WEBVTT - QLS Celebrates Womens History Month Part 3

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<v Speaker 1>Quest Love Supreme is a production of iHeartRadio.

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<v Speaker 2>Welcome back to Quest Love Supreme and we're celebrating Women's

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<v Speaker 2>History Month here in March with some special programming drawn

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<v Speaker 2>from nearly a decade of shows and conversations. And shout

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<v Speaker 2>out to Laya from Team Supreme who always pushed the

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<v Speaker 2>programming to QLs to make sure that there is space

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<v Speaker 2>for these conversations to even happen, especially at times when

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<v Speaker 2>the team was sometimes crowded by guys.

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<v Speaker 3>In the room.

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<v Speaker 1>Yes, we are guilty.

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<v Speaker 2>It's so weird how we take for granted women's roles

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<v Speaker 2>in music and in history. I remember as a child

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<v Speaker 2>oftentimes getting records and legit being shocked. I remember one

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<v Speaker 2>time my aunt was a part of the Columbia Music House.

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<v Speaker 2>Asked your parents about that at Google Columbia Music House

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<v Speaker 2>that was the original Spotify. That's how we got records rapidly.

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<v Speaker 2>And one day we got night Birds by label in

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<v Speaker 2>the package in the mail.

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<v Speaker 1>I believe that was the.

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<v Speaker 2>Very first time that I saw all women on an

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<v Speaker 2>album cover and I kept staring at it, and I

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<v Speaker 2>remember asking my aunt. I was like four years old,

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<v Speaker 2>and night Birds is the LaBelle album that kind of

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<v Speaker 2>like brought them to prominence. Of course, their timeless Lady

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<v Speaker 2>Marmalade was the lead single, that Monster single from that album.

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<v Speaker 2>And I remember asking my aunt, like, are women allowed

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<v Speaker 2>to make music? And you know, it's so weird how

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<v Speaker 2>even at the age of four I had to ask

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<v Speaker 2>that question, but because you know, you just often didn't

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<v Speaker 2>see such a thing, which now you know, after having

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<v Speaker 2>worked on the slo and the Family Stone documentary, I

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<v Speaker 2>see how revolutionary sly Stone was in nineteen sixty seven.

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<v Speaker 2>As far as like ginger pairing is concerned, seeing Cynthia

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<v Speaker 2>Robinson on the trumpet, that's something you just didn't see

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<v Speaker 2>every day, you know, you didn't see those things. I

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<v Speaker 2>remember there was a group called Ecstasy, Passion and Pain

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<v Speaker 2>from Philadelphia and they had a drummer named Cookie and

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<v Speaker 2>they were on Soul Train, and I was like, wow,

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<v Speaker 2>girls are allowed.

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<v Speaker 1>To play drums?

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<v Speaker 2>Like And you know, I lived in a household with

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<v Speaker 2>three women, my aunt, my sister, and my mother, and

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<v Speaker 2>they were constantly, constantly reprogramming me to always give consideration

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<v Speaker 2>to women and to give them their proper do and

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<v Speaker 2>their proper respect. And so that's kind of how it

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<v Speaker 2>starts with me, and you know, as a result, women.

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<v Speaker 1>Were a big part of our creative circle.

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<v Speaker 2>Like you know, if you just look at the first

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<v Speaker 2>movement of jam sessions that we had with Black Lily,

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<v Speaker 2>primarily female led, simply because when that movement started out

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<v Speaker 2>initially as the Roots Jam session, a lot of the

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<v Speaker 2>women that would come would just be huddled up in

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<v Speaker 2>the corner rather, you know, kind of pissed off that

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<v Speaker 2>they're not getting any time on the microphone. Like they

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<v Speaker 2>would sing for like two seconds and then suddenly like

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<v Speaker 2>an MC would come on and.

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<v Speaker 1>Then you know, they just give up and walk away

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<v Speaker 1>in the corner.

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<v Speaker 2>I remember one particular night there's epic battle between Tracy

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<v Speaker 2>and the Jazzy Fat Nasties and Rest in Peace Mum's

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<v Speaker 2>the poet, and they were going at each other and

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<v Speaker 2>Tracy was getting in his ass like like I'm tired

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<v Speaker 2>of y'all hogging up the microphone not giving us our

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<v Speaker 2>say and whatever.

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<v Speaker 1>You know, Richard Nichols is his whole solution. Rich's job

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<v Speaker 1>was always to come with this solution. He didn't break

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<v Speaker 1>up arguments, He just came up with the solution. The

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<v Speaker 1>solution was, Okay, we will now start a female led

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<v Speaker 1>jam session so that women get their say.

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<v Speaker 2>And that's the Black Lily Jam sessions for you.

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<v Speaker 1>So shout out to Tracy for holding it down. This

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<v Speaker 1>is part three.

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<v Speaker 2>Enjoy all right, So we're going to begin with the

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<v Speaker 2>amazing Tracy Ellis Ross. In this clip, she speaks about

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<v Speaker 2>wishing to use the physical life changes that women experience

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<v Speaker 2>to push her towards stand up. This conversation also touches

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<v Speaker 2>on Blackish covering postpartum and how Tracy had a complicated

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<v Speaker 2>relationship being an actress with a very famous mother.

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<v Speaker 1>I really enjoyed this conversation.

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<v Speaker 2>I always tried to imagine what it was like to

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<v Speaker 2>grow up in Los Angeles or Hollywood.

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<v Speaker 1>Assume that you grew up.

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<v Speaker 4>I grew up in New York.

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<v Speaker 5>Really yeah, New York, New York and Europe. So I

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<v Speaker 5>was born here in La I went to the Center,

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<v Speaker 5>and then we moved to New York so my mom

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<v Speaker 5>could do the whiz in seventy nine, and we left

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<v Speaker 5>and started school in New York in seventy.

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<v Speaker 4>Nine and stayed there until seventh grade. And I'm we

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<v Speaker 4>moved to Paris and then Switzerland.

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<v Speaker 5>So I did eighth and ninth grade in Europe, which

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<v Speaker 5>are pivotal years, and then moved back to the East

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<v Speaker 5>Coast and then went to Brown.

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<v Speaker 3>You've got a couple of languages and maybe oh.

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<v Speaker 6>I just forgot all my friendship.

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<v Speaker 5>I have lost most of my vocabulary, but I have

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<v Speaker 5>a strong French accent that can you know, get me

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<v Speaker 5>by and I can speak English with a French accent

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<v Speaker 5>like nobody's business.

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<v Speaker 7>Then you have no idea because you don't know that

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<v Speaker 7>I speak English of conscience doesn't matter because the people

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<v Speaker 7>they wander and don't know how you stay in English

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<v Speaker 7>because the people are their wonder all the time.

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<v Speaker 4>You know how you say, how you say?

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<v Speaker 1>Uh?

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<v Speaker 4>You know?

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<v Speaker 6>Wait, I'm sorry, I mean almos Tracy, Tracy?

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<v Speaker 8>Do you right?

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<v Speaker 5>I do?

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<v Speaker 8>I write so me.

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<v Speaker 3>It's funny because I was just thinking you. I know

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<v Speaker 3>you've done improv. I seen you sketch comedy with the

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<v Speaker 3>lyricists lounge. Of course, You're a funny lady. How come

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<v Speaker 3>and I know your I a stand up? Have you

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<v Speaker 3>ever thought of like just doing.

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<v Speaker 5>I've not done stand up, but I have to tell

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<v Speaker 5>you I mean this.

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<v Speaker 4>I'm forty eight years old.

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<v Speaker 5>At my forty eight, I'm forty eight and I'm going

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<v Speaker 5>through the beginning of some changes, some perimenopause, and I've

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<v Speaker 5>got to tell you that I really get to stand

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<v Speaker 5>up on this ship because I, first of all, it's

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<v Speaker 5>got Did you see the that two second pool video

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<v Speaker 5>I posted?

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<v Speaker 2>Yes, thoughts there, I heard about that fool video.

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<v Speaker 1>It's funny.

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<v Speaker 4>I think it's two seconds. It's two seconds in.

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<v Speaker 6>That videocy Mater you was in a bathing suit. That's

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<v Speaker 6>what I heard. That's all I had in a pool.

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<v Speaker 5>I mean, you know, I have a like it wasn't

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<v Speaker 5>me in a bathing suit in the kitchen.

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<v Speaker 8>Actually in the pool.

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<v Speaker 1>Yeah, I was like, why is this two seconds?

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<v Speaker 6>You should do that?

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<v Speaker 3>Because a female comedian told me that female shouldn't talk

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<v Speaker 3>about female issues, so please do that.

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<v Speaker 6>Why was I.

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<v Speaker 4>Wish more people would talk about it.

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<v Speaker 5>I mean, I don't know about you, but some of

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<v Speaker 5>the sexiest and most admirable women that I look at

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<v Speaker 5>are my age and older. I want to know what's

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<v Speaker 5>happening and it's.

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<v Speaker 6>Still happening, and how it happens and what.

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<v Speaker 5>It is, and like it should be demystified. And I

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<v Speaker 5>don't think it should be scary to men either. I

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<v Speaker 5>think it's it's certainly not the end of my life.

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<v Speaker 5>I am not being pushed out on a canoe out

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<v Speaker 5>into nowhere.

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<v Speaker 4>I'll tell you that right now.

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<v Speaker 5>I as I said before, I am a liberated woman. I

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<v Speaker 5>am out here living my life in all.

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<v Speaker 4>Of its fullness.

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<v Speaker 5>Well yeah, and I think people we should talk about

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<v Speaker 5>it in that way so that we let go of

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<v Speaker 5>the stigma. It's the same thing like on Blackish when

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<v Speaker 5>we did that episode on postpartum depression. Why are we

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<v Speaker 5>not talking about these things when you're siloed off by yourself.

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<v Speaker 5>That's when you feel termally unique and you don't think

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<v Speaker 5>that you can you know, it's just you that's in

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<v Speaker 5>that situation.

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<v Speaker 4>Nah, We're all doing it.

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<v Speaker 5>And by the way, men have their own version of

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<v Speaker 5>what's happening at this age as their home hormones are

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<v Speaker 5>shifting and changing.

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<v Speaker 2>Yeah, yeah, hey, well yeah, I was about to say,

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<v Speaker 2>will set it off yesterday, even though this is coming.

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<v Speaker 1>On way later.

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<v Speaker 4>Oh my god, that was so charming and lovely that

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<v Speaker 4>he did that.

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<v Speaker 1>And that was my favorite post.

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<v Speaker 4>Yes, it was so lovely.

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<v Speaker 5>But I also have to say, like a friend, so

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<v Speaker 5>many friends and me a text.

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<v Speaker 4>I did a video on that on Instagram too of

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<v Speaker 4>people saying you have gained so much weight.

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<v Speaker 5>Good, bravo, thank your body. You just made it through

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<v Speaker 5>a pandemic. What else were you supposed to do? And

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<v Speaker 5>I'm sorry, but that layer of softness welcome it because

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<v Speaker 5>the ship was hard and scary and sharp out there.

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<v Speaker 8>Everybody make it?

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<v Speaker 5>No, you know, and so and and our joy and

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<v Speaker 5>spontaneity was all funneled into very few spaces, most of

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<v Speaker 5>which involved food and drink. So what y'all thought was

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<v Speaker 5>gonna happen? And you well, I've never done that, but

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<v Speaker 5>you know that.

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<v Speaker 4>But don't worry.

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<v Speaker 5>I had It's okay, I'm okay.

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<v Speaker 1>No truth, you never had, no true at all.

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<v Speaker 4>No, and my friends know. I call it the devil's lettuce.

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<v Speaker 6>Why did they let you in? The lyricsis lounge?

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<v Speaker 8>I didn't.

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<v Speaker 4>I don't know.

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<v Speaker 8>I don't know.

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<v Speaker 2>It can happen. I'm gonna leave bloom or two trades. Yeah,

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<v Speaker 2>I will guide you through this.

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<v Speaker 5>Yeah, I've been I've been saying. I mean, I have

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<v Speaker 5>so many stories about me thinking I'm gonna walk that

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<v Speaker 5>way and.

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<v Speaker 6>Wait till fifty. Just go ahead of wait till fifty.

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<v Speaker 5>Okay, maybe it'll be my fiftieth birthday, You're gonna send

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<v Speaker 5>me a package.

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<v Speaker 1>I'll leave the light one for you. Trust me, I

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<v Speaker 1>got I got you, Okay.

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<v Speaker 2>So I always wanted to know, as far as you're

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<v Speaker 2>growing up as concerned and that you were paired with

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<v Speaker 2>other kids that were sort of in the same position

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<v Speaker 2>as you, at what point, at any point, did you

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<v Speaker 2>ever had to adjust in a world in which people

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<v Speaker 2>weren't of that sort of cut from that that same cloth,

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<v Speaker 2>where you had to deal with everyday people, Like, at

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<v Speaker 2>what point.

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<v Speaker 4>Were you every day in life? I mean I was,

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<v Speaker 4>you know.

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<v Speaker 5>I First of all, the way I was raised again

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<v Speaker 5>is everybody is a person.

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<v Speaker 4>I am one of people. I was not raised to

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<v Speaker 4>think I was better than anybody.

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<v Speaker 5>I had certain different opportunities and experiences than other people,

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<v Speaker 5>but I was always taught to connect on the places

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<v Speaker 5>that we are the same. We've all got blood running

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<v Speaker 5>through our veins, and we all have feelings, and we all,

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<v Speaker 5>most of us are getting up every day trying to

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<v Speaker 5>do our best and work our hardest and and sort

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<v Speaker 5>of make at least our lives work.

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<v Speaker 4>And function properly.

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<v Speaker 5>So I also come I don't know if I was

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<v Speaker 5>top this, if I came up with this, if.

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<v Speaker 4>You know, but to sort of put my.

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<v Speaker 5>My humanness as the front runner of who I am not.

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<v Speaker 4>And first of all, I didn't do that. My mom

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<v Speaker 4>did all those things.

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<v Speaker 8>She did.

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<v Speaker 3>She keep you around like a couple of Detroit cousins

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<v Speaker 3>just to make sure it does y'all new.

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<v Speaker 4>I went to Detroit every summer, and that's how you

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<v Speaker 4>do it.

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<v Speaker 5>Yeah, on a palette on the floor and on Bobby's

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<v Speaker 5>house up the street from Grandmammy and Aunt.

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<v Speaker 4>Bobby sat me.

0:11:39.480 --> 0:11:41.360
<v Speaker 5>Between her legs and did my hair with that goodie

0:11:41.360 --> 0:11:46.200
<v Speaker 5>comb and tried to kill my scalp. And you know, Grandmommy,

0:11:46.280 --> 0:11:49.480
<v Speaker 5>my Grandma lined us up outside the fancy bathroom downstairs

0:11:49.480 --> 0:11:51.880
<v Speaker 5>and put all the cousins and put mayonnaise in our

0:11:51.920 --> 0:11:54.440
<v Speaker 5>hair on the on the laid on the kitchen sink,

0:11:54.480 --> 0:11:56.760
<v Speaker 5>put our head in the sink, and then filled our

0:11:56.800 --> 0:11:58.880
<v Speaker 5>hair with mayonnaise. You had to walk around smell on

0:11:58.920 --> 0:12:02.160
<v Speaker 5>like a sandwich forever to getition your hair.

0:12:03.000 --> 0:12:05.480
<v Speaker 4>I mean, all all of our cousins and boys and girls.

0:12:05.480 --> 0:12:07.440
<v Speaker 4>It wasn't just the girl. The girls like the boys

0:12:07.440 --> 0:12:07.719
<v Speaker 4>and girl.

0:12:07.760 --> 0:12:09.839
<v Speaker 5>We all got lined up step and Monica Kevin Kevin

0:12:10.160 --> 0:12:11.320
<v Speaker 5>we all just line up.

0:12:11.559 --> 0:12:14.000
<v Speaker 6>We see that in Rainbow. That is so beautiful, that's dope,

0:12:14.040 --> 0:12:15.080
<v Speaker 6>it's funny.

0:12:15.120 --> 0:12:18.280
<v Speaker 5>So so yeah, that's what I'm saying, Like, we weren't

0:12:18.320 --> 0:12:23.880
<v Speaker 5>sheltered to be up in some crystal palace somewhere, although.

0:12:23.600 --> 0:12:27.840
<v Speaker 4>We lived, you know, in a hotel, and I'm not

0:12:27.960 --> 0:12:28.720
<v Speaker 4>to work in.

0:12:28.720 --> 0:12:30.839
<v Speaker 5>A rolls at the school at a rolls verse every

0:12:30.880 --> 0:12:32.480
<v Speaker 5>day with a driver by the name of Bartha.

0:12:32.600 --> 0:12:35.160
<v Speaker 8>But that's.

0:12:36.720 --> 0:12:37.400
<v Speaker 1>As you do.

0:12:38.040 --> 0:12:42.360
<v Speaker 5>Wait a minute, okay, so yeah, like, okay, so these

0:12:42.400 --> 0:12:43.800
<v Speaker 5>things also did happen.

0:12:44.000 --> 0:12:45.760
<v Speaker 4>I'm not saying they didn't, but.

0:12:47.440 --> 0:12:49.840
<v Speaker 6>Wow, that's amazing.

0:12:50.880 --> 0:12:52.199
<v Speaker 9>Christmas in a ritz.

0:12:52.520 --> 0:12:54.640
<v Speaker 4>But then we were in Detroit in the summer.

0:12:54.480 --> 0:12:59.360
<v Speaker 1>So they did you.

0:12:59.880 --> 0:13:02.360
<v Speaker 2>I know that singing at least when when I first

0:13:02.440 --> 0:13:07.040
<v Speaker 2>met you in the early arts, singing was always a

0:13:07.080 --> 0:13:11.560
<v Speaker 2>big passion of yours. With a household like yours, in

0:13:11.600 --> 0:13:14.720
<v Speaker 2>an environment like you grew up in, how easy was

0:13:14.760 --> 0:13:16.880
<v Speaker 2>it for you to express the desire to want to

0:13:16.920 --> 0:13:20.559
<v Speaker 2>do something in the arts or not be shy about.

0:13:20.240 --> 0:13:26.640
<v Speaker 5>It, Like Harry, My mother supported us in finding our

0:13:26.760 --> 0:13:29.160
<v Speaker 5>version of expression in whatever that looked like.

0:13:29.760 --> 0:13:32.280
<v Speaker 1>But you know, are you the only singing ross?

0:13:32.840 --> 0:13:35.880
<v Speaker 5>No, Roonda is a singer.

0:13:36.120 --> 0:13:38.600
<v Speaker 4>Evan's a singer. I'm the last.

0:13:38.679 --> 0:13:39.960
<v Speaker 1>I forgot your brother, Evan Ross.

0:13:40.120 --> 0:13:42.280
<v Speaker 4>That's okay, I'm the last to the party.

0:13:42.800 --> 0:13:45.560
<v Speaker 5>And it's so funny because I remember, I can't remember

0:13:45.559 --> 0:13:47.000
<v Speaker 5>how many years ago it was, but my mom was

0:13:47.040 --> 0:13:50.560
<v Speaker 5>in Vegas and on stage and she was like, you know,

0:13:50.920 --> 0:13:51.840
<v Speaker 5>my children sing.

0:13:51.760 --> 0:13:54.160
<v Speaker 4>Blah blah blah whatever, and I want to bring someone

0:13:54.200 --> 0:13:55.000
<v Speaker 4>up to sing with me.

0:13:55.240 --> 0:13:57.880
<v Speaker 5>And I'm like standing there, like, go ahead, Evan, go ahead,

0:13:57.920 --> 0:13:59.560
<v Speaker 5>you know whatever, and she said.

0:13:59.320 --> 0:14:02.200
<v Speaker 4>My name, and I was like, with what's happening right now?

0:14:02.880 --> 0:14:04.880
<v Speaker 4>I was like, this is not my thing. I'm the

0:14:04.880 --> 0:14:06.960
<v Speaker 4>funny one. What are we doing? What's happening?

