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Speaker 1: Wake that ass up in the morning, Breakfast Club.

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Speaker 2: Morning, everybody is Steve j Envy, Charlemagne the guy.

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Speaker 3: We got a special guest in the building.

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Speaker 4: You know what's interesting, I was thinking about, you know, organically,

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Speaker 4: who is going to be the first guest in the

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Speaker 4: new Breakfast Club studio, Because to me, that's important because

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Speaker 4: you're setting off a new generation, you're setting off for

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Speaker 4: a new chapter.

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Speaker 5: So who would be the first guest?

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Speaker 1: And I'm on it, we should be on it.

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Speaker 5: Come on, man, grew up on them, Come on man.

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Speaker 3: Ladies and gentlemen, Malcolm Jamon want awake.

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Speaker 1: You know you said first guest. I didn't really register

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Speaker 1: before you started. Yeah, but now okay, I got it.

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Speaker 2: You're the first guest that one new studio, Ye studio.

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Speaker 2: Somebody you know them is still Huxtable. Ladies and gentlemen,

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Speaker 2: welcome word, thank you, thank you. I want to for

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Speaker 2: people that that don't know, I want to.

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Speaker 5: The most important question. Have you played the Mega millions?

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Speaker 3: I thought you gonna say how you feeling, how you're doing?

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Speaker 1: How you I guess I need to you need to

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Speaker 1: Billy one.

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Speaker 3: Point three billion?

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Speaker 1: Okay, I did one? I did. I don't know the

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Speaker 1: last one was in Billions a couple of months ago.

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Speaker 1: How'd you do well? I thought I was doing good.

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Speaker 1: Like I went there, I was like, yo, give me

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Speaker 1: uh So, my wife has numbers that are like her

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Speaker 1: lucky numbers, so when the numbers get real big, she

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Speaker 1: wants to play those numbers. So and there's like three.

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Speaker 1: So the car took her and I was like, you

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Speaker 1: know what, play these And I was like, I'm a splurge,

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Speaker 1: give me three more. And I think I'm doing good.

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Speaker 1: And this cat next to me and the next one

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Speaker 1: he was like, give me two hundred. I'm like, it's

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Speaker 1: like that. So I'm not you know, I'm I didn't win.

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Speaker 1: I don't have my own breakfast club.

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Speaker 2: So clearly you went to Dolls, nothing nothing, so you

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Speaker 2: didn't do good.

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Speaker 1: I might go back in though. I mean if it's

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Speaker 1: in the Billions.

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Speaker 3: Against Billy right now, now, you're from Jersey City.

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Speaker 2: People that don't know how did you get your start

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Speaker 2: in show business? Because we heard that you were a

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Speaker 2: rapper at first. You were in a rap group almost

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Speaker 2: signed by Deaf Jam at the time.

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Speaker 5: Are you true to that?

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Speaker 1: Yeah?

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Speaker 3: How did you get your start with show business?

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Speaker 1: I was doing basically community theater. My mother was always

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Speaker 1: looking for me to looking for things for me to

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Speaker 1: do outside of going to school and coming home and

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Speaker 1: hanging out. Like I played basketball and that was my thing.

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Speaker 1: I thought it was gonna be a basketball player. And

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Speaker 1: then one season, one year basketball season was over, my

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Speaker 1: mother's friend suggested this community theater and I asked him

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Speaker 1: if I wanted to go. So I went down, auditioned,

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Speaker 1: got in, and found myself doing theater and just absolutely

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Speaker 1: loved it. So like at nine years old, I was like, oh,

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Speaker 1: this is this is what I want to do and

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Speaker 1: what it was it was really it was the first

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Speaker 1: curtain call. Like the first player I did was called Alice,

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Speaker 1: Is that You? And it was basically, uh, a takeoff

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Speaker 1: of the Whiz like Dorothy gets the Odds and everybody

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Speaker 1: thinks she's Alice from Alice in Wonderland, right, And I

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Speaker 1: played the ten man. And I just remember the first

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Speaker 1: opening night coming out for curtain call, coming out and

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Speaker 1: people clapping and standing up, and I'm like nine years

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Speaker 1: old and I'm like, yo, I.

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Speaker 5: Got that bug.

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Speaker 1: I can get into this. People stand up and clap

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Speaker 1: for you. Yeah, I like this.

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Speaker 2: And at the time, Jersey City wasn't Jersey City now

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Speaker 2: with these big skyscrapers and people dying.

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Speaker 1: To Yeah, it was different. It was a whole.

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Speaker 3: It was nasty.

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Speaker 1: No one was scrambling to get the Jersey City. But

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Speaker 1: but but this was La. I left Jersey when I

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Speaker 1: was five. My my parents separated, Uh, and my dad

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Speaker 1: went back to Chicago. My mom took me back to California. So, uh,

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Speaker 1: the acting thing started in La. But then when I,

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Speaker 1: you know, years later, when I booked Cosby obviously moved

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Speaker 1: back to New York.

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Speaker 3: How did you book Cosby? What was that? That process?

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Speaker 1: Like, that's funny. So my my well, my agent first

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Speaker 1: submitted me. They were looking for a six to fifteen

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Speaker 1: year old Jesus. Yeah, they all getting ready for the

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Speaker 1: well because because you know, Innis was fifteen and was

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Speaker 1: six two mister Cosby sun So in the original like

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Speaker 1: in the original script, like there was this this running

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Speaker 1: joke like you know, THEO would you know, get in

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Speaker 1: trouble with something and Cliff would be like THEO stand up,

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Speaker 1: and THEO stands up and he's towering over Cliff and

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Speaker 1: cliffould be like THEO sit down. So they were trying

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Speaker 1: to get that they couldn't find that kid, and literally

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Speaker 1: at the uh so, you know, she submitted me. They

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Speaker 1: didn't want to see me, and at the last minute

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Speaker 1: she re submitted me because they couldn't find the guy

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Speaker 1: and they were doing network callbacks. This is crazy because

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Speaker 1: it was good Friday eighty four. I auditioned at six

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Speaker 1: thirty on Friday afternoon and the network callbacks were that Monday,

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Speaker 1: so they were already flying in somebody from Chicago, flying

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Speaker 1: in somebody from New York. So I was literally the

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Speaker 1: last person they saw. And when I went in for

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Speaker 1: the network callbacks, I went in and I did the

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Speaker 1: audition like you know, you see, you know, I was

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Speaker 1: watching different strokes and whatnot, so you see kids being

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Speaker 1: smart alex and talking back to the parents and rolling

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Speaker 1: their eyes. So I was doing the scene like that,

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Speaker 1: and in the room is you know network, you know, producers, studio,

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Speaker 1: and I'm killing. In the room, everybody's like, I'm hitting

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Speaker 1: all the all the beats and everybody's laughing and I'm killing.

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Speaker 1: And I finished, and everybody's like cool except mister Cosby,

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Speaker 1: and he's looking at me and he's like, would you

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Speaker 1: really talk to your father like that? And I said no,

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Speaker 1: He said, I don't want to see that on the show.

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Speaker 1: So you go back out and you give me something

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Speaker 1: else and come back later. And because it was the

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Speaker 1: network callbacks, like everybody was there, so they had, you know,

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Speaker 1: audition everybody for other parts. And finally I came back

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Speaker 1: in and gave him one hundred and eighty degree turn.

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Speaker 5: Well clearly he saw something men.

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Speaker 1: Yeah, yeah, yeah, And and you know they gave me

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Speaker 1: a shot to come back and redo it, and that's

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Speaker 1: how I booked it.

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Speaker 4: You know, it's interesting about what you said earlier. You

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Speaker 4: said that you was in theater at nine years old.

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Speaker 4: So people see these gifty young actors on shows like

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Speaker 4: Cosby back in the day, and we don't realize the

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Speaker 4: background because nowadays it feels like it's no point of

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Speaker 4: entry to you know, get on these TVs anything.

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Speaker 1: Or social media or social media.

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Speaker 4: You actually went and were perfecting your craft before you

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Speaker 4: got to that point.

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Speaker 1: Yeah, and I still do, like I've always every couple

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Speaker 1: of years, I do theater, even when I was on Cosby, Like,

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Speaker 1: I always go back to theater because that is the

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Speaker 1: I mean, that's the that's the foundation, you know, So

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Speaker 1: I always say like theater is my favorite platform. Television

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Speaker 1: is my favorite paycheck, but theater is really like like

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Speaker 1: that's I mean, that's that's that's the ship right there.

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Speaker 4: Have you ever just sat back and reflected on what

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Speaker 4: you and The Cosby Show meant to black people in

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Speaker 4: really the world from eighty four to I need to.

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Speaker 1: Yeah, yeah, I I mean we it's something that we

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Speaker 1: still talk about, right, So, I mean, you know what

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Speaker 1: I'm saying, we like like worldwide the culture, you know,

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Speaker 1: because it's had a an indelible, irreversible effect, you know

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Speaker 1: on the culture. So I mean it's something I'm very proud, like,

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Speaker 1: no matter what, I'm very proud to, you know, have

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Speaker 1: been a part of that and part of that, you know,

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Speaker 1: just to have that kind of I guess influence if

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Speaker 1: you will. And when I was younger, you know, it

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Speaker 1: was always I was always trying to escape this role

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Speaker 1: model you know title, because I was like, oh my,

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Speaker 1: what use the role model? And my thing was always

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Speaker 1: we always equate h perfection with role model. So I

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Speaker 1: never wanted the pressure of being, you know, being seen

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Speaker 1: as flawless because I just I didn't want that, Like

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Speaker 1: that wasn't me. So I used to kind of kind

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Speaker 1: of shy away from that, you know, that title. But

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Speaker 1: and now that I'm older, not that I want to

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Speaker 1: be considered a role model, but I do understand the

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Speaker 1: you know, having the platform. I understand, uh, having the

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Speaker 1: ear of young people like you know. Fortunately, I'm still

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Speaker 1: at a place where I'm still relevant enough where you know,

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Speaker 1: what I say can still have influence on you.

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Speaker 5: Always listen to you because of that, sure.

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Speaker 1: Yeah, yeah, yeah, And and and that's something I take seriously.

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Speaker 1: So I was, I was really fortunate because we shot

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Speaker 1: Cosby here in New York, and you know during during

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Speaker 1: the eighties, man, you know y'all didn't show that was

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Speaker 1: actually that was actually so we shot in Brooklyn, then

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Speaker 1: we shot in Queens, but that that stupe, that front

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Speaker 1: stoop was actually in the village, in a village.

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Speaker 2: Yeah, I was gonna ask the THEO you being, you know,

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Speaker 2: always looked at it steal.

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Speaker 3: Does that ever bother you?

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Speaker 2: Because with certain characters that we always look at, whether

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Speaker 2: it's Steve Verkle, he's always gonna be Steve Verkle and

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Speaker 2: you're always steal.

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Speaker 3: Does that ever bother you?

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Speaker 1: No, it doesn't bother me. But there's you know there's

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Speaker 1: been this. I guess this this this wave of interpretation

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Speaker 1: that it bothers me because somebody caused me THEO. I'm like, no,

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Speaker 1: one name is Malcolm, but I've always done that, but

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Speaker 1: some people they misinterpreted as like I get mad when

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Speaker 1: people come to THEO. I think it's like no. And

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Speaker 1: even when I was on Cosby, I wouldn't answer to

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Speaker 1: THEO because as far as I was concerned, THEO was

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Speaker 1: not going to be the end all be all for me,

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Speaker 1: like at fifteen years old, to think like, oh, if

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Speaker 1: this is going to be the height of my career,

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Speaker 1: that's a depressing thought. When the show first aired and

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Speaker 1: I'm fourteen, you know, the ratings are out the box,

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Speaker 1: and my mom sat me down. She said, baby, it's

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Speaker 1: great that this show is the phenomenon that it is,

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Speaker 1: but you know how this business is, this show could

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Speaker 1: be over next year. What are you going to do

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Speaker 1: when the show's over? She said, I can type, I

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Speaker 1: can always get a job, but what are you going

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Speaker 1: to do in the show's over? So she impressed upon

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Speaker 1: me the concept of longevity. So I wasn't you know,

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Speaker 1: when I was on the show, I never answered the

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Speaker 1: THEO and especially now you should know right like now,

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Speaker 1: if somebody caused me THEO, they're being a dicky because

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Speaker 1: they name.

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Speaker 5: And I also don't think people look at you as THEO.

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Speaker 4: Like I got get what I'm saying at this point,

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Speaker 4: Like you've done You've done a lot other than THEO.

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Speaker 4: I mean, you had a whole other show with your

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Speaker 4: name in it. You know how long did it take

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Speaker 4: you to it? Just to Life after Cosby show? Like

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Speaker 4: how did things look in ninety two?

