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

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Speaker 2: And Gentlemen, Our guest today is legend wait for it, Dairy. Seriously,

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Speaker 2: I am fanning out. Okay, just a brief, brief side note.

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Speaker 2: We are we're zooming this particular episode, so I'm looking

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Speaker 2: at it right now and I'm flustered. That's I'm fanning

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Speaker 2: out right here. Because she has been an unavoidable presence

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Speaker 2: in every aspect of my life, from those from those

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Speaker 2: legendary n. C. Martin videos from the early nineties and

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Speaker 2: early nineties kind of world Hint Hint, as a legendary choreographer,

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Speaker 2: as the host rat of the b Tea Staple Rap City.

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Speaker 2: One of the first times I was on the show

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Speaker 2: is because she's interviewing us. I mean, even her dancing

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Speaker 2: silhouette and the living single credits is etched in all

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Speaker 2: of our brains. As an actress, as a journalist, as

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Speaker 2: a fitness instruction, as a radio host on Dash Radio.

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Speaker 2: I'm certain I'm getting on her nerves.

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Speaker 3: Right now as a bad bitch.

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Speaker 2: Yes, I cannot believe I'm saying this. Ladies and gentlemen,

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Speaker 2: please welcome big less Leslie. Wait, pronounce your last name

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Speaker 2: for because I always get it wrong everybody I always want.

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Speaker 4: To say, I usually say cigar. As long as you

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Speaker 4: spell it right on the check, I don't even care.

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Speaker 2: All right, no, because I was calling you sugar for

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Speaker 2: the longest. He used to always correct me. All right, Yes,

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Speaker 2: ladies and gentlemen, please welcome to Quest Love Supreme, Leslie

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Speaker 2: big Les Cigar.

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Speaker 5: Thank you, yes, thank you so much for being here.

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Speaker 2: Oh I got this is amazing. So where are you

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Speaker 2: right now?

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Speaker 4: I am in Los Angeles by myself and uh, you know,

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Speaker 4: trying to keep the sunshine, keep the smiling because it's

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Speaker 4: been crazy, between the protests, between you know, quarantining, it's

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Speaker 4: been an emotional rollercoaster. For real.

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Speaker 2: Wait, I was gonna say, right now, you seem like

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Speaker 2: you're ready. You're like camera ready for a red carpet, like.

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Speaker 5: It's for real, for real.

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Speaker 2: This is a casual flex for you, like you just

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Speaker 2: wake up in the morning.

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Speaker 4: Like I wish, you know, our whole lives one zoom now,

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Speaker 4: So you know, I gotta look presentable at least a

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Speaker 4: little bit, at least from the waist up.

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Speaker 2: I was gonna say, waist down. I still got my

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Speaker 2: old Navy underwear on.

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Speaker 5: So yeah, yeah, what is your skincare regimen? Before we

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Speaker 5: can get into your career? What is your skincare regimen?

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Speaker 4: What come on this genetic? Yeah? Okay, whatever side of

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Speaker 4: our team, So you know.

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Speaker 1: Steve take notes.

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Speaker 2: I wanna.

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Speaker 5: I want to have that shine.

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Speaker 1: Hr C.

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Speaker 3: I want We ain't got no department.

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Speaker 4: It's okay.

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Speaker 2: Hey man, I almost went down the ship earlier.

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Speaker 4: So I'm so proud of everything that you're doing. Congratulations.

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Speaker 4: It's nice to meet all of y'all, and thank you

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Speaker 4: preaching out to me again. I appreciate it.

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Speaker 2: Thank you.

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Speaker 5: We've been trying to get you for a long time.

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Speaker 5: This has been one of our bucket list episode.

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Speaker 2: Yeah, it's definitely a bucket list movement.

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Speaker 6: And it was nice to be able to walk up

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Speaker 6: to Big Lass and say can I have your nub

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Speaker 6: We'll be on our show and her go yes, of course.

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Speaker 5: Yes.

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Speaker 4: I'm so lonely everybody in their hang ups and I'm

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Speaker 4: just like, it is what it is. You know, that's

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Speaker 4: my brother right there. So you know good. Plus, you know,

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Speaker 4: if you really got to find somebody, I can hunt

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Speaker 4: you down. I can call hunt you down.

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Speaker 2: You can find me, you can find me, So we

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Speaker 2: we basically at a course Love Supreme, go through the

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Speaker 2: journey of everyone's life. So I always start with question

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Speaker 2: number one and they tease me for it. Where were

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Speaker 2: you born?

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Speaker 4: I'm from Queens, New York, East Elmhurst, Jackson Heights, Corona.

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Speaker 4: That's where I am born and raised. My family my

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Speaker 4: mom is from Augusta, Georgia. My father's family from Virginia,

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Speaker 4: but he's a New Yorker too, So.

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Speaker 2: So what what was the environment like? Like normally on

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Speaker 2: the show, we have music figures, and you know, the

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Speaker 2: story either starts out in church or some sort of uh,

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Speaker 2: there's always some sort of entry that leads to music.

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Speaker 2: But for you, though, like what was your environment like

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Speaker 2: in Queens?

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Speaker 4: It's it's interesting because you start off in a two

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Speaker 4: family household and then your parents get divorced. Came from

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Speaker 4: a middle class family. Literally, Like you know, every neighborhood

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Speaker 4: in Queens or New York really is a mixed neighborhood. Dominicans, Borricans,

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Speaker 4: go Lamias, Kuvano's, Jewish, Europeans, whatever, And that's kind of

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Speaker 4: what my neighborhood was. Even my high school was considered

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Speaker 4: like the United Nations of New York because everybody was

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Speaker 4: so mixed, and so even moving out to California and

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Speaker 4: people going or realizing that the only Latinos that they

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Speaker 4: were familiar with were just Mexicans. I'm like, what are

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Speaker 4: you talking about? What about the Epidorians, what about the legions?

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Speaker 4: But you know what I mean. So that's kind of

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Speaker 4: what I grew up around. And when my parents got divorced.

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Speaker 4: You know, my mom was very independent, very structured, very strict.

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Speaker 4: She didn't play no games. And I only moved two

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Speaker 4: blocks away from my father, so he was still like

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Speaker 4: in my life, I have an older sister. We don't

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Speaker 4: get along. We are like night and day. She's four

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Speaker 4: years apart, and you would think we grew up in

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Speaker 4: a completely different household, a miserable human being. But that's

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Speaker 4: a whole other chapter.

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Speaker 5: Still to this day, like y'all still don't get along now.

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Speaker 4: Oh no, not at all. We're actually in court over

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Speaker 4: some stuff. When my father thought, real, yeah, yeah, it's

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Speaker 4: like that to the point where her and my mother

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Speaker 4: don't even speak. So's it's you don't stop. When you

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Speaker 4: stop speaking to a parent, then you know there's a

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Speaker 4: problem that somewhere, and you know, but my parents. My

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Speaker 4: mom was an educated she went to nursing school, you know,

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Speaker 4: raising us me and her, my sister. And my dad

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Speaker 4: was he didn't finish high school, but he worked in

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Speaker 4: US medal. He was a good guy but turned out

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Speaker 4: to be an alcoholic. But he was really like one

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Speaker 4: of those calm alcoholics, you know what I'm saying, Very loving,

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Speaker 4: very friendly to everybody. But he just I think fell

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Speaker 4: into a depression really when my parents got divorced, which

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Speaker 4: is the irony of it, all right, because while out

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Speaker 4: and womanize and you do all these things. But I

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Speaker 4: don't think he ever healed from my mother finally leaving him,

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Speaker 4: and when my mom remarried, it's like the drinking intensified

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Speaker 4: for him. So as much as I love my father,

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Speaker 4: I always knew I didn't want a man like my father.

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Speaker 4: He was physically abusive, even though he was the nicest

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Speaker 4: man on the lot. It was that thing that happened.

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Speaker 4: And my mom even said, I don't know what happened

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Speaker 4: when he turned forty. He became somebody else. And I've

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Speaker 4: seen it happen even within the relationships of what happens

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Speaker 4: when men change, or that there are men that have

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Speaker 4: a broken history or something that kind of rears his

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Speaker 4: head somewhere down the line. Oh yeah, no, I mean

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Speaker 4: I think even for women too. I mean, you know,

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Speaker 4: whether they're going through menopause or all this other stuff.

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Speaker 4: It happens to both people at the same time. So

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Speaker 4: their mid life crisis and your hormones and everybody. You

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Speaker 4: don't recognize it. It becomes crazy. So when you see

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Speaker 4: that in your parents, you don't understand it until you

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Speaker 4: get there. But you know, I was very structured. I

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Speaker 4: was like in Girl Scouts, I was in gymnastics early.

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Speaker 4: I never missed a day of school in high school,

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Speaker 4: so I got like attendance awards. I was in honors

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Speaker 4: classes in third grade. I studied French for eleven years.

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Speaker 4: Like all these things that my mother made sure that

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Speaker 4: we were in, you know. And it's crazy because even

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Speaker 4: though I grew up in a mixed neighborhood, I literally

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Speaker 4: was like the black girl and mostly the only black

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Speaker 4: girl and everything. I was the only black girl in

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Speaker 4: my Girl Scout troop for seven years. I was the

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Speaker 4: only black girl on both my young gymnastic team and

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Speaker 4: my college gymnastic team. I was the only black girl

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Speaker 4: one of four and like all of my honors classes.

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Speaker 4: So it's interesting.

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Speaker 2: So when you're training for the gymnastics, in your mind,

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Speaker 2: is the goal like, okay, I might be an Olympic

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Speaker 2: hopeful or like or is it just to get college tuition?

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Speaker 2: Like when one enters the world of gymnastics, like what

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Speaker 2: are you aspiring for?

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Speaker 4: Initially for me, it was because one I was a

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Speaker 4: tomboy and two I had too much energy. I couldn't

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Speaker 4: keep still, So my mother put me in trampoline class,

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Speaker 4: and like a month or two later, the guy was like,

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Speaker 4: she needs to be in gymnastics because you know how

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Speaker 4: you do all the street tumbling and all that other stuff.

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Speaker 4: But it was refined and literally within a year. I

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Speaker 4: started late. Most of didn't start when they're like two

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Speaker 4: and three. I started when I was ten, but by

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Speaker 4: the age of eleven I was competing in national competences.

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Speaker 4: So my mom made the switch. And at first it's

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Speaker 4: really you just are thinking week to week of beating

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Speaker 4: someone in the competition, right, you just kind of want

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Speaker 4: to be the first on bars, the first on floor.

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Speaker 4: You want to win. Overall, you want to win a

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Speaker 4: team because it's a team sport and it's an individual sport,

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Speaker 4: and it's interesting that as close as I am to

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Speaker 4: my coach, the coach, of course never signs up to

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Speaker 4: be anyone's parent, but you end up spending more time

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Speaker 4: with your coach than you actually do your parents who

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Speaker 4: are working all the time, or being a lash key

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Speaker 4: kid in New York. So I learned a whole lot

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Speaker 4: of structure from the rules of gymnastics, from showing up

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Speaker 4: and being in a team sport and being held accountable for,

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Speaker 4: you know, if I fall off a beam, or if

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Speaker 4: I show up late, or if I you know, did

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Speaker 4: thirty push ups instead of the fifty we were supposed

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Speaker 4: to do, like there was no cheating otherwise you're punished

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Speaker 4: as a group. So therefore you take accountability. And those

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Speaker 4: are the kind of things that have you structured or

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Speaker 4: going into this business. But it wasn't until you know,

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Speaker 4: you get older and you realize, okay, I'm not Olympic material,

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Speaker 4: because of course that's the goal. Then it was like, well,

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Speaker 4: I'm going to college. Now, let me see if I

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Speaker 4: can get a scholarship. And I was able to do that,

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Speaker 4: got a four year gymnastics scholarship, which was a blessing.

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Speaker 6: Were you like a gymnastics head, Like I remember. It's

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Speaker 6: interesting because in the eighties gymnastics was kind of like

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Speaker 6: a thing, right, Like it was the Mary lou Retten,

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Speaker 6: Nadia Komaniche.

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Speaker 3: And stuff like that.

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Speaker 6: American anthem were like, were you like ahead, did you

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Speaker 6: become a fan of it?

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Speaker 4: No? Absolutely, you know, wild world sports on Saturday, Gymnastic me,

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Speaker 4: gymnastic posters all around the room and the names escaping me.

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Speaker 4: But there were only like two black genasts that I

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Speaker 4: had seen come before me, you know.

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Speaker 5: What I mean, girl the black that did that that

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Speaker 5: she did the black the backflip.

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Speaker 3: Not Dominique Dolls because that.

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Speaker 5: Was no, no, no, not Dominique Dolls. It's the other girl,

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Speaker 5: Syria Bonley were tripping.

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Speaker 4: But it'll come to me.

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Speaker 2: I was like, wow, I was like too, so I

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Speaker 2: was going to say, yeahie Thomas.

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Speaker 4: Wait, but yeah, So it was you know, being a

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Speaker 4: black gymnast was really like being a unicorn for most people.

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Speaker 4: And then you get in high school. I only competed

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Speaker 4: on my high school team for one year because they

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Speaker 4: had really bad equipment and my private gym was just

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Speaker 4: like you're gonna get hurt, so they only let me

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Speaker 4: do it for one year, and that one year was

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Speaker 4: the year where they had like the Big Apple Games.

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Speaker 4: I won the whole region, you know, the whole thing,

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Speaker 4: and it was it was a blessing. And so when

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Speaker 4: I got my scholarship, it was like, shoot, you know,

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Speaker 4: your mother is like, thank God, all right, I don't

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Speaker 4: have to come out of my pocket anymore. You know.

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Speaker 4: It's that whole thing. You know, there weren't any HBCUs

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Speaker 4: that had gymnastics, so I literally, you know, and I

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Speaker 4: knew I was going to go out of state. Like

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Speaker 4: I only applied to like one New York school which

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Speaker 4: was upstate to Courtland, which was eight hours away. I

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Speaker 4: applied to Penn State, which I got into, and I

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Speaker 4: got a partial gymnastics scholarship and a partial academic scholarship.

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Speaker 4: But I got a full scholarship to Springfield College. So

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Speaker 4: that's what I took.

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Speaker 2: So how did dancing into your life? Like, I mean,

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Speaker 2: at the end of the day, I mean, you've done

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Speaker 2: so many things, but like, what what was your aspiration

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Speaker 2: as a ten year old or an eleven year old?

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Speaker 4: To my core, I'm literally like if I could do

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Speaker 4: surf to so lat and dance, like that's who I am.

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Speaker 4: Ice skating all those artistic things is really who I am.

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Speaker 4: And it really wasn't until two things. The TV show

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Speaker 4: Solid Gold, where Wayne, Oh my god, you don't understand.

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Speaker 4: She had Darcel Wayne own black gazelle legs. She wore

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Speaker 4: this Leo tar ponytail, and I'd be in my house

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Speaker 4: knocking over furniture, you know, pulling my underwear out of

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Speaker 4: my hast, trying to be like her. And I mean

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Speaker 4: last year I had a chance to have her actually

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Speaker 4: on my show, and I almost cried like a baby.

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Speaker 2: Darcel Wayne is what she and.

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Speaker 4: She looks exactly the same, son, Oh my god. And

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Speaker 4: you know when people say you don't want to meet

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Speaker 4: your idols, like, be careful when I tell you she

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Speaker 4: like I could call her any day. She's given me

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Speaker 4: her number. You go out to like you don't understand.

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Speaker 4: And that's what I watched and was like later for gymnastics,

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Speaker 4: I want to dance like this. And then when fame came,

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Speaker 4: I was like, I'm sold.

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Speaker 2: I was gonna.

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Speaker 3: I was gonna ask, was you a Debbie Allen baby?

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Speaker 4: Like yes, and Debbie are my two right here? But

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Speaker 4: once you finish gymnastics, like I knew I wasn't going

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Speaker 4: to the Olympics. But you can only compete for four

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Speaker 4: years in college for NT double A, and I had

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Speaker 4: a five year bachelor's program that I got into where

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Speaker 4: I was studying sports medicine and physical therapy. But year

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Speaker 4: four you can't compete more past four years. I'm like,

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Speaker 4: I'm not gonna sit around even if I'm gonna get

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Speaker 4: my master's. Like, I gotta go, I gotta dance, I

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Speaker 4: gotta whatever. So I actually left early after I got

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Speaker 4: my bachelor's and my mother, of course to this day

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Speaker 4: is still giving me the side because here to get

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Speaker 4: my masters. But once I left, we came back to

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Speaker 4: New York and started auditioning. You know, everything was in

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Speaker 4: the newspaper back then, backstage and all this other stuff.

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Speaker 4: I pretty much booked everything that I auditioned for probably

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Speaker 4: the first year two years out the gate, and my

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Speaker 4: mother was like still giving me the side when you

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Speaker 4: go back to school, when you go backward. Still to

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Speaker 4: this day, my mother can't believe that cartwheels is the

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Speaker 4: thing that travel around the globe and TV shows and me.

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Speaker 4: She's like, how did this happen? She's still scratching her

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Speaker 4: head and less.

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Speaker 6: At what point did you know that you were physically

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Speaker 6: different than the other ladies that usually exceed in these things.

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Speaker 4: But my body has always been a topic of discussion,

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Speaker 4: you know. Third grade, I was literally wearing a bra,

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Speaker 4: so I was bigger, tested and I had to deal

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Speaker 4: with the boy snapping my bra, called me like ubani

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Speaker 4: great hard, I was wearing a bro so, and then

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Speaker 4: like being tall. I'm five ft six, so being taller

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Speaker 4: of the genus. You look at, you know, somebody like

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Speaker 4: some own biles and that she literally is up to

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Speaker 4: like my breast, and most gymnasts of people think that

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Speaker 4: you can only do genastics if you're like four for eight. So,

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Speaker 4: but when you see college genists, we're really probably all

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Speaker 4: around the same size. You know. Most started late, but

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Speaker 4: it took a long time. Like if you see me now,

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Speaker 4: I'm making half the time like I've never done any nudity.

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Speaker 4: But I had issues growing up because I was always

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Speaker 4: very muscular. I was always very athletic, and guys would

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Speaker 4: just be like, you look like a linebacker, why are

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Speaker 4: you so muscular? Me? So, I really didn't even take

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Speaker 4: my shirt off at the beach until I was like

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Speaker 4: a junior senior in college. So now you can't keep clothes.

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Speaker 6: On me, and now your body is the model to

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Speaker 6: what a lot of women pay to look like, which

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Speaker 6: is ill right.

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Speaker 4: But it's crazy too because even the name big Les

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Speaker 4: came based on who's the big girl doing backflips? And

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Speaker 4: that was like how he asked the producer of that

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Speaker 4: and they were like, oh, that's just less and somebody

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Speaker 4: just literally said big Less come here. And that's literally

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Speaker 4: how it happened. Who's the big girl doing backs? And

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Speaker 4: I say to people even who don't know me, well,

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Speaker 4: I do gymnastics, and they're like, yeah, right, maybe you

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Speaker 4: run track, maybe you play basketball, gymnastics never, and I'm like,

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Speaker 4: I can't even dribble, what do you sorry? You know?

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Speaker 4: And then I have to kind of show approve and

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Speaker 4: it's happened to a lot of gigs, like you don't

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Speaker 4: do gymnastics, and I'll be like, can you move over

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Speaker 4: three backhands rings and a full twist? And they're like, oh, okay.

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Speaker 2: Can you still achieve that? Now?

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Speaker 4: Absolutely?

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Speaker 2: I don't know.

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Speaker 4: If you've seen my Instagram, I do try to do

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Speaker 4: things with softer landings. Now I do trapeze and I

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Speaker 4: do tramp. I had to have some major surgery a

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Speaker 4: couple of years ago, which I'm actually working on my documentary,

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Speaker 4: so I'll take everybody through it. But I didn't think

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Speaker 4: i'd be able to tumble again, so I just have

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Speaker 4: to have softer landings. Or even if you saw the

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Speaker 4: don't the don't rush challenge, we did one with the dances.

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Speaker 3: I was so dope.

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Speaker 4: Yeah I'll flipping the cement pools and yeah, I can

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Speaker 4: still tumble. I just made need some groken after a

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Speaker 4: little ice. Mama said that.

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Speaker 2: What prompted you. I know that you said that you

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Speaker 2: started well with al but you mentioned backstage newspaper. I

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Speaker 2: remember that that was such a staple in my household

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Speaker 2: because my sister would, you know, try to land auditions

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Speaker 2: and all those things. So, like, I mean, at the time,

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Speaker 2: how did you get into the rotation of what is

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Speaker 2: known as choreography work or your video work? Like what

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Speaker 2: was your first professional job that you booked?

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Speaker 4: Oh? God, be actual, because I was doing It's crazy,

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Speaker 4: you know, being a club kid in New York. And

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Speaker 4: I don't know how much you guys know about the

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Speaker 4: club scene, but back then in the nineties, everybody hung

354
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Speaker 4: out right all the record label execs, all the artists.

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Speaker 4: There were cyphers over there, there were dance battles over there,

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Speaker 4: and everybody actually had business cards. And that's kind of

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Speaker 4: how work happened for me because there was no internet,

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Speaker 4: there was no telephones. There was nothing that was a

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Speaker 4: business card or calling the receptionist or watching the music

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Speaker 4: video saying MCA Records, let me call front desk find

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Speaker 4: out blah blah blah. There were two major jobs that

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Speaker 4: happened for me that really weren't mainstream ones. That I

363
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Speaker 4: got hired to be a cheerleader for a full force

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Speaker 4: game that they were doing for WBLS. I never really cheerleader,

365
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Speaker 4: but it was mostly danced anyway, and I got to

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Speaker 4: do backflips across the gym. By the time I finished

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Speaker 4: and we had to head back into the locker room,

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Speaker 4: there must have been about six people from different labels,

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Speaker 4: some artists. I need you in my video, I need

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Speaker 4: you to dance for my artists, blah blah blah. Then

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Speaker 4: I did an off Broadway play. Auditioned for that, and

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Speaker 4: ironically the play was me y Clet Lauren came somewhere

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Speaker 4: along the line and we were all just club kids

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Speaker 4: from New York to New Jersey whatever, and Big Beat Records.

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Speaker 4: Big Beat Records was going to grab a play and

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Speaker 4: produce it. And what's his name, Calmen Hellman, right, had

377
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Speaker 4: an artist, Jay Williams. I'm gone to Sweat Sweat, Sweat

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Speaker 4: Sweats and I'm silking with those of you who know

379
00:18:49,480 --> 00:18:54,159
Speaker 4: house music. That was a huge, huge, huge record. That

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Speaker 4: was my first artist. And we toured all over the

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Speaker 4: country and literally from people seeing me on that as

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Speaker 4: one of his dancers, we would call hugs and kisses,

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Speaker 4: and we were doing every club, the sound factory, the garage,

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Speaker 4: I mean just every club late night, three clubs a night,

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Speaker 4: four clubs a night to four or five o'clock in

386
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Speaker 4: the morning, and people would be in the clubs. And

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Speaker 4: that's how I got my work. And so I was.

