WEBVTT - THROWBACK INTERVIEW: Malcolm Jamal Warner On The Cosby Show Legacy, Musical Expression, _Accused_ Show + More

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<v Speaker 1>Wake that ass up in the morning, Breakfast Club.

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<v Speaker 2>Morning, everybody is Steve j Envy, Charlemagne the guy.

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<v Speaker 3>We got a special guest in the building.

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<v Speaker 4>You know what's interesting, I was thinking about, you know, organically,

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<v Speaker 4>who is going to be the first guest in the

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<v Speaker 4>new Breakfast Club studio, Because to me, that's important because

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<v Speaker 4>you're setting off a new generation, you're setting off for

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<v Speaker 4>a new chapter.

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<v Speaker 5>So who would be the first guest?

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<v Speaker 1>And I'm on it, we should be on it.

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<v Speaker 5>Come on, man, grew up on them, Come on man.

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<v Speaker 3>Ladies and gentlemen, Malcolm Jamon want awake.

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<v Speaker 1>You know you said first guest. I didn't really register

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<v Speaker 1>before you started. Yeah, but now okay, I got it.

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<v Speaker 2>You're the first guest that one new studio, Ye studio.

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<v Speaker 2>Somebody you know them is still Huxtable. Ladies and gentlemen,

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<v Speaker 2>welcome word, thank you, thank you. I want to for

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<v Speaker 2>people that that don't know, I want to.

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<v Speaker 5>The most important question. Have you played the Mega millions?

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<v Speaker 3>I thought you gonna say how you feeling, how you're doing?

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<v Speaker 1>How you I guess I need to you need to

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<v Speaker 1>Billy one.

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<v Speaker 3>Point three billion?

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<v Speaker 1>Okay, I did one? I did. I don't know the

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<v Speaker 1>last one was in Billions a couple of months ago.

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<v Speaker 1>How'd you do well? I thought I was doing good.

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<v Speaker 1>Like I went there, I was like, yo, give me

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<v Speaker 1>uh So, my wife has numbers that are like her

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<v Speaker 1>lucky numbers, so when the numbers get real big, she

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<v Speaker 1>wants to play those numbers. So and there's like three.

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<v Speaker 1>So the car took her and I was like, you

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<v Speaker 1>know what, play these And I was like, I'm a splurge,

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<v Speaker 1>give me three more. And I think I'm doing good.

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<v Speaker 1>And this cat next to me and the next one

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

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

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<v Speaker 1>I don't have my own breakfast club.

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<v Speaker 2>So clearly you went to Dolls, nothing nothing, so you

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<v Speaker 2>didn't do good.

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<v Speaker 1>I might go back in though. I mean if it's

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<v Speaker 1>in the Billions.

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<v Speaker 3>Against Billy right now, now, you're from Jersey City.

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<v Speaker 2>People that don't know how did you get your start

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<v Speaker 2>in show business? Because we heard that you were a

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<v Speaker 2>rapper at first. You were in a rap group almost

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<v Speaker 2>signed by Deaf Jam at the time.

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<v Speaker 5>Are you true to that?

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<v Speaker 1>Yeah?

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<v Speaker 3>How did you get your start with show business?

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<v Speaker 1>I was doing basically community theater. My mother was always

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<v Speaker 1>looking for me to looking for things for me to

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<v Speaker 1>do outside of going to school and coming home and

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<v Speaker 1>hanging out. Like I played basketball and that was my thing.

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<v Speaker 1>I thought it was gonna be a basketball player. And

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<v Speaker 1>then one season, one year basketball season was over, my

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<v Speaker 1>mother's friend suggested this community theater and I asked him

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<v Speaker 1>if I wanted to go. So I went down, auditioned,

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<v Speaker 1>got in, and found myself doing theater and just absolutely

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<v Speaker 1>loved it. So like at nine years old, I was like, oh,

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<v Speaker 1>this is this is what I want to do and

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<v Speaker 1>what it was it was really it was the first

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<v Speaker 1>curtain call. Like the first player I did was called Alice,

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<v Speaker 1>Is that You? And it was basically, uh, a takeoff

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<v Speaker 1>of the Whiz like Dorothy gets the Odds and everybody

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<v Speaker 1>thinks she's Alice from Alice in Wonderland, right, And I

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<v Speaker 1>played the ten man. And I just remember the first

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<v Speaker 1>opening night coming out for curtain call, coming out and

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<v Speaker 1>people clapping and standing up, and I'm like nine years

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<v Speaker 1>old and I'm like, yo, I.

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<v Speaker 5>Got that bug.

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<v Speaker 1>I can get into this. People stand up and clap

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<v Speaker 1>for you. Yeah, I like this.

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<v Speaker 2>And at the time, Jersey City wasn't Jersey City now

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<v Speaker 2>with these big skyscrapers and people dying.

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<v Speaker 1>To Yeah, it was different. It was a whole.

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<v Speaker 3>It was nasty.

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<v Speaker 1>No one was scrambling to get the Jersey City. But

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<v Speaker 1>but but this was La. I left Jersey when I

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<v Speaker 1>was five. My my parents separated, Uh, and my dad

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<v Speaker 1>went back to Chicago. My mom took me back to California. So, uh,

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<v Speaker 1>the acting thing started in La. But then when I,

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<v Speaker 1>you know, years later, when I booked Cosby obviously moved

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<v Speaker 1>back to New York.

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<v Speaker 3>How did you book Cosby? What was that? That process?

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<v Speaker 1>Like, that's funny. So my my well, my agent first

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<v Speaker 1>submitted me. They were looking for a six to fifteen

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<v Speaker 1>year old Jesus. Yeah, they all getting ready for the

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<v Speaker 1>well because because you know, Innis was fifteen and was

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<v Speaker 1>six two mister Cosby sun So in the original like

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<v Speaker 1>in the original script, like there was this this running

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<v Speaker 1>joke like you know, THEO would you know, get in

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<v Speaker 1>trouble with something and Cliff would be like THEO stand up,

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<v Speaker 1>and THEO stands up and he's towering over Cliff and

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<v Speaker 1>cliffould be like THEO sit down. So they were trying

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<v Speaker 1>to get that they couldn't find that kid, and literally

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<v Speaker 1>at the uh so, you know, she submitted me. They

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<v Speaker 1>didn't want to see me, and at the last minute

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<v Speaker 1>she re submitted me because they couldn't find the guy

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<v Speaker 1>and they were doing network callbacks. This is crazy because

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<v Speaker 1>it was good Friday eighty four. I auditioned at six

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<v Speaker 1>thirty on Friday afternoon and the network callbacks were that Monday,

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<v Speaker 1>so they were already flying in somebody from Chicago, flying

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<v Speaker 1>in somebody from New York. So I was literally the

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<v Speaker 1>last person they saw. And when I went in for

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<v Speaker 1>the network callbacks, I went in and I did the

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<v Speaker 1>audition like you know, you see, you know, I was

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<v Speaker 1>watching different strokes and whatnot, so you see kids being

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<v Speaker 1>smart alex and talking back to the parents and rolling

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<v Speaker 1>their eyes. So I was doing the scene like that,

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<v Speaker 1>and in the room is you know network, you know, producers, studio,

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

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<v Speaker 1>all the all the beats and everybody's laughing and I'm killing.

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<v Speaker 1>And I finished, and everybody's like cool except mister Cosby,

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<v Speaker 1>and he's looking at me and he's like, would you

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<v Speaker 1>really talk to your father like that? And I said no,

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

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<v Speaker 1>So you go back out and you give me something

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<v Speaker 1>else and come back later. And because it was the

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<v Speaker 1>network callbacks, like everybody was there, so they had, you know,

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<v Speaker 1>audition everybody for other parts. And finally I came back

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<v Speaker 1>in and gave him one hundred and eighty degree turn.

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<v Speaker 5>Well clearly he saw something men.

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<v Speaker 1>Yeah, yeah, yeah, And and you know they gave me

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<v Speaker 1>a shot to come back and redo it, and that's

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<v Speaker 1>how I booked it.

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<v Speaker 4>You know, it's interesting about what you said earlier. You

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<v Speaker 4>said that you was in theater at nine years old.

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<v Speaker 4>So people see these gifty young actors on shows like

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<v Speaker 4>Cosby back in the day, and we don't realize the

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<v Speaker 4>background because nowadays it feels like it's no point of

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<v Speaker 4>entry to you know, get on these TVs anything.

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<v Speaker 1>Or social media or social media.

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<v Speaker 4>You actually went and were perfecting your craft before you

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<v Speaker 4>got to that point.

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<v Speaker 1>Yeah, and I still do, like I've always every couple

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<v Speaker 1>of years, I do theater, even when I was on Cosby, Like,

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<v Speaker 1>I always go back to theater because that is the

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<v Speaker 1>I mean, that's the that's the foundation, you know, So

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<v Speaker 1>I always say like theater is my favorite platform. Television

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<v Speaker 1>is my favorite paycheck, but theater is really like like

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<v Speaker 1>that's I mean, that's that's that's the ship right there.

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<v Speaker 4>Have you ever just sat back and reflected on what

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<v Speaker 4>you and The Cosby Show meant to black people in

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<v Speaker 4>really the world from eighty four to I need to.

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<v Speaker 1>Yeah, yeah, I I mean we it's something that we

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<v Speaker 1>still talk about, right, So, I mean, you know what

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<v Speaker 1>I'm saying, we like like worldwide the culture, you know,

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<v Speaker 1>because it's had a an indelible, irreversible effect, you know

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

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<v Speaker 1>no matter what, I'm very proud to, you know, have

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<v Speaker 1>been a part of that and part of that, you know,

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<v Speaker 1>just to have that kind of I guess influence if

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<v Speaker 1>you will. And when I was younger, you know, it

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<v Speaker 1>was always I was always trying to escape this role

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<v Speaker 1>model you know title, because I was like, oh my,

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<v Speaker 1>what use the role model? And my thing was always

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<v Speaker 1>we always equate h perfection with role model. So I

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<v Speaker 1>never wanted the pressure of being, you know, being seen

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<v Speaker 1>as flawless because I just I didn't want that, Like

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<v Speaker 1>that wasn't me. So I used to kind of kind

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<v Speaker 1>of shy away from that, you know, that title. But

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<v Speaker 1>and now that I'm older, not that I want to

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<v Speaker 1>be considered a role model, but I do understand the

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<v Speaker 1>you know, having the platform. I understand, uh, having the

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

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<v Speaker 1>at a place where I'm still relevant enough where you know,

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<v Speaker 1>what I say can still have influence on you.

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<v Speaker 5>Always listen to you because of that, sure.

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<v Speaker 1>Yeah, yeah, yeah, And and and that's something I take seriously.

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<v Speaker 1>So I was, I was really fortunate because we shot

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<v Speaker 1>Cosby here in New York, and you know during during

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

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<v Speaker 1>actually that was actually so we shot in Brooklyn, then

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<v Speaker 1>we shot in Queens, but that that stupe, that front

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<v Speaker 1>stoop was actually in the village, in a village.

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<v Speaker 2>Yeah, I was gonna ask the THEO you being, you know,

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<v Speaker 2>always looked at it steal.

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<v Speaker 3>Does that ever bother you?

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<v Speaker 2>Because with certain characters that we always look at, whether

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<v Speaker 2>it's Steve Verkle, he's always gonna be Steve Verkle and

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<v Speaker 2>you're always steal.

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<v Speaker 3>Does that ever bother you?

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

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<v Speaker 1>been this. I guess this this this wave of interpretation

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

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<v Speaker 1>one name is Malcolm, but I've always done that, but

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<v Speaker 1>some people they misinterpreted as like I get mad when

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<v Speaker 1>people come to THEO. I think it's like no. And

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<v Speaker 1>even when I was on Cosby, I wouldn't answer to

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<v Speaker 1>THEO because as far as I was concerned, THEO was

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<v Speaker 1>not going to be the end all be all for me,

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<v Speaker 1>like at fifteen years old, to think like, oh, if

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<v Speaker 1>this is going to be the height of my career,

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<v Speaker 1>that's a depressing thought. When the show first aired and

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<v Speaker 1>I'm fourteen, you know, the ratings are out the box,

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

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<v Speaker 1>great that this show is the phenomenon that it is,

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<v Speaker 1>but you know how this business is, this show could

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<v Speaker 1>be over next year. What are you going to do

0:10:04.679 --> 0:10:07.600
<v Speaker 1>when the show's over? She said, I can type, I

0:10:07.600 --> 0:10:09.600
<v Speaker 1>can always get a job, but what are you going

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<v Speaker 1>to do in the show's over? So she impressed upon

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

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<v Speaker 1>when I was on the show, I never answered the

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<v Speaker 1>THEO and especially now you should know right like now,

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<v Speaker 1>if somebody caused me THEO, they're being a dicky because

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<v Speaker 1>they name.

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

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<v Speaker 4>Like I got get what I'm saying at this point,

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<v Speaker 4>Like you've done You've done a lot other than THEO.

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<v Speaker 4>I mean, you had a whole other show with your

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<v Speaker 4>name in it. You know how long did it take

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<v Speaker 4>you to it? Just to Life after Cosby show? Like

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<v Speaker 4>how did things look in ninety two?

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

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<v Speaker 1>like I was, you know, from that conversation that my

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<v Speaker 1>mom had with me, we literally spend each year of

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<v Speaker 1>that show as if it were the last year because

0:10:57.120 --> 0:11:02.840
<v Speaker 1>we didn't know. So I had always paired for Life

0:11:02.880 --> 0:11:05.000
<v Speaker 1>after Kazi. So when the show was over, I had

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<v Speaker 1>my own show for a half a season on NBC

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<v Speaker 1>and then from that I went straight to theater. So

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<v Speaker 1>I was, I've always I've always worked. No, there may

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<v Speaker 1>there may have been, you know, longer stretches of unemployment

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<v Speaker 1>than I would have liked, but we're talking like maybe

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<v Speaker 1>you know, two three years, you know, But I always

0:11:26.880 --> 0:11:29.800
<v Speaker 1>knew that the transition from being seen as child star

0:11:29.960 --> 0:11:33.320
<v Speaker 1>to being taken seriously as an delt actor wouldn't necessarily

0:11:33.400 --> 0:11:36.240
<v Speaker 1>be a smooth one. And that's why I started directing early.

