I can if I need money to live like this.

1186
01:23:16,920 --> 01:23:19,840
Speaker 2: I could retire if I wanted to just live like

1187
01:23:19,920 --> 01:23:23,920
Speaker 2: a normal person. But I don't live like a normal person.

1188
01:23:24,200 --> 01:23:28,599
Speaker 2: I drink lots of champagne. All that stuff costs money, Robert.

1189
01:23:30,640 --> 01:23:33,639
Speaker 2: I have to have my nails, all kinds of stuff,

1190
01:23:34,720 --> 01:23:37,439
Speaker 2: habits I picked up for being in this swilthy business.

1191
01:23:39,040 --> 01:23:42,920
Speaker 1: How much of working is to pay the bills? And

1192
01:23:43,160 --> 01:23:47,200
Speaker 1: how much of you still want that recognition and money

1193
01:23:47,280 --> 01:23:48,839
Speaker 1: beyond what you have already?

1194
01:23:50,920 --> 01:23:55,479
Speaker 2: Oh? I still want. I am still hoping. I always

1195
01:23:55,520 --> 01:23:59,679
Speaker 2: still hope that I have friends in Detroit Worth streets,

1196
01:23:59,800 --> 01:24:02,800
Speaker 2: name at Roma on streets I used to play on.

1197
01:24:03,800 --> 01:24:08,160
Speaker 2: But anyway, I think that that will always be nagging.

1198
01:24:08,640 --> 01:24:11,240
Speaker 2: But I think that if I knew that I could

1199
01:24:11,680 --> 01:24:16,439
Speaker 2: not sing and live the way that I live. I

1200
01:24:16,880 --> 01:24:20,640
Speaker 2: live really comfortably. But it's not because I made so

1201
01:24:20,840 --> 01:24:23,840
Speaker 2: much money. It's because I have to keep making money,

1202
01:24:24,520 --> 01:24:27,280
Speaker 2: and I just wanted to change from I have to

1203
01:24:27,400 --> 01:24:29,880
Speaker 2: keep making money. As I said to you early on,

1204
01:24:30,800 --> 01:24:33,720
Speaker 2: I'm looking for this Rach Charl's life. I can't think

1205
01:24:33,800 --> 01:24:37,479
Speaker 2: of anybody else right off top of my head before

1206
01:24:37,520 --> 01:24:40,800
Speaker 2: they work six months a year at these huge concerts.

1207
01:24:41,280 --> 01:24:45,320
Speaker 2: The last concert ra Charald's did before he died. Now,

1208
01:24:45,479 --> 01:24:49,800
Speaker 2: this is ironic I did, which is in the one

1209
01:24:49,920 --> 01:24:55,160
Speaker 2: hundred most renown on disco records, doing the best that

1210
01:24:55,280 --> 01:24:59,920
Speaker 2: I can the producer of that was eighteen years old

1211
01:25:00,280 --> 01:25:06,639
Speaker 2: at the time, and create it Run DMC and went

1212
01:25:06,800 --> 01:25:10,240
Speaker 2: on to all of that. I left him because I

1213
01:25:10,320 --> 01:25:14,640
Speaker 2: didn't want him involved in that. I told him he

1214
01:25:14,720 --> 01:25:19,680
Speaker 2: could have any money that the record garnered and I'm

1215
01:25:19,840 --> 01:25:23,320
Speaker 2: cool and I love him, and I left. In this

1216
01:25:23,600 --> 01:25:27,719
Speaker 2: fifth career, I was working at the Carlisle Hotel, which

1217
01:25:27,760 --> 01:25:30,879
Speaker 2: I would love to work and just died there on stage.

1218
01:25:32,200 --> 01:25:34,559
Speaker 2: He came to see me, now after all of these

1219
01:25:34,760 --> 01:25:39,880
Speaker 2: years and him being such a success in the beginning

1220
01:25:40,280 --> 01:25:45,040
Speaker 2: of rap, and brought me a check. He said, Now,

1221
01:25:45,080 --> 01:25:47,960
Speaker 2: you know, I don't owe this to you, he said,

1222
01:25:48,080 --> 01:25:50,760
Speaker 2: but because I signed a paper same, you don't owe

1223
01:25:50,840 --> 01:25:54,960
Speaker 2: me anything. But he came and brought me a check.

1224
01:25:55,640 --> 01:26:01,519
Speaker 2: That's how my whole career has been. It's been fans

1225
01:26:01,720 --> 01:26:07,800
Speaker 2: or people who sincerely adored me, that just they I

1226
01:26:07,880 --> 01:26:13,960
Speaker 2: could sing good, they sincerely adored me. And Corey Robbins

1227
01:26:14,080 --> 01:26:17,320
Speaker 2: there the name of his record label. I don't know

1228
01:26:17,520 --> 01:26:19,960
Speaker 2: if you know anything about Run the UFC. You know

1229
01:26:20,000 --> 01:26:21,439
Speaker 2: what the first record label was.

1230
01:26:25,040 --> 01:26:30,040
Speaker 1: Okay, to what degree have you experienced racism and to

1231
01:26:30,160 --> 01:26:33,200
Speaker 1: what degree do you believe it affected your career.

1232
01:26:36,080 --> 01:26:40,800
Speaker 2: Well, I haven't experienced anymore than when I was saying

1233
01:26:40,840 --> 01:26:43,280
Speaker 2: when we were on the uh, I'm not putting this

1234
01:26:43,400 --> 01:26:45,400
Speaker 2: on and look cute for you. I'm looking putting this

1235
01:26:45,680 --> 01:26:47,320
Speaker 2: on so my lips won't be dry.

1236
01:26:48,680 --> 01:26:49,080
Speaker 1: Okay.

1237
01:26:51,160 --> 01:26:57,320
Speaker 2: I experienced it only in the general sense, like when

1238
01:26:57,320 --> 01:27:00,840
Speaker 2: we couldn't stay at hotels and we couldn't go to

1239
01:27:01,040 --> 01:27:07,880
Speaker 2: some of the restaurants. But entertainers have had a much

1240
01:27:08,439 --> 01:27:17,840
Speaker 2: easier time in the business as hardcore segregation went. So

1241
01:27:18,080 --> 01:27:22,479
Speaker 2: I didn't suffer from because I was in show business.

1242
01:27:26,560 --> 01:27:28,640
Speaker 2: You asked me another part to that question, doing what

1243
01:27:28,840 --> 01:27:33,000
Speaker 2: is it? Oh? Okay, I'll give you a perfect example.

1244
01:27:36,680 --> 01:27:43,599
Speaker 2: I recorded or recording which was written for me called

1245
01:27:44,360 --> 01:27:47,040
Speaker 2: He Made a Woman out of Me, which is the

1246
01:27:47,200 --> 01:27:51,719
Speaker 2: recording that I did for Kenny Rogers's brother Leland Rodgers,

1247
01:27:52,800 --> 01:27:57,840
Speaker 2: when he signed me to his label Silver Fox, which

1248
01:27:57,920 --> 01:28:00,280
Speaker 2: belonged to show Bey singled.

1249
01:28:00,000 --> 01:28:01,240
Speaker 1: And she.

1250
01:28:02,840 --> 01:28:07,479
Speaker 2: Started looking for writers to write for me and found

1251
01:28:07,560 --> 01:28:10,400
Speaker 2: some writers who wrote this He Made a Woman out

1252
01:28:10,439 --> 01:28:15,120
Speaker 2: of Me. Re recorded it along with everybody just on

1253
01:28:15,240 --> 01:28:18,040
Speaker 2: the record as somebody who is who has become rich.

1254
01:28:18,600 --> 01:28:25,559
Speaker 2: See those kind of things annoying. But what's her name?

1255
01:28:26,840 --> 01:28:32,679
Speaker 2: Billy Joe Joe mcallis, sir jumped off back out, Okay,

1256
01:28:33,040 --> 01:28:37,840
Speaker 2: what's her name? She recorded it? Hers was in the

1257
01:28:37,960 --> 01:28:43,920
Speaker 2: top five. We didn't I changed. She changed one word.