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Speaker 2: You went to the legendary garage.

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Speaker 4: Oh I still have my garage card. Let me pull

390
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Speaker 4: it up on the phone. Wow, car of course, the world,

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Speaker 4: the choice, I'm telling you.

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Speaker 2: The music that Larry Levin's.

393
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Speaker 4: Louie Vega, Robert Owens, all of them.

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Speaker 2: Man, just yeah, how how immersed were you in New

395
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Speaker 2: York club? Oh?

396
00:19:46,240 --> 00:19:46,879
Speaker 1: Here we go.

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Speaker 4: The club scene, like you know, breaking her through the

398
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Speaker 4: whole bit. But most people think, is I mean because

399
00:19:54,200 --> 00:19:57,160
Speaker 4: you were being up from Queen's right. I actually went

400
00:19:57,200 --> 00:20:00,720
Speaker 4: to school with you know, kid and Play Herbie Wiz

401
00:20:00,760 --> 00:20:03,120
Speaker 4: and I DJ Wiz and I went to elementary school together.

402
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Speaker 4: They're a little older than my sister's age, but we

403
00:20:05,000 --> 00:20:06,960
Speaker 4: all grew up in the same area. So all the

404
00:20:07,040 --> 00:20:09,119
Speaker 4: jams in the park with them and the disco twins

405
00:20:09,160 --> 00:20:11,679
Speaker 4: and stuff is really like from my era and my people.

406
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Speaker 4: And so I was immersed into hip hop early on,

407
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Speaker 4: you know what I mean, like all the battles, sneaking

408
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Speaker 4: into all the clubs, and somehow I got into house music,

409
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Speaker 4: like really hardcore. So I'm a house dancer before I'm

410
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Speaker 4: a hip hop dancer, which most people don't know.

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Speaker 6: Yeah, and I would love to see that, oh my god, right.

412
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Speaker 4: Yeah, because it just offers some sort of spirituality that

413
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Speaker 4: I don't get as a dancer from hip hop, right,

414
00:20:38,080 --> 00:20:42,600
Speaker 4: because the movements are just liquid and you just kind

415
00:20:42,600 --> 00:20:44,520
Speaker 4: of close your eyes and stand by the speaker and

416
00:20:44,520 --> 00:20:46,639
Speaker 4: it just is infectious to you. And that's kind of

417
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Speaker 4: what it did for me and got me into like

418
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Speaker 4: really battling and stuff. I was a house Battle Dancer

419
00:20:52,880 --> 00:20:56,520
Speaker 4: before I was anything regarding hip hop. So trying to

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Speaker 4: find my garage card for you and talking to you.

421
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Speaker 2: Wow, that's you still carry your garage card.

422
00:21:02,440 --> 00:21:03,880
Speaker 4: It's on my phone somewhere.

423
00:21:06,200 --> 00:21:06,520
Speaker 2: Wow.

424
00:21:07,400 --> 00:21:17,919
Speaker 4: See the year looking like a scary Did.

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Speaker 5: You ever actually get this here? Larry spin I can't

426
00:21:20,320 --> 00:21:21,160
Speaker 5: remember what did you eat?

427
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Speaker 4: Got? Yes?

428
00:21:22,800 --> 00:21:24,400
Speaker 5: You got to hear wow? So dope?

429
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Speaker 4: Yeah? Yeah, I mean the garage was just you know

430
00:21:27,119 --> 00:21:30,280
Speaker 4: between Grace Showns showing up and Liz Torres and all

431
00:21:30,359 --> 00:21:33,480
Speaker 4: these artists and performing at like four or five o'clock

432
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Speaker 4: in the morning, and you would leave the garage drenched.

433
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Speaker 4: You'd always bring a different pack of clothes. You'd be

434
00:21:39,680 --> 00:21:41,679
Speaker 4: leaving by the time people were going to work and

435
00:21:41,720 --> 00:21:43,480
Speaker 4: the sun would be coming up, you know, And it

436
00:21:43,600 --> 00:21:45,960
Speaker 4: was a lifestyle. You could be broke as hell, but

437
00:21:46,040 --> 00:21:48,359
Speaker 4: all the security guards knew who the dances were, you

438
00:21:48,359 --> 00:21:50,400
Speaker 4: know what I mean, who just like kept the parties going.

439
00:21:50,440 --> 00:21:52,199
Speaker 4: So even if I was under age or didn't have

440
00:21:52,200 --> 00:21:54,080
Speaker 4: any money, I never had to pay to get in.

441
00:21:54,560 --> 00:21:57,360
Speaker 4: And Washington Square Park was like the hangout. That's kind

442
00:21:57,359 --> 00:22:00,920
Speaker 4: of where we all just manifested. Learn new who knew

443
00:22:00,920 --> 00:22:03,160
Speaker 4: about this audition or whatever, and it was just kind

444
00:22:03,160 --> 00:22:05,639
Speaker 4: of like that was our pipeline. We were all broke,

445
00:22:06,160 --> 00:22:09,560
Speaker 4: knapsack kids, whatever. But that was like the best times

446
00:22:09,560 --> 00:22:10,040
Speaker 4: of my life.

447
00:22:11,359 --> 00:22:15,720
Speaker 2: I was going to say, especially what we're going through

448
00:22:15,800 --> 00:22:19,320
Speaker 2: right now in New York City, a lot of people

449
00:22:19,560 --> 00:22:24,159
Speaker 2: are kind of hoping that with the mass exodus of

450
00:22:25,400 --> 00:22:27,919
Speaker 2: the factor that's leaving New York, which I'll say is

451
00:22:27,920 --> 00:22:31,520
Speaker 2: the gentrification factor. You know, everyone, all of them are

452
00:22:31,560 --> 00:22:34,920
Speaker 2: running to the hills. Now, people are sort of wondering,

453
00:22:35,560 --> 00:22:39,800
Speaker 2: you know, what type of New York will develop post

454
00:22:39,800 --> 00:22:43,640
Speaker 2: twenty twenty. And you know, a friend of mine said that, well, hopefully,

455
00:22:44,359 --> 00:22:47,800
Speaker 2: you know, the creativity and the artists will come back

456
00:22:47,840 --> 00:22:52,760
Speaker 2: downtown as they used to before, you know, the gingrification culture.

457
00:22:52,800 --> 00:22:55,520
Speaker 2: But for you, like, are you one of those people

458
00:22:55,520 --> 00:23:01,240
Speaker 2: that just has a romantic feeling of of New York

459
00:23:01,359 --> 00:23:05,880
Speaker 2: when it was its most dangerous per se or is dangerous?

460
00:23:05,920 --> 00:23:08,760
Speaker 2: Sort of like a subjective opinion.

461
00:23:09,240 --> 00:23:13,640
Speaker 4: Oh no, I love my old school, grimy, large rats,

462
00:23:13,760 --> 00:23:17,919
Speaker 4: trash in the street, deep shows on forty second Street,

463
00:23:17,960 --> 00:23:21,760
Speaker 4: the Israelites on the corner talking like great dances, like

464
00:23:21,800 --> 00:23:24,320
Speaker 4: that's my quintessential New York And I feel bad for

465
00:23:24,359 --> 00:23:26,040
Speaker 4: the people who come to New York for the first

466
00:23:26,119 --> 00:23:29,080
Speaker 4: time now and it's like Universal Studios, Like you don't

467
00:23:29,080 --> 00:23:30,919
Speaker 4: get to see the graffiti on the train, which to

468
00:23:30,960 --> 00:23:34,399
Speaker 4: me was like the artwork of artwork, you know, the

469
00:23:34,760 --> 00:23:36,960
Speaker 4: you know, the late the clubs are just whatever, and

470
00:23:37,000 --> 00:23:39,520
Speaker 4: they still don't know the difference between you know, Bridge

471
00:23:39,520 --> 00:23:41,760
Speaker 4: and Tunnel Night, which is in regular Friday and Saturday

472
00:23:41,800 --> 00:23:43,960
Speaker 4: night and all that other stuff. And for those who

473
00:23:43,960 --> 00:23:46,000
Speaker 4: don't know what that is, it's like true New Yorkers

474
00:23:46,080 --> 00:23:48,360
Speaker 4: only go to the club literally from Sunday to Thursday,

475
00:23:48,840 --> 00:23:52,360
Speaker 4: Bridge and Tunnels. People from Jersey, Connecticut, Philadelphia who want

476
00:23:52,400 --> 00:23:55,040
Speaker 4: to come to work for the weekend and get in

477
00:23:55,080 --> 00:23:57,640
Speaker 4: a way, they just get in our way.

478
00:23:57,720 --> 00:23:59,240
Speaker 2: Okay, I get it, I get it.

479
00:24:01,400 --> 00:24:02,520
Speaker 4: I love you, really I do.

480
00:24:04,200 --> 00:24:06,439
Speaker 2: The day that I arrived in New York City was

481
00:24:06,520 --> 00:24:11,680
Speaker 2: literally like day one of the disneyfication of forty second Street.

482
00:24:12,520 --> 00:24:14,120
Speaker 2: So I thought it was great. I was like, oh man,

483
00:24:14,119 --> 00:24:16,800
Speaker 2: this is really amazing, you know, and only to find

484
00:24:16,840 --> 00:24:20,879
Speaker 2: out that no everyone else was mourning the loss of

485
00:24:21,760 --> 00:24:22,440
Speaker 2: New York City.

486
00:24:22,720 --> 00:24:25,520
Speaker 4: I mean, it's cute and sure, you know, we all

487
00:24:25,560 --> 00:24:27,879
Speaker 4: have to be progressive and all that other stuff, but

488
00:24:27,920 --> 00:24:29,840
Speaker 4: you kind of want New York to be what it's

489
00:24:29,880 --> 00:24:32,479
Speaker 4: always been known for. And I'm not afraid of the growth.

490
00:24:32,800 --> 00:24:35,879
Speaker 4: It's cute, it's beautiful and sure, and I mean, I'm

491
00:24:35,920 --> 00:24:38,919
Speaker 4: actually kind of selfishly glad that I got to experience it.

492
00:24:38,960 --> 00:24:41,520
Speaker 4: And it's still my version of New York. I don't

493
00:24:41,560 --> 00:24:43,600
Speaker 4: even recognize it when I go home anymore. I barely

494
00:24:43,600 --> 00:24:46,760
Speaker 4: even recognize queens, all the restaurants, all the people, all

495
00:24:46,760 --> 00:24:49,760
Speaker 4: the things that were so culturally ours seems to be

496
00:24:50,160 --> 00:24:54,679
Speaker 4: you know, stripped away. Yeah, and I don't know if

497
00:24:54,720 --> 00:24:55,880
Speaker 4: it's ever going to come back.

498
00:24:55,960 --> 00:24:59,160
Speaker 2: You know, it will, That's what I was going to ask.

499
00:24:59,200 --> 00:25:02,760
Speaker 2: Do you feel like it will return? Or I just.

500
00:25:02,680 --> 00:25:07,760
Speaker 4: Feel like the inspiration deep, the inspiration that New York

501
00:25:07,880 --> 00:25:12,800
Speaker 4: bore was an originality of thought that came from the

502
00:25:12,840 --> 00:25:15,080
Speaker 4: things that you see. Like, because I'm trapped in my

503
00:25:15,200 --> 00:25:18,199
Speaker 4: car here in LA all the time, my sensibilities have

504
00:25:18,760 --> 00:25:22,080
Speaker 4: dumbed down, right, because I'm not around, my senses aren't

505
00:25:22,080 --> 00:25:25,080
Speaker 4: as sharp. I don't get to see or smell or

506
00:25:25,160 --> 00:25:29,000
Speaker 4: hear other languages and other things like. But when I

507
00:25:29,040 --> 00:25:31,679
Speaker 4: go home the first couple of days, I'm like soaking

508
00:25:31,680 --> 00:25:34,280
Speaker 4: it all in. I'll walk from Central Park all the

509
00:25:34,320 --> 00:25:37,720
Speaker 4: way down to Canal Street just cause, and I feel

510
00:25:37,760 --> 00:25:41,280
Speaker 4: like I've learned or gained so much culture just because

511
00:25:41,280 --> 00:25:43,560
Speaker 4: I've been away. But for those people who were in

512
00:25:43,640 --> 00:25:47,640
Speaker 4: New York used to creating this culture that's now been

513
00:25:47,680 --> 00:25:50,719
Speaker 4: stripped away, I feel like, you know, they're kind of

514
00:25:50,800 --> 00:25:53,440
Speaker 4: moving to the outskirts or downtown or whatever, and they're

515
00:25:53,480 --> 00:25:57,800
Speaker 4: not as creative or original as they used to be

516
00:25:57,880 --> 00:25:59,800
Speaker 4: or the people that before them came, you know what

517
00:25:59,800 --> 00:26:01,080
Speaker 4: I mean. Does that make sense?

518
00:26:01,480 --> 00:26:06,600
Speaker 2: Yes, it makes sense. So when you're when you're I'm

519
00:26:06,680 --> 00:26:10,359
Speaker 2: jumping back to your your first gigs as a dancer,

520
00:26:10,400 --> 00:26:13,520
Speaker 2: when you were first hired as a dancer, did you

521
00:26:13,640 --> 00:26:17,639
Speaker 2: start off as choreographer or is that sort of like

522
00:26:17,680 --> 00:26:19,320
Speaker 2: a chain that you have to work your way up to.

523
00:26:21,119 --> 00:26:22,800
Speaker 4: Usually you kind of have to work your way up

524
00:26:22,840 --> 00:26:26,359
Speaker 4: to it. It really kind of happened to me. Nothing's

525
00:26:26,400 --> 00:26:29,800
Speaker 4: an accident. My first major tour was the Key Sweat

526
00:26:29,800 --> 00:26:34,120
Speaker 4: Triple Threat Tour BBD Johnny gill Keith Sweat Wow. Literally

527
00:26:34,160 --> 00:26:38,199
Speaker 4: my jobs after that came from being seen by the

528
00:26:38,280 --> 00:26:41,920
Speaker 4: artists and the audience who would come backstage like Guy

529
00:26:42,520 --> 00:26:44,639
Speaker 4: Teddy Riley and Aaronhole would be like, you have to

530
00:26:44,720 --> 00:26:46,680
Speaker 4: dance with us and meet me by the dressing room,

531
00:26:47,000 --> 00:26:49,560
Speaker 4: or happen the same thing with Heavy d You know

532
00:26:49,640 --> 00:26:51,639
Speaker 4: when hev lost the guys and was like, I'm gonna

533
00:26:51,680 --> 00:26:54,320
Speaker 4: have girl dancers. He literally I saw him in the

534
00:26:54,359 --> 00:26:56,520
Speaker 4: audience and by the time we got to the dressing room,

535
00:26:56,560 --> 00:26:58,119
Speaker 4: he was standing in front of our doors like I

536
00:26:58,160 --> 00:27:01,119
Speaker 4: need you to dance for me. So that's kind of

537
00:27:01,119 --> 00:27:06,680
Speaker 4: how those things happened. I got I'm sorry I missed

538
00:27:06,720 --> 00:27:08,520
Speaker 4: your question, did I answered, I don't think I did.

539
00:27:09,000 --> 00:27:11,639
Speaker 2: Yeah, no, you told me the process of it. But

540
00:27:12,200 --> 00:27:16,160
Speaker 2: what I wanted to know was who was, Oh, who

541
00:27:16,280 --> 00:27:19,840
Speaker 2: was the the choreographer of the moment when you entered

542
00:27:19,840 --> 00:27:24,720
Speaker 2: the game of doing these legendary videos, like did they

543
00:27:24,720 --> 00:27:27,440
Speaker 2: trust you to make up the steps? Or who was

544
00:27:27,480 --> 00:27:29,639
Speaker 2: the person that was at the helm.

545
00:27:30,200 --> 00:27:34,159
Speaker 4: So to answer your original question, choreography happened for me

546
00:27:34,960 --> 00:27:37,480
Speaker 4: because people always thought that I was the principal answer

547
00:27:37,560 --> 00:27:40,399
Speaker 4: because I was in front and they assumed that I

548
00:27:40,520 --> 00:27:43,200
Speaker 4: choreographed up And a lot of times the choreographers who

549
00:27:43,240 --> 00:27:46,480
Speaker 4: had the job would show up unprepared and be like, Okay,

550
00:27:46,480 --> 00:27:48,560
Speaker 4: I need a count or I need a four count

551
00:27:48,560 --> 00:27:50,200
Speaker 4: over here and we ended up doing more of the

552
00:27:50,280 --> 00:27:52,119
Speaker 4: work and I just was like, aren't you getting paid

553
00:27:52,119 --> 00:27:55,120
Speaker 4: for this? Like wait what? And so the next time

554
00:27:55,200 --> 00:27:57,560
Speaker 4: somebody asked me, I said, yeah, I choreographed it, which

555
00:27:57,600 --> 00:28:01,320
Speaker 4: was kind of a lie good I wouldn't. And that's

556
00:28:01,400 --> 00:28:03,959
Speaker 4: kind of how I switched up the deal is I

557
00:28:04,000 --> 00:28:06,560
Speaker 4: was probably getting paid more than anyone else as a dancer,

558
00:28:06,920 --> 00:28:10,120
Speaker 4: and then I started realizing how much money choreographers were making,

559
00:28:10,160 --> 00:28:14,120
Speaker 4: like oh Schnepp, But choreographers then there weren't really many

560
00:28:14,119 --> 00:28:19,720
Speaker 4: any females. They were like Peakaboo Donovan. They were the

561
00:28:19,760 --> 00:28:22,639
Speaker 4: guys from the Mop Top crew, like Stretch and Henry

562
00:28:22,680 --> 00:28:25,720
Speaker 4: and Link. Rosie Perez probably was one of the females

563
00:28:25,760 --> 00:28:27,399
Speaker 4: who are around. And Rosie will be the first to

564
00:28:27,400 --> 00:28:30,840
Speaker 4: tell you, like she's a creative visionary versus being a

565
00:28:31,000 --> 00:28:32,959
Speaker 4: dancer dancer, you know what I mean. She's somebody who

566
00:28:33,000 --> 00:28:34,800
Speaker 4: could move well, and we seen her throw it back,

567
00:28:35,080 --> 00:28:36,880
Speaker 4: you know, on Soul Train and stuff. But she'll tell

568
00:28:36,920 --> 00:28:40,320
Speaker 4: you she's not a dancer dancer, but she has great vision,

569
00:28:40,720 --> 00:28:44,040
Speaker 4: you know. So those were some of the people who

570
00:28:44,120 --> 00:28:46,840
Speaker 4: really from me, were hiring me a lot. Darren Henson

571
00:28:46,880 --> 00:28:50,880
Speaker 4: started to do a lot of choreography music Factory, so

572
00:28:50,920 --> 00:28:52,320
Speaker 4: he was hiring me a lot, and then I was

573
00:28:52,320 --> 00:28:57,480
Speaker 4: getting hired by the directors directly. Lionel, Martin, Millicent Shelton

574
00:28:57,640 --> 00:28:59,560
Speaker 4: was really doing a lot of the music videos then

575
00:28:59,600 --> 00:29:03,920
Speaker 4: that I had, you know, danceing Arris Barcoley, he did

576
00:29:03,960 --> 00:29:07,480
Speaker 4: around the Hey Girl, you know, into TV and stuff.

577
00:29:07,480 --> 00:29:09,160
Speaker 4: But I was there for a lot of beginning, you know,

578
00:29:09,280 --> 00:29:12,640
Speaker 4: Jeff Bird uh well, even while you know, Benny Boone

579
00:29:12,760 --> 00:29:15,440
Speaker 4: was moving apple boxes for Lionel, like, you know, I

580
00:29:15,520 --> 00:29:18,720
Speaker 4: was all there at the beginning of these careers. Nobody

581
00:29:18,760 --> 00:29:22,600
Speaker 4: everybody was just getting put on, you know, and so

582
00:29:22,640 --> 00:29:25,000
Speaker 4: there were a lot of Rosie was probably the only

583
00:29:25,080 --> 00:29:29,040
Speaker 4: one who initially first was the head choreographer as far

584
00:29:29,080 --> 00:29:31,520
Speaker 4: as females go. And then to Randon as well, you know,

585
00:29:31,600 --> 00:29:35,480
Speaker 4: land he was doing Janet on the West Coast, and

586
00:29:35,520 --> 00:29:40,120
Speaker 4: I was still dancing and then really transitioning into choreography.

587
00:29:41,280 --> 00:29:43,720
Speaker 4: And then you kind of have to decide for yourself

588
00:29:43,760 --> 00:29:46,120
Speaker 4: can you do both? Now? Can I put myself in

589
00:29:46,160 --> 00:29:48,240
Speaker 4: the front? Am I going to be subjective to knowing

590
00:29:48,240 --> 00:29:50,600
Speaker 4: what the choreography looks like as well as dancing it

591
00:29:50,640 --> 00:29:52,320
Speaker 4: and being that whole thing, and I did it for

592
00:29:52,360 --> 00:29:55,400
Speaker 4: a while and the reason I ended up stepping out

593
00:29:55,400 --> 00:29:58,440
Speaker 4: of dance rat City came along, which you know was

594
00:29:58,480 --> 00:29:59,000
Speaker 4: a blessing.

595
00:30:00,040 --> 00:30:01,680
Speaker 6: Can I just ask on a dancing tip at some

596
00:30:01,760 --> 00:30:04,720
Speaker 6: point because you made that transition to choreographer because you're

597
00:30:05,000 --> 00:30:08,480
Speaker 6: a New York dancer, did other folks of other generations

598
00:30:08,480 --> 00:30:09,440
Speaker 6: and genres reach out to you?

599
00:30:09,440 --> 00:30:10,480
Speaker 3: Because in my mind, I'm.

600
00:30:10,280 --> 00:30:12,320
Speaker 6: Like, wow, did you get to talk to like the

601
00:30:12,400 --> 00:30:15,960
Speaker 6: Judith Jamison's, the George Faison's and the that b Allens

602
00:30:15,960 --> 00:30:17,240
Speaker 6: of the world that were.

603
00:30:17,680 --> 00:30:21,080
Speaker 4: No because they weren't really they were I think doing

604
00:30:21,120 --> 00:30:24,320
Speaker 4: more Broadway and TV at that time. They just tapped

605
00:30:24,360 --> 00:30:28,240
Speaker 4: into music videos and touring and even hip hop per se.