0:14:07.600 --> 0:14:09.920
<v Speaker 5>And she made me sing on stage and it was

0:14:10.000 --> 0:14:14.040
<v Speaker 5>so hilarious because if you watch the video, you see.

0:14:13.800 --> 0:14:18.720
<v Speaker 4>My mom turn into my mom and thinks, oh no.

0:14:18.679 --> 0:14:22.600
<v Speaker 5>Did I just put Tracy put my baby in a

0:14:22.640 --> 0:14:26.400
<v Speaker 5>position that she didn't want to be in inadvertently, like

0:14:26.440 --> 0:14:29.359
<v Speaker 5>did I make her put her, you know, too exposed

0:14:29.400 --> 0:14:30.560
<v Speaker 5>on something that makes her shy?

0:14:31.080 --> 0:14:33.640
<v Speaker 4>And she sort of she got this tone in her

0:14:33.720 --> 0:14:34.760
<v Speaker 4>voice that was such.

0:14:34.560 --> 0:14:37.040
<v Speaker 5>My mom's tone of okay, everybody be quiet because this

0:14:37.120 --> 0:14:40.960
<v Speaker 5>is important, like we need we need to support this moment?

0:14:41.000 --> 0:14:41.520
<v Speaker 4>Be quiet?

0:14:42.600 --> 0:14:44.960
<v Speaker 2>Are you speaking of the infamous when she puts people

0:14:45.000 --> 0:14:46.720
<v Speaker 2>on the spot to sing reach out in touch?

0:14:47.400 --> 0:14:49.800
<v Speaker 5>No, she put me on stage and had me sing

0:14:50.040 --> 0:14:55.960
<v Speaker 5>sing like Billie Holiday. Oh, Like I was sing that

0:14:56.040 --> 0:14:59.960
<v Speaker 5>around the house and she was like, go ahead, did you?

0:15:00.040 --> 0:15:02.640
<v Speaker 5>Because every time I mean, I sang in high school

0:15:02.640 --> 0:15:03.920
<v Speaker 5>and whatever, every time I sang.

0:15:04.000 --> 0:15:06.080
<v Speaker 4>When I was twenty two, my mom said to me,

0:15:07.320 --> 0:15:09.680
<v Speaker 4>all right, Tracy, it's time. And I was like, it's

0:15:09.680 --> 0:15:11.000
<v Speaker 4>time for what? She's like, it's time for you to

0:15:11.040 --> 0:15:11.680
<v Speaker 4>record an album?

0:15:11.720 --> 0:15:14.840
<v Speaker 5>And I was like, hell, no, no, no, no, no no.

0:15:14.680 --> 0:15:16.720
<v Speaker 4>No no no, I'm gonna go the other way.

0:15:18.800 --> 0:15:20.640
<v Speaker 5>Nope, We're gonna make people laugh and we're just gonna

0:15:20.680 --> 0:15:22.280
<v Speaker 5>keep them at arm's length and that'll be good.

0:15:23.560 --> 0:15:27.320
<v Speaker 1>But why, Okay, in hindsight, why do you think that

0:15:27.480 --> 0:15:28.200
<v Speaker 1>was your decision?

0:15:29.160 --> 0:15:29.360
<v Speaker 5>Uh?

0:15:29.400 --> 0:15:30.440
<v Speaker 4>For a lot of reasons.

0:15:30.680 --> 0:15:35.440
<v Speaker 5>I think unconsciously, I the idea of being.

0:15:35.240 --> 0:15:38.400
<v Speaker 4>Compared to my mom was just too much to think of.

0:15:39.720 --> 0:15:45.800
<v Speaker 5>I had also seen children of be obliterated in the press,

0:15:45.920 --> 0:15:50.320
<v Speaker 5>just shredded, And you think back to that time and

0:15:50.880 --> 0:15:52.920
<v Speaker 5>being the child of or any of those things.

0:15:52.760 --> 0:15:54.280
<v Speaker 4>That's not that was not cool.

0:15:54.360 --> 0:15:57.400
<v Speaker 5>Then that was not something that was also the time

0:15:57.400 --> 0:16:01.080
<v Speaker 5>when you didn't move from TV to movies, when you

0:16:01.080 --> 0:16:04.160
<v Speaker 5>didn't move from being a host to an actor, Like

0:16:04.320 --> 0:16:09.600
<v Speaker 5>everything was very pigeonholed, and there certainly wasn't this spirit

0:16:09.720 --> 0:16:12.800
<v Speaker 5>of oh, you're Dona Ross as child. Maybe you want

0:16:12.800 --> 0:16:16.040
<v Speaker 5>to say, well, no, not at all. And I look

0:16:16.160 --> 0:16:18.120
<v Speaker 5>like my mom, And the truth is I sound kind

0:16:18.120 --> 0:16:22.240
<v Speaker 5>of like her. So you know, there was no you

0:16:22.320 --> 0:16:24.720
<v Speaker 5>put you as soon as you put a sparkly dress

0:16:24.760 --> 0:16:27.680
<v Speaker 5>on me. I mean, I've seen it now, I've won

0:16:27.760 --> 0:16:31.400
<v Speaker 5>a Golden Globe. I've been doing working in the I'm

0:16:31.440 --> 0:16:34.680
<v Speaker 5>forty eight years old. I'm not a child anymore, and

0:16:34.800 --> 0:16:38.360
<v Speaker 5>I still cannot do anything without my mom's name.

0:16:39.040 --> 0:16:42.440
<v Speaker 4>Like maybe my mom is just like it's she's larger,

0:16:42.560 --> 0:16:43.280
<v Speaker 4>she's an.

0:16:43.880 --> 0:16:47.640
<v Speaker 1>Interesting let me but let me interject.

0:16:48.040 --> 0:16:54.840
<v Speaker 2>I definitely now feel as though, you know, to Dinah Ross,

0:16:54.920 --> 0:16:58.840
<v Speaker 2>it's like, yo, Tracy Ellis is your daughter, Like, yeah,

0:16:58.880 --> 0:17:03.200
<v Speaker 2>you've done You've definitely done something that is I don't

0:17:03.280 --> 0:17:07.840
<v Speaker 2>know if any person, maybe Janet Overcoming who her her

0:17:07.880 --> 0:17:10.320
<v Speaker 2>brothers were to be in her own right, but.

0:17:11.560 --> 0:17:14.840
<v Speaker 1>Yeah, like you made your own name though, Yeah, yeah, you're.

0:17:15.160 --> 0:17:18.679
<v Speaker 2>When history books are written like you know, you have

0:17:18.760 --> 0:17:22.280
<v Speaker 2>your own and not even to compare like that, you know,

0:17:22.400 --> 0:17:22.919
<v Speaker 2>like we can.

0:17:22.800 --> 0:17:25.399
<v Speaker 5>All well that was part of what I came to,

0:17:25.600 --> 0:17:29.000
<v Speaker 5>I mean and understood it's like and an adult mind

0:17:29.040 --> 0:17:31.240
<v Speaker 5>can look at it that way, but a kid cannot.

0:17:31.359 --> 0:17:32.600
<v Speaker 4>And so now I.

0:17:32.600 --> 0:17:35.560
<v Speaker 6>Know, like I'm not my mom right.

0:17:35.680 --> 0:17:38.920
<v Speaker 4>Like I'm not trying to be here, I'm not like never,

0:17:39.080 --> 0:17:42.080
<v Speaker 4>that's not what's happening. But as a kid, you think you.

0:17:42.040 --> 0:17:45.320
<v Speaker 3>Know and you have something that's really super special. I

0:17:45.359 --> 0:17:47.800
<v Speaker 3>was going to ask you because your production company is

0:17:47.880 --> 0:17:51.840
<v Speaker 3>named Joy Mills, but I'm assuming that you're aware that

0:17:51.880 --> 0:17:55.280
<v Speaker 3>you have that superpower and that's why you named it that.

0:17:55.440 --> 0:17:58.639
<v Speaker 3>Are you aware that like Tracy Ella's Ross is a

0:17:58.760 --> 0:17:59.880
<v Speaker 3>joy bringer.

0:18:02.119 --> 0:18:04.240
<v Speaker 4>That like makes my heart very very full.

0:18:04.480 --> 0:18:05.439
<v Speaker 6>I'm just trying to tell you.

0:18:07.400 --> 0:18:12.440
<v Speaker 4>My I was born Tracy Joy Silverstein. That's my name,

0:18:13.119 --> 0:18:14.560
<v Speaker 4>so right.

0:18:14.480 --> 0:18:18.680
<v Speaker 6>Now, so because I'm like, well what about mister Ellen.

0:18:18.800 --> 0:18:21.120
<v Speaker 5>Okay, okay, go ahead, Okay, So this is and that

0:18:21.280 --> 0:18:24.119
<v Speaker 5>was the third point okay about my dad.

0:18:24.320 --> 0:18:27.640
<v Speaker 4>So when I joined so like many kids, uh so.

0:18:27.640 --> 0:18:30.479
<v Speaker 5>Then I was Tracy Joy Ross Silberstein. All through growing up,

0:18:30.520 --> 0:18:32.879
<v Speaker 5>t j R S were my initials all through growing up.

0:18:33.880 --> 0:18:36.680
<v Speaker 5>But then, like so many people, you dropped this name.

0:18:36.800 --> 0:18:39.080
<v Speaker 5>That name is too long. I was Tracy Joy Ross.

0:18:39.080 --> 0:18:41.600
<v Speaker 5>You know what I mean, drop these names too many names.

0:18:41.960 --> 0:18:43.960
<v Speaker 5>So I became Tracy Joy Ross. And then when I

0:18:44.080 --> 0:18:48.160
<v Speaker 5>joined SAG there was another Tracy Ross.

0:18:49.280 --> 0:18:55.280
<v Speaker 4>In the Union. Remember Tracy Ross. She was.

0:18:55.720 --> 0:18:55.960
<v Speaker 5>Yes.

0:18:56.320 --> 0:19:01.720
<v Speaker 8>I thought, yeah, that very god she grew up.

0:19:01.880 --> 0:19:05.600
<v Speaker 1>Wow, I didn't know you were my age.

0:19:05.640 --> 0:19:07.720
<v Speaker 6>I thought like, you know, we don't all look alike.

0:19:07.760 --> 0:19:08.800
<v Speaker 6>They looked nothing alive.

0:19:09.600 --> 0:19:13.639
<v Speaker 2>I heard the name Tracy Ellis. I remember watching that

0:19:13.720 --> 0:19:15.359
<v Speaker 2>Tracy Ross on Star Search.

0:19:15.440 --> 0:19:16.080
<v Speaker 6>He was a hero.

0:19:16.440 --> 0:19:19.920
<v Speaker 2>And then she thought like, oh, that's Diana Ross's daughter.

0:19:19.960 --> 0:19:21.359
<v Speaker 2>That's the one she talked about.

0:19:21.880 --> 0:19:24.600
<v Speaker 5>When I joined the Union, there was another Tracy Ross.

0:19:24.600 --> 0:19:26.399
<v Speaker 5>So they were like, uh, do you want to be

0:19:26.440 --> 0:19:29.560
<v Speaker 5>Tracy Joy Ross in the Union? And I was like yes,

0:19:29.800 --> 0:19:33.760
<v Speaker 5>But everybody like I look like my mom, and people

0:19:33.880 --> 0:19:36.560
<v Speaker 5>know I'm my mom's child and I'm so much a

0:19:36.600 --> 0:19:38.440
<v Speaker 5>product of both of my parents, Like.

0:19:38.440 --> 0:19:40.680
<v Speaker 4>I am my dad's child and I'm my mom's child.

0:19:41.280 --> 0:19:44.479
<v Speaker 4>And I wanted him to have a steak.

0:19:44.600 --> 0:19:47.120
<v Speaker 5>You know, it's so crazy because I talk so much

0:19:47.160 --> 0:19:50.800
<v Speaker 5>about women and women of color, and particularly black and

0:19:50.840 --> 0:19:54.520
<v Speaker 5>brown women that we historically have not had a steak

0:19:54.560 --> 0:19:56.720
<v Speaker 5>in what we make, and even with our children, we

0:19:56.800 --> 0:19:59.720
<v Speaker 5>give up our name, and so there's often this you

0:19:59.760 --> 0:20:02.840
<v Speaker 5>can't I even follow our bloodline because of that. But

0:20:03.200 --> 0:20:06.200
<v Speaker 5>we have been at the center of economic, cultural, political

0:20:06.320 --> 0:20:09.840
<v Speaker 5>revolutions in this country, and we are often doing the work,

0:20:09.880 --> 0:20:13.800
<v Speaker 5>but not centered in the prize from that work. And

0:20:14.880 --> 0:20:19.679
<v Speaker 5>strangely enough, I was worried about my dad having a

0:20:19.720 --> 0:20:23.199
<v Speaker 5>piece of what he made, and so I put Ellis

0:20:23.200 --> 0:20:25.320
<v Speaker 5>in my name and I became Tracy Ellis Ross at

0:20:25.320 --> 0:20:28.439
<v Speaker 5>the beginning of my career, and my first you know,

0:20:28.560 --> 0:20:31.959
<v Speaker 5>SAG card was Tracy Ellis Ross. And now you know,

0:20:32.240 --> 0:20:34.600
<v Speaker 5>my name goes up there and people go and Bob

0:20:34.640 --> 0:20:35.360
<v Speaker 5>Elis's kid.

0:20:36.320 --> 0:20:41.359
<v Speaker 2>Okay, what was the first major creative thing that you

0:20:41.800 --> 0:20:44.840
<v Speaker 2>at least for you, What was the first major creative

0:20:44.880 --> 0:20:49.159
<v Speaker 2>thing that you did as far as doing television or

0:20:49.160 --> 0:20:50.560
<v Speaker 2>commercials or well, the.

0:20:50.560 --> 0:20:53.760
<v Speaker 5>First big thing I did was the gap ad with

0:20:53.800 --> 0:20:58.320
<v Speaker 5>my mom. Yeah, and I remember it was on billboards

0:20:58.320 --> 0:20:59.639
<v Speaker 5>and it was like a big.

0:20:59.440 --> 0:21:00.800
<v Speaker 4>Wall in airport.

0:21:00.920 --> 0:21:02.960
<v Speaker 5>I walked through and I was just like, oh my god,

0:21:03.040 --> 0:21:05.720
<v Speaker 5>I made fifteen hundred dollars and I thought I had made.

0:21:05.800 --> 0:21:11.840
<v Speaker 4>I was like, I'm rich. I don't my mother.

0:21:12.040 --> 0:21:12.720
<v Speaker 6>I'm rich.

0:21:15.480 --> 0:21:17.720
<v Speaker 4>I was like, that was so amazing. I could pay

0:21:17.720 --> 0:21:21.040
<v Speaker 4>my own doctor's fees. I can just I can make

0:21:21.119 --> 0:21:21.960
<v Speaker 4>my own food.

0:21:22.359 --> 0:21:22.840
<v Speaker 1>Was a crowd.

0:21:24.160 --> 0:21:28.320
<v Speaker 4>I was so much money. I was like, I was like,

0:21:28.680 --> 0:21:30.439
<v Speaker 4>I will never work again.

0:21:35.560 --> 0:21:37.520
<v Speaker 5>I actually think it was it was seven hundred and

0:21:37.560 --> 0:21:39.800
<v Speaker 5>fifty dollars and then I think I made fifteen hundred

0:21:39.800 --> 0:21:43.080
<v Speaker 5>on the first show I did. But then the next

0:21:43.119 --> 0:21:45.760
<v Speaker 5>thing was I did an Infinity commercial. So I was

0:21:46.680 --> 0:21:50.399
<v Speaker 5>modeling with Wilhelmine Agency and I went in for.

0:21:50.320 --> 0:21:56.080
<v Speaker 4>A modeling like commercial job and go see.

0:21:56.160 --> 0:21:59.160
<v Speaker 5>And at the place where they were doing it, they

0:21:59.160 --> 0:22:02.520
<v Speaker 5>were like, the people that are doing me. It was

0:22:02.520 --> 0:22:07.040
<v Speaker 5>a secret deodorant ad I went in for and there

0:22:07.080 --> 0:22:09.600
<v Speaker 5>was a sign in sheet next to it for Infinity

0:22:09.680 --> 0:22:13.879
<v Speaker 5>car commercial and whoever ran the commercial audition place was like,

0:22:13.960 --> 0:22:16.160
<v Speaker 5>you should go in and try for the Infinity commercial.

0:22:16.160 --> 0:22:19.000
<v Speaker 4>And I was like, oh, yes, of course I'll drive.

0:22:19.640 --> 0:22:22.320
<v Speaker 5>So I went in and that was the job that

0:22:22.440 --> 0:22:25.960
<v Speaker 5>taft heart lead me into SAG, which is the job

0:22:26.000 --> 0:22:28.919
<v Speaker 5>that will pay the money to get you into SAG.

0:22:29.600 --> 0:22:33.120
<v Speaker 10>And yeah, I just love the idea that Tracy Els

0:22:33.440 --> 0:22:35.199
<v Speaker 10>had to Taft Hartley. I mean, I've done that and

0:22:35.240 --> 0:22:37.600
<v Speaker 10>it just just makes me laugh. That's okay, keep continuing, please,

0:22:38.840 --> 0:22:42.120
<v Speaker 10>But also also, why are there not people with multiple

0:22:42.160 --> 0:22:44.760
<v Speaker 10>names in SAG? Couldn't there be multiple Tracy?

0:22:45.680 --> 0:22:46.000
<v Speaker 1>Really?

0:22:46.320 --> 0:22:48.919
<v Speaker 6>But Nessa Williams Remember Vanessa william.

0:22:50.119 --> 0:22:55.360
<v Speaker 1>L Williams Vanessa L Williams. Yeah, well shit, okay, cool, Yeah,

0:22:55.600 --> 0:22:56.919
<v Speaker 1>I learned something again.

0:22:58.200 --> 0:22:59.679
<v Speaker 4>So I got taft heart lead in.

0:23:00.119 --> 0:23:04.480
<v Speaker 5>I did that commercial and then I don't know.

0:23:04.520 --> 0:23:06.359
<v Speaker 4>I mean, it has not been a fast and easy

0:23:06.440 --> 0:23:07.000
<v Speaker 4>road for me.

0:23:08.160 --> 0:23:11.760
<v Speaker 5>I remember there was a movie called Mixing Nia that

0:23:12.400 --> 0:23:18.080
<v Speaker 5>Karen Parsons from Fresh Press. She ended up getting that movie,

0:23:18.240 --> 0:23:20.720
<v Speaker 5>and I've never been more devastated in my life.

0:23:21.040 --> 0:23:21.399
<v Speaker 1>Really.

0:23:21.760 --> 0:23:25.360
<v Speaker 7>I was like, I mean, I was sure a meror

0:23:25.440 --> 0:23:28.200
<v Speaker 7>that this was going to launch me into.

0:23:27.960 --> 0:23:29.399
<v Speaker 8>The stratosphere of the Roscar.

0:23:30.320 --> 0:23:34.320
<v Speaker 7>I was going to the Academy Awards with my seven

0:23:34.440 --> 0:23:37.600
<v Speaker 7>hundred and fifty dollars from my gap aad. I was

0:23:37.640 --> 0:23:41.240
<v Speaker 7>going to march my way into Hollywood and be received

0:23:41.440 --> 0:23:44.919
<v Speaker 7>with open arms for a career that would last a lifetime.

0:23:45.240 --> 0:23:45.840
<v Speaker 5>Didn't happen.

0:23:47.080 --> 0:23:49.760
<v Speaker 2>What is that process like? Like your version of the

0:23:49.760 --> 0:23:54.720
<v Speaker 2>Hollywood Shuffle? As far as callbacks near missus, what did

0:23:54.720 --> 0:23:56.280
<v Speaker 2>you audition for that you didn't get?

0:23:57.080 --> 0:23:58.719
<v Speaker 6>Oh my god, I don't even remember.

0:23:58.800 --> 0:24:01.120
<v Speaker 5>I had a three ring binder, like one of those

0:24:01.119 --> 0:24:04.320
<v Speaker 5>Whopper three ringfinders of like every audition I had auditioned for.