0:11:36.360 --> 0:11:39.560
<v Speaker 1>Like I started directing like sixteen. By eighteen, I was

0:11:39.600 --> 0:11:43.080
<v Speaker 1>directing Cosby episodes. I was directing music videos. I was

0:11:43.080 --> 0:11:45.760
<v Speaker 1>directing Fresh Prince of bel Air. So when I came

0:11:45.840 --> 0:11:52.439
<v Speaker 1>off of Cosby, I think it was episode with one

0:11:52.440 --> 0:11:53.720
<v Speaker 1>of the Ravens and Owns episodes.

0:11:54.600 --> 0:11:57.360
<v Speaker 2>Yeah, I did you look at Bill Cosby as a

0:11:57.360 --> 0:12:00.360
<v Speaker 2>father figure because you around him so much, did so

0:12:00.480 --> 0:12:03.320
<v Speaker 2>much acting, like right, and and I mean you were

0:12:03.360 --> 0:12:05.400
<v Speaker 2>a good actor, but it was believable. It seems like

0:12:06.000 --> 0:12:07.920
<v Speaker 2>you admired him as a father when I when I

0:12:07.920 --> 0:12:09.480
<v Speaker 2>would watch the show or even see you behind the

0:12:09.520 --> 0:12:10.439
<v Speaker 2>scenes of the show whatever.

0:12:10.600 --> 0:12:16.200
<v Speaker 1>Well, I was doing theater. I was perfecting my job, right, No,

0:12:16.400 --> 0:12:19.280
<v Speaker 1>because I you know, I my father has always been,

0:12:19.440 --> 0:12:21.280
<v Speaker 1>you know, an integral part of my life. So I

0:12:21.320 --> 0:12:25.560
<v Speaker 1>have a father. He was you know, Misconstus was obviously

0:12:25.559 --> 0:12:28.600
<v Speaker 1>someone I worked with, someone I respected, but Innis was

0:12:28.679 --> 0:12:30.720
<v Speaker 1>also you know, a close friend of mine, so he

0:12:30.800 --> 0:12:34.480
<v Speaker 1>was also like Inness's dad, got so it wasn't I mean,

0:12:34.520 --> 0:12:37.040
<v Speaker 1>I would definitely say he was a mentor because he

0:12:37.080 --> 0:12:38.600
<v Speaker 1>you know, he schooled me on a lot of you know,

0:12:38.640 --> 0:12:43.600
<v Speaker 1>on a lot of things. But the I love the

0:12:43.679 --> 0:12:48.839
<v Speaker 1>father's son relationship between Cliff and THEO, but that wasn't

0:12:49.200 --> 0:12:51.440
<v Speaker 1>that wasn't our relationship. But you know, with Matt Coole,

0:12:51.520 --> 0:12:53.880
<v Speaker 1>but it wasn't the It wasn't the father figure.

0:12:53.960 --> 0:12:55.880
<v Speaker 2>Now as a mentor, did he school you on to

0:12:56.040 --> 0:13:01.160
<v Speaker 2>contracts and negotiations? Because that thing it's still on now

0:13:01.200 --> 0:13:03.079
<v Speaker 2>And I'm like, do you still get paid? And was

0:13:03.120 --> 0:13:04.920
<v Speaker 2>everything taking care of the right way? Or is it

0:13:05.040 --> 0:13:05.720
<v Speaker 2>you're a new actor?

0:13:05.760 --> 0:13:06.280
<v Speaker 3>You got got?

0:13:06.520 --> 0:13:08.360
<v Speaker 1>Yeah, yeah, we got it and not once we got God,

0:13:08.400 --> 0:13:11.719
<v Speaker 1>that's that's not that's completely unfair to say we got got.

0:13:12.160 --> 0:13:16.000
<v Speaker 1>But I will say this, so, yeah, so we get residuals. Right.

0:13:16.160 --> 0:13:18.440
<v Speaker 1>But the thing that that that people don't necessarily understand

0:13:18.480 --> 0:13:23.360
<v Speaker 1>about residuals is every time an episode repeats, you get

0:13:24.160 --> 0:13:28.240
<v Speaker 1>a percentage of what your original paycheck was. And that

0:13:28.280 --> 0:13:30.319
<v Speaker 1>show has repeated forever.

0:13:30.520 --> 0:13:30.880
<v Speaker 5>Correct.

0:13:31.120 --> 0:13:34.920
<v Speaker 1>So let's say, to put things in perspective, about ten

0:13:35.040 --> 0:13:39.720
<v Speaker 1>twelve years ago, I remember getting an episode check for

0:13:39.920 --> 0:13:45.120
<v Speaker 1>sixty four dollars. I thought a residual check sometimes, Yeah,

0:13:45.160 --> 0:13:48.199
<v Speaker 1>like I got at some point the sending the checkout

0:13:48.280 --> 0:13:50.920
<v Speaker 1>costs more than what the check is correct. So for

0:13:51.000 --> 0:13:57.240
<v Speaker 1>a period of time though, that lump sum was a

0:13:57.320 --> 0:14:01.040
<v Speaker 1>nice padding. But then after a why you know, once

0:14:01.080 --> 0:14:03.959
<v Speaker 1>it just keeps airing. It's not a whole lot. But

0:14:04.040 --> 0:14:08.240
<v Speaker 1>when you have points when you got back in, that's

0:14:08.280 --> 0:14:11.600
<v Speaker 1>when you're forever making money because when they syndicate the show,

0:14:11.880 --> 0:14:14.760
<v Speaker 1>however many times they syndicated, you have a piece of

0:14:14.800 --> 0:14:16.680
<v Speaker 1>the show, So you're getting that kind of money. We

0:14:16.720 --> 0:14:19.040
<v Speaker 1>didn't get on the ship. We had no no backend.

0:14:19.200 --> 0:14:21.720
<v Speaker 1>We didn't know about back in, and even if we did,

0:14:21.800 --> 0:14:24.320
<v Speaker 1>we didn't have any leverage to negotiate back You.

0:14:25.360 --> 0:14:26.880
<v Speaker 4>Said something that made me feel like I'm a fail

0:14:26.880 --> 0:14:29.080
<v Speaker 4>of black history. Trivia question, Which show did you have

0:14:29.160 --> 0:14:30.480
<v Speaker 4>on NBC for a half a season?

0:14:30.600 --> 0:14:33.000
<v Speaker 1>Oh man, it was trust me in that a failure?

0:14:33.040 --> 0:14:36.080
<v Speaker 1>They they they dicked me on that too. It was

0:14:36.080 --> 0:14:39.720
<v Speaker 1>a show called Here and Now. Remember that show. Yeah,

0:14:39.760 --> 0:14:43.720
<v Speaker 1>it came on, so it came on, It came on

0:14:43.760 --> 0:14:47.920
<v Speaker 1>Saturday nights. It was it came on after or came

0:14:47.960 --> 0:14:50.720
<v Speaker 1>on before there was a show called out All Night

0:14:50.840 --> 0:14:56.680
<v Speaker 1>with Paddle or so. Yeah, so we were with nut.

0:14:59.120 --> 0:15:03.960
<v Speaker 3>Got it.

0:15:04.120 --> 0:15:08.560
<v Speaker 4>So disrespectful, but he's said he gets mistaken from you

0:15:08.640 --> 0:15:12.880
<v Speaker 4>sometimes recently happened and you're the only one like that happened.

0:15:13.000 --> 0:15:16.560
<v Speaker 4>Not only that, all right, I'm about all night. I

0:15:16.600 --> 0:15:17.200
<v Speaker 4>definitely remember that.

0:15:19.040 --> 0:15:21.080
<v Speaker 1>So it was during that time. So this is something

0:15:21.080 --> 0:15:24.960
<v Speaker 1>that's really interesting. So we had that show. The president

0:15:25.000 --> 0:15:27.320
<v Speaker 1>of the programmer at NBC at the time didn't like

0:15:27.360 --> 0:15:30.000
<v Speaker 1>the show, right, and didn't think the show was going

0:15:30.040 --> 0:15:33.360
<v Speaker 1>to do well. And it was basically, you know, it

0:15:33.400 --> 0:15:35.720
<v Speaker 1>wasn't THEO, but you know, my character worked in the

0:15:35.760 --> 0:15:41.880
<v Speaker 1>community center in Harlem, and uh, the program of NBC

0:15:41.880 --> 0:15:43.840
<v Speaker 1>didn't think it was gonna be a funny show, didn't

0:15:43.840 --> 0:15:46.400
<v Speaker 1>think it was gonna work. We shot the pilot and

0:15:46.440 --> 0:15:49.760
<v Speaker 1>they do what's called pilot screening Week where they get

0:15:49.800 --> 0:15:52.760
<v Speaker 1>all their pilots, they scream them, then they get raided

0:15:52.800 --> 0:15:55.360
<v Speaker 1>and then that's how they decide what's gonna go on there.

0:15:56.640 --> 0:16:02.000
<v Speaker 1>My show came in number two. So really the only

0:16:02.120 --> 0:16:06.960
<v Speaker 1>question was do we put this show, you know, on

0:16:07.040 --> 0:16:10.760
<v Speaker 1>Thursday night before a Different World or after Different World? Right?

0:16:10.760 --> 0:16:14.240
<v Speaker 1>Because for eight years, if my face is you know,

0:16:14.280 --> 0:16:16.720
<v Speaker 1>if the America's used to sing in my face at

0:16:16.720 --> 0:16:19.440
<v Speaker 1>Thursdays at eight o'clock. It makes sense that if my

0:16:19.480 --> 0:16:22.560
<v Speaker 1>pilot does well, you're gonna put me on Thursdays, either

0:16:22.560 --> 0:16:26.120
<v Speaker 1>at eight o'clock or eight thirty. The programmers still didn't

0:16:26.200 --> 0:16:29.640
<v Speaker 1>like the show, and he put me on Saturday night,

0:16:30.560 --> 0:16:33.200
<v Speaker 1>which is why nobody ever heard, because you know, my

0:16:33.240 --> 0:16:35.120
<v Speaker 1>audience is not gonna be watching it on Saturday night.

0:16:35.480 --> 0:16:40.960
<v Speaker 1>And then when the number one rated, the number one

0:16:41.000 --> 0:16:43.600
<v Speaker 1>pilot they put in that eight o'clock slot, they canceled

0:16:43.640 --> 0:16:46.280
<v Speaker 1>after two weeks. Wo, so like, okay, cool, they're putting

0:16:46.360 --> 0:16:48.320
<v Speaker 1>number two in that slot, kept me on Saturday night.

0:16:48.400 --> 0:16:51.040
<v Speaker 1>Then they put out a night in that slot like

0:16:51.200 --> 0:16:53.960
<v Speaker 1>NBC just they were not trying to hear that show,

0:16:54.040 --> 0:16:55.840
<v Speaker 1>no matter how well it did. So we got we

0:16:55.880 --> 0:16:57.560
<v Speaker 1>got canned half a season in.

0:16:57.720 --> 0:16:59.440
<v Speaker 4>I think NBC dropped the ball because you know how

0:16:59.480 --> 0:17:02.240
<v Speaker 4>different world was Lisa growing up being in college.

0:17:02.400 --> 0:17:03.840
<v Speaker 5>They could have did that with all the kids, like

0:17:03.880 --> 0:17:04.400
<v Speaker 5>they could.

0:17:04.200 --> 0:17:06.240
<v Speaker 4>Have did that with you growing up. I feel like

0:17:06.240 --> 0:17:07.800
<v Speaker 4>your adult life should have been exploreding that way.

0:17:07.920 --> 0:17:09.359
<v Speaker 1>You know, it's interesting, different world. So let me go

0:17:09.400 --> 0:17:12.960
<v Speaker 1>back this real quick. So, uh so what you don't

0:17:12.960 --> 0:17:13.680
<v Speaker 1>know about that show?

0:17:13.720 --> 0:17:13.880
<v Speaker 5>Here?

0:17:13.920 --> 0:17:17.639
<v Speaker 1>And now, uh this cat named Dante Bizet was on

0:17:17.680 --> 0:17:21.400
<v Speaker 1>the show, right, everybody knows himing as y'all seen Bay

0:17:21.480 --> 0:17:26.760
<v Speaker 1>right now. Oh, Lauren Hill was on the show. What Yeah,

0:17:26.840 --> 0:17:30.520
<v Speaker 1>Omar Epps was on the show. Yeah. Yeah, but they

0:17:30.720 --> 0:17:32.840
<v Speaker 1>they NBC this did they didn't dig the show and

0:17:32.880 --> 0:17:34.720
<v Speaker 1>so of course this is before they blew up. But yeah,

0:17:34.720 --> 0:17:35.640
<v Speaker 1>but they were all on the show.

0:17:36.160 --> 0:17:38.000
<v Speaker 4>If they'd have made one little adjustment that made you

0:17:38.160 --> 0:17:40.800
<v Speaker 4>THEO on that show and you older, now, I bet

0:17:40.840 --> 0:17:41.560
<v Speaker 4>you would have worked.

0:17:41.680 --> 0:17:44.320
<v Speaker 1>You know what, it's possible.

0:17:44.400 --> 0:17:46.439
<v Speaker 2>I want I want to ask you know, out of

0:17:46.440 --> 0:17:49.160
<v Speaker 2>all your episodes, I'll ask Alla, So, my most memorable

0:17:49.600 --> 0:17:51.679
<v Speaker 2>Cosby show is of course the Going to Control season

0:17:51.720 --> 0:17:53.800
<v Speaker 2>one episode, and of course that's not the most memory.

0:17:55.040 --> 0:17:57.720
<v Speaker 1>Maybe the two of them. That was episode eighth.

0:17:58.040 --> 0:18:01.960
<v Speaker 3>I think it was okay, of course the end. I

0:18:01.960 --> 0:18:03.959
<v Speaker 3>did the same thing when I got my Eric. So

0:18:04.040 --> 0:18:06.280
<v Speaker 3>what was your favorite.

