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Speaker 1: Quest Love Supreme is a production of iHeartRadio. This classic

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Speaker 1: episode was produced by the team at Pandora Ladies and Gentlemen.

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Speaker 1: This is Quest Love Supreme Classic and what can I say?

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Speaker 1: Sayta Garrett is such a legend legendary writer, legendary performer,

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Speaker 1: one of the most exciting episodes and stories that we've

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Speaker 1: had on Quest Love Supreme. I hope you enjoyed as

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Speaker 1: much as we enjoyed doing it. This is Sayta Garrett's

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Speaker 1: QLs classic from May twenty seventeen.

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Speaker 2: All Right, Supremo Supremo ro Suprema su Supremo roll, Suprema

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Speaker 2: Supremo Ro Suprema.

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Speaker 1: So Supreme roll. What's love got a theory?

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Speaker 3: Yeah?

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Speaker 1: I thought y'all should know. Yeah that Jamli flavored yogurt

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Speaker 1: might be jumpas Supremo Supreme role. My name is Sugar. Yeah,

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Speaker 1: I'm never scared. Yeah even when Yeah, I'm unprepared.

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Speaker 4: Bro Supreme some some Supreme roll call Supreme sup Supremo.

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Speaker 5: Role called I'm on pay Bill, Yeah, flew in to

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Speaker 5: see you Yeah, and I will not Yeah say about mirrors.

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Speaker 1: Supreme s My name is Boss Bill.

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Speaker 5: Got here in a rush, was back at the hotel

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Speaker 5: Jammy Twosome, Plush Supreme.

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Speaker 4: Son Supremo, roll cal Subprema So some Supremo roll call.

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Speaker 6: I'm lie yeah, and I just can't stop smiling, Yeah

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Speaker 6: because I wa Yeah, ain't gonna need to be rhyming ro.

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Speaker 1: Supremo, Who call.

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Speaker 4: Son Son Supremo.

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Speaker 7: Roll call my name saa Yeah, and I'm from Compton. Yeah.

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Speaker 7: When I'm not singing. Yeah, y'all know, I'm bumping Suprema.

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Speaker 2: So Supremo, roll call Suprema something something Supremo, roll call

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Speaker 2: Suprema something something Supremo.

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Speaker 1: Roll call Suprema something something Supremo. Roll call, Ladies and Gentlemen.

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Speaker 5: That was the most confident a guest of this yeah,

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Speaker 5: ever for someone who was very anxious about doing it,

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Speaker 5: came right in and nailed it.

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Speaker 1: Yeah, Ladies and gentlemen. Was panicking all of when we warned.

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Speaker 7: Her about I will not be ushered. You.

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Speaker 1: You You're the winner of the most confident delivery. Ladies

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Speaker 1: and gentlemen. Welcome to another episode of Quest Love Supreme,

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Speaker 1: only on Pandora. I'm your host Quest Love, I'm the

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Speaker 1: Punk Guard and I brought Team Supreme today. Uh sports references. Yeah,

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Speaker 1: my power forward is boss, Bill, our fearst leader and

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Speaker 1: sometimes coach. What's up? How you doing? Yeah, plus record,

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Speaker 1: it's kind of dope, Yeah, it is, it is. It's awesome. Yeah.

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Speaker 1: My shooting guard is a sugar Steve, our audio genius

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Speaker 1: and god of punchlines. How you I can shoot the

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Speaker 1: three too? From downtown You can't.

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Speaker 3: Yeah, they still call me Downtown Stevie Brown. That's I

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Speaker 3: can shoot the three pise. Okay, that is not why

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Speaker 3: they called you. That small forward is paid Bill small

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Speaker 3: the first time ever be called small very much. Yeah,

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Speaker 3: I'll take a small forward.

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Speaker 1: Bill. You are information and uh life lesson recorder. That's

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Speaker 1: what I do. Yeah, that's what you do. And our center,

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Speaker 1: I'll take that.

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Speaker 8: I actually was the center in the Boys and Girls

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Speaker 8: club on my basketball team.

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Speaker 7: On the bench.

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Speaker 1: Our center is aka Sweet Margaret for.

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Speaker 8: Her sign age. That's right.

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Speaker 1: I'll take the organized stress. And you know she she

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Speaker 1: keeps us in line. Our guest today, Uh, she kind

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Speaker 1: of takes forward.

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Speaker 7: Guest center six.

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Speaker 1: Man visiting the assistant coach. Yeah yeah, yeah, our guest today,

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Speaker 1: she takes what I'll say, Uh, she'll take the title.

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Speaker 1: She's living that Renaissance life and she takes it to

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Speaker 1: the next level. Uh, for over three decades side the

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Speaker 1: Garrett has done it all name it, singing, h acting, songwriting, arranging, producing, directing,

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Speaker 1: and conceptualizing. She's kind of like my favorite type of artists,

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Speaker 1: which she's basically you know, she's dependable. She shows up

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Speaker 1: on time, actually early. She Yeah, she shows up early

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Speaker 1: and basically you know, I think that she also inspires

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Speaker 1: uh others to be their best. And she comes through

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Speaker 1: in the clutch, ah with with with the winning shot.

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Speaker 1: And uh, not only has she worked the coach, does

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Speaker 1: the coach take the shot? Well, this time she is

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Speaker 1: in the fist of Saint Pittsburgh.

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Speaker 9: Let's not talk about sports, okay, really a bunch of

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Speaker 9: music people anyway.

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Speaker 1: I will say that not only not only has she,

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Speaker 1: in my opinion, work with the best, but I actually

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Speaker 1: believe that those that you her gifts and her talent

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Speaker 1: do so because she is actually the best at it

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Speaker 1: at what she does. Taxis you know, being at a

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Speaker 1: duetting the all time what I call barbecue classic don't

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Speaker 1: look any further, two step classics or one of Quincy

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Speaker 1: Jones's most reliable go to lyricists, depending U dare I

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Speaker 1: say it probably Michael Jackson's most important song. I think

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Speaker 1: Man in the Mirror is his most important song. I mean,

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Speaker 1: people are their favorites, and people have their go to classics,

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Speaker 1: but you know, like John Lennon has imagined that's his

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Speaker 1: cry song.

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Speaker 8: That's the one that makes.

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Speaker 1: Michael Michael Jackson has Man in the Mirror. That's it.

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Speaker 1: I feel like that's one of his most important songs.

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Speaker 1: To her Oscar nominated work for the animated film Rio

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Speaker 1: and for dream Girls, which you want to grab me

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Speaker 1: for correct I did. Absolutely, I'm still on their homework. Absolutely,

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Speaker 1: welcome to saw you to Garrette Love Supreme. Yeah, thank you.

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Speaker 1: You're from Compton, Yeah, what about it? Really?

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Speaker 7: Yeah?

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Speaker 10: One hundred nineteenth and Wilmington, honey content straight up Watts.

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Speaker 1: You know, I have to say that probably the period

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Speaker 1: that where I ran into you the most was during

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Speaker 1: UH your your time with UH with brand new heavies.

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Speaker 1: What are you doing? The smoking grooves?

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Speaker 7: And you know what, I watched you cletely forgot about.

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Speaker 1: That, but I watched you every night because the thing

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Speaker 1: you're you're I'm sure you've heard this a lot. You're

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Speaker 1: you're very magnetic personnality.

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Speaker 7: Darling. I can't hear it enough? When is your cancer?

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Speaker 7: I'm a moon child. I'm a moon child.

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Speaker 1: Well, yeah, you're very magnetic. And so it was to

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Speaker 1: the point where, like every night I was watching Guys

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Speaker 1: when you were on, even though it was I think

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Speaker 1: he only did like three weeks of that run.

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Speaker 7: But they smoked and grooveed me out. I was done data.

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Speaker 1: Yeah, but I really, I really didn't want to overwhelm

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Speaker 1: you with the fandom because even Beckfn like, I'm sure

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Speaker 1: that you just get overwhelmed with people asking you like, man,

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Speaker 1: so tell.

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Speaker 7: Me what it's like when I can't hear it's enough.

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Speaker 1: I'm telling you this interview. Yeah, I was about to

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Speaker 1: say this is this is show which all we do

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Speaker 1: is we geek out on this show.

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Speaker 5: Remember when Michael Jackson that was awesome? Remember when that's

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Speaker 5: all we're gonna do. Remember that song you wrote for

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Speaker 5: Preferred Camel.

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Speaker 1: Awesome, It's really good.

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Speaker 7: You guys is stupid.

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Speaker 1: Only on Pandora. So you were born in and raised

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Speaker 1: in Compton.

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Speaker 10: I was born at Saint Francis Hospital and Lynn It's California,

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Speaker 10: and spent the happiest part of my childhood on one

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Speaker 10: hundred and nineteenth in Wilmington. Okay, mm hmmm, so raised

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Speaker 10: by my grandmother who's passed.

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Speaker 1: Now, what was it? What was Compton Lincoln?

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Speaker 7: Because of course, okay, they had gangs, they had the

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Speaker 7: crips and all that, but the worst that the crips

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Speaker 7: would do to you if they caught you out was

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Speaker 7: steal your jacket. Really, that was it, dude, that they

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Speaker 7: would just steal your leather jacket, that jacket, and that

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Speaker 7: was it.

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Speaker 10: Now they're shooting people and killing brothers, and I'm you know,

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Speaker 10: I'm glad I'm from there, but I'm glad I'm not

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Speaker 10: in it right now.

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Speaker 1: I did time in Compton for a little bit. Yeah,

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Speaker 1: what kind of time when my parents were recording the

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Speaker 1: Congress Alley record. My grandmom lived in Compton, but my

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Speaker 1: cousins were all crips, and so to my parents just

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Speaker 1: made you know, me wearing blue. So you, Derby, you

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Speaker 1: were in Compton while your parents were working on a

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Speaker 1: record that would be sampled for a Compton classic. Nice thoughtful,

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Speaker 1: black man, well done. How crazy that was? That was

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Speaker 1: a great meta classic reference. Bill Bill's referring to nothing

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Speaker 1: but a cheap thing that yeah, we still haven't got

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Speaker 1: paid for someone. You might be able to get something.

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Speaker 1: He got a couple of all he can afford it.

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Speaker 1: So did you grow up in a musical family or

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Speaker 1: what's your musical beginnings.

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Speaker 10: Well, my mom was in a singing group with her

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Speaker 10: twin sister and her baby sister, and they were trying

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Speaker 10: to pop off when the Supremes were happening, so they

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Speaker 10: called themselves.

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Speaker 7: The other Three.

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Speaker 10: So dude, I would watch them rehearse and they would

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Speaker 10: have their matching outfits and they do their makeup and

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Speaker 10: everything and go out and perform in one of these

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Speaker 10: things they called.

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Speaker 7: A nightclub, And I was like, what is a nightclub?

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Speaker 7: That just sounds so hot? Like I want to go

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Speaker 7: to a night club?

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Speaker 11: Can we go?

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Speaker 1: Can we out?

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Speaker 7: No, you can't go to no nightclub. But it's a

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Speaker 7: night club that just sounds so fun and you guys

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Speaker 7: are dressed up and you're singing, and I want to

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Speaker 7: go to the nightclub?

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Speaker 1: Right?

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Speaker 7: Did no? Really?

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Speaker 1: Oh? Why?

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Speaker 7: I was so?

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Speaker 10: I was like eight or nine, and I was just

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Speaker 10: fascinated with the idea of those two words going together.

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Speaker 7: Night club?

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Speaker 1: What is that?

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Speaker 7: I wanted to be a part of that.

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Speaker 10: I think that's where the seed was planted. But my

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Speaker 10: mother was a blenda. She's not a soloist, she was

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Speaker 10: a blenza. So I think I learned about harmonies and

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Speaker 10: stuff like that. In fact, my first recording game was

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Speaker 10: with H R and B artist DJ Rogers.

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Speaker 11: Oh yes.

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Speaker 7: So it was right after the Say You Love Me album.

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Speaker 7: The next album he was.

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Speaker 1: Recording, Oh that's one of my favorite sor that's your Heart.

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Speaker 10: So my mother was his interior decorator, and she was

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Speaker 10: hanging wallpaper in his house and she's like, you know, DJ,

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Speaker 10: my daughter can sing. He's like your daughter, my plumber's son,

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Speaker 10: the maid's nephew. Everybody gets no, no, but my mother

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Speaker 10: was very very persistent. He said, all right, bring her by,

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Speaker 10: but if she can't sing, I don't want to hear.

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Speaker 10: I don't wan hear shit else. I don't hear nothing else.

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Speaker 10: So my mother brought me to his house and he

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Speaker 10: sat me down on the piano bench and he said, okay,

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Speaker 10: sing this, and he plays some riff and I say it,

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Speaker 10: and he looked.

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Speaker 7: At me like, oh, okay, sing this. So he played

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Speaker 7: something a little more intricate and I sang that and

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Speaker 7: he literally pushed me off the bench.

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Speaker 10: I fell on the floor and next thing I know,

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Speaker 10: a couple of days later, I'm in the studio sing

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Speaker 10: background with these amazing singers and just blending in the harmonies.

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Speaker 10: They were just so luscious and I was on a high.

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Speaker 10: And I came home and three weeks later I got.

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Speaker 7: A check.

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Speaker 10: And I was like, this is some shit I think

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Speaker 10: I could do on a regular basis. And I think

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Speaker 10: that's what started it. It was like, that was my

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Speaker 10: first official recording session.

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Speaker 1: What album was it?

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Speaker 7: On? The album after the Say after Say You Love Me?

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Speaker 7: I forgot the name of it.

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Speaker 1: So that might be love music in life.

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Speaker 11: There you go.

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Speaker 7: Yes, that sounds like it. That sounds like it.

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Speaker 1: Shit, I have e recon Yes, okay.

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Speaker 7: Playing you'll hear me in the background bag I will

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Speaker 7: do so with the silstles.

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Speaker 1: So that's when you were a teenager?

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Speaker 7: Yes, I was but a child at the time.

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Speaker 1: Yes, So when did you When did you decide? Were

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Speaker 1: you the only one in your family that had musical aspirations?

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Speaker 1: Did you know?

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Speaker 7: My mom did? But that didn't Evidently that didn't work

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Speaker 7: out too well.

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Speaker 10: But siblings or my sister wishes she could sing, Oh

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Speaker 10: my god, my sister wishes she could sing so badly,

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Speaker 10: but you can't send you so.

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Speaker 1: I can tell you already I'm still going to love

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Speaker 1: this interview. Yeah, we're not even a love So when

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Speaker 1: when did you officially? I mean I guess when did

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Speaker 1: you officially start?

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Speaker 8: Like?

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Speaker 1: How did the Plus? Was plus your first situation?

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Speaker 11: Yes?

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Speaker 7: It was my first signage?

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Speaker 1: Really how did you? How did you? How did you

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Speaker 1: run into Renee?

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Speaker 6: And?

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Speaker 7: I think I met them through my record label? You

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Speaker 7: were signed to I was signed to Quest, which fell

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Speaker 7: into Warner Brothers.

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Speaker 1: Wait, how you were signed the Quest before you did.

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Speaker 7: The post problem. No, that was pre that was prequency.

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Speaker 1: You're right.

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Speaker 10: I signed R Yes, yes, RC Records and they were

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Speaker 10: staff producers there, Angela. It wasn't a very pleasant experience,

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Speaker 10: so I don't want to elaborate on that anyway. None

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Speaker 10: is an asshole? Can My manager is like freaking out

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Speaker 10: right now, But I really don't care because he was

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Speaker 10: he really is. Okay, we won't He was so mean

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Speaker 10: to me, so freaking I ran into him thirty years later,

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Speaker 10: working with Michael.

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Speaker 7: Two months ago, I ran into him at the gas station.

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Speaker 1: I saw him.

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Speaker 7: Like I didn't see him really, Yeah, he was plumping

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Speaker 7: gas now two months ago, yes, just a couple of

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Speaker 7: months ago.

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Speaker 10: I ran into him and uh, he said something about

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Speaker 10: I drove around him because he was parked, and I

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Speaker 10: drove around his car and he shouted something.

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Speaker 7: Like, hey, lady, you can't even drive, so you didn't

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Speaker 7: even know he.

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Speaker 1: Knew it.

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Speaker 10: And then he went in and I was trying to

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Speaker 10: get out of the lot and he just finished pumping

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Speaker 10: his gas and he said, hi, Saita, and I said hi, Renee,

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Speaker 10: and he said, I was trying to say that was

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Speaker 10: me that was saying something smart you. I said, I know,

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Speaker 10: that's why ignored your ass, because it was anyway, no

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Speaker 10: love lost.

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Speaker 1: See, I was even going for the Renee angle because

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Speaker 1: what I wanted to know was it was also highly unusual,

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Speaker 1: uh for LEA producers to be female, which Angel right,

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Speaker 1: and because when was the album recorded.

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Speaker 7: Late late early eighties or late seventies.

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Speaker 1: I think there you go. Okay, So what I'm saying

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Speaker 1: that that was a highly unusual.

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Speaker 7: Their whole situation was unusual, and they were very very

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Speaker 7: successful at it at the time.

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Speaker 1: So what was it like under her tutelage?

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Speaker 7: Like I said, it wasn't all pleasant, darling. Okay, so

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Speaker 7: from the look on my manager's face and the stuff right.

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Speaker 1: Now, okay, damn, before it goes all.

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Speaker 7: The way to the heel of my shoe that's been

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Speaker 7: inserted in my mouth.

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Speaker 1: This is this is this is one. This is one observation.

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Speaker 1: Let me just let you know, let me let you

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Speaker 1: know that we're not in the burning bridges here Quest

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Speaker 1: Supreme only like a little not all, a little bit

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Speaker 1: bridge Madison County.

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Speaker 11: I will move on.

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Speaker 4: No.

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Speaker 7: I hadn't started writing yet, so I was just signed

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Speaker 7: as a you know, a singer in.

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Speaker 1: This group and they remembers were there.

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Speaker 10: There was myself and two other guys. I'm sorry, dude,

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Speaker 10: the other three shut up.

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Speaker 7: Yeah, we were plushed and that record lasted like a summer.

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Speaker 7: But it was fun to make.

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Speaker 1: Okay, Okay. I was going to say that the your

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Speaker 1: solo turne the I Don't Know where love comes from?

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Speaker 1: There's what the second to last song one side.

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Speaker 7: To killing you are killing me right now? No, no, no, no,

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Speaker 7: But remember the single from that album, let alone, this

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Speaker 7: third song on plaid two what what?

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Speaker 1: But here's the thing that let's that's how this works.

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Speaker 1: It's like you have to remember your career. But if

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Speaker 1: you don't they do. Yeah, wait a question about around

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Speaker 1: I know, so I want to I want to play

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Speaker 1: a little bit of it because there's a very interesting

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Speaker 1: uh uh observation.

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Speaker 11: Give me all right, where is it a mark?

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Speaker 1: Okay? Well, I was waiting for the ad lib to come.

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Speaker 1: But the reason why I wanted to ask about this

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Speaker 1: song is the fact that I found it very interesting

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Speaker 1: that even though this album came out before Thrilling, you

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Speaker 1: channeled one of Mike's iconic ad libs before he even

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Speaker 1: got to capitalize on it, which told me you must

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Speaker 1: be a deep Michael Jackson fan because his trademark he

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Speaker 1: he really wasn't a thing until it was a thing

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Speaker 1: Thriller came out. I mean he did it once on

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Speaker 1: Walk right now. He kind of did it working day

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Speaker 1: and night. I mean he did a lot on the

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Speaker 1: live record, but by that point for you to reference.

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Speaker 7: That, he I want to hear this rip so bad

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Speaker 7: right now?

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Speaker 1: That was it right exactly?

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Speaker 7: You know what?

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Speaker 8: Wow?

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Speaker 1: And that's the thing. I was like, wait a minute,

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Speaker 1: this came out before my god, I have.

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Speaker 7: No idea, but you know what, I sound a lot

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Speaker 7: like Angela. She was producing that vocal.

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Speaker 10: They wanted me to be her, and it was killing me.

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Speaker 10: Every song I had to sing it like she sang it,

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Speaker 10: because she did all the demo.

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Speaker 12: Yeah.

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Speaker 7: So, like she said, that doesn't even sound like me,

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Speaker 7: that sounds like Angela.

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Speaker 1: Well, I mean, I still I was. I have a

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Speaker 1: soft spot in my heart for like really good obscure

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Speaker 1: boogie era music, like between seventy nine and eighty three,

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Speaker 1: like I love it, pre prints post disco like that zone.

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Speaker 1: So yeah, but sweet spot, man, I love the fact

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Speaker 1: that you managed to reference an iconic ad lib before

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Speaker 1: that iconic ad lib even got to the icon raised

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Speaker 1: the heights. But that's that's sort of the Dewey Bey

360
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Speaker 1: stuff we do here. I love it. Free. So you

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Speaker 1: said that the group and that it only lasted the summer,

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Speaker 1: so that the group imploded.

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Speaker 10: Truly, Plush got flushed basically from our records.

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Speaker 1: Not even one show or two shows or.

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Speaker 7: Really it was I think it was just right off

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Speaker 7: kind of thing, you know whatever.

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Speaker 1: But did you get the days, my friend, did you

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Speaker 1: get anything out.

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Speaker 7: Of it or like, I mean, recording experience. Recording experience

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Speaker 7: was really valuable. Yeah, so learned just what not to

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Speaker 7: do for the you know, the next.

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Speaker 1: So for the next year, for the next year. I've

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Speaker 1: heard many a story from Dennis Edwards and of don't

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Speaker 1: look any further, one of which I heard that his

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Speaker 1: original intended duet partner was I supposed to be Shaka Khan.

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Speaker 1: Wow refute or what happened?

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Speaker 6: Was?

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Speaker 1: How? How did this happen?

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Speaker 10: When I auditioned for Quincy Jones, there were a butt

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Speaker 10: load of songwriters and producers in the room during the auditions.

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Speaker 7: Quincy at the time was recording.

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Speaker 1: He's putting together album Okay every Home One.

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Speaker 10: Yes recording that album, and and songwriters were submitting songs

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Speaker 10: to Quincy for Patty's album.

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Speaker 7: And I was the demo chick at the time. I

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Speaker 7: was since they saw me at those auditions, I started

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Speaker 7: doing everybody's demos for Quincy.

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Speaker 1: For Patty, well, rewind where are the auditions because now

389
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Speaker 1: it's just a little different. I was like, I see

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Speaker 1: your YouTube page, Oh let me let me check them out.

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Speaker 1: But what was the circuit?

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Speaker 7: It was a cattle call from Music Writer magazine.

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Speaker 10: A friend of mine and an ex singer friend of

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Speaker 10: mine whose group I was in since I was a kid,

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Speaker 10: was going to the auditions.

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Speaker 7: But she didn't tell me about it. Her boyfriend had

397
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Speaker 7: told me, right, So the barfriend called me and said

398
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Speaker 7: whence he's doing this?

399
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Speaker 10: And then I said, okay, okay, where is it? So

400
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Speaker 10: he gave me the address over at SI R Hollywood

401
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Speaker 10: and I said, Okay, what time? He said, I don't know,

402
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Speaker 10: So Baby, I showed up at seven a m. And

403
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Speaker 10: it was me and two other people and we stood

404
00:23:47,800 --> 00:23:51,480
Speaker 10: in line until the thing didn't start till noon, but

405
00:23:51,600 --> 00:23:53,480
Speaker 10: by then the line was around the block.

406
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Speaker 7: I was number three, right, So once you were.

407
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Speaker 10: Inside, there were two card table and paper clipboards at

408
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Speaker 10: each for each day, with fifteen fifteen intervals fifteen minute intervals.

409
00:24:09,520 --> 00:24:14,199
Speaker 10: Who reading is fundamental, isn't it. So you were supposed

410
00:24:14,240 --> 00:24:16,200
Speaker 10: to go to the table and write down the time

411
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Speaker 10: and the day you wanted to audition.

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Speaker 7: And I'm thinking, I'm here now.

413
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Speaker 10: I think I'll audition now because I'm not gonna be

414
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Speaker 10: anymore ready on Tuesday at ten fifteen than I am

415
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Speaker 10: right now. So I was one of the first few

416
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Speaker 10: people to audition, and Quincy told me years later that

417
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Speaker 10: everyone who performed after me had to be as good

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Speaker 10: as me or better than me.

419
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Speaker 7: So I went home that day. Baby, the bar was set.

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Speaker 10: I went home, and over the course of nine months,

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Speaker 10: I would get these letters, Congratulations, you're one of five

422
00:24:55,040 --> 00:24:58,760
Speaker 10: hunters the quizy. The next letter, you're still in the running,

423
00:24:58,760 --> 00:25:08,680
Speaker 10: two hundred and fifty, one hundred, seventy five, fifty, twenty five, fifteen, ten, five, four,

424
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Speaker 10: me and three dudes.

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Speaker 1: Wait. I wonder what was like for the fifth person

426
00:25:15,000 --> 00:25:20,800
Speaker 1: to get like seven letters I'm gonna quit my job,

427
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Speaker 1: Holy Hands that Night Onions Act the one.

428
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Speaker 10: This is a little known fact, since you're into all

429
00:25:29,760 --> 00:25:32,520
Speaker 10: this kind of minutia. Yeah, you know, the little known

430
00:25:32,600 --> 00:25:33,359
Speaker 10: fact is that.