1258
01:28:45,439 --> 01:28:49,640
Speaker 2: It was suggestive anyway, that's how the lyric went. But

1259
01:28:50,360 --> 01:28:53,880
Speaker 2: I didn't. I didn't say anything that made it any

1260
01:28:53,960 --> 01:28:59,679
Speaker 2: more suggested than she did. And mine could not get

1261
01:29:00,040 --> 01:29:06,160
Speaker 2: any white airplay. I was trying to get some white

1262
01:29:06,280 --> 01:29:12,120
Speaker 2: airplay before for condition. My condition is in so we

1263
01:29:12,360 --> 01:29:18,599
Speaker 2: said before we recorded it, let's do no not for condition.

1264
01:29:18,960 --> 01:29:24,960
Speaker 2: A heart of Gold. Neil Younglook's from Canada, said we

1265
01:29:25,080 --> 01:29:29,040
Speaker 2: can get some play in Canada because Canadians play everything

1266
01:29:29,200 --> 01:29:32,960
Speaker 2: that every artist from Canada makes. They don't care if

1267
01:29:33,000 --> 01:29:37,720
Speaker 2: their orange green I played, I played, I did hard.

1268
01:29:37,880 --> 01:29:42,320
Speaker 2: Gold got a lot of Canadian airplay, but not enough,

1269
01:29:43,840 --> 01:29:47,600
Speaker 2: and it just never caught on in America. But and

1270
01:29:47,840 --> 01:29:52,280
Speaker 2: through the whole sixty five years, Robert, I've collected each

1271
01:29:52,360 --> 01:29:55,280
Speaker 2: one of these things I'm telling you about. I collected

1272
01:29:55,560 --> 01:30:02,519
Speaker 2: about ten thousand and fans, I mean, hope to die

1273
01:30:02,680 --> 01:30:07,519
Speaker 2: fans so I've collected these ten thousand fans at a time,

1274
01:30:09,200 --> 01:30:10,920
Speaker 2: ten thousands at a.

1275
01:30:11,040 --> 01:30:15,960
Speaker 1: Time, you know they can support you. Well, it's been

1276
01:30:16,200 --> 01:30:19,920
Speaker 1: fascinating and the great experience talking to you, Betty. I

1277
01:30:20,000 --> 01:30:22,280
Speaker 1: want to thank you so much for taking this time

1278
01:30:22,320 --> 01:30:23,160
Speaker 1: with my audience.

1279
01:30:23,439 --> 01:30:25,800
Speaker 2: Maybe I want to thank you so much for taking

1280
01:30:25,880 --> 01:30:28,600
Speaker 2: this time to talk to me. It's all time, but

1281
01:30:28,720 --> 01:30:31,880
Speaker 2: I wanted to ask you this. When do you sleep?

1282
01:30:32,520 --> 01:30:35,360
Speaker 2: And do you have like a team of people that

1283
01:30:35,600 --> 01:30:36,080
Speaker 2: worked with you?

1284
01:30:38,080 --> 01:30:41,720
Speaker 1: Two things. I'll answer the second question. First, I do

1285
01:30:41,880 --> 01:30:50,360
Speaker 1: it all myself. Okay, songwriters they will often say the

1286
01:30:50,560 --> 01:30:53,439
Speaker 1: song came to them in five minutes and they wrote it.

1287
01:30:54,600 --> 01:30:58,320
Speaker 1: And then there are other people who might labor over

1288
01:30:58,400 --> 01:31:03,280
Speaker 1: a song Leonard Cohen for over a year. And I

1289
01:31:03,800 --> 01:31:09,840
Speaker 1: write only on inspiration, and when I'm inspired, I lay

1290
01:31:09,920 --> 01:31:13,439
Speaker 1: it all out. It's like being in a trance. And

1291
01:31:13,960 --> 01:31:16,200
Speaker 1: you know, I don't do it the way other people.

1292
01:31:16,520 --> 01:31:20,840
Speaker 1: Most people will tell you two things that they like

1293
01:31:21,000 --> 01:31:25,120
Speaker 1: to have written. They say that writing is achure and

1294
01:31:25,280 --> 01:31:28,960
Speaker 1: they say that writing is about rewriting. I could not

1295
01:31:29,240 --> 01:31:33,439
Speaker 1: disagree more. You know, I lay it out. You know,

1296
01:31:33,479 --> 01:31:35,760
Speaker 1: I'll look for obvious mistakes, but I've learned. I've been

1297
01:31:35,760 --> 01:31:38,639
Speaker 1: doing a long time. If I change anything, I screw

1298
01:31:38,680 --> 01:31:44,120
Speaker 1: it up, so I would not think about it relative

1299
01:31:44,240 --> 01:31:46,800
Speaker 1: to a traditional writer. I would think it more about

1300
01:31:46,840 --> 01:31:48,439
Speaker 1: it compared to a musician.

1301
01:31:48,960 --> 01:31:52,519
Speaker 2: Do you that the label you consider yourself a writer?

1302
01:31:54,120 --> 01:31:56,000
Speaker 1: Yes, first and foremost.

1303
01:31:56,040 --> 01:31:58,519
Speaker 2: More than in the end of view or.

1304
01:32:00,120 --> 01:32:03,880
Speaker 1: Love to get people's stories. This is something I've done,

1305
01:32:04,479 --> 01:32:07,120
Speaker 1: irrelevant of having a podcast.

1306
01:32:07,920 --> 01:32:12,000
Speaker 2: Have you ever read your column? I looked at it.

1307
01:32:12,280 --> 01:32:15,280
Speaker 2: I don't mean before you post it. I mean after

1308
01:32:15,360 --> 01:32:15,840
Speaker 2: you posted.

1309
01:32:16,000 --> 01:32:20,320
Speaker 1: I read, okay, I know, okay. Two things I reread.

1310
01:32:20,880 --> 01:32:26,320
Speaker 1: I check everything twice before I send it. Second, like

1311
01:32:26,439 --> 01:32:32,680
Speaker 1: an artist, I rarely read what I have written, and

1312
01:32:33,280 --> 01:32:38,439
Speaker 1: it's not I guess this is this wild. I can't

1313
01:32:38,439 --> 01:32:42,000
Speaker 1: believe we're talking about this. These things are written in

1314
01:32:42,120 --> 01:32:48,240
Speaker 1: a zone such that when you reread them. I reread them,

1315
01:32:48,800 --> 01:32:51,439
Speaker 1: it reminds me of the zone. But I'm not in

1316
01:32:51,560 --> 01:32:56,639
Speaker 1: that particular zone anymore. As opposed to saying somebody can write.

1317
01:32:57,120 --> 01:33:00,360
Speaker 1: I went to the bookstore, I had a drink, et cetera,

1318
01:33:00,400 --> 01:33:04,559
Speaker 1: et cetera. But if I'm writing about something that truly

1319
01:33:04,680 --> 01:33:09,360
Speaker 1: affects me, I that's a time castle I felt that

1320
01:33:09,560 --> 01:33:14,679
Speaker 1: way exactly. Then sometimes when I reread it, it's like shocking,

1321
01:33:15,200 --> 01:33:16,200
Speaker 1: It's like, is that really?

1322
01:33:18,000 --> 01:33:21,360
Speaker 2: But I ask you that because it seems I can't

1323
01:33:21,400 --> 01:33:25,720
Speaker 2: imagine when you sleep or when or how you could

1324
01:33:25,760 --> 01:33:31,360
Speaker 2: do all this without you. I have often heard something

1325
01:33:31,640 --> 01:33:34,080
Speaker 2: before I went to sleep at one o'clock in the morning.

1326
01:33:34,800 --> 01:33:38,280
Speaker 2: Then I'll get up and I'll maybe not turn on

1327
01:33:38,520 --> 01:33:40,760
Speaker 2: my back that well, sometimes i'll turn it over to

1328
01:33:40,920 --> 01:33:45,920
Speaker 2: be but where I turn it on, it's like almost

1329
01:33:46,000 --> 01:33:50,200
Speaker 2: by the hour everything that happened, you know about it,

1330
01:33:51,400 --> 01:33:55,080
Speaker 2: but you also know what everybody was doing in their

1331
01:33:55,160 --> 01:33:58,240
Speaker 2: leisure time. When I say that, I mean what shows

1332
01:33:58,280 --> 01:34:02,640
Speaker 2: happening whatever, So it's not only everything that happened to

1333
01:34:02,760 --> 01:34:06,559
Speaker 2: the world and everybody that day. And then at seven

1334
01:34:06,600 --> 01:34:10,400
Speaker 2: o'clock Julie met went on and said, I've got something

1335
01:34:10,520 --> 01:34:14,839
Speaker 2: about that. Then after that show, then this it sounds

1336
01:34:15,040 --> 01:34:18,799
Speaker 2: as if you never ever sleep.