0:24:05.600 --> 0:24:06.320
<v Speaker 6>I didn't care.

0:24:06.840 --> 0:24:08.440
<v Speaker 1>You keep all the receipts of everything.

0:24:08.840 --> 0:24:13.199
<v Speaker 5>I didn't get nothing, really well, because according to us,

0:24:13.240 --> 0:24:14.320
<v Speaker 5>it's like Daddy's Girls.

0:24:14.320 --> 0:24:17.960
<v Speaker 6>I had no in right, Like, I'm trying to think no, no, no, no.

0:24:18.040 --> 0:24:21.840
<v Speaker 5>There from from the time that I did I did

0:24:22.160 --> 0:24:26.000
<v Speaker 5>Far Harbor, that first movie I did with Jennifer Connelly

0:24:26.160 --> 0:24:29.199
<v Speaker 5>and Marsha k Harden. Okay, so I did that, and

0:24:29.240 --> 0:24:32.639
<v Speaker 5>then I did the show and before that, I did

0:24:32.720 --> 0:24:35.480
<v Speaker 5>the show The Dish on Lifetime.

0:24:35.560 --> 0:24:39.360
<v Speaker 4>That was because I'm a TV girl. I live in

0:24:39.400 --> 0:24:44.439
<v Speaker 4>your TV and I'm a TV girl, like like it

0:24:44.520 --> 0:24:44.800
<v Speaker 4>was like.

0:24:44.760 --> 0:24:48.199
<v Speaker 5>A magazine show about TV shows.

0:24:50.000 --> 0:24:54.720
<v Speaker 6>What nothing? He ain't say nothing, he says, she.

0:24:54.840 --> 0:24:59.480
<v Speaker 1>Said, first, I'm like.

0:24:58.560 --> 0:24:59.960
<v Speaker 6>I started watching Lifetime.

0:25:00.560 --> 0:25:01.919
<v Speaker 4>Yeah, okay, you know.

0:25:02.480 --> 0:25:06.600
<v Speaker 5>And and then I got an agent and auditioned and

0:25:06.680 --> 0:25:12.399
<v Speaker 5>auditioned and auditioned and auditioned and auditioned and auditioned and

0:25:12.520 --> 0:25:16.240
<v Speaker 5>auditioned and auditioned, and I auditioned some more and I

0:25:16.280 --> 0:25:18.760
<v Speaker 5>didn't get many callbacks, and then they dropped me. And

0:25:18.800 --> 0:25:19.639
<v Speaker 5>this is what they said.

0:25:21.040 --> 0:25:22.960
<v Speaker 4>It stuck with me for a really long time.

0:25:23.960 --> 0:25:28.120
<v Speaker 5>Listen, Tracy, We're gonna let you go because you come

0:25:28.200 --> 0:25:31.160
<v Speaker 5>with all these bells and whistles, but then you get

0:25:31.160 --> 0:25:33.320
<v Speaker 5>in the room and you just don't pop?

0:25:34.520 --> 0:25:39.639
<v Speaker 3>Would you face bitch?

0:25:40.119 --> 0:25:41.960
<v Speaker 4>I could, but you know what, it was a turning

0:25:42.000 --> 0:25:43.240
<v Speaker 4>point for crazy.

0:25:43.920 --> 0:25:46.760
<v Speaker 5>I could not get out of there without those you know,

0:25:46.840 --> 0:25:49.240
<v Speaker 5>those tears they sit.

0:25:49.160 --> 0:25:58.399
<v Speaker 4>There because you're so ha you know those office chairs

0:25:58.400 --> 0:26:01.080
<v Speaker 4>with the wheels of the the wheels on the bottom

0:26:01.119 --> 0:26:01.440
<v Speaker 4>of them.

0:26:01.800 --> 0:26:04.280
<v Speaker 5>I felt like my heart had come out and it

0:26:04.320 --> 0:26:07.760
<v Speaker 5>was like stuck underneath the wheel and she kept moving

0:26:07.800 --> 0:26:10.359
<v Speaker 5>the chair and it was just getting all tangled in

0:26:10.400 --> 0:26:12.840
<v Speaker 5>there with my heart and then there was blood and

0:26:12.920 --> 0:26:15.880
<v Speaker 5>stuff and then the tears, and I couldn't get out

0:26:15.920 --> 0:26:19.080
<v Speaker 5>fast enough. But I made a decision at that point.

0:26:19.440 --> 0:26:20.600
<v Speaker 5>I remember calling my sister.

0:26:20.640 --> 0:26:36.960
<v Speaker 11>I called I was like, I don't I don't wop I.

0:26:28.640 --> 0:26:34.280
<v Speaker 5>Know no popper.

0:26:36.800 --> 0:26:37.239
<v Speaker 6>Stand up.

0:26:37.280 --> 0:26:41.800
<v Speaker 2>At any point, did you ever consider dropping the ross

0:26:42.760 --> 0:26:47.000
<v Speaker 2>from your name? It was too late the thought that like, okay,

0:26:47.560 --> 0:26:51.240
<v Speaker 2>maybe they're holding that against me, like my lineage and well, you.

0:26:51.200 --> 0:26:52.439
<v Speaker 4>Know I used to say that.

0:26:52.480 --> 0:26:55.359
<v Speaker 7>People were like, well, doesn't being done roszda open doors

0:26:55.359 --> 0:26:55.600
<v Speaker 7>for you?

0:26:55.680 --> 0:26:57.159
<v Speaker 5>And I was like, no, what it does is and

0:26:57.240 --> 0:26:59.160
<v Speaker 5>unlocks the door. And then people sit on the other

0:26:59.280 --> 0:27:01.240
<v Speaker 5>side like, going, how's she going.

0:27:01.240 --> 0:27:01.600
<v Speaker 4>To walk in?

0:27:02.680 --> 0:27:03.800
<v Speaker 1>Oh?

0:27:03.880 --> 0:27:07.160
<v Speaker 4>They're like, okay, show us what. But I don't think

0:27:07.200 --> 0:27:09.119
<v Speaker 4>that had anything to do with it. I think I sucked.

0:27:10.760 --> 0:27:13.600
<v Speaker 5>I think I didn't know how to bring the person

0:27:13.640 --> 0:27:17.840
<v Speaker 5>that I was inside myself and in the privacy of

0:27:17.880 --> 0:27:21.600
<v Speaker 5>my home out into the world. And I needed that

0:27:21.800 --> 0:27:26.199
<v Speaker 5>hit in order to ask myself, did I have the

0:27:26.280 --> 0:27:29.240
<v Speaker 5>courage to do what it took to bring.

0:27:29.000 --> 0:27:32.480
<v Speaker 4>That person out? Or did I just.

0:27:32.480 --> 0:27:35.879
<v Speaker 5>Want to go back into my hole and sort of

0:27:35.920 --> 0:27:38.320
<v Speaker 5>live privately as I chose?

0:27:38.400 --> 0:27:38.600
<v Speaker 8>You know.

0:27:45.520 --> 0:27:46.879
<v Speaker 1>That was Tracy Ellis Ross.

0:27:47.160 --> 0:27:49.320
<v Speaker 2>And next up is Shirley Jones at The Jones Girls

0:27:49.760 --> 0:27:52.880
<v Speaker 2>and this clip she speaks about the power of Tracy's mom,

0:27:53.160 --> 0:27:57.359
<v Speaker 2>Diana Ross, and the sexism that went into see a

0:27:57.440 --> 0:28:00.440
<v Speaker 2>strong black woman who was a perfectionist and the early

0:28:00.520 --> 0:28:04.200
<v Speaker 2>nineteen seventies. Shirley also tells how Diana made a way

0:28:04.520 --> 0:28:07.920
<v Speaker 2>for her as an artist outside of an accomplished background singer.

0:28:08.359 --> 0:28:13.320
<v Speaker 1>Shirley also speaks about a powerful anthem for women nineteen

0:28:13.359 --> 0:28:15.600
<v Speaker 1>seventy nine, so You're Gonna make Me love somebody.

0:28:15.240 --> 0:28:18.359
<v Speaker 2>Else sampled by Jay Z, as well as being covered

0:28:18.400 --> 0:28:22.240
<v Speaker 2>by Escape in the nineteen nineties. There's some great history here,

0:28:22.560 --> 0:28:25.840
<v Speaker 2>Shirley Jones from twenty twenty one.

0:28:27.520 --> 0:28:29.760
<v Speaker 1>What was it like to finally land that job?

0:28:30.840 --> 0:28:37.399
<v Speaker 8>It was amazing. We actually, we were perfectly happy. We

0:28:37.440 --> 0:28:41.560
<v Speaker 8>had just moved to Detroit to LA with McKinley Jackson.

0:28:41.640 --> 0:28:44.720
<v Speaker 8>He was managing us at the time, and we were

0:28:44.720 --> 0:28:48.400
<v Speaker 8>perfectly happy doing background sessions because because we were doing

0:28:48.480 --> 0:28:50.680
<v Speaker 8>like three and four day it was either us or

0:28:50.680 --> 0:28:54.240
<v Speaker 8>the waters that people wanted to do their water back then,

0:28:54.280 --> 0:28:57.120
<v Speaker 8>Oh yeah, those are my buddies. Yeah, it was either

0:28:57.240 --> 0:29:00.400
<v Speaker 8>us or them. That's who we were, those premier groups

0:29:00.400 --> 0:29:04.800
<v Speaker 8>for background singing back then. And McKinley said, well, you know,

0:29:05.000 --> 0:29:11.200
<v Speaker 8>Diana's auditioning for some singers and she's been turning everybody down,

0:29:11.320 --> 0:29:13.440
<v Speaker 8>and you know, and I and he said, you guys

0:29:13.480 --> 0:29:15.560
<v Speaker 8>want to try We like Diana. Yeah, I mean, you know,

0:29:15.600 --> 0:29:18.160
<v Speaker 8>we're from Detroit. Hey, let's give it a shot. And

0:29:18.200 --> 0:29:20.680
<v Speaker 8>so we went up there actually thinking we were singing

0:29:20.760 --> 0:29:24.680
<v Speaker 8>for gil Aski, her music director and her road manager

0:29:24.760 --> 0:29:29.200
<v Speaker 8>Don Peak up lower canyon somewhere and we went up

0:29:29.280 --> 0:29:33.480
<v Speaker 8>there and McKinley started playing. We had rehearsed ain't no

0:29:33.520 --> 0:29:36.480
<v Speaker 8>mountain high enough and reach out and touch somebody's hand

0:29:36.560 --> 0:29:39.200
<v Speaker 8>for our audition, and right in the middle of singing,

0:29:39.240 --> 0:29:44.840
<v Speaker 8>who comes down the hall but Diana Ross and yeah,

0:29:44.880 --> 0:29:48.440
<v Speaker 8>And the only words out of her mouth was, you

0:29:48.440 --> 0:29:52.000
<v Speaker 8>guys are terrific. Can you get passports? We're going to London?

0:29:52.920 --> 0:29:57.840
<v Speaker 8>And we, of course, you know, we were like, yeah,

0:29:58.040 --> 0:30:00.440
<v Speaker 8>we can go to London, but we had to work

0:30:00.480 --> 0:30:03.640
<v Speaker 8>out some things on our contract because of our background singing,

0:30:04.000 --> 0:30:06.400
<v Speaker 8>which she did allow. We traveled seven months of the

0:30:06.480 --> 0:30:09.680
<v Speaker 8>year with her, and then when she was on hiatus,

0:30:09.720 --> 0:30:12.760
<v Speaker 8>she did allow us to keep our background singing. Career.

0:30:12.800 --> 0:30:17.760
<v Speaker 2>For other artists, I failed you, she ailed you and retainer,

0:30:17.880 --> 0:30:19.880
<v Speaker 2>but you were allowed to We were.

0:30:19.840 --> 0:30:21.960
<v Speaker 8>Allowed to sing, right, but we were still getting you know,

0:30:22.040 --> 0:30:25.120
<v Speaker 8>we were getting half of our paycheck when she was

0:30:25.280 --> 0:30:28.000
<v Speaker 8>when she wasn't working, but she still allowed us to

0:30:28.400 --> 0:30:33.080
<v Speaker 8>do our singing, our background singing. And over the years

0:30:33.160 --> 0:30:38.160
<v Speaker 8>I have defended and set said so many people have said,

0:30:38.480 --> 0:30:40.480
<v Speaker 8>what was she like? I hear, you know, she's this,

0:30:40.560 --> 0:30:42.000
<v Speaker 8>she's that, and the other. I said, let me just

0:30:42.040 --> 0:30:48.080
<v Speaker 8>tell you one thing. She was the hottest entertainer in

0:30:48.200 --> 0:30:52.200
<v Speaker 8>the world back in the seventies. Absolutely nobody was bigger

0:30:52.240 --> 0:30:56.960
<v Speaker 8>than Diana Ross except maybe Frank Sinatra. And she was

0:30:57.000 --> 0:31:02.280
<v Speaker 8>a perfectionist. She was a female, and she was demanding.

0:31:02.400 --> 0:31:07.360
<v Speaker 8>She demanded that her from her band to her singers

0:31:07.720 --> 0:31:11.800
<v Speaker 8>to be as into the show and rehearse and be

0:31:11.920 --> 0:31:16.320
<v Speaker 8>on top of your gig as she was. And because

0:31:16.360 --> 0:31:20.440
<v Speaker 8>that was drilled in us, and that's what we did. Anyway.

0:31:20.560 --> 0:31:24.320
<v Speaker 8>She was absolutely one of the best people to work for,

0:31:24.840 --> 0:31:30.320
<v Speaker 8>and she was so concerned for us because up until

0:31:30.400 --> 0:31:33.120
<v Speaker 8>we went to London with her, the only places we

0:31:33.160 --> 0:31:40.160
<v Speaker 8>had been was Detroit surrounding areas and then California. And

0:31:40.240 --> 0:31:43.640
<v Speaker 8>she loved and respected our sounds so much that after

0:31:43.720 --> 0:31:46.680
<v Speaker 8>the European tour is when she came to us, she

0:31:46.720 --> 0:31:49.120
<v Speaker 8>was getting ready to do her yearly twice a year

0:31:49.240 --> 0:31:52.160
<v Speaker 8>residency at Caesar's Palace, and she came to us and said,

0:31:52.960 --> 0:31:56.080
<v Speaker 8>you know, you girls are too good to be singing

0:31:56.160 --> 0:32:00.880
<v Speaker 8>background behind me or anybody else whatever, So you know,

0:32:00.960 --> 0:32:03.520
<v Speaker 8>I changed clothes at least five times in my show.

0:32:03.600 --> 0:32:06.280
<v Speaker 8>I want you to get a song together and i

0:32:06.360 --> 0:32:08.840
<v Speaker 8>want you to sing it. I'm gonna bring you out

0:32:08.920 --> 0:32:12.240
<v Speaker 8>the Jones sisters and I'm gonna introduce you to the world.

0:32:12.280 --> 0:32:15.400
<v Speaker 8>And that's actually she did that. We chose if I

0:32:15.440 --> 0:32:18.160
<v Speaker 8>Ever Lose This Heaven from Quincy Jones' album that was

0:32:18.200 --> 0:32:22.000
<v Speaker 8>hot back then, and uh, that's how we got with

0:32:22.160 --> 0:32:27.280
<v Speaker 8>gamb One Huff at the theater, yeah, the subar s Yeah,

0:32:27.360 --> 0:32:30.240
<v Speaker 8>from the Schubert Theater, and she called us and Cynthia

0:32:30.280 --> 0:32:32.600
<v Speaker 8>Biggs and Dexter Wanzelle they were in the audience and

0:32:32.640 --> 0:32:35.600
<v Speaker 8>they said all they could think about and look at

0:32:35.760 --> 0:32:38.080
<v Speaker 8>during the whole show was us. They kept saying, you

0:32:38.120 --> 0:32:42.200
<v Speaker 8>hear those girls, you hear her background singers, they're tearing

0:32:42.280 --> 0:32:45.960
<v Speaker 8>it up and Gambling Huff came backstage and they said,

0:32:46.000 --> 0:32:49.320
<v Speaker 8>you guys are terrific. Are you signed with anybody? And

0:32:49.360 --> 0:32:51.480
<v Speaker 8>we're like no, And we're like, oh my god, gamb

0:32:51.480 --> 0:32:54.680
<v Speaker 8>when I'm asking us if we're signed with anybody? And

0:32:55.040 --> 0:32:57.440
<v Speaker 8>so we went back to LA and within a month

0:32:58.200 --> 0:33:01.280
<v Speaker 8>we had our attorneys did we worked out the deal,

0:33:01.400 --> 0:33:04.360
<v Speaker 8>and within two months we were flown to Philadelphia to

0:33:04.400 --> 0:33:06.160
<v Speaker 8>work on that first Jones Girls album.

0:33:06.200 --> 0:33:09.600
<v Speaker 1>Wow, Yes, that's amazing, that's amazing.

0:33:14.560 --> 0:33:16.320
<v Speaker 2>Wait a minute, I always wanted to know was this

0:33:17.000 --> 0:33:21.760
<v Speaker 2>the tour where she would it would start with the

0:33:22.480 --> 0:33:25.240
<v Speaker 2>video thing with the guys carrying her open.

0:33:25.320 --> 0:33:28.800
<v Speaker 8>No, No, this was before then, okay, because.

0:33:28.560 --> 0:33:33.000
<v Speaker 2>I always wanted to know how she did that illusion. No, Okay,

0:33:33.320 --> 0:33:34.480
<v Speaker 2>I was a kid when I see it, like a

0:33:34.520 --> 0:33:35.200
<v Speaker 2>long time ago.

0:33:35.280 --> 0:33:36.640
<v Speaker 8>But yeah, wow.

0:33:36.880 --> 0:33:39.760
<v Speaker 3>Can you also talk about like the gig with her

0:33:39.880 --> 0:33:42.000
<v Speaker 3>and how it was different than other background kids as

0:33:42.000 --> 0:33:44.880
<v Speaker 3>far as like she said she changed her clothes five times,

0:33:45.040 --> 0:33:46.920
<v Speaker 3>did you guys get to change your clothes? Did you

0:33:46.960 --> 0:33:48.640
<v Speaker 3>have the same outfit you had to wear every night

0:33:48.720 --> 0:33:50.440
<v Speaker 3>or what? Because it was Diana Ross, y'all had like

0:33:50.480 --> 0:33:52.400
<v Speaker 3>a nice rotation, and what did.

0:33:52.280 --> 0:33:53.840
<v Speaker 6>She require before every show?

0:33:53.920 --> 0:33:55.720
<v Speaker 3>As far as we hur soul and stuff like that,

0:33:56.400 --> 0:33:58.680
<v Speaker 3>it's the comparison to everybody else you work for.

0:34:00.360 --> 0:34:04.000
<v Speaker 8>With her being a perfectionist. We rehearsed a lot before

0:34:04.040 --> 0:34:08.239
<v Speaker 8>we would go out on tour with her. I mean

0:34:08.280 --> 0:34:11.680
<v Speaker 8>we rehearsed a lot. And yes she did curse. She

0:34:11.719 --> 0:34:13.919
<v Speaker 8>would come in there and if you if the bad

0:34:14.040 --> 0:34:15.759
<v Speaker 8>and she never had to curse with us because we

0:34:15.760 --> 0:34:17.680
<v Speaker 8>were gonna be on top of our game. But if

0:34:17.800 --> 0:34:19.799
<v Speaker 8>she would, she would curse them out. And I and

0:34:19.800 --> 0:34:21.759
<v Speaker 8>you know, and I often tell people, I said, now,

0:34:21.800 --> 0:34:25.239
<v Speaker 8>if she were a man like Frank Sinatra coming out

0:34:25.680 --> 0:34:29.160
<v Speaker 8>cursing because somebody wasn't doing their absolute best and she

0:34:29.239 --> 0:34:32.759
<v Speaker 8>felt that they should be, he'd be applauded. He would

0:34:32.760 --> 0:34:35.960
<v Speaker 8>be applauded and said, oh, he's just such a strong individual.