431
00:25:35,440 --> 00:25:41,159
Speaker 7: Lisa Melvoy, Wendy's sister, he told us you wanted the

432
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Speaker 7: fifth member of the group.

433
00:25:46,920 --> 00:25:49,080
Speaker 1: Yeah, because when we first found Plush, I was like,

434
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Speaker 1: is this the group that Susanna was talking about? So

435
00:25:52,800 --> 00:25:55,879
Speaker 1: he wanted to put together a he wanted to know.

436
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Speaker 10: He wanted uh uh, he wanted a fifth mention or

437
00:26:01,160 --> 00:26:05,439
Speaker 10: Manhattan Transfer. He just wanted men and women who sang together,

438
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Speaker 10: or a group.

439
00:26:06,359 --> 00:26:06,520
Speaker 1: You know.

440
00:26:06,720 --> 00:26:08,600
Speaker 7: He really wanted to take six, but they hadn't been

441
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Speaker 7: discovered yet.

442
00:26:09,920 --> 00:26:10,800
Speaker 8: Who were the other guys?

443
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Speaker 10: And one was Kevin Dorsey, one was Darryl Finnassy and

444
00:26:18,880 --> 00:26:22,320
Speaker 10: the other guy was David Swanson. But the guys that

445
00:26:22,440 --> 00:26:25,119
Speaker 10: ended up going on the road with me was Darryl Fits,

446
00:26:25,480 --> 00:26:27,720
Speaker 10: Kevin Dorsey, and a guy named Dorian Holly.

447
00:26:30,880 --> 00:26:32,520
Speaker 7: He's on. He used to sing, We used to sing

448
00:26:32,600 --> 00:26:35,640
Speaker 7: on everybody everything. Yeah, and he had a really amazing

449
00:26:35,920 --> 00:26:37,440
Speaker 7: rich bass voice.

450
00:26:39,280 --> 00:26:42,800
Speaker 1: Daryl, I know from the Michael Jackson with Michael for years.

451
00:26:42,880 --> 00:26:47,080
Speaker 7: Right, Yes, let me apologize in advance for his no.

452
00:26:47,440 --> 00:27:03,639
Speaker 1: Okay, so fired swinging. So that's what. So this was

453
00:27:03,960 --> 00:27:09,399
Speaker 1: in eighty one, Okay, I believe this was eighty one

454
00:27:09,480 --> 00:27:15,280
Speaker 1: or eighty two, because I think Susannah was going to

455
00:27:15,359 --> 00:27:18,359
Speaker 1: take the gig and then Prince talked her out of

456
00:27:18,520 --> 00:27:21,119
Speaker 1: doing it, yes and said come with.

457
00:27:21,240 --> 00:27:24,200
Speaker 5: Us and Whndy, But Wendy didn't come around until like

458
00:27:24,240 --> 00:27:26,399
Speaker 5: eighty three, eighty eighty two.

459
00:27:26,920 --> 00:27:30,520
Speaker 1: Okay, but I remember her conclusion. The conclusion was that

460
00:27:30,720 --> 00:27:31,720
Speaker 1: he told her, like.

461
00:27:33,240 --> 00:27:37,160
Speaker 7: I always wondered what that was about. They never told

462
00:27:37,240 --> 00:27:39,359
Speaker 7: us why. She was no longer.

463
00:27:40,600 --> 00:27:44,040
Speaker 1: Very ambiguous with it. Yeah, So thanks for that was

464
00:27:44,080 --> 00:27:46,080
Speaker 1: the name of the group or the project Deco.

465
00:27:46,720 --> 00:27:52,120
Speaker 7: We had one. Okay, we were signed and we were

466
00:27:52,400 --> 00:27:58,760
Speaker 7: offered artist contracts and writers contracts. I was I hadn't

467
00:27:58,760 --> 00:28:01,200
Speaker 7: written no song poems, okay.

468
00:28:01,119 --> 00:28:03,479
Speaker 10: And I wasn't about to be on the other end

469
00:28:03,560 --> 00:28:05,800
Speaker 10: of the lawsuit with Quincy Jones for not fulfilling my

470
00:28:05,880 --> 00:28:08,800
Speaker 10: contractual obligations. So I was like, you know what, guys,

471
00:28:09,680 --> 00:28:12,000
Speaker 10: I'm just gonna sign the artist part and you guys

472
00:28:12,200 --> 00:28:15,440
Speaker 10: you signed the writers. They were like fine, whatever, So

473
00:28:15,520 --> 00:28:18,199
Speaker 10: they took our contracts, went to Quincy's house, I mean

474
00:28:18,240 --> 00:28:20,760
Speaker 10: the Quincy's office, and he did the equivalent of just

475
00:28:21,000 --> 00:28:23,720
Speaker 10: like shuffling their contracts on the desk and said, well,

476
00:28:24,840 --> 00:28:27,760
Speaker 10: we're Sayita's contract. They said, oh, she didn't. She didn't

477
00:28:27,760 --> 00:28:29,480
Speaker 10: want She just wants the artist thing. She doesn't want

478
00:28:29,480 --> 00:28:30,280
Speaker 10: a songwriter's thing.

479
00:28:30,760 --> 00:28:34,040
Speaker 7: So Quincy pushed their papers back across the desk to

480
00:28:34,119 --> 00:28:39,120
Speaker 7: them and said, you either all sign or nobody signs.

481
00:28:40,040 --> 00:28:43,120
Speaker 7: Next thing, I know, saita.

482
00:28:44,800 --> 00:28:45,960
Speaker 1: Bitch, what open his door.

483
00:28:50,920 --> 00:28:55,320
Speaker 7: When three large black men calling you signed the contract?

484
00:28:55,440 --> 00:28:59,120
Speaker 10: So I signed, and then I began the process of

485
00:28:59,360 --> 00:29:04,320
Speaker 10: learning the craft of writing a song. They began the

486
00:29:04,440 --> 00:29:09,000
Speaker 10: process of cashing their checks. So I was kept on

487
00:29:09,160 --> 00:29:12,400
Speaker 10: for seven years. They were dismissed after one year.

488
00:29:13,840 --> 00:29:16,280
Speaker 1: So you had no designs whatsoever to.

489
00:29:16,880 --> 00:29:20,680
Speaker 7: Be a because here's why. No, no, no, here's why.

490
00:29:20,760 --> 00:29:25,200
Speaker 10: Because let's just say, Quincy said, okay, you guys have

491
00:29:25,320 --> 00:29:28,280
Speaker 10: to write twelve songs a year, twelve songs that I

492
00:29:28,400 --> 00:29:32,400
Speaker 10: own the publishing too. So they were like, fine, they're musicians.

493
00:29:32,560 --> 00:29:34,720
Speaker 10: They can whip up a song, you know, just them

494
00:29:35,040 --> 00:29:36,280
Speaker 10: twelve songs and you're fine.

495
00:29:36,680 --> 00:29:39,560
Speaker 7: I okay. If I if they had to whip up twelve,

496
00:29:39,720 --> 00:29:42,680
Speaker 7: that means fifty percent. That means I gotta whip up

497
00:29:42,720 --> 00:29:45,280
Speaker 7: twenty four and don't let three people be in the room.

498
00:29:45,400 --> 00:29:47,480
Speaker 7: I was like, no, no, I don't. I don't need this.

499
00:29:47,840 --> 00:29:51,400
Speaker 1: I just want to be an artist, and he wants

500
00:29:51,520 --> 00:29:54,280
Speaker 1: individual songs, so it's not like you as a collective, Like, okay,

501
00:29:54,320 --> 00:29:55,680
Speaker 1: so Bill and I have the song we want to

502
00:29:55,720 --> 00:29:56,160
Speaker 1: submit to you.

503
00:29:56,320 --> 00:29:59,000
Speaker 10: Sure if if you're signed to him, then he owns

504
00:29:59,040 --> 00:30:01,080
Speaker 10: fifty percent of your s and Bill gets to keep

505
00:30:01,120 --> 00:30:01,520
Speaker 10: his part.

506
00:30:01,880 --> 00:30:03,800
Speaker 7: But that's only half a song for you. So you

507
00:30:03,920 --> 00:30:07,640
Speaker 7: still got living to have most songs deliver crazy. Yes, exactly,

508
00:30:08,080 --> 00:30:10,320
Speaker 7: exactly exactly.

509
00:30:11,760 --> 00:30:19,560
Speaker 1: That's another thinking meme moment is there's an audio equivalent that's.

510
00:30:19,480 --> 00:30:21,680
Speaker 7: Crazy things that make you go DN.

511
00:30:22,640 --> 00:30:28,760
Speaker 1: Okay, So that's interesting. So how does so once that's

512
00:30:28,840 --> 00:30:32,600
Speaker 1: in place. How does don't look any further come in

513
00:30:32,640 --> 00:30:35,040
Speaker 1: to okay? And the thing is, if you're signed to him,

514
00:30:35,760 --> 00:30:38,840
Speaker 1: are there restrictions for writing for other people or like,

515
00:30:38,960 --> 00:30:41,800
Speaker 1: does he get first DIBs on all that? Y? Yes, yes, yes,

516
00:30:42,640 --> 00:30:43,600
Speaker 1: okay the latter.

517
00:30:46,280 --> 00:30:51,080
Speaker 10: Once I was waiting those nine months, that's when all

518
00:30:51,160 --> 00:30:55,360
Speaker 10: those producers, Barry Mann and Cynthia while Dennis Lamberton, Franny Goldie,

519
00:30:55,440 --> 00:30:57,960
Speaker 10: they were all in the rooms, all in the room,

520
00:30:58,800 --> 00:31:03,320
Speaker 10: and I started doing I even did Shaka's demo Through

521
00:31:03,400 --> 00:31:06,400
Speaker 10: the Fire. Let me tell you said the wait a minute,

522
00:31:06,440 --> 00:31:07,920
Speaker 10: wait since a while.

523
00:31:08,800 --> 00:31:14,400
Speaker 1: I'm sorry, somewhere on this earth is your version Through

524
00:31:14,440 --> 00:31:14,760
Speaker 1: the Fire?

525
00:31:14,920 --> 00:31:17,160
Speaker 10: I wanted it so bad she she claimed she couldn't

526
00:31:17,160 --> 00:31:19,840
Speaker 10: find the couldn't find the demo wink wink anyway, so

527
00:31:20,120 --> 00:31:23,680
Speaker 10: she uh, when I was singing the demo, she did

528
00:31:23,760 --> 00:31:28,240
Speaker 10: not know. Shaka Khan is the reason I sing okay.

529
00:31:29,240 --> 00:31:34,479
Speaker 10: Shaka Khan was my vocal idol. I loved her riffs,

530
00:31:34,560 --> 00:31:37,040
Speaker 10: I loved her tone. I love the fact that Miles

531
00:31:37,160 --> 00:31:40,160
Speaker 10: Davis sounds told her her voice sounds like a horn,

532
00:31:40,720 --> 00:31:43,680
Speaker 10: because it does. She's just She's just so sharp and

533
00:31:43,840 --> 00:31:47,560
Speaker 10: crisp and I love Shaka. So I was doing this

534
00:31:47,680 --> 00:31:49,320
Speaker 10: demo and they said, well, we're writing a song for

535
00:31:49,360 --> 00:31:52,520
Speaker 10: Shaka Khan. I said, uh, sure, I'll sing it. So

536
00:31:52,760 --> 00:31:57,080
Speaker 10: I was singing this song and I sang through the Fire.

537
00:31:58,440 --> 00:32:01,920
Speaker 10: She said, don't do the art like that, don't roll,

538
00:32:02,120 --> 00:32:04,080
Speaker 10: don't I said, you have no idea.

539
00:32:04,240 --> 00:32:07,040
Speaker 7: That is shack. I said, trust me, I've been singing

540
00:32:07,080 --> 00:32:09,840
Speaker 7: Shaka Khan songs since I can remember. That is Shaka

541
00:32:10,080 --> 00:32:14,200
Speaker 7: through the Fire. And I did that ship Shaka loved it.

542
00:32:14,400 --> 00:32:16,680
Speaker 7: She did every lick that I did on the demo,

543
00:32:16,760 --> 00:32:18,480
Speaker 7: and I was like, praise the Lord.

544
00:32:19,160 --> 00:32:22,160
Speaker 1: I have I have know you you were.

545
00:32:22,240 --> 00:32:25,440
Speaker 10: Then I was the demonstration singer Dolly.

546
00:32:26,120 --> 00:32:28,560
Speaker 7: I demonstrated how the song should be sung.

547
00:32:28,680 --> 00:32:28,880
Speaker 1: God.

548
00:32:33,280 --> 00:32:36,240
Speaker 10: So so then it goes back to Dennis Edwards and

549
00:32:36,400 --> 00:32:39,640
Speaker 10: Chaka Khan. Right, yes, so I'm getting getting hot in here.

550
00:32:40,640 --> 00:32:47,000
Speaker 7: Okay, what you're talking about, don't be blocking nobodys.

551
00:32:47,520 --> 00:32:51,120
Speaker 8: I didn't looking over there, girl, So congratulations.

552
00:32:51,520 --> 00:32:55,080
Speaker 10: I did this demo for for Freddy Goldie and Dennis

553
00:32:55,640 --> 00:32:58,160
Speaker 10: Lambert and it was the song Don't Look any Further.

554
00:32:58,360 --> 00:33:00,320
Speaker 10: So that was supposed to be a day, but they

555
00:33:00,360 --> 00:33:02,680
Speaker 10: couldn't get the two in the room at the same time.

556
00:33:02,840 --> 00:33:04,800
Speaker 10: I don't know what was happening, and Shaka was on tour,

557
00:33:05,360 --> 00:33:10,960
Speaker 10: Dennis was down somewhere. Anyway, I did the demo, and

558
00:33:11,560 --> 00:33:14,920
Speaker 10: I did the demo the whole song. Dennis Edwards came

559
00:33:14,960 --> 00:33:18,080
Speaker 10: in a few weeks later and put his vocal on.

560
00:33:18,800 --> 00:33:21,240
Speaker 10: So in the meantime, they were trying to find Shaka,

561
00:33:21,280 --> 00:33:24,680
Speaker 10: couldn't Warner Motown said, look, we got to we have

562
00:33:24,760 --> 00:33:27,000
Speaker 10: a release date. We have to release this single. Who

563
00:33:27,640 --> 00:33:31,120
Speaker 10: we can't find Shaka? No, Well, who's on the record.

564
00:33:31,640 --> 00:33:35,120
Speaker 7: Some chick named Saya Garrett Great, leave her on it.

565
00:33:36,240 --> 00:33:38,600
Speaker 10: So I go back to the studio thinking, I'm gonna

566
00:33:39,120 --> 00:33:42,720
Speaker 10: I'm gonna do my real vocal now, right, gets you

567
00:33:42,840 --> 00:33:45,680
Speaker 10: a real fang? Dennis LeVert said, oh, no, no, no, no,

568
00:33:46,600 --> 00:33:49,560
Speaker 10: We're keeping the vocal you did. So the vocal you

569
00:33:49,680 --> 00:33:53,320
Speaker 10: hear bitches, it's my demo vocal. So the next time

570
00:33:53,400 --> 00:33:55,560
Speaker 10: somebody tell you, oh, it's just a demo, smack them

571
00:33:55,560 --> 00:33:58,040
Speaker 10: in the box for me, Just smack them right in

572
00:33:58,200 --> 00:34:00,480
Speaker 10: the damn mouth that I can.

573
00:34:00,480 --> 00:34:00,920
Speaker 7: Curse on this.

574
00:34:05,240 --> 00:34:06,880
Speaker 1: Let it be known that Eric's will in his eyes

575
00:34:06,920 --> 00:34:10,760
Speaker 1: in the corner. Eric's having the best time that anybody's having.

576
00:34:15,760 --> 00:34:17,080
Speaker 7: No you gotta see.

577
00:34:20,520 --> 00:34:23,799
Speaker 1: So that's how it happened. It's it's amazing because it's

578
00:34:23,840 --> 00:34:29,080
Speaker 1: amazing to me because the very first time I saw

579
00:34:29,200 --> 00:34:31,560
Speaker 1: you was on Soul Train.

580
00:34:33,000 --> 00:34:35,839
Speaker 7: I'm sorry, go ahead, yes, I'll take all.

581
00:34:37,040 --> 00:34:42,040
Speaker 1: Yeah, it was on Soul Train. And you know, even

582
00:34:42,360 --> 00:34:46,680
Speaker 1: in the show introduction when you know, sim McCoy is like,

583
00:34:46,760 --> 00:34:49,880
Speaker 1: you know and guest stars you see Dinnis Edwards. I

584
00:34:50,040 --> 00:34:52,600
Speaker 1: was like, Wow, who's that woman that's standing with Dennis

585
00:34:52,719 --> 00:34:55,880
Speaker 1: Edwards in the digital box intro? And I watched it

586
00:34:56,000 --> 00:35:01,200
Speaker 1: and it was like you, that was your set. Dennis

587
00:35:01,320 --> 00:35:04,719
Speaker 1: wasn't even I'm I'm I'm a Soul Train of file

588
00:35:04,920 --> 00:35:07,440
Speaker 1: as well, so I'm not trying to freak you guys out,

589
00:35:07,840 --> 00:35:12,879
Speaker 1: but that was such that was a star making turn.

590
00:35:13,000 --> 00:35:17,040
Speaker 1: Like you took over, not even took over because it

591
00:35:17,120 --> 00:35:20,680
Speaker 1: feels like a code top, but it was like presence.

592
00:35:21,120 --> 00:35:27,479
Speaker 1: I remembered, Yes, I remembered you more than Dennis Edward

593
00:35:27,719 --> 00:35:31,080
Speaker 1: having the best hit of his career since what standing

594
00:35:31,160 --> 00:35:36,319
Speaker 1: on the top forever. Yeah, And and that was such

595
00:35:36,480 --> 00:35:38,960
Speaker 1: a star making like you really made the most of it.

596
00:35:39,080 --> 00:35:44,000
Speaker 1: I also have to say that that video is okay.

597
00:35:46,040 --> 00:35:48,720
Speaker 7: I'm gonna smack you, so listen, listen.

598
00:35:48,960 --> 00:35:51,680
Speaker 1: I love it for the right reasons.

599
00:35:51,800 --> 00:35:53,080
Speaker 7: Okay, check this out.

600
00:35:59,080 --> 00:35:59,640
Speaker 1: I'm in love.

601
00:36:00,040 --> 00:36:03,920
Speaker 10: That video was shot in the basement of Motown Records.

602
00:36:05,480 --> 00:36:08,440
Speaker 10: I think it costs eleven dollars and fifty seven cents

603
00:36:09,680 --> 00:36:10,239
Speaker 10: including the.

604
00:36:10,280 --> 00:36:14,400
Speaker 7: Electricity that customer. Yeah, and Dennis was not in his

605
00:36:14,640 --> 00:36:15,560
Speaker 7: best form.

606
00:36:17,760 --> 00:36:17,920
Speaker 1: Though.

607
00:36:18,120 --> 00:36:22,239
Speaker 10: In fact, Dennis was like he was so amped up.

608
00:36:22,640 --> 00:36:25,680
Speaker 10: The video director between shoots, she would come over. At

609
00:36:25,719 --> 00:36:27,279
Speaker 10: one point she came over with a piece of paper

610
00:36:27,280 --> 00:36:29,920
Speaker 10: and she said, let me, can you put your gum in?

611
00:36:30,400 --> 00:36:32,040
Speaker 7: And Dennis was like, Ain't got no gum, Ain't got

612
00:36:32,080 --> 00:36:36,040
Speaker 7: no gum. I go my mama, mama. He was just

613
00:36:36,320 --> 00:36:38,640
Speaker 7: chewing the ship out of his own tongue.

614
00:36:40,680 --> 00:36:43,960
Speaker 1: Now look at it.

615
00:36:46,280 --> 00:36:49,919
Speaker 7: Yes, and then I didn't know it at the time,

616
00:36:50,160 --> 00:36:52,479
Speaker 7: but you know when I turned around with my back

617
00:36:52,560 --> 00:37:03,040
Speaker 7: to Dennis with the capitol K now, you never be

618
00:37:03,080 --> 00:37:04,799
Speaker 7: able to look at that video on the same look.

619
00:37:05,600 --> 00:37:07,440
Speaker 8: I'm sorry, g that dress, that blue, the.

620
00:37:07,480 --> 00:37:10,040
Speaker 7: Blue with loose way child blu. Wait. But listen, when

621
00:37:10,040 --> 00:37:12,920
Speaker 7: I turned around, I didn't know that he was humping

622
00:37:13,040 --> 00:37:19,160
Speaker 7: me behind me. I had no idea when that happened.

623
00:37:19,480 --> 00:37:22,320
Speaker 7: That move and when I saw it, I said, that

624
00:37:22,920 --> 00:37:24,080
Speaker 7: nasty best.

625
00:37:26,000 --> 00:37:28,319
Speaker 1: You, but you made the most of them, Like, how

626
00:37:28,600 --> 00:37:32,759
Speaker 1: how long did you have to promote the song with?

627
00:37:32,960 --> 00:37:35,120
Speaker 7: It was a It was a hot summer on the

628
00:37:35,160 --> 00:37:36,880
Speaker 7: East Coast. It was not pleasant.

629
00:37:36,960 --> 00:37:43,000
Speaker 10: We did clubs and Dennis had Okay, you know he

630
00:37:43,120 --> 00:37:47,840
Speaker 10: had groupies, and you know Usher has groupies, but these were.

631
00:37:47,760 --> 00:37:54,440
Speaker 7: Not like mama. Okay, So Dennis's groupies correlated with his age.

632
00:37:55,000 --> 00:37:59,200
Speaker 1: I get it. So we had some a little one.

633
00:38:03,800 --> 00:38:06,120
Speaker 10: So I'll tell you one experience. We were at this

634
00:38:06,200 --> 00:38:11,279
Speaker 10: club called Silver Something in Jersey, right, silver Shadow. So

635
00:38:11,600 --> 00:38:16,080
Speaker 10: it was one big dressing room. You there, I told him, So,

636
00:38:16,560 --> 00:38:18,640
Speaker 10: I guess he's been in that club. You know, Garrett

637
00:38:18,719 --> 00:38:23,439
Speaker 10: Eric used to do an R for Epic Okay, okay,

638
00:38:24,280 --> 00:38:26,520
Speaker 10: VPR you remember Clive Davis.

639
00:38:26,760 --> 00:38:29,879
Speaker 1: Yeah, I didn't even know it. Ok just a little

640
00:38:29,960 --> 00:38:37,200
Speaker 1: nugget for your thank you for this is the honor

641
00:38:37,280 --> 00:38:41,479
Speaker 1: of my life, right should ringtone? I know? Okay?

642
00:38:41,560 --> 00:38:44,680
Speaker 10: So thens it was almost time to do the show,

643
00:38:44,719 --> 00:38:46,560
Speaker 10: and he had all these people and they were smoking

644
00:38:46,680 --> 00:38:49,120
Speaker 10: and drinking and going in the bathroom to smoke.

645
00:38:49,520 --> 00:38:50,040
Speaker 11: What I'm saying.

646
00:38:51,080 --> 00:38:54,080
Speaker 10: So yeah, So I said, excuse me, I you know,

647
00:38:54,719 --> 00:38:59,600
Speaker 10: I'd like to get dressed now. One of his groupie said, oh,

648
00:39:00,480 --> 00:39:03,239
Speaker 10: you ain't got nothing. He ain't never saying before.

649
00:39:05,520 --> 00:39:06,640
Speaker 1: Never ever.

650
00:39:07,160 --> 00:39:11,040
Speaker 10: I said, he hasn't seen this one before, so can

651
00:39:11,120 --> 00:39:13,680
Speaker 10: I just change my clothes? So he left went to

652
00:39:13,760 --> 00:39:16,560
Speaker 10: the bathroom. But it was those kind of things.

653
00:39:16,640 --> 00:39:18,680
Speaker 7: I'm trying to do a show and he and his

654
00:39:18,880 --> 00:39:21,400
Speaker 7: other buddies and their chicks and his chick all in

655
00:39:21,440 --> 00:39:23,640
Speaker 7: the room and it's like one little dressing room. I'm like,

656
00:39:23,719 --> 00:39:24,960
Speaker 7: can you please? Anyway?

657
00:39:25,239 --> 00:39:30,640
Speaker 10: Years later he sent me he called me and apologized

658
00:39:31,280 --> 00:39:32,360
Speaker 10: because I guess that's.

659
00:39:32,200 --> 00:39:34,600
Speaker 7: An that's a thing you have to do when you go.

660
00:39:34,719 --> 00:39:35,320
Speaker 1: Through the steps.

661
00:39:35,640 --> 00:39:37,360
Speaker 7: Yeah, whatever, it.

662
00:39:37,520 --> 00:39:42,640
Speaker 1: Is one of the steps. Yes, not HR a little

663
00:39:42,680 --> 00:39:47,200
Speaker 1: further past HR. That's A and N A not HR

664
00:39:47,280 --> 00:39:47,840
Speaker 1: wrung acronym.

665
00:39:47,920 --> 00:39:52,600
Speaker 10: Okay, Yeah, he was making amends and I accepted his apology,

666
00:39:52,680 --> 00:39:54,239
Speaker 10: but I said, you were so mean to me.