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Speaker 1: Well, I'd always prepared for it. That was the thing,

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Speaker 1: like I was, you know, from that conversation that my

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Speaker 1: mom had with me, we literally spend each year of

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Speaker 1: that show as if it were the last year because

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Speaker 1: we didn't know. So I had always paired for Life

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Speaker 1: after Kazi. So when the show was over, I had

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Speaker 1: my own show for a half a season on NBC

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Speaker 1: and then from that I went straight to theater. So

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Speaker 1: I was, I've always I've always worked. No, there may

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Speaker 1: there may have been, you know, longer stretches of unemployment

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Speaker 1: than I would have liked, but we're talking like maybe

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Speaker 1: you know, two three years, you know, But I always

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Speaker 1: knew that the transition from being seen as child star

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Speaker 1: to being taken seriously as an delt actor wouldn't necessarily

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Speaker 1: be a smooth one. And that's why I started directing early.

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Speaker 1: Like I started directing like sixteen. By eighteen, I was

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Speaker 1: directing Cosby episodes. I was directing music videos. I was

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Speaker 1: directing Fresh Prince of bel Air. So when I came

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Speaker 1: off of Cosby, I think it was episode with one

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Speaker 1: of the Ravens and Owns episodes.

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Speaker 2: Yeah, I did you look at Bill Cosby as a

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Speaker 2: father figure because you around him so much, did so

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Speaker 2: much acting, like right, and and I mean you were

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Speaker 2: a good actor, but it was believable. It seems like

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Speaker 2: you admired him as a father when I when I

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Speaker 2: would watch the show or even see you behind the

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Speaker 2: scenes of the show whatever.

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Speaker 1: Well, I was doing theater. I was perfecting my job, right, No,

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Speaker 1: because I you know, I my father has always been,

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Speaker 1: you know, an integral part of my life. So I

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Speaker 1: have a father. He was you know, Misconstus was obviously

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Speaker 1: someone I worked with, someone I respected, but Innis was

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Speaker 1: also you know, a close friend of mine, so he

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Speaker 1: was also like Inness's dad, got so it wasn't I mean,

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Speaker 1: I would definitely say he was a mentor because he

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Speaker 1: you know, he schooled me on a lot of you know,

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Speaker 1: on a lot of things. But the I love the

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Speaker 1: father's son relationship between Cliff and THEO, but that wasn't

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Speaker 1: that wasn't our relationship. But you know, with Matt Coole,

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Speaker 1: but it wasn't the It wasn't the father figure.

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Speaker 2: Now as a mentor, did he school you on to

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Speaker 2: contracts and negotiations? Because that thing it's still on now

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Speaker 2: And I'm like, do you still get paid? And was

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Speaker 2: everything taking care of the right way? Or is it

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Speaker 2: you're a new actor?

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Speaker 3: You got got?

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Speaker 1: Yeah, yeah, we got it and not once we got God,

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Speaker 1: that's that's not that's completely unfair to say we got got.

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Speaker 1: But I will say this, so, yeah, so we get residuals. Right.

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Speaker 1: But the thing that that that people don't necessarily understand

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Speaker 1: about residuals is every time an episode repeats, you get

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Speaker 1: a percentage of what your original paycheck was. And that

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Speaker 1: show has repeated forever.

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Speaker 5: Correct.

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Speaker 1: So let's say, to put things in perspective, about ten

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Speaker 1: twelve years ago, I remember getting an episode check for

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Speaker 1: sixty four dollars. I thought a residual check sometimes, Yeah,

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Speaker 1: like I got at some point the sending the checkout

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Speaker 1: costs more than what the check is correct. So for

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Speaker 1: a period of time though, that lump sum was a

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Speaker 1: nice padding. But then after a why you know, once

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Speaker 1: it just keeps airing. It's not a whole lot. But

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Speaker 1: when you have points when you got back in, that's

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Speaker 1: when you're forever making money because when they syndicate the show,

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Speaker 1: however many times they syndicated, you have a piece of

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Speaker 1: the show, So you're getting that kind of money. We

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Speaker 1: didn't get on the ship. We had no no backend.

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Speaker 1: We didn't know about back in, and even if we did,

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Speaker 1: we didn't have any leverage to negotiate back You.

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Speaker 4: Said something that made me feel like I'm a fail

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Speaker 4: of black history. Trivia question, Which show did you have

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Speaker 4: on NBC for a half a season?

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Speaker 1: Oh man, it was trust me in that a failure?

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Speaker 1: They they they dicked me on that too. It was

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Speaker 1: a show called Here and Now. Remember that show. Yeah,

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Speaker 1: it came on, so it came on, It came on

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Speaker 1: Saturday nights. It was it came on after or came

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Speaker 1: on before there was a show called out All Night

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Speaker 1: with Paddle or so. Yeah, so we were with nut.

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Speaker 3: Got it.

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Speaker 4: So disrespectful, but he's said he gets mistaken from you

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Speaker 4: sometimes recently happened and you're the only one like that happened.

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Speaker 4: Not only that, all right, I'm about all night. I

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Speaker 4: definitely remember that.

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Speaker 1: So it was during that time. So this is something

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Speaker 1: that's really interesting. So we had that show. The president

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Speaker 1: of the programmer at NBC at the time didn't like

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Speaker 1: the show, right, and didn't think the show was going

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Speaker 1: to do well. And it was basically, you know, it

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Speaker 1: wasn't THEO, but you know, my character worked in the

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Speaker 1: community center in Harlem, and uh, the program of NBC

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Speaker 1: didn't think it was gonna be a funny show, didn't

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Speaker 1: think it was gonna work. We shot the pilot and

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Speaker 1: they do what's called pilot screening Week where they get

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Speaker 1: all their pilots, they scream them, then they get raided

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Speaker 1: and then that's how they decide what's gonna go on there.

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Speaker 1: My show came in number two. So really the only

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Speaker 1: question was do we put this show, you know, on

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Speaker 1: Thursday night before a Different World or after Different World? Right?

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Speaker 1: Because for eight years, if my face is you know,

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Speaker 1: if the America's used to sing in my face at

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Speaker 1: Thursdays at eight o'clock. It makes sense that if my

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Speaker 1: pilot does well, you're gonna put me on Thursdays, either

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Speaker 1: at eight o'clock or eight thirty. The programmers still didn't

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Speaker 1: like the show, and he put me on Saturday night,

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Speaker 1: which is why nobody ever heard, because you know, my

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Speaker 1: audience is not gonna be watching it on Saturday night.

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Speaker 1: And then when the number one rated, the number one

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Speaker 1: pilot they put in that eight o'clock slot, they canceled

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Speaker 1: after two weeks. Wo, so like, okay, cool, they're putting

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Speaker 1: number two in that slot, kept me on Saturday night.

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Speaker 1: Then they put out a night in that slot like

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Speaker 1: NBC just they were not trying to hear that show,

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Speaker 1: no matter how well it did. So we got we

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Speaker 1: got canned half a season in.

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Speaker 4: I think NBC dropped the ball because you know how

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Speaker 4: different world was Lisa growing up being in college.

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Speaker 5: They could have did that with all the kids, like

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Speaker 5: they could.

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Speaker 4: Have did that with you growing up. I feel like

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Speaker 4: your adult life should have been exploreding that way.

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Speaker 1: You know, it's interesting, different world. So let me go

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Speaker 1: back this real quick. So, uh so what you don't

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Speaker 1: know about that show?

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Speaker 5: Here?

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Speaker 1: And now, uh this cat named Dante Bizet was on

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Speaker 1: the show, right, everybody knows himing as y'all seen Bay

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Speaker 1: right now. Oh, Lauren Hill was on the show. What Yeah,

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Speaker 1: Omar Epps was on the show. Yeah. Yeah, but they

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Speaker 1: they NBC this did they didn't dig the show and

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Speaker 1: so of course this is before they blew up. But yeah,

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Speaker 1: but they were all on the show.

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Speaker 4: If they'd have made one little adjustment that made you

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Speaker 4: THEO on that show and you older, now, I bet

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Speaker 4: you would have worked.

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Speaker 1: You know what, it's possible.

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Speaker 2: I want I want to ask you know, out of

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Speaker 2: all your episodes, I'll ask Alla, So, my most memorable

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Speaker 2: Cosby show is of course the Going to Control season

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Speaker 2: one episode, and of course that's not the most memory.

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Speaker 1: Maybe the two of them. That was episode eighth.

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Speaker 3: I think it was okay, of course the end. I

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Speaker 3: did the same thing when I got my Eric. So

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Speaker 3: what was your favorite.

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Speaker 1: All of those? But I think that at the top

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Speaker 1: of this would be the pilot when THEO was getting

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Speaker 1: d's in school and they did the whole Monopoly money thing,

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Speaker 1: and you know, THEO gives that that was ther and

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Speaker 1: you know, THEO gives this speech, you know, like you know, Dad,

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Speaker 1: I just want to be regular people like I don't

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Speaker 1: want to be a doctor like you. I don't want

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Speaker 1: to be a lawyer like like mom. I just want

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Speaker 1: to be regular people And why can't you love me?

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Speaker 1: For me? It was like this beautiful heart held Remember

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Speaker 1: I remember that. I remember the audience collapsed and the

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Speaker 1: whole nine and Cliff looks at and it's still It

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Speaker 1: was the dumbest thing I've never heard in my life.

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Speaker 1: And so for me that was significant because it's set

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Speaker 1: the tone for the show. Like any other show at

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Speaker 1: that point, the music would have started correct, the father

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Speaker 1: and son would have but he, you know, he went

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Speaker 1: left with that, and I just love that because that

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Speaker 1: said the tone that this was going to be a

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Speaker 1: different kind of show.

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Speaker 4: We're gonna talk to about other stuff other than copy

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Speaker 4: As a fan, I gotta get the first time, no doubt.

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Speaker 5: Did you ever keep the Gordon Guardrail show?

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Speaker 1: I did not. I think it's in the Smithsonian if

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Speaker 1: I'm not sure. Yeah, yeah, yeah, that was. That was

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Speaker 1: one of our That was that was definitely one of

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Speaker 1: our our most fun and for me, most memorable episodes.

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Speaker 4: You never get approached about doing a Gordon Guarntrail clothing line,

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Speaker 4: Malcolm Jamal warns.

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Speaker 1: Gordon, I'm surprised I have not, but I see there's

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Speaker 1: a Gordon Guartrail like t shirt line out there. Yeah. Yeah.

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Speaker 1: I was asking how much of.

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Speaker 2: The show was free, free done and how much was

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Speaker 2: actually written? Like were you allowed to go off script

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Speaker 2: because some of that stuff just seemed like y'all were going.

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Speaker 1: We we had to often go off script because it

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Speaker 1: so it takes it typically takes five days to do

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Speaker 1: a sitcom. We were doing the he got down to

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Speaker 1: like three and a half days, and you know most

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Speaker 1: of those uh storylines came from mister Cosby's monologues, right,

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Speaker 1: So we were a very under rehearsed show. So when

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Speaker 1: it was time to tape the show, oftentimes, you know,

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Speaker 1: if mister Cosby had like a monologue or something, he

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Speaker 1: wouldn't know the monologue, so he'd like he'd go left.

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Speaker 1: And the fun part for us was when we when

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Speaker 1: he went left, we had to go left with him. So,

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Speaker 1: you know, for me it was great because it was like, oh,

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Speaker 1: this is theater. Now we just you know, we're you know,

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Speaker 1: you follow you follow the leader, you follow the followers

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Speaker 1: what we call it, so uh, you know, and and

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Speaker 1: I love seeing those moments with him, and him and

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Speaker 1: Olivia were cool. But like those moments with him and Keisha,

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Speaker 1: you know, because at the time, you know, Keisha was four,

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Speaker 1: so she didn't know how to read, so she had

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Speaker 1: to know she had to remember what to say, how

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Speaker 1: to say it, and when to say it. Wow, and

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Speaker 1: the wind was always based on the line before. So

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Speaker 1: she's doing things with mister Cosby, She's waiting for her

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Speaker 1: line and he's just talking and they would just make it.

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Speaker 1: It was just really cool to watch her and if

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Speaker 1: you go back, you could just see her little brain

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Speaker 1: processing how to maneuver through you know, what's happening. So

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Speaker 1: so though stuff was written, you know, there was stuff

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Speaker 1: that had to be kind of off book because we

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Speaker 1: were we were following him and Felicia was the best

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Speaker 1: at that.

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Speaker 4: You look at those episodes absolutely, do you believe Malcolm

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Speaker 4: and Eddie gets overlooked when it comes to the conversation

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Speaker 4: of like classic black scum.

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Speaker 1: Ah, I don't know. I don't know, because people do

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Speaker 1: talk about it a lot, you know, and that was

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Speaker 1: an interesting time for me, you know, having come from NBC,

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Speaker 1: where you know, everyone was made to be ultra aware

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Speaker 1: of the images of black people were putting across the airwaves,

433
00:21:53,160 --> 00:21:57,040
Speaker 1: and then going to UPN, where their whole approach was

434
00:21:58,320 --> 00:22:03,399
Speaker 1: the antithesis of that. So that was it was a

435
00:22:03,520 --> 00:22:07,760
Speaker 1: difficult shift for me because I was thinking that I

436
00:22:07,800 --> 00:22:10,480
Speaker 1: was of the mindset that they knew where I come from.