0:34:36.040 --> 0:34:38.759
<v Speaker 8>He's he'd make sure that, you know. But because she's

0:34:38.800 --> 0:34:42.120
<v Speaker 8>a woman, and she was that demanding at that time,

0:34:42.640 --> 0:34:45.399
<v Speaker 8>you know, women weren't supposed to, you know, come if

0:34:45.400 --> 0:34:47.360
<v Speaker 8>you done, weren't doing your job. You were supposed to

0:34:47.360 --> 0:34:49.759
<v Speaker 8>be demure and say well would you please? You know,

0:34:50.520 --> 0:34:53.640
<v Speaker 8>she would come in there cursing like us, saying oh, yeah.

0:34:53.680 --> 0:34:56.040
<v Speaker 6>Beyond it makes me think of Beyonce is allowed to

0:34:56.080 --> 0:34:56.560
<v Speaker 6>be today?

0:34:56.920 --> 0:35:01.040
<v Speaker 8>Yeah exactly, So I gets I give I give her

0:35:01.120 --> 0:35:05.160
<v Speaker 8>kudos because she was demanding, yes she was, but she

0:35:05.400 --> 0:35:08.040
<v Speaker 8>was also she would she would also make sure that

0:35:08.200 --> 0:35:11.399
<v Speaker 8>she was doing the you know, as far as rehearsing too,

0:35:11.440 --> 0:35:17.640
<v Speaker 8>she was always always immaculate, impeccable. Two people that I

0:35:17.719 --> 0:35:20.719
<v Speaker 8>learned the most from as far as entertaining myself. I

0:35:20.760 --> 0:35:23.520
<v Speaker 8>always say, is Diana Ross and Eddie Lebert from the

0:35:23.520 --> 0:35:27.799
<v Speaker 8>o Jays because they are show people. Absolutely show people

0:35:27.800 --> 0:35:28.520
<v Speaker 8>can't wait to hear.

0:35:28.440 --> 0:35:32.319
<v Speaker 1>What can Yeah, I want I want to know for you?

0:35:33.239 --> 0:35:35.560
<v Speaker 2>Or is it a thing where the grass is greener

0:35:35.640 --> 0:35:41.680
<v Speaker 2>On the other side, do you prefer studio sessions or

0:35:41.719 --> 0:35:46.880
<v Speaker 2>do you prefer uh traveling? This I'm talking in strictly

0:35:46.920 --> 0:35:49.600
<v Speaker 2>in terms of your days as a background singer.

0:35:50.480 --> 0:35:54.560
<v Speaker 8>As a background singer, I prefer being in the studio. Yeah,

0:35:54.680 --> 0:35:56.840
<v Speaker 8>I prefer being in the studio because I'm more of

0:35:56.840 --> 0:36:00.680
<v Speaker 8>a like Well, when we were traveling doing background for her,

0:36:00.680 --> 0:36:03.120
<v Speaker 8>that was exciting because that was the first time we

0:36:03.200 --> 0:36:07.479
<v Speaker 8>you know, we're traveling doing background and making money. But now,

0:36:07.600 --> 0:36:12.800
<v Speaker 8>I mean I prefer doing studio work versus traveling singing

0:36:12.840 --> 0:36:14.320
<v Speaker 8>background for someone.

0:36:14.800 --> 0:36:17.280
<v Speaker 2>Isn't it a bigger pressure though in the studio because

0:36:17.400 --> 0:36:20.640
<v Speaker 2>I'm almost certain that there's you know, there's really not

0:36:21.120 --> 0:36:25.040
<v Speaker 2>enough time for you to you borderline, have to catch

0:36:25.040 --> 0:36:27.680
<v Speaker 2>it and perfect it in you know, in a short

0:36:27.680 --> 0:36:30.200
<v Speaker 2>amount of time, I would assume correct, Yes.

0:36:32.320 --> 0:36:34.759
<v Speaker 8>Yeah, in real time. That's one of the reasons why

0:36:35.400 --> 0:36:38.320
<v Speaker 8>but so many people wanted us to do background because

0:36:38.360 --> 0:36:41.319
<v Speaker 8>they knew that we were going to rehearse so much

0:36:41.400 --> 0:36:43.120
<v Speaker 8>so that when we got in the studio, you know,

0:36:43.239 --> 0:36:45.880
<v Speaker 8>time is money, we would knock that stuff out just

0:36:46.000 --> 0:36:49.359
<v Speaker 8>like that. That's why some some sometimes we would have

0:36:49.400 --> 0:36:52.680
<v Speaker 8>two and three sessions a day because we were able to.

0:36:52.880 --> 0:36:56.600
<v Speaker 8>We would rehearse and practice our parts for whoever, and

0:36:56.719 --> 0:36:58.640
<v Speaker 8>to make sure that when we went in the studio

0:36:59.120 --> 0:37:00.880
<v Speaker 8>bam bam bam, we could do it. And you know,

0:37:00.880 --> 0:37:03.160
<v Speaker 8>back in the day, you're talking about eight tracks, and

0:37:03.200 --> 0:37:05.600
<v Speaker 8>you're talking about not being able to sing one little

0:37:05.680 --> 0:37:08.080
<v Speaker 8>part and then they fly it through the song. You

0:37:08.120 --> 0:37:11.840
<v Speaker 8>had to sing that exact same way four and five,

0:37:12.080 --> 0:37:14.880
<v Speaker 8>you know, three to double it and and uh so.

0:37:15.040 --> 0:37:17.840
<v Speaker 8>And I think that's one of the reasons why the

0:37:17.960 --> 0:37:24.000
<v Speaker 8>artists today today don't as far as live performances. They

0:37:24.239 --> 0:37:27.680
<v Speaker 8>cannot do it like us that were trained to have

0:37:27.760 --> 0:37:30.600
<v Speaker 8>to sing a song all the way through three and

0:37:30.680 --> 0:37:33.520
<v Speaker 8>four different times to stack that harmony and sound the

0:37:33.640 --> 0:37:36.239
<v Speaker 8>exact same way each time.

0:37:36.840 --> 0:37:39.080
<v Speaker 1>Right, I see, I agree. I agree with you.

0:37:39.280 --> 0:37:41.200
<v Speaker 3>Curious who were your peers or I don't want to

0:37:41.200 --> 0:37:45.200
<v Speaker 3>say competitors, but who were the peers who if you

0:37:45.239 --> 0:37:46.719
<v Speaker 3>can't get the Jones sisters.

0:37:46.880 --> 0:37:49.879
<v Speaker 6>You know, we should call so and so the waters.

0:37:49.920 --> 0:37:52.879
<v Speaker 8>That was it. It was ya and it was us

0:37:52.960 --> 0:37:55.279
<v Speaker 8>in California for the longest. Yeah, that was it.

0:37:55.400 --> 0:37:56.120
<v Speaker 6>I'm sorry.

0:37:56.239 --> 0:37:56.439
<v Speaker 8>Yep.

0:37:58.239 --> 0:38:03.880
<v Speaker 2>Yeah, So what I know you mentioned working under Holadozah

0:38:03.880 --> 0:38:07.080
<v Speaker 2>Holland when you came to Los Angeles.

0:38:07.080 --> 0:38:08.080
<v Speaker 1>What year was that.

0:38:08.600 --> 0:38:14.839
<v Speaker 8>We went to Los Angeles in nineteen seventy five? Yeah,

0:38:14.840 --> 0:38:18.719
<v Speaker 8>about seventy five seventy six, that's when Motown moved and

0:38:18.760 --> 0:38:22.359
<v Speaker 8>then you know they had given Hollandojah Holland the Invictus

0:38:22.400 --> 0:38:26.520
<v Speaker 8>and the music Merchant labels, right, and I think Motown

0:38:26.560 --> 0:38:29.080
<v Speaker 8>moved what in seventy three seventy four, and then those

0:38:29.239 --> 0:38:33.160
<v Speaker 8>like McKinley and Hollandojah Holland moved out I think seventy five.

0:38:33.600 --> 0:38:36.960
<v Speaker 2>So it was just basically everyone in Detroit was migrating

0:38:36.960 --> 0:38:39.120
<v Speaker 2>to Los Angeles and we might as well follow suit

0:38:39.160 --> 0:38:40.640
<v Speaker 2>and follow them as well.

0:38:40.239 --> 0:38:42.120
<v Speaker 8>Follow them exactly exactly.

0:38:42.200 --> 0:38:42.640
<v Speaker 1>I see.

0:38:42.840 --> 0:38:45.880
<v Speaker 2>Could you tell me, like, what other notable acts were

0:38:45.920 --> 0:38:48.719
<v Speaker 2>you singing background for that we might not be aware of.

0:38:50.440 --> 0:38:56.799
<v Speaker 8>Helen Ready share songs? Yeah, Helen Ready. Oh my god,

0:38:57.200 --> 0:38:59.960
<v Speaker 8>somebody just posted it the other day. I forgot that

0:39:00.160 --> 0:39:02.960
<v Speaker 8>song that we did for her, we did the entire

0:39:03.120 --> 0:39:06.600
<v Speaker 8>album because she just passed I think recently, and someone

0:39:06.719 --> 0:39:07.480
<v Speaker 8>posted it.

0:39:09.080 --> 0:39:12.640
<v Speaker 1>And share I share like half read or take Me Home.

0:39:12.480 --> 0:39:15.640
<v Speaker 8>Or I forgot what song. But the song that we

0:39:15.719 --> 0:39:19.480
<v Speaker 8>did do for share, I don't think it made the album, okay,

0:39:19.560 --> 0:39:21.680
<v Speaker 8>but we did a session. We did a session because

0:39:21.719 --> 0:39:24.120
<v Speaker 8>we did two songs with her and they never met.

0:39:24.160 --> 0:39:26.680
<v Speaker 8>I don't think they made the album. Now, somebody's gonna

0:39:26.680 --> 0:39:29.200
<v Speaker 8>probably prove me wrong and post it.

0:39:29.560 --> 0:39:34.880
<v Speaker 2>You know, I know that you've done background on some

0:39:35.040 --> 0:39:37.040
<v Speaker 2>notable affilly international songs as well.

0:39:37.520 --> 0:39:39.600
<v Speaker 1>So am I to assume.

0:39:39.360 --> 0:39:43.359
<v Speaker 2>That you're you're basically all the female voices that I

0:39:43.400 --> 0:39:47.800
<v Speaker 2>hear on like You'll never find another love like Mine

0:39:47.840 --> 0:39:51.080
<v Speaker 2>and those those songs as well, like with Lou Rawl's.

0:39:50.760 --> 0:39:54.279
<v Speaker 8>And now we did do Lou Rawl's album. There was

0:39:54.640 --> 0:39:58.879
<v Speaker 8>a group of girls in Philadelphia, Okay, I can't think

0:39:58.920 --> 0:40:00.520
<v Speaker 8>of their names that were doing and a lot of

0:40:00.560 --> 0:40:05.000
<v Speaker 8>background singing for Gambling them because once we became the

0:40:05.120 --> 0:40:08.719
<v Speaker 8>Jones girls, you know, we didn't do as much background

0:40:08.760 --> 0:40:11.759
<v Speaker 8>singing for other people once we got with Gambling Huff

0:40:11.800 --> 0:40:16.279
<v Speaker 8>in seventy nine, just select people, you know, when we

0:40:16.360 --> 0:40:18.680
<v Speaker 8>had the time because you know, with you're going to

0:40:18.760 --> 0:40:21.200
<v Speaker 8>make me love somebody else coming out the box being

0:40:21.640 --> 0:40:24.520
<v Speaker 8>so big, we immediate get Gamble, immediately sent us to

0:40:25.440 --> 0:40:31.680
<v Speaker 8>Ohio with Charlie Atkins, who put the OJS and Temptations

0:40:32.200 --> 0:40:35.880
<v Speaker 8>with him, and we were we were rehearsing to go

0:40:35.960 --> 0:40:48.000
<v Speaker 8>out on tour with the OJS. Oh yes, oh man.

0:40:44.239 --> 0:40:44.319
<v Speaker 2>He.

0:40:46.520 --> 0:40:46.600
<v Speaker 5>Was.

0:40:46.880 --> 0:40:49.560
<v Speaker 8>He was. And I have two left feet, so he

0:40:49.680 --> 0:40:53.640
<v Speaker 8>was always on me. He was constantly on me because

0:40:53.680 --> 0:40:55.799
<v Speaker 8>I'm not. I was the only one that couldn't dance.

0:40:55.840 --> 0:40:58.880
<v Speaker 8>Brendan Valleie could dance, you know, and me, I'd always

0:40:58.880 --> 0:41:01.080
<v Speaker 8>tried to, Well, I'm saying and lead anyway. Can I

0:41:01.160 --> 0:41:03.640
<v Speaker 8>just stand on? No, you cannot. You're gonna do those

0:41:04.200 --> 0:41:08.280
<v Speaker 8>You're doing them too, girl. So oh he was a testent.

0:41:08.719 --> 0:41:11.600
<v Speaker 8>You just just eat a banana. Eat a banana before

0:41:11.600 --> 0:41:13.799
<v Speaker 8>you come in here to rehearsal for that potassium so

0:41:13.840 --> 0:41:19.399
<v Speaker 8>you could move those feet. He was a drill master.

0:41:20.080 --> 0:41:24.239
<v Speaker 2>No, I heard every every act that's ever worked with him.

0:41:24.480 --> 0:41:28.800
<v Speaker 2>Oh wait, what what period were you guys?

0:41:28.960 --> 0:41:29.360
<v Speaker 8>Uh?

0:41:29.520 --> 0:41:31.080
<v Speaker 1>With Aretha Franklin.

0:41:31.280 --> 0:41:33.399
<v Speaker 8>We did the Almighty Fire album with her.

0:41:33.520 --> 0:41:39.359
<v Speaker 2>Oh God, yes, only only say this.

0:41:39.360 --> 0:41:42.120
<v Speaker 1>Because the kind of the kind of household I grew

0:41:42.200 --> 0:41:46.799
<v Speaker 1>up in. I would. I grew up with.

0:41:46.800 --> 0:41:50.360
<v Speaker 2>Three binge shoppers when it came to records, so like

0:41:51.360 --> 0:41:55.000
<v Speaker 2>every week, stacks and stacks and stacks of forty five

0:41:55.040 --> 0:41:57.200
<v Speaker 2>stacks and stacks and stacks of thirty three's would.

0:41:57.040 --> 0:41:57.680
<v Speaker 1>Come in the house.

0:41:58.560 --> 0:42:00.880
<v Speaker 2>The thing is is that I would get the records

0:42:00.880 --> 0:42:06.080
<v Speaker 2>that my parents didn't want. So, you know, as far

0:42:06.120 --> 0:42:09.560
<v Speaker 2>as my Aretha collection, like there there was a period

0:42:09.640 --> 0:42:13.440
<v Speaker 2>like Almighty Fire, the U record all the way up

0:42:13.480 --> 0:42:17.319
<v Speaker 2>to La Diva, like basically the post Sparkle records that

0:42:17.400 --> 0:42:21.200
<v Speaker 2>really weren't hitting the same right I inherited, So I

0:42:21.239 --> 0:42:23.600
<v Speaker 2>know all those like Sweet Passion, like all those Aretha

0:42:23.920 --> 0:42:27.759
<v Speaker 2>records that weren't quite you know up there with the

0:42:28.200 --> 0:42:29.160
<v Speaker 2>legacy albums.

0:42:29.400 --> 0:42:30.319
<v Speaker 1>What was it like?

0:42:30.400 --> 0:42:33.560
<v Speaker 2>Oh god, and she was wearing that space suit too, yep,

0:42:34.080 --> 0:42:37.120
<v Speaker 2>the Green Space I remember that that period.

0:42:38.280 --> 0:42:38.960
<v Speaker 1>What was it like?

0:42:39.560 --> 0:42:45.000
<v Speaker 2>And how intimidating is it you know working with her?

0:42:45.280 --> 0:42:48.200
<v Speaker 2>Or was she just you know, another Detroit person that

0:42:48.239 --> 0:42:49.040
<v Speaker 2>you could connect with.

0:42:49.680 --> 0:42:53.880
<v Speaker 8>Well, we had sang as children at her father's church

0:42:53.960 --> 0:42:58.200
<v Speaker 8>with my mother one Sunday when we were there. I

0:42:58.239 --> 0:43:01.960
<v Speaker 8>believe it was one of her father's anniversary, and we

0:43:02.040 --> 0:43:03.839
<v Speaker 8>knew that she was going to be there. At that time,

0:43:03.920 --> 0:43:07.520
<v Speaker 8>she was she was a superstar. She had respect out,

0:43:07.640 --> 0:43:10.200
<v Speaker 8>you know, she was like and they said she was

0:43:10.239 --> 0:43:13.520
<v Speaker 8>going to be at the church. And after we performed,

0:43:13.520 --> 0:43:15.520
<v Speaker 8>she came up to my mother and said, boy, those

0:43:15.560 --> 0:43:18.280
<v Speaker 8>are some singing girls you got there. And then fast

0:43:18.360 --> 0:43:21.560
<v Speaker 8>forward like fifteen years later, we were doing Almighty Fire.

0:43:21.920 --> 0:43:23.640
<v Speaker 8>And what a lot of people don't know is that

0:43:23.719 --> 0:43:29.160
<v Speaker 8>when that Sparkle movie was, you know, they were looking

0:43:29.239 --> 0:43:33.200
<v Speaker 8>for the actor, the actors and actresses for that movie.

0:43:33.680 --> 0:43:40.400
<v Speaker 8>Aretha Franklin and Kenny Gamble wanted us to play the sisters.

0:43:42.920 --> 0:43:45.880
<v Speaker 8>Aretha put pitched in for She wanted us to do

0:43:45.960 --> 0:43:48.920
<v Speaker 8>it because because of our voices and we had just

0:43:49.040 --> 0:43:54.600
<v Speaker 8>sang on her album, and Kenny felt that that would

0:43:54.640 --> 0:43:57.600
<v Speaker 8>be a great We were the you know, the Jones girls.

0:43:57.640 --> 0:44:01.239
<v Speaker 8>He felt that we were just coming out that they

0:44:01.280 --> 0:44:05.240
<v Speaker 8>sent us to New York and a limo and uh

0:44:05.280 --> 0:44:07.359
<v Speaker 8>it was uh. I think they both were very and

0:44:07.440 --> 0:44:12.040
<v Speaker 8>I know we were disappointed, Uh, especially when uh and

0:44:12.080 --> 0:44:15.560
<v Speaker 8>you know Aretha she was activist, but back then, especially

0:44:15.600 --> 0:44:19.000
<v Speaker 8>when those girls, they you know, was very light, bright

0:44:19.080 --> 0:44:22.319
<v Speaker 8>girls that got the part her thing was to them

0:44:22.560 --> 0:44:25.520
<v Speaker 8>was you know this, this is ridiculous. Those girls can

0:44:25.680 --> 0:44:28.400
<v Speaker 8>you know they they're they're singers and they could be

0:44:28.719 --> 0:44:32.320
<v Speaker 8>taught to be actresses too, and she she was quite

0:44:32.400 --> 0:44:33.839
<v Speaker 8>upset about that.

0:44:34.880 --> 0:44:39.320
<v Speaker 1>So there was almost a chance that you could have yeah, sparkle.

0:44:39.239 --> 0:44:41.520
<v Speaker 6>Yes sing the songs.

0:44:43.160 --> 0:44:44.080
<v Speaker 8>Yeah.

0:44:44.320 --> 0:44:47.640
<v Speaker 2>Was there was there ever a background gig that you

0:44:47.800 --> 0:44:51.400
<v Speaker 2>had that was like a little too intimidating or that

0:44:51.480 --> 0:44:55.120
<v Speaker 2>you you know, it was just all right to you.