0:18:08.000 --> 0:18:10.080
<v Speaker 1>All of those? But I think that at the top

0:18:10.119 --> 0:18:14.040
<v Speaker 1>of this would be the pilot when THEO was getting

0:18:14.119 --> 0:18:17.359
<v Speaker 1>d's in school and they did the whole Monopoly money thing,

0:18:18.119 --> 0:18:25.360
<v Speaker 1>and you know, THEO gives that that was ther and

0:18:25.520 --> 0:18:28.720
<v Speaker 1>you know, THEO gives this speech, you know, like you know, Dad,

0:18:28.760 --> 0:18:30.360
<v Speaker 1>I just want to be regular people like I don't

0:18:30.359 --> 0:18:32.600
<v Speaker 1>want to be a doctor like you. I don't want

0:18:32.600 --> 0:18:34.800
<v Speaker 1>to be a lawyer like like mom. I just want

0:18:34.840 --> 0:18:37.080
<v Speaker 1>to be regular people And why can't you love me?

0:18:37.160 --> 0:18:39.440
<v Speaker 1>For me? It was like this beautiful heart held Remember

0:18:39.480 --> 0:18:42.080
<v Speaker 1>I remember that. I remember the audience collapsed and the

0:18:42.080 --> 0:18:48.000
<v Speaker 1>whole nine and Cliff looks at and it's still It

0:18:48.119 --> 0:18:51.000
<v Speaker 1>was the dumbest thing I've never heard in my life.

0:18:51.520 --> 0:18:54.800
<v Speaker 1>And so for me that was significant because it's set

0:18:54.880 --> 0:18:56.920
<v Speaker 1>the tone for the show. Like any other show at

0:18:56.920 --> 0:18:59.120
<v Speaker 1>that point, the music would have started correct, the father

0:18:59.160 --> 0:19:02.120
<v Speaker 1>and son would have but he, you know, he went

0:19:02.280 --> 0:19:05.359
<v Speaker 1>left with that, and I just love that because that

0:19:05.520 --> 0:19:08.200
<v Speaker 1>said the tone that this was going to be a

0:19:08.240 --> 0:19:09.240
<v Speaker 1>different kind of show.

0:19:10.000 --> 0:19:11.560
<v Speaker 4>We're gonna talk to about other stuff other than copy

0:19:12.400 --> 0:19:16.399
<v Speaker 4>As a fan, I gotta get the first time, no doubt.

0:19:16.920 --> 0:19:18.640
<v Speaker 5>Did you ever keep the Gordon Guardrail show?

0:19:18.680 --> 0:19:20.320
<v Speaker 1>I did not. I think it's in the Smithsonian if

0:19:20.359 --> 0:19:24.439
<v Speaker 1>I'm not sure. Yeah, yeah, yeah, that was. That was

0:19:24.480 --> 0:19:26.119
<v Speaker 1>one of our That was that was definitely one of

0:19:26.160 --> 0:19:30.200
<v Speaker 1>our our most fun and for me, most memorable episodes.

0:19:30.240 --> 0:19:32.840
<v Speaker 4>You never get approached about doing a Gordon Guarntrail clothing line,

0:19:32.960 --> 0:19:34.119
<v Speaker 4>Malcolm Jamal warns.

0:19:33.880 --> 0:19:37.160
<v Speaker 1>Gordon, I'm surprised I have not, but I see there's

0:19:37.160 --> 0:19:40.520
<v Speaker 1>a Gordon Guartrail like t shirt line out there. Yeah. Yeah.

0:19:41.440 --> 0:19:42.480
<v Speaker 1>I was asking how much of.

0:19:42.480 --> 0:19:45.800
<v Speaker 2>The show was free, free done and how much was

0:19:45.920 --> 0:19:48.240
<v Speaker 2>actually written? Like were you allowed to go off script

0:19:48.240 --> 0:19:50.600
<v Speaker 2>because some of that stuff just seemed like y'all were going.

0:19:50.840 --> 0:19:53.440
<v Speaker 1>We we had to often go off script because it

0:19:53.600 --> 0:19:57.520
<v Speaker 1>so it takes it typically takes five days to do

0:19:57.640 --> 0:20:00.560
<v Speaker 1>a sitcom. We were doing the he got down to

0:20:00.640 --> 0:20:03.600
<v Speaker 1>like three and a half days, and you know most

0:20:03.680 --> 0:20:08.720
<v Speaker 1>of those uh storylines came from mister Cosby's monologues, right,

0:20:09.240 --> 0:20:13.680
<v Speaker 1>So we were a very under rehearsed show. So when

0:20:13.680 --> 0:20:17.400
<v Speaker 1>it was time to tape the show, oftentimes, you know,

0:20:17.600 --> 0:20:19.600
<v Speaker 1>if mister Cosby had like a monologue or something, he

0:20:19.600 --> 0:20:22.800
<v Speaker 1>wouldn't know the monologue, so he'd like he'd go left.

0:20:23.200 --> 0:20:26.280
<v Speaker 1>And the fun part for us was when we when

0:20:26.320 --> 0:20:29.080
<v Speaker 1>he went left, we had to go left with him. So,

0:20:29.359 --> 0:20:30.800
<v Speaker 1>you know, for me it was great because it was like, oh,

0:20:30.800 --> 0:20:32.840
<v Speaker 1>this is theater. Now we just you know, we're you know,

0:20:33.080 --> 0:20:35.080
<v Speaker 1>you follow you follow the leader, you follow the followers

0:20:35.119 --> 0:20:38.720
<v Speaker 1>what we call it, so uh, you know, and and

0:20:38.840 --> 0:20:41.879
<v Speaker 1>I love seeing those moments with him, and him and

0:20:41.920 --> 0:20:44.320
<v Speaker 1>Olivia were cool. But like those moments with him and Keisha,

0:20:44.920 --> 0:20:47.720
<v Speaker 1>you know, because at the time, you know, Keisha was four,

0:20:48.240 --> 0:20:50.200
<v Speaker 1>so she didn't know how to read, so she had

0:20:50.240 --> 0:20:53.119
<v Speaker 1>to know she had to remember what to say, how

0:20:53.160 --> 0:20:55.320
<v Speaker 1>to say it, and when to say it. Wow, and

0:20:55.359 --> 0:20:58.120
<v Speaker 1>the wind was always based on the line before. So

0:20:58.160 --> 0:21:00.840
<v Speaker 1>she's doing things with mister Cosby, She's waiting for her

0:21:00.880 --> 0:21:03.280
<v Speaker 1>line and he's just talking and they would just make it.

0:21:03.400 --> 0:21:05.680
<v Speaker 1>It was just really cool to watch her and if

0:21:05.720 --> 0:21:07.520
<v Speaker 1>you go back, you could just see her little brain

0:21:07.640 --> 0:21:12.440
<v Speaker 1>processing how to maneuver through you know, what's happening. So

0:21:12.440 --> 0:21:15.040
<v Speaker 1>so though stuff was written, you know, there was stuff

0:21:15.080 --> 0:21:17.439
<v Speaker 1>that had to be kind of off book because we

0:21:17.440 --> 0:21:19.560
<v Speaker 1>were we were following him and Felicia was the best

0:21:19.560 --> 0:21:19.840
<v Speaker 1>at that.

0:21:20.080 --> 0:21:22.880
<v Speaker 4>You look at those episodes absolutely, do you believe Malcolm

0:21:22.880 --> 0:21:25.760
<v Speaker 4>and Eddie gets overlooked when it comes to the conversation

0:21:25.840 --> 0:21:27.159
<v Speaker 4>of like classic black scum.

0:21:29.800 --> 0:21:36.800
<v Speaker 1>Ah, I don't know. I don't know, because people do

0:21:36.880 --> 0:21:41.159
<v Speaker 1>talk about it a lot, you know, and that was

0:21:41.200 --> 0:21:44.240
<v Speaker 1>an interesting time for me, you know, having come from NBC,

0:21:44.520 --> 0:21:49.200
<v Speaker 1>where you know, everyone was made to be ultra aware

0:21:49.560 --> 0:21:52.720
<v Speaker 1>of the images of black people were putting across the airwaves,

0:21:53.160 --> 0:21:57.040
<v Speaker 1>and then going to UPN, where their whole approach was

0:21:58.320 --> 0:22:03.399
<v Speaker 1>the antithesis of that. So that was it was a

0:22:03.520 --> 0:22:07.760
<v Speaker 1>difficult shift for me because I was thinking that I

0:22:07.800 --> 0:22:10.480
<v Speaker 1>was of the mindset that they knew where I come from.

0:22:10.800 --> 0:22:12.840
<v Speaker 1>They knew I was on the show that made history

0:22:13.720 --> 0:22:15.800
<v Speaker 1>where black people, that showed that black people could be

0:22:15.800 --> 0:22:20.160
<v Speaker 1>funny without being stereotypical. And you know, when I got

0:22:20.160 --> 0:22:23.440
<v Speaker 1>to up and I realized they weren't interested in any

0:22:23.480 --> 0:22:25.760
<v Speaker 1>of that. And you know, and for eight years I

0:22:25.840 --> 0:22:29.000
<v Speaker 1>watched mister Cosby like all of the things that all

0:22:29.040 --> 0:22:31.560
<v Speaker 1>of the stereotypical things that we did not see on

0:22:31.600 --> 0:22:34.680
<v Speaker 1>that show was not because the writers were not writing.

0:22:35.359 --> 0:22:37.720
<v Speaker 1>It was because mister Cosby is like, no, that's not

0:22:37.800 --> 0:22:40.639
<v Speaker 1>what we're doing. That's not the tone of this show.

0:22:40.960 --> 0:22:43.160
<v Speaker 1>That's not who the hucksbles are, We're not doing that.

0:22:43.800 --> 0:22:46.159
<v Speaker 1>So I saw him do that from season one to

0:22:46.200 --> 0:22:49.600
<v Speaker 1>season eight. So I figured, Okay, I'm at UPN. I

0:22:49.640 --> 0:22:53.159
<v Speaker 1>know how it works. But you know, I was not

0:22:53.200 --> 0:22:55.840
<v Speaker 1>Bill Cosby, and we were not doing Cosby numbers, so

0:22:55.880 --> 0:22:59.200
<v Speaker 1>nobody really cared about what I cared about in terms

0:22:59.240 --> 0:23:02.080
<v Speaker 1>of trying to you know, not be you know, not

0:23:02.240 --> 0:23:06.159
<v Speaker 1>do the same typical black sitcom approach. And you know,

0:23:06.240 --> 0:23:12.800
<v Speaker 1>I fought with writers, producers, Studio Network, and you know

0:23:13.359 --> 0:23:18.520
<v Speaker 1>the show was not as you know, it was not

0:23:18.600 --> 0:23:21.880
<v Speaker 1>one hundred percent what I wanted, but you know it

0:23:22.000 --> 0:23:26.360
<v Speaker 1>wasn't as you know, stir it because they were trying

0:23:26.400 --> 0:23:27.480
<v Speaker 1>to make it that.

0:23:28.520 --> 0:23:31.600
<v Speaker 4>I love talking to you know, people from that era.

0:23:31.680 --> 0:23:33.879
<v Speaker 4>You know, we had Kadem Hardistan and Jasmine Guy here,

0:23:34.080 --> 0:23:36.199
<v Speaker 4>Erica Alexander's been up here and I asked him all

0:23:36.240 --> 0:23:40.439
<v Speaker 4>the same question. Do you think it was an intentional shift?

0:23:40.640 --> 0:23:42.280
<v Speaker 4>I'm just gonna say by day because I don't know

0:23:42.320 --> 0:23:44.720
<v Speaker 4>who it would be to change that kind of content,

0:23:44.800 --> 0:23:47.160
<v Speaker 4>because when you think about that era, it was all

0:23:47.240 --> 0:23:50.679
<v Speaker 4>positive black content, intentional positive black content. But then it

0:23:50.720 --> 0:23:53.359
<v Speaker 4>just seemed like it just shifted. You think that was

0:23:53.560 --> 0:23:54.240
<v Speaker 4>purposely done?

0:23:54.320 --> 0:23:58.800
<v Speaker 1>Yeah, it was. It was like a like a reaction

0:23:58.920 --> 0:24:00.439
<v Speaker 1>to like we had this couple of years of like

0:24:00.520 --> 0:24:03.520
<v Speaker 1>you know, family and positivity and and and and not

0:24:03.600 --> 0:24:06.639
<v Speaker 1>just in black sitcoms and sitcoms period, like you know,

0:24:06.680 --> 0:24:09.200
<v Speaker 1>it was the it was the family values, was positivity.

0:24:09.640 --> 0:24:14.240
<v Speaker 1>Then there was a Simpsons and there was Roseanne, right,

0:24:14.320 --> 0:24:16.280
<v Speaker 1>so that kind of kicked off. It was almost like

0:24:16.320 --> 0:24:20.320
<v Speaker 1>there was a backlash to the family values and positivity.

0:24:20.359 --> 0:24:25.760
<v Speaker 1>So I I wholeheartedly believe it was it was intentional.

0:24:25.920 --> 0:24:27.600
<v Speaker 1>Now when it comes to when it comes to to

0:24:27.960 --> 0:24:32.600
<v Speaker 1>black sitcoms, you know, I think the thing that everybody

0:24:32.680 --> 0:24:35.679
<v Speaker 1>missed was, you know, people looked at the Hucksaboys and

0:24:35.760 --> 0:24:37.320
<v Speaker 1>was like, oh, this was this is an upper middle

0:24:37.359 --> 0:24:40.119
<v Speaker 1>class black family. So we can do black sitcoms and

0:24:40.160 --> 0:24:44.720
<v Speaker 1>we can give these you know, black characters, uh, professions,

0:24:45.640 --> 0:24:48.639
<v Speaker 1>but the execution of the comedy was still the same.

0:24:49.080 --> 0:24:51.840
<v Speaker 1>Like the thing about what made cause me different is

0:24:51.880 --> 0:24:57.800
<v Speaker 1>the the comedy wasn't predicated upon being black. Black sitcoms.

0:24:58.000 --> 0:25:01.200
<v Speaker 1>The comedy is predicated upon being black. So I think

0:25:01.359 --> 0:25:05.920
<v Speaker 1>that's the missing piece that the you know following black

0:25:05.960 --> 0:25:09.240
<v Speaker 1>black sitcoms missed out on. They're like, okay, well let's

0:25:09.280 --> 0:25:12.119
<v Speaker 1>make them a professional. But it can still be you know,

0:25:12.160 --> 0:25:15.600
<v Speaker 1>we can still jig. You know, you just never.