667
00:39:54,320 --> 00:39:56,600
Speaker 7: He's not I know. I'm sorry, I'm sorry, but.

668
00:39:56,719 --> 00:39:59,880
Speaker 1: Yeah, are you only there for one song? And that

669
00:40:01,080 --> 00:40:05,520
Speaker 1: there's smart I can take. Really, Yes, I would have

670
00:40:05,640 --> 00:40:07,120
Speaker 1: incorporate you in this show.

671
00:40:07,080 --> 00:40:10,759
Speaker 10: And like, but Dennis wasn't trying to be in no

672
00:40:10,920 --> 00:40:15,160
Speaker 10: show with anybody else. He was just trying to do Dennis. Yeah,

673
00:40:15,400 --> 00:40:17,439
Speaker 10: and we were just promoting the single at the time.

674
00:40:17,600 --> 00:40:19,520
Speaker 8: So can I just ask the dumb question here?

675
00:40:19,840 --> 00:40:21,440
Speaker 7: Yes, I think this is the platform.

676
00:40:24,400 --> 00:40:25,719
Speaker 8: Even the dumb ones got to be smart.

677
00:40:25,800 --> 00:40:26,680
Speaker 7: Let me see how I say this.

678
00:40:27,480 --> 00:40:29,040
Speaker 8: I'm at de jump.

679
00:40:29,920 --> 00:40:30,520
Speaker 1: Just please.

680
00:40:31,800 --> 00:40:32,640
Speaker 7: With your job of juice.

681
00:40:32,680 --> 00:40:38,440
Speaker 10: Wait, it's the name I asked for any and Dennis,

682
00:40:38,840 --> 00:40:42,080
Speaker 10: it's They just looked up names of African cities.

683
00:40:43,440 --> 00:40:44,000
Speaker 11: We thought it was.

684
00:40:45,280 --> 00:40:47,480
Speaker 7: It might be, it might be, it might be.

685
00:40:47,840 --> 00:40:50,080
Speaker 10: I'm not sure, but it's just that they like the

686
00:40:50,200 --> 00:40:52,560
Speaker 10: sound of certain cities and they just strung them together.

687
00:40:52,760 --> 00:40:53,759
Speaker 7: But here's how it goes.

688
00:40:54,560 --> 00:40:56,840
Speaker 1: Yes, dao y.

689
00:40:57,600 --> 00:41:04,200
Speaker 7: Owned by now jambay m Bayo ca no no Cairo.

690
00:41:12,120 --> 00:41:16,280
Speaker 8: Jamba the jumbe by you now jambem.

691
00:41:15,640 --> 00:41:18,640
Speaker 1: By your no Cairo still no Cairo? Wrong?

692
00:41:21,480 --> 00:41:24,600
Speaker 8: The jambey by shot.

693
00:41:26,760 --> 00:41:29,160
Speaker 7: Jam you all right?

694
00:41:31,000 --> 00:41:31,600
Speaker 11: What was the other one?

695
00:41:31,640 --> 00:41:34,400
Speaker 7: Dale Nambu I o.

696
00:41:36,440 --> 00:41:44,640
Speaker 1: I in the wrong room. Some wandered into both.

697
00:41:45,080 --> 00:41:46,719
Speaker 7: He got that sugar hit in the right room.

698
00:41:52,360 --> 00:41:54,759
Speaker 1: Thank you for finally settling that.

699
00:41:55,400 --> 00:41:58,480
Speaker 7: So welcome because it was a problem.

700
00:41:58,600 --> 00:42:00,279
Speaker 8: It was a problem like I'm a day they put

701
00:42:00,320 --> 00:42:00,799
Speaker 8: them in there that.

702
00:42:03,760 --> 00:42:06,640
Speaker 7: I got my juice up in there my city, Cairo.

703
00:42:11,960 --> 00:42:15,239
Speaker 1: So can you explain to us and the listeners, but

704
00:42:15,400 --> 00:42:23,440
Speaker 1: mostly to me, what is what is it like pounding

705
00:42:23,520 --> 00:42:29,960
Speaker 1: the pavement on the background singer uh circuit, which I'm

706
00:42:30,000 --> 00:42:31,879
Speaker 1: sure that was your next step. I mean you've done

707
00:42:32,160 --> 00:42:33,359
Speaker 1: countless of Yeah.

708
00:42:33,560 --> 00:42:36,400
Speaker 7: That was an education though, man, that was the real.

709
00:42:37,960 --> 00:42:40,720
Speaker 10: Learning experience for me, because, like I said, I started

710
00:42:41,440 --> 00:42:47,520
Speaker 10: doing demos for l A songwriters and producers, so I

711
00:42:47,640 --> 00:42:52,319
Speaker 10: got to I got to experience completely different styles from

712
00:42:52,400 --> 00:42:55,960
Speaker 10: every you know, pop producer that was on the charts

713
00:42:55,960 --> 00:42:59,239
Speaker 10: and was writing songs for whatever Quincy's next artist was.

714
00:43:00,080 --> 00:43:05,600
Speaker 7: So it was it was a true training ground for

715
00:43:05,719 --> 00:43:07,279
Speaker 7: me as a as a singer.

716
00:43:07,440 --> 00:43:13,719
Speaker 10: And singing uh lead is a completely different animal than

717
00:43:13,840 --> 00:43:18,760
Speaker 10: blending with other people to make a cohesive background sound

718
00:43:19,160 --> 00:43:22,239
Speaker 10: to the way you have to You can't you can't stand,

719
00:43:22,320 --> 00:43:25,120
Speaker 10: you can't step out, and you can't be too silent.

720
00:43:25,239 --> 00:43:26,200
Speaker 7: You have to blend.

721
00:43:26,719 --> 00:43:29,719
Speaker 10: You have to create a sound, a harmonious sound with

722
00:43:29,840 --> 00:43:31,719
Speaker 10: the other people that you're singing with. And that's what

723
00:43:31,840 --> 00:43:35,520
Speaker 10: I loved so much about singing background on other people's

724
00:43:35,560 --> 00:43:37,719
Speaker 10: records that in the fact that I got to work

725
00:43:37,800 --> 00:43:41,480
Speaker 10: with producers that I never would ever work with because

726
00:43:41,600 --> 00:43:44,120
Speaker 10: I'm not that that big artist that they're writing for,

727
00:43:44,520 --> 00:43:46,640
Speaker 10: But I'm the chick that shows the artists how to

728
00:43:46,680 --> 00:43:50,560
Speaker 10: sing the song. It's just such an amazing, powerful feeling.

729
00:43:50,880 --> 00:43:53,440
Speaker 10: And nobody does demos anymore. Nobody, you know, it's a

730
00:43:53,600 --> 00:43:54,840
Speaker 10: sad state of affairs.

731
00:43:55,560 --> 00:43:59,600
Speaker 1: Well, yes, I don't know. Maybe they just become the

732
00:44:00,080 --> 00:44:04,759
Speaker 1: final the final product. So I guess you worked with

733
00:44:06,640 --> 00:44:10,640
Speaker 1: who did True Blue? Steve, Stephen Bray and Patrick Lennon, Right, Yes, so.

734
00:44:10,920 --> 00:44:21,200
Speaker 7: Oh, I have a great story for you. Yes, this

735
00:44:21,320 --> 00:44:23,680
Speaker 7: is this is about Madonna, and she she fucking loves

736
00:44:23,719 --> 00:44:24,120
Speaker 7: the story.

737
00:44:24,239 --> 00:44:27,880
Speaker 10: So we're making music on the True Blue album and

738
00:44:27,920 --> 00:44:30,520
Speaker 10: Steve says to me, we need some background singers.

739
00:44:30,600 --> 00:44:32,720
Speaker 7: I'm like, okay, I'll call you know, I'll call somebody.

740
00:44:32,800 --> 00:44:34,719
Speaker 7: So I called. I'm trying to think of what kind

741
00:44:34,760 --> 00:44:39,359
Speaker 7: of blend for this song. So I called my friend, uh.

742
00:44:40,520 --> 00:44:47,600
Speaker 10: Uh, Eddie Layman, who was like the jingle singer, the person,

743
00:44:47,719 --> 00:44:48,319
Speaker 10: perfect pitch.

744
00:44:48,480 --> 00:44:51,440
Speaker 7: She was on every every movie score. She was the singer.

745
00:44:51,800 --> 00:44:54,040
Speaker 7: So I called Edie because I'd sung with her before,

746
00:44:54,080 --> 00:44:57,280
Speaker 7: and I said, they need one more person. And before

747
00:44:57,360 --> 00:45:00,160
Speaker 7: I thought too much more about it, Madonna was right there.

748
00:45:00,160 --> 00:45:02,359
Speaker 7: I said, you want to sing on this record because

749
00:45:02,360 --> 00:45:07,279
Speaker 7: I can hire you to sing. Donna yet, yes, this Madonna. No,

750
00:45:07,400 --> 00:45:08,440
Speaker 7: it's Madonna.

751
00:45:09,719 --> 00:45:10,080
Speaker 1: Madonna.

752
00:45:10,440 --> 00:45:11,640
Speaker 8: I know she was status.

753
00:45:11,719 --> 00:45:13,120
Speaker 7: She was Madonna.

754
00:45:13,200 --> 00:45:15,000
Speaker 1: This was like second album, yird al.

755
00:45:15,360 --> 00:45:20,320
Speaker 7: So she said, yeah, so we're singing, right, and Madonna

756
00:45:20,440 --> 00:45:22,319
Speaker 7: would uh uh.

757
00:45:23,239 --> 00:45:25,719
Speaker 10: She We would joke and laughing, and every time she

758
00:45:25,719 --> 00:45:28,760
Speaker 10: would make a joke, she would just like tap that ass.

759
00:45:33,120 --> 00:45:35,560
Speaker 10: She would make a joke and just tap me on that.

760
00:45:36,960 --> 00:45:43,680
Speaker 10: So after two or three times the ass tapping, I said, bits,

761
00:45:43,719 --> 00:45:44,160
Speaker 10: you touched my.

762
00:45:51,560 --> 00:45:54,000
Speaker 7: She said, oh, saying I'm just.

763
00:45:55,640 --> 00:45:56,080
Speaker 1: But that was it.

764
00:45:56,200 --> 00:45:56,600
Speaker 7: She didn't.

765
00:45:58,200 --> 00:46:00,759
Speaker 10: But you know what, three or four years later, maybe

766
00:46:01,000 --> 00:46:07,719
Speaker 10: ten years later, I'm in this restaurant on Lasi mantohisa,

767
00:46:08,120 --> 00:46:11,000
Speaker 10: I'm in the private dining area because that's how I.

768
00:46:12,800 --> 00:46:12,840
Speaker 1: Ma.

769
00:46:12,960 --> 00:46:14,960
Speaker 7: I'm by myself. I don't give a shit. I don't

770
00:46:15,000 --> 00:46:15,960
Speaker 7: care you find myself.

771
00:46:15,960 --> 00:46:17,879
Speaker 10: I don't care what people think about me sitting along

772
00:46:17,920 --> 00:46:19,320
Speaker 10: and in the I don't give a shit. So it

773
00:46:19,440 --> 00:46:22,319
Speaker 10: was me and then an walks Madonna and her.

774
00:46:22,719 --> 00:46:26,319
Speaker 1: Husband, so trying which one.

775
00:46:26,480 --> 00:46:29,800
Speaker 8: Yeah, okay, okay, the husband has been I got the director.

776
00:46:30,800 --> 00:46:34,800
Speaker 7: Yeah, yeah, mister Ritchie. So I said to her. She goes, hey, sayta,

777
00:46:35,040 --> 00:46:38,880
Speaker 7: how are you. I'm like, I'm great, Hi missus Richie

778
00:46:40,040 --> 00:46:41,680
Speaker 7: and her husband just being because.

779
00:46:41,480 --> 00:46:42,200
Speaker 1: Who calls her that?

780
00:46:42,480 --> 00:46:46,120
Speaker 10: You know what I'm saying, Hi missus Richie. So she said, so, Sayda,

781
00:46:47,239 --> 00:46:48,960
Speaker 10: what have you been doing? What are you doing lately?

782
00:46:49,160 --> 00:46:52,360
Speaker 10: And I said I had heard that one of her

783
00:46:52,400 --> 00:46:55,879
Speaker 10: background singers was was not working out too well.

784
00:46:56,760 --> 00:46:58,560
Speaker 7: So when she said, so, what are you up to?

785
00:46:58,680 --> 00:47:01,360
Speaker 7: I said, I'm waiting for Donna to fuck up so

786
00:47:01,440 --> 00:47:02,600
Speaker 7: I can take her place.

787
00:47:05,239 --> 00:47:09,120
Speaker 1: Where it was.

788
00:47:10,160 --> 00:47:14,880
Speaker 7: Yeah, that demon. Anyway, that's another that I'm not getting.

789
00:47:15,560 --> 00:47:16,040
Speaker 1: My husband.

790
00:47:16,560 --> 00:47:19,000
Speaker 7: Okay, I don't.

791
00:47:18,800 --> 00:47:22,120
Speaker 1: Get so many bodies have been discussing right now.

792
00:47:23,040 --> 00:47:26,200
Speaker 7: So anyway, all right, anyway.

793
00:47:25,920 --> 00:47:27,359
Speaker 1: So we have to go dig more holes.

794
00:47:27,680 --> 00:47:31,040
Speaker 7: What I was gonna say, anyway, we got the shovel

795
00:47:31,080 --> 00:47:31,400
Speaker 7: in the car.

796
00:47:33,280 --> 00:47:38,239
Speaker 1: Okay, Jesus, keep going. I don't even know what I

797
00:47:38,360 --> 00:47:42,200
Speaker 1: was saying in my head. Wait, you're Dona. Donna walked

798
00:47:42,200 --> 00:47:45,000
Speaker 1: past and you smacked on the ass. That's really wanted

799
00:47:45,040 --> 00:47:45,600
Speaker 1: the wrong.

800
00:47:45,520 --> 00:47:49,680
Speaker 8: Ass, you said, I heard Donna. Fuck Yeah, she laughed.

801
00:47:49,719 --> 00:47:51,759
Speaker 7: So three years later I get a call.

802
00:47:52,600 --> 00:47:54,960
Speaker 10: Three years maybe a year and a half but it

803
00:47:55,040 --> 00:47:57,640
Speaker 10: was a lengthy maybe almost almost two years, maybe three.

804
00:47:58,000 --> 00:48:01,359
Speaker 10: So I get this call and uh, I ended up

805
00:48:01,560 --> 00:48:04,360
Speaker 10: going on the road with her for a summer, the

806
00:48:04,440 --> 00:48:07,759
Speaker 10: Reinvention Tour. We rehearsed for a month and we were

807
00:48:07,800 --> 00:48:10,239
Speaker 10: out for three months, and it was the longest year

808
00:48:10,280 --> 00:48:11,360
Speaker 10: and a half of my life.

809
00:48:12,560 --> 00:48:16,680
Speaker 1: How Yeah, when when you are a when you're a

810
00:48:16,880 --> 00:48:21,120
Speaker 1: natural born magnet and your own planet.

811
00:48:22,320 --> 00:48:23,520
Speaker 8: Yeah, that's a good description.

812
00:48:24,000 --> 00:48:27,320
Speaker 1: No, when you are your own how do you know

813
00:48:28,160 --> 00:48:32,560
Speaker 1: when to fall back and just blending when you're so

814
00:48:32,760 --> 00:48:36,160
Speaker 1: obviously like you shined.

815
00:48:37,000 --> 00:48:40,600
Speaker 10: Well here, I have to give Madonna kudos because she

816
00:48:41,040 --> 00:48:44,120
Speaker 10: knows that no matter who else is on stage, it's

817
00:48:44,200 --> 00:48:45,320
Speaker 10: all about Madonna.

818
00:48:45,480 --> 00:48:48,200
Speaker 7: So if you understand that, then you can roll with her.

819
00:48:48,600 --> 00:48:49,440
Speaker 7: It's not a problem.

820
00:48:50,320 --> 00:48:53,640
Speaker 1: But you have to resign to that. Like sign for

821
00:48:53,719 --> 00:48:54,040
Speaker 1: the gig.

822
00:48:54,120 --> 00:48:56,000
Speaker 10: I knew what I was doing when I signed up

823
00:48:56,040 --> 00:48:57,360
Speaker 10: for the gig. I knew who the star of the

824
00:48:57,400 --> 00:48:59,920
Speaker 10: planet was. And it wasn't say to get it right,

825
00:49:00,000 --> 00:49:01,160
Speaker 10: I wasn't filling up stadiums.

826
00:49:01,239 --> 00:49:04,800
Speaker 1: They can't to see her right, right, So there's no

827
00:49:05,640 --> 00:49:06,520
Speaker 1: never any temptations.

828
00:49:07,680 --> 00:49:09,160
Speaker 7: Well, she would bring me.

829
00:49:09,440 --> 00:49:11,080
Speaker 1: She brought me out to do a solo.

830
00:49:11,320 --> 00:49:13,560
Speaker 7: I mean the other Donna had been on the road

831
00:49:13,600 --> 00:49:14,520
Speaker 7: with her for seventeen years.

832
00:49:14,520 --> 00:49:16,839
Speaker 10: I've been never got a solo, So I knew there

833
00:49:16,960 --> 00:49:19,680
Speaker 10: was something about me that she understood and she respected.

834
00:49:19,920 --> 00:49:23,480
Speaker 10: But Donna, if you if you don't cower, if you

835
00:49:23,520 --> 00:49:25,759
Speaker 10: don't back down, then she respects that.

836
00:49:27,000 --> 00:49:28,919
Speaker 7: Mmm. She truly does.

837
00:49:29,040 --> 00:49:31,319
Speaker 10: And she knows she's not the best dancer. No, she's

838
00:49:31,360 --> 00:49:33,040
Speaker 10: not the best singer. Will be the first to tell

839
00:49:33,120 --> 00:49:35,879
Speaker 10: you that. But that bitch is the hardest worker I've

840
00:49:35,880 --> 00:49:37,040
Speaker 10: ever met in my life.

841
00:49:37,880 --> 00:49:42,600
Speaker 1: True, she works her arts off. You're right, You're right.

842
00:49:44,000 --> 00:49:48,640
Speaker 7: And if she was saying for twenty fucking ye, that's

843
00:49:48,680 --> 00:49:50,440
Speaker 7: what she'd say. I'm the cherry picker to all her

844
00:49:50,600 --> 00:49:53,600
Speaker 7: fans that she hovered above them. Its for being my

845
00:49:53,760 --> 00:49:58,520
Speaker 7: fans for twenty fucking It's awesome.

846
00:49:59,080 --> 00:50:05,759
Speaker 1: Wow. What are the rules to to surviving in that

847
00:50:06,600 --> 00:50:07,720
Speaker 1: that kind of world?

848
00:50:07,800 --> 00:50:10,359
Speaker 7: That circuit you know who the star is and it's

849
00:50:10,440 --> 00:50:11,360
Speaker 7: usually not the background.

850
00:50:11,400 --> 00:50:12,680
Speaker 1: Well no, no, no, no, I don't even mean for

851
00:50:12,760 --> 00:50:14,759
Speaker 1: conscious I'm talking about like, when you're called for work,

852
00:50:15,280 --> 00:50:19,960
Speaker 1: is it do producers look for? Like, Okay, who sings

853
00:50:20,000 --> 00:50:24,400
Speaker 1: the flatts without the most vibrato? Who shows up a

854
00:50:24,440 --> 00:50:25,239
Speaker 1: half hour early.

855
00:50:25,440 --> 00:50:27,959
Speaker 10: Who a good producer will consider all of those things

856
00:50:27,960 --> 00:50:30,400
Speaker 10: because they already know what kind of sound they're looking for,

857
00:50:30,600 --> 00:50:32,520
Speaker 10: and they'll just hire the singers that they think can

858
00:50:32,719 --> 00:50:33,920
Speaker 10: create that sound for them.

859
00:50:34,960 --> 00:50:38,640
Speaker 1: Is it easy for you to track everything yourself or

860
00:50:39,200 --> 00:50:42,080
Speaker 1: to do it with like who are your who are

861
00:50:42,120 --> 00:50:46,640
Speaker 1: the contemporaries, who are the go to people in background work?

862
00:50:48,280 --> 00:50:50,719
Speaker 1: In the first half of the eighties, it had to

863
00:50:50,760 --> 00:50:51,480
Speaker 1: be like, you.

864
00:50:51,520 --> 00:50:57,600
Speaker 10: Know, Lisa Fisher, all those New York Audrew Wheeler, Sendy Mizelle.

865
00:51:00,360 --> 00:51:01,560
Speaker 7: La singers were not even.

866
00:51:01,440 --> 00:51:03,160
Speaker 1: Featured in this twenty Steps.

867
00:51:03,360 --> 00:51:06,279
Speaker 10: Yeah, and then there was background singers that didn't really

868
00:51:07,000 --> 00:51:11,719
Speaker 10: have a background anyway. That's something else I can't oh Tatha,

869
00:51:13,680 --> 00:51:17,080
Speaker 10: all these all these amazing singers, and Tauatha might have even.

870
00:51:16,960 --> 00:51:19,640
Speaker 7: Been on that DJ Rodgers thing of mine, yeah, my

871
00:51:19,719 --> 00:51:20,200
Speaker 7: first gig.

872
00:51:20,440 --> 00:51:23,800
Speaker 10: But anyway, you get to know who you know, the

873
00:51:23,920 --> 00:51:26,719
Speaker 10: ones that are dependable, the ones who get the job done,

874
00:51:26,760 --> 00:51:28,360
Speaker 10: the ones that do it quickly, and the ones that

875
00:51:28,640 --> 00:51:30,640
Speaker 10: also Producers are looking for people to come up with

876
00:51:31,120 --> 00:51:34,640
Speaker 10: ideas that they didn't think of, you know, different harmony parts,

877
00:51:34,719 --> 00:51:36,959
Speaker 10: different counter melody parts that you could come.

878
00:51:36,920 --> 00:51:37,560
Speaker 7: Up with on the spot.

879
00:51:37,680 --> 00:51:40,880
Speaker 1: So do they send you the track pronto learn.

880
00:51:42,960 --> 00:51:44,520
Speaker 8: And if you make changes you get a check for that.

881
00:51:44,760 --> 00:51:47,640
Speaker 7: No, No, that's part of why they hired you. They

882
00:51:47,680 --> 00:51:49,719
Speaker 7: knew you could make the product better without, you.

883
00:51:49,760 --> 00:51:54,759
Speaker 1: Know, being a writer. I work for higher So you

884
00:51:54,880 --> 00:51:59,800
Speaker 1: know what I this this morning when I was recapping everything,

885
00:52:01,200 --> 00:52:03,400
Speaker 1: I freaking forgot about Do you want it right now?

886
00:52:04,560 --> 00:52:04,719
Speaker 2: Oh?

887
00:52:04,920 --> 00:52:07,719
Speaker 1: Wow, it's just one of those things that escaped me.

888
00:52:07,960 --> 00:52:08,919
Speaker 7: Check this out.

889
00:52:09,360 --> 00:52:16,120
Speaker 1: Yes, nerder Rama, Yes, ringtone song.

890
00:52:17,320 --> 00:52:19,680
Speaker 7: Was produced by Jellybeans.

891
00:52:20,600 --> 00:52:22,719
Speaker 10: Okay, he was one of the three producers that I

892
00:52:23,120 --> 00:52:25,360
Speaker 10: had after one of my ill fated albums that is

893
00:52:25,480 --> 00:52:27,120
Speaker 10: on the Shelf and Warner Brothers that will be never

894
00:52:27,280 --> 00:52:29,200
Speaker 10: never ever be heard or seen from in life.

895
00:52:29,640 --> 00:52:32,719
Speaker 1: But he would wait, wait, Marie Wind.

896
00:52:33,200 --> 00:52:36,239
Speaker 7: It was after the fact. I my first album on

897
00:52:36,360 --> 00:52:39,920
Speaker 7: Quest had three producers jelly Bean, Glenn Ballard and and

898
00:52:41,719 --> 00:52:46,319
Speaker 7: Cliff Magnus and Robbie Neville and it.

899
00:52:46,360 --> 00:52:51,919
Speaker 1: Never came out eighty five five. Remember so this before

900
00:52:52,360 --> 00:52:53,080
Speaker 1: life there was an album.

901
00:52:53,200 --> 00:52:55,040
Speaker 7: Yes, yes, there were two albums.

902
00:52:55,360 --> 00:52:58,160
Speaker 10: There were a lot of changes that went from Quest,

903
00:52:58,320 --> 00:53:01,360
Speaker 10: transition to Warner Brothers and Divorced, and it was a

904
00:53:01,400 --> 00:53:02,719
Speaker 10: lot of it was a lot of shit going on.

905
00:53:03,320 --> 00:53:10,680
Speaker 1: So, yeah, do we have anybody. I'm gonna find one.

906
00:53:11,440 --> 00:53:12,200
Speaker 7: You're gonna find one.

907
00:53:12,280 --> 00:53:14,000
Speaker 1: Oh, we do that. We're gonna we're gonna're gonna try

908
00:53:14,000 --> 00:53:15,920
Speaker 1: and find that record. Both of them.