0:44:55.120 --> 0:44:58.799
<v Speaker 8>Now, we we no matter who the artist was, and

0:44:58.880 --> 0:45:01.560
<v Speaker 8>there were a lot of artists that you know, hadn't

0:45:01.560 --> 0:45:04.399
<v Speaker 8>even made it yet. But you know, if we liked

0:45:04.440 --> 0:45:07.080
<v Speaker 8>the song, and you know, they they were willing to pay,

0:45:07.200 --> 0:45:11.200
<v Speaker 8>because pay the money, you know, we were we would

0:45:11.200 --> 0:45:13.960
<v Speaker 8>do it and we would give our best. And the

0:45:14.760 --> 0:45:16.480
<v Speaker 8>thing that a lot of people don't know is that

0:45:16.520 --> 0:45:20.319
<v Speaker 8>for another reason why so many people liked us is

0:45:20.440 --> 0:45:25.520
<v Speaker 8>because we created a lot of those backgrounds. They knew

0:45:25.560 --> 0:45:28.719
<v Speaker 8>that if they gave us the song, we were going

0:45:28.800 --> 0:45:35.200
<v Speaker 8>to create the background parts. Yeah, I mean arrangement, some

0:45:35.200 --> 0:45:38.600
<v Speaker 8>some on some for a lot. Now some did come with,

0:45:38.800 --> 0:45:43.200
<v Speaker 8>you know, specific backgrounds, but our reputation became such that

0:45:43.239 --> 0:45:46.560
<v Speaker 8>they'd be like Okay, well, hey, here's the song. What

0:45:46.600 --> 0:45:55.840
<v Speaker 8>do you guys think you know, no Norman Connors, Lou Rawls.

0:45:55.920 --> 0:45:56.160
<v Speaker 2>Uh.

0:45:57.719 --> 0:46:01.640
<v Speaker 8>Else that we they've let us do, just you know,

0:46:01.800 --> 0:46:05.120
<v Speaker 8>control the background. God, it's so many people.

0:46:05.120 --> 0:46:07.000
<v Speaker 3>Just songs. But you were just like artists that were like,

0:46:07.040 --> 0:46:09.400
<v Speaker 3>it don't matter what song I'm doing. Let the Jones girls.

0:46:09.200 --> 0:46:12.040
<v Speaker 8>Come in here and do and do our thing. Now.

0:46:12.520 --> 0:46:15.280
<v Speaker 8>Brenda was alive because her memory is so much better

0:46:15.320 --> 0:46:18.720
<v Speaker 8>than mine. She she she can remember every single artist

0:46:18.840 --> 0:46:23.279
<v Speaker 8>we did background on and everything. But but me, it

0:46:23.280 --> 0:46:26.960
<v Speaker 8>gets a little fuzzy sometime because when people post stuff

0:46:27.000 --> 0:46:28.960
<v Speaker 8>now and I'll be like, oh, yeah, I remember that

0:46:29.080 --> 0:46:30.640
<v Speaker 8>we did do that song, you know.

0:46:31.040 --> 0:46:39.640
<v Speaker 2>So so with with signing to Philly International, I'll say

0:46:39.680 --> 0:46:45.480
<v Speaker 2>that probably in my opinion, because you know, we my

0:46:45.600 --> 0:46:47.360
<v Speaker 2>dad purchased all the records and played it at the

0:46:47.400 --> 0:46:51.200
<v Speaker 2>house all the time, I will say that you guys

0:46:51.200 --> 0:46:56.000
<v Speaker 2>were probably given them more contemporary, up to date town

0:46:56.640 --> 0:46:59.560
<v Speaker 2>than a lot of the acts that were on Philly

0:46:59.560 --> 0:47:02.400
<v Speaker 2>International back then. Like it was almost a thing where

0:47:03.520 --> 0:47:06.360
<v Speaker 2>you know, you knew instantly within the first two seconds

0:47:06.360 --> 0:47:10.320
<v Speaker 2>that you were listening to a Filly International song based

0:47:10.360 --> 0:47:12.640
<v Speaker 2>on like the trademark of the strings and all the

0:47:12.680 --> 0:47:15.719
<v Speaker 2>mixing on the record or whatever, but like, You're gonna

0:47:15.719 --> 0:47:22.600
<v Speaker 2>make me love somebody else sounded nothing like what Philadelphia,

0:47:22.719 --> 0:47:27.680
<v Speaker 2>especially what was happening in nineteen seventy nine, if anything, right, Yeah,

0:47:27.960 --> 0:47:28.319
<v Speaker 2>because it.

0:47:28.400 --> 0:47:30.040
<v Speaker 6>Was like a woman telling me you better get your

0:47:30.040 --> 0:47:30.960
<v Speaker 6>shit together.

0:47:30.920 --> 0:47:32.120
<v Speaker 8>Right exactly.

0:47:33.040 --> 0:47:38.719
<v Speaker 2>Yeah, So what I mean, I would assume that it's

0:47:38.719 --> 0:47:41.720
<v Speaker 2>still the same group of people, like it's still dexter

0:47:41.840 --> 0:47:46.319
<v Speaker 2>Anzel and Gambling Huff and all those Well, I know

0:47:46.440 --> 0:47:50.120
<v Speaker 2>McKinley Jackson also worked on the record as well, But right, like,

0:47:50.280 --> 0:47:53.839
<v Speaker 2>what was the discussion basically on how to present you

0:47:53.880 --> 0:47:56.760
<v Speaker 2>guys in your sound.

0:47:56.800 --> 0:48:00.640
<v Speaker 8>That's one of the things that I think Gamble and

0:48:00.800 --> 0:48:05.040
<v Speaker 8>Hope they were purposely trying to take us away just

0:48:05.160 --> 0:48:10.120
<v Speaker 8>a little bit for from the the strings and horns

0:48:10.120 --> 0:48:12.279
<v Speaker 8>of like say, like of what they did with three

0:48:12.280 --> 0:48:15.920
<v Speaker 8>Degrees three Degrees, and wanted they wanted us to be

0:48:16.000 --> 0:48:21.120
<v Speaker 8>more funky, more soulful, more R and B And if

0:48:21.120 --> 0:48:24.640
<v Speaker 8>you noticed the very first Jones Girls album, that's exactly

0:48:24.880 --> 0:48:27.719
<v Speaker 8>I mean. I'm at your Mercies on there, which is

0:48:27.800 --> 0:48:31.000
<v Speaker 8>a you know, heart wrenching ballad.

0:48:31.280 --> 0:48:31.440
<v Speaker 3>Uh.

0:48:32.000 --> 0:48:38.000
<v Speaker 8>Then of course there's You're Gonna make Me love somebody else? Yeah, exactly,

0:48:38.320 --> 0:48:42.479
<v Speaker 8>So yeah, who Can I Run To? Us? Yep?

0:48:44.640 --> 0:48:45.719
<v Speaker 1>What were your feelings on?

0:48:46.680 --> 0:48:50.120
<v Speaker 2>Of course, not what your feelings on were you How

0:48:50.160 --> 0:48:55.040
<v Speaker 2>did it feel for Escape to sort of reintroduce that

0:48:55.160 --> 0:48:57.120
<v Speaker 2>song onto a holy generation?

0:48:57.600 --> 0:49:01.520
<v Speaker 8>Yeah? When I when I heard it, when I first

0:49:01.560 --> 0:49:04.600
<v Speaker 8>heard it, it was well nineteen ninety five, so by

0:49:04.640 --> 0:49:10.080
<v Speaker 8>that time it was sixteen years future from when we

0:49:10.120 --> 0:49:14.359
<v Speaker 8>did it, and so many I remember so many of

0:49:14.360 --> 0:49:17.360
<v Speaker 8>the producers when Gambled back in the day, you know,

0:49:17.400 --> 0:49:19.680
<v Speaker 8>you had a A side and a B side on records,

0:49:20.120 --> 0:49:22.200
<v Speaker 8>and who Can I Run To? Was on the B side.

0:49:23.200 --> 0:49:25.799
<v Speaker 8>So many people did not want Gamble to put that.

0:49:25.880 --> 0:49:28.640
<v Speaker 8>They said, put show love today, put anything on that

0:49:29.160 --> 0:49:31.040
<v Speaker 8>on the B side of You're Gonna make Me Love

0:49:31.080 --> 0:49:33.560
<v Speaker 8>somebody else? Besides who Can I Run To? Because that

0:49:33.719 --> 0:49:37.160
<v Speaker 8>is a that is a single of its own. But

0:49:37.280 --> 0:49:41.400
<v Speaker 8>of course that didn't happen. So n I mean we

0:49:41.520 --> 0:49:44.360
<v Speaker 8>you know, we were working and and the girls and

0:49:44.400 --> 0:49:46.240
<v Speaker 8>I had broken up by then, and when we heard

0:49:47.520 --> 0:49:52.239
<v Speaker 8>who Can I Run To? I was happy actually because

0:49:52.960 --> 0:49:55.920
<v Speaker 8>back then when their record came out, there were so

0:49:56.200 --> 0:50:00.920
<v Speaker 8>many DJs that were, you know, into new that we

0:50:01.000 --> 0:50:04.359
<v Speaker 8>had done it first, because people used to flip it

0:50:04.440 --> 0:50:07.560
<v Speaker 8>on the radio sometimes and play who Can I Run to?

0:50:08.000 --> 0:50:11.440
<v Speaker 8>So what they would do is like, yeah, I know

0:50:11.480 --> 0:50:15.160
<v Speaker 8>you guys love this one by Escape, but guess what

0:50:15.400 --> 0:50:17.959
<v Speaker 8>Escape didn't do it first the Jones. Then they would

0:50:17.960 --> 0:50:20.680
<v Speaker 8>play our version too and have people call in which

0:50:20.800 --> 0:50:23.480
<v Speaker 8>version they like the best, and all of that. And

0:50:23.840 --> 0:50:27.120
<v Speaker 8>I happened to the girls on a radio show some

0:50:27.360 --> 0:50:30.640
<v Speaker 8>years back, and they said, we hope we did a

0:50:30.719 --> 0:50:33.839
<v Speaker 8>good job, but we just love you guys and love

0:50:33.920 --> 0:50:36.279
<v Speaker 8>you all sound. And I told them, I said, you

0:50:36.320 --> 0:50:38.400
<v Speaker 8>all did a great job because what you did was

0:50:38.440 --> 0:50:40.800
<v Speaker 8>you brought back a lot of attention to the Jones girls,

0:50:41.560 --> 0:50:45.479
<v Speaker 8>so I was saying, I told them, I said, so, hey,

0:50:45.560 --> 0:50:48.800
<v Speaker 8>thank you, thank you all, because it brought back some attention.

0:50:48.920 --> 0:50:52.560
<v Speaker 8>Because I mean, up until you know, from sixteen years later,

0:50:53.120 --> 0:50:54.960
<v Speaker 8>you know, we had kind of died out, like we

0:50:54.960 --> 0:50:58.040
<v Speaker 8>weren't together anymore. We had done we would do some

0:50:58.080 --> 0:51:01.640
<v Speaker 8>things occasionally over in Europe, but it was it brought

0:51:01.680 --> 0:51:03.760
<v Speaker 8>back a lot of attention and put that Jones girl's

0:51:03.840 --> 0:51:04.680
<v Speaker 8>name back out there.

0:51:11.400 --> 0:51:14.319
<v Speaker 2>And last week's episode, we heard an excerpt from my

0:51:14.400 --> 0:51:18.120
<v Speaker 2>one on one with Kathleen Henna. A few years earlier,

0:51:18.200 --> 0:51:21.480
<v Speaker 2>we spoke to Sleeeder Kenny, and in this group, Carrie

0:51:21.680 --> 0:51:25.640
<v Speaker 2>and Korn speak about Kathleen's influence and the Riot Girl movement.

0:51:26.040 --> 0:51:28.880
<v Speaker 2>You also hear about being a part of a strong

0:51:28.880 --> 0:51:32.319
<v Speaker 2>community and the challenges of fame and success coming out

0:51:32.320 --> 0:51:37.799
<v Speaker 2>of that. At what point for the both of you,

0:51:38.160 --> 0:51:43.560
<v Speaker 2>are you realizing that you have a voice or that

0:51:44.600 --> 0:51:47.759
<v Speaker 2>music is something that you're interested in pursuing, not just

0:51:47.800 --> 0:51:52.200
<v Speaker 2>something that casually that just happens, you know, in your household.

0:51:52.880 --> 0:51:56.960
<v Speaker 12>I think for me, I I moved to Olympia to

0:51:57.000 --> 0:51:59.560
<v Speaker 12>go to college. I went to like, you know, the

0:51:59.560 --> 0:52:03.200
<v Speaker 12>Evergreen State College when all of the stuff was happening,

0:52:03.320 --> 0:52:09.440
<v Speaker 12>and I have to credit Bikini Kill and Brat Mobile

0:52:09.920 --> 0:52:13.040
<v Speaker 12>playing a show, and I was just I just got

0:52:13.040 --> 0:52:16.000
<v Speaker 12>to be like right up close, like right there when

0:52:16.000 --> 0:52:18.680
<v Speaker 12>they were doing their thing, and I was like, I

0:52:18.680 --> 0:52:21.600
<v Speaker 12>want to do that. I'm going to start a band,

0:52:21.640 --> 0:52:23.759
<v Speaker 12>and I in my head I started a band Like

0:52:23.800 --> 0:52:26.600
<v Speaker 12>that night. I was just like I'm in I'm doing

0:52:26.680 --> 0:52:30.160
<v Speaker 12>it too, okay, you know, because I saw them do it.

0:52:30.360 --> 0:52:33.560
<v Speaker 12>They were my age and they were they were just

0:52:33.600 --> 0:52:36.200
<v Speaker 12>starting out, and so it just like opened the door.

0:52:37.040 --> 0:52:40.839
<v Speaker 2>He explained to me the whole idea of what Rye

0:52:40.920 --> 0:52:45.880
<v Speaker 2>Girl represents, and is that a title that was invented

0:52:45.880 --> 0:52:50.000
<v Speaker 2>by the proprietors or again, was it some guy from

0:52:50.080 --> 0:52:53.120
<v Speaker 2>Spin magazine sort of searching for the next big thing

0:52:53.160 --> 0:52:56.279
<v Speaker 2>and then said, okay, this right girl with a bunch

0:52:56.320 --> 0:52:56.920
<v Speaker 2>of rs in it.

0:52:57.840 --> 0:53:01.880
<v Speaker 12>No, it was it was actually like a a genuine movement,

0:53:02.120 --> 0:53:06.400
<v Speaker 12>you know. It was the title was you know, started

0:53:06.480 --> 0:53:11.080
<v Speaker 12>by a young woman in DC who was like, we

0:53:11.160 --> 0:53:15.440
<v Speaker 12>need to start an actual movement for women in the

0:53:15.520 --> 0:53:20.200
<v Speaker 12>independent music scene that that highlights women's roles and supports

0:53:20.239 --> 0:53:24.440
<v Speaker 12>women and talks about safe spaces for women. And there

0:53:24.480 --> 0:53:26.399
<v Speaker 12>were meetings. You could go to a meeting you could

0:53:26.440 --> 0:53:29.440
<v Speaker 12>talk about all these things. You could talk about, you know,

0:53:30.400 --> 0:53:33.480
<v Speaker 12>being in a bad relationship, sexual assault, like all.

0:53:33.360 --> 0:53:35.960
<v Speaker 13>Of the kind of like taboo stuff at.

0:53:35.800 --> 0:53:37.560
<v Speaker 9>The time at that time.

0:53:37.680 --> 0:53:40.440
<v Speaker 12>Yeah, at the time, there just wasn't another space for

0:53:40.480 --> 0:53:42.160
<v Speaker 12>that stuff to come out and happen.

0:53:42.239 --> 0:53:45.520
<v Speaker 8>So it was it was very real. It was very.

0:53:45.360 --> 0:53:46.680
<v Speaker 13>Taboo at the time.

0:53:47.520 --> 0:53:51.960
<v Speaker 12>And you know Kathleen Hannah was she was you know,

0:53:52.560 --> 0:53:56.239
<v Speaker 12>very much like a cultural leader, right, she was like

0:53:56.840 --> 0:54:00.560
<v Speaker 12>our poet because she was writing this stuff that she

0:54:00.680 --> 0:54:06.040
<v Speaker 12>was incredible poet, incredible writer and performer, you know, and

0:54:07.239 --> 0:54:09.560
<v Speaker 12>very confrontational. But she was saying all the stuff that

0:54:09.600 --> 0:54:14.360
<v Speaker 12>we were all like so afraid to say ourselves.

0:54:15.440 --> 0:54:18.960
<v Speaker 2>Okay, So the first time I met Kathleen Hanna, I

0:54:18.960 --> 0:54:21.040
<v Speaker 2>didn't know I was mean, Like I didn't know anything

0:54:21.040 --> 0:54:23.400
<v Speaker 2>about Rye girl whatever. Like the Roots are just doing

0:54:24.360 --> 0:54:29.760
<v Speaker 2>a show somewhere up in Seattle. I forget the spot

0:54:29.760 --> 0:54:31.480
<v Speaker 2>in Seattle that we were playing. I know it was

0:54:31.560 --> 0:54:33.640
<v Speaker 2>across the sheet from the spot where they throw fish.

0:54:34.160 --> 0:54:35.719
<v Speaker 9>Oh yeah, the showbox.

0:54:36.239 --> 0:54:39.919
<v Speaker 1>Yeah, we were at the showbox. Yeah, I'll say that. Yeah,

0:54:39.920 --> 0:54:40.359
<v Speaker 1>I met.

0:54:40.719 --> 0:54:43.560
<v Speaker 2>Matter of fact, the first three times I've met or

0:54:43.600 --> 0:54:47.400
<v Speaker 2>seen Kathleen, she was like cursing someone out like it

0:54:47.480 --> 0:54:48.160
<v Speaker 2>was always like.

0:54:49.600 --> 0:54:50.560
<v Speaker 5>Yeah yeah.

0:54:50.600 --> 0:54:53.879
<v Speaker 2>And my manager of Rich was they those two were

0:54:53.880 --> 0:54:57.760
<v Speaker 2>like really good friends. So he's sort of my manager

0:54:57.760 --> 0:55:01.600
<v Speaker 2>who passed away. Him and her really became good friends.

0:55:01.640 --> 0:55:05.640
<v Speaker 1>And you know, he just liked, that makes all the sense.

0:55:05.719 --> 0:55:07.840
<v Speaker 2>Oh my god, you see it down here and you describe,

0:55:07.880 --> 0:55:09.040
<v Speaker 2>Oh my god, that makes ye.

0:55:09.080 --> 0:55:10.680
<v Speaker 1>Oh that's how it really shit, Like my shit is

0:55:10.680 --> 0:55:11.359
<v Speaker 1>all trickles down.

0:55:11.440 --> 0:55:14.600
<v Speaker 2>Economics were Rich and him, Him and Kathleen were like

0:55:14.600 --> 0:55:18.520
<v Speaker 2>talking whatever, Like I mean, but she was just I've

0:55:18.560 --> 0:55:21.319
<v Speaker 2>never seen the person so just wild and unhinged and

0:55:21.400 --> 0:55:24.200
<v Speaker 2>just told what the fuck she felt and all that.

0:55:24.360 --> 0:55:27.840
<v Speaker 2>Like I was just like, yoh, this is unheard of whatever.

0:55:27.960 --> 0:55:30.200
<v Speaker 2>So that that was like my introduction to her. She

0:55:30.360 --> 0:55:32.680
<v Speaker 2>was cool and very nice to us, but like in

0:55:32.719 --> 0:55:35.879
<v Speaker 2>a second, she will she'll bring the ruckus and I've

0:55:35.920 --> 0:55:39.239
<v Speaker 2>just never seen that shit, so you know, and I

0:55:39.280 --> 0:55:41.560
<v Speaker 2>don't really be like, oh intense or whatever, but that's

0:55:41.560 --> 0:55:44.319
<v Speaker 2>what it was like for me meeting her. So could

0:55:44.400 --> 0:55:46.759
<v Speaker 2>you tell me what the environment was, at least at

0:55:46.760 --> 0:55:51.760
<v Speaker 2>the time in the Northwest that really prompted this movement

0:55:51.800 --> 0:55:54.080
<v Speaker 2>to really find its legs.