606
00:30:28,600 --> 00:30:30,840
Speaker 4: They may have maybe started to introduce it a lot

607
00:30:30,840 --> 00:30:32,280
Speaker 4: if they were still teaching class.

608
00:30:32,520 --> 00:30:34,840
Speaker 3: Because you got Oprah. At some point, you are Oprah.

609
00:30:34,880 --> 00:30:36,600
Speaker 3: They got to know who is this girl?

610
00:30:36,800 --> 00:30:37,360
Speaker 4: Right right?

611
00:30:37,560 --> 00:30:37,760
Speaker 2: Right?

612
00:30:38,040 --> 00:30:40,200
Speaker 4: But I mean, and you never know who's watching. Like

613
00:30:40,240 --> 00:30:42,720
Speaker 4: It's the crazy thing. You just when you meet people

614
00:30:42,760 --> 00:30:45,080
Speaker 4: and they're like, hey, you know, I saw you dance,

615
00:30:45,120 --> 00:30:47,880
Speaker 4: and you're like, oh my god, that's George Clooney, you

616
00:30:47,920 --> 00:30:49,680
Speaker 4: know me, Like and I'm just I've never Metgined, but

617
00:30:49,720 --> 00:30:51,800
Speaker 4: I'm just as a name and you're just like, oh snap,

618
00:30:51,880 --> 00:30:54,120
Speaker 4: you never know who's watching you. So I didn't get

619
00:30:54,120 --> 00:30:57,440
Speaker 4: to meet them during that time or really dance in

620
00:30:57,480 --> 00:31:00,720
Speaker 4: their world. They were more theatrical. One person I did

621
00:31:00,760 --> 00:31:03,080
Speaker 4: get a chance to meet, obviously, was Otis Salite, who

622
00:31:03,080 --> 00:31:05,640
Speaker 4: really is up that genre. And he's the one who

623
00:31:05,680 --> 00:31:07,360
Speaker 4: did the living single intro.

624
00:31:11,240 --> 00:31:11,360
Speaker 7: You know.

625
00:31:11,480 --> 00:31:14,160
Speaker 4: Otis Salit is the one who is like a directiographer.

626
00:31:14,400 --> 00:31:16,960
Speaker 4: He did school days choreography, you know, good and bad

627
00:31:17,000 --> 00:31:21,240
Speaker 4: hair and all that stuff. Malcolm X like he's a genius,

628
00:31:21,400 --> 00:31:23,920
Speaker 4: a genius, and I was just so grateful that he

629
00:31:23,960 --> 00:31:26,560
Speaker 4: even called me because I was still I was on

630
00:31:26,640 --> 00:31:30,160
Speaker 4: tour when they were doing auditions for Malcolm X and

631
00:31:30,240 --> 00:31:32,640
Speaker 4: Lindy Hop is my favorite genre of life, and I

632
00:31:32,720 --> 00:31:35,200
Speaker 4: found out about us and too late, but I was

633
00:31:35,240 --> 00:31:38,240
Speaker 4: able to go to one of the rehearsals introduce myself

634
00:31:38,280 --> 00:31:40,440
Speaker 4: to him. He kind of Lorianne I think was working

635
00:31:40,480 --> 00:31:44,120
Speaker 4: on that maybe introduction, but I was too late, So

636
00:31:44,160 --> 00:31:46,680
Speaker 4: I got to do extra work in the film. Cut

637
00:31:46,760 --> 00:31:49,680
Speaker 4: to a year or a month later, whenever it happened.

638
00:31:49,920 --> 00:31:51,640
Speaker 4: I get a phone call and it's otis on the

639
00:31:51,680 --> 00:31:55,240
Speaker 4: other line, and you're like, is this really you? Like,

640
00:31:55,280 --> 00:31:57,400
Speaker 4: it's like Michael Jackson calling your phone? Like that's what

641
00:31:57,480 --> 00:32:01,760
Speaker 4: it felt me like, No, this campy, the otist elite.

642
00:32:02,080 --> 00:32:06,080
Speaker 4: Sure whatever you need, you know, Wow, So.

643
00:32:06,120 --> 00:32:08,520
Speaker 5: What was it like when Michael Jackson actually called your phone?

644
00:32:11,720 --> 00:32:12,920
Speaker 5: Now I think about it like them.

645
00:32:18,520 --> 00:32:20,960
Speaker 2: So what I what I want to know is, though,

646
00:32:21,280 --> 00:32:27,160
Speaker 2: is how how competitive was it? And I don't mean

647
00:32:27,200 --> 00:32:31,920
Speaker 2: from like a caddy sort of thing, but like in

648
00:32:32,000 --> 00:32:37,040
Speaker 2: terms of booking gigs? Uh, were you your own agent?

649
00:32:37,160 --> 00:32:38,600
Speaker 2: Were you your own manager?

650
00:32:39,440 --> 00:32:39,520
Speaker 4: Like?

651
00:32:39,600 --> 00:32:43,120
Speaker 2: How is one able to secure gigs? How's one able

652
00:32:43,200 --> 00:32:46,720
Speaker 2: to solidify? Because it's like, as far as I know

653
00:32:47,040 --> 00:32:50,240
Speaker 2: growing up watching these specific videos, I mean, there was

654
00:32:50,240 --> 00:32:53,360
Speaker 2: a point where either I mean you already named Millicent

655
00:32:53,480 --> 00:32:57,520
Speaker 2: in Paris, but like Lionel C. Martin damn near did

656
00:32:58,720 --> 00:33:00,840
Speaker 2: like at one point I'm certain that he did sixty

657
00:33:00,920 --> 00:33:04,080
Speaker 2: to seventy percent of all the output on Rap City

658
00:33:04,320 --> 00:33:09,600
Speaker 2: that I saw. And so it's like, on the other

659
00:33:09,680 --> 00:33:14,000
Speaker 2: side of that coin, what was the environment like as

660
00:33:14,040 --> 00:33:18,440
Speaker 2: far as being chosen, Like, yes, we definitely know who

661
00:33:18,520 --> 00:33:22,120
Speaker 2: you are, but like you know, there's also jo C.

662
00:33:22,280 --> 00:33:27,600
Speaker 2: Harris's there's like other household names that I know in

663
00:33:27,680 --> 00:33:34,320
Speaker 2: the game, like how does one navigate? Like was it Caddy?

664
00:33:34,600 --> 00:33:36,280
Speaker 2: Was it? Just like, hey, there's enough work for all

665
00:33:36,280 --> 00:33:37,960
Speaker 2: of us, Like what was the environment?

666
00:33:38,080 --> 00:33:43,040
Speaker 4: Like? It's interesting because at first it started off where

667
00:33:43,040 --> 00:33:45,680
Speaker 4: everybody's calling each other like, Yo, there's an audition for this,

668
00:33:45,880 --> 00:33:48,560
Speaker 4: there's an audition for that. Then for me, it got

669
00:33:48,600 --> 00:33:51,480
Speaker 4: to a point where I would always call everyone. Remember

670
00:33:51,520 --> 00:33:54,080
Speaker 4: I come from team sports, so it's like, even if

671
00:33:54,080 --> 00:33:56,560
Speaker 4: you compete against somebody one weekend and they beat you,

672
00:33:56,560 --> 00:33:58,760
Speaker 4: you got a whole week or two weeks to come

673
00:33:58,760 --> 00:34:01,560
Speaker 4: back and beat them, right, So it's all fair game.

674
00:34:02,080 --> 00:34:04,040
Speaker 4: The industry is not like that. There's a lot of

675
00:34:04,160 --> 00:34:07,120
Speaker 4: jealousy and animosity. So I remember going to an audition

676
00:34:07,200 --> 00:34:09,560
Speaker 4: and the people that I normally call or we call

677
00:34:09,600 --> 00:34:11,799
Speaker 4: each other, suddenly nobody called me. And I got the

678
00:34:11,840 --> 00:34:13,480
Speaker 4: call like at the last minute, and I show up

679
00:34:13,520 --> 00:34:16,160
Speaker 4: and all my friends are there, and I'm like, how

680
00:34:16,200 --> 00:34:19,040
Speaker 4: come nobody call me? And one of my really close

681
00:34:19,080 --> 00:34:21,359
Speaker 4: friends said, because you book all the jobs. We just

682
00:34:21,400 --> 00:34:25,200
Speaker 4: want to work. And that's when I literally was changed

683
00:34:25,960 --> 00:34:29,200
Speaker 4: from that. I became somebody who was like this, now

684
00:34:29,320 --> 00:34:31,520
Speaker 4: I'm not saying anything to anybody. I'm keeping the work

685
00:34:31,560 --> 00:34:34,920
Speaker 4: to myself and that's not even my character. And literally

686
00:34:35,200 --> 00:34:37,719
Speaker 4: it just was like, now I'm really going to book

687
00:34:37,760 --> 00:34:40,239
Speaker 4: these gigs. Now I'm really going to show up and

688
00:34:40,280 --> 00:34:43,600
Speaker 4: show out and make sure that I take this opportunity

689
00:34:43,640 --> 00:34:46,520
Speaker 4: away from you, just because it's my blessing. And I

690
00:34:46,560 --> 00:34:48,759
Speaker 4: work harder than everybody else because I'm the chick who

691
00:34:48,800 --> 00:34:50,640
Speaker 4: gets up earlier in the morning and still works out

692
00:34:50,680 --> 00:34:52,799
Speaker 4: and does what needs to be done. But okay, if

693
00:34:52,800 --> 00:34:55,160
Speaker 4: that's your hate, then that's what it is. But back then,

694
00:34:55,239 --> 00:34:57,800
Speaker 4: like I said, everybody was their own agent. I remember

695
00:34:57,840 --> 00:35:02,200
Speaker 4: making calls as my own assistan changing my voice, you know,

696
00:35:02,800 --> 00:35:05,800
Speaker 4: sending different nutters or whatever case is, and booking gigs

697
00:35:05,800 --> 00:35:08,880
Speaker 4: and no negotiating my price and stuff. But the calls

698
00:35:08,920 --> 00:35:11,880
Speaker 4: back then came direct, where you just gave people your number.

699
00:35:12,160 --> 00:35:14,120
Speaker 4: They gave you either the business card or the number

700
00:35:14,160 --> 00:35:16,960
Speaker 4: to the label, and they were just calling me direct

701
00:35:16,960 --> 00:35:19,360
Speaker 4: and I just would have to pretend to be someone

702
00:35:19,360 --> 00:35:20,759
Speaker 4: else to negotiate my rate.

703
00:35:21,640 --> 00:35:24,040
Speaker 2: Oh wow, Okay, now I really got to get into

704
00:35:24,040 --> 00:35:28,440
Speaker 2: the business. Is there such a thing as a union?

705
00:35:29,080 --> 00:35:32,040
Speaker 2: And if you don't mind me asking, Okay, if it's

706
00:35:32,200 --> 00:35:39,000
Speaker 2: nineteen ninety or nineteen ninety one, what was considered a

707
00:35:39,040 --> 00:35:41,360
Speaker 2: good booking? I'm certain that.

708
00:35:42,040 --> 00:35:43,840
Speaker 3: Rate wise, right, you're asking a marriag.

709
00:35:43,880 --> 00:35:46,719
Speaker 2: Yeah, rate wise, like you know in my field, Like

710
00:35:46,760 --> 00:35:49,920
Speaker 2: if I like somebody nine times out ten, I'm not

711
00:35:50,040 --> 00:35:52,719
Speaker 2: you know, I won't charge them. I mean, I'm at

712
00:35:52,719 --> 00:35:56,319
Speaker 2: a place now where I'm comfortable. But you know, if

713
00:35:56,360 --> 00:36:00,640
Speaker 2: you're using this to survive day to day, what's like

714
00:36:00,680 --> 00:36:02,919
Speaker 2: a friends and family discount? Like, all right, I'll hook

715
00:36:02,960 --> 00:36:04,360
Speaker 2: you up because you guys have a little budget. And

716
00:36:04,360 --> 00:36:08,240
Speaker 2: I really liked the song versus like, what's a good booking?

717
00:36:08,800 --> 00:36:11,399
Speaker 4: Well, I don't think. And when I talk to dances now,

718
00:36:11,560 --> 00:36:14,040
Speaker 4: because there was never a union back then, you really

719
00:36:14,080 --> 00:36:17,040
Speaker 4: had to expeast their famine, and artists always made you

720
00:36:17,080 --> 00:36:19,080
Speaker 4: feel like, dancers come a diamond us and we can

721
00:36:19,120 --> 00:36:22,959
Speaker 4: get somebody else. So either you would underbid another choreographer,

722
00:36:23,239 --> 00:36:26,440
Speaker 4: which has happened, or you would just settle for less

723
00:36:26,440 --> 00:36:30,160
Speaker 4: money just so you can get the gig. And now

724
00:36:30,160 --> 00:36:32,800
Speaker 4: that even though there are more agencies and stuff like that,

725
00:36:32,840 --> 00:36:35,200
Speaker 4: I think what the scale is is still not where

726
00:36:35,320 --> 00:36:38,880
Speaker 4: it should be. So dancers really are doing it for

727
00:36:38,920 --> 00:36:41,400
Speaker 4: the passion and not for the money. Back then, I

728
00:36:41,400 --> 00:36:44,600
Speaker 4: think day rates were probably like two fifty four rehearsal.

729
00:36:44,760 --> 00:36:47,960
Speaker 4: We're talking like anywhere from four to eight hours, maybe

730
00:36:48,000 --> 00:36:51,560
Speaker 4: five hundred for a shoot day. Choreographers would get more,

731
00:36:52,320 --> 00:36:56,480
Speaker 4: maybe than seven hundred, and maybe you might get one

732
00:36:56,480 --> 00:36:58,600
Speaker 4: thousand a week if you were going on tour. Like

733
00:36:58,640 --> 00:37:00,399
Speaker 4: that's when you look at the big scheme of things

734
00:37:00,400 --> 00:37:03,160
Speaker 4: and all that we're doing and contributing to this artwork

735
00:37:03,160 --> 00:37:05,319
Speaker 4: and these visuals. It's not a lot of money based

736
00:37:05,400 --> 00:37:06,440
Speaker 4: on other people, but.

737
00:37:06,600 --> 00:37:08,560
Speaker 6: Artists try to put you on retainer and just hold

738
00:37:08,600 --> 00:37:09,960
Speaker 6: you so nobody else could.

739
00:37:10,120 --> 00:37:12,240
Speaker 4: Oh no, no, there was no such thing as retainer.

740
00:37:12,320 --> 00:37:16,000
Speaker 4: They're not spending that money contracts, they're not doing it.

741
00:37:16,080 --> 00:37:18,920
Speaker 4: My first job on the Key Sweat tour, I cried

742
00:37:19,000 --> 00:37:20,880
Speaker 4: like a baby because I had a real job and

743
00:37:20,920 --> 00:37:22,960
Speaker 4: so I was able to take a leave of absence,

744
00:37:23,000 --> 00:37:25,040
Speaker 4: which I didn't even know was an option. He broke

745
00:37:25,080 --> 00:37:27,680
Speaker 4: his foot on that tour, and I'm like, oh my god,

746
00:37:27,719 --> 00:37:29,120
Speaker 4: this tour is about the end. I have to go

747
00:37:29,160 --> 00:37:31,560
Speaker 4: back to a real job. But he kept going. But

748
00:37:31,640 --> 00:37:35,040
Speaker 4: there's no concrete safety net about what's going to happen.

749
00:37:36,000 --> 00:37:39,239
Speaker 4: It's you know, a tour or a project dissolves. There

750
00:37:39,280 --> 00:37:41,360
Speaker 4: may be more coverage now, depending on whether it's a

751
00:37:41,360 --> 00:37:43,400
Speaker 4: commercial or a TV show where the union kind of

752
00:37:43,400 --> 00:37:46,719
Speaker 4: gets involved and it's under sagging after. But there's no

753
00:37:46,920 --> 00:37:49,560
Speaker 4: There are barely any artists who ever pay retainer for

754
00:37:49,680 --> 00:37:52,839
Speaker 4: their band or for the dancers. They like, really want

755
00:37:52,840 --> 00:37:55,160
Speaker 4: to have to have you and keep and not want

756
00:37:55,160 --> 00:37:57,160
Speaker 4: to share you with somebody else for that to happen,

757
00:37:57,480 --> 00:37:59,920
Speaker 4: and then you know, it's always they're always in some

758
00:38:00,120 --> 00:38:03,359
Speaker 4: what a financial disagreement with the label anyway about their

759
00:38:03,400 --> 00:38:05,560
Speaker 4: money being spent. So the last thing on their mind

760
00:38:05,600 --> 00:38:08,719
Speaker 4: is keeping dancers. We're the first to go. They don't

761
00:38:08,719 --> 00:38:10,240
Speaker 4: want to. They don't want to have to buy us,

762
00:38:10,280 --> 00:38:12,440
Speaker 4: you know, stage where they don't have to get here

763
00:38:12,480 --> 00:38:14,800
Speaker 4: and makeup, they don't have to do any of that stuff.

764
00:38:14,840 --> 00:38:17,960
Speaker 4: But you know, our own separate tour buses, hotels, rooms

765
00:38:17,960 --> 00:38:20,000
Speaker 4: like yeah, that comes with a price for your stage show.

766
00:38:21,200 --> 00:38:25,800
Speaker 2: Yeah. Wait, Because I know that you were part of

767
00:38:26,120 --> 00:38:32,120
Speaker 2: the Bobby campaign his third album, of which when I

768
00:38:32,160 --> 00:38:35,000
Speaker 2: saw y'all it was like ninety seven people on stage.

769
00:38:36,280 --> 00:38:40,160
Speaker 2: I was wondering how that p DM worked. What do

770
00:38:40,239 --> 00:38:44,080
Speaker 2: you consider the first video that was your breakout moment?

771
00:38:44,400 --> 00:38:48,160
Speaker 2: Was it Mary or like, oh no, before.

772
00:38:49,040 --> 00:38:51,879
Speaker 4: I think it might have been around the Way Girl.

773
00:38:51,920 --> 00:38:54,840
Speaker 4: For most people, I'm not going to like. It doesn't

774
00:38:54,920 --> 00:38:58,440
Speaker 4: highlight my best work. The video for me that highlights

775
00:38:58,520 --> 00:39:01,280
Speaker 4: my best work as a dancer is the artist a Diva,

776
00:39:01,719 --> 00:39:05,080
Speaker 4: She's the House. Yeah. We had a video called it

777
00:39:05,120 --> 00:39:08,839
Speaker 4: should Have Been Me, and we did a scene that

778
00:39:09,160 --> 00:39:12,040
Speaker 4: was kind of like the Blues Brothers where Jim Beluchi

779
00:39:12,120 --> 00:39:14,480
Speaker 4: or John Belush excuse me, did backflips down the church

780
00:39:14,520 --> 00:39:16,600
Speaker 4: aisle and that was the whole theme of the video.

781
00:39:16,640 --> 00:39:19,279
Speaker 4: And I actually got hired to be a dancer with

782
00:39:19,320 --> 00:39:23,920
Speaker 4: the ensemble cast and Big Mike Ellis was the first

783
00:39:23,960 --> 00:39:26,520
Speaker 4: a d on that and I forget who's actually directing it,

784
00:39:26,560 --> 00:39:29,040
Speaker 4: and they had hired somebody to do trampoline work and

785
00:39:29,080 --> 00:39:31,399
Speaker 4: tumble and they were horrible. So I was like, Mike,

786
00:39:31,440 --> 00:39:33,880
Speaker 4: tell them I can do it. Well, Mike told whoever

787
00:39:33,920 --> 00:39:35,600
Speaker 4: the director was that she can do it, but I

788
00:39:35,640 --> 00:39:37,719
Speaker 4: could do it, and the director was like yeah right,

789
00:39:38,320 --> 00:39:40,560
Speaker 4: and I'm like no, And again it became one of

790
00:39:40,560 --> 00:39:43,720
Speaker 4: these like tell everybody to clear the aisle and literally

791
00:39:44,160 --> 00:39:45,839
Speaker 4: did you can see it on YouTube? Did like three

792
00:39:45,920 --> 00:39:48,400
Speaker 4: or four backflips down the aisle whatever, and of course

793
00:39:48,520 --> 00:39:51,040
Speaker 4: it made the film and they had to pay me

794
00:39:51,160 --> 00:39:54,120
Speaker 4: for that too, So shout to Mike Ellis making that happen.

795
00:39:54,200 --> 00:39:55,560
Speaker 3: Oh, flipping is extra.

796
00:39:59,000 --> 00:40:01,200
Speaker 5: Flipping, flipping another invoice.

797
00:40:01,360 --> 00:40:04,080
Speaker 4: But it takes you a minute to realize that you're

798
00:40:04,160 --> 00:40:07,360
Speaker 4: worth and that you can actually these things because you

799
00:40:07,400 --> 00:40:10,160
Speaker 4: don't realize, you know, and there's no standard that was

800
00:40:10,200 --> 00:40:11,799
Speaker 4: set for you as a dancer, you know what I mean.

801
00:40:11,840 --> 00:40:13,680
Speaker 4: So you kind of figure it out as you're going on,

802
00:40:13,880 --> 00:40:15,719
Speaker 4: and then you try it, Like if you say, if

803
00:40:15,760 --> 00:40:18,360
Speaker 4: you find out one choreographer is making you know, five hundred,

804
00:40:18,840 --> 00:40:20,759
Speaker 4: forget how bad you want the job, Well, I'm worth

805
00:40:20,800 --> 00:40:23,719
Speaker 4: fifteen and you're like, well we only have Nope, you

806
00:40:23,800 --> 00:40:26,839
Speaker 4: came to me, and then you kind of like think

807
00:40:26,960 --> 00:40:29,520
Speaker 4: out for it that So that's gonna be my bord

808
00:40:29,600 --> 00:40:30,799
Speaker 4: now on, you know what I mean.

809
00:40:31,080 --> 00:40:36,160
Speaker 2: So uh, let's let's let's go there. Remember the time

810
00:40:39,880 --> 00:40:45,600
Speaker 2: no with remember the time with Michael Jackson being at

811
00:40:45,719 --> 00:40:51,239
Speaker 2: his somewhat apex. I mean I kind of consider that

812
00:40:51,440 --> 00:40:56,000
Speaker 2: probably Okay, I'll let scream go in there too. But

813
00:40:56,280 --> 00:40:59,600
Speaker 2: like back when a Michael Jackson video was an event,

814
00:41:03,160 --> 00:41:07,640
Speaker 2: was that a mount Fiji of achievement as far as

815
00:41:07,719 --> 00:41:12,840
Speaker 2: videos was concerned, Like, was that the best treatment? Was

816
00:41:12,840 --> 00:41:16,920
Speaker 2: that the most professional atmosphere? Or you know, was it

817
00:41:16,920 --> 00:41:20,320
Speaker 2: the story of like oh the bigger, the artist, the

818
00:41:21,360 --> 00:41:24,040
Speaker 2: cheaper and you know, like what was that experience?