909
00:53:16,800 --> 00:53:19,560
Speaker 7: They were never released. They're on but we're gonna find Oh,

910
00:53:19,680 --> 00:53:21,839
Speaker 7: I'm scared of you guys, anyway.

911
00:53:21,640 --> 00:53:24,840
Speaker 1: To do that? Yeah, we lost, don't be scared.

912
00:53:26,360 --> 00:53:30,120
Speaker 7: So this, this single do you Want It Right Now?

913
00:53:30,320 --> 00:53:35,440
Speaker 7: Was in the Sydney Pontier directorial debut Fast Forward, and

914
00:53:35,600 --> 00:53:40,040
Speaker 7: the song is in the movie in the guitar solo.

915
00:53:40,840 --> 00:53:43,600
Speaker 7: So you never even heard me say a word on

916
00:53:44,160 --> 00:53:47,600
Speaker 7: the film, But that song was released to the dance

917
00:53:47,640 --> 00:53:49,440
Speaker 7: clubs and it was number one dance record.

918
00:53:49,800 --> 00:53:52,800
Speaker 1: It was inescapable. Yeah argument, I thought it was Shannon

919
00:53:53,040 --> 00:53:56,759
Speaker 1: in the beginning, but it was No. I know no,

920
00:53:57,480 --> 00:54:00,400
Speaker 1: I mean I was what thirteen at the time, but

921
00:54:00,560 --> 00:54:03,160
Speaker 1: they always played it on Power ninety nine and Philly.

922
00:54:03,320 --> 00:54:05,600
Speaker 8: This is the fast forward the movie, the dance the

923
00:54:05,719 --> 00:54:08,399
Speaker 8: song before the movie right fast.

924
00:54:09,680 --> 00:54:10,719
Speaker 1: You've seen that movie.

925
00:54:10,800 --> 00:54:13,080
Speaker 8: What I seen all the dancing movies.

926
00:54:14,600 --> 00:54:16,320
Speaker 7: That movie was like twenty minutes.

927
00:54:17,760 --> 00:54:20,000
Speaker 6: We had the Blonde and then the Rich I remember,

928
00:54:20,080 --> 00:54:22,200
Speaker 6: and then the Black guy and the white guy and

929
00:54:22,200 --> 00:54:24,240
Speaker 6: their friends team together.

930
00:54:25,200 --> 00:54:28,000
Speaker 1: This is this is a key moment. I wish was

931
00:54:28,080 --> 00:54:35,120
Speaker 1: here that on top of us on what you're experiencing now,

932
00:54:35,160 --> 00:54:38,319
Speaker 1: what you feel it's never happened. You know some ship

933
00:54:38,360 --> 00:54:45,239
Speaker 1: that's okay. Have you seen Body Rock? Yeah? Must be,

934
00:54:46,000 --> 00:54:51,480
Speaker 1: must be your spike. Lee Glasses said, all right, we're

935
00:54:51,520 --> 00:54:52,839
Speaker 1: falling to a rabbit right here.

936
00:54:53,960 --> 00:54:55,280
Speaker 7: So it's dark in there.

937
00:54:55,400 --> 00:55:00,440
Speaker 1: On it is. So even on the strength of having

938
00:55:01,120 --> 00:55:04,439
Speaker 1: that single, no one at Warners was like, Okay, let's

939
00:55:06,560 --> 00:55:09,399
Speaker 1: let's get that out. Let's get the product out.

940
00:55:11,520 --> 00:55:14,560
Speaker 10: There was a lot of upheaval and the Warner family

941
00:55:14,680 --> 00:55:17,839
Speaker 10: and the Quest family, and it was I just sort

942
00:55:17,840 --> 00:55:20,399
Speaker 10: of fell through the cracks. I'm an artist, but as

943
00:55:20,400 --> 00:55:23,800
Speaker 10: a songwriter, you know, it behooved Quest to you know,

944
00:55:24,080 --> 00:55:26,879
Speaker 10: plug me into different projects, which is how I came

945
00:55:26,920 --> 00:55:28,040
Speaker 10: to meet Michael.

946
00:55:28,520 --> 00:55:32,760
Speaker 1: What what keeps you? What keeps you sing?

947
00:55:33,760 --> 00:55:35,640
Speaker 11: That keeps me saying it was married?

948
00:55:36,560 --> 00:55:48,359
Speaker 1: What keeps you saying? The little he's the loudest one

949
00:55:48,360 --> 00:55:49,840
Speaker 1: in the room, but you didn't hear one boy.

950
00:55:51,239 --> 00:55:54,920
Speaker 7: So he's glad he went from twenty Okay, so shut up.

951
00:56:00,440 --> 00:56:03,239
Speaker 1: But what I want to know, Damn they just gave

952
00:56:03,280 --> 00:56:07,960
Speaker 1: each other high five. That's amazing relationship. He's like, I'll

953
00:56:08,000 --> 00:56:14,759
Speaker 1: go get the shovel. What so, But I'm just saying,

954
00:56:14,840 --> 00:56:20,840
Speaker 1: man too, you know, to start when you did, and

955
00:56:20,960 --> 00:56:23,880
Speaker 1: then to have the Plus project almost be a contender,

956
00:56:24,640 --> 00:56:27,160
Speaker 1: and then you might get some heat on the dennist

957
00:56:27,160 --> 00:56:32,000
Speaker 1: at Wards problem. It's almost a contender and kind of

958
00:56:32,040 --> 00:56:34,400
Speaker 1: some close. No Cigars not my year. It's not my year.

959
00:56:34,400 --> 00:56:36,439
Speaker 1: I'm sure every like New Year's Eve, you're like, okay,

960
00:56:37,680 --> 00:56:39,920
Speaker 1: nineteen eighty five, it's gonna be the It's gonna be it.

961
00:56:40,160 --> 00:56:45,480
Speaker 1: And like, what keeps you grounded? Because usually in the

962
00:56:45,600 --> 00:56:51,319
Speaker 1: cases I know, a lot of bitterness starts to enter

963
00:56:52,800 --> 00:56:56,400
Speaker 1: artist lives, usually by the sixth year of like the

964
00:56:56,520 --> 00:57:01,879
Speaker 1: no Cigar situation, Like, okay, if it doesn't happen this year, well,

965
00:57:02,080 --> 00:57:07,960
Speaker 1: and what what keeps you what by this point mentally speaking,

966
00:57:08,760 --> 00:57:12,719
Speaker 1: like with the way that the label was, what keeps

967
00:57:12,760 --> 00:57:13,200
Speaker 1: you hanging on?

968
00:57:14,400 --> 00:57:14,560
Speaker 11: Wait?

969
00:57:14,719 --> 00:57:19,880
Speaker 1: Is this where Benny enters the picture? God? Sorry, all right,

970
00:57:20,520 --> 00:57:35,080
Speaker 1: I'm sorry, Eric, he was already no, no, no, let

971
00:57:35,120 --> 00:57:38,400
Speaker 1: me just I'm trying to explain that this show is

972
00:57:38,640 --> 00:57:41,040
Speaker 1: is not This is probably the deepest we've ever gotten

973
00:57:41,280 --> 00:57:49,520
Speaker 1: into yeah, because I know, But seriously, I'm more curious

974
00:57:49,560 --> 00:57:54,120
Speaker 1: about the creative process and getting from point A to

975
00:57:54,240 --> 00:57:57,000
Speaker 1: point Z, not just like give me this insation his stories,

976
00:57:57,080 --> 00:57:59,000
Speaker 1: like you know what Sirt was that and I were

977
00:57:59,000 --> 00:58:03,280
Speaker 1: in that day. But I am curious about obstacles that

978
00:58:03,400 --> 00:58:05,480
Speaker 1: are in your way and how you deal with it

979
00:58:05,840 --> 00:58:08,640
Speaker 1: and overcome such a thing to get to.

980
00:58:09,200 --> 00:58:10,560
Speaker 7: Man, you just I don't know.

981
00:58:10,640 --> 00:58:11,200
Speaker 8: You just don't.

982
00:58:11,760 --> 00:58:14,120
Speaker 7: I just haven't stopped. You can't stop. You just got

983
00:58:14,240 --> 00:58:15,920
Speaker 7: to keep focused.

984
00:58:16,080 --> 00:58:18,800
Speaker 10: I on the prize, just keep your keep focused on

985
00:58:18,880 --> 00:58:20,960
Speaker 10: your goals, no matter. And then all that other stuff

986
00:58:21,040 --> 00:58:24,000
Speaker 10: is just extraneous stuff that's happening while you're focused on

987
00:58:24,280 --> 00:58:24,720
Speaker 10: your goal.

988
00:58:25,400 --> 00:58:30,800
Speaker 1: So what okay for that point? What in your eyes?

989
00:58:31,000 --> 00:58:34,080
Speaker 1: And you know everyone has a plan and quote God

990
00:58:34,240 --> 00:58:37,760
Speaker 1: laughs at you. Whatever that thing is that that's that's saying.

991
00:58:40,280 --> 00:58:45,200
Speaker 1: What were your aspirations during that period?

992
00:58:47,480 --> 00:58:50,760
Speaker 10: I was gonna be Madonna and then I was gonna

993
00:58:50,760 --> 00:58:53,840
Speaker 10: be Beyonce. I was gonna be it, but that part

994
00:58:53,920 --> 00:58:56,880
Speaker 10: of my career just never kind of took off. But

995
00:58:57,080 --> 00:59:01,880
Speaker 10: as a songwriter, because the focus wasn't on me as

996
00:59:01,880 --> 00:59:04,840
Speaker 10: an artist, I think I had to concentrate on what

997
00:59:05,360 --> 00:59:08,200
Speaker 10: was happening, and as a songwriter, I was doing a

998
00:59:08,280 --> 00:59:11,760
Speaker 10: lot more than I was as my own artist. I mean,

999
00:59:11,800 --> 00:59:15,360
Speaker 10: if you can't have a hit song after having a

1000
00:59:15,480 --> 00:59:18,440
Speaker 10: duet with the king of pop, the biggest pop songwriter

1001
00:59:18,560 --> 00:59:20,920
Speaker 10: in the world, if your record company can't get it

1002
00:59:20,960 --> 00:59:23,800
Speaker 10: together after that, and then a few months after that,

1003
00:59:24,280 --> 00:59:29,040
Speaker 10: you wrote the fifth single from the biggest pop song

1004
00:59:29,200 --> 00:59:31,320
Speaker 10: right pop artist in the world, and you still can't

1005
00:59:31,360 --> 00:59:32,240
Speaker 10: get to get it going.

1006
00:59:32,600 --> 00:59:35,360
Speaker 7: It just wasn't meant for me. Like I was on

1007
00:59:35,440 --> 00:59:38,120
Speaker 7: the Bad Tour, the single had just come out.

1008
00:59:38,240 --> 00:59:40,760
Speaker 10: Warner Brothers like, you gotta you gotta stay here and

1009
00:59:40,840 --> 00:59:41,880
Speaker 10: we gotta make your record.

1010
00:59:41,880 --> 00:59:44,080
Speaker 7: You gotta, you know, while this is hot, you gotta

1011
00:59:44,120 --> 00:59:45,440
Speaker 7: do this, and the Men of the Mirror is coming out.

1012
00:59:45,440 --> 00:59:46,480
Speaker 7: You got to make your own record.

1013
00:59:46,720 --> 00:59:52,000
Speaker 10: So I rehearsed with the Bad Tour for like a week, right,

1014
00:59:52,080 --> 00:59:54,560
Speaker 10: And after a week I told Michael, I said, dude,

1015
00:59:54,600 --> 00:59:56,680
Speaker 10: I gotta, I gotta do my own sit.

1016
00:59:56,840 --> 01:00:00,040
Speaker 7: I mean, Warner Brothers is saying so sorry. I I

1017
01:00:00,200 --> 01:00:08,240
Speaker 7: left entered Sheryl Crow and the rest herstory bitches her history.

1018
01:00:08,800 --> 01:00:11,480
Speaker 6: I see the executives ever come to you like you

1019
01:00:11,560 --> 01:00:13,000
Speaker 6: know in that artist type of way. Well, if you

1020
01:00:13,120 --> 01:00:14,480
Speaker 6: change this, and if you change.

1021
01:00:14,320 --> 01:00:15,720
Speaker 8: That, because I always thought it was dope, you were

1022
01:00:15,720 --> 01:00:16,320
Speaker 8: ahead of your time.

1023
01:00:16,400 --> 01:00:20,240
Speaker 10: You know how I feel about here, blig They I was,

1024
01:00:20,320 --> 01:00:22,040
Speaker 10: you know, they looked at me and they saw an

1025
01:00:22,160 --> 01:00:24,520
Speaker 10: R and B singer, and which is which I wasn't.

1026
01:00:24,560 --> 01:00:27,360
Speaker 10: I'm a pop singer, but I'm not Madonna, so they

1027
01:00:27,400 --> 01:00:31,000
Speaker 10: were the look didn't match the road I was trying

1028
01:00:31,040 --> 01:00:35,200
Speaker 10: to go down. So after a while, you gotta go

1029
01:00:35,360 --> 01:00:37,960
Speaker 10: with the flow, baby, You gotta however it's flowing.

1030
01:00:37,960 --> 01:00:39,000
Speaker 7: You gotta make that work.

1031
01:00:39,200 --> 01:00:44,120
Speaker 1: But you can't. You you have to understand that usually

1032
01:00:44,400 --> 01:00:48,280
Speaker 1: the conclusion that you just told me, that's always reached

1033
01:00:48,680 --> 01:00:55,920
Speaker 1: in hindsight. Now, I mean, the key reason why I

1034
01:00:56,360 --> 01:01:01,160
Speaker 1: even have this show as a platform is for what

1035
01:01:01,320 --> 01:01:04,160
Speaker 1: you just said, because I got about six or seven

1036
01:01:04,200 --> 01:01:09,920
Speaker 1: people in my lives. My lives. I have six or

1037
01:01:09,960 --> 01:01:15,280
Speaker 1: seven people in my life who their narrative is constantly

1038
01:01:15,840 --> 01:01:20,320
Speaker 1: going down dead in the streets and just like, nope, nope,

1039
01:01:20,440 --> 01:01:20,760
Speaker 1: you read that.

1040
01:01:20,760 --> 01:01:23,200
Speaker 7: Book about the Cheese and the Rats and the New Cheese.

1041
01:01:26,960 --> 01:01:28,680
Speaker 7: I forgot the name of it, but but who moved

1042
01:01:28,720 --> 01:01:30,080
Speaker 7: my cheese? Okay?

1043
01:01:31,280 --> 01:01:34,320
Speaker 10: That book is about these two little rats who every

1044
01:01:34,440 --> 01:01:36,640
Speaker 10: day they would get out of their little house and

1045
01:01:36,880 --> 01:01:39,000
Speaker 10: get dressed for work, and they go then the maize

1046
01:01:39,040 --> 01:01:40,040
Speaker 10: and they find the cheese.

1047
01:01:40,080 --> 01:01:41,600
Speaker 7: And then they go home and.

1048
01:01:41,680 --> 01:01:43,720
Speaker 10: Get undressed, go to sleep. Next day to get up,

1049
01:01:43,800 --> 01:01:46,000
Speaker 10: get dressed, go down the maize and find the cheese.

1050
01:01:46,160 --> 01:01:50,640
Speaker 10: One day there was no cheese, but one little rat

1051
01:01:50,760 --> 01:01:52,720
Speaker 10: just kept getting up, getting dressed, going down the road,

1052
01:01:53,240 --> 01:01:57,000
Speaker 10: find them looking for the other rat started looking for

1053
01:01:57,200 --> 01:01:58,280
Speaker 10: some new cheese.

1054
01:01:59,520 --> 01:02:02,880
Speaker 7: So as an artist, I was looking for the new cheese.

1055
01:02:05,200 --> 01:02:06,800
Speaker 1: That's the best cheese story I've ever heard of. This,

1056
01:02:07,760 --> 01:02:14,320
Speaker 1: it was I just want to know I've been in

1057
01:02:14,440 --> 01:02:19,520
Speaker 1: that new chiese situation. Yeah, because again I personally and

1058
01:02:19,800 --> 01:02:23,640
Speaker 1: I hate I know I'm regressing the older mirror where

1059
01:02:23,800 --> 01:02:25,880
Speaker 1: I start taking all the interviews and making the interview

1060
01:02:25,920 --> 01:02:27,520
Speaker 1: about me and instead of the artist.

1061
01:02:27,840 --> 01:02:28,760
Speaker 7: But I got it.

1062
01:02:29,000 --> 01:02:30,800
Speaker 1: This This is a rare This is rare tell us

1063
01:02:30,800 --> 01:02:33,040
Speaker 1: about the cheese, tell us about the cheese. But I'm

1064
01:02:33,040 --> 01:02:38,280
Speaker 1: just saying that ever Blue was a Swiss. As an

1065
01:02:38,400 --> 01:02:41,480
Speaker 1: artist in the beginning, when you're first starting, you have

1066
01:02:41,680 --> 01:02:44,800
Speaker 1: these lofty goals of what you want your life to be. Yes,

1067
01:02:45,920 --> 01:02:48,840
Speaker 1: I didn't ask to you know it wasn't a dream.

1068
01:02:48,880 --> 01:02:50,240
Speaker 1: I mean, yeah, you said, oh yeah, I like the

1069
01:02:50,280 --> 01:02:53,960
Speaker 1: host of radio show or be the new doc Severson

1070
01:02:54,080 --> 01:02:56,720
Speaker 1: on a But I didn't grow up like as an

1071
01:02:56,720 --> 01:02:59,520
Speaker 1: eight year old, like hmm, like half of the stuff

1072
01:02:59,600 --> 01:03:01,720
Speaker 1: like writing, you know, books about food and all that stuff.

1073
01:03:02,280 --> 01:03:04,640
Speaker 1: I had a specific goal that I thought was going

1074
01:03:04,720 --> 01:03:08,200
Speaker 1: to get me to where my dream was. And then

1075
01:03:08,600 --> 01:03:11,400
Speaker 1: you know, but I also have about four or five

1076
01:03:11,560 --> 01:03:17,280
Speaker 1: ledge talkers that talked me off the ledge from sabotage

1077
01:03:17,320 --> 01:03:20,120
Speaker 1: and stuff. Because when stuff doesn't go right for me,

1078
01:03:20,280 --> 01:03:25,000
Speaker 1: my first instinct is fuck it. And now none of

1079
01:03:25,120 --> 01:03:27,360
Speaker 1: us can play ball, you know, like I'm that person.

1080
01:03:27,360 --> 01:03:29,840
Speaker 13: But oh you I'm taking my ball and I'm going home.

1081
01:03:30,440 --> 01:03:33,040
Speaker 13: I'll take the ball and roof it so nobody can

1082
01:03:33,120 --> 01:03:40,600
Speaker 13: have it. But I'm also smart enough to listen if three,

1083
01:03:41,000 --> 01:03:43,720
Speaker 13: like fifty million Elevis fans can't be wrong. So if

1084
01:03:43,800 --> 01:03:46,280
Speaker 13: four people are telling me I think you need to

1085
01:03:46,320 --> 01:03:49,720
Speaker 13: fuck you're fucking up. I need you to breathe, calm

1086
01:03:49,840 --> 01:03:51,360
Speaker 13: down different way.

1087
01:03:53,280 --> 01:03:56,920
Speaker 1: You need to Yeah, who, I'm not saying that you're

1088
01:03:57,360 --> 01:03:59,160
Speaker 1: I'm just saying that I had that.

1089
01:03:59,560 --> 01:04:01,000
Speaker 7: But how did you.

1090
01:04:02,600 --> 01:04:05,840
Speaker 1: Because the narrative of anyone else I talked to this

1091
01:04:06,080 --> 01:04:12,680
Speaker 1: is where the downside of the period happened. But you

1092
01:04:12,960 --> 01:04:14,760
Speaker 1: just went with a punch and like, okay, well it

1093
01:04:14,840 --> 01:04:16,400
Speaker 1: wasn't meant for me to what what?

1094
01:04:16,600 --> 01:04:18,840
Speaker 10: I had no other options like what were There was

1095
01:04:18,920 --> 01:04:22,920
Speaker 10: no other alternative you either. It was not about I

1096
01:04:23,080 --> 01:04:25,080
Speaker 10: was not about to just go down like that. I

1097
01:04:25,880 --> 01:04:27,240
Speaker 10: I was just not going out like that.

1098
01:04:27,400 --> 01:04:28,080
Speaker 1: I had.

1099
01:04:29,480 --> 01:04:32,480
Speaker 10: I wanted to just find a new way to make

1100
01:04:32,600 --> 01:04:36,240
Speaker 10: my name, to get my music out there. And if

1101
01:04:36,280 --> 01:04:38,480
Speaker 10: it wasn't through me, then I'll just write it for

1102
01:04:38,560 --> 01:04:39,280
Speaker 10: somebody else to do.

1103
01:04:41,040 --> 01:04:43,520
Speaker 1: All right, Yeah, I'm gonna bookmark this part of the

1104
01:04:43,960 --> 01:04:47,280
Speaker 1: interview and make sure that ninety five billion people listen

1105
01:04:47,320 --> 01:04:51,920
Speaker 1: to you. You saying that because I that's yes. Can

1106
01:04:52,000 --> 01:04:56,560
Speaker 1: we title this new case so fund check this out

1107
01:04:57,520 --> 01:04:57,960
Speaker 1: For those of.

1108
01:04:58,000 --> 01:05:01,320
Speaker 10: You who are who are living southern California. For the

1109
01:05:01,520 --> 01:05:06,320
Speaker 10: last sixteen years, from two thousand to January twenty sixteen,

1110
01:05:07,520 --> 01:05:09,880
Speaker 10: I was the voice of Toyota for Southern California.

1111
01:05:11,000 --> 01:05:13,240
Speaker 1: Jingle new Cheese, Cheese Baby.

1112
01:05:13,720 --> 01:05:15,600
Speaker 10: Now it's your Toyota dealer. You can get a great

1113
01:05:15,640 --> 01:05:17,800
Speaker 10: deal on our twenty sixteen Toyota.

1114
01:05:19,800 --> 01:05:27,920
Speaker 7: Let's go places. Let's go places, viness. Listen where my

1115
01:05:28,040 --> 01:05:31,080
Speaker 7: career goes. Yes, yeah, new cheese.

1116
01:05:31,560 --> 01:05:33,240
Speaker 10: Now who I didn't wake up going, oh my god,

1117
01:05:33,280 --> 01:05:35,320
Speaker 10: I want to I want to be that announcer girl.

1118
01:05:35,560 --> 01:05:38,360
Speaker 7: It happened. I was singing the jingle we make It Easy,

1119
01:05:38,560 --> 01:05:39,680
Speaker 7: Oh so easy.

1120
01:05:39,840 --> 01:05:40,200
Speaker 1: I'm in that.

1121
01:05:40,920 --> 01:05:44,040
Speaker 7: You done many, many for many name something that I

1122
01:05:44,120 --> 01:05:46,760
Speaker 7: don't know or I might know, or uh.

1123
01:05:46,720 --> 01:05:49,560
Speaker 10: Well, I've done likes of PEPSI likes of Coca Cola commercials,

1124
01:05:49,640 --> 01:05:52,440
Speaker 10: Jack in the box, McDonald's just ooz and ohs all

1125
01:05:52,520 --> 01:05:59,440
Speaker 10: over the place, and and the dang you real rich No, no.

1126
01:06:01,400 --> 01:06:03,800
Speaker 7: Wrong, I'm on that too, and.

1127
01:06:05,040 --> 01:06:08,080
Speaker 1: I'm just let me And that's another thing. This is

1128
01:06:08,080 --> 01:06:08,920
Speaker 1: gonna be that episode.

1129
01:06:09,000 --> 01:06:09,600
Speaker 8: Okay, that's fine.

1130
01:06:09,760 --> 01:06:13,000
Speaker 1: Just because you work a lot doesn't mean that you're

1131
01:06:13,240 --> 01:06:13,960
Speaker 1: bringing in the dough.

1132
01:06:14,240 --> 01:06:15,760
Speaker 8: I know, like the trash man at work a lot.

1133
01:06:16,640 --> 01:06:21,080
Speaker 1: But when you are doing like plumber, I consider myself

1134
01:06:22,280 --> 01:06:23,280
Speaker 1: mister nineteen jobs.

1135
01:06:23,320 --> 01:06:24,640
Speaker 8: You don't know what a lot of dough is anymore.

1136
01:06:24,720 --> 01:06:29,000
Speaker 8: You're in a bubble. But to the director of the system, okay, I'm.

1137
01:06:28,920 --> 01:06:31,800
Speaker 1: Just saying it means that you're consistently working. You're a

1138
01:06:31,920 --> 01:06:36,160
Speaker 1: working class nigga.

1139
01:06:37,760 --> 01:06:42,720
Speaker 7: Anyway, I miss something.

1140
01:06:44,360 --> 01:06:47,440
Speaker 1: In it still j thoms they're.

1141
01:06:47,320 --> 01:06:51,800
Speaker 8: Good, but the jingles amazing.

1142
01:06:51,880 --> 01:06:52,080
Speaker 7: Yeah.