0:55:55.400 --> 0:55:58.839
<v Speaker 12>Yeah, I mean, you know, the Northwest was was this

0:55:58.960 --> 0:56:02.640
<v Speaker 12>hotbed of like independent music. So there was all of

0:56:02.680 --> 0:56:10.120
<v Speaker 12>this like criticism of mainstream music that was you know,

0:56:10.760 --> 0:56:15.160
<v Speaker 12>that wasn't genuine, It wasn't you know, real art and everything.

0:56:15.239 --> 0:56:19.960
<v Speaker 12>And this music scene was about you know, like real

0:56:20.000 --> 0:56:23.080
<v Speaker 12>people telling their stories and making music available to everyone,

0:56:23.280 --> 0:56:25.400
<v Speaker 12>so you know, five dollars shows.

0:56:25.120 --> 0:56:26.439
<v Speaker 13>And all of that.

0:56:26.920 --> 0:56:31.440
<v Speaker 12>But it was also this kind of like slam dancing,

0:56:32.080 --> 0:56:36.920
<v Speaker 12>rather violent culture at every show, and so there was

0:56:37.000 --> 0:56:40.759
<v Speaker 12>just not a lot of space for women to feel like,

0:56:40.880 --> 0:56:43.200
<v Speaker 12>am I going to be safe going to this show?

0:56:43.680 --> 0:56:45.680
<v Speaker 12>Am I going to feel like I you know, my

0:56:45.800 --> 0:56:48.680
<v Speaker 12>voice is heard? And the roles for women were still

0:56:48.760 --> 0:56:52.120
<v Speaker 12>like oh yeah, you know, my boyfriend's.

0:56:51.560 --> 0:56:53.879
<v Speaker 13>In that band, and right, and.

0:56:53.520 --> 0:56:56.880
<v Speaker 12>And just like when we're still yeah a foil. And

0:56:57.000 --> 0:57:00.680
<v Speaker 12>so when you had a personality like Kathleen who was

0:57:00.800 --> 0:57:07.480
<v Speaker 12>like protagonist, right, so she was like center stage at

0:57:07.480 --> 0:57:11.960
<v Speaker 12>all times, it was like an arrow like shot through

0:57:12.000 --> 0:57:15.640
<v Speaker 12>our hearts. It was like, I want to be like that.

0:57:16.400 --> 0:57:19.560
<v Speaker 12>Like I'm I was a shy, awkward, kind of academic

0:57:19.640 --> 0:57:24.360
<v Speaker 12>type kid. But I saw someone just like take control

0:57:24.600 --> 0:57:26.880
<v Speaker 12>of the stage, be like I have a story to

0:57:26.920 --> 0:57:28.880
<v Speaker 12>tell and everyone in this room is going to listen,

0:57:29.680 --> 0:57:31.240
<v Speaker 12>And that just opened the door.

0:57:31.880 --> 0:57:34.760
<v Speaker 14>It kind of took feminism and you know, even though

0:57:34.760 --> 0:57:38.080
<v Speaker 14>they're definitely you know, very fair critiques of right girl,

0:57:38.160 --> 0:57:42.080
<v Speaker 14>like just like other early iterations of feminism, it lacked intersectionality,

0:57:42.800 --> 0:57:46.000
<v Speaker 14>and you know, it was it was largely white women,

0:57:46.040 --> 0:57:49.000
<v Speaker 14>although there was tons of women of color there as well,

0:57:50.240 --> 0:57:55.960
<v Speaker 14>but it definitely took feminism out of an academic context

0:57:56.000 --> 0:57:59.960
<v Speaker 14>and gave it a very like punk, very colloquial vernacular.

0:58:00.280 --> 0:58:02.640
<v Speaker 14>It was like here was you know, like a world

0:58:02.760 --> 0:58:05.320
<v Speaker 14>of punk had just come out of like a hardcore phase,

0:58:05.400 --> 0:58:08.160
<v Speaker 14>especially on the West Coast, which was super violent. So

0:58:08.200 --> 0:58:09.760
<v Speaker 14>all of a sudden, it was like, what if we

0:58:09.800 --> 0:58:14.640
<v Speaker 14>took this movement, these ideas that are largely like in

0:58:15.000 --> 0:58:18.520
<v Speaker 14>you know, college textbooks, and just put it over three

0:58:18.600 --> 0:58:19.880
<v Speaker 14>courts and screamed it?

0:58:20.000 --> 0:58:21.360
<v Speaker 9>And that was very liberating.

0:58:21.400 --> 0:58:23.600
<v Speaker 14>I think to think that if you had a message,

0:58:23.640 --> 0:58:26.160
<v Speaker 14>it didn't necessarily need to be couched in a book,

0:58:26.360 --> 0:58:29.080
<v Speaker 14>you know, that it could be couched in a scream

0:58:29.200 --> 0:58:31.960
<v Speaker 14>or a yelp. And I think that just freed up

0:58:32.000 --> 0:58:34.040
<v Speaker 14>a lot of people to express themselves. I mean the

0:58:34.040 --> 0:58:37.400
<v Speaker 14>same way so much music just becomes like a source

0:58:37.520 --> 0:58:40.080
<v Speaker 14>of liberation for people, where it's like I have something

0:58:40.080 --> 0:58:41.400
<v Speaker 14>to say, and now I can say it over this

0:58:41.520 --> 0:58:45.280
<v Speaker 14>song instead of you know, writing out this exactly.

0:58:50.480 --> 0:58:54.400
<v Speaker 2>So what's the point where you two meet each other

0:58:55.120 --> 0:59:00.800
<v Speaker 2>and sort of talk in terms of starting a group

0:59:00.840 --> 0:59:07.040
<v Speaker 2>in and starting the beginning of Slater Kenney.

0:59:06.240 --> 0:59:07.560
<v Speaker 9>That was yeah, I was ninety four.

0:59:08.480 --> 0:59:11.400
<v Speaker 14>I was already living in Olympia to go to college

0:59:11.400 --> 0:59:13.680
<v Speaker 14>as as well. Koran was I think you were in

0:59:13.720 --> 0:59:16.280
<v Speaker 14>your senior year, and we were both in other bands.

0:59:16.320 --> 0:59:22.840
<v Speaker 14>Koran was in a much more like prototypical or archetypal

0:59:22.920 --> 0:59:25.120
<v Speaker 14>right girl band called Heavens to Betsy, and I was

0:59:25.160 --> 0:59:28.240
<v Speaker 14>in a band called Excuse seventeen. You know that was

0:59:28.240 --> 0:59:30.200
<v Speaker 14>that like day, those days, we were in that group.

0:59:30.240 --> 0:59:33.960
<v Speaker 14>To correct the Kathleen, no, she was in neither she

0:59:34.120 --> 0:59:36.720
<v Speaker 14>was in but other bands.

0:59:36.720 --> 0:59:37.840
<v Speaker 1>I didn't know if.

0:59:37.880 --> 0:59:41.440
<v Speaker 14>Everyone was in so many bands, okay, yeah, And so

0:59:42.760 --> 0:59:45.800
<v Speaker 14>we just saw this kindred spirit in each other, like

0:59:46.240 --> 0:59:49.200
<v Speaker 14>you know, Koran was the only her band was two people.

0:59:49.440 --> 0:59:51.520
<v Speaker 9>Koran on guitar and a drummer.

0:59:52.000 --> 0:59:54.960
<v Speaker 14>And then I was in a band with a similar

0:59:55.520 --> 0:59:58.440
<v Speaker 14>setup to Slater Kenney what Slater Keny would be two

0:59:58.440 --> 1:00:01.640
<v Speaker 14>guitars and drums, and we just we thought, I know,

1:00:01.640 --> 1:00:03.959
<v Speaker 14>I heard Korn sing and I was like, I would

1:00:04.040 --> 1:00:06.560
<v Speaker 14>love to be writing songs with this person. And she

1:00:06.800 --> 1:00:09.200
<v Speaker 14>heard me play guitar and had the same feeling, and

1:00:09.320 --> 1:00:11.200
<v Speaker 14>so we started playing kind of as a side project,

1:00:11.240 --> 1:00:14.720
<v Speaker 14>and then pretty quickly that became what we wanted to do.

1:00:14.800 --> 1:00:16.680
<v Speaker 14>It was just a very innate chemistry.

1:00:17.160 --> 1:00:21.840
<v Speaker 10>Why was there always no bass players, I'm just just

1:00:21.840 --> 1:00:22.960
<v Speaker 10>because he didn't want them.

1:00:23.400 --> 1:00:23.720
<v Speaker 8>It was.

1:00:23.800 --> 1:00:26.600
<v Speaker 12>It was definitely like a thing in the northwest of like,

1:00:27.040 --> 1:00:31.360
<v Speaker 12>you know, how can we be different and not not like,

1:00:31.600 --> 1:00:34.640
<v Speaker 12>you know, sort of the archetype rock band.

1:00:35.800 --> 1:00:37.680
<v Speaker 14>Yeah, and neither of us played I think it just

1:00:37.800 --> 1:00:40.360
<v Speaker 14>was played bass and we just wanted to be this

1:00:40.440 --> 1:00:43.520
<v Speaker 14>like kind of tight unit. I think there's sometimes when

1:00:43.520 --> 1:00:46.240
<v Speaker 14>you're when something is perceived as a lack, it actually

1:00:46.240 --> 1:00:48.840
<v Speaker 14>can be a strength through like how can we find

1:00:48.840 --> 1:00:53.440
<v Speaker 14>a way into these songs without the traditional instrumentation, you know,

1:00:53.480 --> 1:00:55.800
<v Speaker 14>it kind of forces you to write differently. We detuned

1:00:55.840 --> 1:00:58.320
<v Speaker 14>to see sharp, so Korn was singing in this really

1:00:58.400 --> 1:01:01.280
<v Speaker 14>high register and you know, trying to get low end

1:01:01.360 --> 1:01:03.919
<v Speaker 14>sound out of for a guitar. And yeah, I think

1:01:03.960 --> 1:01:06.840
<v Speaker 14>we used it to our advantage. Although now in the

1:01:06.880 --> 1:01:09.360
<v Speaker 14>past couple of years. You know, obviously we like bass.

1:01:09.440 --> 1:01:11.560
<v Speaker 14>Early on though people always ask us like, do you

1:01:11.600 --> 1:01:14.080
<v Speaker 14>guys not like bass? I'm like, no, ninety nine point

1:01:14.120 --> 1:01:16.120
<v Speaker 14>nine percent of all music we listened to has bass.

1:01:16.480 --> 1:01:20.080
<v Speaker 1>Okay, how long have you been playing guitar, Carrie?

1:01:20.560 --> 1:01:23.040
<v Speaker 14>I started when I was fifteen, so it has been

1:01:24.000 --> 1:01:25.760
<v Speaker 14>what is that thirty years?

1:01:26.600 --> 1:01:26.720
<v Speaker 1>Ok?

1:01:27.320 --> 1:01:28.680
<v Speaker 13>Yeah?

1:01:29.000 --> 1:01:31.840
<v Speaker 2>Yeah, Corian, how long have you been playing guitar?

1:01:32.680 --> 1:01:34.840
<v Speaker 13>It is it's like thirty years because I started when

1:01:34.880 --> 1:01:36.680
<v Speaker 13>I was like eighteen, so.

1:01:37.600 --> 1:01:42.120
<v Speaker 2>Okay, well resisting the temptation of making a spinal tap joke.

1:01:42.840 --> 1:01:47.160
<v Speaker 2>And I know that Janet joined the band three albums later,

1:01:47.240 --> 1:01:50.000
<v Speaker 2>but was it always the plan to sort of have

1:01:50.200 --> 1:01:53.640
<v Speaker 2>various musicians because I noticed that what determines what your

1:01:53.680 --> 1:01:57.000
<v Speaker 2>sound is probably also depends on the musicians that are

1:01:57.040 --> 1:02:02.000
<v Speaker 2>playing with you as well. So first drummer Laura McFarlane,

1:02:02.520 --> 1:02:05.160
<v Speaker 2>how do musicians come in the group and how do

1:02:05.240 --> 1:02:08.120
<v Speaker 2>they leave? Like is it just a one and done

1:02:08.160 --> 1:02:10.320
<v Speaker 2>thing or you guys are just taking this a little

1:02:10.360 --> 1:02:11.720
<v Speaker 2>more serious than the other.

1:02:11.760 --> 1:02:15.600
<v Speaker 14>Or no, I mean definitely. Just to say about Janet,

1:02:15.600 --> 1:02:17.040
<v Speaker 14>and she was an integral part of the band. I

1:02:17.040 --> 1:02:19.080
<v Speaker 14>mean I wrote about it in my book when she joined,

1:02:19.760 --> 1:02:20.600
<v Speaker 14>you know, we.

1:02:20.440 --> 1:02:21.600
<v Speaker 1>Were like, yeah, that's when you jelled.

1:02:21.800 --> 1:02:23.800
<v Speaker 9>Yeah, we were like this is this is great?

1:02:23.840 --> 1:02:26.520
<v Speaker 14>I would I'm I am sure as people assess us,

1:02:27.120 --> 1:02:30.080
<v Speaker 14>you know, ten fifteen years from now or you know,

1:02:30.080 --> 1:02:32.160
<v Speaker 14>they're like, that will be the classic period of the band,

1:02:32.200 --> 1:02:34.520
<v Speaker 14>So you know they were never throwaway.

1:02:34.560 --> 1:02:36.240
<v Speaker 1>Being the rock and Hall of Fame, I get it.

1:02:36.600 --> 1:02:39.080
<v Speaker 14>Yeah, she's a great drummer, so that Korn can talk

1:02:39.120 --> 1:02:42.040
<v Speaker 14>about Laura because yeah, she had brought her own avant

1:02:42.040 --> 1:02:43.200
<v Speaker 14>guard style for sure.

1:02:44.520 --> 1:02:44.760
<v Speaker 8>Yeah.

1:02:44.800 --> 1:02:47.560
<v Speaker 12>I mean I think a lot of it is like

1:02:48.400 --> 1:02:52.920
<v Speaker 12>a little bit happenstance on our part, Like you know,

1:02:52.960 --> 1:02:56.160
<v Speaker 12>we went we did go to Australia thinking like, hey,

1:02:56.200 --> 1:02:58.720
<v Speaker 12>let's play music, you know, and there was there was

1:02:58.760 --> 1:03:02.880
<v Speaker 12>like this international underground music community for real, And we

1:03:02.920 --> 1:03:07.360
<v Speaker 12>wrote her a letter, We wrote like the record label

1:03:07.600 --> 1:03:09.840
<v Speaker 12>a letter, and she wrote back like yeah.

1:03:09.680 --> 1:03:10.440
<v Speaker 13>Let's play music.

1:03:11.440 --> 1:03:13.880
<v Speaker 12>And that's just how it happened, and you know, and

1:03:13.920 --> 1:03:17.000
<v Speaker 12>then eventually it was like, well she did come over

1:03:17.040 --> 1:03:19.240
<v Speaker 12>and we played music here, and then she was like

1:03:19.320 --> 1:03:20.200
<v Speaker 12>I kind of need.

1:03:20.080 --> 1:03:22.920
<v Speaker 13>To go back to Australia. We're like, yeah, oh.

1:03:22.880 --> 1:03:26.800
<v Speaker 2>Okay, now that you're in the game of being on

1:03:26.840 --> 1:03:29.560
<v Speaker 2>an indie label, can you just walk us through the

1:03:29.560 --> 1:03:35.800
<v Speaker 2>process of how do you manage to survive and be

1:03:35.920 --> 1:03:39.560
<v Speaker 2>creative at the same time, Like for those first few albums,

1:03:39.560 --> 1:03:42.840
<v Speaker 2>did you still have to have day jobs or was

1:03:42.880 --> 1:03:46.600
<v Speaker 2>it like, Okay, you know, we can sort of survive

1:03:46.760 --> 1:03:50.360
<v Speaker 2>off of our club gigs and what units that we're selling.

1:03:51.400 --> 1:03:54.320
<v Speaker 12>I mean, I think there's there was definitely some back

1:03:54.360 --> 1:03:58.000
<v Speaker 12>and forth, you know, like there were still temp jobs.

1:03:58.040 --> 1:03:59.720
<v Speaker 13>I think even after dig Me Out.

1:04:00.520 --> 1:04:04.040
<v Speaker 9>I think that we kind of put this.

1:04:03.960 --> 1:04:08.160
<v Speaker 12>Like idea about being creative and being control of the

1:04:08.200 --> 1:04:10.880
<v Speaker 12>creative part of things as something that was really important

1:04:10.880 --> 1:04:13.360
<v Speaker 12>to us. So we were always willing to like do

1:04:13.440 --> 1:04:16.120
<v Speaker 12>whatever other jobs needed to be done, I think, just

1:04:16.160 --> 1:04:17.960
<v Speaker 12>to like make money or whatever.

1:04:18.120 --> 1:04:18.800
<v Speaker 8>I mean, we weren't.

1:04:18.960 --> 1:04:21.960
<v Speaker 12>We weren't not making money from touring, and we were

1:04:22.000 --> 1:04:24.880
<v Speaker 12>always wanting to figure that out and make it better.

1:04:25.280 --> 1:04:28.760
<v Speaker 12>We were always like ambitious about that. It just it

1:04:28.800 --> 1:04:30.320
<v Speaker 12>took us a while to get there.

1:04:30.440 --> 1:04:36.080
<v Speaker 2>But at what point are you absolutely full time? We're

1:04:36.200 --> 1:04:40.920
<v Speaker 2>ban I can pay my bills, I can put cheese

1:04:40.960 --> 1:04:44.080
<v Speaker 2>or my whopper and not break the bank like.

1:04:44.800 --> 1:04:48.640
<v Speaker 14>Probably dig me Out, I would say, So that's ninety seven.

1:04:48.880 --> 1:04:52.000
<v Speaker 9>I mean, let's also be clear. I was living in Olympia.

1:04:52.000 --> 1:04:54.280
<v Speaker 14>I think my rent was three ninety five a month,

1:04:54.640 --> 1:04:57.560
<v Speaker 14>so that doesn't take that much. You know, you can

1:04:57.840 --> 1:05:00.960
<v Speaker 14>you can play a couple of shows even as a

1:05:01.000 --> 1:05:04.080
<v Speaker 14>tiny band and make you know. So we were living

1:05:04.120 --> 1:05:07.160
<v Speaker 14>in small towns and like you know, sharehouses and stuff.

1:05:07.360 --> 1:05:09.720
<v Speaker 14>But dig me Out, I mean, one thing at the

1:05:09.800 --> 1:05:14.520
<v Speaker 14>time on indie labels was thesefit profit shares, which you know,

1:05:14.720 --> 1:05:17.600
<v Speaker 14>you just it was a split and people actually bought records.

1:05:17.600 --> 1:05:22.400
<v Speaker 14>So even though these these records weren't going gold or platinum,

1:05:22.760 --> 1:05:26.080
<v Speaker 14>you know, when dig Me out sells you know, seventy

1:05:26.080 --> 1:05:28.560
<v Speaker 14>five thousand copies or one hundred thousand copies and you have,

1:05:29.280 --> 1:05:33.000
<v Speaker 14>you know, getting fifty percent of profit share, like at

1:05:33.000 --> 1:05:35.560
<v Speaker 14>the time when you're in your early twenties, that's that's

1:05:35.560 --> 1:05:38.120
<v Speaker 14>definitely enough to live off of, even if you're splitting

1:05:38.160 --> 1:05:39.280
<v Speaker 14>it three ways.