819
00:41:24,120 --> 00:41:29,240
Speaker 4: Like that was everything that you wish for as a dancer.

820
00:41:29,960 --> 00:41:32,919
Speaker 4: I found out about the audition like on a Wednesday night,

821
00:41:33,320 --> 00:41:34,680
Speaker 4: Like on a Wednesday, I was in New York a

822
00:41:34,719 --> 00:41:36,680
Speaker 4: bunch of dances, like, oh my god, we're scrambling. It's

823
00:41:36,719 --> 00:41:39,200
Speaker 4: on Saturday, or maybe like even that Thursday, I found

824
00:41:39,239 --> 00:41:42,279
Speaker 4: out broke as fuck, had to beg my mother for

825
00:41:42,400 --> 00:41:45,400
Speaker 4: money to get on a plane, like mom, please, please please.

826
00:41:45,719 --> 00:41:48,680
Speaker 4: Found out Fatimo was choreographing it. We were hanging out.

827
00:41:48,800 --> 00:41:50,759
Speaker 4: She was like, you can come, you can audition. I

828
00:41:50,760 --> 00:41:53,759
Speaker 4: can't make promises to anybody, so I was like cool.

829
00:41:53,800 --> 00:41:55,319
Speaker 4: I end up staying with her. She's like, I can't,

830
00:41:55,440 --> 00:41:57,680
Speaker 4: you know, the director has final say blah blah blah.

831
00:41:57,680 --> 00:41:59,200
Speaker 4: A bunch of us were able to get on a

832
00:41:59,200 --> 00:42:02,759
Speaker 4: plane and literally John Singleton have been a fan of

833
00:42:02,880 --> 00:42:05,080
Speaker 4: New York dancers, so he kind of knew who a

834
00:42:05,120 --> 00:42:06,920
Speaker 4: lot of us were. When we showed up at the

835
00:42:07,000 --> 00:42:09,960
Speaker 4: audition and once you book the gig and you make

836
00:42:10,000 --> 00:42:12,200
Speaker 4: that call home like oh my god, mom, I got it.

837
00:42:12,640 --> 00:42:15,640
Speaker 4: So then we're having auditions, I mean rehearsals, and we

838
00:42:15,680 --> 00:42:18,320
Speaker 4: haven't met Michael yet. Right, we're probably two three weeks

839
00:42:18,360 --> 00:42:20,879
Speaker 4: into rehearsals and we still haven't seen Michael yet because

840
00:42:20,880 --> 00:42:23,160
Speaker 4: Michael's having his private rehearsals with Fatima.

841
00:42:23,600 --> 00:42:26,600
Speaker 5: So indeed know beforehand that it was going to be

842
00:42:26,600 --> 00:42:27,640
Speaker 5: for Michael Jackson video.

843
00:42:27,960 --> 00:42:29,880
Speaker 4: We knew exactly how I got on a plane, Like

844
00:42:29,920 --> 00:42:31,960
Speaker 4: that's the only reason why you start begging for money,

845
00:42:32,040 --> 00:42:34,799
Speaker 4: is like I know I can book this. Just get

846
00:42:34,840 --> 00:42:38,840
Speaker 4: me there please. And so once we get into rehearsals,

847
00:42:38,880 --> 00:42:41,120
Speaker 4: we're also given a book that looks like the phone

848
00:42:41,120 --> 00:42:44,000
Speaker 4: book for those who don't know, it's like this big

849
00:42:44,160 --> 00:42:46,919
Speaker 4: which is a contract pretty much don't look at him,

850
00:42:47,120 --> 00:42:49,759
Speaker 4: don't talk to him, don't talk to bubbles, don't ask

851
00:42:49,760 --> 00:42:51,680
Speaker 4: the questions they'll take, no picure, like just whatever you

852
00:42:51,719 --> 00:42:54,680
Speaker 4: can think of is in this contract. So Michael shows

853
00:42:54,760 --> 00:42:57,759
Speaker 4: up and it is literally, now, oh, let me back

854
00:42:57,840 --> 00:43:00,560
Speaker 4: up a little bit. Because once John singles and said

855
00:43:00,840 --> 00:43:03,799
Speaker 4: we want you you you you you, which say, let's

856
00:43:03,880 --> 00:43:06,320
Speaker 4: say ten dancers from New York hopped on a plane.

857
00:43:06,880 --> 00:43:09,919
Speaker 4: Maybe eight of us got hired, and so they gave

858
00:43:10,000 --> 00:43:13,200
Speaker 4: us for dim. They put a lot of people up

859
00:43:13,239 --> 00:43:15,880
Speaker 4: in a hotel or you know, we have places to

860
00:43:15,920 --> 00:43:18,000
Speaker 4: stay because everybody kind of planned on. You know, we

861
00:43:18,040 --> 00:43:21,320
Speaker 4: all broke finding places to stay. But they gave us

862
00:43:21,360 --> 00:43:27,760
Speaker 4: per diem because you knew we flew out there and wardrobe, hair, makeup.

863
00:43:27,800 --> 00:43:32,359
Speaker 4: To show up to Universal Studios is the dream of dreams, right.

864
00:43:32,480 --> 00:43:34,480
Speaker 4: It's everything that you can imagine when you pull up

865
00:43:34,520 --> 00:43:36,680
Speaker 4: the first day and you see these gates and say

866
00:43:36,760 --> 00:43:40,919
Speaker 4: Universal Studios and you're actually allowed on and you hear

867
00:43:41,600 --> 00:43:45,680
Speaker 4: the wind blowing and the heart playing and all that,

868
00:43:45,800 --> 00:43:48,719
Speaker 4: Like that's what it was. The rehearsal was great. We're

869
00:43:48,760 --> 00:43:52,320
Speaker 4: three weeks into rehearsals. Two weeks into rehearsals, Michael comes

870
00:43:52,320 --> 00:43:55,759
Speaker 4: in a couple of days before we shoot, and he's

871
00:43:55,800 --> 00:43:58,560
Speaker 4: speaking everybody like, hey, everybody in his soul wise, Hi,

872
00:43:58,600 --> 00:44:01,319
Speaker 4: how you guys doing. Everybody is so paranoid, like don't

873
00:44:01,320 --> 00:44:02,840
Speaker 4: look at him, don't talk to him, We're not allowed

874
00:44:02,840 --> 00:44:07,200
Speaker 4: to kind of like this, And so he shows us

875
00:44:07,239 --> 00:44:10,960
Speaker 4: what the routine looks like first. So we do we

876
00:44:11,000 --> 00:44:14,480
Speaker 4: watch him through the routine and all of us are like, uh, oh,

877
00:44:15,400 --> 00:44:20,880
Speaker 4: we didn't learn it, Like no, no, his stink, his

878
00:44:21,200 --> 00:44:24,000
Speaker 4: groove like he was on some other ship. He were

879
00:44:24,080 --> 00:44:31,399
Speaker 4: just like five sic. Michael's like had one, two, three.

880
00:44:31,400 --> 00:44:31,920
Speaker 6: Like he was.

881
00:44:32,120 --> 00:44:36,439
Speaker 4: We were all like, oh now, so literally, thank god

882
00:44:36,560 --> 00:44:39,560
Speaker 4: had like two or three more days before the shoot

883
00:44:39,960 --> 00:44:42,480
Speaker 4: to get in there and step our game up. And

884
00:44:42,520 --> 00:44:44,960
Speaker 4: then when we got on set, that was like a

885
00:44:45,000 --> 00:44:47,799
Speaker 4: whole other euphoria because then Michael's hanging out with us,

886
00:44:47,880 --> 00:44:50,399
Speaker 4: and artists tend to hang out with the dancers, right,

887
00:44:50,680 --> 00:44:52,960
Speaker 4: we're like the cool kids. We kind of don't care

888
00:44:53,080 --> 00:44:55,080
Speaker 4: or we're over there just practicing our stuff, and so

889
00:44:55,160 --> 00:44:58,360
Speaker 4: he's talking to us, and here Michael Jackson curse, like

890
00:44:58,840 --> 00:44:59,560
Speaker 4: now fuck that.

891
00:44:59,640 --> 00:45:13,920
Speaker 2: Man, Like like.

892
00:45:05,160 --> 00:45:07,600
Speaker 4: You forget that he's cursing, or that he's like you

893
00:45:07,640 --> 00:45:13,839
Speaker 4: know what I'm saying, right, and he's like, wow, he's hip,

894
00:45:13,960 --> 00:45:18,000
Speaker 4: But you forget that they're home by themselves watching the

895
00:45:18,200 --> 00:45:21,080
Speaker 4: l L Pool Jay video jamming and Mary J. Blige

896
00:45:21,160 --> 00:45:23,719
Speaker 4: grooving the guy or whatever they're doing, and you just

897
00:45:23,719 --> 00:45:26,040
Speaker 4: think that they're not human or in this bubble. And

898
00:45:26,080 --> 00:45:28,960
Speaker 4: he really was like cool with us and to be

899
00:45:29,080 --> 00:45:32,440
Speaker 4: on that set. Every star that you could imagine was

900
00:45:32,480 --> 00:45:34,640
Speaker 4: coming to visit just to hang out, whether it was

901
00:45:34,680 --> 00:45:37,200
Speaker 4: John Singleton or hang out with you know, his Magic

902
00:45:37,280 --> 00:45:39,719
Speaker 4: Johnson's and his kid friends and the whole Lakers team

903
00:45:39,800 --> 00:45:45,359
Speaker 4: is rolling up and you're just like, we didn't hang

904
00:45:45,440 --> 00:45:48,120
Speaker 4: like you know, you're just kind of scared to like

905
00:45:48,200 --> 00:45:51,759
Speaker 4: step over any boundaries. But everybody's coming. They want to

906
00:45:51,760 --> 00:45:54,600
Speaker 4: take pictures with us because they love our costumes. You know,

907
00:45:54,640 --> 00:45:57,080
Speaker 4: we're on set with everything and everybody, Like it was

908
00:45:57,200 --> 00:46:01,200
Speaker 4: just match anything that you can dream of as a dancer.

909
00:46:01,680 --> 00:46:05,759
Speaker 4: This was the dream Pinnacle project, hands down of all time.

910
00:46:06,560 --> 00:46:08,799
Speaker 4: It's amazing and it was an event. And when it

911
00:46:08,840 --> 00:46:11,719
Speaker 4: was time for it to like debut on MTV, it

912
00:46:11,800 --> 00:46:14,279
Speaker 4: literally was like twenty of us in a hotel room

913
00:46:14,320 --> 00:46:16,120
Speaker 4: telling all of our family, oh my god, it's gonna

914
00:46:16,160 --> 00:46:19,000
Speaker 4: hit it like it was a thing thing. And then

915
00:46:19,000 --> 00:46:20,440
Speaker 4: to see and then to see that you made the.

916
00:46:20,560 --> 00:46:27,719
Speaker 8: Edit like again, like come on, and you wait, you

917
00:46:27,719 --> 00:46:29,680
Speaker 8: couldn't play it back then, so you had to wait

918
00:46:29,719 --> 00:46:31,200
Speaker 8: for it to re air, you know what I mean?

919
00:46:31,360 --> 00:46:33,839
Speaker 3: Like, but can we talk about everybody's favorite edit?

920
00:46:33,920 --> 00:46:35,440
Speaker 6: I know the guys ain't gonna say because they ain't

921
00:46:35,440 --> 00:46:41,320
Speaker 6: gonna say it, but the paper edit when it's the

922
00:46:41,600 --> 00:46:43,480
Speaker 6: part when Les is doing her thing and then it's

923
00:46:43,520 --> 00:46:45,600
Speaker 6: a dude to go under and its just the whole

924
00:46:45,640 --> 00:46:48,160
Speaker 6: world just okay, never mind? Did nobody never ever notice

925
00:46:48,200 --> 00:46:50,520
Speaker 6: that let's whole world gets shaken up in the middle

926
00:46:50,520 --> 00:46:52,800
Speaker 6: of her dancing and the guy.

927
00:46:52,680 --> 00:46:56,640
Speaker 5: Comes in between, Like I remember, okay.

928
00:46:56,680 --> 00:46:58,239
Speaker 3: I'm I the only one that I mean.

929
00:46:58,320 --> 00:47:01,840
Speaker 2: I was like, you're going to ask all the questions.

930
00:47:03,080 --> 00:47:04,920
Speaker 6: I'm talking maybe, just like I didn't say that this is

931
00:47:04,960 --> 00:47:05,800
Speaker 6: a professional interview.

932
00:47:05,880 --> 00:47:06,719
Speaker 3: Sorry about that list.

933
00:47:06,920 --> 00:47:09,560
Speaker 4: It was just me no, but I get that a

934
00:47:09,600 --> 00:47:11,799
Speaker 4: lot even from you know, this quest was talking about

935
00:47:11,840 --> 00:47:14,200
Speaker 4: Bobby Brown, the humping around video. Here I am with

936
00:47:14,239 --> 00:47:17,560
Speaker 4: the handstand, you know, mapping on death copy jam and

937
00:47:17,600 --> 00:47:20,799
Speaker 4: Marton fools me on stage and it's the head you know.

938
00:47:22,160 --> 00:47:24,760
Speaker 3: So that being said, let me ask you a serious question, then.

939
00:47:26,000 --> 00:47:28,799
Speaker 2: God damn it, because I want her to tell me

940
00:47:29,640 --> 00:47:34,000
Speaker 2: the polar opposite story. Okay, you told me, you told

941
00:47:34,000 --> 00:47:38,040
Speaker 2: me the greatest video story for you. We don't even

942
00:47:38,080 --> 00:47:40,920
Speaker 2: have the name names. Now give me the polar opposite story.

943
00:47:41,800 --> 00:47:43,279
Speaker 2: What was a bad experience?

944
00:47:44,880 --> 00:47:45,120
Speaker 4: Hmm?

945
00:47:46,719 --> 00:47:49,719
Speaker 2: You you know the name names if you don't want no, no, I.

946
00:47:49,719 --> 00:47:52,360
Speaker 4: Don't think it was. I don't remember a really horrible

947
00:47:52,480 --> 00:47:56,560
Speaker 4: project for me. It was touring scenarios. There were two

948
00:47:56,680 --> 00:47:59,720
Speaker 4: artists that I toured with where and I'm sure Bobby

949
00:47:59,719 --> 00:48:01,560
Speaker 4: probably he said it when you talked to him about

950
00:48:02,440 --> 00:48:05,680
Speaker 4: like all the dancers and stuff, arguing and whatever. But

951
00:48:05,760 --> 00:48:09,440
Speaker 4: it's family members too, Like it's just you get all

952
00:48:09,480 --> 00:48:13,640
Speaker 4: these people who are on tour who don't do any

953
00:48:13,640 --> 00:48:17,920
Speaker 4: of the creative work, but by nepotism take I can

954
00:48:17,960 --> 00:48:20,280
Speaker 4: do whatever, and I'm here and I'm not going anywhere.

955
00:48:20,640 --> 00:48:24,840
Speaker 4: So the crew, the cousins, the whoever. But you can't

956
00:48:24,840 --> 00:48:27,040
Speaker 4: say anything because that's their family. So you'll get fired

957
00:48:27,040 --> 00:48:29,320
Speaker 4: before they do. And here they come, whether they're smoking

958
00:48:29,360 --> 00:48:32,680
Speaker 4: on the dancers bus or they're selling like tickets on

959
00:48:32,719 --> 00:48:35,240
Speaker 4: the side, and like that's your brother and you're selling.

960
00:48:35,440 --> 00:48:38,120
Speaker 4: You know what I'm saying. But there was like one

961
00:48:38,239 --> 00:48:41,920
Speaker 4: artist that I worked for who really was just like,

962
00:48:42,600 --> 00:48:45,160
Speaker 4: y'all ain't shit, I can get new dances in here tomorrow.

963
00:48:45,440 --> 00:48:47,160
Speaker 4: And we were on a tour with other artists that

964
00:48:47,200 --> 00:48:49,640
Speaker 4: had dances. I need you to bust their ass every day.

965
00:48:49,960 --> 00:48:53,680
Speaker 4: And he was so arrogant and so obnoxious that I

966
00:48:54,000 --> 00:48:56,319
Speaker 4: never spoke to him ever, ever, ever spoke to him

967
00:48:56,360 --> 00:49:00,360
Speaker 4: unless I absolutely had to. And I probably reveal this

968
00:49:00,440 --> 00:49:03,400
Speaker 4: when I do my documentary about who it is. But

969
00:49:04,840 --> 00:49:07,359
Speaker 4: it's funny how years happen or how many people end

970
00:49:07,440 --> 00:49:10,200
Speaker 4: up respecting you because you didn't kiss their ass. I

971
00:49:10,280 --> 00:49:12,760
Speaker 4: ended up living in the same building as this artist

972
00:49:12,880 --> 00:49:17,080
Speaker 4: years later, and we became really not really good friends,

973
00:49:17,080 --> 00:49:18,680
Speaker 4: but to a point where he asked me to be

974
00:49:18,719 --> 00:49:21,120
Speaker 4: part of like his radio show and all this other stuff.

975
00:49:21,200 --> 00:49:24,239
Speaker 4: Later I was like, frequently he probably had respect for

976
00:49:24,320 --> 00:49:26,239
Speaker 4: me that wasn't trying to kiss his ass or be

977
00:49:26,360 --> 00:49:29,520
Speaker 4: his friend. Because that's what happens, right, is everybody wants

978
00:49:29,560 --> 00:49:33,200
Speaker 4: to be friends with the artists, but as opposed to,

979
00:49:33,760 --> 00:49:37,759
Speaker 4: you know, creating really true friendships, right just because of

980
00:49:37,760 --> 00:49:39,799
Speaker 4: the hype of Yeah, I can call Usher up every

981
00:49:39,840 --> 00:49:41,440
Speaker 4: day because I dance with him, as opposed to you

982
00:49:41,480 --> 00:49:44,000
Speaker 4: and Usher really having a bond like that become a

983
00:49:44,000 --> 00:49:48,080
Speaker 4: best friend. So yeah, it's.

984
00:49:47,920 --> 00:49:55,799
Speaker 2: How so how toxic is the proverbial casting couch during

985
00:49:55,840 --> 00:49:59,399
Speaker 2: this period between the nineties and I don't know when

986
00:49:59,440 --> 00:50:02,239
Speaker 2: the end of your bracket is as far as the

987
00:50:02,320 --> 00:50:06,560
Speaker 2: choreography world is concerned because I know it had to

988
00:50:06,600 --> 00:50:08,200
Speaker 2: have been toxic as hell.

989
00:50:08,840 --> 00:50:12,719
Speaker 4: That casting couch is real as real then as it

990
00:50:12,800 --> 00:50:14,839
Speaker 4: is today. And I don't think me too really has

991
00:50:14,920 --> 00:50:16,040
Speaker 4: kind of slowed much.

992
00:50:15,840 --> 00:50:19,160
Speaker 3: Of a not in a music business, no, not at all.

993
00:50:19,239 --> 00:50:21,720
Speaker 4: And you remember, I got it from the dance side,

994
00:50:22,120 --> 00:50:25,959
Speaker 4: from the radio side, from the TV side, like it's

995
00:50:26,040 --> 00:50:28,080
Speaker 4: you know, and I've never had to sleep my way

996
00:50:28,120 --> 00:50:31,000
Speaker 4: to the top, like you got to work for backflips.

997
00:50:31,080 --> 00:50:33,240
Speaker 4: I wasn't, you know what I mean, Like I can't.

998
00:50:33,360 --> 00:50:37,200
Speaker 4: You got to pay for that, like you need me

999
00:50:37,320 --> 00:50:40,360
Speaker 4: more than I need you. But I have been propositioned

1000
00:50:40,719 --> 00:50:42,640
Speaker 4: where it's like, well, you know, you won't even have

1001
00:50:42,719 --> 00:50:45,760
Speaker 4: to audition, you just, you know, get on your knees

1002
00:50:45,840 --> 00:50:47,760
Speaker 4: over here and suck me off over here. You should

1003
00:50:47,840 --> 00:50:49,600
Speaker 4: let me take you out over here, and that kind

1004
00:50:49,600 --> 00:50:51,279
Speaker 4: of a thing, Like it's some real stuff and you

1005
00:50:51,360 --> 00:50:53,440
Speaker 4: have to kind of really know who you are. I

1006
00:50:53,520 --> 00:50:56,000
Speaker 4: probably have more fear of my mother or the fear

1007
00:50:56,040 --> 00:51:00,000
Speaker 4: of disappointing my mother, than I did worrying about a job,

1008
00:51:00,320 --> 00:51:01,839
Speaker 4: you know what I mean. And it's not about being

1009
00:51:02,000 --> 00:51:04,040
Speaker 4: arrogant or confident. You also have to know what your

1010
00:51:04,080 --> 00:51:05,960
Speaker 4: worth is or that all right, well this ain't meant

1011
00:51:06,000 --> 00:51:08,120
Speaker 4: for me. It's not I think for me. Coming into

1012
00:51:08,120 --> 00:51:12,000
Speaker 4: the business, I had so much fear about the stories

1013
00:51:12,040 --> 00:51:14,520
Speaker 4: and the drugs. But one of my first gigs is

1014
00:51:14,560 --> 00:51:18,480
Speaker 4: doing like the Lou Rolls telethon, and we're hanging out

1015
00:51:19,000 --> 00:51:27,520
Speaker 4: and I don't want to snitch on that had that

1016
00:51:27,760 --> 00:51:34,799
Speaker 4: huge telethon. I was dancing on. Some of that I

1017
00:51:34,840 --> 00:51:37,480
Speaker 4: was dancing for, like I think Big Daddy Kane or

1018
00:51:37,560 --> 00:51:39,680
Speaker 4: kom O d I think I was dancing for or something.

1019
00:51:40,040 --> 00:51:42,600
Speaker 4: And then like all these artists and stuff are backstage,

1020
00:51:42,680 --> 00:51:45,000
Speaker 4: whether it's Sha Ka Khan and this person that person,

1021
00:51:45,000 --> 00:51:46,800
Speaker 4: and you start like want to hang out with the

1022
00:51:46,920 --> 00:51:49,040
Speaker 4: dances and then you're get into somebody's limo and next

1023
00:51:49,040 --> 00:51:51,200
Speaker 4: thing you know, you see them doing cocaine. Like these

1024
00:51:51,200 --> 00:51:53,480
Speaker 4: are my first and I'm like, this is really real.