1143
01:06:52,160 --> 01:06:56,000
Speaker 10: So yeah, that was another way for me to still

1144
01:06:56,160 --> 01:07:00,160
Speaker 10: sing and be musical, but not be an artist, and

1145
01:07:00,280 --> 01:07:02,520
Speaker 10: not be signed to a label and not be you

1146
01:07:02,560 --> 01:07:04,400
Speaker 10: know what else I hated about being signed to a label.

1147
01:07:04,880 --> 01:07:07,440
Speaker 10: They have their own agenda and it doesn't matter what

1148
01:07:07,720 --> 01:07:09,760
Speaker 10: kind of artists you want to be, or what artists

1149
01:07:09,800 --> 01:07:11,880
Speaker 10: you think you can be, or who you think you are.

1150
01:07:12,160 --> 01:07:14,080
Speaker 10: If you don't fit into that box that they have,

1151
01:07:14,240 --> 01:07:16,200
Speaker 10: the R and B box, the pop box with all

1152
01:07:16,240 --> 01:07:18,400
Speaker 10: the looks and everything that goes with it, then you

1153
01:07:18,640 --> 01:07:21,240
Speaker 10: are just looked over and you fall through the cracks.

1154
01:07:21,280 --> 01:07:23,640
Speaker 10: I know so many artists like that. Tevin was like that.

1155
01:07:24,160 --> 01:07:27,560
Speaker 10: Tevin had his sweet spot was before his balls dropped

1156
01:07:27,720 --> 01:07:28,800
Speaker 10: and his voice changed.

1157
01:07:29,040 --> 01:07:30,400
Speaker 7: So after that, nobody wanted.

1158
01:07:30,200 --> 01:07:31,840
Speaker 10: To Nobody wanted to fuck with seven because he didn't

1159
01:07:31,840 --> 01:07:35,360
Speaker 10: have those high notes anymore. But Tevin took his uh

1160
01:07:36,120 --> 01:07:41,080
Speaker 10: gift and his talent and he went to Broadway, so

1161
01:07:41,520 --> 01:07:42,600
Speaker 10: he found some new cheese.

1162
01:07:43,560 --> 01:07:49,080
Speaker 1: Wow. Not to mention your your your your your your

1163
01:07:49,160 --> 01:07:54,760
Speaker 1: acting game is is oh god, quite awesome. My first

1164
01:07:55,040 --> 01:08:02,640
Speaker 1: yeah right now, oh my god. You know, like when

1165
01:08:02,680 --> 01:08:05,200
Speaker 1: you get your first VCR. You gotta record everything when

1166
01:08:05,240 --> 01:08:05,720
Speaker 1: you were a kid.

1167
01:08:05,960 --> 01:08:12,920
Speaker 9: Yeah, Steve's like again some stuff my dad recorded that

1168
01:08:13,080 --> 01:08:18,200
Speaker 9: I happened to find out. Yeah, pretty much. Recording everything.

1169
01:08:20,360 --> 01:08:20,880
Speaker 7: Changed my life.

1170
01:08:21,600 --> 01:08:23,600
Speaker 1: We got a v c R. I recorded everything that

1171
01:08:23,760 --> 01:08:27,280
Speaker 1: was on television. It just happened. Her episode of the

1172
01:08:27,400 --> 01:08:30,280
Speaker 1: Facts of Life was the one that that I did well.

1173
01:08:30,439 --> 01:08:32,680
Speaker 7: I did Amen. I did an episode of Amen. I

1174
01:08:32,760 --> 01:08:33,519
Speaker 7: remember the episode.

1175
01:08:33,560 --> 01:08:40,880
Speaker 1: Yeah, you wanted to be U singer? I want to

1176
01:08:40,880 --> 01:08:49,960
Speaker 1: be No, Yeah she was, uh, I guess missus Garrett's girls.

1177
01:08:50,720 --> 01:08:53,240
Speaker 1: I wanted to enter Sing with the Elder Barge contest.

1178
01:08:53,760 --> 01:08:57,240
Speaker 1: Oh yeah, and I think George Clooney's character and whoever

1179
01:08:57,240 --> 01:08:57,760
Speaker 1: the kid was.

1180
01:08:59,520 --> 01:09:02,440
Speaker 7: Worked with George before.

1181
01:09:04,040 --> 01:09:05,479
Speaker 8: When they had their own bakery and whatnot.

1182
01:09:06,080 --> 01:09:09,400
Speaker 1: So they organized them to enter this contest and then.

1183
01:09:10,479 --> 01:09:12,639
Speaker 7: Tots Group one. It's the show.

1184
01:09:22,520 --> 01:09:24,439
Speaker 8: She lost the whole two of hearts things. Remember that one.

1185
01:09:27,840 --> 01:09:28,080
Speaker 7: Lost?

1186
01:09:30,840 --> 01:09:34,760
Speaker 1: Wait anyway, Stacy.

1187
01:09:34,800 --> 01:09:36,720
Speaker 7: Let me let me tell you. I was on an

1188
01:09:36,800 --> 01:09:38,800
Speaker 7: ill fated pilot called.

1189
01:09:41,160 --> 01:09:50,200
Speaker 10: The Valentine's On that that pilot episode was Tevin Campbell, Ali,

1190
01:09:51,439 --> 01:09:57,320
Speaker 10: Cindy Harron, Saya Garrett. They were like and and everybody

1191
01:09:57,640 --> 01:10:00,840
Speaker 10: was like nobody then and after that they went on

1192
01:10:00,960 --> 01:10:03,639
Speaker 10: to do what they went on to do. But Jeff

1193
01:10:03,680 --> 01:10:08,599
Speaker 10: Franklin was the producer of that and he produced Family

1194
01:10:08,840 --> 01:10:11,880
Speaker 10: Ties Full House.

1195
01:10:11,920 --> 01:10:13,080
Speaker 7: Right, so they did.

1196
01:10:15,920 --> 01:10:19,120
Speaker 10: They rebooted the show. And one of the actresses on

1197
01:10:19,240 --> 01:10:26,600
Speaker 10: the show, whose name is Jody's that one Sweden. She

1198
01:10:27,439 --> 01:10:29,960
Speaker 10: is in a rock band, her little band, and I

1199
01:10:30,080 --> 01:10:34,400
Speaker 10: wrote the song that her band sings. So this is

1200
01:10:34,479 --> 01:10:36,920
Speaker 10: like thirty years later that producer who hired me as

1201
01:10:36,960 --> 01:10:40,799
Speaker 10: a as an actress, and I was on the pilot

1202
01:10:40,880 --> 01:10:45,400
Speaker 10: as the sister of Cindy and Tevin, and we were in.

1203
01:10:45,439 --> 01:10:48,600
Speaker 7: This vocal group. Anyway, the pilot went nowhere, but he

1204
01:10:48,720 --> 01:10:53,479
Speaker 7: and I remained friends, and like thirty years after the fact,

1205
01:10:53,840 --> 01:10:56,360
Speaker 7: I got married at his house.

1206
01:10:57,920 --> 01:11:00,640
Speaker 10: In Beverly Hills and then he's said, well, we got

1207
01:11:00,680 --> 01:11:02,240
Speaker 10: this show, you want to write this, So I'm right.

1208
01:11:02,360 --> 01:11:05,400
Speaker 10: So those relationships that are forged early on in your career,

1209
01:11:05,600 --> 01:11:08,519
Speaker 10: if you know how to nurture them, they're just valuable.

1210
01:11:08,680 --> 01:11:13,400
Speaker 10: People remember how a professional you were, how important you

1211
01:11:13,479 --> 01:11:15,120
Speaker 10: were to the project they were working on, how you

1212
01:11:15,200 --> 01:11:16,600
Speaker 10: added your ideas.

1213
01:11:16,400 --> 01:11:19,640
Speaker 7: And they remember you for other things. But had I

1214
01:11:19,720 --> 01:11:20,120
Speaker 7: been an.

1215
01:11:20,040 --> 01:11:23,160
Speaker 1: Asshole on that set, Wait a minute, I'd have.

1216
01:11:23,120 --> 01:11:28,400
Speaker 7: Probably gotten married at the town Hall and Compton. Thank

1217
01:11:28,439 --> 01:11:28,960
Speaker 7: you very much.

1218
01:11:29,320 --> 01:11:33,479
Speaker 1: Wait a minute, you just did you bring Tevin to Quincy?

1219
01:11:34,320 --> 01:11:34,680
Speaker 11: I did.

1220
01:11:34,840 --> 01:11:36,440
Speaker 7: I was one of the first few people.

1221
01:11:40,439 --> 01:11:42,960
Speaker 10: Quincy heard about Tevin from me and from Benny Bedina

1222
01:11:43,080 --> 01:11:46,160
Speaker 10: around the same time, because I was I was in

1223
01:11:46,240 --> 01:11:48,120
Speaker 10: the show with him, and I knew he could sing.

1224
01:11:48,560 --> 01:11:54,519
Speaker 7: Tevin had such a thick accent that I remember talking

1225
01:11:54,560 --> 01:11:57,000
Speaker 7: to him about some mark he had on his arm,

1226
01:11:57,080 --> 01:11:58,519
Speaker 7: or some really scar on his arm.

1227
01:11:58,560 --> 01:12:01,479
Speaker 10: I said, how'd you get that? He said, oh me,

1228
01:12:01,560 --> 01:12:07,640
Speaker 10: And we was running and I was running with some silzls.

1229
01:12:08,160 --> 01:12:14,040
Speaker 10: I said, you were running with what? Some sizzles? I said, child, where.

1230
01:12:13,880 --> 01:12:14,400
Speaker 8: Are you from?

1231
01:12:14,560 --> 01:12:16,360
Speaker 7: A waxahatchie Texas.

1232
01:12:18,080 --> 01:12:18,200
Speaker 1: Wed.

1233
01:12:18,280 --> 01:12:20,840
Speaker 7: They pronounced scissors like silzls.

1234
01:12:21,960 --> 01:12:26,600
Speaker 1: Watch, wax a hatchie, that on ju that's that's a

1235
01:12:26,760 --> 01:12:28,240
Speaker 1: watch wax.

1236
01:12:28,080 --> 01:12:30,439
Speaker 7: A hatchet and the genre baio. There will be a

1237
01:12:30,600 --> 01:12:31,519
Speaker 7: test later.

1238
01:12:32,040 --> 01:12:32,800
Speaker 8: He loves to ask him.

1239
01:12:32,800 --> 01:12:34,519
Speaker 6: By the time he did Frest Prince, that's interesting because

1240
01:12:34,520 --> 01:12:36,920
Speaker 6: I was thinking about the Tatiana reunion on the Fresh

1241
01:12:36,960 --> 01:12:38,320
Speaker 6: Prince Yeah TV.

1242
01:12:38,360 --> 01:12:45,759
Speaker 7: It was deep South. Okay, so you brought him to Quincy?

1243
01:12:46,600 --> 01:12:46,880
Speaker 1: Okay?

1244
01:12:47,240 --> 01:12:49,360
Speaker 7: Because around the same time that Benny did.

1245
01:12:49,439 --> 01:12:55,760
Speaker 1: Like, because I often might have Sunday brunch in a

1246
01:12:56,040 --> 01:13:05,080
Speaker 1: certain New York establishment and I and I'll still see

1247
01:13:05,120 --> 01:13:09,719
Speaker 1: Bobby Humphrey occasionally, and She'll be like, I'll just covered

1248
01:13:09,760 --> 01:13:13,800
Speaker 1: Darren and Gimble because her name was her like logo

1249
01:13:13,920 --> 01:13:15,479
Speaker 1: or something was on the first two albums or something

1250
01:13:15,479 --> 01:13:15,600
Speaker 1: like that.

1251
01:13:15,800 --> 01:13:18,639
Speaker 7: Right, right, sorry, Bobby.

1252
01:13:19,200 --> 01:13:24,080
Speaker 1: The way that I've always heard Quincy Jones describe the

1253
01:13:24,200 --> 01:13:29,800
Speaker 1: creative process in sourcing material for Michael is that I'm

1254
01:13:29,840 --> 01:13:32,320
Speaker 1: always hearing numbers like, yeah, we sat and listened to

1255
01:13:32,479 --> 01:13:35,800
Speaker 1: three hundred songs. We sat listened to five hundred songs.

1256
01:13:35,840 --> 01:13:39,160
Speaker 1: So I mean, again, today's a whole new different standard.

1257
01:13:39,280 --> 01:13:43,000
Speaker 1: So am I to believe that the standard for then

1258
01:13:43,600 --> 01:13:47,920
Speaker 1: was that you would go to a certain publishing house

1259
01:13:48,000 --> 01:13:50,479
Speaker 1: and just have cassettes and all these songs submitted to you,

1260
01:13:50,720 --> 01:13:52,040
Speaker 1: and you just sit there and listen.

1261
01:13:52,120 --> 01:13:54,240
Speaker 10: And well, no, Quincy would put the word out to

1262
01:13:55,160 --> 01:13:59,479
Speaker 10: songwriters that he respected, yeah, and the new could deliver,

1263
01:14:00,200 --> 01:14:02,800
Speaker 10: so and then they would start submitting songs, and I

1264
01:14:02,840 --> 01:14:04,799
Speaker 10: would I wouldn't doubt that they've.

1265
01:14:04,920 --> 01:14:07,000
Speaker 7: Heard up to three hundred, five hundred songs.

1266
01:14:07,360 --> 01:14:10,960
Speaker 10: Because Quincy informed me after I delivered the cassette to

1267
01:14:11,240 --> 01:14:14,360
Speaker 10: man in the mirror that he and Michael had been

1268
01:14:14,439 --> 01:14:16,679
Speaker 10: in the studio for like two and a half years

1269
01:14:18,000 --> 01:14:21,080
Speaker 10: and Michael had yet to record a song he didn't write.

1270
01:14:22,120 --> 01:14:24,680
Speaker 7: So Quincy was like, I don't know, ye, I don't know.

1271
01:14:25,160 --> 01:14:28,160
Speaker 10: But then he said, don't worry sid if we don't

1272
01:14:28,200 --> 01:14:31,400
Speaker 10: record it with Michael on his album, The Bad Album,

1273
01:14:32,160 --> 01:14:34,639
Speaker 10: I'll recorded with James Ingram on my album.

1274
01:14:34,800 --> 01:14:40,080
Speaker 7: And I'm thinking Michael Jackson James ing had to let

1275
01:14:40,120 --> 01:14:40,240
Speaker 7: it go.

1276
01:14:40,479 --> 01:14:43,680
Speaker 10: But as it turned out, Michael loved the song, and

1277
01:14:44,360 --> 01:14:46,160
Speaker 10: in fact, the first thing he said to me.

1278
01:14:47,760 --> 01:14:52,400
Speaker 7: Was I love this song. The second thing he said

1279
01:14:52,439 --> 01:14:54,719
Speaker 7: to me was I love your voice.

1280
01:14:55,760 --> 01:14:56,000
Speaker 1: Wow.

1281
01:14:56,080 --> 01:15:00,040
Speaker 7: It was just I was on Cloud fifty eleven.

1282
01:15:00,680 --> 01:15:03,639
Speaker 1: Because this is one of two songs that weren't written

1283
01:15:03,720 --> 01:15:04,200
Speaker 1: by him.

1284
01:15:04,200 --> 01:15:06,800
Speaker 7: On the album, right. The other one was She's Out

1285
01:15:06,840 --> 01:15:09,360
Speaker 7: of My Life Tom Baylor, No, no, no, Well just

1286
01:15:09,439 --> 01:15:12,520
Speaker 7: good Friends was oh yeah, yeah, I'm the wrong album song.

1287
01:15:12,439 --> 01:15:17,559
Speaker 1: Right right? Okay, so you were hinting to place the song,

1288
01:15:17,760 --> 01:15:19,959
Speaker 1: but Quincy was sort of saying.

1289
01:15:19,800 --> 01:15:22,600
Speaker 10: Like you knows what Quincy called the meeting with his songwriters,

1290
01:15:22,680 --> 01:15:24,280
Speaker 10: his West Coast writers. I think there were like six

1291
01:15:24,439 --> 01:15:26,360
Speaker 10: or seven of us, and I was late for the meeting,

1292
01:15:26,479 --> 01:15:29,559
Speaker 10: so I tried to sneak in, and everybody's sitting around

1293
01:15:29,600 --> 01:15:31,720
Speaker 10: in his living room and he's talking in the middle

1294
01:15:31,720 --> 01:15:33,360
Speaker 10: of a sentence, and I'm trying to just stay in

1295
01:15:33,360 --> 01:15:34,759
Speaker 10: the back of the room and just sort of slink

1296
01:15:34,840 --> 01:15:35,719
Speaker 10: on the side and find.

1297
01:15:35,560 --> 01:15:37,639
Speaker 7: Some place to sit out as if. Yeah, and he's

1298
01:15:37,760 --> 01:15:39,160
Speaker 7: tracking me with his eyes.

1299
01:15:38,960 --> 01:15:40,800
Speaker 10: As I walk across the back of the room and

1300
01:15:40,920 --> 01:15:45,280
Speaker 10: he says as I was saying before, I was so rudely.

1301
01:15:45,120 --> 01:15:47,599
Speaker 7: Interrupted, you know, just following me, and I'm like going,

1302
01:15:47,640 --> 01:15:48,160
Speaker 7: oh shit.

1303
01:15:48,320 --> 01:15:50,040
Speaker 10: So, you know, sat in the corner and I took

1304
01:15:50,200 --> 01:15:53,240
Speaker 10: copious notes. Then I went to my friend Glenn Balad

1305
01:15:53,240 --> 01:15:55,160
Speaker 10: and I said, Quincy's looking for a song for Michael.

1306
01:15:55,439 --> 01:15:57,040
Speaker 10: And he said, well, what kind of song does he want?

1307
01:15:57,120 --> 01:15:58,240
Speaker 10: And I was like, I don't know.

1308
01:15:58,760 --> 01:16:01,479
Speaker 7: So he gets up to go to the keyboard to

1309
01:16:01,560 --> 01:16:03,400
Speaker 7: turn it on to get some sounds.

1310
01:16:04,080 --> 01:16:08,160
Speaker 10: Cut to two years prior to this day, I'm in

1311
01:16:08,200 --> 01:16:12,160
Speaker 10: a writing session with famous jazz pianist John Beasley. Right,

1312
01:16:13,000 --> 01:16:15,679
Speaker 10: So John and I are writing, and John also introduced

1313
01:16:15,680 --> 01:16:18,160
Speaker 10: me to Sergio Mendez, which is another story. So John

1314
01:16:18,200 --> 01:16:22,640
Speaker 10: and I are writing and the phone rings, and I

1315
01:16:22,720 --> 01:16:25,320
Speaker 10: thought we were doing some pretty good work. So I

1316
01:16:25,479 --> 01:16:27,519
Speaker 10: was waiting for the machine to pick up, and instead

1317
01:16:27,520 --> 01:16:29,680
Speaker 10: of him letting his machine pick up the phone, he

1318
01:16:30,080 --> 01:16:32,400
Speaker 10: picks up the phone and begins.

1319
01:16:32,080 --> 01:16:34,000
Speaker 7: This very banal conversation.

1320
01:16:35,200 --> 01:16:38,960
Speaker 10: Ah, nothing, I'm just saying, I'm not and I'm flipping

1321
01:16:39,000 --> 01:16:42,439
Speaker 10: through my lyric book saying to myself, No, he didn't

1322
01:16:42,520 --> 01:16:43,759
Speaker 10: just say he wasn't doing nothing.

1323
01:16:44,000 --> 01:16:47,400
Speaker 7: No, no he didn't. You know, I'm just like, I'm seething, right,

1324
01:16:47,760 --> 01:16:53,120
Speaker 7: And then I hear him say the man, what man, Oh,

1325
01:16:53,400 --> 01:16:54,160
Speaker 7: the man in the mirror.

1326
01:16:54,280 --> 01:16:56,479
Speaker 10: So I wrote down Man in the Mirror. Two years later,

1327
01:16:56,560 --> 01:16:58,720
Speaker 10: I'm at Glenn's house. He gets up to turn on

1328
01:16:58,800 --> 01:17:00,600
Speaker 10: the keyboard and he's starts.

1329
01:17:00,360 --> 01:17:06,080
Speaker 7: Playing doom Doom, Doom, Doom, Doom, doom doom, just to

1330
01:17:06,120 --> 01:17:07,240
Speaker 7: get a sound on the keyboard.

1331
01:17:07,400 --> 01:17:09,640
Speaker 10: And I'm flipping through my lyric book again, and the

1332
01:17:10,200 --> 01:17:15,080
Speaker 10: phrase man in the Mirror literally leapt off the page

1333
01:17:15,600 --> 01:17:16,559
Speaker 10: and I could not.

1334
01:17:17,120 --> 01:17:19,599
Speaker 7: Write the lyric. Fast en up, I'll tell Glenn. Wait,

1335
01:17:21,360 --> 01:17:23,920
Speaker 7: I'm just scribbling frantically, right.

1336
01:17:24,360 --> 01:17:27,559
Speaker 10: So in like ten twelve minutes we had the first

1337
01:17:27,720 --> 01:17:30,439
Speaker 10: verse and the first chorus to Man in the mirror.

1338
01:17:30,800 --> 01:17:33,519
Speaker 10: That was Wednesday night. He said, you go home, finish

1339
01:17:33,600 --> 01:17:35,720
Speaker 10: the lyric. I'll finish the track and on Friday we'll

1340
01:17:35,760 --> 01:17:38,840
Speaker 10: demo the song. So I demoed this song Friday and

1341
01:17:39,160 --> 01:17:41,760
Speaker 10: we finished Friday night, too late to turn it into

1342
01:17:41,840 --> 01:17:48,439
Speaker 10: Quest Records. So I called Quincy and I said, cute, Glenn,

1343
01:17:48,439 --> 01:17:50,720
Speaker 10: and I have written a great song. He said, great, Sid,

1344
01:17:51,520 --> 01:17:53,800
Speaker 10: just turn it into the publishing office and I'll hear

1345
01:17:53,800 --> 01:17:54,799
Speaker 10: it on Monday or Tuesday.

1346
01:17:55,160 --> 01:17:57,920
Speaker 7: And I said, Quincy, no week. I really just want

1347
01:17:57,960 --> 01:17:59,479
Speaker 7: you to he said, sit. I said, just let me.

1348
01:17:59,600 --> 01:18:01,960
Speaker 7: Let me hang it over. He said, Sid, I'm in

1349
01:18:02,680 --> 01:18:05,120
Speaker 7: a meeting. I have like twelve people sitting in my

1350
01:18:05,240 --> 01:18:09,000
Speaker 7: dining room. I know I can't. Quincy has six daughters,

1351
01:18:09,880 --> 01:18:14,360
Speaker 7: so he knew he was not going to win this argument,

1352
01:18:15,120 --> 01:18:18,280
Speaker 7: so he just said, okay, shit and bring it.

1353
01:18:18,479 --> 01:18:21,160
Speaker 10: So I brought this cassette to Quincy's house, knocked on

1354
01:18:21,240 --> 01:18:23,479
Speaker 10: the door, and the housekeeper opens the door and calls

1355
01:18:23,520 --> 01:18:27,639
Speaker 10: for Quincy. He opens the dining room doors. Sure enough,

1356
01:18:28,160 --> 01:18:31,800
Speaker 10: twelve fucking suits looking up at me, going looking at

1357
01:18:31,840 --> 01:18:34,240
Speaker 10: their watches like, what the fuck is she? This is

1358
01:18:34,280 --> 01:18:36,439
Speaker 10: the look on all what the this must be really

1359
01:18:36,479 --> 01:18:39,719
Speaker 10: important because we're doing some shit and she's our meeting.

1360
01:18:39,840 --> 01:18:41,720
Speaker 10: So Quincy goes to the door. I give him this

1361
01:18:41,800 --> 01:18:44,479
Speaker 10: cassette and I said, cue. The only thing I asked

1362
01:18:44,560 --> 01:18:46,160
Speaker 10: is that you just get back to me.

1363
01:18:46,560 --> 01:18:48,720
Speaker 7: He said, don't worry. I said, just just he said,

1364
01:18:48,720 --> 01:18:51,200
Speaker 7: don't worry shit, close the door, right.

1365
01:18:52,000 --> 01:18:54,360
Speaker 1: So I was for him on the spot.

1366
01:18:54,600 --> 01:18:56,760
Speaker 10: I wanted to, but he was like, no, look like,

1367
01:18:56,880 --> 01:18:59,160
Speaker 10: look at this. No, I got these people. So you know,

1368
01:18:59,360 --> 01:19:01,280
Speaker 10: I was glad that he let me bring it. So

1369
01:19:01,840 --> 01:19:04,599
Speaker 10: he called me two hours later. I was that house

1370
01:19:04,680 --> 01:19:07,479
Speaker 10: at my house, cooking dinner and he picked up the

1371
01:19:07,720 --> 01:19:09,720
Speaker 10: I picked up the phone and he said, Sid.

1372
01:19:11,040 --> 01:19:14,920
Speaker 7: This is the best song that I've heard in ten years.

