WEBVTT - Questlove Supreme: Big Lez

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<v Speaker 1>Quest Love Supreme is a production of iHeartRadio, Ladies.

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

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<v Speaker 2>I am fanning out. Okay, just a brief, brief side note.

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

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<v Speaker 2>at it right now and I'm flustered. That's I'm fanning

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<v Speaker 2>out right here. Because she has been an unavoidable presence

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<v Speaker 2>in every aspect of my life, from those from those

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<v Speaker 2>legendary n. C. Martin videos from the early nineties and

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<v Speaker 2>early nineties kind of world Hint Hint, as a legendary choreographer,

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<v Speaker 2>as the host rat of the b Tea Staple Rap City.

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<v Speaker 2>One of the first times I was on the show

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

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<v Speaker 2>silhouette and the living single credits is etched in all

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<v Speaker 2>of our brains. As an actress, as a journalist, as

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<v Speaker 2>a fitness instruction, as a radio host on Dash Radio.

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<v Speaker 2>I'm certain I'm getting on her nerves.

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<v Speaker 3>Right now as a bad bitch.

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<v Speaker 2>Yes, I cannot believe I'm saying this. Ladies and gentlemen,

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<v Speaker 2>please welcome big less Leslie. Wait, pronounce your last name

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<v Speaker 2>for because I always get it wrong everybody I always want.

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<v Speaker 4>To say, I usually say cigar. As long as you

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

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<v Speaker 2>All right, no, because I was calling you sugar for

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<v Speaker 2>the longest. He used to always correct me. All right, Yes,

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<v Speaker 2>ladies and gentlemen, please welcome to Quest Love Supreme, Leslie

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<v Speaker 2>big Les Cigar.

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<v Speaker 5>Thank you, yes, thank you so much for being here.

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<v Speaker 2>Oh I got this is amazing. So where are you

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<v Speaker 2>right now?

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<v Speaker 4>I am in Los Angeles by myself and uh, you know,

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<v Speaker 4>trying to keep the sunshine, keep the smiling because it's

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<v Speaker 4>been crazy, between the protests, between you know, quarantining, it's

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<v Speaker 4>been an emotional rollercoaster. For real.

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<v Speaker 2>Wait, I was gonna say, right now, you seem like

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<v Speaker 2>you're ready. You're like camera ready for a red carpet, like.

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<v Speaker 5>It's for real, for real.

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<v Speaker 2>This is a casual flex for you, like you just

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<v Speaker 2>wake up in the morning.

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<v Speaker 4>Like I wish, you know, our whole lives one zoom now,

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<v Speaker 4>So you know, I gotta look presentable at least a

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<v Speaker 4>little bit, at least from the waist up.

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<v Speaker 2>I was gonna say, waist down. I still got my

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<v Speaker 2>old Navy underwear on.

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<v Speaker 5>So yeah, yeah, what is your skincare regimen? Before we

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<v Speaker 5>can get into your career? What is your skincare regimen?

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<v Speaker 4>What come on this genetic? Yeah? Okay, whatever side of

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<v Speaker 4>our team, So you know.

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<v Speaker 1>Steve take notes.

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<v Speaker 2>I wanna.

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<v Speaker 5>I want to have that shine.

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<v Speaker 1>Hr C.

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<v Speaker 3>I want We ain't got no department.

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<v Speaker 4>It's okay.

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<v Speaker 2>Hey man, I almost went down the ship earlier.

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

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<v Speaker 4>It's nice to meet all of y'all, and thank you

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<v Speaker 4>preaching out to me again. I appreciate it.

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<v Speaker 2>Thank you.

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<v Speaker 5>We've been trying to get you for a long time.

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<v Speaker 5>This has been one of our bucket list episode.

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<v Speaker 2>Yeah, it's definitely a bucket list movement.

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<v Speaker 6>And it was nice to be able to walk up

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<v Speaker 6>to Big Lass and say can I have your nub

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

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<v Speaker 5>Yes.

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<v Speaker 4>I'm so lonely everybody in their hang ups and I'm

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<v Speaker 4>just like, it is what it is. You know, that's

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<v Speaker 4>my brother right there. So you know good. Plus, you know,

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<v Speaker 4>if you really got to find somebody, I can hunt

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<v Speaker 4>you down. I can call hunt you down.

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<v Speaker 2>You can find me, you can find me, So we

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<v Speaker 2>we basically at a course Love Supreme, go through the

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<v Speaker 2>journey of everyone's life. So I always start with question

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<v Speaker 2>number one and they tease me for it. Where were

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<v Speaker 2>you born?

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

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<v Speaker 4>That's where I am born and raised. My family my

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<v Speaker 4>mom is from Augusta, Georgia. My father's family from Virginia,

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<v Speaker 4>but he's a New Yorker too, So.

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<v Speaker 2>So what what was the environment like? Like normally on

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<v Speaker 2>the show, we have music figures, and you know, the

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<v Speaker 2>story either starts out in church or some sort of uh,

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<v Speaker 2>there's always some sort of entry that leads to music.

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<v Speaker 2>But for you, though, like what was your environment like

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<v Speaker 2>in Queens?

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<v Speaker 4>It's it's interesting because you start off in a two

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<v Speaker 4>family household and then your parents get divorced. Came from

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<v Speaker 4>a middle class family. Literally, Like you know, every neighborhood

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

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<v Speaker 4>go Lamias, Kuvano's, Jewish, Europeans, whatever, And that's kind of

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<v Speaker 4>what my neighborhood was. Even my high school was considered

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<v Speaker 4>like the United Nations of New York because everybody was

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<v Speaker 4>so mixed, and so even moving out to California and

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<v Speaker 4>people going or realizing that the only Latinos that they

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<v Speaker 4>were familiar with were just Mexicans. I'm like, what are

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<v Speaker 4>you talking about? What about the Epidorians, what about the legions?

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<v Speaker 4>But you know what I mean. So that's kind of

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<v Speaker 4>what I grew up around. And when my parents got divorced.

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<v Speaker 4>You know, my mom was very independent, very structured, very strict.

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<v Speaker 4>She didn't play no games. And I only moved two

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<v Speaker 4>blocks away from my father, so he was still like

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

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<v Speaker 4>get along. We are like night and day. She's four

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<v Speaker 4>years apart, and you would think we grew up in

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<v Speaker 4>a completely different household, a miserable human being. But that's

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<v Speaker 4>a whole other chapter.

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

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

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<v Speaker 4>some stuff. When my father thought, real, yeah, yeah, it's

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<v Speaker 4>like that to the point where her and my mother

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<v Speaker 4>don't even speak. So's it's you don't stop. When you

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<v Speaker 4>stop speaking to a parent, then you know there's a

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<v Speaker 4>problem that somewhere, and you know, but my parents. My

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<v Speaker 4>mom was an educated she went to nursing school, you know,

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<v Speaker 4>raising us me and her, my sister. And my dad

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<v Speaker 4>was he didn't finish high school, but he worked in

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<v Speaker 4>US medal. He was a good guy but turned out

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<v Speaker 4>to be an alcoholic. But he was really like one

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

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<v Speaker 4>very friendly to everybody. But he just I think fell

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<v Speaker 4>into a depression really when my parents got divorced, which

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<v Speaker 4>is the irony of it, all right, because while out

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<v Speaker 4>and womanize and you do all these things. But I

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

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<v Speaker 4>and when my mom remarried, it's like the drinking intensified

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<v Speaker 4>for him. So as much as I love my father,

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<v Speaker 4>I always knew I didn't want a man like my father.

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<v Speaker 4>He was physically abusive, even though he was the nicest

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<v Speaker 4>man on the lot. It was that thing that happened.

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<v Speaker 4>And my mom even said, I don't know what happened

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<v Speaker 4>when he turned forty. He became somebody else. And I've

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<v Speaker 4>seen it happen even within the relationships of what happens

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<v Speaker 4>when men change, or that there are men that have

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<v Speaker 4>a broken history or something that kind of rears his

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<v Speaker 4>head somewhere down the line. Oh yeah, no, I mean

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<v Speaker 4>I think even for women too. I mean, you know,

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<v Speaker 4>whether they're going through menopause or all this other stuff.

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<v Speaker 4>It happens to both people at the same time. So

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<v Speaker 4>their mid life crisis and your hormones and everybody. You

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<v Speaker 4>don't recognize it. It becomes crazy. So when you see

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<v Speaker 4>that in your parents, you don't understand it until you

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<v Speaker 4>get there. But you know, I was very structured. I

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<v Speaker 4>was like in Girl Scouts, I was in gymnastics early.

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<v Speaker 4>I never missed a day of school in high school,

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<v Speaker 4>so I got like attendance awards. I was in honors

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<v Speaker 4>classes in third grade. I studied French for eleven years.

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<v Speaker 4>Like all these things that my mother made sure that

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

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<v Speaker 4>though I grew up in a mixed neighborhood, I literally

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<v Speaker 4>was like the black girl and mostly the only black

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<v Speaker 4>girl and everything. I was the only black girl in

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<v Speaker 4>my Girl Scout troop for seven years. I was the

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<v Speaker 4>only black girl on both my young gymnastic team and

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<v Speaker 4>my college gymnastic team. I was the only black girl

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<v Speaker 4>one of four and like all of my honors classes.

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<v Speaker 4>So it's interesting.

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<v Speaker 2>So when you're training for the gymnastics, in your mind,

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<v Speaker 2>is the goal like, okay, I might be an Olympic

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<v Speaker 2>hopeful or like or is it just to get college tuition?

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<v Speaker 2>Like when one enters the world of gymnastics, like what

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<v Speaker 2>are you aspiring for?

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<v Speaker 4>Initially for me, it was because one I was a

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<v Speaker 4>tomboy and two I had too much energy. I couldn't

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<v Speaker 4>keep still, So my mother put me in trampoline class,

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<v Speaker 4>and like a month or two later, the guy was like,

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<v Speaker 4>she needs to be in gymnastics because you know how

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<v Speaker 4>you do all the street tumbling and all that other stuff.

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<v Speaker 4>But it was refined and literally within a year. I

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

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<v Speaker 4>and three. I started when I was ten, but by

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<v Speaker 4>the age of eleven I was competing in national competences.

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<v Speaker 4>So my mom made the switch. And at first it's

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<v Speaker 4>really you just are thinking week to week of beating

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<v Speaker 4>someone in the competition, right, you just kind of want

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<v Speaker 4>to be the first on bars, the first on floor.

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<v Speaker 4>You want to win. Overall, you want to win a

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<v Speaker 4>team because it's a team sport and it's an individual sport,

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<v Speaker 4>and it's interesting that as close as I am to

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<v Speaker 4>my coach, the coach, of course never signs up to

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<v Speaker 4>be anyone's parent, but you end up spending more time

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<v Speaker 4>with your coach than you actually do your parents who

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<v Speaker 4>are working all the time, or being a lash key

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<v Speaker 4>kid in New York. So I learned a whole lot

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<v Speaker 4>of structure from the rules of gymnastics, from showing up

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<v Speaker 4>and being in a team sport and being held accountable for,

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<v Speaker 4>you know, if I fall off a beam, or if

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<v Speaker 4>I show up late, or if I you know, did

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<v Speaker 4>thirty push ups instead of the fifty we were supposed

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<v Speaker 4>to do, like there was no cheating otherwise you're punished

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<v Speaker 4>as a group. So therefore you take accountability. And those

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<v Speaker 4>are the kind of things that have you structured or

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

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<v Speaker 4>you get older and you realize, okay, I'm not Olympic material,

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

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<v Speaker 4>I'm going to college. Now, let me see if I

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<v Speaker 4>can get a scholarship. And I was able to do that,

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<v Speaker 4>got a four year gymnastics scholarship, which was a blessing.

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

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<v Speaker 6>interesting because in the eighties gymnastics was kind of like

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<v Speaker 6>a thing, right, Like it was the Mary lou Retten,

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<v Speaker 6>Nadia Komaniche.

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<v Speaker 3>And stuff like that.

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<v Speaker 6>American anthem were like, were you like ahead, did you

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<v Speaker 6>become a fan of it?

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<v Speaker 4>No? Absolutely, you know, wild world sports on Saturday, Gymnastic me,

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<v Speaker 4>gymnastic posters all around the room and the names escaping me.

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<v Speaker 4>But there were only like two black genasts that I

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<v Speaker 4>had seen come before me, you know.

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<v Speaker 5>What I mean, girl the black that did that that

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<v Speaker 5>she did the black the backflip.

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<v Speaker 3>Not Dominique Dolls because that.

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<v Speaker 5>Was no, no, no, not Dominique Dolls. It's the other girl,

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<v Speaker 5>Syria Bonley were tripping.

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<v Speaker 4>But it'll come to me.

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<v Speaker 2>I was like, wow, I was like too, so I

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<v Speaker 2>was going to say, yeahie Thomas.

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<v Speaker 4>Wait, but yeah, So it was you know, being a

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<v Speaker 4>black gymnast was really like being a unicorn for most people.

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<v Speaker 4>And then you get in high school. I only competed

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<v Speaker 4>on my high school team for one year because they

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<v Speaker 4>had really bad equipment and my private gym was just

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<v Speaker 4>like you're gonna get hurt, so they only let me

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<v Speaker 4>do it for one year, and that one year was

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<v Speaker 4>the year where they had like the Big Apple Games.

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<v Speaker 4>I won the whole region, you know, the whole thing,

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<v Speaker 4>and it was it was a blessing. And so when

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<v Speaker 4>I got my scholarship, it was like, shoot, you know,

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<v Speaker 4>your mother is like, thank God, all right, I don't

0:11:31.679 --> 0:11:33.360
<v Speaker 4>have to come out of my pocket anymore. You know.

0:11:33.440 --> 0:11:36.359
<v Speaker 4>It's that whole thing. You know, there weren't any HBCUs

0:11:36.400 --> 0:11:39.040
<v Speaker 4>that had gymnastics, so I literally, you know, and I

0:11:39.120 --> 0:11:40.560
<v Speaker 4>knew I was going to go out of state. Like

0:11:40.600 --> 0:11:42.920
<v Speaker 4>I only applied to like one New York school which

0:11:42.920 --> 0:11:46.079
<v Speaker 4>was upstate to Courtland, which was eight hours away. I

0:11:46.120 --> 0:11:48.160
<v Speaker 4>applied to Penn State, which I got into, and I

0:11:48.200 --> 0:11:52.520
<v Speaker 4>got a partial gymnastics scholarship and a partial academic scholarship.

0:11:52.559 --> 0:11:55.200
<v Speaker 4>But I got a full scholarship to Springfield College. So

0:11:55.240 --> 0:11:55.839
<v Speaker 4>that's what I took.

0:11:56.440 --> 0:12:01.679
<v Speaker 2>So how did dancing into your life? Like, I mean,

0:12:01.679 --> 0:12:03.160
<v Speaker 2>at the end of the day, I mean, you've done

0:12:03.200 --> 0:12:07.240
<v Speaker 2>so many things, but like, what what was your aspiration

0:12:08.480 --> 0:12:11.240
<v Speaker 2>as a ten year old or an eleven year old?

0:12:12.080 --> 0:12:15.480
<v Speaker 4>To my core, I'm literally like if I could do

0:12:15.600 --> 0:12:18.679
<v Speaker 4>surf to so lat and dance, like that's who I am.

0:12:18.800 --> 0:12:22.200
<v Speaker 4>Ice skating all those artistic things is really who I am.

0:12:22.559 --> 0:12:25.840
<v Speaker 4>And it really wasn't until two things. The TV show

0:12:25.960 --> 0:12:31.079
<v Speaker 4>Solid Gold, where Wayne, Oh my god, you don't understand.

0:12:31.360 --> 0:12:34.960
<v Speaker 4>She had Darcel Wayne own black gazelle legs. She wore

0:12:35.000 --> 0:12:38.080
<v Speaker 4>this Leo tar ponytail, and I'd be in my house

0:12:38.120 --> 0:12:41.000
<v Speaker 4>knocking over furniture, you know, pulling my underwear out of

0:12:41.000 --> 0:12:45.200
<v Speaker 4>my hast, trying to be like her. And I mean

0:12:45.280 --> 0:12:46.960
<v Speaker 4>last year I had a chance to have her actually

0:12:46.960 --> 0:12:49.000
<v Speaker 4>on my show, and I almost cried like a baby.

0:12:49.080 --> 0:12:52.600
<v Speaker 2>Darcel Wayne is what she and.

0:12:52.600 --> 0:12:57.440
<v Speaker 4>She looks exactly the same, son, Oh my god. And

0:12:57.480 --> 0:12:59.199
<v Speaker 4>you know when people say you don't want to meet

0:12:59.240 --> 0:13:01.560
<v Speaker 4>your idols, like, be careful when I tell you she

0:13:01.760 --> 0:13:03.880
<v Speaker 4>like I could call her any day. She's given me

0:13:03.880 --> 0:13:07.160
<v Speaker 4>her number. You go out to like you don't understand.

0:13:07.160 --> 0:13:09.840
<v Speaker 4>And that's what I watched and was like later for gymnastics,

0:13:09.880 --> 0:13:12.480
<v Speaker 4>I want to dance like this. And then when fame came,

0:13:12.559 --> 0:13:13.480
<v Speaker 4>I was like, I'm sold.

0:13:13.960 --> 0:13:14.439
<v Speaker 2>I was gonna.

0:13:14.800 --> 0:13:16.520
<v Speaker 3>I was gonna ask, was you a Debbie Allen baby?

0:13:16.600 --> 0:13:21.520
<v Speaker 4>Like yes, and Debbie are my two right here? But

0:13:21.679 --> 0:13:24.920
<v Speaker 4>once you finish gymnastics, like I knew I wasn't going

0:13:24.920 --> 0:13:27.240
<v Speaker 4>to the Olympics. But you can only compete for four

0:13:27.320 --> 0:13:30.160
<v Speaker 4>years in college for NT double A, and I had

0:13:30.160 --> 0:13:34.720
<v Speaker 4>a five year bachelor's program that I got into where

0:13:34.720 --> 0:13:37.880
<v Speaker 4>I was studying sports medicine and physical therapy. But year

0:13:37.960 --> 0:13:40.280
<v Speaker 4>four you can't compete more past four years. I'm like,

0:13:40.320 --> 0:13:42.000
<v Speaker 4>I'm not gonna sit around even if I'm gonna get

0:13:42.000 --> 0:13:43.679
<v Speaker 4>my master's. Like, I gotta go, I gotta dance, I

0:13:43.720 --> 0:13:47.120
<v Speaker 4>gotta whatever. So I actually left early after I got

0:13:47.160 --> 0:13:49.559
<v Speaker 4>my bachelor's and my mother, of course to this day

0:13:49.640 --> 0:13:52.920
<v Speaker 4>is still giving me the side because here to get

0:13:52.920 --> 0:13:55.720
<v Speaker 4>my masters. But once I left, we came back to

0:13:55.760 --> 0:13:57.920
<v Speaker 4>New York and started auditioning. You know, everything was in

0:13:57.920 --> 0:14:00.840
<v Speaker 4>the newspaper back then, backstage and all this other stuff.

0:14:01.600 --> 0:14:04.480
<v Speaker 4>I pretty much booked everything that I auditioned for probably

0:14:04.480 --> 0:14:07.440
<v Speaker 4>the first year two years out the gate, and my

0:14:07.480 --> 0:14:09.760
<v Speaker 4>mother was like still giving me the side when you

0:14:09.840 --> 0:14:12.320
<v Speaker 4>go back to school, when you go backward. Still to

0:14:12.320 --> 0:14:15.080
<v Speaker 4>this day, my mother can't believe that cartwheels is the

0:14:15.120 --> 0:14:18.400
<v Speaker 4>thing that travel around the globe and TV shows and me.

0:14:18.520 --> 0:14:20.800
<v Speaker 4>She's like, how did this happen? She's still scratching her

0:14:20.840 --> 0:14:21.800
<v Speaker 4>head and less.

0:14:22.040 --> 0:14:24.520
<v Speaker 6>At what point did you know that you were physically

0:14:24.520 --> 0:14:27.760
<v Speaker 6>different than the other ladies that usually exceed in these things.

0:14:28.080 --> 0:14:31.440
<v Speaker 4>But my body has always been a topic of discussion,

0:14:31.640 --> 0:14:33.840
<v Speaker 4>you know. Third grade, I was literally wearing a bra,

0:14:34.240 --> 0:14:36.000
<v Speaker 4>so I was bigger, tested and I had to deal

0:14:36.040 --> 0:14:38.640
<v Speaker 4>with the boy snapping my bra, called me like ubani

0:14:39.080 --> 0:14:43.840
<v Speaker 4>great hard, I was wearing a bro so, and then

0:14:44.080 --> 0:14:47.000
<v Speaker 4>like being tall. I'm five ft six, so being taller

0:14:47.000 --> 0:14:48.960
<v Speaker 4>of the genus. You look at, you know, somebody like

0:14:49.000 --> 0:14:52.080
<v Speaker 4>some own biles and that she literally is up to

0:14:52.160 --> 0:14:54.880
<v Speaker 4>like my breast, and most gymnasts of people think that

0:14:54.920 --> 0:14:57.760
<v Speaker 4>you can only do genastics if you're like four for eight. So,

0:14:58.040 --> 0:15:00.280
<v Speaker 4>but when you see college genists, we're really probably all

0:15:00.280 --> 0:15:03.960
<v Speaker 4>around the same size. You know. Most started late, but

0:15:04.520 --> 0:15:06.520
<v Speaker 4>it took a long time. Like if you see me now,

0:15:06.520 --> 0:15:08.680
<v Speaker 4>I'm making half the time like I've never done any nudity.

0:15:08.720 --> 0:15:11.800
<v Speaker 4>But I had issues growing up because I was always

0:15:11.920 --> 0:15:15.840
<v Speaker 4>very muscular. I was always very athletic, and guys would

0:15:15.920 --> 0:15:18.800
<v Speaker 4>just be like, you look like a linebacker, why are

0:15:18.800 --> 0:15:22.160
<v Speaker 4>you so muscular? Me? So, I really didn't even take

0:15:22.200 --> 0:15:24.240
<v Speaker 4>my shirt off at the beach until I was like

0:15:24.240 --> 0:15:29.640
<v Speaker 4>a junior senior in college. So now you can't keep clothes.

0:15:29.360 --> 0:15:31.520
<v Speaker 6>On me, and now your body is the model to

0:15:31.640 --> 0:15:33.600
<v Speaker 6>what a lot of women pay to look like, which

0:15:33.640 --> 0:15:34.800
<v Speaker 6>is ill right.

0:15:34.840 --> 0:15:38.000
<v Speaker 4>But it's crazy too because even the name big Les

0:15:38.080 --> 0:15:41.400
<v Speaker 4>came based on who's the big girl doing backflips? And

0:15:41.440 --> 0:15:43.440
<v Speaker 4>that was like how he asked the producer of that

0:15:43.480 --> 0:15:45.200
<v Speaker 4>and they were like, oh, that's just less and somebody

0:15:45.280 --> 0:15:47.840
<v Speaker 4>just literally said big Less come here. And that's literally

0:15:47.840 --> 0:15:50.280
<v Speaker 4>how it happened. Who's the big girl doing backs? And

0:15:50.480 --> 0:15:52.400
<v Speaker 4>I say to people even who don't know me, well,

0:15:52.400 --> 0:15:54.440
<v Speaker 4>I do gymnastics, and they're like, yeah, right, maybe you

0:15:54.520 --> 0:15:57.760
<v Speaker 4>run track, maybe you play basketball, gymnastics never, and I'm like,

0:15:57.920 --> 0:16:02.120
<v Speaker 4>I can't even dribble, what do you sorry? You know?