0:25:15.520 --> 0:25:19.240
<v Speaker 4>Understood how things went backwards because copy shows big as

0:25:19.240 --> 0:25:21.720
<v Speaker 4>hell in a different world, all of you know, Martin,

0:25:21.840 --> 0:25:24.920
<v Speaker 4>all these shows big, living single, and we go back

0:25:24.960 --> 0:25:27.440
<v Speaker 4>to we go back to nonsense, like I feel like

0:25:27.480 --> 0:25:28.520
<v Speaker 4>you would build U pun that.

0:25:28.760 --> 0:25:32.119
<v Speaker 1>Yeah, yeah, yeah, it was, it was. I definitely hardly agree.

0:25:32.200 --> 0:25:35.960
<v Speaker 1>It's a intentional I was going to ask.

0:25:40.080 --> 0:25:43.399
<v Speaker 2>Talked about it before, about the influence, but you know,

0:25:43.480 --> 0:25:45.320
<v Speaker 2>looking back at it now, do you know, do you

0:25:45.320 --> 0:25:47.439
<v Speaker 2>guys know that you guys and this was maybe what

0:25:47.480 --> 0:25:49.800
<v Speaker 2>you were setting out to do, you guys, You guys

0:25:49.920 --> 0:25:52.800
<v Speaker 2>raised so many families of what to do, how to act,

0:25:52.840 --> 0:25:55.720
<v Speaker 2>how to talk to kids, how to have difficult conversations,

0:25:55.760 --> 0:25:58.000
<v Speaker 2>how to you know, speak to each other. And then

0:25:58.280 --> 0:26:00.639
<v Speaker 2>even with a different world, like I tell everybody that

0:26:00.760 --> 0:26:02.240
<v Speaker 2>was the reason why I went to Hampton.

0:26:02.000 --> 0:26:04.879
<v Speaker 3>University because of a different world. Was handled yet to me?

0:26:05.240 --> 0:26:06.800
<v Speaker 3>You know, so do y'all look back and say, damn,

0:26:06.840 --> 0:26:07.880
<v Speaker 3>we raised the generation?

0:26:08.400 --> 0:26:12.600
<v Speaker 1>Yeah? But that was that was his intent. Like, he

0:26:12.720 --> 0:26:15.679
<v Speaker 1>was very clear on what he was doing. He was

0:26:15.800 --> 0:26:18.560
<v Speaker 1>very clear that he wanted those shows to be timeless.

0:26:19.600 --> 0:26:22.120
<v Speaker 1>That was something he talked about consistently because there were times,

0:26:22.160 --> 0:26:24.240
<v Speaker 1>you know, I'm fifteen sixty, I'm trying to use you know,

0:26:24.280 --> 0:26:26.479
<v Speaker 1>whatever slang we were using at the time. He was like, no,

0:26:27.560 --> 0:26:30.040
<v Speaker 1>that's going to date the show. Let's make up our

0:26:30.080 --> 0:26:32.840
<v Speaker 1>own slang. So in twenty five years, when people are

0:26:32.840 --> 0:26:36.320
<v Speaker 1>still watching the show, the show is still relevant. So

0:26:37.560 --> 0:26:39.520
<v Speaker 1>you know, our credit to him because that's what he

0:26:40.400 --> 0:26:41.439
<v Speaker 1>that's what he set out to do.

0:26:41.600 --> 0:26:43.520
<v Speaker 2>How did you feel when, like I was said, a

0:26:43.520 --> 0:26:45.800
<v Speaker 2>couple of years ago, they tried to take the show off?

0:26:47.160 --> 0:26:49.159
<v Speaker 3>It bothered me because although.

0:26:48.880 --> 0:26:51.400
<v Speaker 2>Everything that was going on the show was so positive

0:26:51.400 --> 0:26:53.040
<v Speaker 2>for our culture. So how did you feel when they

0:26:53.480 --> 0:26:56.320
<v Speaker 2>started taking the shows off of syndication and were threatening

0:26:56.320 --> 0:26:57.719
<v Speaker 2>to pull the shows of different networks?

0:26:57.800 --> 0:27:01.080
<v Speaker 1>Yeah? Well, I mean, you know real, you know the

0:27:01.119 --> 0:27:04.320
<v Speaker 1>real it hit us all financially because now we weren't

0:27:04.320 --> 0:27:08.520
<v Speaker 1>getting those residuals. Yes, with that lump, you know you're

0:27:08.520 --> 0:27:10.960
<v Speaker 1>talking about you talking about eight years of residual So

0:27:11.000 --> 0:27:14.159
<v Speaker 1>that's still a nice little padding. So it's interesting. I

0:27:14.200 --> 0:27:18.159
<v Speaker 1>did in twenty fifteen, I put out my third record,

0:27:18.280 --> 0:27:20.639
<v Speaker 1>right and on that record, I mean I got I

0:27:20.680 --> 0:27:24.399
<v Speaker 1>got Leila Hathaway, I got Robert glasper letacy No this

0:27:24.520 --> 0:27:26.679
<v Speaker 1>that was that's this one that's out now. That was

0:27:26.680 --> 0:27:31.320
<v Speaker 1>called Selfless. So Layla Letters, Stokely, Rassam Patterson, Robert glasper

0:27:31.440 --> 0:27:34.080
<v Speaker 1>Like the album is like it's a banger. I could

0:27:34.160 --> 0:27:39.520
<v Speaker 1>not book any press unless I agreed to answer at

0:27:39.600 --> 0:27:42.720
<v Speaker 1>least one question about Bill Cosby. It was the only

0:27:42.760 --> 0:27:44.800
<v Speaker 1>way I was gonna be able to get my record covered. Wow,

0:27:45.000 --> 0:27:48.160
<v Speaker 1>So I do this? Uh crazy? This this this interview

0:27:48.240 --> 0:27:51.720
<v Speaker 1>with with ap Right. We spend twenty five thirty minutes

0:27:51.720 --> 0:27:54.560
<v Speaker 1>talking about my career, talk about my music like it's

0:27:54.560 --> 0:27:56.960
<v Speaker 1>a dope interview. And then at the very end, the

0:27:57.040 --> 0:27:59.080
<v Speaker 1>last question she asked me is what do you think

0:27:59.160 --> 0:28:03.200
<v Speaker 1>with the Cosby controversy that the legacy of the show

0:28:03.200 --> 0:28:06.600
<v Speaker 1>has been tarnished? So I said, well, yeah, of course

0:28:06.640 --> 0:28:08.600
<v Speaker 1>it's been tarnished because they've taken it off the show,

0:28:09.000 --> 0:28:15.040
<v Speaker 1>and whenever we talk about stereotopical black images on television,

0:28:15.200 --> 0:28:18.280
<v Speaker 1>we've always had the Cosby Show to hold juxtapose against that.

0:28:18.680 --> 0:28:22.240
<v Speaker 1>But we no longer have that. The next day, all

0:28:22.280 --> 0:28:26.040
<v Speaker 1>of the headlines read, remember, Malcolm Jamal Warner says the

0:28:26.119 --> 0:28:30.639
<v Speaker 1>legacy of the Cosby Show has been tarnished. That's not

0:28:30.720 --> 0:28:34.080
<v Speaker 1>even what she said. Yeah. So then I remember a

0:28:34.160 --> 0:28:37.840
<v Speaker 1>couple months later seeing Keisha on some talk show and

0:28:37.880 --> 0:28:40.760
<v Speaker 1>they asked her the same question, and she said, no,

0:28:41.400 --> 0:28:44.680
<v Speaker 1>it's impossible to tarnish the legacy of that show, because

0:28:44.720 --> 0:28:48.960
<v Speaker 1>there's a generation of kids who sought out higher education

0:28:49.240 --> 0:28:51.640
<v Speaker 1>because of that show. There are generation to kids who

0:28:51.880 --> 0:28:55.560
<v Speaker 1>grew up and got married and had loving families because

0:28:55.560 --> 0:28:58.320
<v Speaker 1>of that show. There's no way that you can reverse

0:28:58.360 --> 0:29:01.760
<v Speaker 1>the influence that that show has had on the culture.

0:29:02.640 --> 0:29:05.760
<v Speaker 1>And so now I'll always bite her, I always bite

0:29:05.760 --> 0:29:08.680
<v Speaker 1>her response now, But yeah, I mean, it's it's it's

0:29:09.640 --> 0:29:14.160
<v Speaker 1>it's undeniable and it's irreversible. You know, it's had a

0:29:14.200 --> 0:29:17.400
<v Speaker 1>you know, a huge impact on on on our culture,

0:29:18.520 --> 0:29:22.920
<v Speaker 1>and it had a huge global impact on how black people,

0:29:23.440 --> 0:29:24.800
<v Speaker 1>you know, saw themselves.

0:29:25.080 --> 0:29:26.840
<v Speaker 4>I was going to ask you, you know, what's the

0:29:26.920 --> 0:29:30.000
<v Speaker 4>pros and cons of having your name and the title

0:29:30.040 --> 0:29:31.960
<v Speaker 4>of a sitcom and reference to Malcolm Andnetti.

0:29:32.000 --> 0:29:34.000
<v Speaker 5>But to me, it's the same thing with that. I

0:29:34.000 --> 0:29:34.440
<v Speaker 5>think if that.

0:29:34.480 --> 0:29:37.200
<v Speaker 4>Show was called The Huxtables, it wouldn't even be a conversation.

0:29:37.400 --> 0:29:39.200
<v Speaker 4>I think if it was called the Huxtables, people would

0:29:39.240 --> 0:29:42.280
<v Speaker 4>easily be able to separate the art from the artists.

0:29:42.680 --> 0:29:44.760
<v Speaker 4>So what do you think the pros and cons of.

0:29:45.600 --> 0:29:50.280
<v Speaker 1>Probably that, really, you know, I think probably anybody who's

0:29:50.280 --> 0:29:52.280
<v Speaker 1>who's having their own show and their own sitcom, because

0:29:52.360 --> 0:29:56.160
<v Speaker 1>because also, remember you know, so many sitcoms are usually

0:29:56.200 --> 0:29:59.920
<v Speaker 1>based around the stand up and you know, either they

0:30:00.080 --> 0:30:02.280
<v Speaker 1>can handle the job or they can't. You know, that's

0:30:02.160 --> 0:30:04.440
<v Speaker 1>that's what the success of the show depends upon. So

0:30:04.440 --> 0:30:06.000
<v Speaker 1>I think for any stand up to have your own

0:30:06.040 --> 0:30:10.840
<v Speaker 1>show and have it be your name, like, that's the dream.

0:30:11.120 --> 0:30:13.240
<v Speaker 1>But I think to your point, that's that is that's

0:30:13.440 --> 0:30:16.400
<v Speaker 1>a huge con But of course no one goes into

0:30:16.440 --> 0:30:20.160
<v Speaker 1>it thinking that there's going to be the end result

0:30:20.280 --> 0:30:21.280
<v Speaker 1>of that.

0:30:21.360 --> 0:30:24.520
<v Speaker 5>I remember they did that with The New The New Roseanne.

0:30:24.400 --> 0:30:28.240
<v Speaker 4>Relaunched all the Connors after when she got into the

0:30:28.320 --> 0:30:31.120
<v Speaker 4>Earth situation. Now, are you still cool with cockroach called

0:30:31.160 --> 0:30:32.680
<v Speaker 4>Anthony Payne.

0:30:34.560 --> 0:30:37.000
<v Speaker 1>We're cooler and we're cooler as adults than we were

0:30:37.160 --> 0:30:41.760
<v Speaker 1>during that time. No, we didn't at all the young

0:30:41.800 --> 0:30:45.600
<v Speaker 1>ego and yeah, yeah that's what it was. Yeah, and

0:30:45.600 --> 0:30:48.080
<v Speaker 1>it was and it was yeah, yeah, it was. It was.

0:30:50.840 --> 0:30:57.920
<v Speaker 1>You know, we talked about earlier the original callbacks for

0:30:58.040 --> 0:31:02.560
<v Speaker 1>Cosby the so they flew in an actor from Chicago

0:31:02.840 --> 0:31:05.920
<v Speaker 1>and flew in an actor from New York. Carl was

0:31:05.960 --> 0:31:09.480
<v Speaker 1>the actor they flew in from New York. So had

0:31:09.520 --> 0:31:13.360
<v Speaker 1>I not auditioned for the show, Carl would have played theel.

0:31:14.680 --> 0:31:16.400
<v Speaker 3>So look at you every day and see you took

0:31:16.440 --> 0:31:16.960
<v Speaker 3>my part.

0:31:16.840 --> 0:31:18.040
<v Speaker 1>And then I got to come back and play your

0:31:18.040 --> 0:31:23.600
<v Speaker 1>best friend. Damn. So you know, I think, on one hand,

0:31:23.720 --> 0:31:27.000
<v Speaker 1>you know, that may have had something to do with it,

0:31:28.240 --> 0:31:32.880
<v Speaker 1>That was part of it. And he decided he had

0:31:32.880 --> 0:31:36.720
<v Speaker 1>a huge ego, you know, Yeah, he had a huge ego.

0:31:36.800 --> 0:31:38.920
<v Speaker 1>So and I didn't come from that kind of place.

0:31:39.480 --> 0:31:42.480
<v Speaker 1>And you know, the way and the way I felt

0:31:42.520 --> 0:31:46.600
<v Speaker 1>then and the way I feel now, you know, based

0:31:46.640 --> 0:31:49.760
<v Speaker 1>on my career, if anybody, you know should walk around

0:31:49.800 --> 0:31:52.240
<v Speaker 1>with a huge ego, it should be me. And if

0:31:52.280 --> 0:31:54.200
<v Speaker 1>I don't roll like that, I don't really I have

0:31:54.440 --> 0:31:57.760
<v Speaker 1>very little tolerance for people who roll like that. So

0:31:57.800 --> 0:32:00.920
<v Speaker 1>we never really really we just never really got along

0:32:01.000 --> 0:32:04.640
<v Speaker 1>back then. But you know, we're grown now, and you know,

0:32:04.680 --> 0:32:06.800
<v Speaker 1>and Carl's been through a lot, like his journey is

0:32:07.040 --> 0:32:09.760
<v Speaker 1>you know, it's it's been you know, he's had a journey,

0:32:10.840 --> 0:32:13.480
<v Speaker 1>and as adults, we've been able to like sit down

0:32:13.480 --> 0:32:17.600
<v Speaker 1>and have conversations and we're in uh, we're in a

0:32:17.760 --> 0:32:22.200
<v Speaker 1>very cool grown man place now. Uh. Then we were

0:32:22.280 --> 0:32:24.000
<v Speaker 1>you know, then we were teenagers and you know.