1373
01:19:15,280 --> 01:19:19,640
Speaker 10: I'm like, yes, and I'm living and best song in

1374
01:19:19,760 --> 01:19:22,240
Speaker 10: ten years And I know, he said, but I didn't

1375
01:19:22,240 --> 01:19:24,920
Speaker 10: want to hear whatever shit came after you. I just

1376
01:19:25,000 --> 01:19:27,479
Speaker 10: want to live in best song in ten years. And

1377
01:19:27,520 --> 01:19:30,560
Speaker 10: then he said, but you know, Michael, we've been in

1378
01:19:30,600 --> 01:19:32,719
Speaker 10: the studio two and a half years. Michael wasn't Michael.

1379
01:19:33,439 --> 01:19:34,479
Speaker 10: He hasn't recorded anything.

1380
01:19:34,840 --> 01:19:39,439
Speaker 7: Don't worry, Goods and Donalds, Michael Jackson, James Inger, don't worry.

1381
01:19:39,640 --> 01:19:40,519
Speaker 11: So I had to let that go.

1382
01:19:41,080 --> 01:19:45,320
Speaker 10: I got a call three days later and Quincy says,

1383
01:19:45,479 --> 01:19:50,840
Speaker 10: and I quote Sid, we in the studio recording your

1384
01:19:50,920 --> 01:19:51,960
Speaker 10: old piece of song.

1385
01:19:53,000 --> 01:19:57,640
Speaker 7: And I'm like yeah. Then he said, but and you

1386
01:19:57,720 --> 01:20:01,479
Speaker 7: know how Charlie Brown's teacher talking. You know, you don't

1387
01:20:01,479 --> 01:20:04,040
Speaker 7: want you don't want to hear ship so everything after

1388
01:20:04,120 --> 01:20:07,560
Speaker 7: but I was, we're recording your song. Let me just

1389
01:20:07,640 --> 01:20:11,920
Speaker 7: be in that for a moment. They said, Uh, Michael

1390
01:20:12,000 --> 01:20:12,280
Speaker 7: wants you.

1391
01:20:12,479 --> 01:20:16,200
Speaker 10: The only thing is the chorus that Michael wants four

1392
01:20:16,280 --> 01:20:18,120
Speaker 10: more lines in the chorus and he really want you.

1393
01:20:18,360 --> 01:20:25,080
Speaker 7: And he says hold on, and I hear. And Quincy

1394
01:20:25,080 --> 01:20:26,559
Speaker 7: gets back on the phone and says, and he really

1395
01:20:26,600 --> 01:20:29,160
Speaker 7: wants you to bring home the message that and he

1396
01:20:29,280 --> 01:20:31,599
Speaker 7: says things hold on and then I hear.

1397
01:20:35,280 --> 01:20:44,240
Speaker 10: Right, So Quincy Jones, he puts Michael Jackson on the motherfucking.

1398
01:20:43,640 --> 01:20:47,680
Speaker 7: Phone right now. I don't know about y'all, but when

1399
01:20:47,720 --> 01:20:50,880
Speaker 7: I was coming up right now, Michael was my husband,

1400
01:20:51,120 --> 01:20:55,960
Speaker 7: was my husband. Mother cousins had teeto with Michael was

1401
01:20:56,200 --> 01:21:00,200
Speaker 7: my husband. So in my mind, I'm a on the

1402
01:21:00,280 --> 01:21:03,040
Speaker 7: phone with my husband right.

1403
01:21:04,600 --> 01:21:08,439
Speaker 1: So I did not want to be Oh.

1404
01:21:08,400 --> 01:21:11,200
Speaker 7: My god, my god, let me sit. He said a pass.

1405
01:21:11,360 --> 01:21:11,960
Speaker 7: I'm so glad.

1406
01:21:13,040 --> 01:21:19,080
Speaker 10: I wanted to be the antithesis of that fan anti fan,

1407
01:21:19,720 --> 01:21:20,320
Speaker 10: so I went.

1408
01:21:24,120 --> 01:21:27,040
Speaker 7: I went straight telephone operator.

1409
01:21:28,120 --> 01:21:32,080
Speaker 10: And I said, how can I help you? I swear

1410
01:21:32,120 --> 01:21:34,000
Speaker 10: to God and like I said, the first thing he

1411
01:21:34,000 --> 01:21:36,559
Speaker 10: said to me was I love this song. Second thing

1412
01:21:36,680 --> 01:21:38,080
Speaker 10: and I love your voice.

1413
01:21:38,160 --> 01:21:38,400
Speaker 8: I'm like.

1414
01:21:40,000 --> 01:21:42,400
Speaker 10: So two or three days later, quenty calls and says,

1415
01:21:42,760 --> 01:21:45,080
Speaker 10: we need you to come down the studio because the

1416
01:21:45,200 --> 01:21:48,320
Speaker 10: demo the key is too high for Michael singh, so

1417
01:21:48,360 --> 01:21:49,439
Speaker 10: we need to re sing the demo.

1418
01:21:50,120 --> 01:21:50,400
Speaker 1: Great.

1419
01:21:51,120 --> 01:21:52,080
Speaker 7: I didn't know in the.

1420
01:21:52,120 --> 01:21:56,679
Speaker 10: Studio with Quincy Jones, Bruce Swedeen and Michael Jackson.

1421
01:21:58,080 --> 01:22:03,200
Speaker 7: So I walk in and he's like, Hi, yeah, you know,

1422
01:22:03,400 --> 01:22:09,519
Speaker 7: we're talking and whatever, but I I didn't know why

1423
01:22:11,400 --> 01:22:12,280
Speaker 7: he was filming.

1424
01:22:13,720 --> 01:22:16,200
Speaker 10: So Quincy said, going and go in the booth and

1425
01:22:16,840 --> 01:22:18,519
Speaker 10: sing the song. So I get up to go in

1426
01:22:18,560 --> 01:22:21,000
Speaker 10: the booth and Michael gets up with this. It was

1427
01:22:21,080 --> 01:22:24,320
Speaker 10: eighties so it was a huge video camera, right, and

1428
01:22:24,439 --> 01:22:28,439
Speaker 10: he's following me, and in Spike Lee's Bad twenty five

1429
01:22:28,560 --> 01:22:32,400
Speaker 10: Reunion you can see Michael in a reflection in the

1430
01:22:32,479 --> 01:22:38,280
Speaker 10: mirror in the studio videotaping me getting ready to sing

1431
01:22:38,400 --> 01:22:39,960
Speaker 10: the demo in the new key.

1432
01:22:40,240 --> 01:22:41,760
Speaker 7: So I'm looking at the man in.

1433
01:22:41,800 --> 01:22:45,080
Speaker 10: The mirror and recording the man in the mirror as

1434
01:22:45,160 --> 01:22:49,720
Speaker 10: he's you know. It was just insane, insane. So I'm

1435
01:22:49,760 --> 01:22:51,639
Speaker 10: singing this, getting ready to sing the song. I said,

1436
01:22:51,640 --> 01:22:52,000
Speaker 10: why are you?

1437
01:22:52,320 --> 01:22:54,240
Speaker 7: What are you over my shoulder? I'm like, what are you?

1438
01:22:54,439 --> 01:22:57,439
Speaker 7: What are you doing? He says, I want to film

1439
01:22:57,520 --> 01:23:02,360
Speaker 7: you singing this song. I said why, Yeah, he said,

1440
01:23:02,400 --> 01:23:07,040
Speaker 7: because I want to sing it like you. Wait a minute,

1441
01:23:07,120 --> 01:23:13,519
Speaker 7: Wait a minute, I said, wait. I said, great, Mike, Oh,

1442
01:23:13,640 --> 01:23:17,840
Speaker 7: my friends are gonna believe me when I tell him

1443
01:23:18,240 --> 01:23:20,439
Speaker 7: he wants to sing it like me. So it was

1444
01:23:20,560 --> 01:23:24,560
Speaker 7: just just such a weird, weird day. But it was

1445
01:23:24,720 --> 01:23:28,120
Speaker 7: one of the the I can't stop smiling talking about it.

1446
01:23:28,880 --> 01:23:34,920
Speaker 1: To concentrate with that much pressure because Quincy's there, Michael,

1447
01:23:35,479 --> 01:23:38,360
Speaker 1: I got a gazillion Bruce Been questions, Like.

1448
01:23:39,000 --> 01:23:41,280
Speaker 10: I just saw Bruce last week. We went to Florida

1449
01:23:41,360 --> 01:23:46,320
Speaker 10: to visit. He's in Orlando, Florida, and.

1450
01:23:50,520 --> 01:23:52,799
Speaker 7: Oh snap, I could have got you an interview.

1451
01:23:52,920 --> 01:23:55,960
Speaker 1: Dude. I will let me know if you go back.

1452
01:23:56,000 --> 01:23:58,880
Speaker 10: He would love it. He would absolutely love it. They

1453
01:23:58,920 --> 01:24:01,800
Speaker 10: got a horse, rabbits, They got cats.

1454
01:24:05,920 --> 01:24:06,719
Speaker 7: They got chickens.

1455
01:24:06,760 --> 01:24:11,439
Speaker 10: Oh be Sweeteen has the best chickens I've ever met,

1456
01:24:11,520 --> 01:24:13,120
Speaker 10: because they delivered.

1457
01:24:14,840 --> 01:24:15,880
Speaker 8: No no, no, I tasted.

1458
01:24:15,960 --> 01:24:20,320
Speaker 10: They have amazing eggs and the yolks are so rich.

1459
01:24:20,520 --> 01:24:23,880
Speaker 7: They're orange. They're the color of your shirt. Instead of yellow,

1460
01:24:24,000 --> 01:24:28,160
Speaker 7: pale ass yellow eggs, these yolks are orange and they

1461
01:24:28,320 --> 01:24:31,720
Speaker 7: are delicious. It's because their chickens just eat grass on

1462
01:24:31,800 --> 01:24:37,760
Speaker 7: the on the farm chicken and free range eggs. They're fabulous.

1463
01:24:38,160 --> 01:24:41,559
Speaker 1: We went from Michael Jackson to free range so fast?

1464
01:24:43,600 --> 01:24:46,160
Speaker 1: Have you done this so much that you can effortlessly

1465
01:24:46,520 --> 01:24:50,120
Speaker 1: just sing in front of someone when Michael Jackson's freaking

1466
01:24:50,240 --> 01:24:50,680
Speaker 1: watching you.

1467
01:24:50,800 --> 01:24:53,479
Speaker 7: Okay, here's the thing. And somebody asked me this the

1468
01:24:53,560 --> 01:24:56,000
Speaker 7: other day. What's it like to, you know, to record

1469
01:24:56,080 --> 01:24:58,320
Speaker 7: with Quincy Jones. Let me just tell you.

1470
01:24:59,000 --> 01:25:01,560
Speaker 10: When you're in the room room with someone like that,

1471
01:25:02,400 --> 01:25:05,680
Speaker 10: someone of that magnitude, someone who's at the top of

1472
01:25:05,760 --> 01:25:10,240
Speaker 10: their game in their game, you want to do the

1473
01:25:10,400 --> 01:25:13,479
Speaker 10: best that you can do to impress them.

1474
01:25:14,280 --> 01:25:16,760
Speaker 7: So you're you're in it to do your best.

1475
01:25:16,840 --> 01:25:19,240
Speaker 10: You're gonna you're gonna bring your best game to this

1476
01:25:19,439 --> 01:25:21,439
Speaker 10: table because this is the table that your game needs

1477
01:25:21,479 --> 01:25:23,519
Speaker 10: to be played at. So you're gonna be the best

1478
01:25:23,560 --> 01:25:26,040
Speaker 10: that you. You're gonna be bring your best self, and

1479
01:25:26,200 --> 01:25:29,280
Speaker 10: they're gonna draw even more of that out of you

1480
01:25:29,960 --> 01:25:31,040
Speaker 10: because that's their gift.

1481
01:25:32,640 --> 01:25:32,880
Speaker 1: Wow.

1482
01:25:34,040 --> 01:25:36,360
Speaker 9: Did you take any drugs or anything that day or anything?

1483
01:25:37,280 --> 01:25:40,799
Speaker 7: I think, fuck me up. You think I was bouncing

1484
01:25:40,840 --> 01:25:43,240
Speaker 7: off the walls, but nothing. I can't. I couldn't know.

1485
01:25:43,520 --> 01:25:43,680
Speaker 7: It was.

1486
01:25:44,000 --> 01:25:46,240
Speaker 10: Oh, I have a great story for I've told this

1487
01:25:46,320 --> 01:25:50,080
Speaker 10: story a couple of times, but it just shows how

1488
01:25:50,280 --> 01:25:54,920
Speaker 10: truly human he was. The first time I met him,

1489
01:25:55,160 --> 01:25:57,120
Speaker 10: he you know, I just sang the demo and then

1490
01:25:57,120 --> 01:26:00,080
Speaker 10: we had some downtime and we were chatting and and

1491
01:26:00,640 --> 01:26:05,840
Speaker 10: I looked down. He had on his black Fedora, white

1492
01:26:05,920 --> 01:26:14,120
Speaker 10: T shirt Forrest, green corduroy shirt, black pants, one gray sock,

1493
01:26:14,320 --> 01:26:20,840
Speaker 10: and one green sock or some shit, right, I said, dude,

1494
01:26:23,520 --> 01:26:28,400
Speaker 10: what's up with your socks? He said, oh it was

1495
01:26:28,600 --> 01:26:30,920
Speaker 10: it was early in the morning and the room was dark,

1496
01:26:30,960 --> 01:26:32,960
Speaker 10: and I just pulled out what was whatever was in

1497
01:26:33,000 --> 01:26:33,240
Speaker 10: the door?

1498
01:26:33,280 --> 01:26:35,360
Speaker 7: I said, obviously, So we laughed. Whatever.

1499
01:26:35,840 --> 01:26:37,559
Speaker 10: So the next time I saw him, a few days

1500
01:26:37,640 --> 01:26:42,400
Speaker 10: later to record, we did the duet in Spanish and

1501
01:26:42,600 --> 01:26:44,040
Speaker 10: French and in English.

1502
01:26:44,120 --> 01:26:46,000
Speaker 7: So I was with him for a week recording right.

1503
01:26:46,560 --> 01:26:49,880
Speaker 7: So the next time I saw him, he said sid

1504
01:26:50,560 --> 01:26:52,680
Speaker 7: and he called me over, like come here, and he

1505
01:26:52,880 --> 01:26:54,639
Speaker 7: pulled pulled his pants up a little higher.

1506
01:26:54,640 --> 01:26:57,760
Speaker 10: He said, look at my socks now he was still

1507
01:26:57,800 --> 01:27:00,280
Speaker 10: wearing this time. It was a red shirt and the

1508
01:27:00,360 --> 01:27:02,720
Speaker 10: white T shirt and the black people. I said, your

1509
01:27:02,920 --> 01:27:05,080
Speaker 10: socks are sky blue.

1510
01:27:05,520 --> 01:27:06,959
Speaker 7: Okay, they match.

1511
01:27:06,880 --> 01:27:09,720
Speaker 10: Each other, but they don't match nothing else you got on.

1512
01:27:10,520 --> 01:27:13,200
Speaker 10: So he just he just he just called me crazy

1513
01:27:13,760 --> 01:27:15,720
Speaker 10: and he and he said, your name sounds like you

1514
01:27:15,960 --> 01:27:18,479
Speaker 10: you you just you just the country. So I'm gonna

1515
01:27:18,479 --> 01:27:22,080
Speaker 10: just call you miss Gaary. So he called me Miss Gary.

1516
01:27:24,080 --> 01:27:32,960
Speaker 10: There's no joke, that's that's just the story.

1517
01:27:37,800 --> 01:27:41,479
Speaker 1: You did the bad tour only for a few weeks.

1518
01:27:41,400 --> 01:27:44,280
Speaker 7: Or we rehearsed for They rehearsed for like a month

1519
01:27:44,360 --> 01:27:46,160
Speaker 7: and the week.

1520
01:27:46,080 --> 01:27:47,880
Speaker 1: Of that, yeah, okay, I was like, wait a minute,

1521
01:27:48,000 --> 01:27:53,519
Speaker 1: I saw you sing that just in touring with him.

1522
01:27:54,040 --> 01:27:58,760
Speaker 1: How how tedious are rehearsals? How tedious are no?

1523
01:27:58,880 --> 01:28:02,719
Speaker 10: Once we rehearsed, it wasn't like Madonna where you would

1524
01:28:03,240 --> 01:28:07,880
Speaker 10: you would rehearse and sound check wink wink every show

1525
01:28:08,120 --> 01:28:11,479
Speaker 10: because we would always have to rehearse whatever didn't go

1526
01:28:11,640 --> 01:28:13,280
Speaker 10: well on the show.

1527
01:28:15,160 --> 01:28:20,559
Speaker 7: Oh honey, she would have notede for almost everyone. My cords,

1528
01:28:20,760 --> 01:28:24,200
Speaker 7: my guitar, strap, my boot, you know, everything thing everything.

1529
01:28:24,800 --> 01:28:27,720
Speaker 7: So but with Michael, we rehearsed for three months and

1530
01:28:27,840 --> 01:28:30,920
Speaker 7: that was it. I didn't see him except for two

1531
01:28:30,960 --> 01:28:35,080
Speaker 7: hours on the show every night. He didn't rehearse every

1532
01:28:35,080 --> 01:28:38,600
Speaker 7: new city. We know, no, because he knew, you know,

1533
01:28:38,720 --> 01:28:39,160
Speaker 7: so time.

1534
01:28:39,120 --> 01:28:41,599
Speaker 1: For band prayer, He's there and then hit the stage.

1535
01:28:41,840 --> 01:28:42,080
Speaker 7: That's it.

1536
01:28:43,160 --> 01:28:43,400
Speaker 1: Wow.

1537
01:28:43,920 --> 01:28:44,360
Speaker 7: So was it?

1538
01:28:44,479 --> 01:28:46,160
Speaker 1: I mean, was it a fun experience.

1539
01:28:45,840 --> 01:28:47,360
Speaker 7: Or was it just like, oh my god, it was

1540
01:28:47,400 --> 01:28:49,599
Speaker 7: the most fun I've ever had in my life because

1541
01:28:49,600 --> 01:28:52,160
Speaker 7: we didn't it wasn't like a bus tour.

1542
01:28:52,320 --> 01:28:54,280
Speaker 10: And the part that was the bus tour. I wasn't

1543
01:28:54,320 --> 01:28:58,920
Speaker 10: having no bus. No I flew, I couldn't they. I

1544
01:28:58,960 --> 01:29:01,800
Speaker 10: did one twelve hour bus us ride and afterwards I.

1545
01:29:01,920 --> 01:29:05,760
Speaker 7: Was like, oh, well, no, that's not fun. Hell to

1546
01:29:05,920 --> 01:29:06,400
Speaker 7: the now.

1547
01:29:07,040 --> 01:29:07,840
Speaker 1: In fact, we.

1548
01:29:07,840 --> 01:29:10,439
Speaker 10: Would do a show and me and Greg, me and

1549
01:29:10,560 --> 01:29:13,160
Speaker 10: Greg were flying the other you know, we would do

1550
01:29:13,200 --> 01:29:13,519
Speaker 10: a show.

1551
01:29:13,880 --> 01:29:16,640
Speaker 7: They would shower whatever they're gonna do, get in their pajamas,

1552
01:29:17,479 --> 01:29:21,200
Speaker 7: get on the bus, drive to the next city. Me

1553
01:29:21,280 --> 01:29:23,840
Speaker 7: and Greg would go back to our hotels, hit it

1554
01:29:23,960 --> 01:29:26,439
Speaker 7: with our beds, get up the next day, pack our shit,

1555
01:29:26,920 --> 01:29:30,560
Speaker 7: fly in meet them before their bus arrived from the

1556
01:29:30,640 --> 01:29:33,479
Speaker 7: day before, and they're getting off the bus Dragon and

1557
01:29:33,520 --> 01:29:34,960
Speaker 7: Greg and I are like, we're going to lunch, so

1558
01:29:35,080 --> 01:29:36,160
Speaker 7: you got the sound check.

1559
01:29:36,120 --> 01:29:36,280
Speaker 8: You know.

1560
01:29:37,560 --> 01:29:43,360
Speaker 7: So touring like that was amazing. And when there weren't.

1561
01:29:43,280 --> 01:29:45,880
Speaker 10: Buses, we would just fly everywhere because we had our

1562
01:29:45,920 --> 01:29:48,680
Speaker 10: own plane and Michael was on his own plane, you know.

1563
01:29:48,840 --> 01:29:52,280
Speaker 10: And there was nothing like making fun of the stewardesses

1564
01:29:52,360 --> 01:29:55,880
Speaker 10: when they have to do the white lines and we

1565
01:29:55,880 --> 01:29:58,240
Speaker 10: would all unbuckle and buckle our seat belts when they

1566
01:29:58,240 --> 01:29:59,920
Speaker 10: would do that. And when she would do this like

1567
01:30:00,560 --> 01:30:02,479
Speaker 10: the airplanes are coming in the hangar, we'd all do

1568
01:30:02,600 --> 01:30:03,920
Speaker 10: our hands like the airplanes would going.

1569
01:30:04,040 --> 01:30:07,560
Speaker 7: It was just so much fun. But listen, traveling with

1570
01:30:07,720 --> 01:30:12,760
Speaker 7: Michael Jackson. Being on tour with Michael was like being

1571
01:30:13,200 --> 01:30:17,479
Speaker 7: one of Jesus's disciples. Baby.

1572
01:30:18,400 --> 01:30:20,880
Speaker 10: We used to hate it when we were in the

1573
01:30:20,920 --> 01:30:23,880
Speaker 10: same hotel as Michael because usually the hotel would coordinate

1574
01:30:23,920 --> 01:30:26,840
Speaker 10: with your position on the tour. A hotels were for Michael,

1575
01:30:26,880 --> 01:30:29,960
Speaker 10: his guests, his friends. B hotels was for the band

1576
01:30:30,000 --> 01:30:33,240
Speaker 10: and the singers. C hotels was for the crew, right,

1577
01:30:33,920 --> 01:30:35,720
Speaker 10: So there were times when there was no A and B,

1578
01:30:36,000 --> 01:30:38,040
Speaker 10: it was only A and C. So those are the

1579
01:30:38,080 --> 01:30:41,000
Speaker 10: times when we had to be in Michael's hotel. Fucking

1580
01:30:41,040 --> 01:30:49,720
Speaker 10: hated it because all night, you know, it was just insane,

1581
01:30:50,479 --> 01:30:52,479
Speaker 10: could not and then Michael would like peek out the

1582
01:30:52,520 --> 01:30:55,080
Speaker 10: window and then they'd go in freakingsane, you know.

1583
01:30:55,280 --> 01:30:57,719
Speaker 7: So it was never he liked that kind of energy.

1584
01:30:57,840 --> 01:30:59,760
Speaker 7: We just wanted some wrist. We wanted to get some

1585
01:31:00,400 --> 01:31:01,679
Speaker 7: So we were happy when we were.

1586
01:31:01,600 --> 01:31:04,200
Speaker 10: In a different hotel than Michael was in because his

1587
01:31:04,320 --> 01:31:08,479
Speaker 10: fans are like fanatics, they are truly fanatic.

1588
01:31:08,600 --> 01:31:12,559
Speaker 7: In fact, we were in Spain and I will never

1589
01:31:12,720 --> 01:31:13,160
Speaker 7: forget this.

1590
01:31:14,120 --> 01:31:19,040
Speaker 10: We had a day off in Spain and Spain leather shoes, handbags, hello,

1591
01:31:19,560 --> 01:31:21,479
Speaker 10: So we were going shopping. So we changed the money

1592
01:31:21,479 --> 01:31:24,599
Speaker 10: at the desk, so we got our little Spanish money

1593
01:31:24,600 --> 01:31:27,000
Speaker 10: and we're going out of the hotel. Now they cordoned

1594
01:31:27,040 --> 01:31:29,160
Speaker 10: off the fans because it was like a sea of

1595
01:31:29,240 --> 01:31:31,920
Speaker 10: fans in front of this hotel. So but for the guests,

1596
01:31:31,960 --> 01:31:33,800
Speaker 10: they needed to rope off a path so the guests

1597
01:31:33,840 --> 01:31:36,280
Speaker 10: can come. So we're counting the money and putting money

1598
01:31:36,320 --> 01:31:38,639
Speaker 10: in my person was trying to figure out where we're

1599
01:31:38,680 --> 01:31:39,479
Speaker 10: gonna go have lunch.

1600
01:31:39,640 --> 01:31:42,600
Speaker 7: And we walked down through this sea of people, this

1601
01:31:42,840 --> 01:31:48,840
Speaker 7: opening like Moses, and from behind me, I hear, hey,

1602
01:31:49,720 --> 01:31:53,280
Speaker 7: that's sight to Garrett baby. I look behind me and

1603
01:31:53,360 --> 01:31:54,200
Speaker 7: people were like, come.

1604
01:31:54,520 --> 01:31:57,439
Speaker 10: Me and my friend took off running down the street

1605
01:31:57,479 --> 01:32:00,200
Speaker 10: in Spain and we're running, running and looking at him

1606
01:32:00,200 --> 01:32:00,639
Speaker 10: and they're coming.