437
00:22:10,800 --> 00:22:12,840
Speaker 1: They knew I was on the show that made history

438
00:22:13,720 --> 00:22:15,800
Speaker 1: where black people, that showed that black people could be

439
00:22:15,800 --> 00:22:20,160
Speaker 1: funny without being stereotypical. And you know, when I got

440
00:22:20,160 --> 00:22:23,440
Speaker 1: to up and I realized they weren't interested in any

441
00:22:23,480 --> 00:22:25,760
Speaker 1: of that. And you know, and for eight years I

442
00:22:25,840 --> 00:22:29,000
Speaker 1: watched mister Cosby like all of the things that all

443
00:22:29,040 --> 00:22:31,560
Speaker 1: of the stereotypical things that we did not see on

444
00:22:31,600 --> 00:22:34,680
Speaker 1: that show was not because the writers were not writing.

445
00:22:35,359 --> 00:22:37,720
Speaker 1: It was because mister Cosby is like, no, that's not

446
00:22:37,800 --> 00:22:40,639
Speaker 1: what we're doing. That's not the tone of this show.

447
00:22:40,960 --> 00:22:43,160
Speaker 1: That's not who the hucksbles are, We're not doing that.

448
00:22:43,800 --> 00:22:46,159
Speaker 1: So I saw him do that from season one to

449
00:22:46,200 --> 00:22:49,600
Speaker 1: season eight. So I figured, Okay, I'm at UPN. I

450
00:22:49,640 --> 00:22:53,159
Speaker 1: know how it works. But you know, I was not

451
00:22:53,200 --> 00:22:55,840
Speaker 1: Bill Cosby, and we were not doing Cosby numbers, so

452
00:22:55,880 --> 00:22:59,200
Speaker 1: nobody really cared about what I cared about in terms

453
00:22:59,240 --> 00:23:02,080
Speaker 1: of trying to you know, not be you know, not

454
00:23:02,240 --> 00:23:06,159
Speaker 1: do the same typical black sitcom approach. And you know,

455
00:23:06,240 --> 00:23:12,800
Speaker 1: I fought with writers, producers, Studio Network, and you know

456
00:23:13,359 --> 00:23:18,520
Speaker 1: the show was not as you know, it was not

457
00:23:18,600 --> 00:23:21,880
Speaker 1: one hundred percent what I wanted, but you know it

458
00:23:22,000 --> 00:23:26,360
Speaker 1: wasn't as you know, stir it because they were trying

459
00:23:26,400 --> 00:23:27,480
Speaker 1: to make it that.

460
00:23:28,520 --> 00:23:31,600
Speaker 4: I love talking to you know, people from that era.

461
00:23:31,680 --> 00:23:33,879
Speaker 4: You know, we had Kadem Hardistan and Jasmine Guy here,

462
00:23:34,080 --> 00:23:36,199
Speaker 4: Erica Alexander's been up here and I asked him all

463
00:23:36,240 --> 00:23:40,439
Speaker 4: the same question. Do you think it was an intentional shift?

464
00:23:40,640 --> 00:23:42,280
Speaker 4: I'm just gonna say by day because I don't know

465
00:23:42,320 --> 00:23:44,720
Speaker 4: who it would be to change that kind of content,

466
00:23:44,800 --> 00:23:47,160
Speaker 4: because when you think about that era, it was all

467
00:23:47,240 --> 00:23:50,679
Speaker 4: positive black content, intentional positive black content. But then it

468
00:23:50,720 --> 00:23:53,359
Speaker 4: just seemed like it just shifted. You think that was

469
00:23:53,560 --> 00:23:54,240
Speaker 4: purposely done?

470
00:23:54,320 --> 00:23:58,800
Speaker 1: Yeah, it was. It was like a like a reaction

471
00:23:58,920 --> 00:24:00,439
Speaker 1: to like we had this couple of years of like

472
00:24:00,520 --> 00:24:03,520
Speaker 1: you know, family and positivity and and and and not

473
00:24:03,600 --> 00:24:06,639
Speaker 1: just in black sitcoms and sitcoms period, like you know,

474
00:24:06,680 --> 00:24:09,200
Speaker 1: it was the it was the family values, was positivity.

475
00:24:09,640 --> 00:24:14,240
Speaker 1: Then there was a Simpsons and there was Roseanne, right,

476
00:24:14,320 --> 00:24:16,280
Speaker 1: so that kind of kicked off. It was almost like

477
00:24:16,320 --> 00:24:20,320
Speaker 1: there was a backlash to the family values and positivity.

478
00:24:20,359 --> 00:24:25,760
Speaker 1: So I I wholeheartedly believe it was it was intentional.

479
00:24:25,920 --> 00:24:27,600
Speaker 1: Now when it comes to when it comes to to

480
00:24:27,960 --> 00:24:32,600
Speaker 1: black sitcoms, you know, I think the thing that everybody

481
00:24:32,680 --> 00:24:35,679
Speaker 1: missed was, you know, people looked at the Hucksaboys and

482
00:24:35,760 --> 00:24:37,320
Speaker 1: was like, oh, this was this is an upper middle

483
00:24:37,359 --> 00:24:40,119
Speaker 1: class black family. So we can do black sitcoms and

484
00:24:40,160 --> 00:24:44,720
Speaker 1: we can give these you know, black characters, uh, professions,

485
00:24:45,640 --> 00:24:48,639
Speaker 1: but the execution of the comedy was still the same.

486
00:24:49,080 --> 00:24:51,840
Speaker 1: Like the thing about what made cause me different is

487
00:24:51,880 --> 00:24:57,800
Speaker 1: the the comedy wasn't predicated upon being black. Black sitcoms.

488
00:24:58,000 --> 00:25:01,200
Speaker 1: The comedy is predicated upon being black. So I think

489
00:25:01,359 --> 00:25:05,920
Speaker 1: that's the missing piece that the you know following black

490
00:25:05,960 --> 00:25:09,240
Speaker 1: black sitcoms missed out on. They're like, okay, well let's

491
00:25:09,280 --> 00:25:12,119
Speaker 1: make them a professional. But it can still be you know,

492
00:25:12,160 --> 00:25:15,600
Speaker 1: we can still jig. You know, you just never.

493
00:25:15,520 --> 00:25:19,240
Speaker 4: Understood how things went backwards because copy shows big as

494
00:25:19,240 --> 00:25:21,720
Speaker 4: hell in a different world, all of you know, Martin,

495
00:25:21,840 --> 00:25:24,920
Speaker 4: all these shows big, living single, and we go back

496
00:25:24,960 --> 00:25:27,440
Speaker 4: to we go back to nonsense, like I feel like

497
00:25:27,480 --> 00:25:28,520
Speaker 4: you would build U pun that.

498
00:25:28,760 --> 00:25:32,119
Speaker 1: Yeah, yeah, yeah, it was, it was. I definitely hardly agree.

499
00:25:32,200 --> 00:25:35,960
Speaker 1: It's a intentional I was going to ask.

500
00:25:40,080 --> 00:25:43,399
Speaker 2: Talked about it before, about the influence, but you know,

501
00:25:43,480 --> 00:25:45,320
Speaker 2: looking back at it now, do you know, do you

502
00:25:45,320 --> 00:25:47,439
Speaker 2: guys know that you guys and this was maybe what

503
00:25:47,480 --> 00:25:49,800
Speaker 2: you were setting out to do, you guys, You guys

504
00:25:49,920 --> 00:25:52,800
Speaker 2: raised so many families of what to do, how to act,

505
00:25:52,840 --> 00:25:55,720
Speaker 2: how to talk to kids, how to have difficult conversations,

506
00:25:55,760 --> 00:25:58,000
Speaker 2: how to you know, speak to each other. And then

507
00:25:58,280 --> 00:26:00,639
Speaker 2: even with a different world, like I tell everybody that

508
00:26:00,760 --> 00:26:02,240
Speaker 2: was the reason why I went to Hampton.

509
00:26:02,000 --> 00:26:04,879
Speaker 3: University because of a different world. Was handled yet to me?

510
00:26:05,240 --> 00:26:06,800
Speaker 3: You know, so do y'all look back and say, damn,

511
00:26:06,840 --> 00:26:07,880
Speaker 3: we raised the generation?

512
00:26:08,400 --> 00:26:12,600
Speaker 1: Yeah? But that was that was his intent. Like, he

513
00:26:12,720 --> 00:26:15,679
Speaker 1: was very clear on what he was doing. He was

514
00:26:15,800 --> 00:26:18,560
Speaker 1: very clear that he wanted those shows to be timeless.

515
00:26:19,600 --> 00:26:22,120
Speaker 1: That was something he talked about consistently because there were times,

516
00:26:22,160 --> 00:26:24,240
Speaker 1: you know, I'm fifteen sixty, I'm trying to use you know,

517
00:26:24,280 --> 00:26:26,479
Speaker 1: whatever slang we were using at the time. He was like, no,

518
00:26:27,560 --> 00:26:30,040
Speaker 1: that's going to date the show. Let's make up our

519
00:26:30,080 --> 00:26:32,840
Speaker 1: own slang. So in twenty five years, when people are

520
00:26:32,840 --> 00:26:36,320
Speaker 1: still watching the show, the show is still relevant. So

521
00:26:37,560 --> 00:26:39,520
Speaker 1: you know, our credit to him because that's what he

522
00:26:40,400 --> 00:26:41,439
Speaker 1: that's what he set out to do.

523
00:26:41,600 --> 00:26:43,520
Speaker 2: How did you feel when, like I was said, a

524
00:26:43,520 --> 00:26:45,800
Speaker 2: couple of years ago, they tried to take the show off?

525
00:26:47,160 --> 00:26:49,159
Speaker 3: It bothered me because although.

526
00:26:48,880 --> 00:26:51,400
Speaker 2: Everything that was going on the show was so positive

527
00:26:51,400 --> 00:26:53,040
Speaker 2: for our culture. So how did you feel when they

528
00:26:53,480 --> 00:26:56,320
Speaker 2: started taking the shows off of syndication and were threatening

529
00:26:56,320 --> 00:26:57,719
Speaker 2: to pull the shows of different networks?

530
00:26:57,800 --> 00:27:01,080
Speaker 1: Yeah? Well, I mean, you know real, you know the

531
00:27:01,119 --> 00:27:04,320
Speaker 1: real it hit us all financially because now we weren't

532
00:27:04,320 --> 00:27:08,520
Speaker 1: getting those residuals. Yes, with that lump, you know you're

533
00:27:08,520 --> 00:27:10,960
Speaker 1: talking about you talking about eight years of residual So

534
00:27:11,000 --> 00:27:14,159
Speaker 1: that's still a nice little padding. So it's interesting. I

535
00:27:14,200 --> 00:27:18,159
Speaker 1: did in twenty fifteen, I put out my third record,

536
00:27:18,280 --> 00:27:20,639
Speaker 1: right and on that record, I mean I got I

537
00:27:20,680 --> 00:27:24,399
Speaker 1: got Leila Hathaway, I got Robert glasper letacy No this

538
00:27:24,520 --> 00:27:26,679
Speaker 1: that was that's this one that's out now. That was

539
00:27:26,680 --> 00:27:31,320
Speaker 1: called Selfless. So Layla Letters, Stokely, Rassam Patterson, Robert glasper

540
00:27:31,440 --> 00:27:34,080
Speaker 1: Like the album is like it's a banger. I could

541
00:27:34,160 --> 00:27:39,520
Speaker 1: not book any press unless I agreed to answer at

542
00:27:39,600 --> 00:27:42,720
Speaker 1: least one question about Bill Cosby. It was the only

543
00:27:42,760 --> 00:27:44,800
Speaker 1: way I was gonna be able to get my record covered. Wow,

544
00:27:45,000 --> 00:27:48,160
Speaker 1: So I do this? Uh crazy? This this this interview

545
00:27:48,240 --> 00:27:51,720
Speaker 1: with with ap Right. We spend twenty five thirty minutes

546
00:27:51,720 --> 00:27:54,560
Speaker 1: talking about my career, talk about my music like it's

547
00:27:54,560 --> 00:27:56,960
Speaker 1: a dope interview. And then at the very end, the

548
00:27:57,040 --> 00:27:59,080
Speaker 1: last question she asked me is what do you think

549
00:27:59,160 --> 00:28:03,200
Speaker 1: with the Cosby controversy that the legacy of the show

550
00:28:03,200 --> 00:28:06,600
Speaker 1: has been tarnished? So I said, well, yeah, of course

551
00:28:06,640 --> 00:28:08,600
Speaker 1: it's been tarnished because they've taken it off the show,

552
00:28:09,000 --> 00:28:15,040
Speaker 1: and whenever we talk about stereotopical black images on television,

553
00:28:15,200 --> 00:28:18,280
Speaker 1: we've always had the Cosby Show to hold juxtapose against that.