1025
00:51:53,520 --> 00:51:55,640
Speaker 4: This is the stuff that you read about like oh snap,

1026
00:51:56,000 --> 00:51:58,319
Speaker 4: so and so, oh snap, you know what I mean.

1027
00:51:58,320 --> 00:52:01,000
Speaker 4: But you kind of have to be like, Okay, let

1028
00:52:01,000 --> 00:52:03,480
Speaker 4: me keep it together, blah blah blah. But you are.

1029
00:52:03,520 --> 00:52:07,880
Speaker 4: You're hit up by the casting couch and these scoundrels

1030
00:52:07,880 --> 00:52:12,520
Speaker 4: who are just like I think it's okay to proposition

1031
00:52:12,600 --> 00:52:15,000
Speaker 4: you and that you're not going to say anything, or

1032
00:52:15,040 --> 00:52:17,440
Speaker 4: that you want the job really bad. And I'm not

1033
00:52:17,520 --> 00:52:20,920
Speaker 4: that she wanted a job really that bad because I

1034
00:52:20,920 --> 00:52:23,000
Speaker 4: believed in my gift. And I think if I had

1035
00:52:23,040 --> 00:52:25,960
Speaker 4: not had my gymnastic background and had so much success

1036
00:52:26,000 --> 00:52:28,759
Speaker 4: in that, or had you know the wisdom of the

1037
00:52:28,800 --> 00:52:31,640
Speaker 4: women that nurtured me growing up, that I could have

1038
00:52:31,640 --> 00:52:33,680
Speaker 4: been somebody else who would have been thirsty for a job.

1039
00:52:34,080 --> 00:52:37,319
Speaker 4: I think the adverse reaction now is that those same

1040
00:52:37,360 --> 00:52:40,080
Speaker 4: guys who didn't get any asked for me, even though

1041
00:52:40,120 --> 00:52:42,879
Speaker 4: they know the body of work that I have, their

1042
00:52:42,960 --> 00:52:47,000
Speaker 4: ego is so damaged that they won't hire me to

1043
00:52:47,160 --> 00:52:49,799
Speaker 4: this day. I mean, so that's their version of blacklisting

1044
00:52:49,920 --> 00:52:52,080
Speaker 4: me or being mad that I didn't give them any

1045
00:52:52,080 --> 00:52:52,960
Speaker 4: ass kind of thing.

1046
00:52:53,120 --> 00:52:55,480
Speaker 2: So, yeah, I was going to ask, where's the repercussion

1047
00:52:55,680 --> 00:52:59,520
Speaker 2: of saying no and standing up for yourself, Like, is

1048
00:52:59,560 --> 00:53:02,880
Speaker 2: it this particular artist will blackball you, or even worse,

1049
00:53:02,920 --> 00:53:07,440
Speaker 2: this particular CEO of a label will blackball you? Or

1050
00:53:07,719 --> 00:53:08,480
Speaker 2: video director?

1051
00:53:09,239 --> 00:53:12,120
Speaker 4: Yeah, it was never blatant, I believe, though there may

1052
00:53:12,160 --> 00:53:13,840
Speaker 4: be a couple of times where I didn't get the

1053
00:53:13,880 --> 00:53:16,960
Speaker 4: return phone call, or I didn't get the meeting, or

1054
00:53:18,000 --> 00:53:20,080
Speaker 4: somebody else got hired because of me, but it was

1055
00:53:20,120 --> 00:53:22,520
Speaker 4: never to my face, well you didn't give me this,

1056
00:53:22,719 --> 00:53:24,640
Speaker 4: or because it was never that. And they may still

1057
00:53:24,680 --> 00:53:28,040
Speaker 4: speak to me or say hi, just on whether it's

1058
00:53:28,080 --> 00:53:30,239
Speaker 4: installsed or to show me that they're an executor at

1059
00:53:30,239 --> 00:53:33,360
Speaker 4: a label or whatever now, or they'll even take a meeting,

1060
00:53:33,640 --> 00:53:35,600
Speaker 4: but they won't hire me. They want me to see

1061
00:53:35,640 --> 00:53:38,359
Speaker 4: their corner window office or whatever and be like, yeah,

1062
00:53:38,440 --> 00:53:40,400
Speaker 4: so what can I do for you? Or you know,

1063
00:53:40,440 --> 00:53:42,279
Speaker 4: they expect you to be in their face now and

1064
00:53:42,320 --> 00:53:44,920
Speaker 4: that your mind has changed because you've blown up and

1065
00:53:45,480 --> 00:53:47,719
Speaker 4: I'm ready to break you off, and like, no, kid,

1066
00:53:47,760 --> 00:53:48,359
Speaker 4: that's not it.

1067
00:53:49,080 --> 00:53:52,359
Speaker 6: But curious though less because even after the casting counts,

1068
00:53:52,400 --> 00:53:54,759
Speaker 6: like after you have the job and you've earned the job,

1069
00:53:55,239 --> 00:53:57,560
Speaker 6: we know that like that doesn't stop then. So I'm

1070
00:53:57,560 --> 00:53:59,600
Speaker 6: just curious for you, like what was your a lot

1071
00:53:59,640 --> 00:54:02,560
Speaker 6: of defense and at what point did for lack of

1072
00:54:02,600 --> 00:54:04,959
Speaker 6: a better term, niggas get the point and stop asking,

1073
00:54:05,000 --> 00:54:06,799
Speaker 6: because I know after for a while it was just like, oh,

1074
00:54:06,800 --> 00:54:08,360
Speaker 6: I can let me try every trying who's that?

1075
00:54:08,400 --> 00:54:10,359
Speaker 3: Oh I ain't hit it yet. Maybe you could make

1076
00:54:10,440 --> 00:54:12,080
Speaker 3: when did it go? Okay? You know what I know,

1077
00:54:12,200 --> 00:54:13,320
Speaker 3: Les and she ain't the one.

1078
00:54:13,960 --> 00:54:16,319
Speaker 4: Well, I think being allowed to ask New Yorker and

1079
00:54:16,360 --> 00:54:17,640
Speaker 4: just be like, hit the fuck out of here, you

1080
00:54:17,640 --> 00:54:18,160
Speaker 4: know what I'm saying?

1081
00:54:18,160 --> 00:54:20,399
Speaker 6: Like that, that's you.

1082
00:54:20,360 --> 00:54:22,719
Speaker 4: Know, you very upfront and very I'm a very loud,

1083
00:54:22,880 --> 00:54:26,160
Speaker 4: very upfront, cursed out two point two seconds, like for real.

1084
00:54:26,280 --> 00:54:29,640
Speaker 4: I think being a muscular chick and being very physical

1085
00:54:29,840 --> 00:54:33,319
Speaker 4: is kind of intimidating too. You know, I've never had

1086
00:54:33,360 --> 00:54:35,319
Speaker 4: anybody grab me. And I feel sorry for all the

1087
00:54:35,360 --> 00:54:37,359
Speaker 4: women who were backed into a corner like that, but

1088
00:54:37,400 --> 00:54:40,279
Speaker 4: I've never been backed into a corner like that. Or

1089
00:54:40,320 --> 00:54:41,959
Speaker 4: I think I kind of just look like I'm ready

1090
00:54:42,000 --> 00:54:46,719
Speaker 4: to knuckle up, so I don't you know, but there

1091
00:54:46,760 --> 00:54:49,359
Speaker 4: are you know, those repercussions. But for me, it's like,

1092
00:54:49,600 --> 00:54:52,200
Speaker 4: there's nothing attractive about being one of ten other women

1093
00:54:52,239 --> 00:54:53,839
Speaker 4: who have slept with the same dude in the room.

1094
00:54:54,160 --> 00:54:56,120
Speaker 4: Like that's not cute. I don't ever want to be

1095
00:54:56,200 --> 00:54:58,640
Speaker 4: that chick. No matter how fine you are, what team

1096
00:54:58,719 --> 00:55:01,600
Speaker 4: you played for, whatever the case is, there's nothing sexy

1097
00:55:01,640 --> 00:55:04,279
Speaker 4: about being one of twenty that y'all can all. You know,

1098
00:55:04,360 --> 00:55:05,840
Speaker 4: he can be like this, this, this, this, that and

1099
00:55:05,840 --> 00:55:08,040
Speaker 4: the other. And I've never fucked anybody who had control

1100
00:55:08,080 --> 00:55:10,279
Speaker 4: over my money. You're not going to dictate to me

1101
00:55:10,560 --> 00:55:14,319
Speaker 4: fact whether I have how much I make or you

1102
00:55:14,320 --> 00:55:16,200
Speaker 4: get to fuck ten people and I can only fuck

1103
00:55:16,239 --> 00:55:18,680
Speaker 4: with you. And the minute you see me with somebody else,

1104
00:55:18,719 --> 00:55:20,279
Speaker 4: then you fire me and I lose the job and

1105
00:55:20,320 --> 00:55:23,000
Speaker 4: all that other stuff. So no, we're gonna keep it. Whatever.

1106
00:55:23,040 --> 00:55:25,160
Speaker 4: So I've never slept with the artists. Maybe the drummer,

1107
00:55:25,520 --> 00:55:34,279
Speaker 4: keyboard player, but.

1108
00:55:34,200 --> 00:55:37,040
Speaker 6: It's safe to say that you've never felt powerless in

1109
00:55:37,120 --> 00:55:38,840
Speaker 6: this career.

1110
00:55:39,040 --> 00:55:43,880
Speaker 4: No, I don't think I've desperate. I've never felt desperate

1111
00:55:44,000 --> 00:55:47,239
Speaker 4: enough to feel like I have to do this, that

1112
00:55:47,320 --> 00:55:48,359
Speaker 4: and the other for this job.

1113
00:55:49,000 --> 00:55:53,880
Speaker 2: No, what was what was the What was the moment

1114
00:55:53,920 --> 00:55:59,080
Speaker 2: that led to you sort of ease out of your

1115
00:55:59,120 --> 00:56:04,000
Speaker 2: comfort zone and go into being a personality Because I've

1116
00:56:04,000 --> 00:56:06,920
Speaker 2: seen you on mini of Red Carpet doing rap City,

1117
00:56:07,080 --> 00:56:10,839
Speaker 2: Like was that your first job as a Like how

1118
00:56:10,880 --> 00:56:12,920
Speaker 2: did you know that you had a personality? Because it's

1119
00:56:14,520 --> 00:56:16,719
Speaker 2: you know, even even for me to ease into this

1120
00:56:16,880 --> 00:56:19,920
Speaker 2: zone is a little weird. Like just because I'm a

1121
00:56:19,960 --> 00:56:23,400
Speaker 2: public figure doesn't mean that you know, just because you

1122
00:56:23,440 --> 00:56:25,560
Speaker 2: could do. That doesn't mean that you can carry a conversation,

1123
00:56:25,719 --> 00:56:29,040
Speaker 2: go to be engaging and all that. Something you're really engaging,

1124
00:56:29,080 --> 00:56:31,920
Speaker 2: like you are a personality. It's almost like you know

1125
00:56:32,000 --> 00:56:34,400
Speaker 2: when I when I saw that you first started like

1126
00:56:35,200 --> 00:56:38,560
Speaker 2: doing red carpet stuff and starting with rap City, I

1127
00:56:38,600 --> 00:56:41,000
Speaker 2: was like, Oh, she's a natural, Like she is a personality,

1128
00:56:41,120 --> 00:56:43,080
Speaker 2: Like where did that come from?

1129
00:56:43,320 --> 00:56:47,200
Speaker 4: Wow? Thank you for saying that. Career, It's interesting the

1130
00:56:47,239 --> 00:56:49,640
Speaker 4: things that you write in your diary have so much power.

1131
00:56:49,960 --> 00:56:51,719
Speaker 4: When I was in high school, I was going to

1132
00:56:51,760 --> 00:56:55,040
Speaker 4: study journalism and I took like three journalism classes and

1133
00:56:55,080 --> 00:56:56,880
Speaker 4: the last one I took I didn't like. So I

1134
00:56:56,920 --> 00:56:59,440
Speaker 4: was like, I'm switching to sports medicine and athletic training

1135
00:56:59,440 --> 00:57:02,520
Speaker 4: and all that other stuff. But I still always kept

1136
00:57:02,520 --> 00:57:05,160
Speaker 4: a journal. I always still wrote short stories and always

1137
00:57:05,200 --> 00:57:09,080
Speaker 4: kind of like been inquisitive by nature. Rahap City is

1138
00:57:09,120 --> 00:57:11,960
Speaker 4: a blessing that came after I did not become a flygirl,

1139
00:57:12,400 --> 00:57:15,040
Speaker 4: Like that's a whole other was curious.

1140
00:57:14,280 --> 00:57:17,560
Speaker 3: I didn't want to ask that's so okay.

1141
00:57:17,560 --> 00:57:20,200
Speaker 2: Oh yeah, what gigs didn't you get that you wanted?

1142
00:57:20,720 --> 00:57:23,680
Speaker 4: Well, being a fly girl was the gig that I

1143
00:57:23,760 --> 00:57:27,960
Speaker 4: wanted more than anything. I literally did not get it,

1144
00:57:28,240 --> 00:57:31,760
Speaker 4: and it was already like set up. I had the

1145
00:57:31,800 --> 00:57:34,640
Speaker 4: best audition. All the local news channels are interviewing me.

1146
00:57:34,680 --> 00:57:36,640
Speaker 4: I did all these flips and this, that and the other.

1147
00:57:36,640 --> 00:57:37,480
Speaker 4: Everybody knew you.

1148
00:57:37,560 --> 00:57:40,600
Speaker 3: It was the New York Fan, the Wayans and Rosie and.

1149
00:57:41,120 --> 00:57:43,800
Speaker 4: Yeah, Rosie came over to me side barbers, like, can

1150
00:57:43,840 --> 00:57:46,560
Speaker 4: you lose ten pounds? Jen already been on the show,

1151
00:57:46,600 --> 00:57:48,280
Speaker 4: And I'm like, but Jen at the time was bigger

1152
00:57:48,320 --> 00:57:50,160
Speaker 4: than I was, Like, I was really muscular, but she

1153
00:57:50,280 --> 00:57:53,920
Speaker 4: was thicker. And then I found out that, you know,

1154
00:57:53,960 --> 00:57:57,120
Speaker 4: by Josie's own words, that she had been approached well

1155
00:57:57,120 --> 00:57:59,600
Speaker 4: before the audition by I guess one of the way

1156
00:57:59,640 --> 00:58:01,280
Speaker 4: it's called her and said listen, we need you to

1157
00:58:01,320 --> 00:58:02,960
Speaker 4: show up, but we want to know if you want

1158
00:58:03,000 --> 00:58:05,080
Speaker 4: the gig. So she pretty much already had it and

1159
00:58:05,160 --> 00:58:07,320
Speaker 4: just kind of had to look like she had the audition.

1160
00:58:07,920 --> 00:58:11,160
Speaker 4: And you know, usually they do what's called typecasting. You

1161
00:58:11,240 --> 00:58:14,240
Speaker 4: say you want somebody light skin this, tall, Latino women,

1162
00:58:14,320 --> 00:58:17,040
Speaker 4: black women, whatever, very specific. This was an open audition,

1163
00:58:17,120 --> 00:58:19,440
Speaker 4: but they already knew who they wanted and what they wanted.

1164
00:58:19,920 --> 00:58:24,240
Speaker 4: And Rosie, years later came and apologized for even asking

1165
00:58:24,280 --> 00:58:26,360
Speaker 4: me that question and wishing that she had fought for

1166
00:58:26,480 --> 00:58:28,720
Speaker 4: me because she knew that I was the baddest thing

1167
00:58:29,040 --> 00:58:32,320
Speaker 4: in the room at that time. But rejection is God's protection.

1168
00:58:32,520 --> 00:58:36,080
Speaker 4: Right after I'm flicking my wounds and I don't get flygirl,

1169
00:58:36,640 --> 00:58:40,959
Speaker 4: I go on Madeline Wood Show video LP and dance

1170
00:58:41,000 --> 00:58:43,560
Speaker 4: on the show. I'm talking about all these artists that

1171
00:58:43,600 --> 00:58:46,360
Speaker 4: I've worked with, you know, as a dancer, that you

1172
00:58:46,440 --> 00:58:48,520
Speaker 4: spend time with on the tour bus and in rehearsals,

1173
00:58:48,600 --> 00:58:50,720
Speaker 4: so you know them more than the fans do, sometimes

1174
00:58:50,720 --> 00:58:53,200
Speaker 4: even better than the family does. And so they're like,

1175
00:58:53,280 --> 00:58:55,320
Speaker 4: you know these people who've been around them even before

1176
00:58:55,320 --> 00:58:57,880
Speaker 4: some of them had their deals, And would you like

1177
00:58:57,880 --> 00:59:01,520
Speaker 4: to audition for Rahap City? And I auditioned, and the

1178
00:59:01,520 --> 00:59:04,920
Speaker 4: producer Keith Patchell and Sanita Brooks and Eric Watson still

1179
00:59:05,000 --> 00:59:07,400
Speaker 4: had to fight with me, had to fight for me

1180
00:59:07,480 --> 00:59:11,080
Speaker 4: with the producers upstairs because one I didn't look a

1181
00:59:11,120 --> 00:59:15,920
Speaker 4: certain way, right, there goes our lovely black one. Black colorism.

1182
00:59:17,040 --> 00:59:19,600
Speaker 4: And there wasn't a female voice really in a hip

1183
00:59:19,600 --> 00:59:22,320
Speaker 4: hop on that level other than Dee Barnes who came

1184
00:59:22,320 --> 00:59:25,160
Speaker 4: before me. So once they were able to give me

1185
00:59:25,200 --> 00:59:29,000
Speaker 4: a couple of episodes to prove myself. I got the job,

1186
00:59:29,160 --> 00:59:32,360
Speaker 4: but they were gracious enough to let me do the

1187
00:59:32,360 --> 00:59:34,160
Speaker 4: show while I was still dancing. I think I was

1188
00:59:34,200 --> 00:59:36,120
Speaker 4: on tour with Heavy D and it worked in to

1189
00:59:36,160 --> 00:59:38,520
Speaker 4: their benefit because now as we're city to city, I

1190
00:59:38,560 --> 00:59:41,600
Speaker 4: could do interviews in city to city and they didn't

1191
00:59:41,600 --> 00:59:43,200
Speaker 4: have to pay like any extra for it, so I

1192
00:59:43,200 --> 00:59:45,400
Speaker 4: could catch up with common in Chicago and so and

1193
00:59:45,440 --> 00:59:48,480
Speaker 4: so and so. And when it became too much, they

1194
00:59:48,480 --> 00:59:50,480
Speaker 4: were like, you're gonna have to choose. And by that time,

1195
00:59:50,600 --> 00:59:53,360
Speaker 4: you know, I had already done like fifteen years of gymnastics,

1196
00:59:53,560 --> 00:59:55,640
Speaker 4: even though I wasn't ready to quit dancing, but I

1197
00:59:55,640 --> 00:59:58,640
Speaker 4: had transitioned into choreography. I was still doing more choreography

1198
00:59:58,680 --> 01:00:00,680
Speaker 4: and I couldn't tour, so I just kind of was like,

1199
01:00:00,760 --> 01:00:03,280
Speaker 4: let me focus on TV altogether, and that's kind of

1200
01:00:03,280 --> 01:00:05,880
Speaker 4: how that happened, and then radio was born from that.

1201
01:00:06,920 --> 01:00:08,840
Speaker 5: I think the thing I used to always like about

1202
01:00:08,840 --> 01:00:11,280
Speaker 5: you hosting Rap City, I would notice how a lot

1203
01:00:11,280 --> 01:00:13,920
Speaker 5: of times guests would change up who they were with

1204
01:00:13,960 --> 01:00:16,800
Speaker 5: you in a way that they wouldn't with like D

1205
01:00:17,280 --> 01:00:19,720
Speaker 5: or you know, Chris Thomas or whatever. I remember it

1206
01:00:19,760 --> 01:00:23,040
Speaker 5: was a Boogie Monster's episode. Oh shit, one of the

1207
01:00:23,120 --> 01:00:26,120
Speaker 5: guys he was trying, yo, he was trying so hard

1208
01:00:26,120 --> 01:00:27,919
Speaker 5: to kick it to you. I can't remember which one

1209
01:00:28,040 --> 01:00:28,440
Speaker 5: it was.

1210
01:00:28,880 --> 01:00:31,200
Speaker 2: Yah Yo, man, I'm sorry. We all tried to kick

1211
01:00:31,240 --> 01:00:35,080
Speaker 2: it to I mean, but I was so obvious though.

1212
01:00:35,120 --> 01:00:37,400
Speaker 2: He was like talking all my do that day. I

1213
01:00:37,440 --> 01:00:40,800
Speaker 2: was like that first day of school feeling when you

1214
01:00:40,920 --> 01:00:44,400
Speaker 2: standing at the outfit iron my shirt, you know, iron shit.

1215
01:00:44,480 --> 01:00:47,600
Speaker 2: I get out there. I was like, yo, we do

1216
01:00:47,800 --> 01:00:49,640
Speaker 2: rap City today. Let me use my good shirt.

1217
01:00:51,720 --> 01:00:53,840
Speaker 4: The blessing that happened for me with that is that

1218
01:00:53,880 --> 01:00:56,040
Speaker 4: a lot of the labels and the artists would request me,

1219
01:00:56,400 --> 01:00:58,080
Speaker 4: and I think because they knew of me as a

1220
01:00:58,160 --> 01:01:00,480
Speaker 4: dancer or they knew me from a club. They knew

1221
01:01:00,520 --> 01:01:02,440
Speaker 4: I had been around and been in the trenches, and

1222
01:01:02,480 --> 01:01:04,280
Speaker 4: that they could trust me with their story and that

1223
01:01:04,400 --> 01:01:06,400
Speaker 4: I actually knew the story, you know what I mean,

1224
01:01:06,400 --> 01:01:08,640
Speaker 4: because I was there, I was part of it, so

1225
01:01:09,200 --> 01:01:10,960
Speaker 4: it was easy for them to like, come on the

1226
01:01:10,960 --> 01:01:14,240
Speaker 4: show and us just have real conversations. And you know,

1227
01:01:14,240 --> 01:01:16,760
Speaker 4: if you see my first episode to my like twentieth, yeah,

1228
01:01:16,800 --> 01:01:18,880
Speaker 4: I grew a whole lot because I had real you know,

1229
01:01:18,960 --> 01:01:21,160
Speaker 4: producers who would teach me how to talk and to

1230
01:01:21,240 --> 01:01:23,320
Speaker 4: listen and this and to that and stuff. So it

1231
01:01:23,840 --> 01:01:26,600
Speaker 4: made a difference and I felt really comfortable. I think

1232
01:01:26,640 --> 01:01:30,400
Speaker 4: when you're a performer, and maybe it's a little different

1233
01:01:30,400 --> 01:01:32,400
Speaker 4: for you, quest like there's certain things you're comfortable with

1234
01:01:32,560 --> 01:01:35,000
Speaker 4: or not. Like I've always as a gymnast, been comfortable

1235
01:01:35,040 --> 01:01:38,680
Speaker 4: on camera and performing and being a show person. And

1236
01:01:38,960 --> 01:01:42,080
Speaker 4: I'm always been a talker and I'm always inquisitive, like

1237
01:01:42,160 --> 01:01:44,120
Speaker 4: I'm nosy, and I could ask you like eight hundred

1238
01:01:44,200 --> 01:01:47,280
Speaker 4: questions and without a cue card, and just because I

1239
01:01:47,360 --> 01:01:50,800
Speaker 4: want to hear your story and I have human interests love,

1240
01:01:50,960 --> 01:01:52,520
Speaker 4: Like I just really want to know how you got

1241
01:01:52,560 --> 01:01:54,480
Speaker 4: from A to Z and I'm curious about it. So

1242
01:01:55,280 --> 01:01:58,080
Speaker 4: I think you kind of get that and appreciate telling

1243
01:01:58,120 --> 01:02:00,160
Speaker 4: their story in that way.