0:16:02.200 --> 0:16:03.760
<v Speaker 4>And then I have to kind of show approve and

0:16:03.800 --> 0:16:05.840
<v Speaker 4>it's happened to a lot of gigs, like you don't

0:16:05.880 --> 0:16:07.760
<v Speaker 4>do gymnastics, and I'll be like, can you move over

0:16:08.440 --> 0:16:13.520
<v Speaker 4>three backhands rings and a full twist? And they're like, oh, okay.

0:16:12.840 --> 0:16:15.080
<v Speaker 2>Can you still achieve that? Now?

0:16:15.840 --> 0:16:16.400
<v Speaker 4>Absolutely?

0:16:16.480 --> 0:16:16.800
<v Speaker 2>I don't know.

0:16:16.840 --> 0:16:20.440
<v Speaker 4>If you've seen my Instagram, I do try to do

0:16:20.520 --> 0:16:22.680
<v Speaker 4>things with softer landings. Now I do trapeze and I

0:16:22.720 --> 0:16:26.440
<v Speaker 4>do tramp. I had to have some major surgery a

0:16:26.480 --> 0:16:29.040
<v Speaker 4>couple of years ago, which I'm actually working on my documentary,

0:16:29.080 --> 0:16:32.040
<v Speaker 4>so I'll take everybody through it. But I didn't think

0:16:32.040 --> 0:16:34.560
<v Speaker 4>i'd be able to tumble again, so I just have

0:16:34.640 --> 0:16:37.400
<v Speaker 4>to have softer landings. Or even if you saw the

0:16:37.440 --> 0:16:41.520
<v Speaker 4>don't the don't rush challenge, we did one with the dances.

0:16:41.680 --> 0:16:42.560
<v Speaker 3>I was so dope.

0:16:44.640 --> 0:16:47.080
<v Speaker 4>Yeah I'll flipping the cement pools and yeah, I can

0:16:47.080 --> 0:16:49.520
<v Speaker 4>still tumble. I just made need some groken after a

0:16:49.560 --> 0:16:52.160
<v Speaker 4>little ice. Mama said that.

0:16:54.280 --> 0:16:57.800
<v Speaker 2>What prompted you. I know that you said that you

0:16:57.920 --> 0:17:01.720
<v Speaker 2>started well with al but you mentioned backstage newspaper. I

0:17:01.760 --> 0:17:05.959
<v Speaker 2>remember that that was such a staple in my household

0:17:06.119 --> 0:17:09.000
<v Speaker 2>because my sister would, you know, try to land auditions

0:17:09.040 --> 0:17:12.280
<v Speaker 2>and all those things. So, like, I mean, at the time,

0:17:13.560 --> 0:17:18.280
<v Speaker 2>how did you get into the rotation of what is

0:17:18.359 --> 0:17:23.520
<v Speaker 2>known as choreography work or your video work? Like what

0:17:23.680 --> 0:17:25.719
<v Speaker 2>was your first professional job that you booked?

0:17:26.440 --> 0:17:30.480
<v Speaker 4>Oh? God, be actual, because I was doing It's crazy,

0:17:30.680 --> 0:17:32.359
<v Speaker 4>you know, being a club kid in New York. And

0:17:32.359 --> 0:17:33.760
<v Speaker 4>I don't know how much you guys know about the

0:17:33.760 --> 0:17:36.760
<v Speaker 4>club scene, but back then in the nineties, everybody hung

0:17:36.800 --> 0:17:39.760
<v Speaker 4>out right all the record label execs, all the artists.

0:17:39.800 --> 0:17:42.040
<v Speaker 4>There were cyphers over there, there were dance battles over there,

0:17:42.040 --> 0:17:44.320
<v Speaker 4>and everybody actually had business cards. And that's kind of

0:17:44.320 --> 0:17:46.639
<v Speaker 4>how work happened for me because there was no internet,

0:17:46.720 --> 0:17:48.800
<v Speaker 4>there was no telephones. There was nothing that was a

0:17:48.800 --> 0:17:51.760
<v Speaker 4>business card or calling the receptionist or watching the music

0:17:51.840 --> 0:17:55.000
<v Speaker 4>video saying MCA Records, let me call front desk find

0:17:55.000 --> 0:17:57.679
<v Speaker 4>out blah blah blah. There were two major jobs that

0:17:57.760 --> 0:18:00.719
<v Speaker 4>happened for me that really weren't mainstream ones. That I

0:18:00.760 --> 0:18:03.080
<v Speaker 4>got hired to be a cheerleader for a full force

0:18:03.119 --> 0:18:06.520
<v Speaker 4>game that they were doing for WBLS. I never really cheerleader,

0:18:06.560 --> 0:18:08.399
<v Speaker 4>but it was mostly danced anyway, and I got to

0:18:08.440 --> 0:18:11.560
<v Speaker 4>do backflips across the gym. By the time I finished

0:18:11.560 --> 0:18:13.200
<v Speaker 4>and we had to head back into the locker room,

0:18:13.240 --> 0:18:16.080
<v Speaker 4>there must have been about six people from different labels,

0:18:16.080 --> 0:18:18.600
<v Speaker 4>some artists. I need you in my video, I need

0:18:18.640 --> 0:18:21.400
<v Speaker 4>you to dance for my artists, blah blah blah. Then

0:18:21.440 --> 0:18:24.280
<v Speaker 4>I did an off Broadway play. Auditioned for that, and

0:18:24.320 --> 0:18:28.879
<v Speaker 4>ironically the play was me y Clet Lauren came somewhere

0:18:28.880 --> 0:18:30.880
<v Speaker 4>along the line and we were all just club kids

0:18:30.920 --> 0:18:34.640
<v Speaker 4>from New York to New Jersey whatever, and Big Beat Records.

0:18:34.960 --> 0:18:37.560
<v Speaker 4>Big Beat Records was going to grab a play and

0:18:37.640 --> 0:18:43.840
<v Speaker 4>produce it. And what's his name, Calmen Hellman, right, had

0:18:43.840 --> 0:18:47.680
<v Speaker 4>an artist, Jay Williams. I'm gone to Sweat Sweat, Sweat

0:18:47.680 --> 0:18:49.480
<v Speaker 4>Sweats and I'm silking with those of you who know

0:18:49.480 --> 0:18:54.159
<v Speaker 4>house music. That was a huge, huge, huge record. That

0:18:54.320 --> 0:18:57.280
<v Speaker 4>was my first artist. And we toured all over the

0:18:57.320 --> 0:19:01.120
<v Speaker 4>country and literally from people seeing me on that as

0:19:01.160 --> 0:19:03.400
<v Speaker 4>one of his dancers, we would call hugs and kisses,

0:19:04.280 --> 0:19:07.320
<v Speaker 4>and we were doing every club, the sound factory, the garage,

0:19:07.600 --> 0:19:10.280
<v Speaker 4>I mean just every club late night, three clubs a night,

0:19:10.320 --> 0:19:13.080
<v Speaker 4>four clubs a night to four or five o'clock in

0:19:13.080 --> 0:19:16.119
<v Speaker 4>the morning, and people would be in the clubs. And

0:19:16.160 --> 0:19:18.159
<v Speaker 4>that's how I got my work. And so I was.

0:19:19.280 --> 0:19:20.920
<v Speaker 2>You went to the legendary garage.

0:19:21.440 --> 0:19:24.080
<v Speaker 4>Oh I still have my garage card. Let me pull

0:19:24.080 --> 0:19:28.120
<v Speaker 4>it up on the phone. Wow, car of course, the world,

0:19:28.240 --> 0:19:31.359
<v Speaker 4>the choice, I'm telling you.

0:19:31.240 --> 0:19:39.160
<v Speaker 2>The music that Larry Levin's.

0:19:35.720 --> 0:19:39.400
<v Speaker 4>Louie Vega, Robert Owens, all of them.

0:19:39.480 --> 0:19:43.280
<v Speaker 2>Man, just yeah, how how immersed were you in New

0:19:43.359 --> 0:19:46.159
<v Speaker 2>York club? Oh?

0:19:46.240 --> 0:19:46.879
<v Speaker 1>Here we go.

0:19:49.640 --> 0:19:51.879
<v Speaker 4>The club scene, like you know, breaking her through the

0:19:51.880 --> 0:19:54.160
<v Speaker 4>whole bit. But most people think, is I mean because

0:19:54.200 --> 0:19:57.160
<v Speaker 4>you were being up from Queen's right. I actually went

0:19:57.200 --> 0:20:00.720
<v Speaker 4>to school with you know, kid and Play Herbie Wiz

0:20:00.760 --> 0:20:03.120
<v Speaker 4>and I DJ Wiz and I went to elementary school together.

0:20:03.119 --> 0:20:04.920
<v Speaker 4>They're a little older than my sister's age, but we

0:20:05.000 --> 0:20:06.960
<v Speaker 4>all grew up in the same area. So all the

0:20:07.040 --> 0:20:09.119
<v Speaker 4>jams in the park with them and the disco twins

0:20:09.160 --> 0:20:11.679
<v Speaker 4>and stuff is really like from my era and my people.

0:20:12.240 --> 0:20:15.920
<v Speaker 4>And so I was immersed into hip hop early on,

0:20:16.119 --> 0:20:18.240
<v Speaker 4>you know what I mean, like all the battles, sneaking

0:20:18.280 --> 0:20:22.200
<v Speaker 4>into all the clubs, and somehow I got into house music,

0:20:22.640 --> 0:20:25.520
<v Speaker 4>like really hardcore. So I'm a house dancer before I'm

0:20:25.520 --> 0:20:27.399
<v Speaker 4>a hip hop dancer, which most people don't know.

0:20:27.600 --> 0:20:31.240
<v Speaker 6>Yeah, and I would love to see that, oh my god, right.

0:20:31.119 --> 0:20:35.360
<v Speaker 4>Yeah, because it just offers some sort of spirituality that

0:20:36.119 --> 0:20:38.040
<v Speaker 4>I don't get as a dancer from hip hop, right,

0:20:38.080 --> 0:20:42.600
<v Speaker 4>because the movements are just liquid and you just kind

0:20:42.600 --> 0:20:44.520
<v Speaker 4>of close your eyes and stand by the speaker and

0:20:44.520 --> 0:20:46.639
<v Speaker 4>it just is infectious to you. And that's kind of

0:20:46.640 --> 0:20:49.320
<v Speaker 4>what it did for me and got me into like

0:20:49.400 --> 0:20:52.640
<v Speaker 4>really battling and stuff. I was a house Battle Dancer

0:20:52.880 --> 0:20:56.520
<v Speaker 4>before I was anything regarding hip hop. So trying to

0:20:56.520 --> 0:20:58.560
<v Speaker 4>find my garage card for you and talking to you.

0:20:59.119 --> 0:21:02.120
<v Speaker 2>Wow, that's you still carry your garage card.

0:21:02.440 --> 0:21:03.880
<v Speaker 4>It's on my phone somewhere.

0:21:06.200 --> 0:21:06.520
<v Speaker 2>Wow.

0:21:07.400 --> 0:21:17.919
<v Speaker 4>See the year looking like a scary Did.

0:21:17.800 --> 0:21:20.320
<v Speaker 5>You ever actually get this here? Larry spin I can't

0:21:20.320 --> 0:21:21.160
<v Speaker 5>remember what did you eat?

0:21:21.200 --> 0:21:22.600
<v Speaker 4>Got? Yes?

0:21:22.800 --> 0:21:24.400
<v Speaker 5>You got to hear wow? So dope?

0:21:24.600 --> 0:21:27.040
<v Speaker 4>Yeah? Yeah, I mean the garage was just you know

0:21:27.119 --> 0:21:30.280
<v Speaker 4>between Grace Showns showing up and Liz Torres and all

0:21:30.359 --> 0:21:33.480
<v Speaker 4>these artists and performing at like four or five o'clock

0:21:33.480 --> 0:21:37.040
<v Speaker 4>in the morning, and you would leave the garage drenched.

0:21:37.160 --> 0:21:39.600
<v Speaker 4>You'd always bring a different pack of clothes. You'd be

0:21:39.680 --> 0:21:41.679
<v Speaker 4>leaving by the time people were going to work and

0:21:41.720 --> 0:21:43.480
<v Speaker 4>the sun would be coming up, you know, And it

0:21:43.600 --> 0:21:45.960
<v Speaker 4>was a lifestyle. You could be broke as hell, but

0:21:46.040 --> 0:21:48.359
<v Speaker 4>all the security guards knew who the dances were, you

0:21:48.359 --> 0:21:50.400
<v Speaker 4>know what I mean, who just like kept the parties going.

0:21:50.440 --> 0:21:52.199
<v Speaker 4>So even if I was under age or didn't have

0:21:52.200 --> 0:21:54.080
<v Speaker 4>any money, I never had to pay to get in.

0:21:54.560 --> 0:21:57.360
<v Speaker 4>And Washington Square Park was like the hangout. That's kind

0:21:57.359 --> 0:22:00.920
<v Speaker 4>of where we all just manifested. Learn new who knew

0:22:00.920 --> 0:22:03.160
<v Speaker 4>about this audition or whatever, and it was just kind

0:22:03.160 --> 0:22:05.639
<v Speaker 4>of like that was our pipeline. We were all broke,

0:22:06.160 --> 0:22:09.560
<v Speaker 4>knapsack kids, whatever. But that was like the best times

0:22:09.560 --> 0:22:10.040
<v Speaker 4>of my life.

0:22:11.359 --> 0:22:15.720
<v Speaker 2>I was going to say, especially what we're going through

0:22:15.800 --> 0:22:19.320
<v Speaker 2>right now in New York City, a lot of people

0:22:19.560 --> 0:22:24.159
<v Speaker 2>are kind of hoping that with the mass exodus of

0:22:25.400 --> 0:22:27.919
<v Speaker 2>the factor that's leaving New York, which I'll say is

0:22:27.920 --> 0:22:31.520
<v Speaker 2>the gentrification factor. You know, everyone, all of them are

0:22:31.560 --> 0:22:34.920
<v Speaker 2>running to the hills. Now, people are sort of wondering,

0:22:35.560 --> 0:22:39.800
<v Speaker 2>you know, what type of New York will develop post

0:22:39.800 --> 0:22:43.640
<v Speaker 2>twenty twenty. And you know, a friend of mine said that, well, hopefully,

0:22:44.359 --> 0:22:47.800
<v Speaker 2>you know, the creativity and the artists will come back

0:22:47.840 --> 0:22:52.760
<v Speaker 2>downtown as they used to before, you know, the gingrification culture.

0:22:52.800 --> 0:22:55.520
<v Speaker 2>But for you, like, are you one of those people

0:22:55.520 --> 0:23:01.240
<v Speaker 2>that just has a romantic feeling of of New York

0:23:01.359 --> 0:23:05.880
<v Speaker 2>when it was its most dangerous per se or is dangerous?

0:23:05.920 --> 0:23:08.760
<v Speaker 2>Sort of like a subjective opinion.

0:23:09.240 --> 0:23:13.640
<v Speaker 4>Oh no, I love my old school, grimy, large rats,

0:23:13.760 --> 0:23:17.919
<v Speaker 4>trash in the street, deep shows on forty second Street,

0:23:17.960 --> 0:23:21.760
<v Speaker 4>the Israelites on the corner talking like great dances, like

0:23:21.800 --> 0:23:24.320
<v Speaker 4>that's my quintessential New York And I feel bad for

0:23:24.359 --> 0:23:26.040
<v Speaker 4>the people who come to New York for the first

0:23:26.119 --> 0:23:29.080
<v Speaker 4>time now and it's like Universal Studios, Like you don't

0:23:29.080 --> 0:23:30.919
<v Speaker 4>get to see the graffiti on the train, which to

0:23:30.960 --> 0:23:34.399
<v Speaker 4>me was like the artwork of artwork, you know, the

0:23:34.760 --> 0:23:36.960
<v Speaker 4>you know, the late the clubs are just whatever, and

0:23:37.000 --> 0:23:39.520
<v Speaker 4>they still don't know the difference between you know, Bridge

0:23:39.520 --> 0:23:41.760
<v Speaker 4>and Tunnel Night, which is in regular Friday and Saturday

0:23:41.800 --> 0:23:43.960
<v Speaker 4>night and all that other stuff. And for those who

0:23:43.960 --> 0:23:46.000
<v Speaker 4>don't know what that is, it's like true New Yorkers

0:23:46.080 --> 0:23:48.360
<v Speaker 4>only go to the club literally from Sunday to Thursday,

0:23:48.840 --> 0:23:52.360
<v Speaker 4>Bridge and Tunnels. People from Jersey, Connecticut, Philadelphia who want

0:23:52.400 --> 0:23:55.040
<v Speaker 4>to come to work for the weekend and get in

0:23:55.080 --> 0:23:57.640
<v Speaker 4>a way, they just get in our way.

0:23:57.720 --> 0:23:59.240
<v Speaker 2>Okay, I get it, I get it.

0:24:01.400 --> 0:24:02.520
<v Speaker 4>I love you, really I do.

0:24:04.200 --> 0:24:06.439
<v Speaker 2>The day that I arrived in New York City was

0:24:06.520 --> 0:24:11.680
<v Speaker 2>literally like day one of the disneyfication of forty second Street.

0:24:12.520 --> 0:24:14.120
<v Speaker 2>So I thought it was great. I was like, oh man,

0:24:14.119 --> 0:24:16.800
<v Speaker 2>this is really amazing, you know, and only to find

0:24:16.840 --> 0:24:20.879
<v Speaker 2>out that no everyone else was mourning the loss of

0:24:21.760 --> 0:24:22.440
<v Speaker 2>New York City.

0:24:22.720 --> 0:24:25.520
<v Speaker 4>I mean, it's cute and sure, you know, we all

0:24:25.560 --> 0:24:27.879
<v Speaker 4>have to be progressive and all that other stuff, but

0:24:27.920 --> 0:24:29.840
<v Speaker 4>you kind of want New York to be what it's

0:24:29.880 --> 0:24:32.479
<v Speaker 4>always been known for. And I'm not afraid of the growth.

0:24:32.800 --> 0:24:35.879
<v Speaker 4>It's cute, it's beautiful and sure, and I mean, I'm

0:24:35.920 --> 0:24:38.919
<v Speaker 4>actually kind of selfishly glad that I got to experience it.

0:24:38.960 --> 0:24:41.520
<v Speaker 4>And it's still my version of New York. I don't

0:24:41.560 --> 0:24:43.600
<v Speaker 4>even recognize it when I go home anymore. I barely

0:24:43.600 --> 0:24:46.760
<v Speaker 4>even recognize queens, all the restaurants, all the people, all

0:24:46.760 --> 0:24:49.760
<v Speaker 4>the things that were so culturally ours seems to be

0:24:50.160 --> 0:24:54.679
<v Speaker 4>you know, stripped away. Yeah, and I don't know if

0:24:54.720 --> 0:24:55.880
<v Speaker 4>it's ever going to come back.

0:24:55.960 --> 0:24:59.160
<v Speaker 2>You know, it will, That's what I was going to ask.

0:24:59.200 --> 0:25:02.760
<v Speaker 2>Do you feel like it will return? Or I just.

0:25:02.680 --> 0:25:07.760
<v Speaker 4>Feel like the inspiration deep, the inspiration that New York

0:25:07.880 --> 0:25:12.800
<v Speaker 4>bore was an originality of thought that came from the

0:25:12.840 --> 0:25:15.080
<v Speaker 4>things that you see. Like, because I'm trapped in my

0:25:15.200 --> 0:25:18.199
<v Speaker 4>car here in LA all the time, my sensibilities have

0:25:18.760 --> 0:25:22.080
<v Speaker 4>dumbed down, right, because I'm not around, my senses aren't

0:25:22.080 --> 0:25:25.080
<v Speaker 4>as sharp. I don't get to see or smell or

0:25:25.160 --> 0:25:29.000
<v Speaker 4>hear other languages and other things like. But when I

0:25:29.040 --> 0:25:31.679
<v Speaker 4>go home the first couple of days, I'm like soaking

0:25:31.680 --> 0:25:34.280
<v Speaker 4>it all in. I'll walk from Central Park all the

0:25:34.320 --> 0:25:37.720
<v Speaker 4>way down to Canal Street just cause, and I feel

0:25:37.760 --> 0:25:41.280
<v Speaker 4>like I've learned or gained so much culture just because

0:25:41.280 --> 0:25:43.560
<v Speaker 4>I've been away. But for those people who were in

0:25:43.640 --> 0:25:47.640
<v Speaker 4>New York used to creating this culture that's now been

0:25:47.680 --> 0:25:50.719
<v Speaker 4>stripped away, I feel like, you know, they're kind of

0:25:50.800 --> 0:25:53.440
<v Speaker 4>moving to the outskirts or downtown or whatever, and they're

0:25:53.480 --> 0:25:57.800
<v Speaker 4>not as creative or original as they used to be

0:25:57.880 --> 0:25:59.800
<v Speaker 4>or the people that before them came, you know what

0:25:59.800 --> 0:26:01.080
<v Speaker 4>I mean. Does that make sense?

0:26:01.480 --> 0:26:06.600
<v Speaker 2>Yes, it makes sense. So when you're when you're I'm

0:26:06.680 --> 0:26:10.359
<v Speaker 2>jumping back to your your first gigs as a dancer,

0:26:10.400 --> 0:26:13.520
<v Speaker 2>when you were first hired as a dancer, did you

0:26:13.640 --> 0:26:17.639
<v Speaker 2>start off as choreographer or is that sort of like

0:26:17.680 --> 0:26:19.320
<v Speaker 2>a chain that you have to work your way up to.

0:26:21.119 --> 0:26:22.800
<v Speaker 4>Usually you kind of have to work your way up

0:26:22.840 --> 0:26:26.359
<v Speaker 4>to it. It really kind of happened to me. Nothing's

0:26:26.400 --> 0:26:29.800
<v Speaker 4>an accident. My first major tour was the Key Sweat

0:26:29.800 --> 0:26:34.120
<v Speaker 4>Triple Threat Tour BBD Johnny gill Keith Sweat Wow. Literally

0:26:34.160 --> 0:26:38.199
<v Speaker 4>my jobs after that came from being seen by the

0:26:38.280 --> 0:26:41.920
<v Speaker 4>artists and the audience who would come backstage like Guy

0:26:42.520 --> 0:26:44.639
<v Speaker 4>Teddy Riley and Aaronhole would be like, you have to

0:26:44.720 --> 0:26:46.680
<v Speaker 4>dance with us and meet me by the dressing room,

0:26:47.000 --> 0:26:49.560
<v Speaker 4>or happen the same thing with Heavy d You know

0:26:49.640 --> 0:26:51.639
<v Speaker 4>when hev lost the guys and was like, I'm gonna

0:26:51.680 --> 0:26:54.320
<v Speaker 4>have girl dancers. He literally I saw him in the

0:26:54.359 --> 0:26:56.520
<v Speaker 4>audience and by the time we got to the dressing room,

0:26:56.560 --> 0:26:58.119
<v Speaker 4>he was standing in front of our doors like I

0:26:58.160 --> 0:27:01.119
<v Speaker 4>need you to dance for me. So that's kind of

0:27:01.119 --> 0:27:06.680
<v Speaker 4>how those things happened. I got I'm sorry I missed

0:27:06.720 --> 0:27:08.520
<v Speaker 4>your question, did I answered, I don't think I did.