554
00:28:18,680 --> 00:28:22,240
Speaker 1: But we no longer have that. The next day, all

555
00:28:22,280 --> 00:28:26,040
Speaker 1: of the headlines read, remember, Malcolm Jamal Warner says the

556
00:28:26,119 --> 00:28:30,639
Speaker 1: legacy of the Cosby Show has been tarnished. That's not

557
00:28:30,720 --> 00:28:34,080
Speaker 1: even what she said. Yeah. So then I remember a

558
00:28:34,160 --> 00:28:37,840
Speaker 1: couple months later seeing Keisha on some talk show and

559
00:28:37,880 --> 00:28:40,760
Speaker 1: they asked her the same question, and she said, no,

560
00:28:41,400 --> 00:28:44,680
Speaker 1: it's impossible to tarnish the legacy of that show, because

561
00:28:44,720 --> 00:28:48,960
Speaker 1: there's a generation of kids who sought out higher education

562
00:28:49,240 --> 00:28:51,640
Speaker 1: because of that show. There are generation to kids who

563
00:28:51,880 --> 00:28:55,560
Speaker 1: grew up and got married and had loving families because

564
00:28:55,560 --> 00:28:58,320
Speaker 1: of that show. There's no way that you can reverse

565
00:28:58,360 --> 00:29:01,760
Speaker 1: the influence that that show has had on the culture.

566
00:29:02,640 --> 00:29:05,760
Speaker 1: And so now I'll always bite her, I always bite

567
00:29:05,760 --> 00:29:08,680
Speaker 1: her response now, But yeah, I mean, it's it's it's

568
00:29:09,640 --> 00:29:14,160
Speaker 1: it's undeniable and it's irreversible. You know, it's had a

569
00:29:14,200 --> 00:29:17,400
Speaker 1: you know, a huge impact on on on our culture,

570
00:29:18,520 --> 00:29:22,920
Speaker 1: and it had a huge global impact on how black people,

571
00:29:23,440 --> 00:29:24,800
Speaker 1: you know, saw themselves.

572
00:29:25,080 --> 00:29:26,840
Speaker 4: I was going to ask you, you know, what's the

573
00:29:26,920 --> 00:29:30,000
Speaker 4: pros and cons of having your name and the title

574
00:29:30,040 --> 00:29:31,960
Speaker 4: of a sitcom and reference to Malcolm Andnetti.

575
00:29:32,000 --> 00:29:34,000
Speaker 5: But to me, it's the same thing with that. I

576
00:29:34,000 --> 00:29:34,440
Speaker 5: think if that.

577
00:29:34,480 --> 00:29:37,200
Speaker 4: Show was called The Huxtables, it wouldn't even be a conversation.

578
00:29:37,400 --> 00:29:39,200
Speaker 4: I think if it was called the Huxtables, people would

579
00:29:39,240 --> 00:29:42,280
Speaker 4: easily be able to separate the art from the artists.

580
00:29:42,680 --> 00:29:44,760
Speaker 4: So what do you think the pros and cons of.

581
00:29:45,600 --> 00:29:50,280
Speaker 1: Probably that, really, you know, I think probably anybody who's

582
00:29:50,280 --> 00:29:52,280
Speaker 1: who's having their own show and their own sitcom, because

583
00:29:52,360 --> 00:29:56,160
Speaker 1: because also, remember you know, so many sitcoms are usually

584
00:29:56,200 --> 00:29:59,920
Speaker 1: based around the stand up and you know, either they

585
00:30:00,080 --> 00:30:02,280
Speaker 1: can handle the job or they can't. You know, that's

586
00:30:02,160 --> 00:30:04,440
Speaker 1: that's what the success of the show depends upon. So

587
00:30:04,440 --> 00:30:06,000
Speaker 1: I think for any stand up to have your own

588
00:30:06,040 --> 00:30:10,840
Speaker 1: show and have it be your name, like, that's the dream.

589
00:30:11,120 --> 00:30:13,240
Speaker 1: But I think to your point, that's that is that's

590
00:30:13,440 --> 00:30:16,400
Speaker 1: a huge con But of course no one goes into

591
00:30:16,440 --> 00:30:20,160
Speaker 1: it thinking that there's going to be the end result

592
00:30:20,280 --> 00:30:21,280
Speaker 1: of that.

593
00:30:21,360 --> 00:30:24,520
Speaker 5: I remember they did that with The New The New Roseanne.

594
00:30:24,400 --> 00:30:28,240
Speaker 4: Relaunched all the Connors after when she got into the

595
00:30:28,320 --> 00:30:31,120
Speaker 4: Earth situation. Now, are you still cool with cockroach called

596
00:30:31,160 --> 00:30:32,680
Speaker 4: Anthony Payne.

597
00:30:34,560 --> 00:30:37,000
Speaker 1: We're cooler and we're cooler as adults than we were

598
00:30:37,160 --> 00:30:41,760
Speaker 1: during that time. No, we didn't at all the young

599
00:30:41,800 --> 00:30:45,600
Speaker 1: ego and yeah, yeah that's what it was. Yeah, and

600
00:30:45,600 --> 00:30:48,080
Speaker 1: it was and it was yeah, yeah, it was. It was.

601
00:30:50,840 --> 00:30:57,920
Speaker 1: You know, we talked about earlier the original callbacks for

602
00:30:58,040 --> 00:31:02,560
Speaker 1: Cosby the so they flew in an actor from Chicago

603
00:31:02,840 --> 00:31:05,920
Speaker 1: and flew in an actor from New York. Carl was

604
00:31:05,960 --> 00:31:09,480
Speaker 1: the actor they flew in from New York. So had

605
00:31:09,520 --> 00:31:13,360
Speaker 1: I not auditioned for the show, Carl would have played theel.

606
00:31:14,680 --> 00:31:16,400
Speaker 3: So look at you every day and see you took

607
00:31:16,440 --> 00:31:16,960
Speaker 3: my part.

608
00:31:16,840 --> 00:31:18,040
Speaker 1: And then I got to come back and play your

609
00:31:18,040 --> 00:31:23,600
Speaker 1: best friend. Damn. So you know, I think, on one hand,

610
00:31:23,720 --> 00:31:27,000
Speaker 1: you know, that may have had something to do with it,

611
00:31:28,240 --> 00:31:32,880
Speaker 1: That was part of it. And he decided he had

612
00:31:32,880 --> 00:31:36,720
Speaker 1: a huge ego, you know, Yeah, he had a huge ego.

613
00:31:36,800 --> 00:31:38,920
Speaker 1: So and I didn't come from that kind of place.

614
00:31:39,480 --> 00:31:42,480
Speaker 1: And you know, the way and the way I felt

615
00:31:42,520 --> 00:31:46,600
Speaker 1: then and the way I feel now, you know, based

616
00:31:46,640 --> 00:31:49,760
Speaker 1: on my career, if anybody, you know should walk around

617
00:31:49,800 --> 00:31:52,240
Speaker 1: with a huge ego, it should be me. And if

618
00:31:52,280 --> 00:31:54,200
Speaker 1: I don't roll like that, I don't really I have

619
00:31:54,440 --> 00:31:57,760
Speaker 1: very little tolerance for people who roll like that. So

620
00:31:57,800 --> 00:32:00,920
Speaker 1: we never really really we just never really got along

621
00:32:01,000 --> 00:32:04,640
Speaker 1: back then. But you know, we're grown now, and you know,

622
00:32:04,680 --> 00:32:06,800
Speaker 1: and Carl's been through a lot, like his journey is

623
00:32:07,040 --> 00:32:09,760
Speaker 1: you know, it's it's been you know, he's had a journey,

624
00:32:10,840 --> 00:32:13,480
Speaker 1: and as adults, we've been able to like sit down

625
00:32:13,480 --> 00:32:17,600
Speaker 1: and have conversations and we're in uh, we're in a

626
00:32:17,760 --> 00:32:22,200
Speaker 1: very cool grown man place now. Uh. Then we were

627
00:32:22,280 --> 00:32:24,000
Speaker 1: you know, then we were teenagers and you know.

628
00:32:24,400 --> 00:32:25,800
Speaker 5: I feel like you had to be broken up with

629
00:32:25,800 --> 00:32:26,720
Speaker 5: something the way he signed it, I.

630
00:32:26,680 --> 00:32:29,080
Speaker 4: Had to be broken up before.

631
00:32:30,320 --> 00:32:32,520
Speaker 1: No, no, no, no, no, it wasn't that bad bad.

632
00:32:32,680 --> 00:32:34,880
Speaker 3: You just speak to anybody from the show anymore, and

633
00:32:35,520 --> 00:32:35,920
Speaker 3: you know.

634
00:32:36,320 --> 00:32:40,320
Speaker 1: Yeah, Keisha, I mean, Kesha was my girl when she

635
00:32:40,400 --> 00:32:43,400
Speaker 1: was four years old. It's always my lome. You know,

636
00:32:43,440 --> 00:32:47,800
Speaker 1: we both live in Atlanta. Uh. Just Saturday, her and

637
00:32:47,800 --> 00:32:51,160
Speaker 1: her husband over at our house. Her daughter is a

638
00:32:51,200 --> 00:32:54,920
Speaker 1: couple of months older than my daughter, and our daughters

639
00:32:55,120 --> 00:33:00,000
Speaker 1: absolutely love each other. So it's it's very surreal because

640
00:33:00,440 --> 00:33:02,280
Speaker 1: like we'll look at at our darteris's player and look

641
00:33:02,280 --> 00:33:06,880
Speaker 1: at each other like, yo, this is but yeah, dope, yeah.

642
00:33:06,920 --> 00:33:09,440
Speaker 1: So she's when I talked to the most. But we're

643
00:33:09,480 --> 00:33:11,720
Speaker 1: all we're all cool. I mean, we had an experience

644
00:33:12,280 --> 00:33:17,320
Speaker 1: that no one else in the world has had, so

645
00:33:17,600 --> 00:33:21,200
Speaker 1: that experience has really bonded us forever. So even if

646
00:33:21,240 --> 00:33:23,440
Speaker 1: we don't, you know, if we don't talk for a year,

647
00:33:24,000 --> 00:33:26,800
Speaker 1: you know, whenever we talk, it's just always it's always

648
00:33:26,880 --> 00:33:27,280
Speaker 1: love and.

649
00:33:27,360 --> 00:33:28,440
Speaker 5: Never will have again.

650
00:33:28,640 --> 00:33:30,960
Speaker 4: Because I tell people all the time that eighties and

651
00:33:31,040 --> 00:33:34,680
Speaker 4: nineties celebrity was different, Like there's not too many people

652
00:33:34,720 --> 00:33:37,200
Speaker 4: black all white that was that famous in the eighties

653
00:33:37,240 --> 00:33:40,120
Speaker 4: and nineties. Who aren't icons you, Mike can run play

654
00:33:40,120 --> 00:33:40,880
Speaker 4: an office.

655
00:33:43,400 --> 00:33:44,680
Speaker 5: Jo like you.

656
00:33:44,800 --> 00:33:48,360
Speaker 4: Possibly, what was the difference between now and then celebrity wise?

657
00:33:48,840 --> 00:33:52,600
Speaker 1: Social media? Social media changed the whole game. Like for

658
00:33:52,720 --> 00:33:57,000
Speaker 1: me what I started to say earlier, growing up here

659
00:33:57,000 --> 00:34:00,360
Speaker 1: in New York in the eighties, being on that show,

660
00:34:02,440 --> 00:34:05,800
Speaker 1: for me, what it was the time of my life.

661
00:34:07,720 --> 00:34:12,520
Speaker 1: And partially because I I'm you know, I'm fourteen, fifteen

662
00:34:12,560 --> 00:34:15,560
Speaker 1: years old, I'm in the area, I'm in pseudient fifty four,

663
00:34:15,800 --> 00:34:17,800
Speaker 1: I'm at Latin Quarter like, I'm in all these places

664
00:34:17,840 --> 00:34:21,560
Speaker 1: I'm not supposed to be. So there was so much

665
00:34:21,680 --> 00:34:26,160
Speaker 1: of the being the celebrityhood if you will, that I

666
00:34:26,320 --> 00:34:30,480
Speaker 1: enjoyed so much. But because of not just the success

667
00:34:30,600 --> 00:34:33,880
Speaker 1: of the show but what the show represented. I also

668
00:34:34,000 --> 00:34:36,319
Speaker 1: understood that when I walked through the world, I was

669
00:34:36,360 --> 00:34:38,560
Speaker 1: not only representing my mother and my father, I was

670
00:34:38,600 --> 00:34:41,279
Speaker 1: also representing the show and everything this show stood for.

671
00:34:41,680 --> 00:34:46,719
Speaker 1: So it allowed me to not be a knucklehead, like

672
00:34:46,800 --> 00:34:53,600
Speaker 1: be able to enjoy everything but responsibly and you know,

673
00:34:55,200 --> 00:34:58,000
Speaker 1: do stuff under the radar. But in whenever it was

674
00:34:58,040 --> 00:35:00,640
Speaker 1: whatever I was doing under the radar wasn't like knucklehead

675
00:35:00,760 --> 00:35:04,560
Speaker 1: stuff and you know, my parents had instilled a foundation.

676
00:35:06,520 --> 00:35:10,240
Speaker 1: You know, my foundation of who I was was very strong.

677
00:35:10,320 --> 00:35:11,799
Speaker 2: I was gonna ask you you never got caught up

678
00:35:11,800 --> 00:35:14,480
Speaker 2: in the drug world or alcohol because Studio fifty four

679
00:35:14,560 --> 00:35:15,759
Speaker 2: Last quartersback then was.