1244
01:02:04,000 --> 01:02:06,840
Speaker 2: You know, There's one question I didn't forget to ask

1245
01:02:06,880 --> 01:02:12,680
Speaker 2: you as far as choreography is concerned. How long are

1246
01:02:12,760 --> 01:02:18,040
Speaker 2: you allowed to sit with the song and how what's

1247
01:02:18,200 --> 01:02:22,960
Speaker 2: what's the creative process for figuring out what the choreography is?

1248
01:02:23,520 --> 01:02:28,280
Speaker 2: Because I know you have your own language, So do

1249
01:02:28,320 --> 01:02:30,800
Speaker 2: you talk to the artists first and they have complete

1250
01:02:30,840 --> 01:02:34,240
Speaker 2: trust with you or is it like, is it a

1251
01:02:34,320 --> 01:02:36,760
Speaker 2: collaborative thing where you, you know, you and this artist

1252
01:02:36,760 --> 01:02:40,320
Speaker 2: work things out, or is it the director of the

1253
01:02:40,400 --> 01:02:44,200
Speaker 2: video that lets you know this, you know, this is

1254
01:02:44,280 --> 01:02:46,400
Speaker 2: out of space and we want this sort of thing,

1255
01:02:46,480 --> 01:02:48,560
Speaker 2: like what's what's the Can you walk us through what

1256
01:02:48,600 --> 01:02:51,640
Speaker 2: the creative process is to map out?

1257
01:02:52,480 --> 01:02:53,000
Speaker 4: Yeah?

1258
01:02:53,200 --> 01:02:57,280
Speaker 3: Like real love. Sorry, I was just usually the artist.

1259
01:02:56,280 --> 01:02:59,560
Speaker 4: Of the last person you end up having a conversation with, right,

1260
01:02:59,600 --> 01:03:01,720
Speaker 4: because you end up talking to the money people first.

1261
01:03:02,080 --> 01:03:03,720
Speaker 4: You end up talking to the people who come and

1262
01:03:03,720 --> 01:03:05,640
Speaker 4: approach you with the concept about this is what we

1263
01:03:05,720 --> 01:03:07,960
Speaker 4: have the budget for, this is what the look is,

1264
01:03:08,160 --> 01:03:09,960
Speaker 4: this is what we want to do. You have to

1265
01:03:09,960 --> 01:03:13,560
Speaker 4: help us tell this story. Then you kind of figure out, okay,

1266
01:03:13,720 --> 01:03:17,760
Speaker 4: what time period is this, what's the look? How many dancers?

1267
01:03:18,360 --> 01:03:20,000
Speaker 4: What am I going to do with it? Then you

1268
01:03:20,160 --> 01:03:22,200
Speaker 4: listen to actual the music, right, and you have to

1269
01:03:22,240 --> 01:03:24,560
Speaker 4: decide whether you're going to do lyrical hip hop meaning

1270
01:03:24,920 --> 01:03:27,040
Speaker 4: you know, I see you, you know where you're actually

1271
01:03:27,640 --> 01:03:29,840
Speaker 4: the words or you're just doing feeling and emotion and

1272
01:03:29,880 --> 01:03:32,120
Speaker 4: everybody's just rooming. And then of course you got to

1273
01:03:32,160 --> 01:03:34,320
Speaker 4: find out if your artist can dance or not, and

1274
01:03:34,360 --> 01:03:37,680
Speaker 4: that becomes a whole other thing, right because now if

1275
01:03:37,720 --> 01:03:42,920
Speaker 4: the artist is ah, who has to let us be?

1276
01:03:43,480 --> 01:03:46,200
Speaker 2: Who had to have a good cinematographer to make it

1277
01:03:46,240 --> 01:03:46,800
Speaker 2: look like.

1278
01:03:51,200 --> 01:03:53,120
Speaker 4: I'll put I'll put them off blast a little bit.

1279
01:03:53,160 --> 01:03:59,640
Speaker 4: If you remember the group intro, yes, that is fine.

1280
01:04:00,960 --> 01:04:05,280
Speaker 4: I agree, but it was Buddy who's kind of had

1281
01:04:05,400 --> 01:04:07,480
Speaker 4: left feet, but he he got on. You just had

1282
01:04:07,480 --> 01:04:08,960
Speaker 4: to work with him a little bit more. But but

1283
01:04:09,040 --> 01:04:12,360
Speaker 4: you end up telling making your your choreography so that

1284
01:04:12,480 --> 01:04:14,240
Speaker 4: everybody can do it, because your job is to make

1285
01:04:14,280 --> 01:04:16,960
Speaker 4: everybody look uniform, and if they can't get it, you're

1286
01:04:16,960 --> 01:04:20,960
Speaker 4: only as good as your weakest first, which is the

1287
01:04:21,000 --> 01:04:22,800
Speaker 4: true And the one person that I will go to

1288
01:04:22,960 --> 01:04:25,280
Speaker 4: is the one person who's hat a sink. So that

1289
01:04:25,440 --> 01:04:27,439
Speaker 4: means if they can't get it, you have to change

1290
01:04:27,480 --> 01:04:30,040
Speaker 4: to choreography so that it works for them, And that's

1291
01:04:30,080 --> 01:04:32,240
Speaker 4: really what it is. And working with somebody like Mary,

1292
01:04:32,320 --> 01:04:35,160
Speaker 4: Mary will say that she can't dance, but Mary's got

1293
01:04:35,200 --> 01:04:43,000
Speaker 4: to move and a bump bop, yeah around the way

1294
01:04:43,080 --> 01:04:45,800
Speaker 4: girl language right between that, and then you got in

1295
01:04:45,800 --> 01:04:48,360
Speaker 4: your head going your money, I need this, I need

1296
01:04:48,360 --> 01:04:50,600
Speaker 4: whatever I need That snexy, that's smooth. I need blah

1297
01:04:50,640 --> 01:04:52,920
Speaker 4: blah blah. I need that Harlem, I need that whatever.

1298
01:04:53,400 --> 01:04:55,520
Speaker 4: But you already know what that is, so you, you know,

1299
01:04:55,600 --> 01:04:58,840
Speaker 4: you combine whatever you see Mary do with the stuff

1300
01:04:58,880 --> 01:05:00,720
Speaker 4: that you already know what to do. And then you

1301
01:05:00,800 --> 01:05:02,720
Speaker 4: listen to the song and how it knocks and you're

1302
01:05:02,760 --> 01:05:04,560
Speaker 4: just like, Okay, what do we dance? We in heels?

1303
01:05:04,560 --> 01:05:05,880
Speaker 4: Are we in combat? But what's this?

1304
01:05:06,000 --> 01:05:06,560
Speaker 2: You know what I mean?

1305
01:05:06,760 --> 01:05:08,520
Speaker 4: What are we wearing and we keep it sexy? Or

1306
01:05:08,520 --> 01:05:10,959
Speaker 4: are we on baggy? Okay? You know you want it's hard,

1307
01:05:11,080 --> 01:05:14,280
Speaker 4: Like I love when girls dance harder than the guys.

1308
01:05:14,440 --> 01:05:17,600
Speaker 4: I love that athleticism and that's kind of how I

1309
01:05:17,680 --> 01:05:20,040
Speaker 4: model my dancing, like you know what I mean. But

1310
01:05:20,080 --> 01:05:21,680
Speaker 4: then if I need to take it off and soften

1311
01:05:21,720 --> 01:05:24,000
Speaker 4: it up. You expect that of women. So when you

1312
01:05:24,040 --> 01:05:27,560
Speaker 4: see the opposite, that's kind of what I think people

1313
01:05:27,560 --> 01:05:30,920
Speaker 4: get excited to see. And I think they're dancers straight ahead.

1314
01:05:31,040 --> 01:05:33,000
Speaker 4: Or when you saw you know, me and my girls

1315
01:05:33,000 --> 01:05:35,720
Speaker 4: when you dance with Keith Sweat, you like, oh my god,

1316
01:05:35,760 --> 01:05:38,360
Speaker 4: these girls are getting busy. It's not just the cute

1317
01:05:38,400 --> 01:05:40,560
Speaker 4: and this and that, because you're used to seeing that

1318
01:05:40,600 --> 01:05:41,080
Speaker 4: all the time.

1319
01:05:41,240 --> 01:05:43,840
Speaker 6: That i'll be good video when the girls, when the

1320
01:05:43,840 --> 01:05:46,040
Speaker 6: guys do the thing, the girls come aat.

1321
01:05:46,600 --> 01:05:48,520
Speaker 4: Yeah, but that's the process and then you kind of

1322
01:05:48,560 --> 01:05:50,880
Speaker 4: you gotta you gotta make the artists look good at

1323
01:05:50,880 --> 01:05:53,120
Speaker 4: the end of the day. So even if your choreography

1324
01:05:53,160 --> 01:05:56,840
Speaker 4: doesn't suit them, your job is to make them look

1325
01:05:56,880 --> 01:05:58,520
Speaker 4: like the start that they are are supposed to be,

1326
01:05:58,680 --> 01:06:00,560
Speaker 4: and your choreography will have to up from it and

1327
01:06:00,600 --> 01:06:02,080
Speaker 4: you just have to change it, or you just have

1328
01:06:02,120 --> 01:06:04,400
Speaker 4: to be real creative and find a way to hide

1329
01:06:04,440 --> 01:06:06,320
Speaker 4: them for an eight count bring them back and make

1330
01:06:06,360 --> 01:06:07,560
Speaker 4: it look like you know what I mean?

1331
01:06:08,560 --> 01:06:11,440
Speaker 2: All right? So what is as there been a project

1332
01:06:11,440 --> 01:06:15,360
Speaker 2: where it was like not jankie, but very eleventh hour,

1333
01:06:16,240 --> 01:06:21,080
Speaker 2: either the manager doesn't like the dancing or something, and

1334
01:06:21,120 --> 01:06:23,880
Speaker 2: you got to change and you got like two hours

1335
01:06:23,960 --> 01:06:27,040
Speaker 2: left to figure out something real quick?

1336
01:06:27,120 --> 01:06:27,240
Speaker 4: Yo?

1337
01:06:27,800 --> 01:06:30,800
Speaker 2: Can you throw something together real quick? Like under pressure?

1338
01:06:30,960 --> 01:06:32,440
Speaker 2: Have you ever had that situation?

1339
01:06:33,240 --> 01:06:36,880
Speaker 4: I'm sure that's happened, where like a prop's not working,

1340
01:06:37,360 --> 01:06:39,480
Speaker 4: or like a dancer get sick and can't make the

1341
01:06:39,480 --> 01:06:42,480
Speaker 4: show and whatever's made for like six people now has

1342
01:06:42,520 --> 01:06:44,360
Speaker 4: to be made for five people because you're supposed to

1343
01:06:44,440 --> 01:06:47,560
Speaker 4: catch somebody like you have to do those kind of changes,

1344
01:06:48,480 --> 01:06:50,160
Speaker 4: or if a piece of equipment doesn't show up and

1345
01:06:50,200 --> 01:06:51,800
Speaker 4: didn't make it, like when you're going from city to

1346
01:06:51,840 --> 01:06:54,840
Speaker 4: city on tour and the trampoline doesn't show up and

1347
01:06:54,880 --> 01:06:57,640
Speaker 4: there's this whole like you have to make those adjustments

1348
01:06:57,640 --> 01:07:00,960
Speaker 4: on the spot. Yes, but that's what answers too, Like

1349
01:07:01,040 --> 01:07:02,800
Speaker 4: it's like, fuck it, we're gonna do this by six

1350
01:07:02,840 --> 01:07:06,360
Speaker 4: seven eight, and nobody knows who's messed up in the audience.

1351
01:07:06,960 --> 01:07:09,520
Speaker 4: Maybe the band members might know, the other dancers might know,

1352
01:07:09,600 --> 01:07:11,120
Speaker 4: but we know how to play it off. And that's

1353
01:07:11,200 --> 01:07:12,280
Speaker 4: the part you trained for.

1354
01:07:12,680 --> 01:07:14,760
Speaker 2: So so you see it when all of us feils,

1355
01:07:14,840 --> 01:07:15,800
Speaker 2: just two step.

1356
01:07:17,080 --> 01:07:20,640
Speaker 4: So you remember what the koreakey is to get back in. Yep,

1357
01:07:20,720 --> 01:07:21,040
Speaker 4: that too.

1358
01:07:22,360 --> 01:07:24,480
Speaker 2: Have you ever lost the gig? Have you ever gotten

1359
01:07:24,480 --> 01:07:25,320
Speaker 2: fired from the gig?

1360
01:07:25,760 --> 01:07:30,200
Speaker 4: Yes? I got fired. Me and Josie got fired. We

1361
01:07:30,240 --> 01:07:34,720
Speaker 4: got hired to dance with c C. Peniston and CEC

1362
01:07:35,000 --> 01:07:37,920
Speaker 4: was being managed by Her name was Tease. Tease was

1363
01:07:38,200 --> 01:07:40,520
Speaker 4: the niece of one of the girls from No the

1364
01:07:40,560 --> 01:07:42,280
Speaker 4: aunt of one of the girls from three O W.

1365
01:07:42,720 --> 01:07:47,080
Speaker 4: So she was married. Yeah, we heard at CC so

1366
01:07:47,160 --> 01:07:49,520
Speaker 4: we were doing a bunch of clubs. We did literally

1367
01:07:49,560 --> 01:07:51,360
Speaker 4: I think the first or second night of shows, we

1368
01:07:51,400 --> 01:07:53,600
Speaker 4: were doing club hits, like three or four shows a night,

1369
01:07:53,720 --> 01:07:56,080
Speaker 4: like you know, she had all the gig clubs poppets,

1370
01:07:56,120 --> 01:07:57,800
Speaker 4: so we were doing all the like three am, four

1371
01:07:57,840 --> 01:08:02,720
Speaker 4: am whatever, and Tees falters and said, we're not going

1372
01:08:02,800 --> 01:08:09,120
Speaker 4: to have your girls back. You outshine the artists, and

1373
01:08:09,120 --> 01:08:11,240
Speaker 4: and we literally got fired. I'm like, but that's why

1374
01:08:11,280 --> 01:08:13,760
Speaker 4: you hired us because we were good. We're like, yeah,

1375
01:08:13,760 --> 01:08:17,200
Speaker 4: but Nosie, Josie and led together.

1376
01:08:17,280 --> 01:08:17,760
Speaker 3: That's a lot.

1377
01:08:17,840 --> 01:08:24,519
Speaker 6: That's yeah, y'all, y'all superstars, Like thank you. Yeah, I'm curious,

1378
01:08:24,720 --> 01:08:26,840
Speaker 6: when was the last time you saw you saw some

1379
01:08:26,920 --> 01:08:30,360
Speaker 6: choreography and you were like, now they translated that vision,

1380
01:08:30,439 --> 01:08:32,519
Speaker 6: like when was the most recent thing you saw and

1381
01:08:32,560 --> 01:08:33,040
Speaker 6: you were like.

1382
01:08:34,200 --> 01:08:38,639
Speaker 4: Listen, whenever I watched Missy or whenever I watched Beyonce stuff,

1383
01:08:39,160 --> 01:08:42,080
Speaker 4: like I hat is still I think Missy's choreographer and

1384
01:08:42,160 --> 01:08:44,679
Speaker 4: I had is one of the few females who was

1385
01:08:44,720 --> 01:08:46,679
Speaker 4: in the circle back when I was in the circle,

1386
01:08:47,080 --> 01:08:49,280
Speaker 4: like he was battling and all that other stuff, and

1387
01:08:49,400 --> 01:08:53,320
Speaker 4: she really switched over to choreography, probably not before any

1388
01:08:53,360 --> 01:08:55,920
Speaker 4: of us, probably right after I switched over to television,

1389
01:08:56,160 --> 01:08:58,560
Speaker 4: but she's always been in the clubs for her choreography

1390
01:08:58,600 --> 01:09:00,760
Speaker 4: and her choice of the dance, singing, the stuff that

1391
01:09:00,760 --> 01:09:04,880
Speaker 4: she does between the collaborative work with Missy, it's like Missy,

1392
01:09:04,960 --> 01:09:06,920
Speaker 4: I've never danced for Missy. I would come out of

1393
01:09:06,960 --> 01:09:09,400
Speaker 4: retirement for Missy. I come out of retirement for her,

1394
01:09:10,280 --> 01:09:13,360
Speaker 4: justin Timberlake, I come out of retirement for Beyonce. Of

1395
01:09:13,400 --> 01:09:17,840
Speaker 4: course I lace up absolutely, So, Yeah, they impressed me,

1396
01:09:17,920 --> 01:09:21,200
Speaker 4: but their whole thing is a visual package that I'm

1397
01:09:21,280 --> 01:09:27,200
Speaker 4: just like, from the makeup to the clothing to like, yeah, yeah,

1398
01:09:27,400 --> 01:09:29,360
Speaker 4: I don't know how much longer I can. It's hard

1399
01:09:29,400 --> 01:09:30,920
Speaker 4: for me to go to a concert and not want

1400
01:09:30,920 --> 01:09:33,599
Speaker 4: to like jump on stage. So if I can create

1401
01:09:33,600 --> 01:09:36,200
Speaker 4: a project or become a part of an ensemble project

1402
01:09:36,200 --> 01:09:37,960
Speaker 4: where I can dance again, I'm all.

1403
01:09:37,920 --> 01:09:40,080
Speaker 6: Yeah, that Beyonce thing don't seem too far off though

1404
01:09:40,120 --> 01:09:41,840
Speaker 6: that really say that out loud?

1405
01:09:41,880 --> 01:09:43,720
Speaker 3: That don't really sound too I.

1406
01:09:44,640 --> 01:09:45,760
Speaker 4: Just want to look crazy. I don't want to be

1407
01:09:45,760 --> 01:09:48,479
Speaker 4: one hundred and seven dancing behind a bunch of hole.

1408
01:09:49,200 --> 01:09:51,479
Speaker 4: If they can't keep back with the girl, then.

1409
01:09:53,080 --> 01:09:58,240
Speaker 5: Yeah, how did the We didn't get the full story

1410
01:09:58,280 --> 01:10:00,719
Speaker 5: of the Living single how you got in uprated into

1411
01:10:00,760 --> 01:10:04,439
Speaker 5: the just into the credits like that was crazy.

1412
01:10:04,880 --> 01:10:07,880
Speaker 4: Well, when Otis Sale called me to he's like, let's

1413
01:10:08,080 --> 01:10:10,519
Speaker 4: I got this vision. I don't have the job. I

1414
01:10:10,600 --> 01:10:12,800
Speaker 4: just have an idea, so we're gonna shoot it. I

1415
01:10:12,880 --> 01:10:14,519
Speaker 4: just need you to say yes and be on board

1416
01:10:14,520 --> 01:10:15,800
Speaker 4: with it and then we'll figure it out if they

1417
01:10:15,840 --> 01:10:19,040
Speaker 4: take it. So Otis was like I met him down

1418
01:10:19,080 --> 01:10:22,360
Speaker 4: in Brooklyn underneath the Brooklyn Bridge Bridge, spent all day

1419
01:10:22,800 --> 01:10:28,759
Speaker 4: doing backflips on cobblestone everything whatever he shot. And literally

1420
01:10:28,800 --> 01:10:30,600
Speaker 4: that last movie you see where I'm going like this

1421
01:10:30,680 --> 01:10:35,280
Speaker 4: and I fell back. I was when I saw like

1422
01:10:35,479 --> 01:10:37,640
Speaker 4: one of his edits. I think he only kept like

1423
01:10:37,720 --> 01:10:39,920
Speaker 4: a front flip maybe and it may not even be

1424
01:10:40,080 --> 01:10:43,600
Speaker 4: in the full version of the TV show. But he

1425
01:10:43,680 --> 01:10:45,479
Speaker 4: called me one day he said, oh my god, they

1426
01:10:45,479 --> 01:10:45,880
Speaker 4: took it.

1427
01:10:46,120 --> 01:10:46,760
Speaker 3: They took it.

1428
01:10:47,040 --> 01:10:49,400
Speaker 4: We're gonna be And we didn't think it was gonna

1429
01:10:49,400 --> 01:10:51,479
Speaker 4: be as big as it was. We didn't think. We

1430
01:10:51,479 --> 01:10:54,200
Speaker 4: didn't think past the first airing, we didn't think past

1431
01:10:54,280 --> 01:10:57,080
Speaker 4: multiple seasons, we didn't think. I didn't think any of

1432
01:10:57,120 --> 01:11:00,200
Speaker 4: that stuff. And sure enough, to this day, that's probably

1433
01:11:00,000 --> 01:11:02,200
Speaker 4: one of the things I'm most recognized for, which is

1434
01:11:02,320 --> 01:11:04,960
Speaker 4: just crazy, even from like the new generation.

1435
01:11:05,240 --> 01:11:06,400
Speaker 3: Not to be in your pockets.

1436
01:11:06,560 --> 01:11:09,160
Speaker 6: But does a gig like that, So I'm trying to

1437
01:11:09,160 --> 01:11:10,360
Speaker 6: say it, you don't have to give me a number

1438
01:11:10,439 --> 01:11:12,640
Speaker 6: because it's eleven single is still playing on TV one

1439
01:11:12,680 --> 01:11:15,920
Speaker 6: as we speak in other places? Does that continue to

1440
01:11:16,080 --> 01:11:21,679
Speaker 6: pay for groceries every week? Does that continue to pay

1441
01:11:21,720 --> 01:11:22,320
Speaker 6: for your.