1:05:39.640 --> 1:05:44.160
<v Speaker 2>So by the time that you guys are out, I

1:05:44.160 --> 1:05:48.840
<v Speaker 2>also know that every major label was looking up and

1:05:48.880 --> 1:05:51.040
<v Speaker 2>down the aisles for the next big thing or whatever

1:05:51.480 --> 1:05:53.600
<v Speaker 2>I mean. So at no point, like you know, I

1:05:53.640 --> 1:05:57.320
<v Speaker 2>know you guys started off on Chainsaw and then the

1:05:57.560 --> 1:06:01.200
<v Speaker 2>lovely title Kill All rock Stars. First of all, with

1:06:01.200 --> 1:06:06.280
<v Speaker 2>with those labels, is that are there actual are these

1:06:06.320 --> 1:06:08.520
<v Speaker 2>actual labels or just like okay, well what are we

1:06:08.560 --> 1:06:11.160
<v Speaker 2>going to call the label this time? Or like is

1:06:11.200 --> 1:06:14.120
<v Speaker 2>that your label and you guys have a distribution system?

1:06:14.400 --> 1:06:19.120
<v Speaker 2>Or is Kill All walk Stars like an actual label

1:06:19.200 --> 1:06:21.000
<v Speaker 2>like sub Pop is, and you know.

1:06:21.120 --> 1:06:24.960
<v Speaker 12>Yeah, no, Kill rock Stars is definitely an actual label.

1:06:25.160 --> 1:06:27.720
<v Speaker 12>And and that point I think was pretty critical for

1:06:27.840 --> 1:06:31.720
<v Speaker 12>us because after the first record came out on Chainsaw,

1:06:32.560 --> 1:06:37.160
<v Speaker 12>which was another a label run by fellow musicians, but

1:06:37.200 --> 1:06:40.600
<v Speaker 12>they were like still touring that it was Jody and

1:06:41.280 --> 1:06:44.520
<v Speaker 12>Donna from Team Drash, so that was, you know, problematic.

1:06:44.960 --> 1:06:47.360
<v Speaker 12>We did have a time when we were courted by

1:06:48.040 --> 1:06:51.440
<v Speaker 12>major labels before dig Me Out, and we considered it.

1:06:52.040 --> 1:06:55.320
<v Speaker 12>You know, we considered, we argued about it, We thought

1:06:55.320 --> 1:06:56.200
<v Speaker 12>about it like crazy.

1:06:56.480 --> 1:07:00.200
<v Speaker 2>So I'm gonna ask you a question, okay, because I

1:07:00.280 --> 1:07:03.080
<v Speaker 2>knew this was a parallel story with hip hop and

1:07:03.120 --> 1:07:09.560
<v Speaker 2>with with this movement, how at what point are you

1:07:09.720 --> 1:07:13.840
<v Speaker 2>able to really relax and really not live in fear

1:07:14.200 --> 1:07:20.200
<v Speaker 2>of the idea of quote unquote selling out? You know,

1:07:20.320 --> 1:07:24.720
<v Speaker 2>that shadow following you, like the perception of how we're

1:07:24.760 --> 1:07:27.320
<v Speaker 2>because the thing is is that knowing what I know

1:07:27.440 --> 1:07:31.040
<v Speaker 2>now and again because I worked backwards, I'm like, yo,

1:07:31.200 --> 1:07:33.240
<v Speaker 2>like you know, and you can even tell them that,

1:07:33.320 --> 1:07:35.640
<v Speaker 2>like with the videos that you're doing now and all

1:07:35.640 --> 1:07:38.280
<v Speaker 2>that stuff, like the humor element and all those things

1:07:38.320 --> 1:07:41.520
<v Speaker 2>that you're really showing your personalities. Whereas once I went

1:07:41.560 --> 1:07:44.240
<v Speaker 2>back to the beginning and realized like, oh okay, it

1:07:44.360 --> 1:07:48.360
<v Speaker 2>started off here and then you guys slowly blossomed into

1:07:48.400 --> 1:07:54.479
<v Speaker 2>this thing. I can imagine that the perception of who

1:07:54.520 --> 1:07:58.760
<v Speaker 2>you guys were as a group or trying to present

1:07:59.360 --> 1:08:05.120
<v Speaker 2>also probably played, you know, decisions made by the band.

1:08:05.280 --> 1:08:09.520
<v Speaker 2>And I always wanted to know, like how the perception

1:08:09.640 --> 1:08:14.280
<v Speaker 2>of being seen as sellouts or being too successful? Should

1:08:14.320 --> 1:08:18.760
<v Speaker 2>we do this commercial or should we sign to this

1:08:18.760 --> 1:08:21.880
<v Speaker 2>this label, this major label, like will we be the same?

1:08:22.360 --> 1:08:27.719
<v Speaker 2>Like how important is that perception playing in the band

1:08:28.080 --> 1:08:31.080
<v Speaker 2>at that period in you're at least for the first

1:08:31.080 --> 1:08:34.280
<v Speaker 2>three or four records, it was huge.

1:08:34.320 --> 1:08:37.559
<v Speaker 14>I mean, I mean you were around during that time too.

1:08:37.600 --> 1:08:39.679
<v Speaker 14>I mean that it just was such a different beast.

1:08:39.800 --> 1:08:42.960
<v Speaker 14>You know, this this idea that somehow, you know, a

1:08:43.040 --> 1:08:46.400
<v Speaker 14>major label was going to you know, rob you of

1:08:46.439 --> 1:08:49.760
<v Speaker 14>your artistic credibility, that by aligning yourself with anything that

1:08:49.880 --> 1:08:54.760
<v Speaker 14>was corporated or commercial, you know, signified you know, something

1:08:54.840 --> 1:08:57.120
<v Speaker 14>that was anti art you know.

1:08:57.160 --> 1:08:59.800
<v Speaker 9>And there were a lot of arguments.

1:08:59.360 --> 1:09:04.640
<v Speaker 14>Treaties, know, books, zines, you know, and very lively polemic

1:09:05.080 --> 1:09:08.200
<v Speaker 14>and a lot of real anger, I think from people

1:09:09.360 --> 1:09:12.439
<v Speaker 14>that never really took into consideration how anyone grew up

1:09:12.439 --> 1:09:14.720
<v Speaker 14>in terms of you know, if they had money and

1:09:14.720 --> 1:09:16.800
<v Speaker 14>that you know, like it just never it was not

1:09:16.840 --> 1:09:19.840
<v Speaker 14>a very nuanced conversation, but it was very real because

1:09:19.880 --> 1:09:22.639
<v Speaker 14>you cared about your friends and to sort of admit,

1:09:23.240 --> 1:09:26.439
<v Speaker 14>you know, I want something more than I can get.

1:09:26.960 --> 1:09:30.280
<v Speaker 14>This route was really tricky, so we just we really

1:09:30.360 --> 1:09:33.200
<v Speaker 14>didn't consider it. And I was probably the most hard

1:09:33.280 --> 1:09:36.519
<v Speaker 14>line at the time. I was like the youngest, I

1:09:36.560 --> 1:09:39.479
<v Speaker 14>was the baby in the band, and I think Corn

1:09:39.680 --> 1:09:44.599
<v Speaker 14>was probably you probably were the most interested, am I right?

1:09:44.760 --> 1:09:47.880
<v Speaker 13>No, Steel Magnolia is the termine years.

1:09:49.680 --> 1:09:52.000
<v Speaker 12>I was always my eyes were always on the business

1:09:52.120 --> 1:09:53.400
<v Speaker 12>route more than anyone else.

1:09:53.600 --> 1:09:55.360
<v Speaker 9>Yeah, she's good about that. But you know, there were

1:09:55.400 --> 1:09:56.639
<v Speaker 9>also these horror stories.

1:09:56.680 --> 1:09:59.439
<v Speaker 14>You know, you would for every band that had a

1:09:59.479 --> 1:10:02.400
<v Speaker 14>decent relationship with their A and R person, there was

1:10:02.439 --> 1:10:05.040
<v Speaker 14>someone that ad signed to a major and been dropped,

1:10:05.200 --> 1:10:07.519
<v Speaker 14>you know, like a band like Spoon or like or

1:10:07.560 --> 1:10:10.880
<v Speaker 14>even coming from the Northwest, you see Nirvana, you see

1:10:10.960 --> 1:10:15.120
<v Speaker 14>this guy that was tort supposedly, you know, tortured by

1:10:15.120 --> 1:10:18.040
<v Speaker 14>the fact that you know, he no longer felt connected

1:10:18.040 --> 1:10:20.320
<v Speaker 14>to who he was and his fans. So there were

1:10:20.360 --> 1:10:21.639
<v Speaker 14>all these cautionary tales.

1:10:28.000 --> 1:10:30.320
<v Speaker 2>In twenty twenty two, we did a two party with

1:10:30.439 --> 1:10:34.440
<v Speaker 2>Monica Lynch as the president of Tommy Boy Records, Monica

1:10:34.720 --> 1:10:38.200
<v Speaker 2>is responsible for releasing some of my favorite hip hop

1:10:38.320 --> 1:10:41.960
<v Speaker 2>by day La Skul, Queen, Antifa and others. To listen

1:10:42.040 --> 1:10:45.040
<v Speaker 2>to Monica speak, you can hear her passion and dedications

1:10:45.360 --> 1:10:46.320
<v Speaker 2>which remains today.

1:10:46.920 --> 1:10:49.439
<v Speaker 1>And this clip she speaks about being a white woman

1:10:49.520 --> 1:10:51.920
<v Speaker 1>in a position of power and influence in a male

1:10:52.040 --> 1:10:52.920
<v Speaker 1>dominated space.

1:10:53.560 --> 1:10:56.520
<v Speaker 2>What's cool about Monica is she also was a steadfast

1:10:56.520 --> 1:11:00.400
<v Speaker 2>supporter of afrocentric hip hop, as well as other forms

1:11:00.760 --> 1:11:06.200
<v Speaker 2>of music and sometimes marginalized communities. At this place, are

1:11:06.280 --> 1:11:10.320
<v Speaker 2>you shocked that, even though you know Sylvia Robinson was

1:11:10.400 --> 1:11:15.120
<v Speaker 2>running sugar Able Records or whatnot, were women in executive

1:11:15.160 --> 1:11:20.760
<v Speaker 2>positions really not a thing? And I'm taking it out

1:11:20.800 --> 1:11:22.960
<v Speaker 2>of hip hop just general at labels like I know

1:11:23.000 --> 1:11:26.240
<v Speaker 2>about Sylvia Ron at least her, you know, coming up

1:11:26.280 --> 1:11:30.120
<v Speaker 2>at at at Atlantic and starting east West and whatnot.

1:11:30.120 --> 1:11:32.360
<v Speaker 1>And maybe I mean Cassargramils was more.

1:11:32.960 --> 1:11:34.519
<v Speaker 15>At Casablanca before then.

1:11:36.160 --> 1:11:38.599
<v Speaker 2>Well okay, well I knew about Neil Bogart, but who

1:11:38.720 --> 1:11:40.240
<v Speaker 2>was running who was at Casablanca?

1:11:40.600 --> 1:11:43.320
<v Speaker 15>Well, I believe Sylvia had started.

1:11:43.520 --> 1:11:46.680
<v Speaker 1>I did not know. Oh wow, all right, we give

1:11:46.760 --> 1:11:47.240
<v Speaker 1>fact check it.

1:11:47.800 --> 1:11:50.760
<v Speaker 16>This is a great, great subject matter, And I'm really

1:11:50.800 --> 1:11:54.400
<v Speaker 16>happy you brought this up, because you know, there's a

1:11:54.479 --> 1:11:59.160
<v Speaker 16>lot of women from that early eighties period who didn't

1:11:59.240 --> 1:12:02.360
<v Speaker 16>necessarily get at their shine or necessarily get titles.

1:12:02.400 --> 1:12:04.840
<v Speaker 15>I was, I think I was made president in eighty five.

1:12:05.520 --> 1:12:07.479
<v Speaker 15>I still have the press release. And why do I

1:12:07.600 --> 1:12:08.960
<v Speaker 15>have it because I had to write it.

1:12:09.520 --> 1:12:13.160
<v Speaker 1>The writing Wikipedia entry.

1:12:13.760 --> 1:12:16.240
<v Speaker 15>Yeah, like, yeah, your president, Now, could you go write

1:12:16.240 --> 1:12:16.519
<v Speaker 15>this up?

1:12:16.640 --> 1:12:16.800
<v Speaker 5>Yes?

1:12:16.840 --> 1:12:22.160
<v Speaker 15>Okay, fine, so the but yeah, before in that.

1:12:22.280 --> 1:12:25.040
<v Speaker 16>Early eighties period, I would say that the people that

1:12:25.200 --> 1:12:27.880
<v Speaker 16>really come to my mind is like women who were

1:12:28.040 --> 1:12:31.200
<v Speaker 16>doing a lot in the early hip hop labels would

1:12:31.200 --> 1:12:35.360
<v Speaker 16>be Ann Carly at Jive Records, you know who. I

1:12:35.439 --> 1:12:37.760
<v Speaker 16>actually knew Anne when she was working in the New

1:12:37.840 --> 1:12:39.280
<v Speaker 16>York office of EG Records.

1:12:39.280 --> 1:12:42.439
<v Speaker 15>I used to harass her for rocky music tour tickets

1:12:42.920 --> 1:12:43.120
<v Speaker 15>and that.

1:12:44.680 --> 1:12:44.800
<v Speaker 4>Uh.

1:12:44.960 --> 1:12:50.439
<v Speaker 16>There was Jeanine Leclair who was at Next Plateau Records

1:12:50.479 --> 1:12:51.920
<v Speaker 16>that worked with Eddie o'lachlin.

1:12:52.680 --> 1:12:55.040
<v Speaker 8>There was D. D.

1:12:55.280 --> 1:13:01.040
<v Speaker 16>Joseph who worked with at Prism Records, which became you know,

1:13:01.520 --> 1:13:08.800
<v Speaker 16>which began Chill. Of course, there was Sylvia and there

1:13:08.840 --> 1:13:11.880
<v Speaker 16>were others. And I'm really sorry because I should have

1:13:11.960 --> 1:13:14.320
<v Speaker 16>prepared a list for this because it is important and

1:13:14.400 --> 1:13:16.840
<v Speaker 16>there's a lot of people who you know, it was

1:13:17.240 --> 1:13:20.960
<v Speaker 16>a bit later in the eighties when there were more

1:13:21.040 --> 1:13:23.800
<v Speaker 16>women who were getting into the business, but there were

1:13:23.840 --> 1:13:25.439
<v Speaker 16>a lot of women who were in the business then

1:13:25.880 --> 1:13:28.760
<v Speaker 16>and they just didn't necessarily get as much recognition. They

1:13:28.840 --> 1:13:32.719
<v Speaker 16>might have started as a receptionist and became press or promo.

1:13:33.640 --> 1:13:34.920
<v Speaker 15>So there's there's this whole.

1:13:34.760 --> 1:13:37.280
<v Speaker 16>Wave of women that were part of the even like

1:13:37.479 --> 1:13:41.679
<v Speaker 16>late seventies and early eighties, whose whose names just don't

1:13:41.800 --> 1:13:43.599
<v Speaker 16>tend to come up as much.

1:13:44.560 --> 1:13:45.679
<v Speaker 15>So much in hip hop.

1:13:45.640 --> 1:13:48.640
<v Speaker 16>Has been told and told again through books and documentaries

1:13:48.680 --> 1:13:50.800
<v Speaker 16>and everything, but there's still a lot of terrain that

1:13:50.920 --> 1:13:52.920
<v Speaker 16>hasn't been touched really, So.

1:13:53.800 --> 1:13:56.960
<v Speaker 2>What's the difficulty level of you like really as far

1:13:57.000 --> 1:14:02.160
<v Speaker 2>as like pounding the desk and demanding that respect, like

1:14:02.240 --> 1:14:05.360
<v Speaker 2>do you have to be tough as nails?

1:14:05.840 --> 1:14:09.360
<v Speaker 1>Who ran book? And uh winter? Right? And when you

1:14:09.439 --> 1:14:11.040
<v Speaker 1>have to come do you have to run it in

1:14:11.160 --> 1:14:11.960
<v Speaker 1>a winter style?

1:14:12.080 --> 1:14:18.439
<v Speaker 15>And you know, no, no, well I don't yeah, no,

1:14:18.560 --> 1:14:20.200
<v Speaker 15>I know what you're saying. I know what you're saying.

1:14:20.320 --> 1:14:22.720
<v Speaker 16>You know. I get asked a lot over the years,

1:14:22.760 --> 1:14:26.360
<v Speaker 16>people said, well, what was it like being a woman

1:14:26.520 --> 1:14:28.320
<v Speaker 16>in the hip hop world, or what was it like

1:14:28.400 --> 1:14:30.840
<v Speaker 16>being a white woman in the hip hop world? And

1:14:30.920 --> 1:14:34.479
<v Speaker 16>I'm like, my response is usually like, you know what,

1:14:34.680 --> 1:14:38.760
<v Speaker 16>there were so many opportunities for women in the fledgling

1:14:38.960 --> 1:14:40.440
<v Speaker 16>hip hop industry.

1:14:40.680 --> 1:14:44.120
<v Speaker 15>Again, it was so small back then. If I had

1:14:44.240 --> 1:14:47.000
<v Speaker 15>gone to say, oh, you.

1:14:47.040 --> 1:14:51.960
<v Speaker 16>Know, Columbia Records or Mercury or PolyGram or whatever Warner Brothers,

1:14:52.479 --> 1:14:54.439
<v Speaker 16>you know, and said, hey, you know, I'm looking for

1:14:54.520 --> 1:14:58.400
<v Speaker 16>a job, I would have been lucky to get you know,

1:14:58.640 --> 1:15:00.559
<v Speaker 16>be the coffee run or for some.

1:15:00.720 --> 1:15:05.559
<v Speaker 15>Guy doing mid Atlantic radio promotion. Okay, so in hip

1:15:05.600 --> 1:15:06.280
<v Speaker 15>hop because it.

1:15:06.360 --> 1:15:08.760
<v Speaker 16>Was just a small little industry and no one was

1:15:08.840 --> 1:15:11.920
<v Speaker 16>really checking. You know, like a lot of women were

1:15:11.960 --> 1:15:14.559
<v Speaker 16>able to sort of get ahead in this business because

1:15:14.560 --> 1:15:15.880
<v Speaker 16>there wasn't like a precedent.

1:15:16.360 --> 1:15:19.200
<v Speaker 15>It wasn't an old boys network, you.

1:15:19.280 --> 1:15:23.240
<v Speaker 16>Know, so it was still being it was still being

1:15:23.920 --> 1:15:26.080
<v Speaker 16>the story was being written, and you know, there was

1:15:27.000 --> 1:15:29.439
<v Speaker 16>a lot of opportunities. Although I will say when I

1:15:29.479 --> 1:15:32.920
<v Speaker 16>went to the first Jack the Rapper Convention, uh, a

1:15:33.000 --> 1:15:36.280
<v Speaker 16>lot of people thought I was hired help for another reason. So,

1:15:37.920 --> 1:15:41.519
<v Speaker 16>but you know the Rapper Convention, that's another documentary somebody

1:15:41.560 --> 1:15:42.000
<v Speaker 16>should too.

1:15:43.400 --> 1:15:46.519
<v Speaker 1>Oh boy, tales from the Rap Convention.

1:15:47.560 --> 1:15:52.920
<v Speaker 2>So okay, when when okay, so eighty six, when Club

1:15:53.000 --> 1:15:57.719
<v Speaker 2>Neuveau starts hitting you know, lean on me and jealousy

1:15:57.720 --> 1:15:59.800
<v Speaker 2>and all that. So it was highly it was on

1:15:59.880 --> 1:16:03.920
<v Speaker 2>a capable like by that point, you guys are just

1:16:04.200 --> 1:16:07.880
<v Speaker 2>you know, a force. Was there ever a temptation to

1:16:08.200 --> 1:16:12.360
<v Speaker 2>say leave Tommy Boy and maybe and I don't want

1:16:12.360 --> 1:16:15.760
<v Speaker 2>to discredit hip hop's you know, force or whatnot, but

1:16:16.000 --> 1:16:18.720
<v Speaker 2>in the mind state of eighty seven, did you ever

1:16:18.840 --> 1:16:23.080
<v Speaker 2>have the temptation or did someone from RCA or Warner

1:16:23.160 --> 1:16:26.560
<v Speaker 2>Brothers or quote a legit major.