1337
01:34:20,400 --> 01:34:24,439
Speaker 1: Okay, actually I do sleep, but I'm not that different

1338
01:34:24,520 --> 01:34:24,840
Speaker 1: from you.

1339
01:34:25,080 --> 01:34:26,360
Speaker 2: How many hours do you sleep?

1340
01:34:27,080 --> 01:34:29,439
Speaker 1: Well, you know I sleep a good eight hours. But

1341
01:34:30,320 --> 01:34:32,599
Speaker 1: because you have to be creative, you have to get

1342
01:34:32,600 --> 01:34:36,479
Speaker 1: a good sleep. But I'm not that different. I don't

1343
01:34:36,640 --> 01:34:38,320
Speaker 1: have any children.

1344
01:34:38,400 --> 01:34:42,360
Speaker 2: But it means like your damn head with bursts. I mean, well,

1345
01:34:43,000 --> 01:34:44,280
Speaker 2: I don't this is what happens.

1346
01:34:44,320 --> 01:34:47,920
Speaker 1: I'm doing this twenty four to seven.

1347
01:34:48,120 --> 01:34:50,360
Speaker 2: That's what it seems like, as why I say, when

1348
01:34:50,439 --> 01:34:53,600
Speaker 2: do you sleep? Okay, listen, you just made the declaration

1349
01:34:54,240 --> 01:34:57,280
Speaker 2: I'm doing this twenty four seven. What was my question?

1350
01:34:59,120 --> 01:35:00,960
Speaker 2: Let me we what was my.

1351
01:35:03,400 --> 01:35:09,400
Speaker 1: That's a that's a term of speech other than when

1352
01:35:09,520 --> 01:35:13,280
Speaker 1: I am sleeping. I am doing this all when I awake.

1353
01:35:13,479 --> 01:35:15,920
Speaker 1: I really I love to know what's going on. I

1354
01:35:16,040 --> 01:35:19,120
Speaker 1: love the pulse I'm reading for the moment I get up.

1355
01:35:19,200 --> 01:35:24,240
Speaker 2: That is, I'm apparent. The only thing that isn't apparent

1356
01:35:24,360 --> 01:35:30,439
Speaker 2: to me is when do you sleep? But you seem

1357
01:35:30,680 --> 01:35:34,400
Speaker 2: as though you have got your favor on the pulse

1358
01:35:34,640 --> 01:35:41,000
Speaker 2: of the entire world, being music, war or gristal gorilla

1359
01:35:41,080 --> 01:35:47,160
Speaker 2: wrestling whatever. I just said. Well, I'm extremely nosy myself.

1360
01:35:47,800 --> 01:35:51,439
Speaker 2: I always want to know everything that everybody is doing

1361
01:35:52,040 --> 01:35:55,120
Speaker 2: and I but I just don't understand how you're able

1362
01:35:55,200 --> 01:35:57,439
Speaker 2: to do it and to do it so eloquently. It

1363
01:35:57,520 --> 01:36:00,960
Speaker 2: doesn't sound like when when you can tell that Donald

1364
01:36:01,000 --> 01:36:04,240
Speaker 2: Trump is watching everything, but he snatches things. His opinion

1365
01:36:04,280 --> 01:36:06,320
Speaker 2: is off there like and blah blah, blah lad about

1366
01:36:06,320 --> 01:36:10,760
Speaker 2: that yours isn't. You always have an actual thing to

1367
01:36:11,040 --> 01:36:17,880
Speaker 2: say about whatever it whatever it is that happened. And

1368
01:36:18,120 --> 01:36:22,559
Speaker 2: I just absolutely find you so got me completely amazing.

1369
01:36:23,280 --> 01:36:26,160
Speaker 2: I talk about you want my husband than you know

1370
01:36:26,320 --> 01:36:29,760
Speaker 2: that I talk about you, But honestly, I am just

1371
01:36:31,560 --> 01:36:35,679
Speaker 2: amazed at the things you know and how well thought

1372
01:36:35,840 --> 01:36:40,639
Speaker 2: out the myriad things you do are. And you would

1373
01:36:40,680 --> 01:36:44,880
Speaker 2: think that with it being so much of everybody else's business,

1374
01:36:45,400 --> 01:36:47,720
Speaker 2: every once knows why you would kind of step up

1375
01:36:48,120 --> 01:36:51,160
Speaker 2: which off, but you never do. You're right on it,

1376
01:36:51,360 --> 01:36:54,080
Speaker 2: like I was right there. Yep, I was over there too,

1377
01:36:54,240 --> 01:36:56,880
Speaker 2: and I was back there and I was up here.

1378
01:36:57,160 --> 01:37:02,920
Speaker 2: And you're an amaze easy individual, you really are. I'm

1379
01:37:03,000 --> 01:37:08,360
Speaker 2: so grateful to you for your interest and your your

1380
01:37:08,520 --> 01:37:12,840
Speaker 2: in factness that you speak about music. I can see

1381
01:37:12,880 --> 01:37:15,639
Speaker 2: where oft times you try to, especially when it gets

1382
01:37:15,680 --> 01:37:18,439
Speaker 2: to somebody you like and you understand what happened to them.

1383
01:37:18,880 --> 01:37:20,880
Speaker 2: I can see where you kind of push what you

1384
01:37:21,040 --> 01:37:23,120
Speaker 2: felt off and try to get to the matter of it.

1385
01:37:23,280 --> 01:37:27,439
Speaker 2: You can't always, but I love what you decide to

1386
01:37:27,680 --> 01:37:32,760
Speaker 2: do in lieu of being able to be I don't

1387
01:37:32,800 --> 01:37:36,360
Speaker 2: care about a matter of factly, but I absolutely love

1388
01:37:36,560 --> 01:37:40,400
Speaker 2: what you do and I'm so grateful that you wrote

1389
01:37:41,040 --> 01:37:44,600
Speaker 2: what you wrote about me. See there again that everybody

1390
01:37:44,800 --> 01:37:49,080
Speaker 2: adores you so much. If they just happen to look

1391
01:37:49,120 --> 01:37:51,960
Speaker 2: at you, they'll see what you see it about me

1392
01:37:52,240 --> 01:37:56,560
Speaker 2: when you wrote about the Interpretations album, so that was

1393
01:37:56,680 --> 01:38:02,160
Speaker 2: one of the biggest boosts that the Interpretation album, and

1394
01:38:02,320 --> 01:38:04,960
Speaker 2: that was I know you think about it when you

1395
01:38:05,080 --> 01:38:08,200
Speaker 2: think in terms of stars anyways, so you're just thinking

1396
01:38:08,360 --> 01:38:11,960
Speaker 2: something else that you somebody else wrote, but that was

1397
01:38:12,680 --> 01:38:17,200
Speaker 2: maybe what you write. Don't help rolling stones. You write

1398
01:38:17,240 --> 01:38:23,479
Speaker 2: about me, that is a tremendous hope to me possibly

1399
01:38:23,640 --> 01:38:25,160
Speaker 2: having a sixth.

1400
01:38:29,320 --> 01:38:33,880
Speaker 1: Well, there's a Yiddish term called kevelling, and that I

1401
01:38:33,960 --> 01:38:34,719
Speaker 1: can't respond.

1402
01:38:34,880 --> 01:38:37,280
Speaker 2: Say it cavelling, cavell.