0:27:09.000 --> 0:27:11.639
<v Speaker 2>Yeah, no, you told me the process of it. But

0:27:12.200 --> 0:27:16.160
<v Speaker 2>what I wanted to know was who was, Oh, who

0:27:16.280 --> 0:27:19.840
<v Speaker 2>was the the choreographer of the moment when you entered

0:27:19.840 --> 0:27:24.720
<v Speaker 2>the game of doing these legendary videos, like did they

0:27:24.720 --> 0:27:27.440
<v Speaker 2>trust you to make up the steps? Or who was

0:27:27.480 --> 0:27:29.639
<v Speaker 2>the person that was at the helm.

0:27:30.200 --> 0:27:34.159
<v Speaker 4>So to answer your original question, choreography happened for me

0:27:34.960 --> 0:27:37.480
<v Speaker 4>because people always thought that I was the principal answer

0:27:37.560 --> 0:27:40.399
<v Speaker 4>because I was in front and they assumed that I

0:27:40.520 --> 0:27:43.200
<v Speaker 4>choreographed up And a lot of times the choreographers who

0:27:43.240 --> 0:27:46.480
<v Speaker 4>had the job would show up unprepared and be like, Okay,

0:27:46.480 --> 0:27:48.560
<v Speaker 4>I need a count or I need a four count

0:27:48.560 --> 0:27:50.200
<v Speaker 4>over here and we ended up doing more of the

0:27:50.280 --> 0:27:52.119
<v Speaker 4>work and I just was like, aren't you getting paid

0:27:52.119 --> 0:27:55.120
<v Speaker 4>for this? Like wait what? And so the next time

0:27:55.200 --> 0:27:57.560
<v Speaker 4>somebody asked me, I said, yeah, I choreographed it, which

0:27:57.600 --> 0:28:01.320
<v Speaker 4>was kind of a lie good I wouldn't. And that's

0:28:01.400 --> 0:28:03.959
<v Speaker 4>kind of how I switched up the deal is I

0:28:04.000 --> 0:28:06.560
<v Speaker 4>was probably getting paid more than anyone else as a dancer,

0:28:06.920 --> 0:28:10.120
<v Speaker 4>and then I started realizing how much money choreographers were making,

0:28:10.160 --> 0:28:14.120
<v Speaker 4>like oh Schnepp, But choreographers then there weren't really many

0:28:14.119 --> 0:28:19.720
<v Speaker 4>any females. They were like Peakaboo Donovan. They were the

0:28:19.760 --> 0:28:22.639
<v Speaker 4>guys from the Mop Top crew, like Stretch and Henry

0:28:22.680 --> 0:28:25.720
<v Speaker 4>and Link. Rosie Perez probably was one of the females

0:28:25.760 --> 0:28:27.399
<v Speaker 4>who are around. And Rosie will be the first to

0:28:27.400 --> 0:28:30.840
<v Speaker 4>tell you, like she's a creative visionary versus being a

0:28:31.000 --> 0:28:32.959
<v Speaker 4>dancer dancer, you know what I mean. She's somebody who

0:28:33.000 --> 0:28:34.800
<v Speaker 4>could move well, and we seen her throw it back,

0:28:35.080 --> 0:28:36.880
<v Speaker 4>you know, on Soul Train and stuff. But she'll tell

0:28:36.920 --> 0:28:40.320
<v Speaker 4>you she's not a dancer dancer, but she has great vision,

0:28:40.720 --> 0:28:44.040
<v Speaker 4>you know. So those were some of the people who

0:28:44.120 --> 0:28:46.840
<v Speaker 4>really from me, were hiring me a lot. Darren Henson

0:28:46.880 --> 0:28:50.880
<v Speaker 4>started to do a lot of choreography music Factory, so

0:28:50.920 --> 0:28:52.320
<v Speaker 4>he was hiring me a lot, and then I was

0:28:52.320 --> 0:28:57.480
<v Speaker 4>getting hired by the directors directly. Lionel, Martin, Millicent Shelton

0:28:57.640 --> 0:28:59.560
<v Speaker 4>was really doing a lot of the music videos then

0:28:59.600 --> 0:29:03.920
<v Speaker 4>that I had, you know, danceing Arris Barcoley, he did

0:29:03.960 --> 0:29:07.480
<v Speaker 4>around the Hey Girl, you know, into TV and stuff.

0:29:07.480 --> 0:29:09.160
<v Speaker 4>But I was there for a lot of beginning, you know,

0:29:09.280 --> 0:29:12.640
<v Speaker 4>Jeff Bird uh well, even while you know, Benny Boone

0:29:12.760 --> 0:29:15.440
<v Speaker 4>was moving apple boxes for Lionel, like, you know, I

0:29:15.520 --> 0:29:18.720
<v Speaker 4>was all there at the beginning of these careers. Nobody

0:29:18.760 --> 0:29:22.600
<v Speaker 4>everybody was just getting put on, you know, and so

0:29:22.640 --> 0:29:25.000
<v Speaker 4>there were a lot of Rosie was probably the only

0:29:25.080 --> 0:29:29.040
<v Speaker 4>one who initially first was the head choreographer as far

0:29:29.080 --> 0:29:31.520
<v Speaker 4>as females go. And then to Randon as well, you know,

0:29:31.600 --> 0:29:35.480
<v Speaker 4>land he was doing Janet on the West Coast, and

0:29:35.520 --> 0:29:40.120
<v Speaker 4>I was still dancing and then really transitioning into choreography.

0:29:41.280 --> 0:29:43.720
<v Speaker 4>And then you kind of have to decide for yourself

0:29:43.760 --> 0:29:46.120
<v Speaker 4>can you do both? Now? Can I put myself in

0:29:46.160 --> 0:29:48.240
<v Speaker 4>the front? Am I going to be subjective to knowing

0:29:48.240 --> 0:29:50.600
<v Speaker 4>what the choreography looks like as well as dancing it

0:29:50.640 --> 0:29:52.320
<v Speaker 4>and being that whole thing, and I did it for

0:29:52.360 --> 0:29:55.400
<v Speaker 4>a while and the reason I ended up stepping out

0:29:55.400 --> 0:29:58.440
<v Speaker 4>of dance rat City came along, which you know was

0:29:58.480 --> 0:29:59.000
<v Speaker 4>a blessing.

0:30:00.040 --> 0:30:01.680
<v Speaker 6>Can I just ask on a dancing tip at some

0:30:01.760 --> 0:30:04.720
<v Speaker 6>point because you made that transition to choreographer because you're

0:30:05.000 --> 0:30:08.480
<v Speaker 6>a New York dancer, did other folks of other generations

0:30:08.480 --> 0:30:09.440
<v Speaker 6>and genres reach out to you?

0:30:09.440 --> 0:30:10.480
<v Speaker 3>Because in my mind, I'm.

0:30:10.280 --> 0:30:12.320
<v Speaker 6>Like, wow, did you get to talk to like the

0:30:12.400 --> 0:30:15.960
<v Speaker 6>Judith Jamison's, the George Faison's and the that b Allens

0:30:15.960 --> 0:30:17.240
<v Speaker 6>of the world that were.

0:30:17.680 --> 0:30:21.080
<v Speaker 4>No because they weren't really they were I think doing

0:30:21.120 --> 0:30:24.320
<v Speaker 4>more Broadway and TV at that time. They just tapped

0:30:24.360 --> 0:30:28.240
<v Speaker 4>into music videos and touring and even hip hop per se.

0:30:28.600 --> 0:30:30.840
<v Speaker 4>They may have maybe started to introduce it a lot

0:30:30.840 --> 0:30:32.280
<v Speaker 4>if they were still teaching class.

0:30:32.520 --> 0:30:34.840
<v Speaker 3>Because you got Oprah. At some point, you are Oprah.

0:30:34.880 --> 0:30:36.600
<v Speaker 3>They got to know who is this girl?

0:30:36.800 --> 0:30:37.360
<v Speaker 4>Right right?

0:30:37.560 --> 0:30:37.760
<v Speaker 2>Right?

0:30:38.040 --> 0:30:40.200
<v Speaker 4>But I mean, and you never know who's watching. Like

0:30:40.240 --> 0:30:42.720
<v Speaker 4>It's the crazy thing. You just when you meet people

0:30:42.760 --> 0:30:45.080
<v Speaker 4>and they're like, hey, you know, I saw you dance,

0:30:45.120 --> 0:30:47.880
<v Speaker 4>and you're like, oh my god, that's George Clooney, you

0:30:47.920 --> 0:30:49.680
<v Speaker 4>know me, Like and I'm just I've never Metgined, but

0:30:49.720 --> 0:30:51.800
<v Speaker 4>I'm just as a name and you're just like, oh snap,

0:30:51.880 --> 0:30:54.120
<v Speaker 4>you never know who's watching you. So I didn't get

0:30:54.120 --> 0:30:57.440
<v Speaker 4>to meet them during that time or really dance in

0:30:57.480 --> 0:31:00.720
<v Speaker 4>their world. They were more theatrical. One person I did

0:31:00.760 --> 0:31:03.080
<v Speaker 4>get a chance to meet, obviously, was Otis Salite, who

0:31:03.080 --> 0:31:05.640
<v Speaker 4>really is up that genre. And he's the one who

0:31:05.680 --> 0:31:07.360
<v Speaker 4>did the living single intro.

0:31:11.240 --> 0:31:11.360
<v Speaker 7>You know.

0:31:11.480 --> 0:31:14.160
<v Speaker 4>Otis Salit is the one who is like a directiographer.

0:31:14.400 --> 0:31:16.960
<v Speaker 4>He did school days choreography, you know, good and bad

0:31:17.000 --> 0:31:21.240
<v Speaker 4>hair and all that stuff. Malcolm X like he's a genius,

0:31:21.400 --> 0:31:23.920
<v Speaker 4>a genius, and I was just so grateful that he

0:31:23.960 --> 0:31:26.560
<v Speaker 4>even called me because I was still I was on

0:31:26.640 --> 0:31:30.160
<v Speaker 4>tour when they were doing auditions for Malcolm X and

0:31:30.240 --> 0:31:32.640
<v Speaker 4>Lindy Hop is my favorite genre of life, and I

0:31:32.720 --> 0:31:35.200
<v Speaker 4>found out about us and too late, but I was

0:31:35.240 --> 0:31:38.240
<v Speaker 4>able to go to one of the rehearsals introduce myself

0:31:38.280 --> 0:31:40.440
<v Speaker 4>to him. He kind of Lorianne I think was working

0:31:40.480 --> 0:31:44.120
<v Speaker 4>on that maybe introduction, but I was too late, So

0:31:44.160 --> 0:31:46.680
<v Speaker 4>I got to do extra work in the film. Cut

0:31:46.760 --> 0:31:49.680
<v Speaker 4>to a year or a month later, whenever it happened.

0:31:49.920 --> 0:31:51.640
<v Speaker 4>I get a phone call and it's otis on the

0:31:51.680 --> 0:31:55.240
<v Speaker 4>other line, and you're like, is this really you? Like,

0:31:55.280 --> 0:31:57.400
<v Speaker 4>it's like Michael Jackson calling your phone? Like that's what

0:31:57.480 --> 0:32:01.760
<v Speaker 4>it felt me like, No, this campy, the otist elite.

0:32:02.080 --> 0:32:06.080
<v Speaker 4>Sure whatever you need, you know, Wow, So.

0:32:06.120 --> 0:32:08.520
<v Speaker 5>What was it like when Michael Jackson actually called your phone?

0:32:11.720 --> 0:32:12.920
<v Speaker 5>Now I think about it like them.

0:32:18.520 --> 0:32:20.960
<v Speaker 2>So what I what I want to know is, though,

0:32:21.280 --> 0:32:27.160
<v Speaker 2>is how how competitive was it? And I don't mean

0:32:27.200 --> 0:32:31.920
<v Speaker 2>from like a caddy sort of thing, but like in

0:32:32.000 --> 0:32:37.040
<v Speaker 2>terms of booking gigs? Uh, were you your own agent?

0:32:37.160 --> 0:32:38.600
<v Speaker 2>Were you your own manager?

0:32:39.440 --> 0:32:39.520
<v Speaker 4>Like?

0:32:39.600 --> 0:32:43.120
<v Speaker 2>How is one able to secure gigs? How's one able

0:32:43.200 --> 0:32:46.720
<v Speaker 2>to solidify? Because it's like, as far as I know

0:32:47.040 --> 0:32:50.240
<v Speaker 2>growing up watching these specific videos, I mean, there was

0:32:50.240 --> 0:32:53.360
<v Speaker 2>a point where either I mean you already named Millicent

0:32:53.480 --> 0:32:57.520
<v Speaker 2>in Paris, but like Lionel C. Martin damn near did

0:32:58.720 --> 0:33:00.840
<v Speaker 2>like at one point I'm certain that he did sixty

0:33:00.920 --> 0:33:04.080
<v Speaker 2>to seventy percent of all the output on Rap City

0:33:04.320 --> 0:33:09.600
<v Speaker 2>that I saw. And so it's like, on the other

0:33:09.680 --> 0:33:14.000
<v Speaker 2>side of that coin, what was the environment like as

0:33:14.040 --> 0:33:18.440
<v Speaker 2>far as being chosen, Like, yes, we definitely know who

0:33:18.520 --> 0:33:22.120
<v Speaker 2>you are, but like you know, there's also jo C.

0:33:22.280 --> 0:33:27.600
<v Speaker 2>Harris's there's like other household names that I know in

0:33:27.680 --> 0:33:34.320
<v Speaker 2>the game, like how does one navigate? Like was it Caddy?

0:33:34.600 --> 0:33:36.280
<v Speaker 2>Was it? Just like, hey, there's enough work for all

0:33:36.280 --> 0:33:37.960
<v Speaker 2>of us, Like what was the environment?

0:33:38.080 --> 0:33:43.040
<v Speaker 4>Like? It's interesting because at first it started off where

0:33:43.040 --> 0:33:45.680
<v Speaker 4>everybody's calling each other like, Yo, there's an audition for this,

0:33:45.880 --> 0:33:48.560
<v Speaker 4>there's an audition for that. Then for me, it got

0:33:48.600 --> 0:33:51.480
<v Speaker 4>to a point where I would always call everyone. Remember

0:33:51.520 --> 0:33:54.080
<v Speaker 4>I come from team sports, so it's like, even if

0:33:54.080 --> 0:33:56.560
<v Speaker 4>you compete against somebody one weekend and they beat you,

0:33:56.560 --> 0:33:58.760
<v Speaker 4>you got a whole week or two weeks to come

0:33:58.760 --> 0:34:01.560
<v Speaker 4>back and beat them, right, So it's all fair game.

0:34:02.080 --> 0:34:04.040
<v Speaker 4>The industry is not like that. There's a lot of

0:34:04.160 --> 0:34:07.120
<v Speaker 4>jealousy and animosity. So I remember going to an audition

0:34:07.200 --> 0:34:09.560
<v Speaker 4>and the people that I normally call or we call

0:34:09.600 --> 0:34:11.799
<v Speaker 4>each other, suddenly nobody called me. And I got the

0:34:11.840 --> 0:34:13.480
<v Speaker 4>call like at the last minute, and I show up

0:34:13.520 --> 0:34:16.160
<v Speaker 4>and all my friends are there, and I'm like, how

0:34:16.200 --> 0:34:19.040
<v Speaker 4>come nobody call me? And one of my really close

0:34:19.080 --> 0:34:21.359
<v Speaker 4>friends said, because you book all the jobs. We just

0:34:21.400 --> 0:34:25.200
<v Speaker 4>want to work. And that's when I literally was changed

0:34:25.960 --> 0:34:29.200
<v Speaker 4>from that. I became somebody who was like this, now

0:34:29.320 --> 0:34:31.520
<v Speaker 4>I'm not saying anything to anybody. I'm keeping the work

0:34:31.560 --> 0:34:34.920
<v Speaker 4>to myself and that's not even my character. And literally

0:34:35.200 --> 0:34:37.719
<v Speaker 4>it just was like, now I'm really going to book

0:34:37.760 --> 0:34:40.239
<v Speaker 4>these gigs. Now I'm really going to show up and

0:34:40.280 --> 0:34:43.600
<v Speaker 4>show out and make sure that I take this opportunity

0:34:43.640 --> 0:34:46.520
<v Speaker 4>away from you, just because it's my blessing. And I

0:34:46.560 --> 0:34:48.759
<v Speaker 4>work harder than everybody else because I'm the chick who

0:34:48.800 --> 0:34:50.640
<v Speaker 4>gets up earlier in the morning and still works out

0:34:50.680 --> 0:34:52.799
<v Speaker 4>and does what needs to be done. But okay, if

0:34:52.800 --> 0:34:55.160
<v Speaker 4>that's your hate, then that's what it is. But back then,

0:34:55.239 --> 0:34:57.800
<v Speaker 4>like I said, everybody was their own agent. I remember

0:34:57.840 --> 0:35:02.200
<v Speaker 4>making calls as my own assistan changing my voice, you know,

0:35:02.800 --> 0:35:05.800
<v Speaker 4>sending different nutters or whatever case is, and booking gigs

0:35:05.800 --> 0:35:08.880
<v Speaker 4>and no negotiating my price and stuff. But the calls

0:35:08.920 --> 0:35:11.880
<v Speaker 4>back then came direct, where you just gave people your number.

0:35:12.160 --> 0:35:14.120
<v Speaker 4>They gave you either the business card or the number

0:35:14.160 --> 0:35:16.960
<v Speaker 4>to the label, and they were just calling me direct

0:35:16.960 --> 0:35:19.360
<v Speaker 4>and I just would have to pretend to be someone

0:35:19.360 --> 0:35:20.759
<v Speaker 4>else to negotiate my rate.

0:35:21.640 --> 0:35:24.040
<v Speaker 2>Oh wow, Okay, now I really got to get into

0:35:24.040 --> 0:35:28.440
<v Speaker 2>the business. Is there such a thing as a union?

0:35:29.080 --> 0:35:32.040
<v Speaker 2>And if you don't mind me asking, Okay, if it's

0:35:32.200 --> 0:35:39.000
<v Speaker 2>nineteen ninety or nineteen ninety one, what was considered a

0:35:39.040 --> 0:35:41.360
<v Speaker 2>good booking? I'm certain that.

0:35:42.040 --> 0:35:43.840
<v Speaker 3>Rate wise, right, you're asking a marriag.

0:35:43.880 --> 0:35:46.719
<v Speaker 2>Yeah, rate wise, like you know in my field, Like

0:35:46.760 --> 0:35:49.920
<v Speaker 2>if I like somebody nine times out ten, I'm not

0:35:50.040 --> 0:35:52.719
<v Speaker 2>you know, I won't charge them. I mean, I'm at

0:35:52.719 --> 0:35:56.319
<v Speaker 2>a place now where I'm comfortable. But you know, if

0:35:56.360 --> 0:36:00.640
<v Speaker 2>you're using this to survive day to day, what's like

0:36:00.680 --> 0:36:02.919
<v Speaker 2>a friends and family discount? Like, all right, I'll hook

0:36:02.960 --> 0:36:04.360
<v Speaker 2>you up because you guys have a little budget. And

0:36:04.360 --> 0:36:08.240
<v Speaker 2>I really liked the song versus like, what's a good booking?

0:36:08.800 --> 0:36:11.399
<v Speaker 4>Well, I don't think. And when I talk to dances now,

0:36:11.560 --> 0:36:14.040
<v Speaker 4>because there was never a union back then, you really

0:36:14.080 --> 0:36:17.040
<v Speaker 4>had to expeast their famine, and artists always made you

0:36:17.080 --> 0:36:19.080
<v Speaker 4>feel like, dancers come a diamond us and we can

0:36:19.120 --> 0:36:22.959
<v Speaker 4>get somebody else. So either you would underbid another choreographer,

0:36:23.239 --> 0:36:26.440
<v Speaker 4>which has happened, or you would just settle for less

0:36:26.440 --> 0:36:30.160
<v Speaker 4>money just so you can get the gig. And now

0:36:30.160 --> 0:36:32.800
<v Speaker 4>that even though there are more agencies and stuff like that,

0:36:32.840 --> 0:36:35.200
<v Speaker 4>I think what the scale is is still not where

0:36:35.320 --> 0:36:38.880
<v Speaker 4>it should be. So dancers really are doing it for

0:36:38.920 --> 0:36:41.400
<v Speaker 4>the passion and not for the money. Back then, I

0:36:41.400 --> 0:36:44.600
<v Speaker 4>think day rates were probably like two fifty four rehearsal.

0:36:44.760 --> 0:36:47.960
<v Speaker 4>We're talking like anywhere from four to eight hours, maybe

0:36:48.000 --> 0:36:51.560
<v Speaker 4>five hundred for a shoot day. Choreographers would get more,

0:36:52.320 --> 0:36:56.480
<v Speaker 4>maybe than seven hundred, and maybe you might get one

0:36:56.480 --> 0:36:58.600
<v Speaker 4>thousand a week if you were going on tour. Like

0:36:58.640 --> 0:37:00.399
<v Speaker 4>that's when you look at the big scheme of things

0:37:00.400 --> 0:37:03.160
<v Speaker 4>and all that we're doing and contributing to this artwork

0:37:03.160 --> 0:37:05.319
<v Speaker 4>and these visuals. It's not a lot of money based

0:37:05.400 --> 0:37:06.440
<v Speaker 4>on other people, but.

0:37:06.600 --> 0:37:08.560
<v Speaker 6>Artists try to put you on retainer and just hold

0:37:08.600 --> 0:37:09.960
<v Speaker 6>you so nobody else could.

0:37:10.120 --> 0:37:12.240
<v Speaker 4>Oh no, no, there was no such thing as retainer.

0:37:12.320 --> 0:37:16.000
<v Speaker 4>They're not spending that money contracts, they're not doing it.

0:37:16.080 --> 0:37:18.920
<v Speaker 4>My first job on the Key Sweat tour, I cried

0:37:19.000 --> 0:37:20.880
<v Speaker 4>like a baby because I had a real job and

0:37:20.920 --> 0:37:22.960
<v Speaker 4>so I was able to take a leave of absence,

0:37:23.000 --> 0:37:25.040
<v Speaker 4>which I didn't even know was an option. He broke

0:37:25.080 --> 0:37:27.680
<v Speaker 4>his foot on that tour, and I'm like, oh my god,

0:37:27.719 --> 0:37:29.120
<v Speaker 4>this tour is about the end. I have to go

0:37:29.160 --> 0:37:31.560
<v Speaker 4>back to a real job. But he kept going. But

0:37:31.640 --> 0:37:35.040
<v Speaker 4>there's no concrete safety net about what's going to happen.