1442
01:11:22,240 --> 01:11:23,599
Speaker 3: Hair done twice a month?

1443
01:11:23,920 --> 01:11:24,040
Speaker 6: Like?

1444
01:11:24,200 --> 01:11:26,080
Speaker 3: Where does what? Does it? Out of work?

1445
01:11:26,200 --> 01:11:28,360
Speaker 2: Wait? Would you even gets for?

1446
01:11:29,720 --> 01:11:30,639
Speaker 3: Yeah? Would you get.

1447
01:11:31,479 --> 01:11:32,719
Speaker 4: Asked a million dollar question?

1448
01:11:32,840 --> 01:11:33,000
Speaker 2: Right?

1449
01:11:33,200 --> 01:11:33,800
Speaker 3: Yeah?

1450
01:11:33,520 --> 01:11:36,600
Speaker 4: What happened with this deal is I did what I

1451
01:11:36,680 --> 01:11:41,280
Speaker 4: never thought I would do, which is a buyout, right oh,

1452
01:11:41,320 --> 01:11:45,280
Speaker 4: which is a one time fast and that's it. But

1453
01:11:45,400 --> 01:11:47,840
Speaker 4: even if I were getting residuals right now, I get

1454
01:11:47,960 --> 01:11:50,760
Speaker 4: residuals from a lot of stuff, and they're like the

1455
01:11:50,800 --> 01:11:52,519
Speaker 4: paper costs more than what the checks are.

1456
01:11:52,560 --> 01:11:55,799
Speaker 2: You get seventeen cents.

1457
01:11:55,920 --> 01:11:57,680
Speaker 4: You know, this show is almost twenty years old, so

1458
01:11:57,680 --> 01:12:00,639
Speaker 4: I wouldn't be making any any real money off bit anyway.

1459
01:12:00,720 --> 01:12:03,040
Speaker 4: But it served as purpose then at the time, and

1460
01:12:03,120 --> 01:12:06,200
Speaker 4: still yeah, so it does. I think the legacy of

1461
01:12:06,240 --> 01:12:09,360
Speaker 4: it all and me working with otis is a price

1462
01:12:09,439 --> 01:12:12,680
Speaker 4: you can't put anything on the fact that Os called me.

1463
01:12:12,760 --> 01:12:13,680
Speaker 4: There's no price for that.

1464
01:12:14,960 --> 01:12:18,400
Speaker 5: Yeah, you said, Lindy Hop is your favorite dance style.

1465
01:12:18,479 --> 01:12:19,479
Speaker 5: How did you get into that?

1466
01:12:20,080 --> 01:12:22,840
Speaker 4: Well, I'm not all the way into it. But when

1467
01:12:22,880 --> 01:12:29,080
Speaker 4: you see the athleticism of women in dresses, swinging, flipping

1468
01:12:29,800 --> 01:12:33,160
Speaker 4: like it's me all day. Every nuance of that dance,

1469
01:12:33,200 --> 01:12:35,000
Speaker 4: from the back flips to the front flips, to the

1470
01:12:35,160 --> 01:12:38,200
Speaker 4: energy because it goes eighty miles a minute, speaks to

1471
01:12:38,240 --> 01:12:40,840
Speaker 4: my personality, like if I had to describe me in

1472
01:12:40,880 --> 01:12:42,920
Speaker 4: a dance, that's who I am is Lindy Up.

1473
01:12:43,000 --> 01:12:45,000
Speaker 6: It's crazy that our grandmothers were like that was their

1474
01:12:45,040 --> 01:12:47,599
Speaker 6: everyday dance. Every grandmothers knew how to do.

1475
01:12:47,560 --> 01:12:51,519
Speaker 4: That right of all sizes, whenever on the ground, no

1476
01:12:51,640 --> 01:12:55,000
Speaker 4: knee pads, yes, back flips, whatever. We don't care, not

1477
01:12:55,040 --> 01:12:56,479
Speaker 4: trying to be cute. We don't care what I and

1478
01:12:56,560 --> 01:12:58,479
Speaker 4: they still look cute, Like we don't care about what

1479
01:12:58,520 --> 01:13:00,360
Speaker 4: our hair and or whatever, but they still look cute

1480
01:13:00,360 --> 01:13:04,800
Speaker 4: before and after the whole like a press out press

1481
01:13:05,160 --> 01:13:06,559
Speaker 4: not press out.

1482
01:13:08,439 --> 01:13:10,880
Speaker 2: You all know what the press out is, right, Stephen, No,

1483
01:13:11,560 --> 01:13:14,040
Speaker 2: I mean it's it's a hair What you need Steve

1484
01:13:14,080 --> 01:13:15,479
Speaker 2: it's what Steve looks like right now.

1485
01:13:16,040 --> 01:13:22,720
Speaker 7: He needs is the Is the Lindy Hop related to

1486
01:13:22,800 --> 01:13:26,599
Speaker 7: the Lindy Yeah, the same thing.

1487
01:13:26,880 --> 01:13:33,960
Speaker 5: Yes, is Lindy Lindy jitle Bug.

1488
01:13:34,320 --> 01:13:38,320
Speaker 4: Swing in the same family. But Lindy Hop is like

1489
01:13:38,720 --> 01:13:41,920
Speaker 4: something you would see literally at the Cotton Club and all.

1490
01:13:41,800 --> 01:13:44,120
Speaker 2: These just you know, what was the woman that Brady

1491
01:13:44,120 --> 01:13:47,360
Speaker 2: Bunch did the Charleston? Was that a dance? Hilarious?

1492
01:13:47,400 --> 01:13:47,719
Speaker 4: Steve?

1493
01:13:48,280 --> 01:13:54,640
Speaker 2: Why do I only know that reference? Remember that episode?

1494
01:13:55,840 --> 01:13:58,920
Speaker 4: Put the hands on the knees crossing over right in

1495
01:13:58,960 --> 01:14:00,400
Speaker 4: the back at the back of front Carls.

1496
01:14:04,360 --> 01:14:06,920
Speaker 6: Yeah, yeah, wow, before she go, can you tell us

1497
01:14:06,960 --> 01:14:09,360
Speaker 6: about your dance documentary? Because I used to want to

1498
01:14:09,360 --> 01:14:11,559
Speaker 6: be a dancer, but then I grew the breast, so

1499
01:14:11,800 --> 01:14:13,160
Speaker 6: I am so into it.

1500
01:14:13,280 --> 01:14:15,000
Speaker 3: And did you ever get your Debbie Allen moment?

1501
01:14:15,880 --> 01:14:18,000
Speaker 4: I'm trump stalking de Wie Allen now to try and

1502
01:14:18,000 --> 01:14:20,599
Speaker 4: get these interviews. This damn COVID has been a pain

1503
01:14:20,760 --> 01:14:24,320
Speaker 4: in the ass. Man. He's a cock blocker. It's a production.

1504
01:14:26,160 --> 01:14:27,720
Speaker 6: I don't know about being a cock blocker. You had

1505
01:14:27,760 --> 01:14:29,360
Speaker 6: to have that pre COVID so you can lock that up.

1506
01:14:30,720 --> 01:14:36,599
Speaker 4: But it's about uh, trust me, you know, I had

1507
01:14:36,600 --> 01:14:39,240
Speaker 4: the clean house before then, unfortunately, and that's all I'm

1508
01:14:39,240 --> 01:14:40,320
Speaker 4: open to talk about that too.

1509
01:14:40,760 --> 01:14:42,800
Speaker 5: Uh yeah, you had the clean house like you got

1510
01:14:42,840 --> 01:14:43,360
Speaker 5: rid all.

1511
01:14:43,320 --> 01:14:47,639
Speaker 4: Like seventeen years and we broke up before the pandemic

1512
01:14:47,640 --> 01:14:50,639
Speaker 4: and stuff like, oh, col you're fifteen. I found out

1513
01:14:50,640 --> 01:14:52,799
Speaker 4: he had been having an affair with one of Usher's

1514
01:14:52,840 --> 01:14:55,880
Speaker 4: dances for two years. We're trying to work stuff out.

1515
01:14:55,920 --> 01:14:57,479
Speaker 4: I found out there was another chick who had been

1516
01:14:57,520 --> 01:15:00,280
Speaker 4: around for eight years, and so in order for not

1517
01:15:00,320 --> 01:15:02,560
Speaker 4: to get my remy ma on or end up in

1518
01:15:02,600 --> 01:15:05,000
Speaker 4: an orange jumpsuit, I had to put them motherfucker out.

1519
01:15:05,479 --> 01:15:08,160
Speaker 5: So, oh, he was living y'all were living together at

1520
01:15:08,200 --> 01:15:08,519
Speaker 5: the time.

1521
01:15:11,680 --> 01:15:14,280
Speaker 4: Day one. People always like, how do you not know?

1522
01:15:14,439 --> 01:15:16,439
Speaker 4: I mean, granted, I'm a chick on tour and I've

1523
01:15:16,479 --> 01:15:20,439
Speaker 4: seen multiple affairs and stuff happen, right, but this is

1524
01:15:20,439 --> 01:15:23,439
Speaker 4: somebody who really, other than being on tour, never went out.

1525
01:15:23,560 --> 01:15:25,479
Speaker 4: We had a studio in the back or whatever. But

1526
01:15:25,520 --> 01:15:28,680
Speaker 4: the whole all the relationships were the chicky met in

1527
01:15:28,680 --> 01:15:32,160
Speaker 4: Australia like this on zoom or FaceTime or whatever and

1528
01:15:32,280 --> 01:15:36,559
Speaker 4: masturbation sessions. And you say not physical on time, Well no,

1529
01:15:36,640 --> 01:15:39,200
Speaker 4: they were physical because us was dancing. Only lived a

1530
01:15:39,240 --> 01:15:41,320
Speaker 4: couple of blocks away, and so whenever I had to

1531
01:15:41,320 --> 01:15:43,960
Speaker 4: go out of town or whatever, they would hook up. Well,

1532
01:15:43,960 --> 01:15:45,720
Speaker 4: the whole time that they were on the road and

1533
01:15:45,800 --> 01:15:48,240
Speaker 4: I couldn't get out to the cities, you know, they

1534
01:15:48,280 --> 01:15:51,679
Speaker 4: were hooking up. So and when you with somebody who

1535
01:15:51,800 --> 01:15:53,960
Speaker 4: you can call at four o'clock in Morocco and be

1536
01:15:54,040 --> 01:15:56,760
Speaker 4: on the phone or facetiming and see everybody in the room,

1537
01:15:57,080 --> 01:15:58,760
Speaker 4: you don't realize the other chick might be on the

1538
01:15:58,760 --> 01:16:00,519
Speaker 4: other side of the computer or he'll be like, go

1539
01:16:00,520 --> 01:16:04,240
Speaker 4: to your room. I'll call you and right person saying

1540
01:16:04,280 --> 01:16:06,360
Speaker 4: I love you. You mean my world to me. We're

1541
01:16:06,360 --> 01:16:08,439
Speaker 4: trying to have a family, all these things in your

1542
01:16:08,479 --> 01:16:12,080
Speaker 4: face and then doing all this other stuff over here.

1543
01:16:13,000 --> 01:16:16,080
Speaker 3: So girl, why would you still doing why are you.

1544
01:16:18,600 --> 01:16:18,840
Speaker 8: All this?

1545
01:16:19,120 --> 01:16:19,280
Speaker 2: Wait?

1546
01:16:19,320 --> 01:16:21,400
Speaker 6: Seriously, though, less I wonder it's about me and my

1547
01:16:21,479 --> 01:16:24,720
Speaker 6: great my my music industry, cistern. Why do we dip

1548
01:16:24,760 --> 01:16:27,360
Speaker 6: and dive in our in our ponds, Like why don't

1549
01:16:27,400 --> 01:16:30,920
Speaker 6: you're Yes, you.

1550
01:16:30,240 --> 01:16:31,120
Speaker 3: You're just children.

1551
01:16:31,120 --> 01:16:34,160
Speaker 6: You're just children at the very at the very least

1552
01:16:34,240 --> 01:16:35,400
Speaker 6: on a good day, your children.

1553
01:16:35,560 --> 01:16:36,320
Speaker 3: You know what I'm saying.

1554
01:16:37,479 --> 01:16:41,160
Speaker 6: Okay, So, and I'm curious for a grown as woman

1555
01:16:41,200 --> 01:16:43,320
Speaker 6: like Les. I'm like, so it's time to get a

1556
01:16:43,360 --> 01:16:47,880
Speaker 6: contractor accountant. Uh I mind you, I said to all.

1557
01:16:48,920 --> 01:16:50,719
Speaker 6: I'm in the social services myself.

1558
01:16:51,160 --> 01:16:54,280
Speaker 4: Oh see, I've dated all kinds of guys. It doesn't

1559
01:16:54,280 --> 01:16:56,040
Speaker 4: matter man's going she if he wants to cheat, right,

1560
01:16:56,920 --> 01:16:58,679
Speaker 4: They have that fear of missing out. And it doesn't

1561
01:16:58,680 --> 01:17:00,759
Speaker 4: matter whether you're a rock star and tour and everything's

1562
01:17:00,800 --> 01:17:02,880
Speaker 4: easy for you, or if you go into an office

1563
01:17:02,920 --> 01:17:04,479
Speaker 4: and the chick who sits in a cubicle next to

1564
01:17:04,520 --> 01:17:06,400
Speaker 4: you is throw a pussy at you. It doesn't matter

1565
01:17:06,680 --> 01:17:09,160
Speaker 4: if that. You know, John Sally said to me, the

1566
01:17:09,160 --> 01:17:11,320
Speaker 4: best pussy is new pussy. And that's why men cheat.

1567
01:17:11,720 --> 01:17:14,200
Speaker 4: And men get curious or the minute that you know

1568
01:17:14,400 --> 01:17:16,880
Speaker 4: they feel like you're not giving them the attention, or

1569
01:17:16,880 --> 01:17:19,439
Speaker 4: they get more attention over there, or they're having a

1570
01:17:19,479 --> 01:17:21,639
Speaker 4: mid life crisis, or their ego needs to be fed

1571
01:17:21,720 --> 01:17:25,200
Speaker 4: or whatever is. You know, they're gonna my men.

1572
01:17:26,360 --> 01:17:29,799
Speaker 5: And I'm not saying, I'm just I'm listening to y'all talk.

1573
01:17:29,920 --> 01:17:30,640
Speaker 3: But not to stay that.

1574
01:17:30,720 --> 01:17:33,080
Speaker 4: Women don't cheat either. I have some girls who are

1575
01:17:33,160 --> 01:17:35,400
Speaker 4: cheatings too, who are married and cheating on their husbands

1576
01:17:35,400 --> 01:17:37,200
Speaker 4: and whatever that is. And I'm just like, why when

1577
01:17:37,240 --> 01:17:39,519
Speaker 4: you can have a conversation and you don't have to

1578
01:17:39,520 --> 01:17:41,560
Speaker 4: be married, you don't have to be in a relationship.

1579
01:17:41,680 --> 01:17:43,360
Speaker 4: You can decide to be single for the rest of

1580
01:17:43,360 --> 01:17:45,519
Speaker 4: your life and have as many women as you want,

1581
01:17:45,880 --> 01:17:47,439
Speaker 4: and even choose the one you want to have a

1582
01:17:47,520 --> 01:17:49,400
Speaker 4: kid with. You can choose the one you want to

1583
01:17:49,400 --> 01:17:51,120
Speaker 4: stay over four days a week. Like, you can have

1584
01:17:51,240 --> 01:17:54,000
Speaker 4: those conversations and live the life you want. You don't

1585
01:17:54,000 --> 01:17:55,600
Speaker 4: have to be like this is us, this is me.

1586
01:17:55,800 --> 01:17:58,679
Speaker 4: Like year three, we had done our life insurance policy,

1587
01:17:58,720 --> 01:18:01,000
Speaker 4: our living trust, we had on our wheels, our health

1588
01:18:01,040 --> 01:18:04,120
Speaker 4: prop all this stuff except for being officially married. We

1589
01:18:04,120 --> 01:18:06,360
Speaker 4: were trying to have a family together. Why are you

1590
01:18:06,360 --> 01:18:08,400
Speaker 4: still trying to have a family with me if you're unhappy?

1591
01:18:08,720 --> 01:18:10,680
Speaker 4: And then I find out about the affair and you're

1592
01:18:10,680 --> 01:18:13,320
Speaker 4: begging not to end it, So obviously you're not that unhappy.

1593
01:18:13,439 --> 01:18:16,679
Speaker 4: You just wanted a little taste. He had a little taste,

1594
01:18:17,320 --> 01:18:18,160
Speaker 4: So we don't need to be.

1595
01:18:18,120 --> 01:18:21,080
Speaker 5: Together, and you just found out at the end, like

1596
01:18:21,120 --> 01:18:23,519
Speaker 5: this is recent, like before came the end.

1597
01:18:24,160 --> 01:18:26,479
Speaker 4: Yeah, it became the end year like I said, And

1598
01:18:26,520 --> 01:18:29,559
Speaker 4: I'm not one who's very forgiving. I'm usually very light up.

1599
01:18:30,000 --> 01:18:32,360
Speaker 4: And so when I found out you were a year

1600
01:18:32,439 --> 01:18:36,959
Speaker 4: fifteen and a half together, and literally I'm not a snooper,

1601
01:18:37,439 --> 01:18:39,760
Speaker 4: none of that. He says something that made me just

1602
01:18:39,800 --> 01:18:43,320
Speaker 4: be like, wait what. And I looked at one thing

1603
01:18:43,680 --> 01:18:46,360
Speaker 4: and then everything unround. God puts everything in your face.

1604
01:18:46,360 --> 01:18:50,360
Speaker 4: And I had named addresses, emails, text messages, receipts, all

1605
01:18:50,400 --> 01:18:54,280
Speaker 4: of that stuff. So I talked to like twelve different people,

1606
01:18:54,439 --> 01:18:57,200
Speaker 4: couples who were married. Eleven of the twelve were like,

1607
01:18:57,640 --> 01:19:00,800
Speaker 4: go to therapy, try and find forgive this. See what

1608
01:19:00,800 --> 01:19:03,679
Speaker 4: that looks like for you. Give it another shot. Four

1609
01:19:03,720 --> 01:19:05,760
Speaker 4: months in I find out about the chick who've been

1610
01:19:05,760 --> 01:19:10,479
Speaker 4: around for eight years in Australia. We're not talking one

1611
01:19:10,560 --> 01:19:13,960
Speaker 4: night's stance. We're talking relationships. We're talking emotional connections. We're

1612
01:19:14,000 --> 01:19:17,360
Speaker 4: talking emails, we're talking gifts. We're talking you're putting money,

1613
01:19:17,360 --> 01:19:20,400
Speaker 4: taking money out of our household into their household. We're

1614
01:19:20,400 --> 01:19:22,679
Speaker 4: talking you have an unprotected sex and now you're putting

1615
01:19:22,680 --> 01:19:25,000
Speaker 4: my health at risk. And if I had made a

1616
01:19:25,000 --> 01:19:26,680
Speaker 4: phone call or if I was that chick on an

1617
01:19:26,680 --> 01:19:27,840
Speaker 4: episode of Snaps.

1618
01:19:27,600 --> 01:19:31,160
Speaker 3: I was about we're talking where your girls at.

1619
01:19:32,280 --> 01:19:35,000
Speaker 4: It got to a point where once I put him

1620
01:19:35,000 --> 01:19:40,000
Speaker 4: out and California does not have uh oh my god,

1621
01:19:40,200 --> 01:19:40,840
Speaker 4: what do you call it?

1622
01:19:41,520 --> 01:19:41,960
Speaker 5: Property?

1623
01:19:42,520 --> 01:19:45,080
Speaker 3: Not that common law?

1624
01:19:45,560 --> 01:19:50,479
Speaker 4: Common law doesn't exist, hasn't existed since like the I

1625
01:19:50,560 --> 01:19:53,160
Speaker 4: knew that, and all the properties were mine, and so

1626
01:19:53,280 --> 01:19:55,760
Speaker 4: I realized I did have a case. You can't just

1627
01:19:56,560 --> 01:19:59,240
Speaker 4: treat somebody like that, put their health at risk, make

1628
01:19:59,320 --> 01:20:02,160
Speaker 4: promises to the so that now I'm pulling myself out

1629
01:20:02,160 --> 01:20:04,920
Speaker 4: for you and instead of I could have had a

1630
01:20:04,920 --> 01:20:06,400
Speaker 4: whole family with somebody else.

1631
01:20:06,240 --> 01:20:08,120
Speaker 6: So they don't know about our time. They don't know

1632
01:20:08,160 --> 01:20:10,519
Speaker 6: how precious our time is. I don't know why these.

1633
01:20:10,400 --> 01:20:13,240
Speaker 3: Motherfuckers keep playing with our time. Life is not even

1634
01:20:13,280 --> 01:20:15,120
Speaker 3: I'm sorry.

1635
01:20:14,400 --> 01:20:19,000
Speaker 4: But to empower women have options. And before I recognizing

1636
01:20:19,080 --> 01:20:21,280
Speaker 4: that that you can't do that to other people. So

1637
01:20:21,400 --> 01:20:23,600
Speaker 4: him putting my risk and you know, thank god I

1638
01:20:23,600 --> 01:20:25,640
Speaker 4: didn't catch anything, because you're really talking to me in

1639
01:20:25,720 --> 01:20:29,519
Speaker 4: orange jumpsuit. But that happened, or the fact that you

1640
01:20:29,560 --> 01:20:32,080
Speaker 4: know you wasted my time or made promises, it came

1641
01:20:32,120 --> 01:20:34,599
Speaker 4: with a price, and there's not any amount of money

1642
01:20:34,640 --> 01:20:36,680
Speaker 4: that's going to get my time back, from my fertility back,

1643
01:20:36,760 --> 01:20:39,800
Speaker 4: None of that but I guarantee you every time that ship,

1644
01:20:39,920 --> 01:20:43,560
Speaker 4: that check shows up, it shows how expensive that extracurricular

1645
01:20:43,600 --> 01:20:44,519
Speaker 4: pussy was for him.

1646
01:20:44,960 --> 01:20:49,200
Speaker 5: So y'all him, he has to pay you.

1647
01:20:51,240 --> 01:20:53,479
Speaker 4: I can only say the word settlement, but absent fucking

1648
01:20:53,520 --> 01:20:57,720
Speaker 4: movement on my tears. I had to remind you I was.

1649
01:20:57,840 --> 01:20:59,519
Speaker 4: I have to remind myself that my cake was in

1650
01:20:59,560 --> 01:21:02,120
Speaker 4: the back, like I'm a New York too. Wait a minute,

1651
01:21:02,120 --> 01:21:03,320
Speaker 4: what just happened?