1607
01:32:00,760 --> 01:32:03,200
Speaker 7: Afterwards, I said, oh my god, what are they gonna

1608
01:32:03,240 --> 01:32:07,160
Speaker 7: do when they fucking kiss us? It was just insane

1609
01:32:07,240 --> 01:32:09,720
Speaker 7: and we were running and running and then somebody must

1610
01:32:09,800 --> 01:32:12,840
Speaker 7: have said, hey, we're three blocks from the hotel. We

1611
01:32:12,920 --> 01:32:16,599
Speaker 7: better what if Michael comes out? So they then turned around.

1612
01:32:16,920 --> 01:32:20,360
Speaker 7: But that was the most harrowing time, and that's when

1613
01:32:20,400 --> 01:32:25,240
Speaker 7: I realized, this is Michael every day. It's insane. Well,

1614
01:32:25,280 --> 01:32:27,000
Speaker 7: they're gonna pull my hair and just have a remnant.

1615
01:32:27,040 --> 01:32:29,479
Speaker 7: Look what I got. Yeah, I don't know. It was insane,

1616
01:32:30,000 --> 01:32:32,360
Speaker 7: and it really scared me to think about that's what

1617
01:32:32,560 --> 01:32:33,720
Speaker 7: his whole life was.

1618
01:32:34,479 --> 01:32:36,439
Speaker 8: Did y'all sing I just can't stop loving you together?

1619
01:32:36,520 --> 01:32:39,720
Speaker 8: Did y'all record that together? Or was it so you

1620
01:32:40,280 --> 01:32:41,080
Speaker 8: you were in his face?

1621
01:32:41,160 --> 01:32:42,439
Speaker 11: Yes? I told you two.

1622
01:32:42,560 --> 01:32:46,439
Speaker 10: Mike stands one here, one here, and and the lyrics said,

1623
01:32:46,720 --> 01:32:49,240
Speaker 10: I just can't stop loving you, Michael sayidam that it

1624
01:32:49,400 --> 01:32:52,360
Speaker 10: was in that moment that I realized, oh my god,

1625
01:32:52,720 --> 01:32:54,920
Speaker 10: I'm singing a duet with the fucking king of pop.

1626
01:32:55,360 --> 01:32:56,320
Speaker 7: Unbelievable.

1627
01:32:56,479 --> 01:32:59,400
Speaker 10: And I, in answer to your question, all I wanted

1628
01:32:59,439 --> 01:33:03,400
Speaker 10: to do was just delivered my best to impress him

1629
01:33:03,720 --> 01:33:05,560
Speaker 10: and Quincy, look what I can do.

1630
01:33:06,560 --> 01:33:09,160
Speaker 1: That's man, that's so much pressure though, because it's like

1631
01:33:09,640 --> 01:33:10,320
Speaker 1: I felt, it was.

1632
01:33:10,360 --> 01:33:12,439
Speaker 8: Like, this is where I get to show them what

1633
01:33:12,880 --> 01:33:15,200
Speaker 8: I have. No, there was no crackage.

1634
01:33:15,960 --> 01:33:17,160
Speaker 1: You were just completely confident.

1635
01:33:17,479 --> 01:33:19,160
Speaker 7: Yeah, because I've been dying.

1636
01:33:19,000 --> 01:33:20,800
Speaker 8: So they hear it in a song you do, I

1637
01:33:20,880 --> 01:33:23,240
Speaker 8: just can't stop loving and you're like, oh oh that moment.

1638
01:33:23,280 --> 01:33:24,920
Speaker 8: I just wondered when Michael Jackson was thinking.

1639
01:33:24,960 --> 01:33:25,400
Speaker 11: He loved it.

1640
01:33:25,680 --> 01:33:29,360
Speaker 10: He loved it, he loved it. We had so much fun, man.

1641
01:33:29,520 --> 01:33:31,360
Speaker 10: And there was one time in Japan, I think it

1642
01:33:31,400 --> 01:33:33,840
Speaker 10: was New Year's Eve or something. I came out on

1643
01:33:34,000 --> 01:33:36,479
Speaker 10: stage and this was before people were doing colors in

1644
01:33:36,560 --> 01:33:39,639
Speaker 10: their hair. I came out on stage with a little

1645
01:33:40,280 --> 01:33:43,720
Speaker 10: hot magenta pink bob and then when Michael turned and

1646
01:33:43,760 --> 01:33:48,000
Speaker 10: said each time he started laughing so.

1647
01:33:48,320 --> 01:33:51,320
Speaker 7: Hard he couldn't even sing. He was laughing so hard.

1648
01:33:51,520 --> 01:33:55,760
Speaker 7: It was so funny. It was so funny. My hair

1649
01:33:55,840 --> 01:33:57,840
Speaker 7: was usually like this, and I want to switch it

1650
01:33:57,960 --> 01:33:59,719
Speaker 7: up just to see what fucking happened.

1651
01:34:00,439 --> 01:34:02,800
Speaker 10: And he could not stop laughing. He said, that was

1652
01:34:02,880 --> 01:34:04,639
Speaker 10: really funny. That was really funny.

1653
01:34:04,960 --> 01:34:11,120
Speaker 1: Wow, that's thank you for sharing that. Thank you all

1654
01:34:11,200 --> 01:34:14,240
Speaker 1: right back on the block. Actually have a Michael. Were

1655
01:34:14,240 --> 01:34:15,920
Speaker 1: there any other songs that you guys recorded together that

1656
01:34:15,960 --> 01:34:18,000
Speaker 1: didn't come out or no?

1657
01:34:18,760 --> 01:34:22,080
Speaker 7: The only other thing we did was keep the Faith

1658
01:34:22,160 --> 01:34:23,200
Speaker 7: right off, Keep the Faith? Yeah.

1659
01:34:23,960 --> 01:34:25,720
Speaker 1: Wait a minute, Okay, now we can get to the

1660
01:34:25,720 --> 01:34:31,120
Speaker 1: bottom of Got the Hots versus? Oh yeah, okay, So

1661
01:34:32,200 --> 01:34:33,400
Speaker 1: on your solo record.

1662
01:34:35,280 --> 01:34:38,840
Speaker 7: My ill fated solo we have it, all right, So

1663
01:34:39,240 --> 01:34:40,920
Speaker 7: we have it. We had to.

1664
01:34:45,040 --> 01:34:48,439
Speaker 1: You did baby got a bed with Rod Temperton?

1665
01:34:48,600 --> 01:34:48,800
Speaker 10: Yes?

1666
01:34:50,479 --> 01:34:59,000
Speaker 1: Can you? Yeah? He's what is Rod Temperton? Like I

1667
01:34:59,120 --> 01:35:02,280
Speaker 1: know one of my one of my regrets was just

1668
01:35:02,439 --> 01:35:05,639
Speaker 1: not I mean, besides the Twitter relationship, I really didn't

1669
01:35:05,640 --> 01:35:08,040
Speaker 1: get a you know, a chance to stick the brain

1670
01:35:08,120 --> 01:35:09,479
Speaker 1: And yeah he was.

1671
01:35:09,960 --> 01:35:17,240
Speaker 10: Rod Temperton was the most amazing songwriter that I've ever met.

1672
01:35:18,439 --> 01:35:21,840
Speaker 10: Rod Temperton has a work ethic that was like none other.

1673
01:35:22,840 --> 01:35:27,800
Speaker 10: Rod Temperton hated the press, he hated the interviews. He

1674
01:35:27,840 --> 01:35:30,760
Speaker 10: would never agree to do any he didn't want. He

1675
01:35:31,000 --> 01:35:33,439
Speaker 10: just wanted to be the guy who wrote the great

1676
01:35:33,560 --> 01:35:37,320
Speaker 10: songs and was behind the behind the scenes kind of guy.

1677
01:35:39,640 --> 01:35:43,720
Speaker 10: When we were recording my Kiss of Life album, we

1678
01:35:43,800 --> 01:35:49,960
Speaker 10: were in the student at this studio on Westlake Studios

1679
01:35:50,080 --> 01:35:52,360
Speaker 10: and Rod had a couple of studios going at the

1680
01:35:52,360 --> 01:35:54,160
Speaker 10: same time because we were under pressure to get this

1681
01:35:54,280 --> 01:35:59,719
Speaker 10: record done. So one night we were recording and Rod

1682
01:36:00,040 --> 01:36:04,240
Speaker 10: add a toothache and he was he was like a

1683
01:36:04,360 --> 01:36:07,599
Speaker 10: serious smoker. I can't even remember seeing his face without

1684
01:36:07,760 --> 01:36:11,400
Speaker 10: him having a cigarette hanging from his fingers. So he

1685
01:36:11,479 --> 01:36:13,400
Speaker 10: was smoking a cigarette and he's going like this with

1686
01:36:13,520 --> 01:36:16,240
Speaker 10: his hand on his face, on his jaw.

1687
01:36:16,520 --> 01:36:19,120
Speaker 7: I'm like, what's wrong? He said of a toothache. Was

1688
01:36:19,200 --> 01:36:20,400
Speaker 7: that s all right? Can we can we do it

1689
01:36:20,439 --> 01:36:23,960
Speaker 7: one more time? I'm like, Rod, you should call a dentist.

1690
01:36:24,000 --> 01:36:25,680
Speaker 10: He said, all right, he said it's all right, So

1691
01:36:25,800 --> 01:36:27,400
Speaker 10: he said, go ahead and sing song one more time.

1692
01:36:27,479 --> 01:36:30,800
Speaker 10: While I was singing the song, Rod had sent one

1693
01:36:30,840 --> 01:36:33,560
Speaker 10: of the engineers into the toolbox.

1694
01:36:34,640 --> 01:36:46,800
Speaker 7: No wait for it, No rod took a pair of flyers.

1695
01:36:53,520 --> 01:36:57,240
Speaker 10: He gripped that tooth, yanked it out of his mouth,

1696
01:37:01,280 --> 01:37:04,160
Speaker 10: took a swig of his cigarette, a drink of his coffee,

1697
01:37:04,200 --> 01:37:05,880
Speaker 10: and said one more take please.

1698
01:37:10,400 --> 01:37:17,000
Speaker 1: Gangster Wow, wow, gangster wow.

1699
01:37:17,320 --> 01:37:23,120
Speaker 7: He was like that, that's the kind of hell man.

1700
01:37:25,840 --> 01:37:30,519
Speaker 1: You said there and watched that I was, and then

1701
01:37:30,520 --> 01:37:30,840
Speaker 1: he's like.

1702
01:37:31,680 --> 01:37:35,200
Speaker 7: And then he's like, you gotta be bleeding profusely washing

1703
01:37:35,280 --> 01:37:38,519
Speaker 7: it all down with the coffee and cigarette coffee.

1704
01:37:38,600 --> 01:37:45,400
Speaker 1: Yeah, yeah, I think that's cool.

1705
01:37:46,600 --> 01:37:48,800
Speaker 7: Sounds like the white guy thing.

1706
01:37:49,080 --> 01:37:53,080
Speaker 1: I gotta be a white that's something. Yeah, but you

1707
01:37:53,200 --> 01:37:53,880
Speaker 1: could never pull that.

1708
01:37:54,160 --> 01:37:58,160
Speaker 9: I wouldn't have the You could never pull coffee coffee.

1709
01:37:59,560 --> 01:38:01,640
Speaker 5: You were for thirty years. You don't know that his

1710
01:38:01,720 --> 01:38:04,200
Speaker 5: dad's a dentist. I'm like, I've known you for all

1711
01:38:04,280 --> 01:38:05,680
Speaker 5: my life and I didn't know your dad was a

1712
01:38:05,760 --> 01:38:10,479
Speaker 5: Gis that explains your teeth?

1713
01:38:11,080 --> 01:38:12,880
Speaker 1: Well? Gifts?

1714
01:38:15,479 --> 01:38:15,840
Speaker 12: What are the.

1715
01:38:18,520 --> 01:38:27,000
Speaker 1: Checks? I love it? Okay, wait, yeah for it? Yeah

1716
01:38:27,000 --> 01:38:30,280
Speaker 1: I got so. We didn't get the answer. It's a

1717
01:38:30,320 --> 01:38:31,800
Speaker 1: baby got a bed. Yeah, I was going to say.

1718
01:38:32,200 --> 01:38:32,240
Speaker 4: So.

1719
01:38:33,000 --> 01:38:35,439
Speaker 1: The thing is is that we have a version who

1720
01:38:35,479 --> 01:38:40,200
Speaker 1: got the Hots that's on kind of a Michael box

1721
01:38:40,240 --> 01:38:43,360
Speaker 1: set that has him credit as the sole writer of it.

1722
01:38:43,560 --> 01:38:46,600
Speaker 7: Michael, Right, Okay, so when we.

1723
01:38:46,680 --> 01:38:53,240
Speaker 1: Heard baby Got in Bed, I realized that that's basically

1724
01:38:53,600 --> 01:38:56,280
Speaker 1: Got the Hots, which explains to me that so that

1725
01:38:57,080 --> 01:38:59,639
Speaker 1: Rod Timperton did the music correct.

1726
01:39:00,400 --> 01:39:01,879
Speaker 7: Probably I'm trying.

1727
01:39:01,680 --> 01:39:04,880
Speaker 1: To figure out how. So how did you get the

1728
01:39:05,000 --> 01:39:05,799
Speaker 1: track before?

1729
01:39:06,280 --> 01:39:09,000
Speaker 7: I don't know what track you're talking about, Got the Hots?

1730
01:39:09,040 --> 01:39:12,080
Speaker 1: I'm not okay, it was a thriller out take? Play it?

1731
01:39:12,200 --> 01:39:16,719
Speaker 1: Do you never heard the original reference that Got the Hots?

1732
01:39:16,880 --> 01:39:16,920
Speaker 8: No?

1733
01:39:17,760 --> 01:39:20,840
Speaker 1: This is incredible. Okay, so this is uh, Got the

1734
01:39:20,920 --> 01:39:25,559
Speaker 1: Hots an outtake? So you got to the bottom of nothing, right,

1735
01:39:25,680 --> 01:39:27,599
Speaker 1: But now we're all going to walk away in lighten

1736
01:39:28,160 --> 01:39:29,519
Speaker 1: and I get to hear it Got the Hots for

1737
01:39:29,600 --> 01:39:29,960
Speaker 1: a minute.

1738
01:39:30,000 --> 01:39:39,880
Speaker 10: Yeah, oh yeah, yeah, I have heard this before. Okay,

1739
01:39:42,600 --> 01:39:44,120
Speaker 10: that's Rod Tipperton.

1740
01:39:44,200 --> 01:39:45,040
Speaker 12: To his core.

1741
01:39:47,800 --> 01:39:49,599
Speaker 1: Does he demo everything himself?

1742
01:39:50,520 --> 01:39:51,960
Speaker 7: Yeah? I sang a lot of his demos.

1743
01:39:55,160 --> 01:39:58,400
Speaker 1: Can you play the other one? Okay? Has he played?

1744
01:39:58,439 --> 01:40:00,559
Speaker 7: Have you heard Groove of Midnight? Michael's version of Groove

1745
01:40:00,600 --> 01:40:04,240
Speaker 7: of Midnight? Yeah, that was one of the songs that

1746
01:40:04,280 --> 01:40:05,120
Speaker 7: didn't make the album.

1747
01:40:06,280 --> 01:40:11,400
Speaker 1: Wait, I love it when you freak out the nerds night.

1748
01:40:12,280 --> 01:40:15,480
Speaker 7: We're in the wam the sweetest?

1749
01:40:17,080 --> 01:40:18,559
Speaker 1: Do you do you own this.

1750
01:40:22,479 --> 01:40:22,919
Speaker 7: Somewhere?

1751
01:40:23,080 --> 01:40:24,040
Speaker 1: Are we going to be best friend?

1752
01:40:24,560 --> 01:40:27,360
Speaker 7: You gotta be my friend now of course, shake my

1753
01:40:27,439 --> 01:40:27,880
Speaker 7: hand again.

1754
01:40:28,200 --> 01:40:30,880
Speaker 8: Absolutely, Larry again.

1755
01:40:30,960 --> 01:40:35,400
Speaker 5: You know I'm gonna start calling you lady. That's fine,

1756
01:40:35,439 --> 01:40:39,519
Speaker 5: I'll be Larry. Let's compare it to babies, yes, Nerd,

1757
01:40:39,680 --> 01:40:46,240
Speaker 5: all right, so this baby's got it also with take

1758
01:40:46,320 --> 01:40:47,479
Speaker 5: rude off from production right.

1759
01:40:47,640 --> 01:40:59,920
Speaker 12: Yes, I used to love to sing Chariot, I.

1760
01:41:07,960 --> 01:41:18,439
Speaker 7: Think study it's get to say that the bull and

1761
01:41:18,760 --> 01:41:23,960
Speaker 7: crazy my body is a fuck the law.

1762
01:41:27,600 --> 01:41:33,840
Speaker 14: When come down to the mole, take them and you know,

1763
01:41:34,760 --> 01:41:41,040
Speaker 14: preble to let up the bread.

1764
01:41:45,360 --> 01:42:07,800
Speaker 15: Robot, spose all your backgrounds and when you're doing that,

1765
01:42:07,880 --> 01:42:08,320
Speaker 15: are you making?

1766
01:42:08,400 --> 01:42:10,680
Speaker 1: Are you Is that just like off the top of

1767
01:42:10,680 --> 01:42:12,280
Speaker 1: your head? Oh no, no, no, no no no.

1768
01:42:12,760 --> 01:42:16,080
Speaker 10: Rod had all the chords, all the notes written out,

1769
01:42:16,160 --> 01:42:19,080
Speaker 10: and he played me what notes to say, yes.

1770
01:42:19,400 --> 01:42:26,200
Speaker 1: Yes, I always. I concluded that maybe praps Mike didn't

1771
01:42:26,520 --> 01:42:29,320
Speaker 1: see it to completion because it didn't allow him to

1772
01:42:31,520 --> 01:42:34,519
Speaker 1: as an entertainer exactly because he was confined. It was

1773
01:42:34,560 --> 01:42:38,120
Speaker 1: a brilliant song, though, And that's the thing, like, especially

1774
01:42:38,360 --> 01:42:41,920
Speaker 1: with the work that Right has done, especially when like

1775
01:42:42,040 --> 01:42:45,519
Speaker 1: Johnny Wilder is in the lead doing the heat heat

1776
01:42:45,520 --> 01:42:51,120
Speaker 1: wave stuff and oh yeah, all those harm you know.

1777
01:42:51,200 --> 01:42:57,479
Speaker 1: There's there's one song in on Central Heating where at

1778
01:42:57,520 --> 01:42:59,720
Speaker 1: the very end it's called put the word out out.

1779
01:42:59,760 --> 01:43:04,479
Speaker 1: Yes yes, yes, yes, so's There's there's one song which

1780
01:43:04,600 --> 01:43:09,960
Speaker 1: Johnny Wilder actually gives himself some debt because he mastered

1781
01:43:10,840 --> 01:43:13,120
Speaker 1: like for like nine minutes he had to sing this

1782
01:43:13,400 --> 01:43:17,160
Speaker 1: really intricate harmony part and at the end, at the

1783
01:43:17,240 --> 01:43:20,120
Speaker 1: end of the song, Johnny Wilders like, I'm the best.

1784
01:43:20,280 --> 01:43:26,240
Speaker 1: I did that for ten moretherfucking minutes. It's it's it's

1785
01:43:26,320 --> 01:43:35,400
Speaker 1: really great movie. I love the callback. So when when

1786
01:43:36,400 --> 01:43:39,360
Speaker 1: when you when you're called for a project like back

1787
01:43:39,439 --> 01:43:42,680
Speaker 1: on the Block and subsequently listen up and there's so

1788
01:43:42,840 --> 01:43:47,160
Speaker 1: many players in it, like how God, what are your

1789
01:43:47,200 --> 01:43:50,519
Speaker 1: memories of tackling that project?

1790
01:43:51,240 --> 01:43:53,840
Speaker 10: That was I was just in awe to be in

1791
01:43:53,960 --> 01:43:57,280
Speaker 10: the room because you never knew who was gonna show up.

1792
01:43:57,360 --> 01:44:02,320
Speaker 10: I mean that album was Ella Fitzgerald, Sarah von.

1793
01:44:02,920 --> 01:44:13,719
Speaker 7: Barry White of Miles Davis, Algirou, who's the cheeks, che Dizzey,

1794
01:44:13,760 --> 01:44:17,519
Speaker 7: the last Pitch, all these people that was their last project, right,

1795
01:44:17,840 --> 01:44:21,640
Speaker 7: So I have a story. Barry White was doing the

1796
01:44:21,680 --> 01:44:26,280
Speaker 7: Secret Garden, right, So Quincy and Barry are talking in

1797
01:44:26,360 --> 01:44:29,880
Speaker 7: a little area between the recording booth and the vocal booth.

1798
01:44:29,920 --> 01:44:32,639
Speaker 7: There was like a little hallway at Westlake Gifts.

1799
01:44:33,160 --> 01:44:35,960
Speaker 10: So they're and they're talking, and I'm going from either

1800
01:44:36,000 --> 01:44:38,000
Speaker 10: from the booth into the studio or from the studio

1801
01:44:38,080 --> 01:44:40,280
Speaker 10: into the booth, but I had to pass them. And

1802
01:44:40,360 --> 01:44:45,720
Speaker 10: they're talking, and Barry's dog talking, and I'm standing there waiting.

1803
01:44:45,479 --> 01:44:48,439
Speaker 7: To say something to Quincy. And while Barry is speaking,

1804
01:44:49,880 --> 01:44:55,679
Speaker 7: my ribs are vibrating, and I said, excuse me, mister White,

1805
01:44:56,640 --> 01:44:57,120
Speaker 7: I'm gonna have.

1806
01:44:57,120 --> 01:45:01,639
Speaker 10: To lead, because right now you are inside me. Yeah,

1807
01:45:01,840 --> 01:45:04,280
Speaker 10: it was just so intense. He his voice was so

1808
01:45:04,600 --> 01:45:08,840
Speaker 10: rich and so deep. My rib cage was vibrating from

1809
01:45:08,920 --> 01:45:14,320
Speaker 10: the tone in his voice. Baby, they nothing like having

1810
01:45:14,400 --> 01:45:16,280
Speaker 10: Berry White inside. I'm telling you.

1811
01:45:16,960 --> 01:45:19,720
Speaker 1: I'm telling you now, but it is something like that

1812
01:45:19,880 --> 01:45:22,479
Speaker 1: overwhelming or by this point, you're just like eight. I

1813
01:45:22,600 --> 01:45:24,000
Speaker 1: was loving it every day.

1814
01:45:24,080 --> 01:45:27,880
Speaker 10: Oh hey, no, No, you knew it was special. You

1815
01:45:28,040 --> 01:45:31,840
Speaker 10: knew that that was some shit that didn't happen every day.

1816
01:45:32,560 --> 01:45:36,719
Speaker 10: You knew that these people only came because it was Quincy.

1817
01:45:36,960 --> 01:45:40,000
Speaker 10: I mean, Ray Charles, you know, Dizzy Gillespie, come on.

1818
01:45:40,960 --> 01:45:46,759
Speaker 10: So it was just it was a rich history lesson

1819
01:45:47,040 --> 01:45:51,720
Speaker 10: every day the musical history that Quincy surrounds himself with

1820
01:45:52,320 --> 01:45:53,880
Speaker 10: and has inside of him.

1821
01:45:54,120 --> 01:45:56,360
Speaker 7: I mean since he was fourteen years old. That's and

1822
01:45:56,800 --> 01:46:01,920
Speaker 7: almost every decade he's been relevant ever since. Six decades

1823
01:46:02,200 --> 01:46:05,600
Speaker 7: of relevance in the music business. Who does that? You know?

1824
01:46:06,240 --> 01:46:09,840
Speaker 7: It's just I just wanted to be a sponge.

1825
01:46:09,920 --> 01:46:13,519
Speaker 10: I just wanted to soak up all the goodness, all

1826
01:46:13,560 --> 01:46:18,320
Speaker 10: the richness, all the musicality, all the experience, all the

1827
01:46:18,479 --> 01:46:21,439
Speaker 10: talent that I could possibly soak up while I was

1828
01:46:21,479 --> 01:46:22,200
Speaker 10: in their presence.

1829
01:46:23,600 --> 01:46:24,760
Speaker 7: What did they say you you are?

1830
01:46:25,240 --> 01:46:29,000
Speaker 10: Your collective intelligence is is a some of the seven

1831
01:46:29,040 --> 01:46:31,120
Speaker 10: people you surround yourself with or something like that.

1832
01:46:31,680 --> 01:46:46,160
Speaker 7: That's well in a room like that, But.

1833
01:46:47,560 --> 01:46:49,479
Speaker 8: That was that was to me as the only new

1834
01:46:49,600 --> 01:46:50,600
Speaker 8: person at the time of.

1835
01:46:52,080 --> 01:46:54,719
Speaker 1: She was on cut Joint, Joint Joint.

1836
01:46:54,760 --> 01:46:56,400
Speaker 7: Right back of the block, and Rod wrote the song

1837
01:46:56,479 --> 01:46:57,799
Speaker 7: for her and I sang the demo.

1838
01:46:59,560 --> 01:47:03,599
Speaker 8: Voices was my baby angela Field in my head.

1839
01:47:04,040 --> 01:47:04,479
Speaker 10: Want to do it.

1840
01:47:06,200 --> 01:47:07,160
Speaker 1: First? Yeah.