0:37:36.000 --> 0:37:39.239
<v Speaker 4>It's you know, a tour or a project dissolves. There

0:37:39.280 --> 0:37:41.360
<v Speaker 4>may be more coverage now, depending on whether it's a

0:37:41.360 --> 0:37:43.400
<v Speaker 4>commercial or a TV show where the union kind of

0:37:43.400 --> 0:37:46.719
<v Speaker 4>gets involved and it's under sagging after. But there's no

0:37:46.920 --> 0:37:49.560
<v Speaker 4>There are barely any artists who ever pay retainer for

0:37:49.680 --> 0:37:52.839
<v Speaker 4>their band or for the dancers. They like, really want

0:37:52.840 --> 0:37:55.160
<v Speaker 4>to have to have you and keep and not want

0:37:55.160 --> 0:37:57.160
<v Speaker 4>to share you with somebody else for that to happen,

0:37:57.480 --> 0:37:59.920
<v Speaker 4>and then you know, it's always they're always in some

0:38:00.120 --> 0:38:03.359
<v Speaker 4>what a financial disagreement with the label anyway about their

0:38:03.400 --> 0:38:05.560
<v Speaker 4>money being spent. So the last thing on their mind

0:38:05.600 --> 0:38:08.719
<v Speaker 4>is keeping dancers. We're the first to go. They don't

0:38:08.719 --> 0:38:10.240
<v Speaker 4>want to. They don't want to have to buy us,

0:38:10.280 --> 0:38:12.440
<v Speaker 4>you know, stage where they don't have to get here

0:38:12.480 --> 0:38:14.800
<v Speaker 4>and makeup, they don't have to do any of that stuff.

0:38:14.840 --> 0:38:17.960
<v Speaker 4>But you know, our own separate tour buses, hotels, rooms

0:38:17.960 --> 0:38:20.000
<v Speaker 4>like yeah, that comes with a price for your stage show.

0:38:21.200 --> 0:38:25.800
<v Speaker 2>Yeah. Wait, Because I know that you were part of

0:38:26.120 --> 0:38:32.120
<v Speaker 2>the Bobby campaign his third album, of which when I

0:38:32.160 --> 0:38:35.000
<v Speaker 2>saw y'all it was like ninety seven people on stage.

0:38:36.280 --> 0:38:40.160
<v Speaker 2>I was wondering how that p DM worked. What do

0:38:40.239 --> 0:38:44.080
<v Speaker 2>you consider the first video that was your breakout moment?

0:38:44.400 --> 0:38:48.160
<v Speaker 2>Was it Mary or like, oh no, before.

0:38:49.040 --> 0:38:51.879
<v Speaker 4>I think it might have been around the Way Girl.

0:38:51.920 --> 0:38:54.840
<v Speaker 4>For most people, I'm not going to like. It doesn't

0:38:54.920 --> 0:38:58.440
<v Speaker 4>highlight my best work. The video for me that highlights

0:38:58.520 --> 0:39:01.280
<v Speaker 4>my best work as a dancer is the artist a Diva,

0:39:01.719 --> 0:39:05.080
<v Speaker 4>She's the House. Yeah. We had a video called it

0:39:05.120 --> 0:39:08.839
<v Speaker 4>should Have Been Me, and we did a scene that

0:39:09.160 --> 0:39:12.040
<v Speaker 4>was kind of like the Blues Brothers where Jim Beluchi

0:39:12.120 --> 0:39:14.480
<v Speaker 4>or John Belush excuse me, did backflips down the church

0:39:14.520 --> 0:39:16.600
<v Speaker 4>aisle and that was the whole theme of the video.

0:39:16.640 --> 0:39:19.279
<v Speaker 4>And I actually got hired to be a dancer with

0:39:19.320 --> 0:39:23.920
<v Speaker 4>the ensemble cast and Big Mike Ellis was the first

0:39:23.960 --> 0:39:26.520
<v Speaker 4>a d on that and I forget who's actually directing it,

0:39:26.560 --> 0:39:29.040
<v Speaker 4>and they had hired somebody to do trampoline work and

0:39:29.080 --> 0:39:31.399
<v Speaker 4>tumble and they were horrible. So I was like, Mike,

0:39:31.440 --> 0:39:33.880
<v Speaker 4>tell them I can do it. Well, Mike told whoever

0:39:33.920 --> 0:39:35.600
<v Speaker 4>the director was that she can do it, but I

0:39:35.640 --> 0:39:37.719
<v Speaker 4>could do it, and the director was like yeah right,

0:39:38.320 --> 0:39:40.560
<v Speaker 4>and I'm like no, And again it became one of

0:39:40.560 --> 0:39:43.720
<v Speaker 4>these like tell everybody to clear the aisle and literally

0:39:44.160 --> 0:39:45.839
<v Speaker 4>did you can see it on YouTube? Did like three

0:39:45.920 --> 0:39:48.400
<v Speaker 4>or four backflips down the aisle whatever, and of course

0:39:48.520 --> 0:39:51.040
<v Speaker 4>it made the film and they had to pay me

0:39:51.160 --> 0:39:54.120
<v Speaker 4>for that too, So shout to Mike Ellis making that happen.

0:39:54.200 --> 0:39:55.560
<v Speaker 3>Oh, flipping is extra.

0:39:59.000 --> 0:40:01.200
<v Speaker 5>Flipping, flipping another invoice.

0:40:01.360 --> 0:40:04.080
<v Speaker 4>But it takes you a minute to realize that you're

0:40:04.160 --> 0:40:07.360
<v Speaker 4>worth and that you can actually these things because you

0:40:07.400 --> 0:40:10.160
<v Speaker 4>don't realize, you know, and there's no standard that was

0:40:10.200 --> 0:40:11.799
<v Speaker 4>set for you as a dancer, you know what I mean.

0:40:11.840 --> 0:40:13.680
<v Speaker 4>So you kind of figure it out as you're going on,

0:40:13.880 --> 0:40:15.719
<v Speaker 4>and then you try it, Like if you say, if

0:40:15.760 --> 0:40:18.360
<v Speaker 4>you find out one choreographer is making you know, five hundred,

0:40:18.840 --> 0:40:20.759
<v Speaker 4>forget how bad you want the job, Well, I'm worth

0:40:20.800 --> 0:40:23.719
<v Speaker 4>fifteen and you're like, well we only have Nope, you

0:40:23.800 --> 0:40:26.839
<v Speaker 4>came to me, and then you kind of like think

0:40:26.960 --> 0:40:29.520
<v Speaker 4>out for it that So that's gonna be my bord

0:40:29.600 --> 0:40:30.799
<v Speaker 4>now on, you know what I mean.

0:40:31.080 --> 0:40:36.160
<v Speaker 2>So uh, let's let's let's go there. Remember the time

0:40:39.880 --> 0:40:45.600
<v Speaker 2>no with remember the time with Michael Jackson being at

0:40:45.719 --> 0:40:51.239
<v Speaker 2>his somewhat apex. I mean I kind of consider that

0:40:51.440 --> 0:40:56.000
<v Speaker 2>probably Okay, I'll let scream go in there too. But

0:40:56.280 --> 0:40:59.600
<v Speaker 2>like back when a Michael Jackson video was an event,

0:41:03.160 --> 0:41:07.640
<v Speaker 2>was that a mount Fiji of achievement as far as

0:41:07.719 --> 0:41:12.840
<v Speaker 2>videos was concerned, Like, was that the best treatment? Was

0:41:12.840 --> 0:41:16.920
<v Speaker 2>that the most professional atmosphere? Or you know, was it

0:41:16.920 --> 0:41:20.320
<v Speaker 2>the story of like oh the bigger, the artist, the

0:41:21.360 --> 0:41:24.040
<v Speaker 2>cheaper and you know, like what was that experience?

0:41:24.120 --> 0:41:29.240
<v Speaker 4>Like that was everything that you wish for as a dancer.

0:41:29.960 --> 0:41:32.919
<v Speaker 4>I found out about the audition like on a Wednesday night,

0:41:33.320 --> 0:41:34.680
<v Speaker 4>Like on a Wednesday, I was in New York a

0:41:34.719 --> 0:41:36.680
<v Speaker 4>bunch of dances, like, oh my god, we're scrambling. It's

0:41:36.719 --> 0:41:39.200
<v Speaker 4>on Saturday, or maybe like even that Thursday, I found

0:41:39.239 --> 0:41:42.279
<v Speaker 4>out broke as fuck, had to beg my mother for

0:41:42.400 --> 0:41:45.400
<v Speaker 4>money to get on a plane, like mom, please, please please.

0:41:45.719 --> 0:41:48.680
<v Speaker 4>Found out Fatimo was choreographing it. We were hanging out.

0:41:48.800 --> 0:41:50.759
<v Speaker 4>She was like, you can come, you can audition. I

0:41:50.760 --> 0:41:53.759
<v Speaker 4>can't make promises to anybody, so I was like cool.

0:41:53.800 --> 0:41:55.319
<v Speaker 4>I end up staying with her. She's like, I can't,

0:41:55.440 --> 0:41:57.680
<v Speaker 4>you know, the director has final say blah blah blah.

0:41:57.680 --> 0:41:59.200
<v Speaker 4>A bunch of us were able to get on a

0:41:59.200 --> 0:42:02.759
<v Speaker 4>plane and literally John Singleton have been a fan of

0:42:02.880 --> 0:42:05.080
<v Speaker 4>New York dancers, so he kind of knew who a

0:42:05.120 --> 0:42:06.920
<v Speaker 4>lot of us were. When we showed up at the

0:42:07.000 --> 0:42:09.960
<v Speaker 4>audition and once you book the gig and you make

0:42:10.000 --> 0:42:12.200
<v Speaker 4>that call home like oh my god, mom, I got it.

0:42:12.640 --> 0:42:15.640
<v Speaker 4>So then we're having auditions, I mean rehearsals, and we

0:42:15.680 --> 0:42:18.320
<v Speaker 4>haven't met Michael yet. Right, we're probably two three weeks

0:42:18.360 --> 0:42:20.879
<v Speaker 4>into rehearsals and we still haven't seen Michael yet because

0:42:20.880 --> 0:42:23.160
<v Speaker 4>Michael's having his private rehearsals with Fatima.

0:42:23.600 --> 0:42:26.600
<v Speaker 5>So indeed know beforehand that it was going to be

0:42:26.600 --> 0:42:27.640
<v Speaker 5>for Michael Jackson video.

0:42:27.960 --> 0:42:29.880
<v Speaker 4>We knew exactly how I got on a plane, Like

0:42:29.920 --> 0:42:31.960
<v Speaker 4>that's the only reason why you start begging for money,

0:42:32.040 --> 0:42:34.799
<v Speaker 4>is like I know I can book this. Just get

0:42:34.840 --> 0:42:38.840
<v Speaker 4>me there please. And so once we get into rehearsals,

0:42:38.880 --> 0:42:41.120
<v Speaker 4>we're also given a book that looks like the phone

0:42:41.120 --> 0:42:44.000
<v Speaker 4>book for those who don't know, it's like this big

0:42:44.160 --> 0:42:46.919
<v Speaker 4>which is a contract pretty much don't look at him,

0:42:47.120 --> 0:42:49.759
<v Speaker 4>don't talk to him, don't talk to bubbles, don't ask

0:42:49.760 --> 0:42:51.680
<v Speaker 4>the questions they'll take, no picure, like just whatever you

0:42:51.719 --> 0:42:54.680
<v Speaker 4>can think of is in this contract. So Michael shows

0:42:54.760 --> 0:42:57.759
<v Speaker 4>up and it is literally, now, oh, let me back

0:42:57.840 --> 0:43:00.560
<v Speaker 4>up a little bit. Because once John singles and said

0:43:00.840 --> 0:43:03.799
<v Speaker 4>we want you you you you you, which say, let's

0:43:03.880 --> 0:43:06.320
<v Speaker 4>say ten dancers from New York hopped on a plane.

0:43:06.880 --> 0:43:09.919
<v Speaker 4>Maybe eight of us got hired, and so they gave

0:43:10.000 --> 0:43:13.200
<v Speaker 4>us for dim. They put a lot of people up

0:43:13.239 --> 0:43:15.880
<v Speaker 4>in a hotel or you know, we have places to

0:43:15.920 --> 0:43:18.000
<v Speaker 4>stay because everybody kind of planned on. You know, we

0:43:18.040 --> 0:43:21.320
<v Speaker 4>all broke finding places to stay. But they gave us

0:43:21.360 --> 0:43:27.760
<v Speaker 4>per diem because you knew we flew out there and wardrobe, hair, makeup.

0:43:27.800 --> 0:43:32.359
<v Speaker 4>To show up to Universal Studios is the dream of dreams, right.

0:43:32.480 --> 0:43:34.480
<v Speaker 4>It's everything that you can imagine when you pull up

0:43:34.520 --> 0:43:36.680
<v Speaker 4>the first day and you see these gates and say

0:43:36.760 --> 0:43:40.919
<v Speaker 4>Universal Studios and you're actually allowed on and you hear

0:43:41.600 --> 0:43:45.680
<v Speaker 4>the wind blowing and the heart playing and all that,

0:43:45.800 --> 0:43:48.719
<v Speaker 4>Like that's what it was. The rehearsal was great. We're

0:43:48.760 --> 0:43:52.320
<v Speaker 4>three weeks into rehearsals. Two weeks into rehearsals, Michael comes

0:43:52.320 --> 0:43:55.759
<v Speaker 4>in a couple of days before we shoot, and he's

0:43:55.800 --> 0:43:58.560
<v Speaker 4>speaking everybody like, hey, everybody in his soul wise, Hi,

0:43:58.600 --> 0:44:01.319
<v Speaker 4>how you guys doing. Everybody is so paranoid, like don't

0:44:01.320 --> 0:44:02.840
<v Speaker 4>look at him, don't talk to him, We're not allowed

0:44:02.840 --> 0:44:07.200
<v Speaker 4>to kind of like this, And so he shows us

0:44:07.239 --> 0:44:10.960
<v Speaker 4>what the routine looks like first. So we do we

0:44:11.000 --> 0:44:14.480
<v Speaker 4>watch him through the routine and all of us are like, uh, oh,

0:44:15.400 --> 0:44:20.880
<v Speaker 4>we didn't learn it, Like no, no, his stink, his

0:44:21.200 --> 0:44:24.000
<v Speaker 4>groove like he was on some other ship. He were

0:44:24.080 --> 0:44:31.399
<v Speaker 4>just like five sic. Michael's like had one, two, three.

0:44:31.400 --> 0:44:31.920
<v Speaker 6>Like he was.

0:44:32.120 --> 0:44:36.439
<v Speaker 4>We were all like, oh now, so literally, thank god

0:44:36.560 --> 0:44:39.560
<v Speaker 4>had like two or three more days before the shoot

0:44:39.960 --> 0:44:42.480
<v Speaker 4>to get in there and step our game up. And

0:44:42.520 --> 0:44:44.960
<v Speaker 4>then when we got on set, that was like a

0:44:45.000 --> 0:44:47.799
<v Speaker 4>whole other euphoria because then Michael's hanging out with us,

0:44:47.880 --> 0:44:50.399
<v Speaker 4>and artists tend to hang out with the dancers, right,

0:44:50.680 --> 0:44:52.960
<v Speaker 4>we're like the cool kids. We kind of don't care

0:44:53.080 --> 0:44:55.080
<v Speaker 4>or we're over there just practicing our stuff, and so

0:44:55.160 --> 0:44:58.360
<v Speaker 4>he's talking to us, and here Michael Jackson curse, like

0:44:58.840 --> 0:44:59.560
<v Speaker 4>now fuck that.

0:44:59.640 --> 0:45:13.920
<v Speaker 2>Man, Like like.

0:45:05.160 --> 0:45:07.600
<v Speaker 4>You forget that he's cursing, or that he's like you

0:45:07.640 --> 0:45:13.839
<v Speaker 4>know what I'm saying, right, and he's like, wow, he's hip,

0:45:13.960 --> 0:45:18.000
<v Speaker 4>But you forget that they're home by themselves watching the

0:45:18.200 --> 0:45:21.080
<v Speaker 4>l L Pool Jay video jamming and Mary J. Blige

0:45:21.160 --> 0:45:23.719
<v Speaker 4>grooving the guy or whatever they're doing, and you just

0:45:23.719 --> 0:45:26.040
<v Speaker 4>think that they're not human or in this bubble. And

0:45:26.080 --> 0:45:28.960
<v Speaker 4>he really was like cool with us and to be

0:45:29.080 --> 0:45:32.440
<v Speaker 4>on that set. Every star that you could imagine was

0:45:32.480 --> 0:45:34.640
<v Speaker 4>coming to visit just to hang out, whether it was

0:45:34.680 --> 0:45:37.200
<v Speaker 4>John Singleton or hang out with you know, his Magic

0:45:37.280 --> 0:45:39.719
<v Speaker 4>Johnson's and his kid friends and the whole Lakers team

0:45:39.800 --> 0:45:45.359
<v Speaker 4>is rolling up and you're just like, we didn't hang

0:45:45.440 --> 0:45:48.120
<v Speaker 4>like you know, you're just kind of scared to like

0:45:48.200 --> 0:45:51.759
<v Speaker 4>step over any boundaries. But everybody's coming. They want to

0:45:51.760 --> 0:45:54.600
<v Speaker 4>take pictures with us because they love our costumes. You know,

0:45:54.640 --> 0:45:57.080
<v Speaker 4>we're on set with everything and everybody, Like it was

0:45:57.200 --> 0:46:01.200
<v Speaker 4>just match anything that you can dream of as a dancer.

0:46:01.680 --> 0:46:05.759
<v Speaker 4>This was the dream Pinnacle project, hands down of all time.

0:46:06.560 --> 0:46:08.799
<v Speaker 4>It's amazing and it was an event. And when it

0:46:08.840 --> 0:46:11.719
<v Speaker 4>was time for it to like debut on MTV, it

0:46:11.800 --> 0:46:14.279
<v Speaker 4>literally was like twenty of us in a hotel room

0:46:14.320 --> 0:46:16.120
<v Speaker 4>telling all of our family, oh my god, it's gonna

0:46:16.160 --> 0:46:19.000
<v Speaker 4>hit it like it was a thing thing. And then

0:46:19.000 --> 0:46:20.440
<v Speaker 4>to see and then to see that you made the.

0:46:20.560 --> 0:46:27.719
<v Speaker 8>Edit like again, like come on, and you wait, you

0:46:27.719 --> 0:46:29.680
<v Speaker 8>couldn't play it back then, so you had to wait

0:46:29.719 --> 0:46:31.200
<v Speaker 8>for it to re air, you know what I mean?

0:46:31.360 --> 0:46:33.839
<v Speaker 3>Like, but can we talk about everybody's favorite edit?

0:46:33.920 --> 0:46:35.440
<v Speaker 6>I know the guys ain't gonna say because they ain't

0:46:35.440 --> 0:46:41.320
<v Speaker 6>gonna say it, but the paper edit when it's the

0:46:41.600 --> 0:46:43.480
<v Speaker 6>part when Les is doing her thing and then it's

0:46:43.520 --> 0:46:45.600
<v Speaker 6>a dude to go under and its just the whole

0:46:45.640 --> 0:46:48.160
<v Speaker 6>world just okay, never mind? Did nobody never ever notice

0:46:48.200 --> 0:46:50.520
<v Speaker 6>that let's whole world gets shaken up in the middle

0:46:50.520 --> 0:46:52.800
<v Speaker 6>of her dancing and the guy.

0:46:52.680 --> 0:46:56.640
<v Speaker 5>Comes in between, Like I remember, okay.

0:46:56.680 --> 0:46:58.239
<v Speaker 3>I'm I the only one that I mean.

0:46:58.320 --> 0:47:01.840
<v Speaker 2>I was like, you're going to ask all the questions.

0:47:03.080 --> 0:47:04.920
<v Speaker 6>I'm talking maybe, just like I didn't say that this is

0:47:04.960 --> 0:47:05.800
<v Speaker 6>a professional interview.

0:47:05.880 --> 0:47:06.719
<v Speaker 3>Sorry about that list.

0:47:06.920 --> 0:47:09.560
<v Speaker 4>It was just me no, but I get that a

0:47:09.600 --> 0:47:11.799
<v Speaker 4>lot even from you know, this quest was talking about

0:47:11.840 --> 0:47:14.200
<v Speaker 4>Bobby Brown, the humping around video. Here I am with

0:47:14.239 --> 0:47:17.560
<v Speaker 4>the handstand, you know, mapping on death copy jam and

0:47:17.600 --> 0:47:20.799
<v Speaker 4>Marton fools me on stage and it's the head you know.

0:47:22.160 --> 0:47:24.760
<v Speaker 3>So that being said, let me ask you a serious question, then.

0:47:26.000 --> 0:47:28.799
<v Speaker 2>God damn it, because I want her to tell me

0:47:29.640 --> 0:47:34.000
<v Speaker 2>the polar opposite story. Okay, you told me, you told

0:47:34.000 --> 0:47:38.040
<v Speaker 2>me the greatest video story for you. We don't even

0:47:38.080 --> 0:47:40.920
<v Speaker 2>have the name names. Now give me the polar opposite story.

0:47:41.800 --> 0:47:43.279
<v Speaker 2>What was a bad experience?

0:47:44.880 --> 0:47:45.120
<v Speaker 4>Hmm?

0:47:46.719 --> 0:47:49.719
<v Speaker 2>You you know the name names if you don't want no, no, I.

0:47:49.719 --> 0:47:52.360
<v Speaker 4>Don't think it was. I don't remember a really horrible

0:47:52.480 --> 0:47:56.560
<v Speaker 4>project for me. It was touring scenarios. There were two

0:47:56.680 --> 0:47:59.720
<v Speaker 4>artists that I toured with where and I'm sure Bobby

0:47:59.719 --> 0:48:01.560
<v Speaker 4>probably he said it when you talked to him about

0:48:02.440 --> 0:48:05.680
<v Speaker 4>like all the dancers and stuff, arguing and whatever. But

0:48:05.760 --> 0:48:09.440
<v Speaker 4>it's family members too, Like it's just you get all

0:48:09.480 --> 0:48:13.640
<v Speaker 4>these people who are on tour who don't do any

0:48:13.640 --> 0:48:17.920
<v Speaker 4>of the creative work, but by nepotism take I can

0:48:17.960 --> 0:48:20.280
<v Speaker 4>do whatever, and I'm here and I'm not going anywhere.

0:48:20.640 --> 0:48:24.840
<v Speaker 4>So the crew, the cousins, the whoever. But you can't

0:48:24.840 --> 0:48:27.040
<v Speaker 4>say anything because that's their family. So you'll get fired

0:48:27.040 --> 0:48:29.320
<v Speaker 4>before they do. And here they come, whether they're smoking

0:48:29.360 --> 0:48:32.680
<v Speaker 4>on the dancers bus or they're selling like tickets on

0:48:32.719 --> 0:48:35.240
<v Speaker 4>the side, and like that's your brother and you're selling.

0:48:35.440 --> 0:48:38.120
<v Speaker 4>You know what I'm saying. But there was like one

0:48:38.239 --> 0:48:41.920
<v Speaker 4>artist that I worked for who really was just like,

0:48:42.600 --> 0:48:45.160
<v Speaker 4>y'all ain't shit, I can get new dances in here tomorrow.

0:48:45.440 --> 0:48:47.160
<v Speaker 4>And we were on a tour with other artists that

0:48:47.200 --> 0:48:49.640
<v Speaker 4>had dances. I need you to bust their ass every day.

0:48:49.960 --> 0:48:53.680
<v Speaker 4>And he was so arrogant and so obnoxious that I

0:48:54.000 --> 0:48:56.319
<v Speaker 4>never spoke to him ever, ever, ever spoke to him

0:48:56.360 --> 0:49:00.360
<v Speaker 4>unless I absolutely had to. And I probably reveal this

0:49:00.440 --> 0:49:03.400
<v Speaker 4>when I do my documentary about who it is. But

0:49:04.840 --> 0:49:07.359
<v Speaker 4>it's funny how years happen or how many people end

0:49:07.440 --> 0:49:10.200
<v Speaker 4>up respecting you because you didn't kiss their ass. I

0:49:10.280 --> 0:49:12.760
<v Speaker 4>ended up living in the same building as this artist

0:49:12.880 --> 0:49:17.080
<v Speaker 4>years later, and we became really not really good friends,

0:49:17.080 --> 0:49:18.680
<v Speaker 4>but to a point where he asked me to be

0:49:18.719 --> 0:49:21.120
<v Speaker 4>part of like his radio show and all this other stuff.