0:32:24.400 --> 0:32:25.800
<v Speaker 5>I feel like you had to be broken up with

0:32:25.800 --> 0:32:26.720
<v Speaker 5>something the way he signed it, I.

0:32:26.680 --> 0:32:29.080
<v Speaker 4>Had to be broken up before.

0:32:30.320 --> 0:32:32.520
<v Speaker 1>No, no, no, no, no, it wasn't that bad bad.

0:32:32.680 --> 0:32:34.880
<v Speaker 3>You just speak to anybody from the show anymore, and

0:32:35.520 --> 0:32:35.920
<v Speaker 3>you know.

0:32:36.320 --> 0:32:40.320
<v Speaker 1>Yeah, Keisha, I mean, Kesha was my girl when she

0:32:40.400 --> 0:32:43.400
<v Speaker 1>was four years old. It's always my lome. You know,

0:32:43.440 --> 0:32:47.800
<v Speaker 1>we both live in Atlanta. Uh. Just Saturday, her and

0:32:47.800 --> 0:32:51.160
<v Speaker 1>her husband over at our house. Her daughter is a

0:32:51.200 --> 0:32:54.920
<v Speaker 1>couple of months older than my daughter, and our daughters

0:32:55.120 --> 0:33:00.000
<v Speaker 1>absolutely love each other. So it's it's very surreal because

0:33:00.440 --> 0:33:02.280
<v Speaker 1>like we'll look at at our darteris's player and look

0:33:02.280 --> 0:33:06.880
<v Speaker 1>at each other like, yo, this is but yeah, dope, yeah.

0:33:06.920 --> 0:33:09.440
<v Speaker 1>So she's when I talked to the most. But we're

0:33:09.480 --> 0:33:11.720
<v Speaker 1>all we're all cool. I mean, we had an experience

0:33:12.280 --> 0:33:17.320
<v Speaker 1>that no one else in the world has had, so

0:33:17.600 --> 0:33:21.200
<v Speaker 1>that experience has really bonded us forever. So even if

0:33:21.240 --> 0:33:23.440
<v Speaker 1>we don't, you know, if we don't talk for a year,

0:33:24.000 --> 0:33:26.800
<v Speaker 1>you know, whenever we talk, it's just always it's always

0:33:26.880 --> 0:33:27.280
<v Speaker 1>love and.

0:33:27.360 --> 0:33:28.440
<v Speaker 5>Never will have again.

0:33:28.640 --> 0:33:30.960
<v Speaker 4>Because I tell people all the time that eighties and

0:33:31.040 --> 0:33:34.680
<v Speaker 4>nineties celebrity was different, Like there's not too many people

0:33:34.720 --> 0:33:37.200
<v Speaker 4>black all white that was that famous in the eighties

0:33:37.240 --> 0:33:40.120
<v Speaker 4>and nineties. Who aren't icons you, Mike can run play

0:33:40.120 --> 0:33:40.880
<v Speaker 4>an office.

0:33:43.400 --> 0:33:44.680
<v Speaker 5>Jo like you.

0:33:44.800 --> 0:33:48.360
<v Speaker 4>Possibly, what was the difference between now and then celebrity wise?

0:33:48.840 --> 0:33:52.600
<v Speaker 1>Social media? Social media changed the whole game. Like for

0:33:52.720 --> 0:33:57.000
<v Speaker 1>me what I started to say earlier, growing up here

0:33:57.000 --> 0:34:00.360
<v Speaker 1>in New York in the eighties, being on that show,

0:34:02.440 --> 0:34:05.800
<v Speaker 1>for me, what it was the time of my life.

0:34:07.720 --> 0:34:12.520
<v Speaker 1>And partially because I I'm you know, I'm fourteen, fifteen

0:34:12.560 --> 0:34:15.560
<v Speaker 1>years old, I'm in the area, I'm in pseudient fifty four,

0:34:15.800 --> 0:34:17.800
<v Speaker 1>I'm at Latin Quarter like, I'm in all these places

0:34:17.840 --> 0:34:21.560
<v Speaker 1>I'm not supposed to be. So there was so much

0:34:21.680 --> 0:34:26.160
<v Speaker 1>of the being the celebrityhood if you will, that I

0:34:26.320 --> 0:34:30.480
<v Speaker 1>enjoyed so much. But because of not just the success

0:34:30.600 --> 0:34:33.880
<v Speaker 1>of the show but what the show represented. I also

0:34:34.000 --> 0:34:36.319
<v Speaker 1>understood that when I walked through the world, I was

0:34:36.360 --> 0:34:38.560
<v Speaker 1>not only representing my mother and my father, I was

0:34:38.600 --> 0:34:41.279
<v Speaker 1>also representing the show and everything this show stood for.

0:34:41.680 --> 0:34:46.719
<v Speaker 1>So it allowed me to not be a knucklehead, like

0:34:46.800 --> 0:34:53.600
<v Speaker 1>be able to enjoy everything but responsibly and you know,

0:34:55.200 --> 0:34:58.000
<v Speaker 1>do stuff under the radar. But in whenever it was

0:34:58.040 --> 0:35:00.640
<v Speaker 1>whatever I was doing under the radar wasn't like knucklehead

0:35:00.760 --> 0:35:04.560
<v Speaker 1>stuff and you know, my parents had instilled a foundation.

0:35:06.520 --> 0:35:10.240
<v Speaker 1>You know, my foundation of who I was was very strong.

0:35:10.320 --> 0:35:11.799
<v Speaker 2>I was gonna ask you you never got caught up

0:35:11.800 --> 0:35:14.480
<v Speaker 2>in the drug world or alcohol because Studio fifty four

0:35:14.560 --> 0:35:15.759
<v Speaker 2>Last quartersback then was.

0:35:16.480 --> 0:35:19.560
<v Speaker 1>No I could be around it. But it just wasn't

0:35:19.960 --> 0:35:22.640
<v Speaker 1>That wasn't me. I mean, you know, look, my father

0:35:22.760 --> 0:35:25.239
<v Speaker 1>named me after Malcolm X and the Maajamal like my

0:35:25.320 --> 0:35:28.640
<v Speaker 1>father was not playing. So that's why I say, like,

0:35:28.640 --> 0:35:34.000
<v Speaker 1>like before the fame, my foundation was so solid that

0:35:34.160 --> 0:35:36.840
<v Speaker 1>I could be I could be around all that stuff

0:35:36.840 --> 0:35:39.719
<v Speaker 1>and not have to participate in that, so to be

0:35:39.719 --> 0:35:44.320
<v Speaker 1>able to enjoy everything that being famous had to offer

0:35:44.680 --> 0:35:47.160
<v Speaker 1>without being a knucklehead. And again, being in New York

0:35:47.280 --> 0:35:51.080
<v Speaker 1>is different from growing up on television in LA because

0:35:51.080 --> 0:35:53.480
<v Speaker 1>in LA, your best friend is on the same lot

0:35:53.560 --> 0:35:56.080
<v Speaker 1>on stage next door, whereas here in New York there

0:35:56.120 --> 0:35:59.680
<v Speaker 1>weren't other shows here, so I wasn't hanging out with actors.

0:36:00.120 --> 0:36:00.200
<v Speaker 5>Now.

0:36:00.239 --> 0:36:01.799
<v Speaker 4>I got to give all props to your parents though,

0:36:01.840 --> 0:36:03.800
<v Speaker 4>because you know, even when you talk to somebody like

0:36:03.840 --> 0:36:04.880
<v Speaker 4>Kim Field is the same thing.

0:36:04.920 --> 0:36:07.280
<v Speaker 5>She gives all her credit to her her mom. Because

0:36:07.880 --> 0:36:10.480
<v Speaker 5>y'all had every y'all had every right to wild out.

0:36:11.320 --> 0:36:14.080
<v Speaker 5>Y'all are the biggest things moving.

0:36:14.239 --> 0:36:17.360
<v Speaker 1>Yeah, but we also we also came on the heels

0:36:17.520 --> 0:36:22.560
<v Speaker 1>of Gary Todd Bridges and Danna Plato, so like we

0:36:22.840 --> 0:36:29.080
<v Speaker 1>overlapped their you know, their journey. So for I just

0:36:29.200 --> 0:36:32.520
<v Speaker 1>felt like, well, we got no excuse. You learned from that, Yeah,

0:36:32.600 --> 0:36:35.080
<v Speaker 1>like we're seeing like it's like you hear about stuff

0:36:35.080 --> 0:36:38.120
<v Speaker 1>and throughout history, but this was happening right now, Like

0:36:39.040 --> 0:36:41.799
<v Speaker 1>I'm looking at Todd Bridges, So there was really no

0:36:41.920 --> 0:36:45.520
<v Speaker 1>excuse for us to wild out like that. But again

0:36:45.560 --> 0:36:48.279
<v Speaker 1>I also say because we lived in New York and

0:36:48.320 --> 0:36:52.080
<v Speaker 1>not LA, we weren't hanging around other Hollywood kids. When

0:36:52.120 --> 0:36:55.720
<v Speaker 1>we were shooting in Brooklyn the NBC studios on Avenue

0:36:55.800 --> 0:36:58.560
<v Speaker 1>M and E's fourteenth Street, they didn't have a commissary,

0:36:59.200 --> 0:37:01.239
<v Speaker 1>so at lunch we had to go out into the

0:37:01.280 --> 0:37:04.040
<v Speaker 1>neighborhood and get whatever we're gonna eat. We moved to

0:37:04.280 --> 0:37:07.839
<v Speaker 1>a coffin the story. Their commissary was whack, so we

0:37:07.880 --> 0:37:10.200
<v Speaker 1>went out into the neighborhood and went and got we

0:37:10.680 --> 0:37:12.680
<v Speaker 1>would get our lunch. So it was just a very

0:37:12.719 --> 0:37:17.359
<v Speaker 1>different experience that we had being able to grow up

0:37:18.719 --> 0:37:21.040
<v Speaker 1>in New York rather than grow uping television.

0:37:21.040 --> 0:37:23.080
<v Speaker 2>And you said something earlier and I wanted to ask

0:37:23.120 --> 0:37:24.640
<v Speaker 2>you about and you were saying that when you were

0:37:24.680 --> 0:37:27.200
<v Speaker 2>promoting your jazz album. A lot of these outlets were

0:37:27.200 --> 0:37:29.000
<v Speaker 2>saying that the only way that you can come up

0:37:29.040 --> 0:37:31.520
<v Speaker 2>here is if you asked a question. If your answer

0:37:31.600 --> 0:37:34.520
<v Speaker 2>question about Bill Cosby. How were you able to navigate

0:37:35.160 --> 0:37:38.000
<v Speaker 2>all those questions? Because although you have your own stuff

0:37:38.040 --> 0:37:41.160
<v Speaker 2>going on, you're doing plays, you're acting, you're doing movies, sitcoms.

0:37:41.480 --> 0:37:43.600
<v Speaker 2>You know, you have your music, but you almost gonna

0:37:43.600 --> 0:37:45.480
<v Speaker 2>want to be like, I get it, but this is

0:37:45.520 --> 0:37:46.040
<v Speaker 2>what I'm here for.

0:37:46.080 --> 0:37:49.440
<v Speaker 3>So how did you navigate through all that without you know,

0:37:49.640 --> 0:37:52.920
<v Speaker 3>going down those those lanes by.

0:37:52.920 --> 0:37:56.600
<v Speaker 1>Turning the you know, by whatever the question is, answering it,

0:37:57.080 --> 0:37:59.759
<v Speaker 1>you know, the best way I could, Like I didn't

0:37:59.800 --> 0:38:00.000
<v Speaker 1>want to.

0:38:00.040 --> 0:38:01.520
<v Speaker 3>They want to know did you see him this?

0:38:01.600 --> 0:38:01.759
<v Speaker 1>Yeah?

0:38:02.000 --> 0:38:02.480
<v Speaker 3>What about this?

0:38:02.920 --> 0:38:03.080
<v Speaker 5>You know?

0:38:03.160 --> 0:38:05.880
<v Speaker 1>And the reality is I'm not in a position like

0:38:05.920 --> 0:38:08.279
<v Speaker 1>whatever it is you're trying to ask. I don't know.

0:38:08.400 --> 0:38:11.319
<v Speaker 1>I was. I was when I was a kid, and

0:38:11.360 --> 0:38:14.319
<v Speaker 1>again I you know that was that was Inn's dad,

0:38:14.640 --> 0:38:17.040
<v Speaker 1>you know, So I am not in a position to

0:38:18.360 --> 0:38:22.799
<v Speaker 1>defend him at all. And there's no need for me

0:38:22.840 --> 0:38:25.200
<v Speaker 1>to try to throw him under the bus because the

0:38:25.239 --> 0:38:27.880
<v Speaker 1>rest of the world is doing that. And you know,

0:38:28.040 --> 0:38:30.680
<v Speaker 1>like like you know, the real shit is I know

0:38:31.360 --> 0:38:35.040
<v Speaker 1>what everybody else knows, and everybody else knows what the

0:38:35.080 --> 0:38:40.279
<v Speaker 1>press has told them. So I don't really have I

0:38:40.320 --> 0:38:42.960
<v Speaker 1>don't really have a real ground to stand on to

0:38:43.040 --> 0:38:46.319
<v Speaker 1>speak on it as much as anybody else does. You know.

0:38:46.400 --> 0:38:49.839
<v Speaker 4>So, and you might be biased because you didn't you

0:38:49.880 --> 0:38:51.520
<v Speaker 4>saw a whole different side of him that none of

0:38:51.640 --> 0:38:52.440
<v Speaker 4>us are privy too.