680
00:35:16,480 --> 00:35:19,560
Speaker 1: No I could be around it. But it just wasn't

681
00:35:19,960 --> 00:35:22,640
Speaker 1: That wasn't me. I mean, you know, look, my father

682
00:35:22,760 --> 00:35:25,239
Speaker 1: named me after Malcolm X and the Maajamal like my

683
00:35:25,320 --> 00:35:28,640
Speaker 1: father was not playing. So that's why I say, like,

684
00:35:28,640 --> 00:35:34,000
Speaker 1: like before the fame, my foundation was so solid that

685
00:35:34,160 --> 00:35:36,840
Speaker 1: I could be I could be around all that stuff

686
00:35:36,840 --> 00:35:39,719
Speaker 1: and not have to participate in that, so to be

687
00:35:39,719 --> 00:35:44,320
Speaker 1: able to enjoy everything that being famous had to offer

688
00:35:44,680 --> 00:35:47,160
Speaker 1: without being a knucklehead. And again, being in New York

689
00:35:47,280 --> 00:35:51,080
Speaker 1: is different from growing up on television in LA because

690
00:35:51,080 --> 00:35:53,480
Speaker 1: in LA, your best friend is on the same lot

691
00:35:53,560 --> 00:35:56,080
Speaker 1: on stage next door, whereas here in New York there

692
00:35:56,120 --> 00:35:59,680
Speaker 1: weren't other shows here, so I wasn't hanging out with actors.

693
00:36:00,120 --> 00:36:00,200
Speaker 5: Now.

694
00:36:00,239 --> 00:36:01,799
Speaker 4: I got to give all props to your parents though,

695
00:36:01,840 --> 00:36:03,800
Speaker 4: because you know, even when you talk to somebody like

696
00:36:03,840 --> 00:36:04,880
Speaker 4: Kim Field is the same thing.

697
00:36:04,920 --> 00:36:07,280
Speaker 5: She gives all her credit to her her mom. Because

698
00:36:07,880 --> 00:36:10,480
Speaker 5: y'all had every y'all had every right to wild out.

699
00:36:11,320 --> 00:36:14,080
Speaker 5: Y'all are the biggest things moving.

700
00:36:14,239 --> 00:36:17,360
Speaker 1: Yeah, but we also we also came on the heels

701
00:36:17,520 --> 00:36:22,560
Speaker 1: of Gary Todd Bridges and Danna Plato, so like we

702
00:36:22,840 --> 00:36:29,080
Speaker 1: overlapped their you know, their journey. So for I just

703
00:36:29,200 --> 00:36:32,520
Speaker 1: felt like, well, we got no excuse. You learned from that, Yeah,

704
00:36:32,600 --> 00:36:35,080
Speaker 1: like we're seeing like it's like you hear about stuff

705
00:36:35,080 --> 00:36:38,120
Speaker 1: and throughout history, but this was happening right now, Like

706
00:36:39,040 --> 00:36:41,799
Speaker 1: I'm looking at Todd Bridges, So there was really no

707
00:36:41,920 --> 00:36:45,520
Speaker 1: excuse for us to wild out like that. But again

708
00:36:45,560 --> 00:36:48,279
Speaker 1: I also say because we lived in New York and

709
00:36:48,320 --> 00:36:52,080
Speaker 1: not LA, we weren't hanging around other Hollywood kids. When

710
00:36:52,120 --> 00:36:55,720
Speaker 1: we were shooting in Brooklyn the NBC studios on Avenue

711
00:36:55,800 --> 00:36:58,560
Speaker 1: M and E's fourteenth Street, they didn't have a commissary,

712
00:36:59,200 --> 00:37:01,239
Speaker 1: so at lunch we had to go out into the

713
00:37:01,280 --> 00:37:04,040
Speaker 1: neighborhood and get whatever we're gonna eat. We moved to

714
00:37:04,280 --> 00:37:07,839
Speaker 1: a coffin the story. Their commissary was whack, so we

715
00:37:07,880 --> 00:37:10,200
Speaker 1: went out into the neighborhood and went and got we

716
00:37:10,680 --> 00:37:12,680
Speaker 1: would get our lunch. So it was just a very

717
00:37:12,719 --> 00:37:17,359
Speaker 1: different experience that we had being able to grow up

718
00:37:18,719 --> 00:37:21,040
Speaker 1: in New York rather than grow uping television.

719
00:37:21,040 --> 00:37:23,080
Speaker 2: And you said something earlier and I wanted to ask

720
00:37:23,120 --> 00:37:24,640
Speaker 2: you about and you were saying that when you were

721
00:37:24,680 --> 00:37:27,200
Speaker 2: promoting your jazz album. A lot of these outlets were

722
00:37:27,200 --> 00:37:29,000
Speaker 2: saying that the only way that you can come up

723
00:37:29,040 --> 00:37:31,520
Speaker 2: here is if you asked a question. If your answer

724
00:37:31,600 --> 00:37:34,520
Speaker 2: question about Bill Cosby. How were you able to navigate

725
00:37:35,160 --> 00:37:38,000
Speaker 2: all those questions? Because although you have your own stuff

726
00:37:38,040 --> 00:37:41,160
Speaker 2: going on, you're doing plays, you're acting, you're doing movies, sitcoms.

727
00:37:41,480 --> 00:37:43,600
Speaker 2: You know, you have your music, but you almost gonna

728
00:37:43,600 --> 00:37:45,480
Speaker 2: want to be like, I get it, but this is

729
00:37:45,520 --> 00:37:46,040
Speaker 2: what I'm here for.

730
00:37:46,080 --> 00:37:49,440
Speaker 3: So how did you navigate through all that without you know,

731
00:37:49,640 --> 00:37:52,920
Speaker 3: going down those those lanes by.

732
00:37:52,920 --> 00:37:56,600
Speaker 1: Turning the you know, by whatever the question is, answering it,

733
00:37:57,080 --> 00:37:59,759
Speaker 1: you know, the best way I could, Like I didn't

734
00:37:59,800 --> 00:38:00,000
Speaker 1: want to.

735
00:38:00,040 --> 00:38:01,520
Speaker 3: They want to know did you see him this?

736
00:38:01,600 --> 00:38:01,759
Speaker 1: Yeah?

737
00:38:02,000 --> 00:38:02,480
Speaker 3: What about this?

738
00:38:02,920 --> 00:38:03,080
Speaker 5: You know?

739
00:38:03,160 --> 00:38:05,880
Speaker 1: And the reality is I'm not in a position like

740
00:38:05,920 --> 00:38:08,279
Speaker 1: whatever it is you're trying to ask. I don't know.

741
00:38:08,400 --> 00:38:11,319
Speaker 1: I was. I was when I was a kid, and

742
00:38:11,360 --> 00:38:14,319
Speaker 1: again I you know that was that was Inn's dad,

743
00:38:14,640 --> 00:38:17,040
Speaker 1: you know, So I am not in a position to

744
00:38:18,360 --> 00:38:22,799
Speaker 1: defend him at all. And there's no need for me

745
00:38:22,840 --> 00:38:25,200
Speaker 1: to try to throw him under the bus because the

746
00:38:25,239 --> 00:38:27,880
Speaker 1: rest of the world is doing that. And you know,

747
00:38:28,040 --> 00:38:30,680
Speaker 1: like like you know, the real shit is I know

748
00:38:31,360 --> 00:38:35,040
Speaker 1: what everybody else knows, and everybody else knows what the

749
00:38:35,080 --> 00:38:40,279
Speaker 1: press has told them. So I don't really have I

750
00:38:40,320 --> 00:38:42,960
Speaker 1: don't really have a real ground to stand on to

751
00:38:43,040 --> 00:38:46,319
Speaker 1: speak on it as much as anybody else does. You know.

752
00:38:46,400 --> 00:38:49,839
Speaker 4: So, and you might be biased because you didn't you

753
00:38:49,880 --> 00:38:51,520
Speaker 4: saw a whole different side of him that none of

754
00:38:51,640 --> 00:38:52,440
Speaker 4: us are privy too.

755
00:38:52,680 --> 00:38:58,080
Speaker 1: Yeah, yes, and and and I saw ah, I saw

756
00:38:58,120 --> 00:39:00,560
Speaker 1: a very human side of him, like what everybody else

757
00:39:00,680 --> 00:39:03,719
Speaker 1: is like, you know, he's America's famous, you know, favorite dad,

758
00:39:03,760 --> 00:39:09,120
Speaker 1: and you know they they as people do with celebrities,

759
00:39:09,520 --> 00:39:12,120
Speaker 1: you know, they put us on a pedestal. And again

760
00:39:12,160 --> 00:39:13,480
Speaker 1: that's why as a kid, I don't want to be

761
00:39:13,480 --> 00:39:15,439
Speaker 1: considered a role model, be perfect, cause I'm like, that's

762
00:39:15,440 --> 00:39:18,080
Speaker 1: not me. But that's what we do to people. So

763
00:39:18,360 --> 00:39:23,040
Speaker 1: while everyone is you know, I'm like, he's a man,

764
00:39:23,320 --> 00:39:25,720
Speaker 1: he's got he's got his own got his own faults

765
00:39:25,719 --> 00:39:28,239
Speaker 1: and whatever. False I saw though, it wasn't that. I

766
00:39:28,360 --> 00:39:32,000
Speaker 1: you know, like mm hmm, I saw a man. So

767
00:39:32,040 --> 00:39:34,880
Speaker 1: it's a different It's a different experience for me, uh

768
00:39:35,600 --> 00:39:36,799
Speaker 1: than it is for everybody else.

769
00:39:37,400 --> 00:39:40,239
Speaker 4: I've always loved how black your name is man, and

770
00:39:40,360 --> 00:39:42,680
Speaker 4: finding out that you named after Malcolm Xican.

771
00:39:42,680 --> 00:39:47,360
Speaker 5: You said, I'm not familiar with Ma's.

772
00:39:47,960 --> 00:39:52,279
Speaker 1: He's a renowned jazz pianist, but he's a if you

773
00:39:52,280 --> 00:39:55,319
Speaker 1: could be a jazz pianist and be militant as fuck,

774
00:39:55,760 --> 00:39:58,640
Speaker 1: that's a ma. Yeah. Yeah. My dad was. My dad

775
00:39:58,719 --> 00:40:04,440
Speaker 1: was I He used to go to Chicago during the summers,

776
00:40:04,719 --> 00:40:07,080
Speaker 1: my dad, and during my summer vacations. He had this

777
00:40:07,480 --> 00:40:10,560
Speaker 1: thick book called Great American Negroes and there, you know,

778
00:40:10,760 --> 00:40:13,839
Speaker 1: chapters on Langston Hughes, Richard Riot, and Ray McLeod, film

779
00:40:13,920 --> 00:40:16,440
Speaker 1: Mary Anderson. And he would make me read these chapters

780
00:40:16,560 --> 00:40:20,120
Speaker 1: and write book reports. And this is during my summer vacation.

781
00:40:21,560 --> 00:40:24,880
Speaker 1: I'm six, seven, eight, nine, ten years old. I'm like,

782
00:40:24,920 --> 00:40:26,120
Speaker 1: I don't want to, but it's my dad, so I

783
00:40:26,160 --> 00:40:29,200
Speaker 1: have to. But he was he was hardcore on making

784
00:40:29,239 --> 00:40:33,000
Speaker 1: sure that I under that I understood my history and

785
00:40:33,080 --> 00:40:38,520
Speaker 1: understood where I came from. And also he was he

786
00:40:38,600 --> 00:40:41,520
Speaker 1: went he went to Lincoln University and he was there

787
00:40:41,560 --> 00:40:44,880
Speaker 1: with Gil Scott Herron and Brian Jackson Jesus, and my

788
00:40:44,960 --> 00:40:49,640
Speaker 1: dad went to Lincoln because Langston went to Lincoln. So

789
00:40:50,560 --> 00:40:54,040
Speaker 1: the whole poetry thing that I do like I was

790
00:40:54,080 --> 00:40:55,719
Speaker 1: really I was. I was a poet before I was

791
00:40:55,719 --> 00:40:59,200
Speaker 1: an actor because my father was instilling all of these

792
00:40:59,239 --> 00:41:01,799
Speaker 1: things in me, and he was doing it through the arts.