1403
01:38:37,160 --> 01:38:44,080
Speaker 1: Kvk okay, and the dictionary of what they're given here

1404
01:38:44,160 --> 01:38:47,200
Speaker 1: they say to feel happy and proud. But you know

1405
01:38:47,960 --> 01:38:51,320
Speaker 1: they use an example here My mom was kvelling, bursting

1406
01:38:51,400 --> 01:38:54,679
Speaker 1: with pride. I can't respond. Okay, let me be very clear,

1407
01:38:55,840 --> 01:39:00,200
Speaker 1: I can't respond to what you say. But this is

1408
01:39:00,400 --> 01:39:03,160
Speaker 1: what I'm trying to do now. The fact that you

1409
01:39:03,439 --> 01:39:06,040
Speaker 1: get the fact that you get it is.

1410
01:39:06,160 --> 01:39:09,720
Speaker 2: For you really, are anybody doing it you really really are.

1411
01:39:10,400 --> 01:39:14,240
Speaker 2: They tied me because I was doing like I was

1412
01:39:14,360 --> 01:39:17,519
Speaker 2: talking to students at the University of Texas. It was

1413
01:39:17,600 --> 01:39:19,720
Speaker 2: kind of a gig. Well, no, it was a gig

1414
01:39:19,800 --> 01:39:22,640
Speaker 2: they paid me, but talking to the class, believe it

1415
01:39:22,760 --> 01:39:26,639
Speaker 2: or not, a Bob Dylan class. And I'm like, see,

1416
01:39:26,720 --> 01:39:29,760
Speaker 2: that's ultimuch for me. But they told me, they said,

1417
01:39:29,960 --> 01:39:34,240
Speaker 2: try not to sound like they shouldn't get in show business.

1418
01:39:35,640 --> 01:39:40,760
Speaker 2: I said, I can't do that, because they shouldn't. It's

1419
01:39:40,960 --> 01:39:43,640
Speaker 2: not like you think it is. And I can only

1420
01:39:43,680 --> 01:39:43,920
Speaker 2: tell you.

1421
01:39:44,360 --> 01:39:46,439
Speaker 1: Wait, wait, wait, wait, wait. You and me both know

1422
01:39:46,680 --> 01:39:49,760
Speaker 1: in order to be successful, you have to have no

1423
01:39:49,920 --> 01:39:50,599
Speaker 1: other choice.

1424
01:39:51,040 --> 01:39:54,080
Speaker 2: You have to do it well that I try to

1425
01:39:54,240 --> 01:39:57,920
Speaker 2: tell them. For the like being, it's either like being

1426
01:39:58,040 --> 01:40:01,160
Speaker 2: and the husband who beats you, or being strung out

1427
01:40:01,200 --> 01:40:06,519
Speaker 2: on drugs or being a born again Christian. I mean it,

1428
01:40:07,000 --> 01:40:12,320
Speaker 2: it is for everybody in my life. It is Betty

1429
01:40:12,400 --> 01:40:17,759
Speaker 2: Lovette that is the main thing in everybody's life close

1430
01:40:17,960 --> 01:40:21,479
Speaker 2: around me. And then so if I'm going to be

1431
01:40:21,680 --> 01:40:25,800
Speaker 2: true and faithful and friends to them as well, I

1432
01:40:26,040 --> 01:40:29,880
Speaker 2: have to devote my life to the broad too. And

1433
01:40:30,040 --> 01:40:33,160
Speaker 2: that is it. You should hear me cussing hears sometimes

1434
01:40:33,240 --> 01:40:37,640
Speaker 2: I'm like lifting ways like this, bitch, I'm not just

1435
01:40:37,880 --> 01:40:42,320
Speaker 2: gonna die. I mean, but either you have to do

1436
01:40:42,439 --> 01:40:46,719
Speaker 2: it or you have to don't. And you you handle

1437
01:40:46,840 --> 01:40:49,160
Speaker 2: it in such a way I know what it takes.

1438
01:40:49,680 --> 01:40:51,920
Speaker 2: So that's why I wonder when you sleep, because I

1439
01:40:52,000 --> 01:40:54,840
Speaker 2: can tell from what you say that you had to

1440
01:40:54,960 --> 01:40:56,880
Speaker 2: be watching it to know it.

1441
01:40:58,880 --> 01:41:02,120
Speaker 1: Well. You others a soul by ac DC called It's

1442
01:41:02,200 --> 01:41:04,320
Speaker 1: a long way to the top. If you want to

1443
01:41:04,439 --> 01:41:08,120
Speaker 1: rock and roll, and you're talking to me now, it

1444
01:41:08,240 --> 01:41:11,519
Speaker 1: took a long time and a lot of struggle to

1445
01:41:11,640 --> 01:41:14,360
Speaker 1: get here. I'm not going to delineate everything else you do.

1446
01:41:14,479 --> 01:41:20,759
Speaker 1: Before I went to college, I was a starving freestyle skier,

1447
01:41:20,840 --> 01:41:24,479
Speaker 1: and I went to law school. I practiced law for

1448
01:41:24,560 --> 01:41:28,560
Speaker 1: about ten minutes. Then I work for a movie producer.

1449
01:41:29,240 --> 01:41:32,920
Speaker 1: Then I work for an English management company that brings

1450
01:41:33,000 --> 01:41:33,240
Speaker 1: us to.

1451
01:41:33,920 --> 01:41:36,040
Speaker 2: The English management company.

1452
01:41:35,960 --> 01:41:41,519
Speaker 1: They manage Iron Maiden. Oh okay, And then since nineteen

1453
01:41:41,720 --> 01:41:44,160
Speaker 1: eighty six, this is what I've been doing.

1454
01:41:44,600 --> 01:41:47,439
Speaker 2: You talking. When you read your writings, it sounds like

1455
01:41:47,600 --> 01:41:52,559
Speaker 2: something that is a liticit. Did youlyticate everything? It doesn't

1456
01:41:52,640 --> 01:41:55,759
Speaker 2: sound like a regular person talking.

1457
01:41:57,640 --> 01:42:01,280
Speaker 1: I definitely we're talking about office. The most important thing

1458
01:42:01,479 --> 01:42:05,840
Speaker 1: to me is to walk the knife edge, split the hair.

1459
01:42:06,240 --> 01:42:08,400
Speaker 2: What you sound like in a journey?

1460
01:42:09,240 --> 01:42:12,280
Speaker 1: No, but it's I was this person, you know, you know,

1461
01:42:12,560 --> 01:42:16,320
Speaker 1: it's you get older, you're this person now. Well, but

1462
01:42:16,479 --> 01:42:19,400
Speaker 1: you get older and you realize you're your parents. My

1463
01:42:19,680 --> 01:42:24,479
Speaker 1: father was this person. Okay, my father would say, what's

1464
01:42:24,600 --> 01:42:28,479
Speaker 1: the real story here? Like you see somebody driving an

1465
01:42:28,560 --> 01:42:31,920
Speaker 1: expensive car who doesn't have a job, Well, the real

1466
01:42:32,040 --> 01:42:35,800
Speaker 1: story is either it's not their car, they can't afford it,

1467
01:42:36,320 --> 01:42:39,840
Speaker 1: or they inherited money. But they're people. This is just

1468
01:42:39,960 --> 01:42:43,160
Speaker 1: like you talking about your friends saying, go tell Jerry

1469
01:42:43,240 --> 01:42:47,080
Speaker 1: Wexler that you know they don't know what's going on,

1470
01:42:47,840 --> 01:42:50,640
Speaker 1: but they believe they think they do. That's how the

1471
01:42:50,840 --> 01:42:51,960
Speaker 1: average person is.

1472
01:42:52,680 --> 01:42:55,200
Speaker 2: But you look at things. You look at things like

1473
01:42:55,320 --> 01:43:01,000
Speaker 2: a liter literator, You look at them literally. When I

1474
01:43:01,479 --> 01:43:05,280
Speaker 2: read you, you don't talk while I can see the

1475
01:43:05,600 --> 01:43:10,000
Speaker 2: fan is there. That is what we as entertainers look for.

1476
01:43:10,720 --> 01:43:14,679
Speaker 2: But when you start to look at it literally, which

1477
01:43:14,720 --> 01:43:17,240
Speaker 2: is I think something you said made me respond to you,

1478
01:43:17,320 --> 01:43:21,040
Speaker 2: you were looking at it literally, and that commands a

1479
01:43:21,200 --> 01:43:24,439
Speaker 2: different response from me. I know when when I'm being

1480
01:43:24,680 --> 01:43:28,439
Speaker 2: congratulated and when I'm being loved and whatever, well, when

1481
01:43:28,439 --> 01:43:32,000
Speaker 2: I'm being looked at literally, I know that as well.