0:38:52.680 --> 0:38:58.080
<v Speaker 1>Yeah, yes, and and and I saw ah, I saw

0:38:58.120 --> 0:39:00.560
<v Speaker 1>a very human side of him, like what everybody else

0:39:00.680 --> 0:39:03.719
<v Speaker 1>is like, you know, he's America's famous, you know, favorite dad,

0:39:03.760 --> 0:39:09.120
<v Speaker 1>and you know they they as people do with celebrities,

0:39:09.520 --> 0:39:12.120
<v Speaker 1>you know, they put us on a pedestal. And again

0:39:12.160 --> 0:39:13.480
<v Speaker 1>that's why as a kid, I don't want to be

0:39:13.480 --> 0:39:15.439
<v Speaker 1>considered a role model, be perfect, cause I'm like, that's

0:39:15.440 --> 0:39:18.080
<v Speaker 1>not me. But that's what we do to people. So

0:39:18.360 --> 0:39:23.040
<v Speaker 1>while everyone is you know, I'm like, he's a man,

0:39:23.320 --> 0:39:25.720
<v Speaker 1>he's got he's got his own got his own faults

0:39:25.719 --> 0:39:28.239
<v Speaker 1>and whatever. False I saw though, it wasn't that. I

0:39:28.360 --> 0:39:32.000
<v Speaker 1>you know, like mm hmm, I saw a man. So

0:39:32.040 --> 0:39:34.880
<v Speaker 1>it's a different It's a different experience for me, uh

0:39:35.600 --> 0:39:36.799
<v Speaker 1>than it is for everybody else.

0:39:37.400 --> 0:39:40.239
<v Speaker 4>I've always loved how black your name is man, and

0:39:40.360 --> 0:39:42.680
<v Speaker 4>finding out that you named after Malcolm Xican.

0:39:42.680 --> 0:39:47.360
<v Speaker 5>You said, I'm not familiar with Ma's.

0:39:47.960 --> 0:39:52.279
<v Speaker 1>He's a renowned jazz pianist, but he's a if you

0:39:52.280 --> 0:39:55.319
<v Speaker 1>could be a jazz pianist and be militant as fuck,

0:39:55.760 --> 0:39:58.640
<v Speaker 1>that's a ma. Yeah. Yeah. My dad was. My dad

0:39:58.719 --> 0:40:04.440
<v Speaker 1>was I He used to go to Chicago during the summers,

0:40:04.719 --> 0:40:07.080
<v Speaker 1>my dad, and during my summer vacations. He had this

0:40:07.480 --> 0:40:10.560
<v Speaker 1>thick book called Great American Negroes and there, you know,

0:40:10.760 --> 0:40:13.839
<v Speaker 1>chapters on Langston Hughes, Richard Riot, and Ray McLeod, film

0:40:13.920 --> 0:40:16.440
<v Speaker 1>Mary Anderson. And he would make me read these chapters

0:40:16.560 --> 0:40:20.120
<v Speaker 1>and write book reports. And this is during my summer vacation.

0:40:21.560 --> 0:40:24.880
<v Speaker 1>I'm six, seven, eight, nine, ten years old. I'm like,

0:40:24.920 --> 0:40:26.120
<v Speaker 1>I don't want to, but it's my dad, so I

0:40:26.160 --> 0:40:29.200
<v Speaker 1>have to. But he was he was hardcore on making

0:40:29.239 --> 0:40:33.000
<v Speaker 1>sure that I under that I understood my history and

0:40:33.080 --> 0:40:38.520
<v Speaker 1>understood where I came from. And also he was he

0:40:38.600 --> 0:40:41.520
<v Speaker 1>went he went to Lincoln University and he was there

0:40:41.560 --> 0:40:44.880
<v Speaker 1>with Gil Scott Herron and Brian Jackson Jesus, and my

0:40:44.960 --> 0:40:49.640
<v Speaker 1>dad went to Lincoln because Langston went to Lincoln. So

0:40:50.560 --> 0:40:54.040
<v Speaker 1>the whole poetry thing that I do like I was

0:40:54.080 --> 0:40:55.719
<v Speaker 1>really I was. I was a poet before I was

0:40:55.719 --> 0:40:59.200
<v Speaker 1>an actor because my father was instilling all of these

0:40:59.239 --> 0:41:01.799
<v Speaker 1>things in me, and he was doing it through the arts.

0:41:01.840 --> 0:41:04.279
<v Speaker 1>Like my favorite book. I remember being in fifth grade

0:41:04.320 --> 0:41:06.400
<v Speaker 1>and I used to carry around this book Poems on

0:41:06.440 --> 0:41:08.600
<v Speaker 1>the Life and Death of Malcolm X. And I used

0:41:08.600 --> 0:41:11.680
<v Speaker 1>to have it on my desk at school and kids

0:41:11.680 --> 0:41:14.200
<v Speaker 1>would like laugh and tease me, like, oh, somebody wrote

0:41:14.239 --> 0:41:16.200
<v Speaker 1>a book about you. Ha ha ha. And I'm in

0:41:16.239 --> 0:41:18.960
<v Speaker 1>fifth grade and I'm realizing, wow, these not only do

0:41:19.000 --> 0:41:22.279
<v Speaker 1>these kids not even know who Malcolm X is if

0:41:22.320 --> 0:41:27.080
<v Speaker 1>they're reading poetry, they're not reading poetry as sophisticated as

0:41:27.239 --> 0:41:30.160
<v Speaker 1>I am. And it was then like that was when

0:41:30.200 --> 0:41:33.279
<v Speaker 1>it registered for me what my father was doing. Like

0:41:33.400 --> 0:41:36.040
<v Speaker 1>all those summers of not wanting to read these books

0:41:36.120 --> 0:41:39.080
<v Speaker 1>and write these book reports, I understood what he was

0:41:39.480 --> 0:41:42.719
<v Speaker 1>instilling in me. And then when I was about fifteen,

0:41:43.640 --> 0:41:46.120
<v Speaker 1>you know, you know, the show's popping, and now you know,

0:41:46.160 --> 0:41:48.560
<v Speaker 1>I'm going to schools, I'm talking to kids, I'm in churches,

0:41:48.560 --> 0:41:51.000
<v Speaker 1>I'm talking to kids, and it was that's when it

0:41:51.080 --> 0:41:54.840
<v Speaker 1>hit me how my dad named me and what he

0:41:54.960 --> 0:41:58.000
<v Speaker 1>was doing, because now I'm having this influence talking to

0:41:58.040 --> 0:42:01.080
<v Speaker 1>young people. I remembering fifteen years old. I called my dad.

0:42:01.120 --> 0:42:04.640
<v Speaker 1>I was like, yo, man, you set me up and

0:42:04.680 --> 0:42:07.640
<v Speaker 1>he laughed. He was like, you're damn right for greatness. Yeah,

0:42:07.800 --> 0:42:10.319
<v Speaker 1>and he didn't even know. You know, he didn't know

0:42:10.520 --> 0:42:12.239
<v Speaker 1>that I was going to have this platform or what

0:42:12.280 --> 0:42:14.120
<v Speaker 1>my platform was going to be. But yeah, he set

0:42:14.160 --> 0:42:16.600
<v Speaker 1>me up for great whatever my path was going to be,

0:42:16.800 --> 0:42:17.799
<v Speaker 1>he set me up for that.

0:42:17.960 --> 0:42:20.319
<v Speaker 4>Why why when it came to musical expression, it was

0:42:20.960 --> 0:42:23.520
<v Speaker 4>jazz because you you know you you're a hip hop baby,

0:42:23.640 --> 0:42:25.480
<v Speaker 4>like you came up in the hip hop here, like.

0:42:25.800 --> 0:42:30.399
<v Speaker 2>You just heard you about a month ago. He was rapping, Yes,

0:42:30.960 --> 0:42:32.399
<v Speaker 2>what was that the legends.

0:42:32.320 --> 0:42:35.080
<v Speaker 5>When he was naming all the names.

0:42:35.120 --> 0:42:37.960
<v Speaker 1>Okay, so put it spoken word for that, but that's

0:42:38.000 --> 0:42:39.759
<v Speaker 1>a plan for DMX. But he was rapping that's not me,

0:42:40.840 --> 0:42:44.160
<v Speaker 1>that's not me. That's that's what you mean. No, that

0:42:44.320 --> 0:42:47.760
<v Speaker 1>was that's this this cat on Instagram cash flow Harlem.

0:42:48.080 --> 0:42:50.279
<v Speaker 1>He put that video out right and I would see

0:42:50.280 --> 0:42:52.400
<v Speaker 1>this video and people were doing these remix videos. So

0:42:52.440 --> 0:42:54.520
<v Speaker 1>you see the video on one side and you see

0:42:54.520 --> 0:42:58.560
<v Speaker 1>people just kind of yeah, nobody saying the names. They

0:42:58.640 --> 0:43:01.560
<v Speaker 1>just kind of nod. And one guy he was counting

0:43:01.600 --> 0:43:03.920
<v Speaker 1>the names, but then he'd lose count, like that's it.

0:43:03.960 --> 0:43:05.640
<v Speaker 1>And I was like that's it. So I was like,

0:43:05.680 --> 0:43:08.080
<v Speaker 1>you know, I'm gonna take the time. I'm gonna memorize

0:43:08.120 --> 0:43:10.960
<v Speaker 1>what he's doing, and then I'm gonna make it a challenge.

0:43:11.680 --> 0:43:15.280
<v Speaker 1>Nobody took me up on the challenge, but the video went.

0:43:15.400 --> 0:43:17.480
<v Speaker 4>Viral because that's the first time I never I never

0:43:17.480 --> 0:43:18.520
<v Speaker 4>eve knew somebody else made it.

0:43:18.520 --> 0:43:22.319
<v Speaker 1>I thought that was not me. That was not mean wow, No,

0:43:22.960 --> 0:43:27.480
<v Speaker 1>but why jazz though? So the jazz. So it's when

0:43:27.520 --> 0:43:30.879
<v Speaker 1>I started my band. You know, I was always doing

0:43:30.960 --> 0:43:34.600
<v Speaker 1>already doing poetry, right, I was in the spoken word scene.

0:43:34.680 --> 0:43:36.640
<v Speaker 1>I was doing spoken word with other bands and whatnot.

0:43:36.640 --> 0:43:39.759
<v Speaker 1>But when I started my band, it was to I

0:43:39.800 --> 0:43:41.440
<v Speaker 1>was playing bass. It was the kind I wanted to do,

0:43:41.520 --> 0:43:44.400
<v Speaker 1>like this jazz funk kind of thing, and then ultimately

0:43:44.440 --> 0:43:48.760
<v Speaker 1>I ended up infusing my poetry with my own band.

0:43:49.280 --> 0:43:53.160
<v Speaker 1>And neo soul you know, was big at the time,

0:43:53.840 --> 0:43:56.319
<v Speaker 1>and you know, people because of the spoken word and

0:43:56.360 --> 0:43:58.520
<v Speaker 1>what I was doing, they want to call it neo soul,

0:43:58.840 --> 0:44:01.280
<v Speaker 1>And at the time, I was like, nah, neil soul

0:44:01.360 --> 0:44:02.920
<v Speaker 1>is a fad. When that, you know, I don't want

0:44:02.920 --> 0:44:05.120
<v Speaker 1>to be associated with a fad because when that runs out,

0:44:05.440 --> 0:44:08.000
<v Speaker 1>you know, people might not be as interest as what

0:44:08.000 --> 0:44:11.640
<v Speaker 1>I'm doing. If I call it jazz funk, then I

0:44:11.680 --> 0:44:14.759
<v Speaker 1>could It's something I could grow into. So when I'm

0:44:14.800 --> 0:44:17.640
<v Speaker 1>fifty sixty years old, I can still be doing that.

0:44:18.080 --> 0:44:20.040
<v Speaker 1>And at the time, I mind you, I'm twenty six, twenty,

0:44:20.080 --> 0:44:23.920
<v Speaker 1>I'm like twenty eight. Now. At the time, I was like, besides,

0:44:24.560 --> 0:44:27.680
<v Speaker 1>no one's gonna want to hear a dude rapping at

0:44:27.680 --> 0:44:32.799
<v Speaker 1>fifty years old. Now, well, now, fast forward, fast forward.

0:44:33.000 --> 0:44:34.799
<v Speaker 1>You know, cast is still dice. But at twenty eight,

0:44:35.680 --> 0:44:37.400
<v Speaker 1>we get at twenty eight, we didn't see it. We

0:44:37.400 --> 0:44:42.600
<v Speaker 1>couldn't see that, correct. But so the jazz funk spoken

0:44:42.640 --> 0:44:47.440
<v Speaker 1>word was just kind of my way of having this lane.

0:44:48.000 --> 0:44:51.480
<v Speaker 1>But it's really what I do is really it's you know,

0:44:51.760 --> 0:44:54.759
<v Speaker 1>it's so R and B and hip hop at the

0:44:54.840 --> 0:44:57.880
<v Speaker 1>end of the day, because I'm not though I'm a

0:44:58.000 --> 0:45:01.920
<v Speaker 1>jazz student, I'm not. I wouldn't consider myself a jazz musician.

0:45:02.320 --> 0:45:05.400
<v Speaker 1>But I just wanted to use that title because I

0:45:05.440 --> 0:45:08.200
<v Speaker 1>didn't want to get lumped in in neo soul. I

0:45:08.200 --> 0:45:10.080
<v Speaker 1>didn't want to just call it because it's not just

0:45:10.239 --> 0:45:12.000
<v Speaker 1>R and B. It's not just and it's not just

0:45:12.120 --> 0:45:14.759
<v Speaker 1>spoken word. It's not just hip hop. It's really a

0:45:14.760 --> 0:45:17.040
<v Speaker 1>combination of all of that. So when I describe it,

0:45:17.320 --> 0:45:19.840
<v Speaker 1>I describe it as a jazz funk spoken word band,

0:45:20.760 --> 0:45:23.040
<v Speaker 1>but it's probably more of a you know, R and

0:45:23.120 --> 0:45:23.800
<v Speaker 1>B soul.

0:45:25.560 --> 0:45:29.800
<v Speaker 4>Spoken word and Hiding Your play View is Grammy nominated, right, Yeah, yeah,

0:45:29.840 --> 0:45:30.399
<v Speaker 4>how I feel?