793
00:41:01,840 --> 00:41:04,279
Speaker 1: Like my favorite book. I remember being in fifth grade

794
00:41:04,320 --> 00:41:06,400
Speaker 1: and I used to carry around this book Poems on

795
00:41:06,440 --> 00:41:08,600
Speaker 1: the Life and Death of Malcolm X. And I used

796
00:41:08,600 --> 00:41:11,680
Speaker 1: to have it on my desk at school and kids

797
00:41:11,680 --> 00:41:14,200
Speaker 1: would like laugh and tease me, like, oh, somebody wrote

798
00:41:14,239 --> 00:41:16,200
Speaker 1: a book about you. Ha ha ha. And I'm in

799
00:41:16,239 --> 00:41:18,960
Speaker 1: fifth grade and I'm realizing, wow, these not only do

800
00:41:19,000 --> 00:41:22,279
Speaker 1: these kids not even know who Malcolm X is if

801
00:41:22,320 --> 00:41:27,080
Speaker 1: they're reading poetry, they're not reading poetry as sophisticated as

802
00:41:27,239 --> 00:41:30,160
Speaker 1: I am. And it was then like that was when

803
00:41:30,200 --> 00:41:33,279
Speaker 1: it registered for me what my father was doing. Like

804
00:41:33,400 --> 00:41:36,040
Speaker 1: all those summers of not wanting to read these books

805
00:41:36,120 --> 00:41:39,080
Speaker 1: and write these book reports, I understood what he was

806
00:41:39,480 --> 00:41:42,719
Speaker 1: instilling in me. And then when I was about fifteen,

807
00:41:43,640 --> 00:41:46,120
Speaker 1: you know, you know, the show's popping, and now you know,

808
00:41:46,160 --> 00:41:48,560
Speaker 1: I'm going to schools, I'm talking to kids, I'm in churches,

809
00:41:48,560 --> 00:41:51,000
Speaker 1: I'm talking to kids, and it was that's when it

810
00:41:51,080 --> 00:41:54,840
Speaker 1: hit me how my dad named me and what he

811
00:41:54,960 --> 00:41:58,000
Speaker 1: was doing, because now I'm having this influence talking to

812
00:41:58,040 --> 00:42:01,080
Speaker 1: young people. I remembering fifteen years old. I called my dad.

813
00:42:01,120 --> 00:42:04,640
Speaker 1: I was like, yo, man, you set me up and

814
00:42:04,680 --> 00:42:07,640
Speaker 1: he laughed. He was like, you're damn right for greatness. Yeah,

815
00:42:07,800 --> 00:42:10,319
Speaker 1: and he didn't even know. You know, he didn't know

816
00:42:10,520 --> 00:42:12,239
Speaker 1: that I was going to have this platform or what

817
00:42:12,280 --> 00:42:14,120
Speaker 1: my platform was going to be. But yeah, he set

818
00:42:14,160 --> 00:42:16,600
Speaker 1: me up for great whatever my path was going to be,

819
00:42:16,800 --> 00:42:17,799
Speaker 1: he set me up for that.

820
00:42:17,960 --> 00:42:20,319
Speaker 4: Why why when it came to musical expression, it was

821
00:42:20,960 --> 00:42:23,520
Speaker 4: jazz because you you know you you're a hip hop baby,

822
00:42:23,640 --> 00:42:25,480
Speaker 4: like you came up in the hip hop here, like.

823
00:42:25,800 --> 00:42:30,399
Speaker 2: You just heard you about a month ago. He was rapping, Yes,

824
00:42:30,960 --> 00:42:32,399
Speaker 2: what was that the legends.

825
00:42:32,320 --> 00:42:35,080
Speaker 5: When he was naming all the names.

826
00:42:35,120 --> 00:42:37,960
Speaker 1: Okay, so put it spoken word for that, but that's

827
00:42:38,000 --> 00:42:39,759
Speaker 1: a plan for DMX. But he was rapping that's not me,

828
00:42:40,840 --> 00:42:44,160
Speaker 1: that's not me. That's that's what you mean. No, that

829
00:42:44,320 --> 00:42:47,760
Speaker 1: was that's this this cat on Instagram cash flow Harlem.

830
00:42:48,080 --> 00:42:50,279
Speaker 1: He put that video out right and I would see

831
00:42:50,280 --> 00:42:52,400
Speaker 1: this video and people were doing these remix videos. So

832
00:42:52,440 --> 00:42:54,520
Speaker 1: you see the video on one side and you see

833
00:42:54,520 --> 00:42:58,560
Speaker 1: people just kind of yeah, nobody saying the names. They

834
00:42:58,640 --> 00:43:01,560
Speaker 1: just kind of nod. And one guy he was counting

835
00:43:01,600 --> 00:43:03,920
Speaker 1: the names, but then he'd lose count, like that's it.

836
00:43:03,960 --> 00:43:05,640
Speaker 1: And I was like that's it. So I was like,

837
00:43:05,680 --> 00:43:08,080
Speaker 1: you know, I'm gonna take the time. I'm gonna memorize

838
00:43:08,120 --> 00:43:10,960
Speaker 1: what he's doing, and then I'm gonna make it a challenge.

839
00:43:11,680 --> 00:43:15,280
Speaker 1: Nobody took me up on the challenge, but the video went.

840
00:43:15,400 --> 00:43:17,480
Speaker 4: Viral because that's the first time I never I never

841
00:43:17,480 --> 00:43:18,520
Speaker 4: eve knew somebody else made it.

842
00:43:18,520 --> 00:43:22,319
Speaker 1: I thought that was not me. That was not mean wow, No,

843
00:43:22,960 --> 00:43:27,480
Speaker 1: but why jazz though? So the jazz. So it's when

844
00:43:27,520 --> 00:43:30,879
Speaker 1: I started my band. You know, I was always doing

845
00:43:30,960 --> 00:43:34,600
Speaker 1: already doing poetry, right, I was in the spoken word scene.

846
00:43:34,680 --> 00:43:36,640
Speaker 1: I was doing spoken word with other bands and whatnot.

847
00:43:36,640 --> 00:43:39,759
Speaker 1: But when I started my band, it was to I

848
00:43:39,800 --> 00:43:41,440
Speaker 1: was playing bass. It was the kind I wanted to do,

849
00:43:41,520 --> 00:43:44,400
Speaker 1: like this jazz funk kind of thing, and then ultimately

850
00:43:44,440 --> 00:43:48,760
Speaker 1: I ended up infusing my poetry with my own band.

851
00:43:49,280 --> 00:43:53,160
Speaker 1: And neo soul you know, was big at the time,

852
00:43:53,840 --> 00:43:56,319
Speaker 1: and you know, people because of the spoken word and

853
00:43:56,360 --> 00:43:58,520
Speaker 1: what I was doing, they want to call it neo soul,

854
00:43:58,840 --> 00:44:01,280
Speaker 1: And at the time, I was like, nah, neil soul

855
00:44:01,360 --> 00:44:02,920
Speaker 1: is a fad. When that, you know, I don't want

856
00:44:02,920 --> 00:44:05,120
Speaker 1: to be associated with a fad because when that runs out,

857
00:44:05,440 --> 00:44:08,000
Speaker 1: you know, people might not be as interest as what

858
00:44:08,000 --> 00:44:11,640
Speaker 1: I'm doing. If I call it jazz funk, then I

859
00:44:11,680 --> 00:44:14,759
Speaker 1: could It's something I could grow into. So when I'm

860
00:44:14,800 --> 00:44:17,640
Speaker 1: fifty sixty years old, I can still be doing that.

861
00:44:18,080 --> 00:44:20,040
Speaker 1: And at the time, I mind you, I'm twenty six, twenty,

862
00:44:20,080 --> 00:44:23,920
Speaker 1: I'm like twenty eight. Now. At the time, I was like, besides,

863
00:44:24,560 --> 00:44:27,680
Speaker 1: no one's gonna want to hear a dude rapping at

864
00:44:27,680 --> 00:44:32,799
Speaker 1: fifty years old. Now, well, now, fast forward, fast forward.

865
00:44:33,000 --> 00:44:34,799
Speaker 1: You know, cast is still dice. But at twenty eight,

866
00:44:35,680 --> 00:44:37,400
Speaker 1: we get at twenty eight, we didn't see it. We

867
00:44:37,400 --> 00:44:42,600
Speaker 1: couldn't see that, correct. But so the jazz funk spoken

868
00:44:42,640 --> 00:44:47,440
Speaker 1: word was just kind of my way of having this lane.

869
00:44:48,000 --> 00:44:51,480
Speaker 1: But it's really what I do is really it's you know,

870
00:44:51,760 --> 00:44:54,759
Speaker 1: it's so R and B and hip hop at the

871
00:44:54,840 --> 00:44:57,880
Speaker 1: end of the day, because I'm not though I'm a

872
00:44:58,000 --> 00:45:01,920
Speaker 1: jazz student, I'm not. I wouldn't consider myself a jazz musician.

873
00:45:02,320 --> 00:45:05,400
Speaker 1: But I just wanted to use that title because I

874
00:45:05,440 --> 00:45:08,200
Speaker 1: didn't want to get lumped in in neo soul. I

875
00:45:08,200 --> 00:45:10,080
Speaker 1: didn't want to just call it because it's not just

876
00:45:10,239 --> 00:45:12,000
Speaker 1: R and B. It's not just and it's not just

877
00:45:12,120 --> 00:45:14,759
Speaker 1: spoken word. It's not just hip hop. It's really a

878
00:45:14,760 --> 00:45:17,040
Speaker 1: combination of all of that. So when I describe it,

879
00:45:17,320 --> 00:45:19,840
Speaker 1: I describe it as a jazz funk spoken word band,

880
00:45:20,760 --> 00:45:23,040
Speaker 1: but it's probably more of a you know, R and

881
00:45:23,120 --> 00:45:23,800
Speaker 1: B soul.

882
00:45:25,560 --> 00:45:29,800
Speaker 4: Spoken word and Hiding Your play View is Grammy nominated, right, Yeah, yeah,

883
00:45:29,840 --> 00:45:30,399
Speaker 4: how I feel?

884
00:45:30,520 --> 00:45:34,880
Speaker 1: Yeah, it's dope. I got a Grammy in twenty fifteen

885
00:45:35,480 --> 00:45:40,399
Speaker 1: with Robert Glasper and Laila Hathaway. I did not Yeah

886
00:45:40,920 --> 00:45:44,440
Speaker 1: on Roberts Black Radio two album. He does a cover

887
00:45:44,640 --> 00:45:49,840
Speaker 1: of Stevie Wonders, Jesus Children of America and Layla sings,

888
00:45:50,120 --> 00:45:53,640
Speaker 1: and then I do a poem in tribute to the

889
00:45:53,719 --> 00:45:57,359
Speaker 1: Kids from Sandy Hook And in twenty fifteen that one

890
00:45:57,480 --> 00:46:01,760
Speaker 1: for Best Traditional R and B Performance. So for this album,

891
00:46:02,000 --> 00:46:04,799
Speaker 1: Hiding and Playing View, which is my fourth album, for

892
00:46:05,000 --> 00:46:09,319
Speaker 1: that to get Grammy nominated, you know like that, I mean,

893
00:46:09,400 --> 00:46:13,520
Speaker 1: you know, it takes it to a whole another level. Like,

894
00:46:13,600 --> 00:46:16,960
Speaker 1: of course getting a Grammy, that's amazing. It means everything.

895
00:46:17,040 --> 00:46:20,279
Speaker 1: But to have my own work record and my own

896
00:46:20,280 --> 00:46:22,680
Speaker 1: work that I did most of the production on myself.

897
00:46:23,920 --> 00:46:27,880
Speaker 1: Even though I don't do this for validation, it's so validating,

898
00:46:28,400 --> 00:46:32,040
Speaker 1: you know, and it feels congratulations.

899
00:46:33,080 --> 00:46:36,600
Speaker 4: Now another thing that people might not know, The Magic School, Boss, Yeah,

900
00:46:36,840 --> 00:46:38,400
Speaker 4: what made you get involved with the Magic School.

901
00:46:38,560 --> 00:46:41,280
Speaker 1: I've been trying to do voice over, you know, also

902
00:46:41,440 --> 00:46:43,879
Speaker 1: my whole career. So I get voice over work here

903
00:46:43,920 --> 00:46:47,480
Speaker 1: and there, but it's a nut. I'm still trying to

904
00:46:47,800 --> 00:46:52,440
Speaker 1: I'm trying, still trying to crack. But but I would say, uh,

905
00:46:53,640 --> 00:46:55,520
Speaker 1: you know, I know you catch a busy, but whenever

906
00:46:55,560 --> 00:47:00,520
Speaker 1: you get a chance, I implore you to listen to

907
00:47:01,239 --> 00:47:02,120
Speaker 1: Hiding a playing review.

908
00:47:02,200 --> 00:47:03,839
Speaker 5: I would love definitely because.