1652
01:21:03,960 --> 01:21:04,559
Speaker 2: Haig? Enough?

1653
01:21:04,920 --> 01:21:07,240
Speaker 3: My time is money. My time is money.

1654
01:21:08,080 --> 01:21:10,680
Speaker 4: So to all you out there, you better teach your

1655
01:21:10,720 --> 01:21:13,599
Speaker 4: daughters they don't have to stand for no bullshit. Teach

1656
01:21:13,680 --> 01:21:15,680
Speaker 4: your sons that they don't have to be in a

1657
01:21:15,720 --> 01:21:19,120
Speaker 4: relationship that doesn't have an explanation of terms about what

1658
01:21:19,160 --> 01:21:22,680
Speaker 4: it is you want. Because people, you don't have to

1659
01:21:22,760 --> 01:21:25,599
Speaker 4: be married. We don't have to live together. I can agree,

1660
01:21:25,640 --> 01:21:27,040
Speaker 4: or you can be with somebody else, And all you

1661
01:21:27,080 --> 01:21:29,240
Speaker 4: have to do is say three words, I'm not happy,

1662
01:21:29,479 --> 01:21:33,559
Speaker 4: this ain't working. I want out right. Not all these

1663
01:21:33,680 --> 01:21:37,320
Speaker 4: years of all this extra curricular stuff. That was devastating,

1664
01:21:37,520 --> 01:21:40,160
Speaker 4: absolutely devastating to me. I've never been so broken in

1665
01:21:40,200 --> 01:21:41,880
Speaker 4: my life. You know, to the point where you have

1666
01:21:42,000 --> 01:21:44,360
Speaker 4: to like go to therapy to talk to someone because

1667
01:21:44,400 --> 01:21:46,200
Speaker 4: you're tired of talking to your friends and every time

1668
01:21:46,200 --> 01:21:48,280
Speaker 4: you come around and you're like, oh, here you come again.

1669
01:21:50,520 --> 01:21:53,040
Speaker 4: At all that thoughts that you don't even recognize who

1670
01:21:53,040 --> 01:21:56,040
Speaker 4: you are because this person that you trust, right, if

1671
01:21:56,040 --> 01:21:58,760
Speaker 4: it's somebody you don't know, you're not that devastated by

1672
01:21:58,800 --> 01:22:01,160
Speaker 4: the disappointment or the broken It's the people that are

1673
01:22:01,200 --> 01:22:03,800
Speaker 4: closest to you, that you trust with your life, that

1674
01:22:03,840 --> 01:22:05,120
Speaker 4: devastate you and betray you.

1675
01:22:05,360 --> 01:22:06,640
Speaker 3: And that's a long time.

1676
01:22:07,200 --> 01:22:10,800
Speaker 4: Absolutely, I would have given this to the kidney, and

1677
01:22:10,840 --> 01:22:12,720
Speaker 4: I think and our families were so close to the

1678
01:22:12,720 --> 01:22:14,679
Speaker 4: point where my mom would fly to Texas and stay

1679
01:22:14,720 --> 01:22:16,760
Speaker 4: with his mom or he, you know, say fly to

1680
01:22:16,800 --> 01:22:19,599
Speaker 4: New York or whatever. So you're breaking up families. I

1681
01:22:19,640 --> 01:22:23,760
Speaker 4: was the sisters, the godmother of his niece. You know,

1682
01:22:23,880 --> 01:22:26,439
Speaker 4: I can't talk to them anymore of the you know,

1683
01:22:26,560 --> 01:22:30,439
Speaker 4: all this stuff. My mother is his sister's son, all

1684
01:22:30,479 --> 01:22:35,880
Speaker 4: of that. So because you wanted some extra pussy.

1685
01:22:35,080 --> 01:22:37,000
Speaker 5: When you talk about the settlement, I know you can't

1686
01:22:37,000 --> 01:22:39,000
Speaker 5: say we talk about the settlement, what was it on

1687
01:22:39,120 --> 01:22:41,280
Speaker 5: the grounds of the.

1688
01:22:41,240 --> 01:22:47,800
Speaker 4: Grounds of the fact that he put my health at risk.

1689
01:22:48,240 --> 01:22:51,880
Speaker 4: I'm speaking out of not legal terms, but there's the term,

1690
01:22:51,960 --> 01:22:57,000
Speaker 4: but putting my health at risk for making promises for

1691
01:22:58,600 --> 01:23:01,479
Speaker 4: uh he met, I was able to prove that he

1692
01:23:01,520 --> 01:23:04,400
Speaker 4: had promised to take care of me. We're in this relationship,

1693
01:23:04,400 --> 01:23:08,080
Speaker 4: blah blah blah, financial contributions and all that other stuff. Yeah,

1694
01:23:08,080 --> 01:23:10,880
Speaker 4: there were a lot of grounds that he had to

1695
01:23:10,920 --> 01:23:14,519
Speaker 4: be held accountable for. That is, I couldn't mention the affairs.

1696
01:23:14,520 --> 01:23:17,360
Speaker 4: So it wasn't even about the affairs. It was about

1697
01:23:17,720 --> 01:23:20,760
Speaker 4: the only thing in which the affair maybe played a

1698
01:23:20,800 --> 01:23:22,920
Speaker 4: part in was because my health was a thing that

1699
01:23:23,000 --> 01:23:27,320
Speaker 4: he had intentional intention to harm. I think it's what

1700
01:23:27,360 --> 01:23:30,120
Speaker 4: it's called or something like that. But the affairs had

1701
01:23:30,160 --> 01:23:31,640
Speaker 4: no play in it. And it had to be that

1702
01:23:31,720 --> 01:23:34,880
Speaker 4: because we were living as husband and wife for seventeen years,

1703
01:23:35,120 --> 01:23:36,240
Speaker 4: that there's a price on it.

1704
01:23:36,439 --> 01:23:36,599
Speaker 2: Now.

1705
01:23:36,640 --> 01:23:39,479
Speaker 4: Had we been married in California for like ten years

1706
01:23:39,479 --> 01:23:41,599
Speaker 4: and he automatically would have had to pay five years.

1707
01:23:41,840 --> 01:23:44,759
Speaker 4: If we were married, say nine years and eleven months,

1708
01:23:44,920 --> 01:23:47,960
Speaker 4: then the price is negotiable. I fall under even with

1709
01:23:48,000 --> 01:23:50,400
Speaker 4: the promises that I was able to prove, you know,

1710
01:23:50,560 --> 01:23:52,040
Speaker 4: him taking care of me and the life that we're

1711
01:23:52,040 --> 01:23:53,400
Speaker 4: going to lead and that we were starting to have

1712
01:23:53,400 --> 01:23:56,280
Speaker 4: a family and doing all this other stuff, I fall

1713
01:23:56,360 --> 01:24:01,080
Speaker 4: under the negotiation whatever, and so he opted for mediation,

1714
01:24:01,640 --> 01:24:04,600
Speaker 4: and that's what happened. But there's a lawyer.

1715
01:24:04,720 --> 01:24:09,200
Speaker 6: Yeah, it's a class.

1716
01:24:09,240 --> 01:24:10,880
Speaker 3: At the least it's it's a class. I'm there.

1717
01:24:11,680 --> 01:24:14,639
Speaker 4: I literally started to google stuff, and I knew because

1718
01:24:14,960 --> 01:24:17,559
Speaker 4: like I've always done my paperwork, my mother always said,

1719
01:24:17,720 --> 01:24:20,240
Speaker 4: if you have kids, or if you own property, make

1720
01:24:20,320 --> 01:24:22,400
Speaker 4: sure your trust and your will are done so that

1721
01:24:22,439 --> 01:24:24,800
Speaker 4: you never have to deal with it again. Even when

1722
01:24:24,840 --> 01:24:27,479
Speaker 4: I bought my first property in nineteen ninety one or

1723
01:24:27,479 --> 01:24:29,639
Speaker 4: whatever it was, I made sure that it was taken

1724
01:24:29,680 --> 01:24:31,960
Speaker 4: care of in a trust. So then I bought a house.

1725
01:24:32,080 --> 01:24:35,639
Speaker 4: He moved into both properties with me. I was smart enough,

1726
01:24:35,800 --> 01:24:39,360
Speaker 4: even though I included him as beneficiary on certain things,

1727
01:24:39,840 --> 01:24:43,000
Speaker 4: to sign something that said, even with the equity, that

1728
01:24:43,040 --> 01:24:45,040
Speaker 4: he couldn't gain anything because he tried to come after

1729
01:24:45,080 --> 01:24:48,679
Speaker 4: my property. But being a smart street, smart look smart chick,

1730
01:24:49,080 --> 01:24:52,840
Speaker 4: he couldn't kid so. But yeah, I literally just was

1731
01:24:52,880 --> 01:24:55,040
Speaker 4: googling some stuff. And then when I realized that there

1732
01:24:55,080 --> 01:24:57,880
Speaker 4: was no common law in California, but I actually had

1733
01:24:58,040 --> 01:25:00,519
Speaker 4: other rights, and that there's something that's called the Marvin

1734
01:25:00,600 --> 01:25:03,320
Speaker 4: claim or a case that was called Marvin versus Marvin.

1735
01:25:03,640 --> 01:25:06,599
Speaker 4: Where you live with someone now they have like cohabitation laws,

1736
01:25:06,640 --> 01:25:09,040
Speaker 4: but where you live with someone under the guise of

1737
01:25:09,160 --> 01:25:12,000
Speaker 4: being a family and being supported in that way. And

1738
01:25:12,040 --> 01:25:14,000
Speaker 4: you can prove it whether I didn't have to quit

1739
01:25:14,000 --> 01:25:16,080
Speaker 4: a job just to say I'm helping him with his business,

1740
01:25:16,160 --> 01:25:19,080
Speaker 4: but clearly I did along the way. There's a price

1741
01:25:19,120 --> 01:25:23,480
Speaker 4: that needs to be paid for that. So women have rights.

1742
01:25:23,720 --> 01:25:26,160
Speaker 4: And I'll just say this to you guys again, Like

1743
01:25:26,200 --> 01:25:28,680
Speaker 4: I said, you don't have to enter the women out

1744
01:25:28,720 --> 01:25:30,960
Speaker 4: there who are cheating. You can have a relationship where

1745
01:25:30,960 --> 01:25:33,000
Speaker 4: you can have twenty partners and nobody has to get

1746
01:25:33,040 --> 01:25:35,519
Speaker 4: hurt and everybody's agreeable. You know, you want to be

1747
01:25:35,600 --> 01:25:37,360
Speaker 4: married and she and just be like, I'm not happy,

1748
01:25:37,400 --> 01:25:39,200
Speaker 4: that's what it is, and get out. But you don't

1749
01:25:39,200 --> 01:25:41,520
Speaker 4: have to cause all that damage and all that wreckage

1750
01:25:41,760 --> 01:25:44,040
Speaker 4: and all that be trust or put somebody's health at risk.

1751
01:25:44,360 --> 01:25:47,120
Speaker 4: For all of that and all the women who don't

1752
01:25:47,120 --> 01:25:49,000
Speaker 4: know what to do, get yourself a lawyer and do

1753
01:25:49,040 --> 01:25:49,720
Speaker 4: what you need to do.

1754
01:25:51,160 --> 01:25:52,679
Speaker 2: I'm glad you learned this lesson.

1755
01:25:52,720 --> 01:26:00,120
Speaker 5: Before March, I couldn't imagine being quarantine with somebody like that.

1756
01:26:00,120 --> 01:26:04,200
Speaker 2: The most pregnancy and the most breakups I've ever seen

1757
01:26:04,479 --> 01:26:09,120
Speaker 2: in my Like, yeah, shit, I'm lucky with crazy because

1758
01:26:09,120 --> 01:26:11,080
Speaker 2: everyone else is falling. By the ways.

1759
01:26:13,680 --> 01:26:16,760
Speaker 4: That the divorce rates have like tripled during this porn

1760
01:26:17,040 --> 01:26:19,920
Speaker 4: right because you're either with either you're romanticizing the fact

1761
01:26:19,920 --> 01:26:22,280
Speaker 4: that you're in this COVID or you're with somebody that

1762
01:26:22,320 --> 01:26:24,160
Speaker 4: you didn't really want to be with anyway. And you

1763
01:26:24,200 --> 01:26:26,200
Speaker 4: guys were on the verge and people now are just

1764
01:26:26,240 --> 01:26:28,320
Speaker 4: like fuck it, they're filing between the kids and this

1765
01:26:28,400 --> 01:26:31,599
Speaker 4: and that or whatever, you know. So I'm like, even

1766
01:26:31,640 --> 01:26:33,840
Speaker 4: in my book and all that other stuff I'm working on,

1767
01:26:33,880 --> 01:26:36,320
Speaker 4: I'll be very open about the details about how I

1768
01:26:36,400 --> 01:26:39,439
Speaker 4: found out what happened. I mean, it's crazy because every

1769
01:26:39,479 --> 01:26:41,680
Speaker 4: people who know don't want to say anything, and then

1770
01:26:41,720 --> 01:26:45,160
Speaker 4: once they find out that you know, people start talking.

1771
01:26:45,280 --> 01:26:48,920
Speaker 4: So even his friends start whatever. But I don't know

1772
01:26:48,960 --> 01:26:51,679
Speaker 4: how I became like super sloop and things just start

1773
01:26:51,680 --> 01:26:53,960
Speaker 4: falling in your lap or you start paying attention because

1774
01:26:54,000 --> 01:26:56,280
Speaker 4: when you're with somebody you trust, you don't feel like

1775
01:26:56,320 --> 01:26:58,880
Speaker 4: you have to look at anything else, so you're just

1776
01:26:58,960 --> 01:27:01,080
Speaker 4: kind of this business is you. And then when you

1777
01:27:01,200 --> 01:27:05,360
Speaker 4: start remembering when such and such happened, or the day

1778
01:27:05,400 --> 01:27:07,519
Speaker 4: that he said he was going to the studio, and

1779
01:27:07,560 --> 01:27:09,160
Speaker 4: I'm like, why you got on so much cologne? All

1780
01:27:09,200 --> 01:27:09,960
Speaker 4: the bottles built?

1781
01:27:10,320 --> 01:27:18,320
Speaker 3: Wait but that night.

1782
01:27:18,400 --> 01:27:20,680
Speaker 4: But I didn't think twice about you know what I mean?

1783
01:27:21,080 --> 01:27:23,840
Speaker 4: So yeah, But the documentary, as you asked me about,

1784
01:27:23,960 --> 01:27:27,519
Speaker 4: is about the women of nineties hip hop dancing, because

1785
01:27:27,720 --> 01:27:30,120
Speaker 4: we always hear about the rock Steady Crew, Like I

1786
01:27:30,160 --> 01:27:32,320
Speaker 4: even had a conversation with rock people Cannon of the

1787
01:27:32,400 --> 01:27:34,840
Speaker 4: hip Hop Mujam, and all they always talk about is

1788
01:27:34,920 --> 01:27:36,760
Speaker 4: just the guys or the rock Steady Crew, who I

1789
01:27:36,800 --> 01:27:39,120
Speaker 4: love crazy legs and was like, those are my guys.

1790
01:27:39,320 --> 01:27:41,280
Speaker 4: But I'm like, you're forgetting about the whole Golden era.

1791
01:27:41,360 --> 01:27:44,840
Speaker 4: You forget about what these women have contributed to, these

1792
01:27:44,920 --> 01:27:47,280
Speaker 4: visuals that are art, like give us our love.

1793
01:27:47,360 --> 01:27:49,559
Speaker 3: So I wanted y'all to slow down that Don't Rush video.

1794
01:27:49,600 --> 01:27:52,960
Speaker 6: I was like, wait, that's who that's my girlfriend D'Angelo video.

1795
01:27:52,960 --> 01:27:56,719
Speaker 4: That's oh oh wait, Yeah, that was a nice place.

1796
01:27:57,000 --> 01:27:59,360
Speaker 4: I'm in a place now. I can't talk to John Singleton.

1797
01:27:59,680 --> 01:28:02,000
Speaker 4: I can't I talked to Heavy Bee, I can't hook

1798
01:28:02,040 --> 01:28:04,720
Speaker 4: to Michael. I can't talk to Whitney. I can't talk

1799
01:28:04,760 --> 01:28:08,519
Speaker 4: to Andre herrel to get these stories told. These are

1800
01:28:08,520 --> 01:28:11,920
Speaker 4: some of the most iconic pieces of work, you know,

1801
01:28:12,160 --> 01:28:14,360
Speaker 4: less to talk about. And Andre and I had literally

1802
01:28:14,360 --> 01:28:18,400
Speaker 4: had scheduled, you know, getting on camera and stuff, and

1803
01:28:18,720 --> 01:28:21,040
Speaker 4: you know this happened. You know, I just thank god

1804
01:28:21,120 --> 01:28:23,040
Speaker 4: interview with Teddy Riley and stuff. I got to get

1805
01:28:23,040 --> 01:28:24,720
Speaker 4: my mom on camera, you know what I mean, Like,

1806
01:28:24,800 --> 01:28:27,000
Speaker 4: these stories have to be told. And I'm sure the

1807
01:28:27,040 --> 01:28:29,080
Speaker 4: same for you, Puss, Like all these people you've worked

1808
01:28:29,080 --> 01:28:31,960
Speaker 4: for and everyone else you've crosspath with all these people

1809
01:28:32,400 --> 01:28:35,559
Speaker 4: and part of your history and your legacy, and you

1810
01:28:35,600 --> 01:28:38,000
Speaker 4: want to get the best version of you know, the

1811
01:28:38,080 --> 01:28:40,639
Speaker 4: things that you imagine or didn't even imagine for yourself

1812
01:28:40,680 --> 01:28:42,840
Speaker 4: as an eight year old kid. And here you are

1813
01:28:42,880 --> 01:28:45,200
Speaker 4: at the highest level or at these experiences, whether they

1814
01:28:45,240 --> 01:28:47,360
Speaker 4: come back around and not, and you want to be

1815
01:28:47,400 --> 01:28:49,760
Speaker 4: able to let hear what these people thought about you,

1816
01:28:49,880 --> 01:28:51,640
Speaker 4: or why they hired you, or what it is you

1817
01:28:51,720 --> 01:28:54,200
Speaker 4: brought to the table, and you can't and how you

1818
01:28:54,320 --> 01:28:55,639
Speaker 4: created damn.

1819
01:28:57,479 --> 01:28:57,519
Speaker 5: You.

1820
01:28:58,200 --> 01:29:00,479
Speaker 4: I don't think any of us went into it with

1821
01:29:00,560 --> 01:29:03,320
Speaker 4: an intention other than to do what we love, you know,

1822
01:29:03,720 --> 01:29:06,880
Speaker 4: And I'm glad it's resonated, so.

1823
01:29:08,360 --> 01:29:11,680
Speaker 2: Wow wow, Well, thank you for sharing your story with us.

1824
01:29:11,760 --> 01:29:14,439
Speaker 5: Les Yeah, thank you for real and thank you you

1825
01:29:14,520 --> 01:29:16,360
Speaker 5: were as a latch told about being a latch ski

1826
01:29:16,439 --> 01:29:18,439
Speaker 5: kid in New York. I was a latchkey kid in

1827
01:29:18,479 --> 01:29:21,800
Speaker 5: North Carolina in Greensboro, and I used to come home

1828
01:29:21,840 --> 01:29:24,880
Speaker 5: every day and I would watch Rap City and you

1829
01:29:24,960 --> 01:29:30,960
Speaker 5: were my babysitter for like two years. So much love

1830
01:29:31,000 --> 01:29:32,719
Speaker 5: and appreciation for all you've done.

1831
01:29:32,800 --> 01:29:37,040
Speaker 2: Seriously, we thank you for being our babysitter, big Less. Everybody, hey,

1832
01:29:37,400 --> 01:29:37,960
Speaker 2: and thank you.

1833
01:29:37,920 --> 01:29:40,719
Speaker 6: For redefining a woman. Thank you for redefining woman image

1834
01:29:40,760 --> 01:29:41,479
Speaker 6: of a woman on TV.

1835
01:29:41,640 --> 01:29:42,599
Speaker 3: Like that's amazing.

1836
01:29:43,600 --> 01:29:45,880
Speaker 5: Yes, yes, Like even when they was like that name

1837
01:29:46,000 --> 01:29:47,920
Speaker 5: big les I mean because in the South, I'm like,

1838
01:29:47,960 --> 01:29:50,240
Speaker 5: she ain't big. I can show you, I can show

1839
01:29:50,280 --> 01:29:52,799
Speaker 5: you big. You want to see big, she ain't big.

1840
01:29:53,479 --> 01:29:56,240
Speaker 4: But because it went from being like I see people

1841
01:29:56,280 --> 01:29:59,920
Speaker 4: who are like you're not that big, Yeah you're not fantastic,

1842
01:30:00,280 --> 01:30:02,240
Speaker 4: or people are like she must be a lesbian because

1843
01:30:02,240 --> 01:30:06,479
Speaker 4: of Less, I'm like I heard that ship nothing else,

1844
01:30:07,040 --> 01:30:10,400
Speaker 4: tim Timothy Dave, David les Leslie. That's it. It's just

1845
01:30:10,479 --> 01:30:12,679
Speaker 4: that simple. Otherwise I'd have a book, deal to TV

1846
01:30:12,760 --> 01:30:14,680
Speaker 4: show like Ellen, if I please.

1847
01:30:17,880 --> 01:30:19,400
Speaker 2: Out there, You'll have it less.

1848
01:30:19,439 --> 01:30:20,800
Speaker 3: You are loved, You are loved.

1849
01:30:20,840 --> 01:30:23,080
Speaker 5: Just know that you really are real.

1850
01:30:23,520 --> 01:30:27,800
Speaker 2: Ladies and gentlemen on behalf of Fonzigelow and I'm Pepe

1851
01:30:27,800 --> 01:30:30,280
Speaker 2: Bill and Sugar Steve.

1852
01:30:30,640 --> 01:30:31,439
Speaker 1: And like ya.

1853
01:30:31,800 --> 01:30:35,760
Speaker 2: Thank you lest Love Supreme. We will see you on

1854
01:30:35,760 --> 01:30:36,519
Speaker 2: the next go around.

1855
01:30:37,160 --> 01:30:45,200
Speaker 4: Love you guys, West.

1856
01:30:45,280 --> 01:30:47,880
Speaker 1: Love Supreme is a production of iHeart Radio.

1857
01:30:50,240 --> 01:30:53,519
Speaker 2: For more podcasts from iHeart Radio, visit the iHeart Radio app,

1858
01:30:53,720 --> 01:30:56,759
Speaker 2: Apple Podcasts, or wherever you listen to your favorite shows.