1482
01:43:32,600 --> 01:43:36,040
Speaker 2: And you look at things literally. I'm glad that you do.

1483
01:43:36,160 --> 01:43:40,440
Speaker 2: I'm glad that you tell people about it more literally

1484
01:43:40,600 --> 01:43:41,760
Speaker 2: than just what they ate.

1485
01:43:42,360 --> 01:43:48,200
Speaker 1: There's that song by Leonard Cohen. Everybody knows, everybody knows

1486
01:43:48,320 --> 01:43:57,760
Speaker 1: the truth. But one Okay, my psychiatrists sometimes sometime, right,

1487
01:43:58,040 --> 01:44:01,200
Speaker 1: you can change one little thing and it changes the

1488
01:44:01,520 --> 01:44:05,960
Speaker 1: entire pictures. And I don't want to give any names here,

1489
01:44:06,160 --> 01:44:10,720
Speaker 1: but a household name musician. I went to a performance

1490
01:44:11,720 --> 01:44:17,519
Speaker 1: and this person likes to get things perfect. And I

1491
01:44:17,680 --> 01:44:20,639
Speaker 1: asked the manager what this person thought of the show,

1492
01:44:21,760 --> 01:44:25,720
Speaker 1: and the manager said, well, the he thought that in

1493
01:44:25,880 --> 01:44:28,920
Speaker 1: ear monitors were screwed up. You heard a little too

1494
01:44:29,000 --> 01:44:34,240
Speaker 1: much of the horn section. This is all real story.

1495
01:44:34,320 --> 01:44:36,000
Speaker 1: I just don't want to mention the name I'm saying.

1496
01:44:36,560 --> 01:44:41,200
Speaker 1: I was at the show and I said, you know

1497
01:44:41,320 --> 01:44:45,920
Speaker 1: what you're talking about. I couldn't hear that, Okay, but

1498
01:44:46,080 --> 01:44:49,800
Speaker 1: I don't think the average person worked. And he said,

1499
01:44:50,840 --> 01:44:57,160
Speaker 1: those little tiny things are the difference between success and failure.

1500
01:44:57,479 --> 01:45:00,839
Speaker 1: The artist I'm talking about is as big as they get. Okay,

1501
01:45:02,040 --> 01:45:05,800
Speaker 1: And now I'm gonna get on my high horse. The

1502
01:45:05,920 --> 01:45:11,479
Speaker 1: average person doesn't want to work that hard and get

1503
01:45:11,560 --> 01:45:16,679
Speaker 1: it right. You're telling me you've only had five careers

1504
01:45:16,800 --> 01:45:21,000
Speaker 1: because you keep trying to do it. Most people don't

1505
01:45:21,080 --> 01:45:25,960
Speaker 1: have five careers. They give up, They give up. And

1506
01:45:26,200 --> 01:45:27,960
Speaker 1: you know as well as I do, there are a

1507
01:45:28,000 --> 01:45:32,120
Speaker 1: lot of talented people who have never had success because

1508
01:45:32,560 --> 01:45:37,680
Speaker 1: talent is at most fifty percent the desire and all that.

1509
01:45:38,120 --> 01:45:42,559
Speaker 1: That's a lot, but people don't want to hear that. Listen,

1510
01:45:42,600 --> 01:45:43,520
Speaker 1: you're a musician.

1511
01:45:44,320 --> 01:45:44,880
Speaker 2: You know that.

1512
01:45:45,000 --> 01:45:48,880
Speaker 1: When you hang out in the dressing room or after

1513
01:45:49,000 --> 01:45:52,680
Speaker 1: the show with musicians, it's a completely different kind of

1514
01:45:52,760 --> 01:45:56,559
Speaker 1: conversation than when you have, you know, with the next

1515
01:45:56,600 --> 01:46:01,840
Speaker 1: door neighbor. Right right, It's like these people they're in

1516
01:46:01,920 --> 01:46:07,160
Speaker 1: a separate club, separate community. They're not judging on money,

1517
01:46:07,400 --> 01:46:10,400
Speaker 1: and they know the system is against them, but they're doing.

1518
01:46:10,280 --> 01:46:11,080
Speaker 2: What they have to.

1519
01:46:11,920 --> 01:46:16,400
Speaker 1: But unless you're in that world, people don't understand that.

1520
01:46:16,720 --> 01:46:21,639
Speaker 2: Oh absolutely absolutely. I really just don't think that people

1521
01:46:21,920 --> 01:46:25,720
Speaker 2: understand how this goes. And I think that we are

1522
01:46:26,080 --> 01:46:28,760
Speaker 2: only two percent of us. It seems like all of

1523
01:46:28,920 --> 01:46:32,160
Speaker 2: us now, but still it said about only two percent

1524
01:46:32,200 --> 01:46:34,800
Speaker 2: of us who walk upon the stage and do this

1525
01:46:35,120 --> 01:46:37,720
Speaker 2: for a living, you know.

1526
01:46:38,040 --> 01:46:41,280
Speaker 1: And well what bothers me now is because the barrier

1527
01:46:41,400 --> 01:46:44,400
Speaker 1: to entry is non existent. Anybody can make a record.

1528
01:46:44,120 --> 01:46:45,480
Speaker 2: Of their bubble.

1529
01:46:46,720 --> 01:46:53,080
Speaker 1: You, but it means that they believe that they're entitled

1530
01:46:53,200 --> 01:46:58,120
Speaker 1: to success. I mean, some of this is very simple.

1531
01:46:58,920 --> 01:47:03,160
Speaker 1: You make it your to like it. Okay, fine, you

1532
01:47:03,320 --> 01:47:06,240
Speaker 1: played it for your friends. They said they like it too.

1533
01:47:06,720 --> 01:47:09,880
Speaker 1: Did they play it for anybody else? Did they turn

1534
01:47:10,000 --> 01:47:10,559
Speaker 1: anybody else?

1535
01:47:10,640 --> 01:47:13,320
Speaker 2: But they told me to stop telling the children. I said,

1536
01:47:13,880 --> 01:47:17,360
Speaker 2: now that if the church and your family and all

1537
01:47:17,400 --> 01:47:19,519
Speaker 2: your friends are the ones that's like you. When I

1538
01:47:19,560 --> 01:47:22,400
Speaker 2: asked him, I said, can you sing? I said, now,

1539
01:47:22,400 --> 01:47:24,920
Speaker 2: I don't want to know the opinion of those people.

1540
01:47:25,680 --> 01:47:31,680
Speaker 2: Has anyone ever given you any money to sing? I said, now,

1541
01:47:31,880 --> 01:47:34,760
Speaker 2: you've got that is one foot if someone has said here,

1542
01:47:35,160 --> 01:47:37,600
Speaker 2: I like the way you're saying, here's some money to

1543
01:47:37,800 --> 01:47:40,840
Speaker 2: do it. Other than that, I don't count any of

1544
01:47:40,920 --> 01:47:43,360
Speaker 2: those opinions. And that was that was one of the

1545
01:47:43,439 --> 01:47:46,200
Speaker 2: things they were telling me to stop telling the kids

1546
01:47:46,400 --> 01:47:50,599
Speaker 2: that I was talking to. I said, I don't know them, though,

1547
01:47:50,680 --> 01:47:53,080
Speaker 2: I have to tell them that because it's the truth.

1548
01:47:53,760 --> 01:47:58,000
Speaker 1: Well, well, I've had this experience many a time, where

1549
01:47:58,080 --> 01:48:03,600
Speaker 1: you speak to clashes and wannabes. I don't want to

1550
01:48:03,680 --> 01:48:09,120
Speaker 1: give them false hope. No, unless this is the only

1551
01:48:09,280 --> 01:48:11,920
Speaker 1: thing you're willing to do, and you're willing to starve,

1552
01:48:12,520 --> 01:48:14,280
Speaker 1: not on a house, not on a car.