0:49:21.200 --> 0:49:24.239
<v Speaker 4>Later I was like, frequently he probably had respect for

0:49:24.320 --> 0:49:26.239
<v Speaker 4>me that wasn't trying to kiss his ass or be

0:49:26.360 --> 0:49:29.520
<v Speaker 4>his friend. Because that's what happens, right, is everybody wants

0:49:29.560 --> 0:49:33.200
<v Speaker 4>to be friends with the artists, but as opposed to,

0:49:33.760 --> 0:49:37.759
<v Speaker 4>you know, creating really true friendships, right just because of

0:49:37.760 --> 0:49:39.799
<v Speaker 4>the hype of Yeah, I can call Usher up every

0:49:39.840 --> 0:49:41.440
<v Speaker 4>day because I dance with him, as opposed to you

0:49:41.480 --> 0:49:44.000
<v Speaker 4>and Usher really having a bond like that become a

0:49:44.000 --> 0:49:48.080
<v Speaker 4>best friend. So yeah, it's.

0:49:47.920 --> 0:49:55.799
<v Speaker 2>How so how toxic is the proverbial casting couch during

0:49:55.840 --> 0:49:59.399
<v Speaker 2>this period between the nineties and I don't know when

0:49:59.440 --> 0:50:02.239
<v Speaker 2>the end of your bracket is as far as the

0:50:02.320 --> 0:50:06.560
<v Speaker 2>choreography world is concerned because I know it had to

0:50:06.600 --> 0:50:08.200
<v Speaker 2>have been toxic as hell.

0:50:08.840 --> 0:50:12.719
<v Speaker 4>That casting couch is real as real then as it

0:50:12.800 --> 0:50:14.839
<v Speaker 4>is today. And I don't think me too really has

0:50:14.920 --> 0:50:16.040
<v Speaker 4>kind of slowed much.

0:50:15.840 --> 0:50:19.160
<v Speaker 3>Of a not in a music business, no, not at all.

0:50:19.239 --> 0:50:21.720
<v Speaker 4>And you remember, I got it from the dance side,

0:50:22.120 --> 0:50:25.959
<v Speaker 4>from the radio side, from the TV side, like it's

0:50:26.040 --> 0:50:28.080
<v Speaker 4>you know, and I've never had to sleep my way

0:50:28.120 --> 0:50:31.000
<v Speaker 4>to the top, like you got to work for backflips.

0:50:31.080 --> 0:50:33.240
<v Speaker 4>I wasn't, you know what I mean, Like I can't.

0:50:33.360 --> 0:50:37.200
<v Speaker 4>You got to pay for that, like you need me

0:50:37.320 --> 0:50:40.360
<v Speaker 4>more than I need you. But I have been propositioned

0:50:40.719 --> 0:50:42.640
<v Speaker 4>where it's like, well, you know, you won't even have

0:50:42.719 --> 0:50:45.760
<v Speaker 4>to audition, you just, you know, get on your knees

0:50:45.840 --> 0:50:47.760
<v Speaker 4>over here and suck me off over here. You should

0:50:47.840 --> 0:50:49.600
<v Speaker 4>let me take you out over here, and that kind

0:50:49.600 --> 0:50:51.279
<v Speaker 4>of a thing, Like it's some real stuff and you

0:50:51.360 --> 0:50:53.440
<v Speaker 4>have to kind of really know who you are. I

0:50:53.520 --> 0:50:56.000
<v Speaker 4>probably have more fear of my mother or the fear

0:50:56.040 --> 0:51:00.000
<v Speaker 4>of disappointing my mother, than I did worrying about a job,

0:51:00.320 --> 0:51:01.839
<v Speaker 4>you know what I mean. And it's not about being

0:51:02.000 --> 0:51:04.040
<v Speaker 4>arrogant or confident. You also have to know what your

0:51:04.080 --> 0:51:05.960
<v Speaker 4>worth is or that all right, well this ain't meant

0:51:06.000 --> 0:51:08.120
<v Speaker 4>for me. It's not I think for me. Coming into

0:51:08.120 --> 0:51:12.000
<v Speaker 4>the business, I had so much fear about the stories

0:51:12.040 --> 0:51:14.520
<v Speaker 4>and the drugs. But one of my first gigs is

0:51:14.560 --> 0:51:18.480
<v Speaker 4>doing like the Lou Rolls telethon, and we're hanging out

0:51:19.000 --> 0:51:27.520
<v Speaker 4>and I don't want to snitch on that had that

0:51:27.760 --> 0:51:34.799
<v Speaker 4>huge telethon. I was dancing on. Some of that I

0:51:34.840 --> 0:51:37.480
<v Speaker 4>was dancing for, like I think Big Daddy Kane or

0:51:37.560 --> 0:51:39.680
<v Speaker 4>kom O d I think I was dancing for or something.

0:51:40.040 --> 0:51:42.600
<v Speaker 4>And then like all these artists and stuff are backstage,

0:51:42.680 --> 0:51:45.000
<v Speaker 4>whether it's Sha Ka Khan and this person that person,

0:51:45.000 --> 0:51:46.800
<v Speaker 4>and you start like want to hang out with the

0:51:46.920 --> 0:51:49.040
<v Speaker 4>dances and then you're get into somebody's limo and next

0:51:49.040 --> 0:51:51.200
<v Speaker 4>thing you know, you see them doing cocaine. Like these

0:51:51.200 --> 0:51:53.480
<v Speaker 4>are my first and I'm like, this is really real.

0:51:53.520 --> 0:51:55.640
<v Speaker 4>This is the stuff that you read about like oh snap,

0:51:56.000 --> 0:51:58.319
<v Speaker 4>so and so, oh snap, you know what I mean.

0:51:58.320 --> 0:52:01.000
<v Speaker 4>But you kind of have to be like, Okay, let

0:52:01.000 --> 0:52:03.480
<v Speaker 4>me keep it together, blah blah blah. But you are.

0:52:03.520 --> 0:52:07.880
<v Speaker 4>You're hit up by the casting couch and these scoundrels

0:52:07.880 --> 0:52:12.520
<v Speaker 4>who are just like I think it's okay to proposition

0:52:12.600 --> 0:52:15.000
<v Speaker 4>you and that you're not going to say anything, or

0:52:15.040 --> 0:52:17.440
<v Speaker 4>that you want the job really bad. And I'm not

0:52:17.520 --> 0:52:20.920
<v Speaker 4>that she wanted a job really that bad because I

0:52:20.920 --> 0:52:23.000
<v Speaker 4>believed in my gift. And I think if I had

0:52:23.040 --> 0:52:25.960
<v Speaker 4>not had my gymnastic background and had so much success

0:52:26.000 --> 0:52:28.759
<v Speaker 4>in that, or had you know the wisdom of the

0:52:28.800 --> 0:52:31.640
<v Speaker 4>women that nurtured me growing up, that I could have

0:52:31.640 --> 0:52:33.680
<v Speaker 4>been somebody else who would have been thirsty for a job.

0:52:34.080 --> 0:52:37.319
<v Speaker 4>I think the adverse reaction now is that those same

0:52:37.360 --> 0:52:40.080
<v Speaker 4>guys who didn't get any asked for me, even though

0:52:40.120 --> 0:52:42.879
<v Speaker 4>they know the body of work that I have, their

0:52:42.960 --> 0:52:47.000
<v Speaker 4>ego is so damaged that they won't hire me to

0:52:47.160 --> 0:52:49.799
<v Speaker 4>this day. I mean, so that's their version of blacklisting

0:52:49.920 --> 0:52:52.080
<v Speaker 4>me or being mad that I didn't give them any

0:52:52.080 --> 0:52:52.960
<v Speaker 4>ass kind of thing.

0:52:53.120 --> 0:52:55.480
<v Speaker 2>So, yeah, I was going to ask, where's the repercussion

0:52:55.680 --> 0:52:59.520
<v Speaker 2>of saying no and standing up for yourself, Like, is

0:52:59.560 --> 0:53:02.880
<v Speaker 2>it this particular artist will blackball you, or even worse,

0:53:02.920 --> 0:53:07.440
<v Speaker 2>this particular CEO of a label will blackball you? Or

0:53:07.719 --> 0:53:08.480
<v Speaker 2>video director?

0:53:09.239 --> 0:53:12.120
<v Speaker 4>Yeah, it was never blatant, I believe, though there may

0:53:12.160 --> 0:53:13.840
<v Speaker 4>be a couple of times where I didn't get the

0:53:13.880 --> 0:53:16.960
<v Speaker 4>return phone call, or I didn't get the meeting, or

0:53:18.000 --> 0:53:20.080
<v Speaker 4>somebody else got hired because of me, but it was

0:53:20.120 --> 0:53:22.520
<v Speaker 4>never to my face, well you didn't give me this,

0:53:22.719 --> 0:53:24.640
<v Speaker 4>or because it was never that. And they may still

0:53:24.680 --> 0:53:28.040
<v Speaker 4>speak to me or say hi, just on whether it's

0:53:28.080 --> 0:53:30.239
<v Speaker 4>installsed or to show me that they're an executor at

0:53:30.239 --> 0:53:33.360
<v Speaker 4>a label or whatever now, or they'll even take a meeting,

0:53:33.640 --> 0:53:35.600
<v Speaker 4>but they won't hire me. They want me to see

0:53:35.640 --> 0:53:38.359
<v Speaker 4>their corner window office or whatever and be like, yeah,

0:53:38.440 --> 0:53:40.400
<v Speaker 4>so what can I do for you? Or you know,

0:53:40.440 --> 0:53:42.279
<v Speaker 4>they expect you to be in their face now and

0:53:42.320 --> 0:53:44.920
<v Speaker 4>that your mind has changed because you've blown up and

0:53:45.480 --> 0:53:47.719
<v Speaker 4>I'm ready to break you off, and like, no, kid,

0:53:47.760 --> 0:53:48.359
<v Speaker 4>that's not it.

0:53:49.080 --> 0:53:52.359
<v Speaker 6>But curious though less because even after the casting counts,

0:53:52.400 --> 0:53:54.759
<v Speaker 6>like after you have the job and you've earned the job,

0:53:55.239 --> 0:53:57.560
<v Speaker 6>we know that like that doesn't stop then. So I'm

0:53:57.560 --> 0:53:59.600
<v Speaker 6>just curious for you, like what was your a lot

0:53:59.640 --> 0:54:02.560
<v Speaker 6>of defense and at what point did for lack of

0:54:02.600 --> 0:54:04.959
<v Speaker 6>a better term, niggas get the point and stop asking,

0:54:05.000 --> 0:54:06.799
<v Speaker 6>because I know after for a while it was just like, oh,

0:54:06.800 --> 0:54:08.360
<v Speaker 6>I can let me try every trying who's that?

0:54:08.400 --> 0:54:10.359
<v Speaker 3>Oh I ain't hit it yet. Maybe you could make

0:54:10.440 --> 0:54:12.080
<v Speaker 3>when did it go? Okay? You know what I know,

0:54:12.200 --> 0:54:13.320
<v Speaker 3>Les and she ain't the one.

0:54:13.960 --> 0:54:16.319
<v Speaker 4>Well, I think being allowed to ask New Yorker and

0:54:16.360 --> 0:54:17.640
<v Speaker 4>just be like, hit the fuck out of here, you

0:54:17.640 --> 0:54:18.160
<v Speaker 4>know what I'm saying?

0:54:18.160 --> 0:54:20.399
<v Speaker 6>Like that, that's you.

0:54:20.360 --> 0:54:22.719
<v Speaker 4>Know, you very upfront and very I'm a very loud,

0:54:22.880 --> 0:54:26.160
<v Speaker 4>very upfront, cursed out two point two seconds, like for real.

0:54:26.280 --> 0:54:29.640
<v Speaker 4>I think being a muscular chick and being very physical

0:54:29.840 --> 0:54:33.319
<v Speaker 4>is kind of intimidating too. You know, I've never had

0:54:33.360 --> 0:54:35.319
<v Speaker 4>anybody grab me. And I feel sorry for all the

0:54:35.360 --> 0:54:37.359
<v Speaker 4>women who were backed into a corner like that, but

0:54:37.400 --> 0:54:40.279
<v Speaker 4>I've never been backed into a corner like that. Or

0:54:40.320 --> 0:54:41.959
<v Speaker 4>I think I kind of just look like I'm ready

0:54:42.000 --> 0:54:46.719
<v Speaker 4>to knuckle up, so I don't you know, but there

0:54:46.760 --> 0:54:49.359
<v Speaker 4>are you know, those repercussions. But for me, it's like,

0:54:49.600 --> 0:54:52.200
<v Speaker 4>there's nothing attractive about being one of ten other women

0:54:52.239 --> 0:54:53.839
<v Speaker 4>who have slept with the same dude in the room.

0:54:54.160 --> 0:54:56.120
<v Speaker 4>Like that's not cute. I don't ever want to be

0:54:56.200 --> 0:54:58.640
<v Speaker 4>that chick. No matter how fine you are, what team

0:54:58.719 --> 0:55:01.600
<v Speaker 4>you played for, whatever the case is, there's nothing sexy

0:55:01.640 --> 0:55:04.279
<v Speaker 4>about being one of twenty that y'all can all. You know,

0:55:04.360 --> 0:55:05.840
<v Speaker 4>he can be like this, this, this, this, that and

0:55:05.840 --> 0:55:08.040
<v Speaker 4>the other. And I've never fucked anybody who had control

0:55:08.080 --> 0:55:10.279
<v Speaker 4>over my money. You're not going to dictate to me

0:55:10.560 --> 0:55:14.319
<v Speaker 4>fact whether I have how much I make or you

0:55:14.320 --> 0:55:16.200
<v Speaker 4>get to fuck ten people and I can only fuck

0:55:16.239 --> 0:55:18.680
<v Speaker 4>with you. And the minute you see me with somebody else,

0:55:18.719 --> 0:55:20.279
<v Speaker 4>then you fire me and I lose the job and

0:55:20.320 --> 0:55:23.000
<v Speaker 4>all that other stuff. So no, we're gonna keep it. Whatever.

0:55:23.040 --> 0:55:25.160
<v Speaker 4>So I've never slept with the artists. Maybe the drummer,

0:55:25.520 --> 0:55:34.279
<v Speaker 4>keyboard player, but.

0:55:34.200 --> 0:55:37.040
<v Speaker 6>It's safe to say that you've never felt powerless in

0:55:37.120 --> 0:55:38.840
<v Speaker 6>this career.

0:55:39.040 --> 0:55:43.880
<v Speaker 4>No, I don't think I've desperate. I've never felt desperate

0:55:44.000 --> 0:55:47.239
<v Speaker 4>enough to feel like I have to do this, that

0:55:47.320 --> 0:55:48.359
<v Speaker 4>and the other for this job.

0:55:49.000 --> 0:55:53.880
<v Speaker 2>No, what was what was the What was the moment

0:55:53.920 --> 0:55:59.080
<v Speaker 2>that led to you sort of ease out of your

0:55:59.120 --> 0:56:04.000
<v Speaker 2>comfort zone and go into being a personality Because I've

0:56:04.000 --> 0:56:06.920
<v Speaker 2>seen you on mini of Red Carpet doing rap City,

0:56:07.080 --> 0:56:10.839
<v Speaker 2>Like was that your first job as a Like how

0:56:10.880 --> 0:56:12.920
<v Speaker 2>did you know that you had a personality? Because it's

0:56:14.520 --> 0:56:16.719
<v Speaker 2>you know, even even for me to ease into this

0:56:16.880 --> 0:56:19.920
<v Speaker 2>zone is a little weird. Like just because I'm a

0:56:19.960 --> 0:56:23.400
<v Speaker 2>public figure doesn't mean that you know, just because you

0:56:23.440 --> 0:56:25.560
<v Speaker 2>could do. That doesn't mean that you can carry a conversation,

0:56:25.719 --> 0:56:29.040
<v Speaker 2>go to be engaging and all that. Something you're really engaging,

0:56:29.080 --> 0:56:31.920
<v Speaker 2>like you are a personality. It's almost like you know

0:56:32.000 --> 0:56:34.400
<v Speaker 2>when I when I saw that you first started like

0:56:35.200 --> 0:56:38.560
<v Speaker 2>doing red carpet stuff and starting with rap City, I

0:56:38.600 --> 0:56:41.000
<v Speaker 2>was like, Oh, she's a natural, Like she is a personality,

0:56:41.120 --> 0:56:43.080
<v Speaker 2>Like where did that come from?

0:56:43.320 --> 0:56:47.200
<v Speaker 4>Wow? Thank you for saying that. Career, It's interesting the

0:56:47.239 --> 0:56:49.640
<v Speaker 4>things that you write in your diary have so much power.

0:56:49.960 --> 0:56:51.719
<v Speaker 4>When I was in high school, I was going to

0:56:51.760 --> 0:56:55.040
<v Speaker 4>study journalism and I took like three journalism classes and

0:56:55.080 --> 0:56:56.880
<v Speaker 4>the last one I took I didn't like. So I

0:56:56.920 --> 0:56:59.440
<v Speaker 4>was like, I'm switching to sports medicine and athletic training

0:56:59.440 --> 0:57:02.520
<v Speaker 4>and all that other stuff. But I still always kept

0:57:02.520 --> 0:57:05.160
<v Speaker 4>a journal. I always still wrote short stories and always

0:57:05.200 --> 0:57:09.080
<v Speaker 4>kind of like been inquisitive by nature. Rahap City is

0:57:09.120 --> 0:57:11.960
<v Speaker 4>a blessing that came after I did not become a flygirl,

0:57:12.400 --> 0:57:15.040
<v Speaker 4>Like that's a whole other was curious.

0:57:14.280 --> 0:57:17.560
<v Speaker 3>I didn't want to ask that's so okay.

0:57:17.560 --> 0:57:20.200
<v Speaker 2>Oh yeah, what gigs didn't you get that you wanted?

0:57:20.720 --> 0:57:23.680
<v Speaker 4>Well, being a fly girl was the gig that I

0:57:23.760 --> 0:57:27.960
<v Speaker 4>wanted more than anything. I literally did not get it,

0:57:28.240 --> 0:57:31.760
<v Speaker 4>and it was already like set up. I had the

0:57:31.800 --> 0:57:34.640
<v Speaker 4>best audition. All the local news channels are interviewing me.

0:57:34.680 --> 0:57:36.640
<v Speaker 4>I did all these flips and this, that and the other.

0:57:36.640 --> 0:57:37.480
<v Speaker 4>Everybody knew you.

0:57:37.560 --> 0:57:40.600
<v Speaker 3>It was the New York Fan, the Wayans and Rosie and.

0:57:41.120 --> 0:57:43.800
<v Speaker 4>Yeah, Rosie came over to me side barbers, like, can

0:57:43.840 --> 0:57:46.560
<v Speaker 4>you lose ten pounds? Jen already been on the show,

0:57:46.600 --> 0:57:48.280
<v Speaker 4>And I'm like, but Jen at the time was bigger

0:57:48.320 --> 0:57:50.160
<v Speaker 4>than I was, Like, I was really muscular, but she

0:57:50.280 --> 0:57:53.920
<v Speaker 4>was thicker. And then I found out that, you know,

0:57:53.960 --> 0:57:57.120
<v Speaker 4>by Josie's own words, that she had been approached well

0:57:57.120 --> 0:57:59.600
<v Speaker 4>before the audition by I guess one of the way

0:57:59.640 --> 0:58:01.280
<v Speaker 4>it's called her and said listen, we need you to

0:58:01.320 --> 0:58:02.960
<v Speaker 4>show up, but we want to know if you want

0:58:03.000 --> 0:58:05.080
<v Speaker 4>the gig. So she pretty much already had it and

0:58:05.160 --> 0:58:07.320
<v Speaker 4>just kind of had to look like she had the audition.

0:58:07.920 --> 0:58:11.160
<v Speaker 4>And you know, usually they do what's called typecasting. You

0:58:11.240 --> 0:58:14.240
<v Speaker 4>say you want somebody light skin this, tall, Latino women,

0:58:14.320 --> 0:58:17.040
<v Speaker 4>black women, whatever, very specific. This was an open audition,

0:58:17.120 --> 0:58:19.440
<v Speaker 4>but they already knew who they wanted and what they wanted.

0:58:19.920 --> 0:58:24.240
<v Speaker 4>And Rosie, years later came and apologized for even asking

0:58:24.280 --> 0:58:26.360
<v Speaker 4>me that question and wishing that she had fought for

0:58:26.480 --> 0:58:28.720
<v Speaker 4>me because she knew that I was the baddest thing

0:58:29.040 --> 0:58:32.320
<v Speaker 4>in the room at that time. But rejection is God's protection.

0:58:32.520 --> 0:58:36.080
<v Speaker 4>Right after I'm flicking my wounds and I don't get flygirl,

0:58:36.640 --> 0:58:40.959
<v Speaker 4>I go on Madeline Wood Show video LP and dance

0:58:41.000 --> 0:58:43.560
<v Speaker 4>on the show. I'm talking about all these artists that

0:58:43.600 --> 0:58:46.360
<v Speaker 4>I've worked with, you know, as a dancer, that you

0:58:46.440 --> 0:58:48.520
<v Speaker 4>spend time with on the tour bus and in rehearsals,

0:58:48.600 --> 0:58:50.720
<v Speaker 4>so you know them more than the fans do, sometimes

0:58:50.720 --> 0:58:53.200
<v Speaker 4>even better than the family does. And so they're like,

0:58:53.280 --> 0:58:55.320
<v Speaker 4>you know these people who've been around them even before

0:58:55.320 --> 0:58:57.880
<v Speaker 4>some of them had their deals, And would you like

0:58:57.880 --> 0:59:01.520
<v Speaker 4>to audition for Rahap City? And I auditioned, and the

0:59:01.520 --> 0:59:04.920
<v Speaker 4>producer Keith Patchell and Sanita Brooks and Eric Watson still

0:59:05.000 --> 0:59:07.400
<v Speaker 4>had to fight with me, had to fight for me

0:59:07.480 --> 0:59:11.080
<v Speaker 4>with the producers upstairs because one I didn't look a

0:59:11.120 --> 0:59:15.920
<v Speaker 4>certain way, right, there goes our lovely black one. Black colorism.