909
00:47:03,560 --> 00:47:06,000
Speaker 1: It's a it's a it's an album that I say,

910
00:47:06,080 --> 00:47:12,360
Speaker 1: it's it's an album that can shift the way we

911
00:47:12,640 --> 00:47:17,000
Speaker 1: raise black boys on the album I have featured throughout

912
00:47:17,000 --> 00:47:20,120
Speaker 1: the album. Is an award winning novelist and he's the

913
00:47:20,120 --> 00:47:23,720
Speaker 1: assistant Professor of African American Studies at Clark Atlanta. Doctor

914
00:47:23,760 --> 00:47:28,440
Speaker 1: Daniel Black and I have this one piece after this poem,

915
00:47:28,560 --> 00:47:30,799
Speaker 1: Sante Son it's a long music bed, and I knew

916
00:47:30,840 --> 00:47:33,000
Speaker 1: I wanted to get a statement from him because he's

917
00:47:33,040 --> 00:47:36,359
Speaker 1: just a he's he's a beast. And we had this

918
00:47:36,480 --> 00:47:39,960
Speaker 1: hour long conversation that I recorded, but he dropped so

919
00:47:40,160 --> 00:47:42,960
Speaker 1: much knowledge that I had to put him throughout the

920
00:47:43,000 --> 00:47:46,400
Speaker 1: whole album. And I would dare say I would go

921
00:47:46,440 --> 00:47:48,839
Speaker 1: as far to say that The Hiding a Playing View

922
00:47:48,920 --> 00:47:50,719
Speaker 1: is one of the most important albums to come out

923
00:47:50,760 --> 00:47:53,319
Speaker 1: in twenty twenty two, and a lot of that I

924
00:47:53,360 --> 00:47:56,920
Speaker 1: attribute to him and the knowledge he's dropping, because, like

925
00:47:57,000 --> 00:47:59,560
Speaker 1: the album opens, the first track is called love Song,

926
00:47:59,760 --> 00:48:03,120
Speaker 1: and it's just him, and he says, the thing about

927
00:48:03,160 --> 00:48:07,480
Speaker 1: a black boy is you don't necessarily want to beat

928
00:48:07,520 --> 00:48:10,759
Speaker 1: a black boy. What do you want to do is

929
00:48:10,760 --> 00:48:14,360
Speaker 1: you want to love him so divinely. You want to

930
00:48:14,400 --> 00:48:18,719
Speaker 1: love him so fiercely that your disappointment will kill him.

931
00:48:19,120 --> 00:48:21,959
Speaker 1: You want him, you want to adore him so much

932
00:48:22,440 --> 00:48:25,040
Speaker 1: that the last thing he wants to do is disappoint you.

933
00:48:25,280 --> 00:48:28,320
Speaker 1: Like that's how the album opens. So this is an album,

934
00:48:28,520 --> 00:48:32,960
Speaker 1: as I said, it has you know it. It's an opportunity.

935
00:48:33,200 --> 00:48:37,920
Speaker 1: It provides a shift in how we raise our black boys,

936
00:48:38,200 --> 00:48:41,200
Speaker 1: which will then have a profound impact on how black

937
00:48:41,239 --> 00:48:44,319
Speaker 1: boys relate to each other and black girls, which in

938
00:48:44,360 --> 00:48:47,320
Speaker 1: turn have a even more profound impact on how black

939
00:48:47,360 --> 00:48:50,160
Speaker 1: men relate to each other and how they relate to

940
00:48:50,200 --> 00:48:56,480
Speaker 1: black women. And it can all be a significant step

941
00:48:56,560 --> 00:48:59,040
Speaker 1: in our own self healing. So when I talk to

942
00:48:59,080 --> 00:49:03,279
Speaker 1: people about the album, I say, this album is for us.

943
00:49:03,360 --> 00:49:05,960
Speaker 1: It's for black boys, it's for black men, it's for

944
00:49:06,080 --> 00:49:08,920
Speaker 1: black people. It's for non black people who have the

945
00:49:09,000 --> 00:49:13,320
Speaker 1: foresight to see that our self healing is an invitation

946
00:49:13,520 --> 00:49:17,520
Speaker 1: for them to examine their own necessary healing.

947
00:49:17,560 --> 00:49:19,280
Speaker 5: Why do you call it hiding and playing view.

948
00:49:19,840 --> 00:49:24,080
Speaker 1: Because it's something that we all do. There's a there's

949
00:49:24,120 --> 00:49:27,200
Speaker 1: actually a poem the title track on album's called Hiding

950
00:49:27,200 --> 00:49:29,479
Speaker 1: and Playing View, and that's the only piece without music.

951
00:49:29,520 --> 00:49:31,759
Speaker 1: I just do that poem strictly a cappella and I

952
00:49:31,800 --> 00:49:35,239
Speaker 1: talk about, you know, hiding and playing with you with

953
00:49:35,280 --> 00:49:38,600
Speaker 1: something we all do. We all wear these masks, right,

954
00:49:38,600 --> 00:49:41,719
Speaker 1: because we're all trying to hide what we think other

955
00:49:41,800 --> 00:49:45,600
Speaker 1: people won't like about us. You know, like I spent

956
00:49:45,800 --> 00:49:49,680
Speaker 1: you know, six years in a relationship, you know, halfway

957
00:49:49,760 --> 00:49:51,880
Speaker 1: hiding because there were things I didn't think that you know,

958
00:49:52,080 --> 00:49:54,239
Speaker 1: she would like about me, and and at some point

959
00:49:54,280 --> 00:50:00,279
Speaker 1: I allowed myself to be disrespected, you know, but I

960
00:50:00,400 --> 00:50:02,479
Speaker 1: look at it, I'm allowing myself to be disrespectable because

961
00:50:02,480 --> 00:50:06,239
Speaker 1: I'm disrespecting I'm disrespecting myself because I'm hiding things about

962
00:50:06,280 --> 00:50:09,600
Speaker 1: myself that I'm afraid that she's not gonna like. And

963
00:50:09,640 --> 00:50:12,520
Speaker 1: in a relationship like that's the last place you should

964
00:50:12,920 --> 00:50:17,600
Speaker 1: fear being vulnerable. So that that poem hiding a playing

965
00:50:17,680 --> 00:50:24,080
Speaker 1: view is all about vulnerability and how vulnerability. You know,

966
00:50:24,560 --> 00:50:27,960
Speaker 1: vulnerability is a scary thing, even when you're on the men.

967
00:50:28,880 --> 00:50:32,600
Speaker 1: Black boys boast bravado not to seem broken, and often

968
00:50:32,680 --> 00:50:37,960
Speaker 1: so do black men. So that poem itself, just in itself,

969
00:50:38,480 --> 00:50:41,960
Speaker 1: I get so many responses from people who aren't black

970
00:50:43,360 --> 00:50:46,840
Speaker 1: that that resonates. So it's an album that on the

971
00:50:47,000 --> 00:50:50,040
Speaker 1: though on the surface it seems like I'm only talking

972
00:50:50,080 --> 00:50:55,120
Speaker 1: about black boys, there is a universal reality to the

973
00:50:55,200 --> 00:50:58,040
Speaker 1: album that, you know, the responses, like I said, I've

974
00:50:58,040 --> 00:51:01,480
Speaker 1: been getting from non black people, it resonates with them too.

975
00:51:01,600 --> 00:51:03,200
Speaker 4: I know, I know you probably got to go. But

976
00:51:03,880 --> 00:51:06,200
Speaker 4: when it comes to healing, what was it therapy? Was

977
00:51:06,239 --> 00:51:07,960
Speaker 4: it a spiritual leader?

978
00:51:08,160 --> 00:51:08,560
Speaker 5: Was it just?

979
00:51:09,400 --> 00:51:14,160
Speaker 1: What was it uh, people who are called spiritual leaders.

980
00:51:16,000 --> 00:51:21,040
Speaker 1: My wife is a you got a masters's American Family

981
00:51:21,280 --> 00:51:25,600
Speaker 1: Family Therapy, getting her pH d in clinical psychology. Yeah okay,

982
00:51:26,239 --> 00:51:29,520
Speaker 1: and not even andy, and not even that, and not

983
00:51:29,760 --> 00:51:33,000
Speaker 1: that she's been doing work on me, but just I

984
00:51:33,239 --> 00:51:35,759
Speaker 1: you know, just I watch her, you know, and I

985
00:51:35,800 --> 00:51:39,759
Speaker 1: watch her with our daughter. Uh. So that's what's helped me,

986
00:51:40,080 --> 00:51:43,640
Speaker 1: like presently, but even before she and I met, you know,

987
00:51:43,800 --> 00:51:45,680
Speaker 1: once I got out of broke up with my six

988
00:51:45,760 --> 00:51:49,399
Speaker 1: year relationship, I spent like two years. I spent two

989
00:51:49,480 --> 00:51:50,879
Speaker 1: years like a man who had been in the six

990
00:51:50,960 --> 00:51:54,520
Speaker 1: year relationship. And then at some point I was like,

991
00:51:54,560 --> 00:51:56,279
Speaker 1: I need to I need to stop, like I need

992
00:51:56,320 --> 00:51:59,680
Speaker 1: to go on hiatus and not do any dating, you know,

993
00:52:00,080 --> 00:52:02,680
Speaker 1: being in a relationship, not even dating, try not to

994
00:52:02,719 --> 00:52:06,560
Speaker 1: have sex. But I had there was a space where

995
00:52:06,600 --> 00:52:09,279
Speaker 1: I needed to get clarity for myself, and the only

996
00:52:09,320 --> 00:52:11,680
Speaker 1: way I was going to get that clarity was by

997
00:52:12,200 --> 00:52:16,680
Speaker 1: you know, sitting down and really dealing with you know,

998
00:52:16,760 --> 00:52:20,080
Speaker 1: whatever thing's in here. Sure that I was busying myself

999
00:52:20,200 --> 00:52:21,440
Speaker 1: from dealing with you could.

1000
00:52:21,560 --> 00:52:23,960
Speaker 4: Be keeping busy as a response to trauma a lot

1001
00:52:24,000 --> 00:52:25,600
Speaker 4: of times.

1002
00:52:24,960 --> 00:52:25,719
Speaker 1: All the time the time.

1003
00:52:25,760 --> 00:52:26,799
Speaker 5: Yeah, Yeah, all the time.

1004
00:52:26,840 --> 00:52:28,120
Speaker 3: So we got to talk about Accused.

1005
00:52:28,120 --> 00:52:30,880
Speaker 2: The reason you hear you got a new show on

1006
00:52:31,840 --> 00:52:35,240
Speaker 2: It starts January twenty second. Yeah, tell us about Accused,

1007
00:52:35,239 --> 00:52:37,240
Speaker 2: because it's not much on it. I looked at the trailers.

1008
00:52:37,280 --> 00:52:39,040
Speaker 2: We all looked at the trailers. We see you in

1009
00:52:39,080 --> 00:52:41,800
Speaker 2: an orange jumpsuit. So break down Accused.

1010
00:52:42,000 --> 00:52:47,200
Speaker 1: So Accused is a courtroom anthology series, so every episode

1011
00:52:47,320 --> 00:52:50,160
Speaker 1: is a standalone episode like Twilight Zone or Black Mirror.

1012
00:52:51,520 --> 00:52:58,160
Speaker 1: My particular episode is I play a man who's daughter.

1013
00:53:00,520 --> 00:53:08,080
Speaker 1: It's sexually accosted in a park, and I choose to

1014
00:53:08,120 --> 00:53:10,000
Speaker 1: meet out justice myself.

1015
00:53:10,080 --> 00:53:11,040
Speaker 3: Handle things on your own.

1016
00:53:11,160 --> 00:53:15,640
Speaker 1: Yeah, and we know how that typically goes, which is

1017
00:53:15,640 --> 00:53:18,400
Speaker 1: interesting because we always talk about, man, somebody touches my daughter.

1018
00:53:19,800 --> 00:53:22,400
Speaker 1: I remember saying that like ten years ago, before I

1019
00:53:22,440 --> 00:53:24,919
Speaker 1: even really thought I was ever going to really have kids.

1020
00:53:24,960 --> 00:53:26,520
Speaker 1: I remember saying, I'm like, man, yeah, man, you know

1021
00:53:26,840 --> 00:53:29,000
Speaker 1: I have a daughter. Man, I go to jail for

1022
00:53:29,080 --> 00:53:31,400
Speaker 1: my daughter. And they said yeah, and what good would

1023
00:53:31,400 --> 00:53:36,040
Speaker 1: you be to your daughter? Then? Right, And that's what

1024
00:53:36,200 --> 00:53:38,080
Speaker 1: changed my whole Like I was like, you're.

1025
00:53:37,920 --> 00:53:41,000
Speaker 2: Absolutely right, Like we talked that, but I still feel

1026
00:53:41,040 --> 00:53:43,040
Speaker 2: like that though I got four daughters.

1027
00:53:43,080 --> 00:53:44,000
Speaker 3: I still feel like that same.

1028
00:53:44,080 --> 00:53:44,960
Speaker 1: I got four daughters.

1029
00:53:45,320 --> 00:53:47,760
Speaker 4: You know, no matter how much therapy you do on yourself,

1030
00:53:47,800 --> 00:53:49,600
Speaker 4: no matter how much healing you get, you know, no

1031
00:53:49,640 --> 00:53:51,680
Speaker 4: matter how high you're emotional like you gets, I.

1032
00:53:51,600 --> 00:53:55,000
Speaker 1: Don't know what you're doing right right, And and but

1033
00:53:55,120 --> 00:53:57,200
Speaker 1: his point was when you're what good are you gonna

1034
00:53:57,200 --> 00:53:58,680
Speaker 1: be to your daughter when you're sitting there in jail,

1035
00:53:58,719 --> 00:54:03,839
Speaker 1: that facts like you're now you really cannot protect your daughter. Hey,

1036
00:54:04,000 --> 00:54:06,400
Speaker 1: you know like that that's what I'm saying, right, And

1037
00:54:06,440 --> 00:54:08,480
Speaker 1: he told me that like like ten years ago, and

1038
00:54:08,520 --> 00:54:11,440
Speaker 1: I was like, ah, that kind of changes doesn't make

1039
00:54:11,480 --> 00:54:13,959
Speaker 1: it any easier, but I mean, the feeling is still there,

1040
00:54:14,160 --> 00:54:15,480
Speaker 1: but it makes you really go like.