1553
01:48:14,600 --> 01:48:18,720
Speaker 2: This is not for you. But when you until it

1554
01:48:19,000 --> 01:48:23,040
Speaker 2: happens to you. Robert, you couldn't have told me. You

1555
01:48:23,160 --> 01:48:27,920
Speaker 2: couldn't have made me not do this by telling me

1556
01:48:28,080 --> 01:48:30,240
Speaker 2: the things that were gonna happen to me. Before I

1557
01:48:30,439 --> 01:48:35,400
Speaker 2: was thirty, I would have said, hey, i'm ow. If

1558
01:48:35,479 --> 01:48:37,680
Speaker 2: you had told if anybody had told me, if they

1559
01:48:37,720 --> 01:48:40,600
Speaker 2: could actual show me, like a video, now this is

1560
01:48:40,720 --> 01:48:43,679
Speaker 2: what's gonna happen, it showed it to me, it would

1561
01:48:43,720 --> 01:48:46,960
Speaker 2: have been different. But I feel an incumbent upon me,

1562
01:48:47,960 --> 01:48:51,640
Speaker 2: you know it, to say, I can't say to you

1563
01:48:52,560 --> 01:48:56,439
Speaker 2: keep trying and try hard. And then I always tell them,

1564
01:48:57,200 --> 01:48:59,760
Speaker 2: especially if it's young females. I'm talking to you, like

1565
01:49:00,000 --> 01:49:03,040
Speaker 2: and I'm doing these group shows, like I've got one

1566
01:49:03,080 --> 01:49:05,960
Speaker 2: coming up at Carnegie Hall, and all these young women

1567
01:49:06,040 --> 01:49:07,880
Speaker 2: they were in my dressing room. They're looking straight in

1568
01:49:07,960 --> 01:49:10,000
Speaker 2: my mouth. I said, the best thing I can tell

1569
01:49:10,080 --> 01:49:14,599
Speaker 2: you is that if you walk into a small place

1570
01:49:14,800 --> 01:49:18,880
Speaker 2: with an acoustic piano and they sang, say sang a

1571
01:49:19,040 --> 01:49:22,280
Speaker 2: real song. I don't care how big your record is,

1572
01:49:22,640 --> 01:49:27,800
Speaker 2: I will kick your ass. It was done to me,

1573
01:49:28,600 --> 01:49:31,639
Speaker 2: big maype Ell did it to me. I was running

1574
01:49:31,840 --> 01:49:36,960
Speaker 2: Small's paradise. My waistline was tiny and my booty was big,

1575
01:49:37,040 --> 01:49:40,800
Speaker 2: and I can holler out, I could say got lots

1576
01:49:41,400 --> 01:49:45,439
Speaker 2: and the people which is screened. Maybe El breathed in

1577
01:49:45,520 --> 01:49:48,720
Speaker 2: there in papal shoes from the hospital she had just

1578
01:49:48,960 --> 01:49:52,360
Speaker 2: escaped from, walked up on the stage, wrapped in a

1579
01:49:52,600 --> 01:49:57,880
Speaker 2: blanket with a some Burrow type hat on, and said God,

1580
01:49:59,760 --> 01:50:02,560
Speaker 2: and and the band knew what kid was in. That

1581
01:50:02,720 --> 01:50:05,240
Speaker 2: still perflects me. I didn't know how the band knew

1582
01:50:05,320 --> 01:50:09,200
Speaker 2: what kid was in. And they didn't talk to me

1583
01:50:09,439 --> 01:50:13,880
Speaker 2: anymore for the whole evening, nobody and I was looking

1584
01:50:14,000 --> 01:50:19,880
Speaker 2: so cute. So that's another thing that I always tell

1585
01:50:19,960 --> 01:50:23,080
Speaker 2: them to beware of me in the middle of the night,

1586
01:50:23,720 --> 01:50:26,360
Speaker 2: in the milial set in a small place.

1587
01:50:28,960 --> 01:50:30,960
Speaker 1: Well, we're on the same page here.

1588
01:50:31,320 --> 01:50:31,560
Speaker 2: I know.

1589
01:50:31,840 --> 01:50:35,320
Speaker 1: I'm gonna tell another story. What I'm heard again said,

1590
01:50:35,400 --> 01:50:38,800
Speaker 1: you know that's Atlantic Records. A hit record is a

1591
01:50:38,920 --> 01:50:41,960
Speaker 1: record that you're lying in bed, you hear on the radio,

1592
01:50:42,439 --> 01:50:45,240
Speaker 1: you have to get up, get dressed, and go to

1593
01:50:45,320 --> 01:50:49,400
Speaker 1: an all night record store to buy You know that

1594
01:50:49,720 --> 01:50:52,840
Speaker 1: is a hit record, right, I don't understand. Well, you

1595
01:50:52,920 --> 01:50:55,560
Speaker 1: know it's like you know it when you hear it.

1596
01:50:55,880 --> 01:50:59,320
Speaker 2: I heard damn your Eyes on my way to a gig.

1597
01:51:00,120 --> 01:51:02,920
Speaker 2: I had my road and just stopped. I went in

1598
01:51:03,040 --> 01:51:06,080
Speaker 2: and audit. I rehearsed it all night in my hotel room,

1599
01:51:06,520 --> 01:51:11,280
Speaker 2: and I sung it the next morning. That's a hit record, yeah,

1600
01:51:11,360 --> 01:51:16,800
Speaker 2: for sure. No, and it's it's it's well here there

1601
01:51:16,920 --> 01:51:21,920
Speaker 2: goes back to that thing with womit again and and uh,

1602
01:51:23,439 --> 01:51:27,720
Speaker 2: Jerry Wexler, Now Jerry West was on my side. But

1603
01:51:28,160 --> 01:51:31,759
Speaker 2: I'm sure that when Jerry Wexler tolhamed what I said,

1604
01:51:32,479 --> 01:51:34,400
Speaker 2: is it that bitch's crazy, let's let her go.

1605
01:51:37,160 --> 01:51:39,080
Speaker 1: Well that's a whole nother thing.

1606
01:51:40,560 --> 01:51:43,000
Speaker 2: Read his name. That's what made me think of it.

1607
01:51:43,640 --> 01:51:47,000
Speaker 2: But no, a hit record. At Motown they used to say,

1608
01:51:47,479 --> 01:51:50,320
Speaker 2: if you don't like it in the first six bars,

1609
01:51:50,960 --> 01:51:54,719
Speaker 2: even before somebody starts singing, it's not a hit record.

1610
01:51:55,160 --> 01:51:59,439
Speaker 2: They looked at it as records at Motown didn't make

1611
01:51:59,479 --> 01:52:01,920
Speaker 2: any different. Willie who was singing if it was a

1612
01:52:02,240 --> 01:52:08,120
Speaker 2: hit record, and they made records over there. They didn't

1613
01:52:08,160 --> 01:52:12,760
Speaker 2: record artists, they made records. I know how many of

1614
01:52:12,840 --> 01:52:18,439
Speaker 2: these people sound in the shower, you know what. I'm

1615
01:52:18,560 --> 01:52:22,080
Speaker 2: sure that if you and I'm Kevin would have to

1616
01:52:22,160 --> 01:52:25,160
Speaker 2: separate us. But well, yes, it separates me from you

1617
01:52:25,320 --> 01:52:30,640
Speaker 2: on the little beautif thing. What I said, finally a

1618
01:52:30,800 --> 01:52:32,080
Speaker 2: man that I can argue with.

1619
01:52:32,160 --> 01:52:38,080
Speaker 1: Who agrees with me, as I say, I don't like

1620
01:52:38,160 --> 01:52:41,320
Speaker 1: to argue for the sake of arguing, but the little points.

1621
01:52:42,080 --> 01:52:45,559
Speaker 1: Argue all day, and it makes people makes people crazy.

1622
01:52:45,640 --> 01:52:46,519
Speaker 1: They say, get over it.

1623
01:52:46,600 --> 01:52:52,639
Speaker 2: So this is important. You four? When is your birthday?

1624
01:52:54,400 --> 01:52:54,799
Speaker 1: April?

1625
01:52:56,080 --> 01:52:59,439
Speaker 2: And Aries and Aries?