0:59:17.040 --> 0:59:19.600
<v Speaker 4>And there wasn't a female voice really in a hip

0:59:19.600 --> 0:59:22.320
<v Speaker 4>hop on that level other than Dee Barnes who came

0:59:22.320 --> 0:59:25.160
<v Speaker 4>before me. So once they were able to give me

0:59:25.200 --> 0:59:29.000
<v Speaker 4>a couple of episodes to prove myself. I got the job,

0:59:29.160 --> 0:59:32.360
<v Speaker 4>but they were gracious enough to let me do the

0:59:32.360 --> 0:59:34.160
<v Speaker 4>show while I was still dancing. I think I was

0:59:34.200 --> 0:59:36.120
<v Speaker 4>on tour with Heavy D and it worked in to

0:59:36.160 --> 0:59:38.520
<v Speaker 4>their benefit because now as we're city to city, I

0:59:38.560 --> 0:59:41.600
<v Speaker 4>could do interviews in city to city and they didn't

0:59:41.600 --> 0:59:43.200
<v Speaker 4>have to pay like any extra for it, so I

0:59:43.200 --> 0:59:45.400
<v Speaker 4>could catch up with common in Chicago and so and

0:59:45.440 --> 0:59:48.480
<v Speaker 4>so and so. And when it became too much, they

0:59:48.480 --> 0:59:50.480
<v Speaker 4>were like, you're gonna have to choose. And by that time,

0:59:50.600 --> 0:59:53.360
<v Speaker 4>you know, I had already done like fifteen years of gymnastics,

0:59:53.560 --> 0:59:55.640
<v Speaker 4>even though I wasn't ready to quit dancing, but I

0:59:55.640 --> 0:59:58.640
<v Speaker 4>had transitioned into choreography. I was still doing more choreography

0:59:58.680 --> 1:00:00.680
<v Speaker 4>and I couldn't tour, so I just kind of was like,

1:00:00.760 --> 1:00:03.280
<v Speaker 4>let me focus on TV altogether, and that's kind of

1:00:03.280 --> 1:00:05.880
<v Speaker 4>how that happened, and then radio was born from that.

1:00:06.920 --> 1:00:08.840
<v Speaker 5>I think the thing I used to always like about

1:00:08.840 --> 1:00:11.280
<v Speaker 5>you hosting Rap City, I would notice how a lot

1:00:11.280 --> 1:00:13.920
<v Speaker 5>of times guests would change up who they were with

1:00:13.960 --> 1:00:16.800
<v Speaker 5>you in a way that they wouldn't with like D

1:00:17.280 --> 1:00:19.720
<v Speaker 5>or you know, Chris Thomas or whatever. I remember it

1:00:19.760 --> 1:00:23.040
<v Speaker 5>was a Boogie Monster's episode. Oh shit, one of the

1:00:23.120 --> 1:00:26.120
<v Speaker 5>guys he was trying, yo, he was trying so hard

1:00:26.120 --> 1:00:27.919
<v Speaker 5>to kick it to you. I can't remember which one

1:00:28.040 --> 1:00:28.440
<v Speaker 5>it was.

1:00:28.880 --> 1:00:31.200
<v Speaker 2>Yah Yo, man, I'm sorry. We all tried to kick

1:00:31.240 --> 1:00:35.080
<v Speaker 2>it to I mean, but I was so obvious though.

1:00:35.120 --> 1:00:37.400
<v Speaker 2>He was like talking all my do that day. I

1:00:37.440 --> 1:00:40.800
<v Speaker 2>was like that first day of school feeling when you

1:00:40.920 --> 1:00:44.400
<v Speaker 2>standing at the outfit iron my shirt, you know, iron shit.

1:00:44.480 --> 1:00:47.600
<v Speaker 2>I get out there. I was like, yo, we do

1:00:47.800 --> 1:00:49.640
<v Speaker 2>rap City today. Let me use my good shirt.

1:00:51.720 --> 1:00:53.840
<v Speaker 4>The blessing that happened for me with that is that

1:00:53.880 --> 1:00:56.040
<v Speaker 4>a lot of the labels and the artists would request me,

1:00:56.400 --> 1:00:58.080
<v Speaker 4>and I think because they knew of me as a

1:00:58.160 --> 1:01:00.480
<v Speaker 4>dancer or they knew me from a club. They knew

1:01:00.520 --> 1:01:02.440
<v Speaker 4>I had been around and been in the trenches, and

1:01:02.480 --> 1:01:04.280
<v Speaker 4>that they could trust me with their story and that

1:01:04.400 --> 1:01:06.400
<v Speaker 4>I actually knew the story, you know what I mean,

1:01:06.400 --> 1:01:08.640
<v Speaker 4>because I was there, I was part of it, so

1:01:09.200 --> 1:01:10.960
<v Speaker 4>it was easy for them to like, come on the

1:01:10.960 --> 1:01:14.240
<v Speaker 4>show and us just have real conversations. And you know,

1:01:14.240 --> 1:01:16.760
<v Speaker 4>if you see my first episode to my like twentieth, yeah,

1:01:16.800 --> 1:01:18.880
<v Speaker 4>I grew a whole lot because I had real you know,

1:01:18.960 --> 1:01:21.160
<v Speaker 4>producers who would teach me how to talk and to

1:01:21.240 --> 1:01:23.320
<v Speaker 4>listen and this and to that and stuff. So it

1:01:23.840 --> 1:01:26.600
<v Speaker 4>made a difference and I felt really comfortable. I think

1:01:26.640 --> 1:01:30.400
<v Speaker 4>when you're a performer, and maybe it's a little different

1:01:30.400 --> 1:01:32.400
<v Speaker 4>for you, quest like there's certain things you're comfortable with

1:01:32.560 --> 1:01:35.000
<v Speaker 4>or not. Like I've always as a gymnast, been comfortable

1:01:35.040 --> 1:01:38.680
<v Speaker 4>on camera and performing and being a show person. And

1:01:38.960 --> 1:01:42.080
<v Speaker 4>I'm always been a talker and I'm always inquisitive, like

1:01:42.160 --> 1:01:44.120
<v Speaker 4>I'm nosy, and I could ask you like eight hundred

1:01:44.200 --> 1:01:47.280
<v Speaker 4>questions and without a cue card, and just because I

1:01:47.360 --> 1:01:50.800
<v Speaker 4>want to hear your story and I have human interests love,

1:01:50.960 --> 1:01:52.520
<v Speaker 4>Like I just really want to know how you got

1:01:52.560 --> 1:01:54.480
<v Speaker 4>from A to Z and I'm curious about it. So

1:01:55.280 --> 1:01:58.080
<v Speaker 4>I think you kind of get that and appreciate telling

1:01:58.120 --> 1:02:00.160
<v Speaker 4>their story in that way.

1:02:04.000 --> 1:02:06.840
<v Speaker 2>You know, There's one question I didn't forget to ask

1:02:06.880 --> 1:02:12.680
<v Speaker 2>you as far as choreography is concerned. How long are

1:02:12.760 --> 1:02:18.040
<v Speaker 2>you allowed to sit with the song and how what's

1:02:18.200 --> 1:02:22.960
<v Speaker 2>what's the creative process for figuring out what the choreography is?

1:02:23.520 --> 1:02:28.280
<v Speaker 2>Because I know you have your own language, So do

1:02:28.320 --> 1:02:30.800
<v Speaker 2>you talk to the artists first and they have complete

1:02:30.840 --> 1:02:34.240
<v Speaker 2>trust with you or is it like, is it a

1:02:34.320 --> 1:02:36.760
<v Speaker 2>collaborative thing where you, you know, you and this artist

1:02:36.760 --> 1:02:40.320
<v Speaker 2>work things out, or is it the director of the

1:02:40.400 --> 1:02:44.200
<v Speaker 2>video that lets you know this, you know, this is

1:02:44.280 --> 1:02:46.400
<v Speaker 2>out of space and we want this sort of thing,

1:02:46.480 --> 1:02:48.560
<v Speaker 2>like what's what's the Can you walk us through what

1:02:48.600 --> 1:02:51.640
<v Speaker 2>the creative process is to map out?

1:02:52.480 --> 1:02:53.000
<v Speaker 4>Yeah?

1:02:53.200 --> 1:02:57.280
<v Speaker 3>Like real love. Sorry, I was just usually the artist.

1:02:56.280 --> 1:02:59.560
<v Speaker 4>Of the last person you end up having a conversation with, right,

1:02:59.600 --> 1:03:01.720
<v Speaker 4>because you end up talking to the money people first.

1:03:02.080 --> 1:03:03.720
<v Speaker 4>You end up talking to the people who come and

1:03:03.720 --> 1:03:05.640
<v Speaker 4>approach you with the concept about this is what we

1:03:05.720 --> 1:03:07.960
<v Speaker 4>have the budget for, this is what the look is,

1:03:08.160 --> 1:03:09.960
<v Speaker 4>this is what we want to do. You have to

1:03:09.960 --> 1:03:13.560
<v Speaker 4>help us tell this story. Then you kind of figure out, okay,

1:03:13.720 --> 1:03:17.760
<v Speaker 4>what time period is this, what's the look? How many dancers?

1:03:18.360 --> 1:03:20.000
<v Speaker 4>What am I going to do with it? Then you

1:03:20.160 --> 1:03:22.200
<v Speaker 4>listen to actual the music, right, and you have to

1:03:22.240 --> 1:03:24.560
<v Speaker 4>decide whether you're going to do lyrical hip hop meaning

1:03:24.920 --> 1:03:27.040
<v Speaker 4>you know, I see you, you know where you're actually

1:03:27.640 --> 1:03:29.840
<v Speaker 4>the words or you're just doing feeling and emotion and

1:03:29.880 --> 1:03:32.120
<v Speaker 4>everybody's just rooming. And then of course you got to

1:03:32.160 --> 1:03:34.320
<v Speaker 4>find out if your artist can dance or not, and

1:03:34.360 --> 1:03:37.680
<v Speaker 4>that becomes a whole other thing, right because now if

1:03:37.720 --> 1:03:42.920
<v Speaker 4>the artist is ah, who has to let us be?

1:03:43.480 --> 1:03:46.200
<v Speaker 2>Who had to have a good cinematographer to make it

1:03:46.240 --> 1:03:46.800
<v Speaker 2>look like.

1:03:51.200 --> 1:03:53.120
<v Speaker 4>I'll put I'll put them off blast a little bit.

1:03:53.160 --> 1:03:59.640
<v Speaker 4>If you remember the group intro, yes, that is fine.

1:04:00.960 --> 1:04:05.280
<v Speaker 4>I agree, but it was Buddy who's kind of had

1:04:05.400 --> 1:04:07.480
<v Speaker 4>left feet, but he he got on. You just had

1:04:07.480 --> 1:04:08.960
<v Speaker 4>to work with him a little bit more. But but

1:04:09.040 --> 1:04:12.360
<v Speaker 4>you end up telling making your your choreography so that

1:04:12.480 --> 1:04:14.240
<v Speaker 4>everybody can do it, because your job is to make

1:04:14.280 --> 1:04:16.960
<v Speaker 4>everybody look uniform, and if they can't get it, you're

1:04:16.960 --> 1:04:20.960
<v Speaker 4>only as good as your weakest first, which is the

1:04:21.000 --> 1:04:22.800
<v Speaker 4>true And the one person that I will go to

1:04:22.960 --> 1:04:25.280
<v Speaker 4>is the one person who's hat a sink. So that

1:04:25.440 --> 1:04:27.439
<v Speaker 4>means if they can't get it, you have to change

1:04:27.480 --> 1:04:30.040
<v Speaker 4>to choreography so that it works for them, And that's

1:04:30.080 --> 1:04:32.240
<v Speaker 4>really what it is. And working with somebody like Mary,

1:04:32.320 --> 1:04:35.160
<v Speaker 4>Mary will say that she can't dance, but Mary's got

1:04:35.200 --> 1:04:43.000
<v Speaker 4>to move and a bump bop, yeah around the way

1:04:43.080 --> 1:04:45.800
<v Speaker 4>girl language right between that, and then you got in

1:04:45.800 --> 1:04:48.360
<v Speaker 4>your head going your money, I need this, I need

1:04:48.360 --> 1:04:50.600
<v Speaker 4>whatever I need That snexy, that's smooth. I need blah

1:04:50.640 --> 1:04:52.920
<v Speaker 4>blah blah. I need that Harlem, I need that whatever.

1:04:53.400 --> 1:04:55.520
<v Speaker 4>But you already know what that is, so you, you know,

1:04:55.600 --> 1:04:58.840
<v Speaker 4>you combine whatever you see Mary do with the stuff

1:04:58.880 --> 1:05:00.720
<v Speaker 4>that you already know what to do. And then you

1:05:00.800 --> 1:05:02.720
<v Speaker 4>listen to the song and how it knocks and you're

1:05:02.760 --> 1:05:04.560
<v Speaker 4>just like, Okay, what do we dance? We in heels?

1:05:04.560 --> 1:05:05.880
<v Speaker 4>Are we in combat? But what's this?

1:05:06.000 --> 1:05:06.560
<v Speaker 2>You know what I mean?

1:05:06.760 --> 1:05:08.520
<v Speaker 4>What are we wearing and we keep it sexy? Or

1:05:08.520 --> 1:05:10.959
<v Speaker 4>are we on baggy? Okay? You know you want it's hard,

1:05:11.080 --> 1:05:14.280
<v Speaker 4>Like I love when girls dance harder than the guys.

1:05:14.440 --> 1:05:17.600
<v Speaker 4>I love that athleticism and that's kind of how I

1:05:17.680 --> 1:05:20.040
<v Speaker 4>model my dancing, like you know what I mean. But

1:05:20.080 --> 1:05:21.680
<v Speaker 4>then if I need to take it off and soften

1:05:21.720 --> 1:05:24.000
<v Speaker 4>it up. You expect that of women. So when you

1:05:24.040 --> 1:05:27.560
<v Speaker 4>see the opposite, that's kind of what I think people

1:05:27.560 --> 1:05:30.920
<v Speaker 4>get excited to see. And I think they're dancers straight ahead.

1:05:31.040 --> 1:05:33.000
<v Speaker 4>Or when you saw you know, me and my girls

1:05:33.000 --> 1:05:35.720
<v Speaker 4>when you dance with Keith Sweat, you like, oh my god,

1:05:35.760 --> 1:05:38.360
<v Speaker 4>these girls are getting busy. It's not just the cute

1:05:38.400 --> 1:05:40.560
<v Speaker 4>and this and that, because you're used to seeing that

1:05:40.600 --> 1:05:41.080
<v Speaker 4>all the time.

1:05:41.240 --> 1:05:43.840
<v Speaker 6>That i'll be good video when the girls, when the

1:05:43.840 --> 1:05:46.040
<v Speaker 6>guys do the thing, the girls come aat.

1:05:46.600 --> 1:05:48.520
<v Speaker 4>Yeah, but that's the process and then you kind of

1:05:48.560 --> 1:05:50.880
<v Speaker 4>you gotta you gotta make the artists look good at

1:05:50.880 --> 1:05:53.120
<v Speaker 4>the end of the day. So even if your choreography

1:05:53.160 --> 1:05:56.840
<v Speaker 4>doesn't suit them, your job is to make them look

1:05:56.880 --> 1:05:58.520
<v Speaker 4>like the start that they are are supposed to be,

1:05:58.680 --> 1:06:00.560
<v Speaker 4>and your choreography will have to up from it and

1:06:00.600 --> 1:06:02.080
<v Speaker 4>you just have to change it, or you just have

1:06:02.120 --> 1:06:04.400
<v Speaker 4>to be real creative and find a way to hide

1:06:04.440 --> 1:06:06.320
<v Speaker 4>them for an eight count bring them back and make

1:06:06.360 --> 1:06:07.560
<v Speaker 4>it look like you know what I mean?

1:06:08.560 --> 1:06:11.440
<v Speaker 2>All right? So what is as there been a project

1:06:11.440 --> 1:06:15.360
<v Speaker 2>where it was like not jankie, but very eleventh hour,

1:06:16.240 --> 1:06:21.080
<v Speaker 2>either the manager doesn't like the dancing or something, and

1:06:21.120 --> 1:06:23.880
<v Speaker 2>you got to change and you got like two hours

1:06:23.960 --> 1:06:27.040
<v Speaker 2>left to figure out something real quick?

1:06:27.120 --> 1:06:27.240
<v Speaker 4>Yo?

1:06:27.800 --> 1:06:30.800
<v Speaker 2>Can you throw something together real quick? Like under pressure?

1:06:30.960 --> 1:06:32.440
<v Speaker 2>Have you ever had that situation?

1:06:33.240 --> 1:06:36.880
<v Speaker 4>I'm sure that's happened, where like a prop's not working,

1:06:37.360 --> 1:06:39.480
<v Speaker 4>or like a dancer get sick and can't make the

1:06:39.480 --> 1:06:42.480
<v Speaker 4>show and whatever's made for like six people now has

1:06:42.520 --> 1:06:44.360
<v Speaker 4>to be made for five people because you're supposed to

1:06:44.440 --> 1:06:47.560
<v Speaker 4>catch somebody like you have to do those kind of changes,

1:06:48.480 --> 1:06:50.160
<v Speaker 4>or if a piece of equipment doesn't show up and

1:06:50.200 --> 1:06:51.800
<v Speaker 4>didn't make it, like when you're going from city to

1:06:51.840 --> 1:06:54.840
<v Speaker 4>city on tour and the trampoline doesn't show up and

1:06:54.880 --> 1:06:57.640
<v Speaker 4>there's this whole like you have to make those adjustments

1:06:57.640 --> 1:07:00.960
<v Speaker 4>on the spot. Yes, but that's what answers too, Like

1:07:01.040 --> 1:07:02.800
<v Speaker 4>it's like, fuck it, we're gonna do this by six

1:07:02.840 --> 1:07:06.360
<v Speaker 4>seven eight, and nobody knows who's messed up in the audience.

1:07:06.960 --> 1:07:09.520
<v Speaker 4>Maybe the band members might know, the other dancers might know,

1:07:09.600 --> 1:07:11.120
<v Speaker 4>but we know how to play it off. And that's

1:07:11.200 --> 1:07:12.280
<v Speaker 4>the part you trained for.

1:07:12.680 --> 1:07:14.760
<v Speaker 2>So so you see it when all of us feils,

1:07:14.840 --> 1:07:15.800
<v Speaker 2>just two step.

1:07:17.080 --> 1:07:20.640
<v Speaker 4>So you remember what the koreakey is to get back in. Yep,

1:07:20.720 --> 1:07:21.040
<v Speaker 4>that too.

1:07:22.360 --> 1:07:24.480
<v Speaker 2>Have you ever lost the gig? Have you ever gotten

1:07:24.480 --> 1:07:25.320
<v Speaker 2>fired from the gig?

1:07:25.760 --> 1:07:30.200
<v Speaker 4>Yes? I got fired. Me and Josie got fired. We

1:07:30.240 --> 1:07:34.720
<v Speaker 4>got hired to dance with c C. Peniston and CEC

1:07:35.000 --> 1:07:37.920
<v Speaker 4>was being managed by Her name was Tease. Tease was

1:07:38.200 --> 1:07:40.520
<v Speaker 4>the niece of one of the girls from No the

1:07:40.560 --> 1:07:42.280
<v Speaker 4>aunt of one of the girls from three O W.

1:07:42.720 --> 1:07:47.080
<v Speaker 4>So she was married. Yeah, we heard at CC so

1:07:47.160 --> 1:07:49.520
<v Speaker 4>we were doing a bunch of clubs. We did literally

1:07:49.560 --> 1:07:51.360
<v Speaker 4>I think the first or second night of shows, we

1:07:51.400 --> 1:07:53.600
<v Speaker 4>were doing club hits, like three or four shows a night,

1:07:53.720 --> 1:07:56.080
<v Speaker 4>like you know, she had all the gig clubs poppets,

1:07:56.120 --> 1:07:57.800
<v Speaker 4>so we were doing all the like three am, four

1:07:57.840 --> 1:08:02.720
<v Speaker 4>am whatever, and Tees falters and said, we're not going

1:08:02.800 --> 1:08:09.120
<v Speaker 4>to have your girls back. You outshine the artists, and

1:08:09.120 --> 1:08:11.240
<v Speaker 4>and we literally got fired. I'm like, but that's why

1:08:11.280 --> 1:08:13.760
<v Speaker 4>you hired us because we were good. We're like, yeah,

1:08:13.760 --> 1:08:17.200
<v Speaker 4>but Nosie, Josie and led together.

1:08:17.280 --> 1:08:17.760
<v Speaker 3>That's a lot.

1:08:17.840 --> 1:08:24.519
<v Speaker 6>That's yeah, y'all, y'all superstars, Like thank you. Yeah, I'm curious,

1:08:24.720 --> 1:08:26.840
<v Speaker 6>when was the last time you saw you saw some

1:08:26.920 --> 1:08:30.360
<v Speaker 6>choreography and you were like, now they translated that vision,

1:08:30.439 --> 1:08:32.519
<v Speaker 6>like when was the most recent thing you saw and

1:08:32.560 --> 1:08:33.040
<v Speaker 6>you were like.

1:08:34.200 --> 1:08:38.639
<v Speaker 4>Listen, whenever I watched Missy or whenever I watched Beyonce stuff,

1:08:39.160 --> 1:08:42.080
<v Speaker 4>like I hat is still I think Missy's choreographer and

1:08:42.160 --> 1:08:44.679
<v Speaker 4>I had is one of the few females who was

1:08:44.720 --> 1:08:46.679
<v Speaker 4>in the circle back when I was in the circle,

1:08:47.080 --> 1:08:49.280
<v Speaker 4>like he was battling and all that other stuff, and

1:08:49.400 --> 1:08:53.320
<v Speaker 4>she really switched over to choreography, probably not before any

1:08:53.360 --> 1:08:55.920
<v Speaker 4>of us, probably right after I switched over to television,

1:08:56.160 --> 1:08:58.560
<v Speaker 4>but she's always been in the clubs for her choreography

1:08:58.600 --> 1:09:00.760
<v Speaker 4>and her choice of the dance, singing, the stuff that

1:09:00.760 --> 1:09:04.880
<v Speaker 4>she does between the collaborative work with Missy, it's like Missy,

1:09:04.960 --> 1:09:06.920
<v Speaker 4>I've never danced for Missy. I would come out of

1:09:06.960 --> 1:09:09.400
<v Speaker 4>retirement for Missy. I come out of retirement for her,

1:09:10.280 --> 1:09:13.360
<v Speaker 4>justin Timberlake, I come out of retirement for Beyonce. Of

1:09:13.400 --> 1:09:17.840
<v Speaker 4>course I lace up absolutely, So, Yeah, they impressed me,

1:09:17.920 --> 1:09:21.200
<v Speaker 4>but their whole thing is a visual package that I'm

1:09:21.280 --> 1:09:27.200
<v Speaker 4>just like, from the makeup to the clothing to like, yeah, yeah,

1:09:27.400 --> 1:09:29.360
<v Speaker 4>I don't know how much longer I can. It's hard

1:09:29.400 --> 1:09:30.920
<v Speaker 4>for me to go to a concert and not want

1:09:30.920 --> 1:09:33.599
<v Speaker 4>to like jump on stage. So if I can create

1:09:33.600 --> 1:09:36.200
<v Speaker 4>a project or become a part of an ensemble project

1:09:36.200 --> 1:09:37.960
<v Speaker 4>where I can dance again, I'm all.

1:09:37.920 --> 1:09:40.080
<v Speaker 6>Yeah, that Beyonce thing don't seem too far off though

1:09:40.120 --> 1:09:41.840
<v Speaker 6>that really say that out loud?

1:09:41.880 --> 1:09:43.720
<v Speaker 3>That don't really sound too I.

1:09:44.640 --> 1:09:45.760
<v Speaker 4>Just want to look crazy. I don't want to be

1:09:45.760 --> 1:09:48.479
<v Speaker 4>one hundred and seven dancing behind a bunch of hole.

1:09:49.200 --> 1:09:51.479
<v Speaker 4>If they can't keep back with the girl, then.