1041
00:54:17,520 --> 00:54:18,960
Speaker 3: Yeah, so you're only on one episode.

1042
00:54:18,960 --> 00:54:21,000
Speaker 1: It's only one episode, one episode, but it's a it's

1043
00:54:21,040 --> 00:54:24,719
Speaker 1: a it's it's a powerful episode. It's it's hard to

1044
00:54:24,800 --> 00:54:28,879
Speaker 1: watch because of the subject matter. And I think it's

1045
00:54:29,280 --> 00:54:31,120
Speaker 1: that's what it is with all the episodes. They're they're

1046
00:54:31,160 --> 00:54:34,720
Speaker 1: they're tough to watch because the subject matter is really tough.

1047
00:54:35,200 --> 00:54:41,240
Speaker 1: But the show it's really good and I'm I'm very

1048
00:54:41,239 --> 00:54:43,160
Speaker 1: proud of the work on the show. And again, it's

1049
00:54:43,200 --> 00:54:46,919
Speaker 1: just another side like with the resident as well. It's

1050
00:54:46,960 --> 00:54:50,520
Speaker 1: just another side of me that people don't normally get

1051
00:54:50,560 --> 00:54:53,160
Speaker 1: to see because of you know, most of the roles

1052
00:54:53,239 --> 00:54:55,000
Speaker 1: I get.

1053
00:54:55,280 --> 00:54:57,000
Speaker 2: I was going to ask before you get about of here,

1054
00:54:58,160 --> 00:54:59,879
Speaker 2: would you mind doing a poem?

1055
00:55:00,000 --> 00:55:02,799
Speaker 5: Why don't we just play one from you can do one?

1056
00:55:02,960 --> 00:55:05,120
Speaker 3: You can do one.

1057
00:55:06,880 --> 00:55:08,920
Speaker 1: Actually I'd like to do when you play.

1058
00:55:08,719 --> 00:55:19,000
Speaker 6: One morning, I appreciate it.

1059
00:55:19,040 --> 00:55:30,080
Speaker 1: Okay, this piece is Santa Sona about a guy and comrade.

1060
00:55:31,640 --> 00:55:35,920
Speaker 1: But you're still on that freedom ship word. Well you

1061
00:55:35,960 --> 00:55:37,279
Speaker 1: know what I mean, it's poetry. Well, still be on

1062
00:55:37,320 --> 00:55:41,440
Speaker 1: that weedam ship, that birthing inspirational couplets and breedom ship

1063
00:55:42,360 --> 00:55:46,720
Speaker 1: that I spit cats should heat them ship that words

1064
00:55:46,719 --> 00:55:49,200
Speaker 1: can't break my bones, but if you cut me homes,

1065
00:55:49,520 --> 00:55:56,359
Speaker 1: I bleed them ship atonement for the masters of hard

1066
00:55:56,400 --> 00:55:59,160
Speaker 1: asses and heads that tread on civil libertys in the

1067
00:55:59,160 --> 00:56:03,560
Speaker 1: most uncivilized the fashion is said to be dead. Can

1068
00:56:03,560 --> 00:56:05,640
Speaker 1: we afford to be dumb for free? See? That's the

1069
00:56:05,719 --> 00:56:08,560
Speaker 1: question I'm asking as I beg for an ounce of

1070
00:56:08,600 --> 00:56:13,920
Speaker 1: truth amongst the aloof surrounding me. My vices are proof

1071
00:56:14,640 --> 00:56:19,880
Speaker 1: that these demons keep pounding me. Reality keeps pounding me.

1072
00:56:20,320 --> 00:56:24,440
Speaker 1: Almost astounding me into the strange hypocrisy. You see, I

1073
00:56:24,560 --> 00:56:28,960
Speaker 1: preach the same hope that I'm losing daily. Like my religion,

1074
00:56:31,880 --> 00:56:34,279
Speaker 1: people are deep, I bear my soul. I stand on

1075
00:56:34,320 --> 00:56:36,719
Speaker 1: the precipice of this crossroads. It's like I want to

1076
00:56:36,760 --> 00:56:41,000
Speaker 1: give my life to the cause, But which one ignorance

1077
00:56:41,040 --> 00:56:43,839
Speaker 1: is running so ridiculously rampant. I can't tell if I'm

1078
00:56:43,880 --> 00:56:47,960
Speaker 1: hating or merely debating just for fun. But I do

1079
00:56:48,080 --> 00:56:52,440
Speaker 1: know my heart heaves heavy upon hearing the fluttering hum

1080
00:56:52,680 --> 00:56:56,080
Speaker 1: of the feeble footsteps of fear, stamping out the ferocious

1081
00:56:56,120 --> 00:56:59,600
Speaker 1: flames of our dog at desire and determination to outpace

1082
00:56:59,760 --> 00:57:02,960
Speaker 1: the haerldless prophecy our captors have programmed to be our

1083
00:57:03,000 --> 00:57:08,840
Speaker 1: faith and thus our fate. I know my soul soul

1084
00:57:09,320 --> 00:57:14,000
Speaker 1: rise with anxiety aches lies no longer need disguise when

1085
00:57:14,000 --> 00:57:17,400
Speaker 1: they start looking like the truth, Like how do we

1086
00:57:17,680 --> 00:57:21,840
Speaker 1: ignore cries of ill guided youth spitting dope bars of

1087
00:57:21,920 --> 00:57:27,520
Speaker 1: self hate overbeats that bang harder than strange fruit hags. Meanwhile,

1088
00:57:27,680 --> 00:57:30,400
Speaker 1: her breast hang and her booty bangs harder than the

1089
00:57:30,440 --> 00:57:33,600
Speaker 1: gun collapse of rival gangs fighting over territory they don't

1090
00:57:33,600 --> 00:57:39,640
Speaker 1: even own. And in magic cities everywhere. She feeds her

1091
00:57:39,680 --> 00:57:42,360
Speaker 1: babies based on her ability to shake what her mama

1092
00:57:42,400 --> 00:57:44,680
Speaker 1: gave her, because her pops was too busy breaking in

1093
00:57:44,720 --> 00:57:47,520
Speaker 1: his disappearing act to save her from these mean streets

1094
00:57:47,520 --> 00:57:50,520
Speaker 1: that eat the milk in one swallow. Lies no longer

1095
00:57:50,560 --> 00:57:53,320
Speaker 1: need disguise when the truth is viewed as hollow through

1096
00:57:53,320 --> 00:58:02,400
Speaker 1: the eyes that need it most. We descendants of stolen legacies,

1097
00:58:04,080 --> 00:58:10,600
Speaker 1: children of ancestors who cannot be broken, birthers, and bearers

1098
00:58:10,760 --> 00:58:14,360
Speaker 1: of a culture that has been repeatedly robbed and ransacked

1099
00:58:14,480 --> 00:58:17,760
Speaker 1: to feed the spiritually famine like a black woman's bosom.

1100
00:58:20,200 --> 00:58:24,600
Speaker 1: We who become a pre existing condition simply because we

1101
00:58:24,760 --> 00:58:34,120
Speaker 1: pre exist. We who realize we are worthy. We are

1102
00:58:34,160 --> 00:58:38,480
Speaker 1: the guardians. We are the gardeners. We are the soil,

1103
00:58:38,760 --> 00:58:41,040
Speaker 1: We are the toil. We are the protectors of our

1104
00:58:41,120 --> 00:58:43,560
Speaker 1: sieves who need to be protected, who need to see

1105
00:58:43,600 --> 00:58:49,640
Speaker 1: true love and black excellence redirected not through fame and fortune,

1106
00:58:50,040 --> 00:58:56,360
Speaker 1: but redirected through character. Indeed, and indeed, it is those

1107
00:58:56,360 --> 00:59:00,240
Speaker 1: who stand on the front line fighting for the minds

1108
00:59:00,280 --> 00:59:03,200
Speaker 1: of our young, black and gifted. It is you who

1109
00:59:03,280 --> 00:59:07,080
Speaker 1: are in inspiration to me because you are the revolution

1110
00:59:07,520 --> 00:59:11,360
Speaker 1: we do not see on TV. Sante SNA.

1111
00:59:11,800 --> 00:59:17,000
Speaker 3: Nice ladies and gentlemen, Malcolm.

1112
00:59:16,880 --> 00:59:19,800
Speaker 4: This interview, this whole conversation just is a reinforcement to

1113
00:59:19,840 --> 00:59:21,480
Speaker 4: just be intentional about your art.

1114
00:59:21,560 --> 00:59:22,880
Speaker 1: Yeah words about everything you've been.

1115
00:59:22,800 --> 00:59:25,720
Speaker 4: Talking about on the copy show to your spoken word.

1116
00:59:25,840 --> 00:59:27,840
Speaker 4: Just be intentional about your art because this.

1117
00:59:27,760 --> 00:59:30,840
Speaker 1: Is the way we reach people. Yeah yeah, and especially now,

1118
00:59:31,280 --> 00:59:34,320
Speaker 1: like you know, especially in the music business, you know,

1119
00:59:34,480 --> 00:59:36,680
Speaker 1: or really any art no one is making the money

1120
00:59:36,920 --> 00:59:41,080
Speaker 1: that they were making before and now with streaming, we

1121
00:59:41,120 --> 00:59:44,680
Speaker 1: don't make money off streaming, right, so this is an

1122
00:59:44,680 --> 00:59:48,200
Speaker 1: opportunity for artists to just really be about the art,

1123
00:59:48,840 --> 00:59:51,080
Speaker 1: you know, that's really all we have. Like what what

1124
00:59:51,160 --> 00:59:55,240
Speaker 1: legacy can you leave? And I'm just I'm just really

1125
00:59:55,280 --> 00:59:59,360
Speaker 1: big on you know, there's so much nonsense out there.

1126
00:59:59,800 --> 01:00:03,200
Speaker 1: We talk about the part of hip hop that's that's

1127
01:00:03,240 --> 01:00:06,960
Speaker 1: just trash, and I'm of the mindset of, you know,

1128
01:00:07,840 --> 01:00:10,800
Speaker 1: let them have that, Let's provide something else. Let's show

1129
01:00:11,840 --> 01:00:15,360
Speaker 1: let's show that there is another way, uh, you know,

1130
01:00:15,480 --> 01:00:21,360
Speaker 1: to express yourself through poetry. Let's show let's highlight let's

1131
01:00:21,440 --> 01:00:24,360
Speaker 1: highlight the dope ship you know, and if people you know,

1132
01:00:24,440 --> 01:00:27,640
Speaker 1: see enough of the dopeness. You know, they can make

1133
01:00:27,640 --> 01:00:28,120
Speaker 1: a choice.

1134
01:00:29,240 --> 01:00:31,360
Speaker 3: We appreciate you for joining us, brother, thank you for.

1135
01:00:31,320 --> 01:00:36,320
Speaker 1: Having me want to get into ah Man. I should

1136
01:00:36,320 --> 01:00:37,880
Speaker 1: have done hiding and playing view because that has doesn't

1137
01:00:37,880 --> 01:00:43,840
Speaker 1: have music. Sante Sona has music. What's your what's usually

1138
01:00:43,880 --> 01:00:44,760
Speaker 1: your timelinth on?

1139
01:00:45,520 --> 01:00:47,360
Speaker 3: We can't play a non minute song if you got

1140
01:00:47,400 --> 01:00:49,040
Speaker 3: a no, but like.

1141
01:00:48,960 --> 01:00:53,040
Speaker 1: This Black Blackfists beautiful, that might be like six minutes. Uh,

1142
01:00:53,760 --> 01:00:57,040
Speaker 1: we can play something dope, dope, we can play something

1143
01:00:57,160 --> 01:01:01,320
Speaker 1: we play it, okay, yeah, yeah, yeah. See the thing

1144
01:01:01,360 --> 01:01:03,560
Speaker 1: about my you know, at least this partical loub it's

1145
01:01:03,560 --> 01:01:06,280
Speaker 1: hard to do snippets history. But you know what though,

1146
01:01:06,320 --> 01:01:10,760
Speaker 1: but honestly on the real what would be dope for me?

1147
01:01:11,560 --> 01:01:11,840
Speaker 3: Uh?

1148
01:01:12,360 --> 01:01:15,240
Speaker 1: If you'll listen to it and decide which one? Okay,

1149
01:01:15,280 --> 01:01:17,640
Speaker 1: it resonates with you enough to play enough? Yeah, I

1150
01:01:17,640 --> 01:01:20,880
Speaker 1: appreciate you, and gentlemen, I definitely appreciate it. Malcolm, welcome.

1151
01:01:22,160 --> 01:01:22,600
Speaker 3: This club.

1152
01:01:22,680 --> 01:01:23,160
Speaker 1: Good morning,