1626
01:53:00,720 --> 01:53:01,519
Speaker 1: No, no, Taurus.

1627
01:53:02,360 --> 01:53:05,720
Speaker 2: Well they've all liked me, and we've never looked me,

1628
01:53:06,840 --> 01:53:12,439
Speaker 2: but we were usually arguing about the same thing. But you,

1629
01:53:12,840 --> 01:53:15,880
Speaker 2: I really just I get a chance to bounce you

1630
01:53:16,240 --> 01:53:18,880
Speaker 2: off of me more than you do me off you,

1631
01:53:19,080 --> 01:53:21,160
Speaker 2: because I get a chance to read your column and

1632
01:53:22,080 --> 01:53:25,120
Speaker 2: you know off see how I feel about it. Whatever.

1633
01:53:25,400 --> 01:53:28,920
Speaker 2: But I think if you and I talked all day,

1634
01:53:29,520 --> 01:53:32,280
Speaker 2: we were straightened out the entire problems with a whole

1635
01:53:32,360 --> 01:53:34,640
Speaker 2: goddamn world. They would just listen to us.

1636
01:53:36,360 --> 01:53:38,160
Speaker 1: That goes to the next one that goes to the

1637
01:53:38,280 --> 01:53:42,240
Speaker 1: Jack Nicholson point. People can't you know that Jack Nicholson

1638
01:53:42,320 --> 01:53:45,040
Speaker 1: in that movie A Few good Men. People can't handle

1639
01:53:45,120 --> 01:53:45,479
Speaker 1: the truth?

1640
01:53:45,720 --> 01:53:53,280
Speaker 2: No, oh oh honey, oh oh, they really really can't.

1641
01:53:53,520 --> 01:53:56,880
Speaker 2: I mean I know that there were some truths that

1642
01:53:57,120 --> 01:54:00,280
Speaker 2: I could not handle, but I was begging for and

1643
01:54:00,400 --> 01:54:02,800
Speaker 2: I crawled up into that little hole and found out

1644
01:54:02,840 --> 01:54:06,880
Speaker 2: the truth and it said PLoP. But people can they

1645
01:54:06,920 --> 01:54:09,439
Speaker 2: can't stand and slap. It's gonna come with that truth.

1646
01:54:10,280 --> 01:54:13,000
Speaker 2: But I don't know. You've seen to be that same

1647
01:54:13,160 --> 01:54:17,840
Speaker 2: kind of idiot, like curious, crazy than I am. And

1648
01:54:17,960 --> 01:54:23,640
Speaker 2: you just say, well, why is that you said you

1649
01:54:23,720 --> 01:54:24,360
Speaker 2: aren't married?

1650
01:54:24,800 --> 01:54:26,080
Speaker 1: That's exactly who I am.

1651
01:54:26,200 --> 01:54:29,759
Speaker 2: You are married. You aren't married.

1652
01:54:31,920 --> 01:54:35,920
Speaker 1: I was married once. I am now with the same

1653
01:54:36,080 --> 01:54:38,400
Speaker 1: girlfriend for twenty years. We lived together.

1654
01:54:38,840 --> 01:54:41,600
Speaker 2: Oh, you should definitely keep her if you were fortunate

1655
01:54:41,760 --> 01:54:44,960
Speaker 2: enough to find her and she's willing to stay for you,

1656
01:54:45,240 --> 01:54:48,560
Speaker 2: with you for that long. Always considered that because you

1657
01:54:48,840 --> 01:54:54,080
Speaker 2: really are an exceptionally unusual individual.

1658
01:54:54,200 --> 01:54:56,800
Speaker 1: And she also play this for her.

1659
01:54:58,000 --> 01:55:02,080
Speaker 2: But she has to be that kind of individual too,

1660
01:55:02,320 --> 01:55:06,080
Speaker 2: can so accept that person? Like Kevin, I'm very much

1661
01:55:06,480 --> 01:55:10,320
Speaker 2: like you Kevin. A man has to live with a

1662
01:55:10,440 --> 01:55:16,120
Speaker 2: woman who he doesn't feel constantly disrespected by. Every word

1663
01:55:16,240 --> 01:55:19,600
Speaker 2: I say doesn't make him, doesn't offend him. You know,

1664
01:55:19,840 --> 01:55:22,240
Speaker 2: he has to get over all of that because this

1665
01:55:22,480 --> 01:55:25,880
Speaker 2: is how I am. And he's accepted the fact that

1666
01:55:25,880 --> 01:55:28,800
Speaker 2: I'm willing to lay down with him every night, who

1667
01:55:29,080 --> 01:55:31,440
Speaker 2: all day for him, do all the one hundred when

1668
01:55:31,440 --> 01:55:34,440
Speaker 2: I'm here. If I say something, I'm not saying it

1669
01:55:34,560 --> 01:55:37,920
Speaker 2: to disrespect you. I'm saying it because that's what happened.

1670
01:55:40,800 --> 01:55:43,240
Speaker 2: And I'm not a housewife.

1671
01:55:44,200 --> 01:55:45,880
Speaker 1: We're on the same page, I know.

1672
01:55:46,080 --> 01:55:50,120
Speaker 2: And that's how come nobody likes us. Wait a minute,

1673
01:55:50,160 --> 01:55:52,240
Speaker 2: but everybody wants to know what we've got to say.

1674
01:55:53,360 --> 01:55:57,720
Speaker 1: Well, you know, there's a lot in therapy. God, I

1675
01:55:57,800 --> 01:56:01,240
Speaker 1: can't believe going on about this. This is really the

1676
01:56:01,400 --> 01:56:04,320
Speaker 1: only thing I can do what other people can do.

1677
01:56:04,960 --> 01:56:09,200
Speaker 1: I can't do what other people do really well, is

1678
01:56:09,680 --> 01:56:13,000
Speaker 1: be a member of the group, get along and make

1679
01:56:13,040 --> 01:56:13,400
Speaker 1: it work.

1680
01:56:13,480 --> 01:56:15,360
Speaker 2: Didn't I tell you to put me out at a choir?

1681
01:56:16,400 --> 01:56:16,560
Speaker 1: Right?

1682
01:56:17,560 --> 01:56:17,600
Speaker 2: So?

1683
01:56:18,240 --> 01:56:22,480
Speaker 1: I mean, God bless them. I've worked in these organizations

1684
01:56:23,080 --> 01:56:26,320
Speaker 1: and you know, I don't have the personality where I'm

1685
01:56:26,320 --> 01:56:29,360
Speaker 1: gonna move up in the organization. They don't want somebody

1686
01:56:29,520 --> 01:56:32,360
Speaker 1: like me. They want somebody who kisses ass and you know,

1687
01:56:32,840 --> 01:56:35,160
Speaker 1: can have fun and you can help owe each other.

1688
01:56:35,800 --> 01:56:39,000
Speaker 1: But you know, I'm lucky enough to know that people

1689
01:56:39,040 --> 01:56:40,400
Speaker 1: are hungry for the truth.

1690
01:56:40,960 --> 01:56:44,680
Speaker 2: They absolutely are. But not having ever seen anything, I

1691
01:56:44,800 --> 01:56:48,200
Speaker 2: think it comes maybe natural to us, so it doesn't

1692
01:56:48,680 --> 01:56:52,560
Speaker 2: frighten us. It just comes so natural. But if you've

1693
01:56:52,760 --> 01:56:56,480
Speaker 2: never heard it, if you've never heard it before, and

1694
01:56:56,840 --> 01:57:01,600
Speaker 2: it's standing there before you, it I have to sometimes

1695
01:57:01,680 --> 01:57:04,240
Speaker 2: look at the things I believe and the things I say,

1696
01:57:05,520 --> 01:57:11,720
Speaker 2: and I try and understand how it floored people. And

1697
01:57:12,720 --> 01:57:15,040
Speaker 2: I've never had to go back to anyone and apologize

1698
01:57:15,320 --> 01:57:19,200
Speaker 2: apologize so because I said exactly what I meant if

1699
01:57:19,280 --> 01:57:21,879
Speaker 2: I come back to you is to make you understand

1700
01:57:21,960 --> 01:57:24,440
Speaker 2: why I said it. But it's not to apologize.