1:09:53.080 --> 1:09:58.240
<v Speaker 5>Yeah, how did the We didn't get the full story

1:09:58.280 --> 1:10:00.719
<v Speaker 5>of the Living single how you got in uprated into

1:10:00.760 --> 1:10:04.439
<v Speaker 5>the just into the credits like that was crazy.

1:10:04.880 --> 1:10:07.880
<v Speaker 4>Well, when Otis Sale called me to he's like, let's

1:10:08.080 --> 1:10:10.519
<v Speaker 4>I got this vision. I don't have the job. I

1:10:10.600 --> 1:10:12.800
<v Speaker 4>just have an idea, so we're gonna shoot it. I

1:10:12.880 --> 1:10:14.519
<v Speaker 4>just need you to say yes and be on board

1:10:14.520 --> 1:10:15.800
<v Speaker 4>with it and then we'll figure it out if they

1:10:15.840 --> 1:10:19.040
<v Speaker 4>take it. So Otis was like I met him down

1:10:19.080 --> 1:10:22.360
<v Speaker 4>in Brooklyn underneath the Brooklyn Bridge Bridge, spent all day

1:10:22.800 --> 1:10:28.759
<v Speaker 4>doing backflips on cobblestone everything whatever he shot. And literally

1:10:28.800 --> 1:10:30.600
<v Speaker 4>that last movie you see where I'm going like this

1:10:30.680 --> 1:10:35.280
<v Speaker 4>and I fell back. I was when I saw like

1:10:35.479 --> 1:10:37.640
<v Speaker 4>one of his edits. I think he only kept like

1:10:37.720 --> 1:10:39.920
<v Speaker 4>a front flip maybe and it may not even be

1:10:40.080 --> 1:10:43.600
<v Speaker 4>in the full version of the TV show. But he

1:10:43.680 --> 1:10:45.479
<v Speaker 4>called me one day he said, oh my god, they

1:10:45.479 --> 1:10:45.880
<v Speaker 4>took it.

1:10:46.120 --> 1:10:46.760
<v Speaker 3>They took it.

1:10:47.040 --> 1:10:49.400
<v Speaker 4>We're gonna be And we didn't think it was gonna

1:10:49.400 --> 1:10:51.479
<v Speaker 4>be as big as it was. We didn't think. We

1:10:51.479 --> 1:10:54.200
<v Speaker 4>didn't think past the first airing, we didn't think past

1:10:54.280 --> 1:10:57.080
<v Speaker 4>multiple seasons, we didn't think. I didn't think any of

1:10:57.120 --> 1:11:00.200
<v Speaker 4>that stuff. And sure enough, to this day, that's probably

1:11:00.000 --> 1:11:02.200
<v Speaker 4>one of the things I'm most recognized for, which is

1:11:02.320 --> 1:11:04.960
<v Speaker 4>just crazy, even from like the new generation.

1:11:05.240 --> 1:11:06.400
<v Speaker 3>Not to be in your pockets.

1:11:06.560 --> 1:11:09.160
<v Speaker 6>But does a gig like that, So I'm trying to

1:11:09.160 --> 1:11:10.360
<v Speaker 6>say it, you don't have to give me a number

1:11:10.439 --> 1:11:12.640
<v Speaker 6>because it's eleven single is still playing on TV one

1:11:12.680 --> 1:11:15.920
<v Speaker 6>as we speak in other places? Does that continue to

1:11:16.080 --> 1:11:21.679
<v Speaker 6>pay for groceries every week? Does that continue to pay

1:11:21.720 --> 1:11:22.320
<v Speaker 6>for your.

1:11:22.240 --> 1:11:23.599
<v Speaker 3>Hair done twice a month?

1:11:23.920 --> 1:11:24.040
<v Speaker 6>Like?

1:11:24.200 --> 1:11:26.080
<v Speaker 3>Where does what? Does it? Out of work?

1:11:26.200 --> 1:11:28.360
<v Speaker 2>Wait? Would you even gets for?

1:11:29.720 --> 1:11:30.639
<v Speaker 3>Yeah? Would you get.

1:11:31.479 --> 1:11:32.719
<v Speaker 4>Asked a million dollar question?

1:11:32.840 --> 1:11:33.000
<v Speaker 2>Right?

1:11:33.200 --> 1:11:33.800
<v Speaker 3>Yeah?

1:11:33.520 --> 1:11:36.600
<v Speaker 4>What happened with this deal is I did what I

1:11:36.680 --> 1:11:41.280
<v Speaker 4>never thought I would do, which is a buyout, right oh,

1:11:41.320 --> 1:11:45.280
<v Speaker 4>which is a one time fast and that's it. But

1:11:45.400 --> 1:11:47.840
<v Speaker 4>even if I were getting residuals right now, I get

1:11:47.960 --> 1:11:50.760
<v Speaker 4>residuals from a lot of stuff, and they're like the

1:11:50.800 --> 1:11:52.519
<v Speaker 4>paper costs more than what the checks are.

1:11:52.560 --> 1:11:55.799
<v Speaker 2>You get seventeen cents.

1:11:55.920 --> 1:11:57.680
<v Speaker 4>You know, this show is almost twenty years old, so

1:11:57.680 --> 1:12:00.639
<v Speaker 4>I wouldn't be making any any real money off bit anyway.

1:12:00.720 --> 1:12:03.040
<v Speaker 4>But it served as purpose then at the time, and

1:12:03.120 --> 1:12:06.200
<v Speaker 4>still yeah, so it does. I think the legacy of

1:12:06.240 --> 1:12:09.360
<v Speaker 4>it all and me working with otis is a price

1:12:09.439 --> 1:12:12.680
<v Speaker 4>you can't put anything on the fact that Os called me.

1:12:12.760 --> 1:12:13.680
<v Speaker 4>There's no price for that.

1:12:14.960 --> 1:12:18.400
<v Speaker 5>Yeah, you said, Lindy Hop is your favorite dance style.

1:12:18.479 --> 1:12:19.479
<v Speaker 5>How did you get into that?

1:12:20.080 --> 1:12:22.840
<v Speaker 4>Well, I'm not all the way into it. But when

1:12:22.880 --> 1:12:29.080
<v Speaker 4>you see the athleticism of women in dresses, swinging, flipping

1:12:29.800 --> 1:12:33.160
<v Speaker 4>like it's me all day. Every nuance of that dance,

1:12:33.200 --> 1:12:35.000
<v Speaker 4>from the back flips to the front flips, to the

1:12:35.160 --> 1:12:38.200
<v Speaker 4>energy because it goes eighty miles a minute, speaks to

1:12:38.240 --> 1:12:40.840
<v Speaker 4>my personality, like if I had to describe me in

1:12:40.880 --> 1:12:42.920
<v Speaker 4>a dance, that's who I am is Lindy Up.

1:12:43.000 --> 1:12:45.000
<v Speaker 6>It's crazy that our grandmothers were like that was their

1:12:45.040 --> 1:12:47.599
<v Speaker 6>everyday dance. Every grandmothers knew how to do.

1:12:47.560 --> 1:12:51.519
<v Speaker 4>That right of all sizes, whenever on the ground, no

1:12:51.640 --> 1:12:55.000
<v Speaker 4>knee pads, yes, back flips, whatever. We don't care, not

1:12:55.040 --> 1:12:56.479
<v Speaker 4>trying to be cute. We don't care what I and

1:12:56.560 --> 1:12:58.479
<v Speaker 4>they still look cute, Like we don't care about what

1:12:58.520 --> 1:13:00.360
<v Speaker 4>our hair and or whatever, but they still look cute

1:13:00.360 --> 1:13:04.800
<v Speaker 4>before and after the whole like a press out press

1:13:05.160 --> 1:13:06.559
<v Speaker 4>not press out.

1:13:08.439 --> 1:13:10.880
<v Speaker 2>You all know what the press out is, right, Stephen, No,

1:13:11.560 --> 1:13:14.040
<v Speaker 2>I mean it's it's a hair What you need Steve

1:13:14.080 --> 1:13:15.479
<v Speaker 2>it's what Steve looks like right now.

1:13:16.040 --> 1:13:22.720
<v Speaker 7>He needs is the Is the Lindy Hop related to

1:13:22.800 --> 1:13:26.599
<v Speaker 7>the Lindy Yeah, the same thing.

1:13:26.880 --> 1:13:33.960
<v Speaker 5>Yes, is Lindy Lindy jitle Bug.

1:13:34.320 --> 1:13:38.320
<v Speaker 4>Swing in the same family. But Lindy Hop is like

1:13:38.720 --> 1:13:41.920
<v Speaker 4>something you would see literally at the Cotton Club and all.

1:13:41.800 --> 1:13:44.120
<v Speaker 2>These just you know, what was the woman that Brady

1:13:44.120 --> 1:13:47.360
<v Speaker 2>Bunch did the Charleston? Was that a dance? Hilarious?

1:13:47.400 --> 1:13:47.719
<v Speaker 4>Steve?

1:13:48.280 --> 1:13:54.640
<v Speaker 2>Why do I only know that reference? Remember that episode?

1:13:55.840 --> 1:13:58.920
<v Speaker 4>Put the hands on the knees crossing over right in

1:13:58.960 --> 1:14:00.400
<v Speaker 4>the back at the back of front Carls.

1:14:04.360 --> 1:14:06.920
<v Speaker 6>Yeah, yeah, wow, before she go, can you tell us

1:14:06.960 --> 1:14:09.360
<v Speaker 6>about your dance documentary? Because I used to want to

1:14:09.360 --> 1:14:11.559
<v Speaker 6>be a dancer, but then I grew the breast, so

1:14:11.800 --> 1:14:13.160
<v Speaker 6>I am so into it.

1:14:13.280 --> 1:14:15.000
<v Speaker 3>And did you ever get your Debbie Allen moment?

1:14:15.880 --> 1:14:18.000
<v Speaker 4>I'm trump stalking de Wie Allen now to try and

1:14:18.000 --> 1:14:20.599
<v Speaker 4>get these interviews. This damn COVID has been a pain

1:14:20.760 --> 1:14:24.320
<v Speaker 4>in the ass. Man. He's a cock blocker. It's a production.

1:14:26.160 --> 1:14:27.720
<v Speaker 6>I don't know about being a cock blocker. You had

1:14:27.760 --> 1:14:29.360
<v Speaker 6>to have that pre COVID so you can lock that up.

1:14:30.720 --> 1:14:36.599
<v Speaker 4>But it's about uh, trust me, you know, I had

1:14:36.600 --> 1:14:39.240
<v Speaker 4>the clean house before then, unfortunately, and that's all I'm

1:14:39.240 --> 1:14:40.320
<v Speaker 4>open to talk about that too.

1:14:40.760 --> 1:14:42.800
<v Speaker 5>Uh yeah, you had the clean house like you got

1:14:42.840 --> 1:14:43.360
<v Speaker 5>rid all.

1:14:43.320 --> 1:14:47.639
<v Speaker 4>Like seventeen years and we broke up before the pandemic

1:14:47.640 --> 1:14:50.639
<v Speaker 4>and stuff like, oh, col you're fifteen. I found out

1:14:50.640 --> 1:14:52.799
<v Speaker 4>he had been having an affair with one of Usher's

1:14:52.840 --> 1:14:55.880
<v Speaker 4>dances for two years. We're trying to work stuff out.

1:14:55.920 --> 1:14:57.479
<v Speaker 4>I found out there was another chick who had been

1:14:57.520 --> 1:15:00.280
<v Speaker 4>around for eight years, and so in order for not

1:15:00.320 --> 1:15:02.560
<v Speaker 4>to get my remy ma on or end up in

1:15:02.600 --> 1:15:05.000
<v Speaker 4>an orange jumpsuit, I had to put them motherfucker out.

1:15:05.479 --> 1:15:08.160
<v Speaker 5>So, oh, he was living y'all were living together at

1:15:08.200 --> 1:15:08.519
<v Speaker 5>the time.

1:15:11.680 --> 1:15:14.280
<v Speaker 4>Day one. People always like, how do you not know?

1:15:14.439 --> 1:15:16.439
<v Speaker 4>I mean, granted, I'm a chick on tour and I've

1:15:16.479 --> 1:15:20.439
<v Speaker 4>seen multiple affairs and stuff happen, right, but this is

1:15:20.439 --> 1:15:23.439
<v Speaker 4>somebody who really, other than being on tour, never went out.

1:15:23.560 --> 1:15:25.479
<v Speaker 4>We had a studio in the back or whatever. But

1:15:25.520 --> 1:15:28.680
<v Speaker 4>the whole all the relationships were the chicky met in

1:15:28.680 --> 1:15:32.160
<v Speaker 4>Australia like this on zoom or FaceTime or whatever and

1:15:32.280 --> 1:15:36.559
<v Speaker 4>masturbation sessions. And you say not physical on time, Well no,

1:15:36.640 --> 1:15:39.200
<v Speaker 4>they were physical because us was dancing. Only lived a

1:15:39.240 --> 1:15:41.320
<v Speaker 4>couple of blocks away, and so whenever I had to

1:15:41.320 --> 1:15:43.960
<v Speaker 4>go out of town or whatever, they would hook up. Well,

1:15:43.960 --> 1:15:45.720
<v Speaker 4>the whole time that they were on the road and

1:15:45.800 --> 1:15:48.240
<v Speaker 4>I couldn't get out to the cities, you know, they

1:15:48.280 --> 1:15:51.679
<v Speaker 4>were hooking up. So and when you with somebody who

1:15:51.800 --> 1:15:53.960
<v Speaker 4>you can call at four o'clock in Morocco and be

1:15:54.040 --> 1:15:56.760
<v Speaker 4>on the phone or facetiming and see everybody in the room,

1:15:57.080 --> 1:15:58.760
<v Speaker 4>you don't realize the other chick might be on the

1:15:58.760 --> 1:16:00.519
<v Speaker 4>other side of the computer or he'll be like, go

1:16:00.520 --> 1:16:04.240
<v Speaker 4>to your room. I'll call you and right person saying

1:16:04.280 --> 1:16:06.360
<v Speaker 4>I love you. You mean my world to me. We're

1:16:06.360 --> 1:16:08.439
<v Speaker 4>trying to have a family, all these things in your

1:16:08.479 --> 1:16:12.080
<v Speaker 4>face and then doing all this other stuff over here.

1:16:13.000 --> 1:16:16.080
<v Speaker 3>So girl, why would you still doing why are you.

1:16:18.600 --> 1:16:18.840
<v Speaker 8>All this?

1:16:19.120 --> 1:16:19.280
<v Speaker 2>Wait?

1:16:19.320 --> 1:16:21.400
<v Speaker 6>Seriously, though, less I wonder it's about me and my

1:16:21.479 --> 1:16:24.720
<v Speaker 6>great my my music industry, cistern. Why do we dip

1:16:24.760 --> 1:16:27.360
<v Speaker 6>and dive in our in our ponds, Like why don't

1:16:27.400 --> 1:16:30.920
<v Speaker 6>you're Yes, you.

1:16:30.240 --> 1:16:31.120
<v Speaker 3>You're just children.

1:16:31.120 --> 1:16:34.160
<v Speaker 6>You're just children at the very at the very least

1:16:34.240 --> 1:16:35.400
<v Speaker 6>on a good day, your children.

1:16:35.560 --> 1:16:36.320
<v Speaker 3>You know what I'm saying.

1:16:37.479 --> 1:16:41.160
<v Speaker 6>Okay, So, and I'm curious for a grown as woman

1:16:41.200 --> 1:16:43.320
<v Speaker 6>like Les. I'm like, so it's time to get a

1:16:43.360 --> 1:16:47.880
<v Speaker 6>contractor accountant. Uh I mind you, I said to all.

1:16:48.920 --> 1:16:50.719
<v Speaker 6>I'm in the social services myself.

1:16:51.160 --> 1:16:54.280
<v Speaker 4>Oh see, I've dated all kinds of guys. It doesn't

1:16:54.280 --> 1:16:56.040
<v Speaker 4>matter man's going she if he wants to cheat, right,

1:16:56.920 --> 1:16:58.679
<v Speaker 4>They have that fear of missing out. And it doesn't

1:16:58.680 --> 1:17:00.759
<v Speaker 4>matter whether you're a rock star and tour and everything's

1:17:00.800 --> 1:17:02.880
<v Speaker 4>easy for you, or if you go into an office

1:17:02.920 --> 1:17:04.479
<v Speaker 4>and the chick who sits in a cubicle next to

1:17:04.520 --> 1:17:06.400
<v Speaker 4>you is throw a pussy at you. It doesn't matter

1:17:06.680 --> 1:17:09.160
<v Speaker 4>if that. You know, John Sally said to me, the

1:17:09.160 --> 1:17:11.320
<v Speaker 4>best pussy is new pussy. And that's why men cheat.

1:17:11.720 --> 1:17:14.200
<v Speaker 4>And men get curious or the minute that you know

1:17:14.400 --> 1:17:16.880
<v Speaker 4>they feel like you're not giving them the attention, or

1:17:16.880 --> 1:17:19.439
<v Speaker 4>they get more attention over there, or they're having a

1:17:19.479 --> 1:17:21.639
<v Speaker 4>mid life crisis, or their ego needs to be fed

1:17:21.720 --> 1:17:25.200
<v Speaker 4>or whatever is. You know, they're gonna my men.

1:17:26.360 --> 1:17:29.799
<v Speaker 5>And I'm not saying, I'm just I'm listening to y'all talk.

1:17:29.920 --> 1:17:30.640
<v Speaker 3>But not to stay that.

1:17:30.720 --> 1:17:33.080
<v Speaker 4>Women don't cheat either. I have some girls who are

1:17:33.160 --> 1:17:35.400
<v Speaker 4>cheatings too, who are married and cheating on their husbands

1:17:35.400 --> 1:17:37.200
<v Speaker 4>and whatever that is. And I'm just like, why when

1:17:37.240 --> 1:17:39.519
<v Speaker 4>you can have a conversation and you don't have to

1:17:39.520 --> 1:17:41.560
<v Speaker 4>be married, you don't have to be in a relationship.

1:17:41.680 --> 1:17:43.360
<v Speaker 4>You can decide to be single for the rest of

1:17:43.360 --> 1:17:45.519
<v Speaker 4>your life and have as many women as you want,

1:17:45.880 --> 1:17:47.439
<v Speaker 4>and even choose the one you want to have a

1:17:47.520 --> 1:17:49.400
<v Speaker 4>kid with. You can choose the one you want to

1:17:49.400 --> 1:17:51.120
<v Speaker 4>stay over four days a week. Like, you can have

1:17:51.240 --> 1:17:54.000
<v Speaker 4>those conversations and live the life you want. You don't

1:17:54.000 --> 1:17:55.600
<v Speaker 4>have to be like this is us, this is me.

1:17:55.800 --> 1:17:58.679
<v Speaker 4>Like year three, we had done our life insurance policy,

1:17:58.720 --> 1:18:01.000
<v Speaker 4>our living trust, we had on our wheels, our health

1:18:01.040 --> 1:18:04.120
<v Speaker 4>prop all this stuff except for being officially married. We

1:18:04.120 --> 1:18:06.360
<v Speaker 4>were trying to have a family together. Why are you

1:18:06.360 --> 1:18:08.400
<v Speaker 4>still trying to have a family with me if you're unhappy?

1:18:08.720 --> 1:18:10.680
<v Speaker 4>And then I find out about the affair and you're

1:18:10.680 --> 1:18:13.320
<v Speaker 4>begging not to end it, So obviously you're not that unhappy.

1:18:13.439 --> 1:18:16.679
<v Speaker 4>You just wanted a little taste. He had a little taste,

1:18:17.320 --> 1:18:18.160
<v Speaker 4>So we don't need to be.

1:18:18.120 --> 1:18:21.080
<v Speaker 5>Together, and you just found out at the end, like

1:18:21.120 --> 1:18:23.519
<v Speaker 5>this is recent, like before came the end.

1:18:24.160 --> 1:18:26.479
<v Speaker 4>Yeah, it became the end year like I said, And

1:18:26.520 --> 1:18:29.559
<v Speaker 4>I'm not one who's very forgiving. I'm usually very light up.

1:18:30.000 --> 1:18:32.360
<v Speaker 4>And so when I found out you were a year

1:18:32.439 --> 1:18:36.959
<v Speaker 4>fifteen and a half together, and literally I'm not a snooper,

1:18:37.439 --> 1:18:39.760
<v Speaker 4>none of that. He says something that made me just

1:18:39.800 --> 1:18:43.320
<v Speaker 4>be like, wait what. And I looked at one thing

1:18:43.680 --> 1:18:46.360
<v Speaker 4>and then everything unround. God puts everything in your face.

1:18:46.360 --> 1:18:50.360
<v Speaker 4>And I had named addresses, emails, text messages, receipts, all

1:18:50.400 --> 1:18:54.280
<v Speaker 4>of that stuff. So I talked to like twelve different people,

1:18:54.439 --> 1:18:57.200
<v Speaker 4>couples who were married. Eleven of the twelve were like,

1:18:57.640 --> 1:19:00.800
<v Speaker 4>go to therapy, try and find forgive this. See what

1:19:00.800 --> 1:19:03.679
<v Speaker 4>that looks like for you. Give it another shot. Four

1:19:03.720 --> 1:19:05.760
<v Speaker 4>months in I find out about the chick who've been

1:19:05.760 --> 1:19:10.479
<v Speaker 4>around for eight years in Australia. We're not talking one

1:19:10.560 --> 1:19:13.960
<v Speaker 4>night's stance. We're talking relationships. We're talking emotional connections. We're

1:19:14.000 --> 1:19:17.360
<v Speaker 4>talking emails, we're talking gifts. We're talking you're putting money,

1:19:17.360 --> 1:19:20.400
<v Speaker 4>taking money out of our household into their household. We're

1:19:20.400 --> 1:19:22.679
<v Speaker 4>talking you have an unprotected sex and now you're putting

1:19:22.680 --> 1:19:25.000
<v Speaker 4>my health at risk. And if I had made a

1:19:25.000 --> 1:19:26.680
<v Speaker 4>phone call or if I was that chick on an

1:19:26.680 --> 1:19:27.840
<v Speaker 4>episode of Snaps.

1:19:27.600 --> 1:19:31.160
<v Speaker 3>I was about we're talking where your girls at.

1:19:32.280 --> 1:19:35.000
<v Speaker 4>It got to a point where once I put him

1:19:35.000 --> 1:19:40.000
<v Speaker 4>out and California does not have uh oh my god,

1:19:40.200 --> 1:19:40.840
<v Speaker 4>what do you call it?

1:19:41.520 --> 1:19:41.960
<v Speaker 5>Property?

1:19:42.520 --> 1:19:45.080
<v Speaker 3>Not that common law?

1:19:45.560 --> 1:19:50.479
<v Speaker 4>Common law doesn't exist, hasn't existed since like the I

1:19:50.560 --> 1:19:53.160
<v Speaker 4>knew that, and all the properties were mine, and so

1:19:53.280 --> 1:19:55.760
<v Speaker 4>I realized I did have a case. You can't just

1:19:56.560 --> 1:19:59.240
<v Speaker 4>treat somebody like that, put their health at risk, make

1:19:59.320 --> 1:20:02.160
<v Speaker 4>promises to the so that now I'm pulling myself out

1:20:02.160 --> 1:20:04.920
<v Speaker 4>for you and instead of I could have had a

1:20:04.920 --> 1:20:06.400
<v Speaker 4>whole family with somebody else.

1:20:06.240 --> 1:20:08.120
<v Speaker 6>So they don't know about our time. They don't know

1:20:08.160 --> 1:20:10.519
<v Speaker 6>how precious our time is. I don't know why these.