0:45:30.520 --> 0:45:34.880
<v Speaker 1>Yeah, it's dope. I got a Grammy in twenty fifteen

0:45:35.480 --> 0:45:40.399
<v Speaker 1>with Robert Glasper and Laila Hathaway. I did not Yeah

0:45:40.920 --> 0:45:44.440
<v Speaker 1>on Roberts Black Radio two album. He does a cover

0:45:44.640 --> 0:45:49.840
<v Speaker 1>of Stevie Wonders, Jesus Children of America and Layla sings,

0:45:50.120 --> 0:45:53.640
<v Speaker 1>and then I do a poem in tribute to the

0:45:53.719 --> 0:45:57.359
<v Speaker 1>Kids from Sandy Hook And in twenty fifteen that one

0:45:57.480 --> 0:46:01.760
<v Speaker 1>for Best Traditional R and B Performance. So for this album,

0:46:02.000 --> 0:46:04.799
<v Speaker 1>Hiding and Playing View, which is my fourth album, for

0:46:05.000 --> 0:46:09.319
<v Speaker 1>that to get Grammy nominated, you know like that, I mean,

0:46:09.400 --> 0:46:13.520
<v Speaker 1>you know, it takes it to a whole another level. Like,

0:46:13.600 --> 0:46:16.960
<v Speaker 1>of course getting a Grammy, that's amazing. It means everything.

0:46:17.040 --> 0:46:20.279
<v Speaker 1>But to have my own work record and my own

0:46:20.280 --> 0:46:22.680
<v Speaker 1>work that I did most of the production on myself.

0:46:23.920 --> 0:46:27.880
<v Speaker 1>Even though I don't do this for validation, it's so validating,

0:46:28.400 --> 0:46:32.040
<v Speaker 1>you know, and it feels congratulations.

0:46:33.080 --> 0:46:36.600
<v Speaker 4>Now another thing that people might not know, The Magic School, Boss, Yeah,

0:46:36.840 --> 0:46:38.400
<v Speaker 4>what made you get involved with the Magic School.

0:46:38.560 --> 0:46:41.280
<v Speaker 1>I've been trying to do voice over, you know, also

0:46:41.440 --> 0:46:43.879
<v Speaker 1>my whole career. So I get voice over work here

0:46:43.920 --> 0:46:47.480
<v Speaker 1>and there, but it's a nut. I'm still trying to

0:46:47.800 --> 0:46:52.440
<v Speaker 1>I'm trying, still trying to crack. But but I would say, uh,

0:46:53.640 --> 0:46:55.520
<v Speaker 1>you know, I know you catch a busy, but whenever

0:46:55.560 --> 0:47:00.520
<v Speaker 1>you get a chance, I implore you to listen to

0:47:01.239 --> 0:47:02.120
<v Speaker 1>Hiding a playing review.

0:47:02.200 --> 0:47:03.839
<v Speaker 5>I would love definitely because.

0:47:03.560 --> 0:47:06.000
<v Speaker 1>It's a it's a it's an album that I say,

0:47:06.080 --> 0:47:12.360
<v Speaker 1>it's it's an album that can shift the way we

0:47:12.640 --> 0:47:17.000
<v Speaker 1>raise black boys on the album I have featured throughout

0:47:17.000 --> 0:47:20.120
<v Speaker 1>the album. Is an award winning novelist and he's the

0:47:20.120 --> 0:47:23.720
<v Speaker 1>assistant Professor of African American Studies at Clark Atlanta. Doctor

0:47:23.760 --> 0:47:28.440
<v Speaker 1>Daniel Black and I have this one piece after this poem,

0:47:28.560 --> 0:47:30.799
<v Speaker 1>Sante Son it's a long music bed, and I knew

0:47:30.840 --> 0:47:33.000
<v Speaker 1>I wanted to get a statement from him because he's

0:47:33.040 --> 0:47:36.359
<v Speaker 1>just a he's he's a beast. And we had this

0:47:36.480 --> 0:47:39.960
<v Speaker 1>hour long conversation that I recorded, but he dropped so

0:47:40.160 --> 0:47:42.960
<v Speaker 1>much knowledge that I had to put him throughout the

0:47:43.000 --> 0:47:46.400
<v Speaker 1>whole album. And I would dare say I would go

0:47:46.440 --> 0:47:48.839
<v Speaker 1>as far to say that The Hiding a Playing View

0:47:48.920 --> 0:47:50.719
<v Speaker 1>is one of the most important albums to come out

0:47:50.760 --> 0:47:53.319
<v Speaker 1>in twenty twenty two, and a lot of that I

0:47:53.360 --> 0:47:56.920
<v Speaker 1>attribute to him and the knowledge he's dropping, because, like

0:47:57.000 --> 0:47:59.560
<v Speaker 1>the album opens, the first track is called love Song,

0:47:59.760 --> 0:48:03.120
<v Speaker 1>and it's just him, and he says, the thing about

0:48:03.160 --> 0:48:07.480
<v Speaker 1>a black boy is you don't necessarily want to beat

0:48:07.520 --> 0:48:10.759
<v Speaker 1>a black boy. What do you want to do is

0:48:10.760 --> 0:48:14.360
<v Speaker 1>you want to love him so divinely. You want to

0:48:14.400 --> 0:48:18.719
<v Speaker 1>love him so fiercely that your disappointment will kill him.

0:48:19.120 --> 0:48:21.959
<v Speaker 1>You want him, you want to adore him so much

0:48:22.440 --> 0:48:25.040
<v Speaker 1>that the last thing he wants to do is disappoint you.

0:48:25.280 --> 0:48:28.320
<v Speaker 1>Like that's how the album opens. So this is an album,

0:48:28.520 --> 0:48:32.960
<v Speaker 1>as I said, it has you know it. It's an opportunity.

0:48:33.200 --> 0:48:37.920
<v Speaker 1>It provides a shift in how we raise our black boys,

0:48:38.200 --> 0:48:41.200
<v Speaker 1>which will then have a profound impact on how black

0:48:41.239 --> 0:48:44.319
<v Speaker 1>boys relate to each other and black girls, which in

0:48:44.360 --> 0:48:47.320
<v Speaker 1>turn have a even more profound impact on how black

0:48:47.360 --> 0:48:50.160
<v Speaker 1>men relate to each other and how they relate to

0:48:50.200 --> 0:48:56.480
<v Speaker 1>black women. And it can all be a significant step

0:48:56.560 --> 0:48:59.040
<v Speaker 1>in our own self healing. So when I talk to

0:48:59.080 --> 0:49:03.279
<v Speaker 1>people about the album, I say, this album is for us.

0:49:03.360 --> 0:49:05.960
<v Speaker 1>It's for black boys, it's for black men, it's for

0:49:06.080 --> 0:49:08.920
<v Speaker 1>black people. It's for non black people who have the

0:49:09.000 --> 0:49:13.320
<v Speaker 1>foresight to see that our self healing is an invitation

0:49:13.520 --> 0:49:17.520
<v Speaker 1>for them to examine their own necessary healing.

0:49:17.560 --> 0:49:19.280
<v Speaker 5>Why do you call it hiding and playing view.

0:49:19.840 --> 0:49:24.080
<v Speaker 1>Because it's something that we all do. There's a there's

0:49:24.120 --> 0:49:27.200
<v Speaker 1>actually a poem the title track on album's called Hiding

0:49:27.200 --> 0:49:29.479
<v Speaker 1>and Playing View, and that's the only piece without music.

0:49:29.520 --> 0:49:31.759
<v Speaker 1>I just do that poem strictly a cappella and I

0:49:31.800 --> 0:49:35.239
<v Speaker 1>talk about, you know, hiding and playing with you with

0:49:35.280 --> 0:49:38.600
<v Speaker 1>something we all do. We all wear these masks, right,

0:49:38.600 --> 0:49:41.719
<v Speaker 1>because we're all trying to hide what we think other

0:49:41.800 --> 0:49:45.600
<v Speaker 1>people won't like about us. You know, like I spent

0:49:45.800 --> 0:49:49.680
<v Speaker 1>you know, six years in a relationship, you know, halfway

0:49:49.760 --> 0:49:51.880
<v Speaker 1>hiding because there were things I didn't think that you know,

0:49:52.080 --> 0:49:54.239
<v Speaker 1>she would like about me, and and at some point

0:49:54.280 --> 0:50:00.279
<v Speaker 1>I allowed myself to be disrespected, you know, but I

0:50:00.400 --> 0:50:02.479
<v Speaker 1>look at it, I'm allowing myself to be disrespectable because

0:50:02.480 --> 0:50:06.239
<v Speaker 1>I'm disrespecting I'm disrespecting myself because I'm hiding things about

0:50:06.280 --> 0:50:09.600
<v Speaker 1>myself that I'm afraid that she's not gonna like. And

0:50:09.640 --> 0:50:12.520
<v Speaker 1>in a relationship like that's the last place you should

0:50:12.920 --> 0:50:17.600
<v Speaker 1>fear being vulnerable. So that that poem hiding a playing

0:50:17.680 --> 0:50:24.080
<v Speaker 1>view is all about vulnerability and how vulnerability. You know,

0:50:24.560 --> 0:50:27.960
<v Speaker 1>vulnerability is a scary thing, even when you're on the men.

0:50:28.880 --> 0:50:32.600
<v Speaker 1>Black boys boast bravado not to seem broken, and often

0:50:32.680 --> 0:50:37.960
<v Speaker 1>so do black men. So that poem itself, just in itself,

0:50:38.480 --> 0:50:41.960
<v Speaker 1>I get so many responses from people who aren't black

0:50:43.360 --> 0:50:46.840
<v Speaker 1>that that resonates. So it's an album that on the

0:50:47.000 --> 0:50:50.040
<v Speaker 1>though on the surface it seems like I'm only talking

0:50:50.080 --> 0:50:55.120
<v Speaker 1>about black boys, there is a universal reality to the

0:50:55.200 --> 0:50:58.040
<v Speaker 1>album that, you know, the responses, like I said, I've

0:50:58.040 --> 0:51:01.480
<v Speaker 1>been getting from non black people, it resonates with them too.

0:51:01.600 --> 0:51:03.200
<v Speaker 4>I know, I know you probably got to go. But

0:51:03.880 --> 0:51:06.200
<v Speaker 4>when it comes to healing, what was it therapy? Was

0:51:06.239 --> 0:51:07.960
<v Speaker 4>it a spiritual leader?

0:51:08.160 --> 0:51:08.560
<v Speaker 5>Was it just?

0:51:09.400 --> 0:51:14.160
<v Speaker 1>What was it uh, people who are called spiritual leaders.

0:51:16.000 --> 0:51:21.040
<v Speaker 1>My wife is a you got a masters's American Family

0:51:21.280 --> 0:51:25.600
<v Speaker 1>Family Therapy, getting her pH d in clinical psychology. Yeah okay,

0:51:26.239 --> 0:51:29.520
<v Speaker 1>and not even andy, and not even that, and not

0:51:29.760 --> 0:51:33.000
<v Speaker 1>that she's been doing work on me, but just I

0:51:33.239 --> 0:51:35.759
<v Speaker 1>you know, just I watch her, you know, and I

0:51:35.800 --> 0:51:39.759
<v Speaker 1>watch her with our daughter. Uh. So that's what's helped me,

0:51:40.080 --> 0:51:43.640
<v Speaker 1>like presently, but even before she and I met, you know,

0:51:43.800 --> 0:51:45.680
<v Speaker 1>once I got out of broke up with my six

0:51:45.760 --> 0:51:49.399
<v Speaker 1>year relationship, I spent like two years. I spent two

0:51:49.480 --> 0:51:50.879
<v Speaker 1>years like a man who had been in the six

0:51:50.960 --> 0:51:54.520
<v Speaker 1>year relationship. And then at some point I was like,

0:51:54.560 --> 0:51:56.279
<v Speaker 1>I need to I need to stop, like I need

0:51:56.320 --> 0:51:59.680
<v Speaker 1>to go on hiatus and not do any dating, you know,

0:52:00.080 --> 0:52:02.680
<v Speaker 1>being in a relationship, not even dating, try not to

0:52:02.719 --> 0:52:06.560
<v Speaker 1>have sex. But I had there was a space where

0:52:06.600 --> 0:52:09.279
<v Speaker 1>I needed to get clarity for myself, and the only

0:52:09.320 --> 0:52:11.680
<v Speaker 1>way I was going to get that clarity was by

0:52:12.200 --> 0:52:16.680
<v Speaker 1>you know, sitting down and really dealing with you know,

0:52:16.760 --> 0:52:20.080
<v Speaker 1>whatever thing's in here. Sure that I was busying myself

0:52:20.200 --> 0:52:21.440
<v Speaker 1>from dealing with you could.

0:52:21.560 --> 0:52:23.960
<v Speaker 4>Be keeping busy as a response to trauma a lot

0:52:24.000 --> 0:52:25.600
<v Speaker 4>of times.

0:52:24.960 --> 0:52:25.719
<v Speaker 1>All the time the time.

0:52:25.760 --> 0:52:26.799
<v Speaker 5>Yeah, Yeah, all the time.

0:52:26.840 --> 0:52:28.120
<v Speaker 3>So we got to talk about Accused.

0:52:28.120 --> 0:52:30.880
<v Speaker 2>The reason you hear you got a new show on

0:52:31.840 --> 0:52:35.240
<v Speaker 2>It starts January twenty second. Yeah, tell us about Accused,

0:52:35.239 --> 0:52:37.240
<v Speaker 2>because it's not much on it. I looked at the trailers.

0:52:37.280 --> 0:52:39.040
<v Speaker 2>We all looked at the trailers. We see you in

0:52:39.080 --> 0:52:41.800
<v Speaker 2>an orange jumpsuit. So break down Accused.

0:52:42.000 --> 0:52:47.200
<v Speaker 1>So Accused is a courtroom anthology series, so every episode

0:52:47.320 --> 0:52:50.160
<v Speaker 1>is a standalone episode like Twilight Zone or Black Mirror.

0:52:51.520 --> 0:52:58.160
<v Speaker 1>My particular episode is I play a man who's daughter.

0:53:00.520 --> 0:53:08.080
<v Speaker 1>It's sexually accosted in a park, and I choose to

0:53:08.120 --> 0:53:10.000
<v Speaker 1>meet out justice myself.

0:53:10.080 --> 0:53:11.040
<v Speaker 3>Handle things on your own.

0:53:11.160 --> 0:53:15.640
<v Speaker 1>Yeah, and we know how that typically goes, which is

0:53:15.640 --> 0:53:18.400
<v Speaker 1>interesting because we always talk about, man, somebody touches my daughter.

0:53:19.800 --> 0:53:22.400
<v Speaker 1>I remember saying that like ten years ago, before I

0:53:22.440 --> 0:53:24.919
<v Speaker 1>even really thought I was ever going to really have kids.