1701
01:57:25,360 --> 01:57:31,400
Speaker 1: Well, I will say I was in a really bad

1702
01:57:31,600 --> 01:57:36,040
Speaker 1: spot and I got hooked up with this psychiatrist and

1703
01:57:37,560 --> 01:57:40,720
Speaker 1: he he would never tell me what to do, and

1704
01:57:40,800 --> 01:57:44,520
Speaker 1: he barely speaks. It's like psychoanalysis. But through this process

1705
01:57:45,520 --> 01:57:49,720
Speaker 1: I've learned, you know, I've learned a lot of things

1706
01:57:49,800 --> 01:57:53,440
Speaker 1: how to get along, to make it work. And without that,

1707
01:57:53,560 --> 01:57:56,200
Speaker 1: it probably wouldn't happen because I was a prisoner of

1708
01:57:56,240 --> 01:58:00,760
Speaker 1: my upbringing. That that's not you know, the lessons I

1709
01:58:00,920 --> 01:58:06,040
Speaker 1: didn't learn. But it's still a struggle. But like you,

1710
01:58:07,160 --> 01:58:08,520
Speaker 1: I'm continuing to do it.

1711
01:58:09,200 --> 01:58:12,440
Speaker 2: Well, I get exasperated at this point because I've done

1712
01:58:12,480 --> 01:58:18,240
Speaker 2: the psychiatrist thing and it's just almost everything that anyone

1713
01:58:19,280 --> 01:58:25,360
Speaker 2: would advise I've done. And it's being in show business

1714
01:58:25,600 --> 01:58:32,240
Speaker 2: over seventy years. Is I mean, there just isn't anything

1715
01:58:32,520 --> 01:58:34,400
Speaker 2: that's happened to me. Everything that happened to you in

1716
01:58:34,520 --> 01:58:37,440
Speaker 2: school had already happened to me as a MIDI levet.

1717
01:58:38,240 --> 01:58:39,720
Speaker 2: I just how old are you?

1718
01:58:40,640 --> 01:58:44,960
Speaker 1: Well, the thing is bout seven. I'm seventy two.

1719
01:58:45,800 --> 01:58:50,600
Speaker 2: Well, we age actually in groups of five, so you're eight.

1720
01:58:51,520 --> 01:58:57,760
Speaker 1: Let's flip the story over, okay, And I'm not blowing smoke. Yes,

1721
01:58:58,640 --> 01:59:03,920
Speaker 1: you were not happy that you don't have this financial status, okay,

1722
01:59:04,840 --> 01:59:10,720
Speaker 1: but what you've achieved almost no one has achieved. In addition,

1723
01:59:13,200 --> 01:59:14,760
Speaker 1: I say this about myself.

1724
01:59:16,520 --> 01:59:18,680
Speaker 2: You can like me or not like me.

1725
01:59:18,960 --> 01:59:22,040
Speaker 1: But if you like me, I'm the only place you

1726
01:59:22,160 --> 01:59:26,880
Speaker 1: can get what I do exactly exactly like you. If

1727
01:59:26,920 --> 01:59:29,600
Speaker 1: you like Betty Levette, no one can say, oh, they

1728
01:59:29,680 --> 01:59:31,960
Speaker 1: had a hit record and had the same producer the

1729
01:59:32,040 --> 01:59:35,960
Speaker 1: right way. They say, that's a unique thing. You may

1730
01:59:36,040 --> 01:59:38,120
Speaker 1: not like it, but if you like it, it's the

1731
01:59:38,400 --> 01:59:41,000
Speaker 1: only place you can get it. And it's worked for you.

1732
01:59:42,000 --> 01:59:46,839
Speaker 2: Robert, that is why two of us in this whole business.

1733
01:59:46,960 --> 01:59:55,400
Speaker 2: It's too much. I honestly, really you are. It's this

1734
01:59:56,240 --> 01:59:59,760
Speaker 2: child who wrote all the songs in this last album,

1735
02:00:00,080 --> 02:00:04,920
Speaker 2: Randall Bramblett. He has this tune. I'm just trying to

1736
02:00:05,000 --> 02:00:11,080
Speaker 2: see someone exactly like me. Maybe one day I'll run

1737
02:00:11,240 --> 02:00:12,360
Speaker 2: into myself.

1738
02:00:15,400 --> 02:00:18,640
Speaker 1: Well, we're all looking to be known and understood.

1739
02:00:19,160 --> 02:00:24,560
Speaker 2: Absolutely. I would rather have understanding than anything else. If

1740
02:00:24,600 --> 02:00:27,000
Speaker 2: you want, if you hate me and you are understanding,

1741
02:00:27,120 --> 02:00:32,480
Speaker 2: at least sure why Oh I agree with that. Yeah,

1742
02:00:32,800 --> 02:00:38,200
Speaker 2: I really know that. That that's it, Kevin. When I

1743
02:00:38,280 --> 02:00:41,400
Speaker 2: met him, I said, I will when I am not

1744
02:00:41,560 --> 02:00:45,520
Speaker 2: being Betty Lovett, I will certainly gladly be Missus Kyley.

1745
02:00:45,800 --> 02:00:48,920
Speaker 2: That's the way I was raised. I keep this house clean.

1746
02:00:49,360 --> 02:00:51,760
Speaker 2: I could have a housekeeper, but I don't want another

1747
02:00:51,800 --> 02:00:55,360
Speaker 2: bro walking all over my house and looking my underwear

1748
02:00:55,440 --> 02:00:58,640
Speaker 2: and dirty clothes and stuff. So I cleaned this house.

1749
02:00:58,760 --> 02:01:02,120
Speaker 2: It may take me a longer time n cleaning. I

1750
02:01:02,280 --> 02:01:06,320
Speaker 2: do everything here myself, I say, I will be drunk,

1751
02:01:07,160 --> 02:01:10,520
Speaker 2: I will have to have marijuana every day. I will

1752
02:01:10,640 --> 02:01:14,280
Speaker 2: never miss a show, I will never be late, and

1753
02:01:15,440 --> 02:01:17,960
Speaker 2: none of the self. I mean. I will never look

1754
02:01:18,000 --> 02:01:21,760
Speaker 2: in your wallet or ask you where you've been, or

1755
02:01:21,920 --> 02:01:25,080
Speaker 2: ask you why you weren't here. I laid everything that

1756
02:01:25,200 --> 02:01:28,280
Speaker 2: I am out and that's how I am, I said,

1757
02:01:28,320 --> 02:01:31,160
Speaker 2: and that is the reason I have all my husbands,

1758
02:01:31,360 --> 02:01:38,920
Speaker 2: all my boyfriends, and all of my producers cool. Honestly,

1759
02:01:39,240 --> 02:01:41,440
Speaker 2: I could take you, you know they my mother used

1760
02:01:41,440 --> 02:01:44,520
Speaker 2: to say a thing in New Orleans, Well, in Louisiana,

1761
02:01:44,640 --> 02:01:46,520
Speaker 2: you know, the houses used to be way up off

1762
02:01:46,600 --> 02:01:49,880
Speaker 2: the ground because of the water, right, And when you

1763
02:01:50,240 --> 02:01:52,720
Speaker 2: like something in the summertime of whatever, if you like

1764
02:01:52,960 --> 02:01:54,480
Speaker 2: you take it and go up under the house with

1765
02:01:54,640 --> 02:02:00,680
Speaker 2: it and got a hide there. Will I could take

1766
02:02:00,760 --> 02:02:02,800
Speaker 2: you and run up under the house with you.

1767
02:02:04,960 --> 02:02:09,839
Speaker 1: I can't. We gotta stop now because I can't respond

1768
02:02:10,000 --> 02:02:13,200
Speaker 1: to that and run up in the house with you. Okay,

1769
02:02:13,360 --> 02:02:15,880
Speaker 1: you've been listening to me with Betty Levette, the one

1770
02:02:15,960 --> 02:02:18,800
Speaker 1: and only Betty. I want to thank you so much

1771
02:02:18,880 --> 02:02:21,640
Speaker 1: for taking the time with my audience. Kill me next time.

1772
02:02:22,920 --> 02:02:24,400
Speaker 1: This is Bob left set