1:20:10.400 --> 1:20:13.240
<v Speaker 3>Motherfuckers keep playing with our time. Life is not even

1:20:13.280 --> 1:20:15.120
<v Speaker 3>I'm sorry.

1:20:14.400 --> 1:20:19.000
<v Speaker 4>But to empower women have options. And before I recognizing

1:20:19.080 --> 1:20:21.280
<v Speaker 4>that that you can't do that to other people. So

1:20:21.400 --> 1:20:23.600
<v Speaker 4>him putting my risk and you know, thank god I

1:20:23.600 --> 1:20:25.640
<v Speaker 4>didn't catch anything, because you're really talking to me in

1:20:25.720 --> 1:20:29.519
<v Speaker 4>orange jumpsuit. But that happened, or the fact that you

1:20:29.560 --> 1:20:32.080
<v Speaker 4>know you wasted my time or made promises, it came

1:20:32.120 --> 1:20:34.599
<v Speaker 4>with a price, and there's not any amount of money

1:20:34.640 --> 1:20:36.680
<v Speaker 4>that's going to get my time back, from my fertility back,

1:20:36.760 --> 1:20:39.800
<v Speaker 4>None of that but I guarantee you every time that ship,

1:20:39.920 --> 1:20:43.560
<v Speaker 4>that check shows up, it shows how expensive that extracurricular

1:20:43.600 --> 1:20:44.519
<v Speaker 4>pussy was for him.

1:20:44.960 --> 1:20:49.200
<v Speaker 5>So y'all him, he has to pay you.

1:20:51.240 --> 1:20:53.479
<v Speaker 4>I can only say the word settlement, but absent fucking

1:20:53.520 --> 1:20:57.720
<v Speaker 4>movement on my tears. I had to remind you I was.

1:20:57.840 --> 1:20:59.519
<v Speaker 4>I have to remind myself that my cake was in

1:20:59.560 --> 1:21:02.120
<v Speaker 4>the back, like I'm a New York too. Wait a minute,

1:21:02.120 --> 1:21:03.320
<v Speaker 4>what just happened?

1:21:03.960 --> 1:21:04.559
<v Speaker 2>Haig? Enough?

1:21:04.920 --> 1:21:07.240
<v Speaker 3>My time is money. My time is money.

1:21:08.080 --> 1:21:10.680
<v Speaker 4>So to all you out there, you better teach your

1:21:10.720 --> 1:21:13.599
<v Speaker 4>daughters they don't have to stand for no bullshit. Teach

1:21:13.680 --> 1:21:15.680
<v Speaker 4>your sons that they don't have to be in a

1:21:15.720 --> 1:21:19.120
<v Speaker 4>relationship that doesn't have an explanation of terms about what

1:21:19.160 --> 1:21:22.680
<v Speaker 4>it is you want. Because people, you don't have to

1:21:22.760 --> 1:21:25.599
<v Speaker 4>be married. We don't have to live together. I can agree,

1:21:25.640 --> 1:21:27.040
<v Speaker 4>or you can be with somebody else, And all you

1:21:27.080 --> 1:21:29.240
<v Speaker 4>have to do is say three words, I'm not happy,

1:21:29.479 --> 1:21:33.559
<v Speaker 4>this ain't working. I want out right. Not all these

1:21:33.680 --> 1:21:37.320
<v Speaker 4>years of all this extra curricular stuff. That was devastating,

1:21:37.520 --> 1:21:40.160
<v Speaker 4>absolutely devastating to me. I've never been so broken in

1:21:40.200 --> 1:21:41.880
<v Speaker 4>my life. You know, to the point where you have

1:21:42.000 --> 1:21:44.360
<v Speaker 4>to like go to therapy to talk to someone because

1:21:44.400 --> 1:21:46.200
<v Speaker 4>you're tired of talking to your friends and every time

1:21:46.200 --> 1:21:48.280
<v Speaker 4>you come around and you're like, oh, here you come again.

1:21:50.520 --> 1:21:53.040
<v Speaker 4>At all that thoughts that you don't even recognize who

1:21:53.040 --> 1:21:56.040
<v Speaker 4>you are because this person that you trust, right, if

1:21:56.040 --> 1:21:58.760
<v Speaker 4>it's somebody you don't know, you're not that devastated by

1:21:58.800 --> 1:22:01.160
<v Speaker 4>the disappointment or the broken It's the people that are

1:22:01.200 --> 1:22:03.800
<v Speaker 4>closest to you, that you trust with your life, that

1:22:03.840 --> 1:22:05.120
<v Speaker 4>devastate you and betray you.

1:22:05.360 --> 1:22:06.640
<v Speaker 3>And that's a long time.

1:22:07.200 --> 1:22:10.800
<v Speaker 4>Absolutely, I would have given this to the kidney, and

1:22:10.840 --> 1:22:12.720
<v Speaker 4>I think and our families were so close to the

1:22:12.720 --> 1:22:14.679
<v Speaker 4>point where my mom would fly to Texas and stay

1:22:14.720 --> 1:22:16.760
<v Speaker 4>with his mom or he, you know, say fly to

1:22:16.800 --> 1:22:19.599
<v Speaker 4>New York or whatever. So you're breaking up families. I

1:22:19.640 --> 1:22:23.760
<v Speaker 4>was the sisters, the godmother of his niece. You know,

1:22:23.880 --> 1:22:26.439
<v Speaker 4>I can't talk to them anymore of the you know,

1:22:26.560 --> 1:22:30.439
<v Speaker 4>all this stuff. My mother is his sister's son, all

1:22:30.479 --> 1:22:35.880
<v Speaker 4>of that. So because you wanted some extra pussy.

1:22:35.080 --> 1:22:37.000
<v Speaker 5>When you talk about the settlement, I know you can't

1:22:37.000 --> 1:22:39.000
<v Speaker 5>say we talk about the settlement, what was it on

1:22:39.120 --> 1:22:41.280
<v Speaker 5>the grounds of the.

1:22:41.240 --> 1:22:47.800
<v Speaker 4>Grounds of the fact that he put my health at risk.

1:22:48.240 --> 1:22:51.880
<v Speaker 4>I'm speaking out of not legal terms, but there's the term,

1:22:51.960 --> 1:22:57.000
<v Speaker 4>but putting my health at risk for making promises for

1:22:58.600 --> 1:23:01.479
<v Speaker 4>uh he met, I was able to prove that he

1:23:01.520 --> 1:23:04.400
<v Speaker 4>had promised to take care of me. We're in this relationship,

1:23:04.400 --> 1:23:08.080
<v Speaker 4>blah blah blah, financial contributions and all that other stuff. Yeah,

1:23:08.080 --> 1:23:10.880
<v Speaker 4>there were a lot of grounds that he had to

1:23:10.920 --> 1:23:14.519
<v Speaker 4>be held accountable for. That is, I couldn't mention the affairs.

1:23:14.520 --> 1:23:17.360
<v Speaker 4>So it wasn't even about the affairs. It was about

1:23:17.720 --> 1:23:20.760
<v Speaker 4>the only thing in which the affair maybe played a

1:23:20.800 --> 1:23:22.920
<v Speaker 4>part in was because my health was a thing that

1:23:23.000 --> 1:23:27.320
<v Speaker 4>he had intentional intention to harm. I think it's what

1:23:27.360 --> 1:23:30.120
<v Speaker 4>it's called or something like that. But the affairs had

1:23:30.160 --> 1:23:31.640
<v Speaker 4>no play in it. And it had to be that

1:23:31.720 --> 1:23:34.880
<v Speaker 4>because we were living as husband and wife for seventeen years,

1:23:35.120 --> 1:23:36.240
<v Speaker 4>that there's a price on it.

1:23:36.439 --> 1:23:36.599
<v Speaker 2>Now.

1:23:36.640 --> 1:23:39.479
<v Speaker 4>Had we been married in California for like ten years

1:23:39.479 --> 1:23:41.599
<v Speaker 4>and he automatically would have had to pay five years.

1:23:41.840 --> 1:23:44.759
<v Speaker 4>If we were married, say nine years and eleven months,

1:23:44.920 --> 1:23:47.960
<v Speaker 4>then the price is negotiable. I fall under even with

1:23:48.000 --> 1:23:50.400
<v Speaker 4>the promises that I was able to prove, you know,

1:23:50.560 --> 1:23:52.040
<v Speaker 4>him taking care of me and the life that we're

1:23:52.040 --> 1:23:53.400
<v Speaker 4>going to lead and that we were starting to have

1:23:53.400 --> 1:23:56.280
<v Speaker 4>a family and doing all this other stuff, I fall

1:23:56.360 --> 1:24:01.080
<v Speaker 4>under the negotiation whatever, and so he opted for mediation,

1:24:01.640 --> 1:24:04.600
<v Speaker 4>and that's what happened. But there's a lawyer.

1:24:04.720 --> 1:24:09.200
<v Speaker 6>Yeah, it's a class.

1:24:09.240 --> 1:24:10.880
<v Speaker 3>At the least it's it's a class. I'm there.

1:24:11.680 --> 1:24:14.639
<v Speaker 4>I literally started to google stuff, and I knew because

1:24:14.960 --> 1:24:17.559
<v Speaker 4>like I've always done my paperwork, my mother always said,

1:24:17.720 --> 1:24:20.240
<v Speaker 4>if you have kids, or if you own property, make

1:24:20.320 --> 1:24:22.400
<v Speaker 4>sure your trust and your will are done so that

1:24:22.439 --> 1:24:24.800
<v Speaker 4>you never have to deal with it again. Even when

1:24:24.840 --> 1:24:27.479
<v Speaker 4>I bought my first property in nineteen ninety one or

1:24:27.479 --> 1:24:29.639
<v Speaker 4>whatever it was, I made sure that it was taken

1:24:29.680 --> 1:24:31.960
<v Speaker 4>care of in a trust. So then I bought a house.

1:24:32.080 --> 1:24:35.639
<v Speaker 4>He moved into both properties with me. I was smart enough,

1:24:35.800 --> 1:24:39.360
<v Speaker 4>even though I included him as beneficiary on certain things,

1:24:39.840 --> 1:24:43.000
<v Speaker 4>to sign something that said, even with the equity, that

1:24:43.040 --> 1:24:45.040
<v Speaker 4>he couldn't gain anything because he tried to come after

1:24:45.080 --> 1:24:48.679
<v Speaker 4>my property. But being a smart street, smart look smart chick,

1:24:49.080 --> 1:24:52.840
<v Speaker 4>he couldn't kid so. But yeah, I literally just was

1:24:52.880 --> 1:24:55.040
<v Speaker 4>googling some stuff. And then when I realized that there

1:24:55.080 --> 1:24:57.880
<v Speaker 4>was no common law in California, but I actually had

1:24:58.040 --> 1:25:00.519
<v Speaker 4>other rights, and that there's something that's called the Marvin

1:25:00.600 --> 1:25:03.320
<v Speaker 4>claim or a case that was called Marvin versus Marvin.

1:25:03.640 --> 1:25:06.599
<v Speaker 4>Where you live with someone now they have like cohabitation laws,

1:25:06.640 --> 1:25:09.040
<v Speaker 4>but where you live with someone under the guise of

1:25:09.160 --> 1:25:12.000
<v Speaker 4>being a family and being supported in that way. And

1:25:12.040 --> 1:25:14.000
<v Speaker 4>you can prove it whether I didn't have to quit

1:25:14.000 --> 1:25:16.080
<v Speaker 4>a job just to say I'm helping him with his business,

1:25:16.160 --> 1:25:19.080
<v Speaker 4>but clearly I did along the way. There's a price

1:25:19.120 --> 1:25:23.480
<v Speaker 4>that needs to be paid for that. So women have rights.

1:25:23.720 --> 1:25:26.160
<v Speaker 4>And I'll just say this to you guys again, Like

1:25:26.200 --> 1:25:28.680
<v Speaker 4>I said, you don't have to enter the women out

1:25:28.720 --> 1:25:30.960
<v Speaker 4>there who are cheating. You can have a relationship where

1:25:30.960 --> 1:25:33.000
<v Speaker 4>you can have twenty partners and nobody has to get

1:25:33.040 --> 1:25:35.519
<v Speaker 4>hurt and everybody's agreeable. You know, you want to be

1:25:35.600 --> 1:25:37.360
<v Speaker 4>married and she and just be like, I'm not happy,

1:25:37.400 --> 1:25:39.200
<v Speaker 4>that's what it is, and get out. But you don't

1:25:39.200 --> 1:25:41.520
<v Speaker 4>have to cause all that damage and all that wreckage

1:25:41.760 --> 1:25:44.040
<v Speaker 4>and all that be trust or put somebody's health at risk.

1:25:44.360 --> 1:25:47.120
<v Speaker 4>For all of that and all the women who don't

1:25:47.120 --> 1:25:49.000
<v Speaker 4>know what to do, get yourself a lawyer and do

1:25:49.040 --> 1:25:49.720
<v Speaker 4>what you need to do.

1:25:51.160 --> 1:25:52.679
<v Speaker 2>I'm glad you learned this lesson.

1:25:52.720 --> 1:26:00.120
<v Speaker 5>Before March, I couldn't imagine being quarantine with somebody like that.

1:26:00.120 --> 1:26:04.200
<v Speaker 2>The most pregnancy and the most breakups I've ever seen

1:26:04.479 --> 1:26:09.120
<v Speaker 2>in my Like, yeah, shit, I'm lucky with crazy because

1:26:09.120 --> 1:26:11.080
<v Speaker 2>everyone else is falling. By the ways.

1:26:13.680 --> 1:26:16.760
<v Speaker 4>That the divorce rates have like tripled during this porn

1:26:17.040 --> 1:26:19.920
<v Speaker 4>right because you're either with either you're romanticizing the fact

1:26:19.920 --> 1:26:22.280
<v Speaker 4>that you're in this COVID or you're with somebody that

1:26:22.320 --> 1:26:24.160
<v Speaker 4>you didn't really want to be with anyway. And you

1:26:24.200 --> 1:26:26.200
<v Speaker 4>guys were on the verge and people now are just

1:26:26.240 --> 1:26:28.320
<v Speaker 4>like fuck it, they're filing between the kids and this

1:26:28.400 --> 1:26:31.599
<v Speaker 4>and that or whatever, you know. So I'm like, even

1:26:31.640 --> 1:26:33.840
<v Speaker 4>in my book and all that other stuff I'm working on,

1:26:33.880 --> 1:26:36.320
<v Speaker 4>I'll be very open about the details about how I

1:26:36.400 --> 1:26:39.439
<v Speaker 4>found out what happened. I mean, it's crazy because every

1:26:39.479 --> 1:26:41.680
<v Speaker 4>people who know don't want to say anything, and then

1:26:41.720 --> 1:26:45.160
<v Speaker 4>once they find out that you know, people start talking.

1:26:45.280 --> 1:26:48.920
<v Speaker 4>So even his friends start whatever. But I don't know

1:26:48.960 --> 1:26:51.679
<v Speaker 4>how I became like super sloop and things just start

1:26:51.680 --> 1:26:53.960
<v Speaker 4>falling in your lap or you start paying attention because

1:26:54.000 --> 1:26:56.280
<v Speaker 4>when you're with somebody you trust, you don't feel like

1:26:56.320 --> 1:26:58.880
<v Speaker 4>you have to look at anything else, so you're just

1:26:58.960 --> 1:27:01.080
<v Speaker 4>kind of this business is you. And then when you

1:27:01.200 --> 1:27:05.360
<v Speaker 4>start remembering when such and such happened, or the day

1:27:05.400 --> 1:27:07.519
<v Speaker 4>that he said he was going to the studio, and

1:27:07.560 --> 1:27:09.160
<v Speaker 4>I'm like, why you got on so much cologne? All

1:27:09.200 --> 1:27:09.960
<v Speaker 4>the bottles built?

1:27:10.320 --> 1:27:18.320
<v Speaker 3>Wait but that night.

1:27:18.400 --> 1:27:20.680
<v Speaker 4>But I didn't think twice about you know what I mean?

1:27:21.080 --> 1:27:23.840
<v Speaker 4>So yeah, But the documentary, as you asked me about,

1:27:23.960 --> 1:27:27.519
<v Speaker 4>is about the women of nineties hip hop dancing, because

1:27:27.720 --> 1:27:30.120
<v Speaker 4>we always hear about the rock Steady Crew, Like I

1:27:30.160 --> 1:27:32.320
<v Speaker 4>even had a conversation with rock people Cannon of the

1:27:32.400 --> 1:27:34.840
<v Speaker 4>hip Hop Mujam, and all they always talk about is

1:27:34.920 --> 1:27:36.760
<v Speaker 4>just the guys or the rock Steady Crew, who I

1:27:36.800 --> 1:27:39.120
<v Speaker 4>love crazy legs and was like, those are my guys.

1:27:39.320 --> 1:27:41.280
<v Speaker 4>But I'm like, you're forgetting about the whole Golden era.

1:27:41.360 --> 1:27:44.840
<v Speaker 4>You forget about what these women have contributed to, these

1:27:44.920 --> 1:27:47.280
<v Speaker 4>visuals that are art, like give us our love.

1:27:47.360 --> 1:27:49.559
<v Speaker 3>So I wanted y'all to slow down that Don't Rush video.

1:27:49.600 --> 1:27:52.960
<v Speaker 6>I was like, wait, that's who that's my girlfriend D'Angelo video.

1:27:52.960 --> 1:27:56.719
<v Speaker 4>That's oh oh wait, Yeah, that was a nice place.

1:27:57.000 --> 1:27:59.360
<v Speaker 4>I'm in a place now. I can't talk to John Singleton.

1:27:59.680 --> 1:28:02.000
<v Speaker 4>I can't I talked to Heavy Bee, I can't hook

1:28:02.040 --> 1:28:04.720
<v Speaker 4>to Michael. I can't talk to Whitney. I can't talk

1:28:04.760 --> 1:28:08.519
<v Speaker 4>to Andre herrel to get these stories told. These are

1:28:08.520 --> 1:28:11.920
<v Speaker 4>some of the most iconic pieces of work, you know,

1:28:12.160 --> 1:28:14.360
<v Speaker 4>less to talk about. And Andre and I had literally

1:28:14.360 --> 1:28:18.400
<v Speaker 4>had scheduled, you know, getting on camera and stuff, and

1:28:18.720 --> 1:28:21.040
<v Speaker 4>you know this happened. You know, I just thank god

1:28:21.120 --> 1:28:23.040
<v Speaker 4>interview with Teddy Riley and stuff. I got to get

1:28:23.040 --> 1:28:24.720
<v Speaker 4>my mom on camera, you know what I mean, Like,

1:28:24.800 --> 1:28:27.000
<v Speaker 4>these stories have to be told. And I'm sure the

1:28:27.040 --> 1:28:29.080
<v Speaker 4>same for you, Puss, Like all these people you've worked

1:28:29.080 --> 1:28:31.960
<v Speaker 4>for and everyone else you've crosspath with all these people

1:28:32.400 --> 1:28:35.559
<v Speaker 4>and part of your history and your legacy, and you

1:28:35.600 --> 1:28:38.000
<v Speaker 4>want to get the best version of you know, the

1:28:38.080 --> 1:28:40.639
<v Speaker 4>things that you imagine or didn't even imagine for yourself

1:28:40.680 --> 1:28:42.840
<v Speaker 4>as an eight year old kid. And here you are

1:28:42.880 --> 1:28:45.200
<v Speaker 4>at the highest level or at these experiences, whether they

1:28:45.240 --> 1:28:47.360
<v Speaker 4>come back around and not, and you want to be

1:28:47.400 --> 1:28:49.760
<v Speaker 4>able to let hear what these people thought about you,

1:28:49.880 --> 1:28:51.640
<v Speaker 4>or why they hired you, or what it is you

1:28:51.720 --> 1:28:54.200
<v Speaker 4>brought to the table, and you can't and how you

1:28:54.320 --> 1:28:55.639
<v Speaker 4>created damn.

1:28:57.479 --> 1:28:57.519
<v Speaker 5>You.

1:28:58.200 --> 1:29:00.479
<v Speaker 4>I don't think any of us went into it with

1:29:00.560 --> 1:29:03.320
<v Speaker 4>an intention other than to do what we love, you know,

1:29:03.720 --> 1:29:06.880
<v Speaker 4>And I'm glad it's resonated, so.

1:29:08.360 --> 1:29:11.680
<v Speaker 2>Wow wow, Well, thank you for sharing your story with us.

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<v Speaker 5>Les Yeah, thank you for real and thank you you

1:29:14.520 --> 1:29:16.360
<v Speaker 5>were as a latch told about being a latch ski

1:29:16.439 --> 1:29:18.439
<v Speaker 5>kid in New York. I was a latchkey kid in

1:29:18.479 --> 1:29:21.800
<v Speaker 5>North Carolina in Greensboro, and I used to come home

1:29:21.840 --> 1:29:24.880
<v Speaker 5>every day and I would watch Rap City and you

1:29:24.960 --> 1:29:30.960
<v Speaker 5>were my babysitter for like two years. So much love

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<v Speaker 5>and appreciation for all you've done.

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<v Speaker 2>Seriously, we thank you for being our babysitter, big Less. Everybody, hey,

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<v Speaker 2>and thank you.

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<v Speaker 6>For redefining a woman. Thank you for redefining woman image

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<v Speaker 6>of a woman on TV.

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<v Speaker 3>Like that's amazing.

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<v Speaker 5>Yes, yes, Like even when they was like that name

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<v Speaker 5>big les I mean because in the South, I'm like,

1:29:47.960 --> 1:29:50.240
<v Speaker 5>she ain't big. I can show you, I can show

1:29:50.280 --> 1:29:52.799
<v Speaker 5>you big. You want to see big, she ain't big.

1:29:53.479 --> 1:29:56.240
<v Speaker 4>But because it went from being like I see people

1:29:56.280 --> 1:29:59.920
<v Speaker 4>who are like you're not that big, Yeah you're not fantastic,

1:30:00.280 --> 1:30:02.240
<v Speaker 4>or people are like she must be a lesbian because

1:30:02.240 --> 1:30:06.479
<v Speaker 4>of Less, I'm like I heard that ship nothing else,

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<v Speaker 4>tim Timothy Dave, David les Leslie. That's it. It's just

1:30:10.479 --> 1:30:12.679
<v Speaker 4>that simple. Otherwise I'd have a book, deal to TV

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<v Speaker 4>show like Ellen, if I please.

1:30:17.880 --> 1:30:19.400
<v Speaker 2>Out there, You'll have it less.

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<v Speaker 3>You are loved, You are loved.

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<v Speaker 5>Just know that you really are real.

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<v Speaker 2>Ladies and gentlemen on behalf of Fonzigelow and I'm Pepe

1:30:27.800 --> 1:30:30.280
<v Speaker 2>Bill and Sugar Steve.

1:30:30.640 --> 1:30:31.439
<v Speaker 1>And like ya.

1:30:31.800 --> 1:30:35.760
<v Speaker 2>Thank you lest Love Supreme. We will see you on

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<v Speaker 2>the next go around.

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<v Speaker 4>Love you guys, West.

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<v Speaker 1>Love Supreme is a production of iHeart Radio.

1:30:50.240 --> 1:30:53.519
<v Speaker 2>For more podcasts from iHeart Radio, visit the iHeart Radio app,

1:30:53.720 --> 1:30:56.759
<v Speaker 2>Apple Podcasts, or wherever you listen to your favorite shows.