1:16:26.360 --> 1:16:29.880
<v Speaker 1>Label try to poach you away and say, come work

1:16:29.920 --> 1:16:30.240
<v Speaker 1>for us.

1:16:30.960 --> 1:16:36.240
<v Speaker 16>Yeah, there was a label A and M actually and

1:16:36.880 --> 1:16:39.680
<v Speaker 16>A M was a real class operation, you know it was.

1:16:39.800 --> 1:16:42.880
<v Speaker 15>I mean, there was like, uh and they even bought

1:16:42.920 --> 1:16:44.840
<v Speaker 15>me a plane ticket and put me in a hotel.

1:16:44.920 --> 1:16:46.479
<v Speaker 15>It was like, oh my god, you know, this is

1:16:46.600 --> 1:16:52.960
<v Speaker 15>pretty great. But I it didn't didn't happen. I really

1:16:53.080 --> 1:16:55.959
<v Speaker 15>sort of sense that I was better.

1:16:55.760 --> 1:16:57.639
<v Speaker 16>Where it was, and it turned out to be true,

1:16:57.880 --> 1:17:01.720
<v Speaker 16>you know, because it was towards you know, it was

1:17:02.160 --> 1:17:05.000
<v Speaker 16>made president. I guess eighty five eighty six, I can't

1:17:05.160 --> 1:17:09.120
<v Speaker 16>remember exactly, but you know, it was towards the end,

1:17:09.640 --> 1:17:12.400
<v Speaker 16>you know, towards the late eighties where I really oversaw

1:17:12.600 --> 1:17:15.120
<v Speaker 16>A and R and the creative direction for the label.

1:17:15.160 --> 1:17:18.559
<v Speaker 15>I was already doing quite a bit already in both

1:17:18.600 --> 1:17:19.439
<v Speaker 15>of those areas.

1:17:19.520 --> 1:17:23.880
<v Speaker 16>And also, you know, in the early days, whether it

1:17:24.000 --> 1:17:27.720
<v Speaker 16>was collecting money from distributors, or putting in pressers with

1:17:27.840 --> 1:17:31.240
<v Speaker 16>the pressing plant, or getting the label copy typed up,

1:17:31.439 --> 1:17:34.320
<v Speaker 16>or sitting with Bambada while he wrote out of special things,

1:17:34.439 --> 1:17:38.320
<v Speaker 16>or creating a press list and writing press releases, talking to.

1:17:39.880 --> 1:17:41.320
<v Speaker 15>You name it. It was like you got to do

1:17:41.400 --> 1:17:44.920
<v Speaker 15>a lot of different things. But it was, you know,

1:17:45.040 --> 1:17:47.720
<v Speaker 15>in the late eighties where I sort of really I

1:17:47.800 --> 1:17:50.479
<v Speaker 15>think that was a really golden erape for Tommy Boy

1:17:50.560 --> 1:17:52.439
<v Speaker 15>in the late eighties and the early nineties.

1:17:53.520 --> 1:17:57.240
<v Speaker 2>In nineteen eighty eight, you know, for me, at least

1:17:57.280 --> 1:18:01.439
<v Speaker 2>in my life, one of the greatest pairaradigm shifts that

1:18:01.680 --> 1:18:04.040
<v Speaker 2>really affected I mean, eighty eight was such a banner year.

1:18:04.120 --> 1:18:07.719
<v Speaker 2>But you sign a group that literally changes the course

1:18:07.760 --> 1:18:13.000
<v Speaker 2>of my life. And we've had various people involved with

1:18:14.400 --> 1:18:16.479
<v Speaker 2>Daylas Soul projects, so we you know, you don't have

1:18:16.560 --> 1:18:19.080
<v Speaker 2>to go through the every day, but what I do

1:18:19.240 --> 1:18:24.839
<v Speaker 2>want to know is who was responsible for the genius

1:18:25.080 --> 1:18:30.639
<v Speaker 2>marketing of day Las Soul because from the press photos

1:18:30.680 --> 1:18:33.920
<v Speaker 2>to the fonts to the stickers. You know, for only

1:18:34.000 --> 1:18:35.880
<v Speaker 2>time on life I ever got sent to the principal's

1:18:35.920 --> 1:18:38.960
<v Speaker 2>office was because I put day Lost Soul stickers all

1:18:38.960 --> 1:18:43.600
<v Speaker 2>over my high school. Like, so, who was responsible? Like

1:18:43.960 --> 1:18:49.400
<v Speaker 2>what was the brainchild operation of we can make these

1:18:49.479 --> 1:18:51.439
<v Speaker 2>guys bigger than hip hop?

1:18:51.880 --> 1:18:53.760
<v Speaker 1>And I read that hip hop for hippies? Wasn't that

1:18:54.040 --> 1:18:57.120
<v Speaker 1>your ship? Yeah? Yeah, yeah, I was.

1:18:57.280 --> 1:18:59.920
<v Speaker 15>Very involved in all of that, but it was also.

1:19:01.360 --> 1:19:04.080
<v Speaker 16>There's a lot of people at Tommy Boy that I

1:19:04.120 --> 1:19:07.679
<v Speaker 16>would credit for being a huge part of this campaign.

1:19:08.120 --> 1:19:11.960
<v Speaker 16>I think that it was a very critical decision to

1:19:12.160 --> 1:19:17.680
<v Speaker 16>have the Gray organization do the all the you know,

1:19:17.840 --> 1:19:22.160
<v Speaker 16>all of the daisy or the imagery for the for

1:19:22.280 --> 1:19:25.200
<v Speaker 16>the album cover. That was so that was I would

1:19:25.240 --> 1:19:31.320
<v Speaker 16>say such a radical move at that point because they

1:19:31.479 --> 1:19:35.160
<v Speaker 16>basically sort of threw down a gauntlet, uh to what

1:19:35.360 --> 1:19:40.800
<v Speaker 16>the prevailing visual aesthetic was of hip hop. And I

1:19:40.960 --> 1:19:43.840
<v Speaker 16>think it was the type of thing that a lot

1:19:43.920 --> 1:19:47.200
<v Speaker 16>of people were like, what is this but you know,

1:19:47.520 --> 1:19:50.120
<v Speaker 16>but but but the thing is before the album, before

1:19:50.160 --> 1:19:52.760
<v Speaker 16>the album, and you saw all those visuals. You know,

1:19:53.120 --> 1:19:58.680
<v Speaker 16>Plug Tune In was a radical record and and and

1:19:59.320 --> 1:20:02.000
<v Speaker 16>I still have I still have the demo tape and

1:20:02.080 --> 1:20:05.040
<v Speaker 16>I still have the write up that I did after

1:20:05.200 --> 1:20:07.920
<v Speaker 16>my meeting with Daddy O. And I want to make

1:20:07.960 --> 1:20:10.599
<v Speaker 16>sure to credit Daddyo because it was Daddy O from

1:20:10.680 --> 1:20:15.120
<v Speaker 16>Stetsasnic who called me and said, Hey, I've got these

1:20:15.200 --> 1:20:16.240
<v Speaker 16>groups I'm shopping.

1:20:16.560 --> 1:20:18.400
<v Speaker 15>Can we set up a meeting. I'm like yeah, da

1:20:18.479 --> 1:20:20.160
<v Speaker 15>da da, And he sat on the phone. There were

1:20:20.200 --> 1:20:20.759
<v Speaker 15>three groups.

1:20:21.160 --> 1:20:23.840
<v Speaker 16>Two of them were like Sore, these more mainstream like

1:20:24.920 --> 1:20:29.040
<v Speaker 16>Rene and angela type of groups or something, and he mentioned, uh,

1:20:29.400 --> 1:20:30.040
<v Speaker 16>Dela Saul.

1:20:30.200 --> 1:20:32.559
<v Speaker 15>He said, oh, and there's this group that Paul's working

1:20:32.680 --> 1:20:34.040
<v Speaker 15>with called De La Soult.

1:20:34.760 --> 1:20:37.960
<v Speaker 16>And I do remember thinking that's a really intriguing name.

1:20:38.120 --> 1:20:39.920
<v Speaker 16>You know what is that it didn't sound like a

1:20:40.000 --> 1:20:44.040
<v Speaker 16>hip hop group. And so I met with him, and

1:20:44.240 --> 1:20:46.800
<v Speaker 16>that's in that demo tape of plug Tuning and.

1:20:48.600 --> 1:20:53.639
<v Speaker 15>Freedom, Freedom of Speak I think was the freedom.

1:20:53.840 --> 1:20:56.640
<v Speaker 16>Yeah, it was the two tracks on the on the

1:20:56.680 --> 1:20:59.680
<v Speaker 16>one cassette, and it was like you immediately knew that

1:21:00.560 --> 1:21:03.840
<v Speaker 16>it was either gonna be big or nothing. And that's

1:21:03.880 --> 1:21:08.879
<v Speaker 16>where I think Tommy Boys legacy largely lies with signings

1:21:08.920 --> 1:21:12.240
<v Speaker 16>that were sort of in that category you're gonna love

1:21:12.280 --> 1:21:13.760
<v Speaker 16>it or you're not gonna hate it, but it wasn't

1:21:13.800 --> 1:21:18.200
<v Speaker 16>in the middle, and Dala Soul I think personifies that.

1:21:19.120 --> 1:21:22.360
<v Speaker 16>And you know, the the demo of plug Tuning sounds

1:21:22.400 --> 1:21:24.760
<v Speaker 16>pretty much. I'm pretty sure I don't think that it

1:21:24.880 --> 1:21:27.680
<v Speaker 16>was even even mixed, you know. I think it was

1:21:27.720 --> 1:21:29.960
<v Speaker 16>an eight track that Paul did and I don't think

1:21:30.040 --> 1:21:31.800
<v Speaker 16>it even went beyond that.

1:21:32.120 --> 1:21:33.560
<v Speaker 15>By the time it was mastered. I think it was

1:21:33.600 --> 1:21:36.120
<v Speaker 15>still like this eight trick demo sounding thing.

1:21:36.600 --> 1:21:39.519
<v Speaker 16>And we had this We did this ad campaign where

1:21:39.520 --> 1:21:42.600
<v Speaker 16>we got all these different people to say, you.

1:21:42.680 --> 1:21:44.840
<v Speaker 1>Know, you know how it is, you know, like when

1:21:44.880 --> 1:21:47.360
<v Speaker 1>you know Latifa's mom, she was part of it.

1:21:48.200 --> 1:21:51.000
<v Speaker 15>Latifa's mom, the lake Rita Owens we did.

1:21:51.120 --> 1:21:54.400
<v Speaker 16>We did a campaign that I came in for Dala Soul,

1:21:54.640 --> 1:21:56.920
<v Speaker 16>I came in for Patty LaBelle, I came out with

1:21:57.080 --> 1:22:01.760
<v Speaker 16>Dala Saul. We had this with like some goofy, you know,

1:22:01.920 --> 1:22:04.160
<v Speaker 16>sort of straight looking white guy like you know, I

1:22:04.280 --> 1:22:05.000
<v Speaker 16>came in for.

1:22:06.640 --> 1:22:08.320
<v Speaker 15>I forget it wasn't steely Dan.

1:22:08.560 --> 1:22:10.920
<v Speaker 1>We hung that up in Sam Goodies. I worked at

1:22:10.920 --> 1:22:11.800
<v Speaker 1>Sam goodies at the time.

1:22:11.920 --> 1:22:16.800
<v Speaker 16>Oh man, well then you know, so this is that

1:22:17.080 --> 1:22:21.160
<v Speaker 16>imaging campaign I think was fantastic. We had a great

1:22:21.320 --> 1:22:24.439
<v Speaker 16>full page ad and billboard. I said DLA gold when

1:22:24.479 --> 1:22:27.920
<v Speaker 16>it went gold. But you know, I think a lot

1:22:28.000 --> 1:22:32.880
<v Speaker 16>of it sprung from the group itself, because you know,

1:22:32.920 --> 1:22:36.200
<v Speaker 16>I still have and I shared this with pass actually

1:22:36.360 --> 1:22:37.040
<v Speaker 16>just last week.

1:22:38.400 --> 1:22:42.840
<v Speaker 15>He sat down in the office and with this he has.

1:22:42.800 --> 1:22:47.000
<v Speaker 16>A very distinctive style of cursive and he was writing

1:22:47.160 --> 1:22:51.760
<v Speaker 16>down the history of Dala Soul on this notebook paper set,

1:22:52.080 --> 1:22:56.000
<v Speaker 16>describing who each group member was. And he was writing

1:22:56.080 --> 1:22:59.479
<v Speaker 16>it in day La speak. And that was another thing too,

1:22:59.640 --> 1:23:03.080
<v Speaker 16>because like, nobody knew what the fuck they were talking about.

1:23:03.960 --> 1:23:07.120
<v Speaker 15>They had their own language, like what are they tell?

1:23:07.240 --> 1:23:08.000
<v Speaker 8>What the what do you mean?

1:23:08.080 --> 1:23:08.679
<v Speaker 15>Plug tune?

1:23:08.760 --> 1:23:09.560
<v Speaker 6>And what's that you know?

1:23:10.320 --> 1:23:11.880
<v Speaker 15>And what is true? Guy the dove?

1:23:12.120 --> 1:23:12.240
<v Speaker 8>You know?

1:23:12.320 --> 1:23:13.559
<v Speaker 15>What is all this stuff?

1:23:14.960 --> 1:23:17.680
<v Speaker 16>But they but they had a different look, They had

1:23:17.720 --> 1:23:21.680
<v Speaker 16>a different sensibility. So there was a lot there to

1:23:21.800 --> 1:23:24.920
<v Speaker 16>already work with and to sort of get inspired to

1:23:25.080 --> 1:23:30.200
<v Speaker 16>do interesting and creative marketing and promotion. You really can't

1:23:30.280 --> 1:23:34.560
<v Speaker 16>do something unless the something that the project and the

1:23:34.720 --> 1:23:37.320
<v Speaker 16>recordings and the artists that you're working with are interesting in.

1:23:37.360 --> 1:23:38.160
<v Speaker 15>And of themselves.

1:23:38.240 --> 1:23:40.960
<v Speaker 16>You can blow it up and magnify it. But if

1:23:41.000 --> 1:23:44.519
<v Speaker 16>they're not, if it's not inherently interesting and great, you

1:23:44.640 --> 1:23:45.679
<v Speaker 16>can't really do anything.

1:23:45.920 --> 1:23:49.800
<v Speaker 15>So so they really they were like, wow, this group

1:23:49.880 --> 1:23:53.000
<v Speaker 15>pretty interesting. There a lot of people played role.

1:23:53.160 --> 1:23:54.960
<v Speaker 16>I don't know if you know Rod Houston because he's

1:23:55.000 --> 1:23:56.760
<v Speaker 16>also from from Philadelphia.

1:23:56.880 --> 1:23:58.599
<v Speaker 15>He's now one of the biggest voice.

1:23:58.400 --> 1:23:59.639
<v Speaker 1>Side He's a voice aided guy.

1:24:00.680 --> 1:24:01.320
<v Speaker 6>He's huge.

1:24:01.560 --> 1:24:02.160
<v Speaker 15>He's huge.

1:24:02.360 --> 1:24:05.880
<v Speaker 16>And Rod I still have the copy that he wrote

1:24:05.960 --> 1:24:10.000
<v Speaker 16>up because we did this contest to name the sample and.

1:24:10.080 --> 1:24:14.400
<v Speaker 1>Yeah, yeah, did you did you enter?

1:24:14.720 --> 1:24:15.080
<v Speaker 6>I didn't.

1:24:15.120 --> 1:24:17.800
<v Speaker 1>I didn't know the LIBERACEI or any Yeah I didn't

1:24:17.840 --> 1:24:18.000
<v Speaker 1>know that.

1:24:19.640 --> 1:24:21.920
<v Speaker 16>Yeah we got I still have a lot of the

1:24:22.200 --> 1:24:25.160
<v Speaker 16>entries from the contest that I kept. A lot of

1:24:25.200 --> 1:24:28.559
<v Speaker 16>people thought it was Bobby Bloom And the only person

1:24:28.640 --> 1:24:31.960
<v Speaker 16>who got the who the only person who got it

1:24:32.120 --> 1:24:35.400
<v Speaker 16>right was Joel Weber, as I mentioned to him earlier

1:24:35.760 --> 1:24:38.840
<v Speaker 16>with the Partners in the New Music Seminar. And he's

1:24:38.840 --> 1:24:40.560
<v Speaker 16>the guy who put out He was an A and

1:24:40.680 --> 1:24:42.960
<v Speaker 16>R guy at Fourth and Broadway in Island. He put

1:24:43.000 --> 1:24:46.599
<v Speaker 16>out the Dominatrix Sleeps Tonight and he was the only

1:24:46.720 --> 1:24:50.760
<v Speaker 16>one who identified the invitations right, It's written on the

1:24:50.800 --> 1:24:54.720
<v Speaker 16>wall is the sample right record. So they So there

1:24:54.880 --> 1:24:57.040
<v Speaker 16>was a lot of really great things that sort of

1:24:57.080 --> 1:24:59.519
<v Speaker 16>sprung from the fact that the group themselves were so

1:24:59.680 --> 1:25:02.880
<v Speaker 16>different and so interesting. And I think that that whole

1:25:03.040 --> 1:25:07.120
<v Speaker 16>Daisy age imagery, you know, was certainly a blessing and

1:25:07.160 --> 1:25:09.599
<v Speaker 16>a curse for the group, because then they didn't really

1:25:09.800 --> 1:25:12.400
<v Speaker 16>like being named the hippies of hip.

1:25:12.240 --> 1:25:15.720
<v Speaker 15>Hop, and you know, pushed back against it, you know.

1:25:15.880 --> 1:25:19.479
<v Speaker 16>But that was that album Three Feet High in Rising,

1:25:20.320 --> 1:25:22.280
<v Speaker 16>you know, And that was actually the first project I

1:25:22.360 --> 1:25:26.439
<v Speaker 16>assigned to Dante. I loved that, Dante, make sure you

1:25:26.600 --> 1:25:30.519
<v Speaker 16>get this, get the clearances for so and so and

1:25:30.640 --> 1:25:32.280
<v Speaker 16>so and so. But it was the first project that

1:25:32.400 --> 1:25:35.760
<v Speaker 16>he worked on, which was fantastic. He did an amazing job.

1:25:36.320 --> 1:25:42.760
<v Speaker 15>And Paul, of course, you know, yeah, thank you for this.

1:25:42.920 --> 1:25:46.439
<v Speaker 2>Listen back for Women's History Month. Ket's new episodes a

1:25:46.520 --> 1:25:48.360
<v Speaker 2>Quest Love Supreme coming soon.

1:25:50.360 --> 1:25:53.080
<v Speaker 1>Thank you for listening to Quest Love Supreme. Posted by

1:25:53.560 --> 1:25:57.040
<v Speaker 1>I'm here Quest Love Thompson. Are you saying clear? Sugar?

1:25:57.080 --> 1:26:02.559
<v Speaker 1>Steve mandel An unpaid Bill Sherman. The executive producers are Amir,

1:26:02.680 --> 1:26:09.080
<v Speaker 1>Quest Love Thomas, Sean Cheek and Brian Calvin. Produced by Britney,

1:26:09.120 --> 1:26:16.040
<v Speaker 1>Benjamin Cousin, Jake Payne, Eliah Saint Clair, edited by Alex Conroy.

1:26:16.640 --> 1:26:24.400
<v Speaker 1>Produced by iHeart by Noel Brown and quest Love Supreme

1:26:24.479 --> 1:26:31.120
<v Speaker 1>is a production of iHeart Radio. For more podcasts from

1:26:31.160 --> 1:26:35.320
<v Speaker 1>iHeart Radio, visit the iHeartRadio app, Apple Podcasts, or wherever

1:26:35.360 --> 1:26:36.679
<v Speaker 1>you listen to your favorite shows.