0:53:24.960 --> 0:53:26.520
<v Speaker 1>I remember saying, I'm like, man, yeah, man, you know

0:53:26.840 --> 0:53:29.000
<v Speaker 1>I have a daughter. Man, I go to jail for

0:53:29.080 --> 0:53:31.400
<v Speaker 1>my daughter. And they said yeah, and what good would

0:53:31.400 --> 0:53:36.040
<v Speaker 1>you be to your daughter? Then? Right, And that's what

0:53:36.200 --> 0:53:38.080
<v Speaker 1>changed my whole Like I was like, you're.

0:53:37.920 --> 0:53:41.000
<v Speaker 2>Absolutely right, Like we talked that, but I still feel

0:53:41.040 --> 0:53:43.040
<v Speaker 2>like that though I got four daughters.

0:53:43.080 --> 0:53:44.000
<v Speaker 3>I still feel like that same.

0:53:44.080 --> 0:53:44.960
<v Speaker 1>I got four daughters.

0:53:45.320 --> 0:53:47.760
<v Speaker 4>You know, no matter how much therapy you do on yourself,

0:53:47.800 --> 0:53:49.600
<v Speaker 4>no matter how much healing you get, you know, no

0:53:49.640 --> 0:53:51.680
<v Speaker 4>matter how high you're emotional like you gets, I.

0:53:51.600 --> 0:53:55.000
<v Speaker 1>Don't know what you're doing right right, And and but

0:53:55.120 --> 0:53:57.200
<v Speaker 1>his point was when you're what good are you gonna

0:53:57.200 --> 0:53:58.680
<v Speaker 1>be to your daughter when you're sitting there in jail,

0:53:58.719 --> 0:54:03.839
<v Speaker 1>that facts like you're now you really cannot protect your daughter. Hey,

0:54:04.000 --> 0:54:06.400
<v Speaker 1>you know like that that's what I'm saying, right, And

0:54:06.440 --> 0:54:08.480
<v Speaker 1>he told me that like like ten years ago, and

0:54:08.520 --> 0:54:11.440
<v Speaker 1>I was like, ah, that kind of changes doesn't make

0:54:11.480 --> 0:54:13.959
<v Speaker 1>it any easier, but I mean, the feeling is still there,

0:54:14.160 --> 0:54:15.480
<v Speaker 1>but it makes you really go like.

0:54:17.520 --> 0:54:18.960
<v Speaker 3>Yeah, so you're only on one episode.

0:54:18.960 --> 0:54:21.000
<v Speaker 1>It's only one episode, one episode, but it's a it's

0:54:21.040 --> 0:54:24.719
<v Speaker 1>a it's it's a powerful episode. It's it's hard to

0:54:24.800 --> 0:54:28.879
<v Speaker 1>watch because of the subject matter. And I think it's

0:54:29.280 --> 0:54:31.120
<v Speaker 1>that's what it is with all the episodes. They're they're

0:54:31.160 --> 0:54:34.720
<v Speaker 1>they're tough to watch because the subject matter is really tough.

0:54:35.200 --> 0:54:41.240
<v Speaker 1>But the show it's really good and I'm I'm very

0:54:41.239 --> 0:54:43.160
<v Speaker 1>proud of the work on the show. And again, it's

0:54:43.200 --> 0:54:46.919
<v Speaker 1>just another side like with the resident as well. It's

0:54:46.960 --> 0:54:50.520
<v Speaker 1>just another side of me that people don't normally get

0:54:50.560 --> 0:54:53.160
<v Speaker 1>to see because of you know, most of the roles

0:54:53.239 --> 0:54:55.000
<v Speaker 1>I get.

0:54:55.280 --> 0:54:57.000
<v Speaker 2>I was going to ask before you get about of here,

0:54:58.160 --> 0:54:59.879
<v Speaker 2>would you mind doing a poem?

0:55:00.000 --> 0:55:02.799
<v Speaker 5>Why don't we just play one from you can do one?

0:55:02.960 --> 0:55:05.120
<v Speaker 3>You can do one.

0:55:06.880 --> 0:55:08.920
<v Speaker 1>Actually I'd like to do when you play.

0:55:08.719 --> 0:55:19.000
<v Speaker 6>One morning, I appreciate it.

0:55:19.040 --> 0:55:30.080
<v Speaker 1>Okay, this piece is Santa Sona about a guy and comrade.

0:55:31.640 --> 0:55:35.920
<v Speaker 1>But you're still on that freedom ship word. Well you

0:55:35.960 --> 0:55:37.279
<v Speaker 1>know what I mean, it's poetry. Well, still be on

0:55:37.320 --> 0:55:41.440
<v Speaker 1>that weedam ship, that birthing inspirational couplets and breedom ship

0:55:42.360 --> 0:55:46.720
<v Speaker 1>that I spit cats should heat them ship that words

0:55:46.719 --> 0:55:49.200
<v Speaker 1>can't break my bones, but if you cut me homes,

0:55:49.520 --> 0:55:56.359
<v Speaker 1>I bleed them ship atonement for the masters of hard

0:55:56.400 --> 0:55:59.160
<v Speaker 1>asses and heads that tread on civil libertys in the

0:55:59.160 --> 0:56:03.560
<v Speaker 1>most uncivilized the fashion is said to be dead. Can

0:56:03.560 --> 0:56:05.640
<v Speaker 1>we afford to be dumb for free? See? That's the

0:56:05.719 --> 0:56:08.560
<v Speaker 1>question I'm asking as I beg for an ounce of

0:56:08.600 --> 0:56:13.920
<v Speaker 1>truth amongst the aloof surrounding me. My vices are proof

0:56:14.640 --> 0:56:19.880
<v Speaker 1>that these demons keep pounding me. Reality keeps pounding me.

0:56:20.320 --> 0:56:24.440
<v Speaker 1>Almost astounding me into the strange hypocrisy. You see, I

0:56:24.560 --> 0:56:28.960
<v Speaker 1>preach the same hope that I'm losing daily. Like my religion,

0:56:31.880 --> 0:56:34.279
<v Speaker 1>people are deep, I bear my soul. I stand on

0:56:34.320 --> 0:56:36.719
<v Speaker 1>the precipice of this crossroads. It's like I want to

0:56:36.760 --> 0:56:41.000
<v Speaker 1>give my life to the cause, But which one ignorance

0:56:41.040 --> 0:56:43.839
<v Speaker 1>is running so ridiculously rampant. I can't tell if I'm

0:56:43.880 --> 0:56:47.960
<v Speaker 1>hating or merely debating just for fun. But I do

0:56:48.080 --> 0:56:52.440
<v Speaker 1>know my heart heaves heavy upon hearing the fluttering hum

0:56:52.680 --> 0:56:56.080
<v Speaker 1>of the feeble footsteps of fear, stamping out the ferocious

0:56:56.120 --> 0:56:59.600
<v Speaker 1>flames of our dog at desire and determination to outpace

0:56:59.760 --> 0:57:02.960
<v Speaker 1>the haerldless prophecy our captors have programmed to be our

0:57:03.000 --> 0:57:08.840
<v Speaker 1>faith and thus our fate. I know my soul soul

0:57:09.320 --> 0:57:14.000
<v Speaker 1>rise with anxiety aches lies no longer need disguise when

0:57:14.000 --> 0:57:17.400
<v Speaker 1>they start looking like the truth, Like how do we

0:57:17.680 --> 0:57:21.840
<v Speaker 1>ignore cries of ill guided youth spitting dope bars of

0:57:21.920 --> 0:57:27.520
<v Speaker 1>self hate overbeats that bang harder than strange fruit hags. Meanwhile,

0:57:27.680 --> 0:57:30.400
<v Speaker 1>her breast hang and her booty bangs harder than the

0:57:30.440 --> 0:57:33.600
<v Speaker 1>gun collapse of rival gangs fighting over territory they don't

0:57:33.600 --> 0:57:39.640
<v Speaker 1>even own. And in magic cities everywhere. She feeds her

0:57:39.680 --> 0:57:42.360
<v Speaker 1>babies based on her ability to shake what her mama

0:57:42.400 --> 0:57:44.680
<v Speaker 1>gave her, because her pops was too busy breaking in

0:57:44.720 --> 0:57:47.520
<v Speaker 1>his disappearing act to save her from these mean streets

0:57:47.520 --> 0:57:50.520
<v Speaker 1>that eat the milk in one swallow. Lies no longer

0:57:50.560 --> 0:57:53.320
<v Speaker 1>need disguise when the truth is viewed as hollow through

0:57:53.320 --> 0:58:02.400
<v Speaker 1>the eyes that need it most. We descendants of stolen legacies,

0:58:04.080 --> 0:58:10.600
<v Speaker 1>children of ancestors who cannot be broken, birthers, and bearers

0:58:10.760 --> 0:58:14.360
<v Speaker 1>of a culture that has been repeatedly robbed and ransacked

0:58:14.480 --> 0:58:17.760
<v Speaker 1>to feed the spiritually famine like a black woman's bosom.

0:58:20.200 --> 0:58:24.600
<v Speaker 1>We who become a pre existing condition simply because we

0:58:24.760 --> 0:58:34.120
<v Speaker 1>pre exist. We who realize we are worthy. We are

0:58:34.160 --> 0:58:38.480
<v Speaker 1>the guardians. We are the gardeners. We are the soil,

0:58:38.760 --> 0:58:41.040
<v Speaker 1>We are the toil. We are the protectors of our

0:58:41.120 --> 0:58:43.560
<v Speaker 1>sieves who need to be protected, who need to see

0:58:43.600 --> 0:58:49.640
<v Speaker 1>true love and black excellence redirected not through fame and fortune,

0:58:50.040 --> 0:58:56.360
<v Speaker 1>but redirected through character. Indeed, and indeed, it is those

0:58:56.360 --> 0:59:00.240
<v Speaker 1>who stand on the front line fighting for the minds

0:59:00.280 --> 0:59:03.200
<v Speaker 1>of our young, black and gifted. It is you who

0:59:03.280 --> 0:59:07.080
<v Speaker 1>are in inspiration to me because you are the revolution

0:59:07.520 --> 0:59:11.360
<v Speaker 1>we do not see on TV. Sante SNA.

0:59:11.800 --> 0:59:17.000
<v Speaker 3>Nice ladies and gentlemen, Malcolm.

0:59:16.880 --> 0:59:19.800
<v Speaker 4>This interview, this whole conversation just is a reinforcement to

0:59:19.840 --> 0:59:21.480
<v Speaker 4>just be intentional about your art.

0:59:21.560 --> 0:59:22.880
<v Speaker 1>Yeah words about everything you've been.

0:59:22.800 --> 0:59:25.720
<v Speaker 4>Talking about on the copy show to your spoken word.

0:59:25.840 --> 0:59:27.840
<v Speaker 4>Just be intentional about your art because this.

0:59:27.760 --> 0:59:30.840
<v Speaker 1>Is the way we reach people. Yeah yeah, and especially now,

0:59:31.280 --> 0:59:34.320
<v Speaker 1>like you know, especially in the music business, you know,

0:59:34.480 --> 0:59:36.680
<v Speaker 1>or really any art no one is making the money

0:59:36.920 --> 0:59:41.080
<v Speaker 1>that they were making before and now with streaming, we

0:59:41.120 --> 0:59:44.680
<v Speaker 1>don't make money off streaming, right, so this is an

0:59:44.680 --> 0:59:48.200
<v Speaker 1>opportunity for artists to just really be about the art,

0:59:48.840 --> 0:59:51.080
<v Speaker 1>you know, that's really all we have. Like what what

0:59:51.160 --> 0:59:55.240
<v Speaker 1>legacy can you leave? And I'm just I'm just really

0:59:55.280 --> 0:59:59.360
<v Speaker 1>big on you know, there's so much nonsense out there.

0:59:59.800 --> 1:00:03.200
<v Speaker 1>We talk about the part of hip hop that's that's

1:00:03.240 --> 1:00:06.960
<v Speaker 1>just trash, and I'm of the mindset of, you know,

1:00:07.840 --> 1:00:10.800
<v Speaker 1>let them have that, Let's provide something else. Let's show

1:00:11.840 --> 1:00:15.360
<v Speaker 1>let's show that there is another way, uh, you know,

1:00:15.480 --> 1:00:21.360
<v Speaker 1>to express yourself through poetry. Let's show let's highlight let's

1:00:21.440 --> 1:00:24.360
<v Speaker 1>highlight the dope ship you know, and if people you know,

1:00:24.440 --> 1:00:27.640
<v Speaker 1>see enough of the dopeness. You know, they can make

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<v Speaker 1>a choice.

1:00:29.240 --> 1:00:31.360
<v Speaker 3>We appreciate you for joining us, brother, thank you for.

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<v Speaker 1>Having me want to get into ah Man. I should

1:00:36.320 --> 1:00:37.880
<v Speaker 1>have done hiding and playing view because that has doesn't

1:00:37.880 --> 1:00:43.840
<v Speaker 1>have music. Sante Sona has music. What's your what's usually

1:00:43.880 --> 1:00:44.760
<v Speaker 1>your timelinth on?

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<v Speaker 3>We can't play a non minute song if you got

1:00:47.400 --> 1:00:49.040
<v Speaker 3>a no, but like.

1:00:48.960 --> 1:00:53.040
<v Speaker 1>This Black Blackfists beautiful, that might be like six minutes. Uh,

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<v Speaker 1>we can play something dope, dope, we can play something

1:00:57.160 --> 1:01:01.320
<v Speaker 1>we play it, okay, yeah, yeah, yeah. See the thing

1:01:01.360 --> 1:01:03.560
<v Speaker 1>about my you know, at least this partical loub it's

1:01:03.560 --> 1:01:06.280
<v Speaker 1>hard to do snippets history. But you know what though,

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<v Speaker 1>but honestly on the real what would be dope for me?

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<v Speaker 3>Uh?

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<v Speaker 1>If you'll listen to it and decide which one? Okay,

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<v Speaker 1>it resonates with you enough to play enough? Yeah, I

1:01:17.640 --> 1:01:20.880
<v Speaker 1>appreciate you, and gentlemen, I definitely appreciate it. Malcolm, welcome.

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<v Speaker 3>This club.

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<v Speaker 1>Good morning,