1841
01:47:07,240 --> 01:47:09,639
Speaker 10: Misha had a great relationship with Rod. He loved going

1842
01:47:09,680 --> 01:47:12,400
Speaker 10: back to London and recording stuff with her. She's awesome.

1843
01:47:12,920 --> 01:47:13,920
Speaker 7: I sang her demos too.

1844
01:47:14,080 --> 01:47:16,840
Speaker 10: For when Rod would write in La, I'd sing the

1845
01:47:16,880 --> 01:47:19,719
Speaker 10: demos and then he'd go to Europe and playing for Misha.

1846
01:47:20,320 --> 01:47:23,200
Speaker 7: Rod never let out his music.

1847
01:47:23,320 --> 01:47:24,800
Speaker 10: If he was going to have a meeting with an

1848
01:47:24,840 --> 01:47:28,040
Speaker 10: an R person for to play music for their artists,

1849
01:47:28,479 --> 01:47:32,120
Speaker 10: he would go there, play the music and take his

1850
01:47:32,200 --> 01:47:33,479
Speaker 10: ship right back with him, because if.

1851
01:47:33,400 --> 01:47:34,800
Speaker 7: You didn't like it, then you're not gonna like it

1852
01:47:34,880 --> 01:47:36,840
Speaker 7: in twenty minutes, so you're not gonna like it.

1853
01:47:37,560 --> 01:47:39,760
Speaker 10: He never left any of his music with anybody. No,

1854
01:47:42,600 --> 01:47:44,639
Speaker 10: and he didn't do the demos until he got the job.

1855
01:47:45,200 --> 01:47:46,800
Speaker 10: Then he would demo, do you like this song?

1856
01:47:46,920 --> 01:47:47,240
Speaker 1: This song?

1857
01:47:47,400 --> 01:47:48,519
Speaker 7: Or we were like that?

1858
01:47:49,520 --> 01:47:53,040
Speaker 10: Really, because right had that thriller money, he didn't give

1859
01:47:53,040 --> 01:47:57,439
Speaker 10: a ship, he really didn't. He did it because he

1860
01:47:57,560 --> 01:47:59,760
Speaker 10: loved the music. He didn't need the money. In fact

1861
01:47:59,800 --> 01:48:02,240
Speaker 10: that you know, he didn't care about that. Rod Timber

1862
01:48:02,280 --> 01:48:05,719
Speaker 10: didn't didn't even drive a car. He didn't own a vehicle.

1863
01:48:06,520 --> 01:48:08,960
Speaker 10: In fact, his wife had to come on, Roddie, I

1864
01:48:09,040 --> 01:48:11,080
Speaker 10: need a car, you know to you know. But Rod

1865
01:48:11,120 --> 01:48:14,519
Speaker 10: had a relationship with the Yellow Cab service Way before Uber.

1866
01:48:14,840 --> 01:48:17,680
Speaker 10: Rod was like having the cabs coming, taking to get groceries,

1867
01:48:17,720 --> 01:48:18,880
Speaker 10: taking him buy cigarettes.

1868
01:48:18,960 --> 01:48:19,080
Speaker 8: You know.

1869
01:48:19,840 --> 01:48:20,800
Speaker 1: Wow, he was a trip.

1870
01:48:20,880 --> 01:48:22,160
Speaker 7: And Quincy doesn't drive either.

1871
01:48:23,240 --> 01:48:24,960
Speaker 1: Wowow, Quincy Jones, I wouldn't drive.

1872
01:48:25,040 --> 01:48:26,200
Speaker 7: Quincy never learned to drive.

1873
01:48:26,439 --> 01:48:28,519
Speaker 1: You're not Quincy Johnes know how to drive.

1874
01:48:28,880 --> 01:48:30,679
Speaker 8: Quincy Jones? Do you so often?

1875
01:48:30,720 --> 01:48:31,720
Speaker 1: Do you really him?

1876
01:48:32,280 --> 01:48:36,080
Speaker 10: I spend every Thanksgiving and Christmas dinner with Quincy Jones.

1877
01:48:36,120 --> 01:48:37,960
Speaker 10: And I talked to him throughout the year, depending on

1878
01:48:38,280 --> 01:48:41,320
Speaker 10: who dies, what's happening, because he said, all my friends

1879
01:48:41,360 --> 01:48:44,200
Speaker 10: are dead. It's very worry about him.

1880
01:48:44,200 --> 01:48:46,080
Speaker 1: So yeah, yeah.

1881
01:48:46,160 --> 01:48:48,639
Speaker 10: And he said to me, like when Ray Charles passed

1882
01:48:48,680 --> 01:48:50,800
Speaker 10: and then Rod Temperton passed and I was talking to

1883
01:48:50,920 --> 01:48:51,679
Speaker 10: him about funerals.

1884
01:48:51,720 --> 01:48:54,080
Speaker 7: He said, oh shit, I can't. I can't go to

1885
01:48:54,200 --> 01:48:56,720
Speaker 7: another funeral. Said if I went to every funeral with

1886
01:48:56,840 --> 01:48:59,080
Speaker 7: the people that I know, I'd be at a funeral

1887
01:48:59,120 --> 01:48:59,519
Speaker 7: every week.

1888
01:49:00,360 --> 01:49:00,559
Speaker 1: Wow.

1889
01:49:00,640 --> 01:49:02,480
Speaker 7: He said, I'm done with funerals.

1890
01:49:03,680 --> 01:49:08,960
Speaker 1: Wow. I gotta respect that respect until you die, until

1891
01:49:10,400 --> 01:49:15,080
Speaker 1: I won't know that. So you, uh, you wrote the

1892
01:49:15,320 --> 01:49:17,479
Speaker 1: lyrics for tomorrow correct? Yes, for.

1893
01:49:20,760 --> 01:49:21,680
Speaker 7: Better you better Me?

1894
01:49:21,840 --> 01:49:22,200
Speaker 2: Babe?

1895
01:49:24,160 --> 01:49:25,320
Speaker 1: Oh you said it was your favorite?

1896
01:49:25,360 --> 01:49:25,519
Speaker 6: It was?

1897
01:49:25,600 --> 01:49:27,320
Speaker 8: Do you know they will show our hopes and yes,

1898
01:49:27,640 --> 01:49:30,040
Speaker 8: you never cry any of these songs. Man in the mirror.

1899
01:49:30,400 --> 01:49:31,280
Speaker 8: Tomorrow you never.

1900
01:49:31,439 --> 01:49:35,040
Speaker 1: Tomorrow actually makes me kind of yeah, like that's tomorrow

1901
01:49:35,160 --> 01:49:37,400
Speaker 1: will be okay. I'll tell you what.

1902
01:49:37,680 --> 01:49:39,559
Speaker 5: It reminds me when I was a kid and tomorrow

1903
01:49:39,680 --> 01:49:42,120
Speaker 5: is so far away and now tomorrow's here and I'm like, damn,

1904
01:49:42,920 --> 01:49:43,639
Speaker 5: this is tomorrow.

1905
01:49:44,400 --> 01:49:45,559
Speaker 7: But it's never far away.

1906
01:49:45,640 --> 01:49:45,880
Speaker 1: It's not.

1907
01:49:47,320 --> 01:49:49,800
Speaker 10: I can always be sure of Yeah, get it all

1908
01:49:50,160 --> 01:49:53,880
Speaker 10: to be strong, get it on, get on to be strong.

1909
01:49:55,880 --> 01:50:00,800
Speaker 5: Yeah, I mean I'm pep. Actually, I I'm gonna make

1910
01:50:00,800 --> 01:50:03,240
Speaker 5: a confession. Actually didn't know that that song was originally

1911
01:50:03,240 --> 01:50:06,320
Speaker 5: an instrumental. Yeah, because the lyrics just fit it so perfectly.

1912
01:50:06,400 --> 01:50:06,680
Speaker 7: Thank you.

1913
01:50:09,320 --> 01:50:14,920
Speaker 1: No, see, I didn't know that there were lyrics. Well

1914
01:50:15,040 --> 01:50:17,680
Speaker 1: that's the thing. There weren't, right, I get it now,

1915
01:50:17,920 --> 01:50:21,200
Speaker 1: just like, uh, what's his name? The jazz guy that

1916
01:50:21,600 --> 01:50:26,840
Speaker 1: Eddie Eddie Harris who always adds lyrics to you know.

1917
01:50:27,680 --> 01:50:31,680
Speaker 1: So as a soul training a file, I have to

1918
01:50:31,760 --> 01:50:37,519
Speaker 1: say that usually where I come from in soul training ology,

1919
01:50:37,720 --> 01:50:40,800
Speaker 1: depending on what time it comes on, either wrestling's coming

1920
01:50:40,840 --> 01:50:46,600
Speaker 1: on right before that or America's Top ten. Yes, So

1921
01:50:47,200 --> 01:50:49,600
Speaker 1: I was really happy during your duration.

1922
01:50:49,400 --> 01:50:51,360
Speaker 7: Of that was so much fun, man.

1923
01:50:51,560 --> 01:50:55,120
Speaker 10: I mean, Casey Kasem called me one day and tell

1924
01:50:55,160 --> 01:50:56,720
Speaker 10: me I was doing a really great job because I

1925
01:50:56,720 --> 01:50:58,560
Speaker 10: would suffer him when he was go on vacation or

1926
01:50:58,600 --> 01:51:02,200
Speaker 10: if he something. I don't remember how that happened, I

1927
01:51:02,320 --> 01:51:06,640
Speaker 10: really don't, but I remember doing the show and they

1928
01:51:06,720 --> 01:51:10,320
Speaker 10: really wanted me to continue, but I it was painful

1929
01:51:10,400 --> 01:51:14,439
Speaker 10: for me because every week I would announce all my

1930
01:51:14,560 --> 01:51:15,439
Speaker 10: friends going up.

1931
01:51:15,400 --> 01:51:18,479
Speaker 7: The charts, Tevin Madonna, they were all, you know, and

1932
01:51:18,520 --> 01:51:20,360
Speaker 7: I would this week on the you know, and I

1933
01:51:20,439 --> 01:51:22,640
Speaker 7: felt kind of left out. It was like on the

1934
01:51:22,720 --> 01:51:25,080
Speaker 7: outside and it was kind of painful. So I didn't

1935
01:51:25,080 --> 01:51:27,360
Speaker 7: want to do it anymore. And they were like, but

1936
01:51:27,479 --> 01:51:29,000
Speaker 7: you're so good at this. I said, but I don't.

1937
01:51:29,160 --> 01:51:32,400
Speaker 7: I don't want to do it. It was fun. I

1938
01:51:32,479 --> 01:51:35,400
Speaker 7: remember when Casey Casem was having his first child and

1939
01:51:36,160 --> 01:51:38,360
Speaker 7: he was trying to figure out what to name the kid,

1940
01:51:39,040 --> 01:51:43,040
Speaker 7: and I said, you know what, Casey, I don't care

1941
01:51:43,160 --> 01:51:46,719
Speaker 7: what you call them, just don't call them justin Casey.

1942
01:51:50,439 --> 01:51:56,840
Speaker 12: But I actually did say that.

1943
01:52:01,840 --> 01:52:02,600
Speaker 7: But I'm working on.

1944
01:52:06,560 --> 01:52:08,560
Speaker 1: Okay, I'm gonna I'm gonna cut to the chase just

1945
01:52:08,880 --> 01:52:11,439
Speaker 1: because we'll be here for nine hours. How did you

1946
01:52:11,880 --> 01:52:13,679
Speaker 1: come across Brand New Heavies?

1947
01:52:14,600 --> 01:52:15,240
Speaker 7: Oh my gosh.

1948
01:52:15,360 --> 01:52:20,200
Speaker 10: I was assigned to write with each one of the

1949
01:52:20,280 --> 01:52:22,120
Speaker 10: members of the Brand New Heavies for the next album,

1950
01:52:22,600 --> 01:52:26,799
Speaker 10: just as a songwriter. So I would get these tracks

1951
01:52:27,000 --> 01:52:30,559
Speaker 10: and I would demo them and send them to London,

1952
01:52:30,720 --> 01:52:33,599
Speaker 10: or I would go to London and demo the songs

1953
01:52:33,720 --> 01:52:36,120
Speaker 10: after I'd written. It was just me writing with an

1954
01:52:36,200 --> 01:52:39,559
Speaker 10: equal number of songs for an equal for each member

1955
01:52:39,600 --> 01:52:40,000
Speaker 10: of the group.

1956
01:52:40,240 --> 01:52:42,479
Speaker 1: Right, did they know they were all writing with you?

1957
01:52:43,000 --> 01:52:43,200
Speaker 7: Yeah?

1958
01:52:43,520 --> 01:52:45,280
Speaker 1: Okay, I thought it was like no, no, no, no,

1959
01:52:45,320 --> 01:52:46,280
Speaker 1: no no no no, no, no, no no.

1960
01:52:46,960 --> 01:52:48,760
Speaker 10: It was my job to write with each one of

1961
01:52:48,840 --> 01:52:52,200
Speaker 10: them for their record because the last album, the drummer

1962
01:52:52,240 --> 01:52:54,720
Speaker 10: wrote all the songs. And they were great on the road,

1963
01:52:54,760 --> 01:52:56,840
Speaker 10: you know, buying clothes and living it up on the road,

1964
01:52:57,000 --> 01:52:59,000
Speaker 10: and then they went home to their little apartments while

1965
01:52:59,000 --> 01:53:00,559
Speaker 10: the drummer bought a car and got.

1966
01:53:00,520 --> 01:53:01,400
Speaker 7: A new flat and you know.

1967
01:53:01,479 --> 01:53:05,080
Speaker 10: So they were like, hey, we're equal members of the group, right,

1968
01:53:05,400 --> 01:53:08,720
Speaker 10: so we should all get a part of the written, right,

1969
01:53:08,800 --> 01:53:09,200
Speaker 10: We're all.

1970
01:53:09,160 --> 01:53:11,240
Speaker 7: Going to be written, right, We're all writing.

1971
01:53:11,800 --> 01:53:14,640
Speaker 10: So I had to write with any equal number of

1972
01:53:14,960 --> 01:53:17,439
Speaker 10: songs for each member of the group song.

1973
01:53:18,800 --> 01:53:22,920
Speaker 7: I think it was the drummer. Yeah, y.

1974
01:53:24,439 --> 01:53:29,160
Speaker 1: That you might not be aware, but that Dili remix

1975
01:53:29,640 --> 01:53:33,479
Speaker 1: changed lives. Oh my god, I remember, don't even know

1976
01:53:33,640 --> 01:53:35,400
Speaker 1: it what REMIXX?

1977
01:53:37,120 --> 01:53:39,640
Speaker 7: Yes, yes, yes, I love you And I see him.

1978
01:53:40,040 --> 01:53:42,639
Speaker 7: I hadn't seen him since for like ten years after

1979
01:53:42,680 --> 01:53:45,200
Speaker 7: the record, and I didn't know if he'd remember whatever.

1980
01:53:46,880 --> 01:53:49,760
Speaker 7: And he said, the am a mix, of course I

1981
01:53:49,880 --> 01:53:52,280
Speaker 7: remember you. The I'm a mixed brand new. It was

1982
01:53:52,360 --> 01:53:54,479
Speaker 7: really good. That was that was an awesome that was

1983
01:53:54,560 --> 01:53:55,880
Speaker 7: that mix was better than the record.

1984
01:53:58,600 --> 01:54:00,800
Speaker 1: Yeah, the whole record. I don't even know if you're

1985
01:54:00,840 --> 01:54:03,960
Speaker 1: ware it. Like the guy who did the track music

1986
01:54:05,520 --> 01:54:11,920
Speaker 1: what j Dilla is Like, he's are Jay Dilla? Yes,

1987
01:54:12,040 --> 01:54:14,920
Speaker 1: he's He's all right. So J Dilla is a producer

1988
01:54:14,960 --> 01:54:20,759
Speaker 1: from Detroit that Q Tip discovered, who's like, are Guru?

1989
01:54:23,439 --> 01:54:28,439
Speaker 1: No you well he passed away, but I mean of

1990
01:54:28,640 --> 01:54:32,080
Speaker 1: office work, Yeah, but I.

1991
01:54:32,120 --> 01:54:32,680
Speaker 7: Mean you you.

1992
01:54:34,200 --> 01:54:37,560
Speaker 1: You hold the honor of like you're on one of

1993
01:54:37,640 --> 01:54:40,520
Speaker 1: his signature tracks, like every the tracks that he's done

1994
01:54:40,680 --> 01:54:44,000
Speaker 1: that really inspired the Neil Soul movement. The way that

1995
01:54:44,120 --> 01:54:45,960
Speaker 1: Danzelo's record sound, the way it does the way that

1996
01:54:46,080 --> 01:54:48,480
Speaker 1: Eric Abadu's records, the way the Roots album sound, the

1997
01:54:48,520 --> 01:54:51,640
Speaker 1: way that Jill Scott's like that whole neo soul movement

1998
01:54:52,320 --> 01:54:56,840
Speaker 1: between ninety six and like two thousand and five. He's

1999
01:54:56,880 --> 01:55:00,080
Speaker 1: really the epicenter of it all. So it's like you,

2000
01:55:01,520 --> 01:55:06,600
Speaker 1: I mean, you're you're basically on the Duke Ellington of

2001
01:55:06,720 --> 01:55:07,280
Speaker 1: that movement.

2002
01:55:07,440 --> 01:55:09,440
Speaker 7: Wow, that's so cool.

2003
01:55:09,640 --> 01:55:12,320
Speaker 1: Use it? Yeah, yeah, and so I did not know that.

2004
01:55:13,040 --> 01:55:17,520
Speaker 1: Yeah when it came out, that just that changed lives.

2005
01:55:18,840 --> 01:55:21,760
Speaker 1: So talk about your your new all right, this acronym

2006
01:55:21,880 --> 01:55:22,720
Speaker 1: is a nightmare?

2007
01:55:23,440 --> 01:55:26,320
Speaker 7: Why ghetto?

2008
01:55:26,800 --> 01:55:27,640
Speaker 1: Give me the acronym?

2009
01:55:27,800 --> 01:55:33,440
Speaker 7: Greatness, Yes, happens even though there's oppression.

2010
01:55:34,080 --> 01:55:36,240
Speaker 8: Mmmm, what you're saying you couldn't say ghetto.

2011
01:55:38,120 --> 01:55:41,080
Speaker 1: I didn't say. I couldn't say ghetto. Like I said,

2012
01:55:41,160 --> 01:55:45,640
Speaker 1: I couldn't remember the acronym. Yes, what is it? Greatness

2013
01:55:45,720 --> 01:55:47,040
Speaker 1: happens even to those.

2014
01:55:49,480 --> 01:55:52,320
Speaker 7: Greatness happens even though there's oppression.

2015
01:55:52,440 --> 01:55:55,560
Speaker 1: My dear, how apropos for the times we's living trying

2016
01:55:55,600 --> 01:55:57,840
Speaker 1: to How did it come to be?

2017
01:55:58,560 --> 01:56:00,760
Speaker 7: Well comment?

2018
01:56:01,720 --> 01:56:05,520
Speaker 10: I've always been a fan of his energy and the

2019
01:56:05,800 --> 01:56:10,880
Speaker 10: message in his music, in his rap, and I really

2020
01:56:11,720 --> 01:56:14,640
Speaker 10: started to know him as a person when we found

2021
01:56:14,640 --> 01:56:18,360
Speaker 10: out we were on the the same oscar board.

2022
01:56:19,080 --> 01:56:22,000
Speaker 7: Thank you Darling. We were on the the Academy.

2023
01:56:22,040 --> 01:56:25,360
Speaker 10: He's an Academy member, and I decided when I decided

2024
01:56:25,400 --> 01:56:27,920
Speaker 10: to add a Verse to this song, I had a

2025
01:56:27,960 --> 01:56:30,440
Speaker 10: little wish list and Common was at the top of

2026
01:56:30,480 --> 01:56:30,800
Speaker 10: the list.

2027
01:56:30,840 --> 01:56:31,200
Speaker 7: I wasn't.

2028
01:56:31,440 --> 01:56:31,760
Speaker 1: I didn't.

2029
01:56:31,840 --> 01:56:34,400
Speaker 10: I didn't really expect to get him on it. But

2030
01:56:36,120 --> 01:56:39,840
Speaker 10: all say is no, and you know nothing, nothing beats

2031
01:56:39,840 --> 01:56:43,240
Speaker 10: so failure but a try. So I just posed it

2032
01:56:43,320 --> 01:56:46,640
Speaker 10: to him and sent him the song. He loved the song,

2033
01:56:47,480 --> 01:56:51,840
Speaker 10: and I kind of got his information while we were

2034
01:56:51,920 --> 01:56:55,760
Speaker 10: on the on this music branch, and he just seems

2035
01:56:55,800 --> 01:56:58,520
Speaker 10: so just kind of cool and just open to it.

2036
01:56:58,880 --> 01:57:01,760
Speaker 10: And when he said yes because he loved the message

2037
01:57:01,760 --> 01:57:04,720
Speaker 10: of the song, I was like great. And then it

2038
01:57:04,840 --> 01:57:07,240
Speaker 10: was about waiting for him to have time to put

2039
01:57:07,280 --> 01:57:10,960
Speaker 10: on his twelve bars. But baby, when they finally came in,

2040
01:57:11,600 --> 01:57:14,280
Speaker 10: it was so dope. I just loved it, and it

2041
01:57:14,400 --> 01:57:16,280
Speaker 10: just elevated the song to another level.

2042
01:57:17,440 --> 01:57:22,000
Speaker 1: He's a He's the man special individual. That comment. I'll say, wait,

2043
01:57:22,040 --> 01:57:22,720
Speaker 1: why am I talking?

2044
01:57:24,160 --> 01:57:27,280
Speaker 7: You can wear some crochet, chance use a special I'm

2045
01:57:27,320 --> 01:57:27,720
Speaker 7: trying to.

2046
01:57:27,720 --> 01:57:34,640
Speaker 1: Tell you, sit and Gary, you are everything I ever

2047
01:57:34,720 --> 01:57:37,760
Speaker 1: wanted uh in the interview, and.

2048
01:57:39,360 --> 01:57:40,600
Speaker 7: You brought a bag of chips.

2049
01:57:43,560 --> 01:57:46,560
Speaker 6: I hate him on the way before we say go back,

2050
01:57:46,560 --> 01:57:48,680
Speaker 6: can you explain because aren't you involved this T shirt.

2051
01:57:48,520 --> 01:57:50,440
Speaker 7: That you're wearing, Yeah, the girl's code.

2052
01:57:50,720 --> 01:57:51,640
Speaker 8: Can you just talk about that?

2053
01:57:51,760 --> 01:57:56,600
Speaker 7: Ro dude. I was at a graduation for some.

2054
01:57:58,360 --> 01:58:02,080
Speaker 10: Some some people that are learning code and learning how

2055
01:58:02,160 --> 01:58:07,040
Speaker 10: to impact uh technology through art and music and business, and.

2056
01:58:08,640 --> 01:58:12,680
Speaker 7: We wanted to this. This movement is to teach black

2057
01:58:12,760 --> 01:58:16,320
Speaker 7: girls that they can code their own computer games and

2058
01:58:16,400 --> 01:58:20,440
Speaker 7: they can program their own uh. They can they can compute.

2059
01:58:20,160 --> 01:58:23,520
Speaker 10: Themselves, and they don't have to be young white boys

2060
01:58:23,680 --> 01:58:27,040
Speaker 10: to learn how to uh to to code and and

2061
01:58:27,200 --> 01:58:31,000
Speaker 10: create your own video games and and computer programs.

2062
01:58:31,080 --> 01:58:33,520
Speaker 7: You could. Black girls can do it. And I think

2063
01:58:33,600 --> 01:58:38,080
Speaker 7: the movie Hidden No Hidden Fences. I'm just kidding.

2064
01:58:39,320 --> 01:58:42,720
Speaker 10: Hidden Figures did a lot to sort of show people

2065
01:58:43,800 --> 01:58:47,640
Speaker 10: that math is good for girls, and you know, black.

2066
01:58:47,440 --> 01:58:50,640
Speaker 7: Girls can compute some ship. So I'm just here to

2067
01:58:50,720 --> 01:58:51,840
Speaker 7: support that that.

2068
01:58:54,080 --> 01:58:57,800
Speaker 10: Every black child looks at a video game or looks

2069
01:58:57,920 --> 01:59:01,240
Speaker 10: at something on their program on their computer or an

2070
01:59:01,280 --> 01:59:04,480
Speaker 10: app or something and think I wanted to be able

2071
01:59:04,480 --> 01:59:06,400
Speaker 10: to think, hey, I can improve that, or I can

2072
01:59:06,560 --> 01:59:08,080
Speaker 10: make a nap for this, or I can do that.

2073
01:59:08,480 --> 01:59:08,520
Speaker 6: You.

2074
01:59:09,240 --> 01:59:11,960
Speaker 10: I don't think they don't even teach that in school.

2075
01:59:12,240 --> 01:59:14,800
Speaker 10: So no, nobody really hasn't an idea that they can

2076
01:59:14,840 --> 01:59:18,080
Speaker 10: aspire to do something like that. So I'm here to

2077
01:59:18,480 --> 01:59:21,480
Speaker 10: be the liaison and just to be a vessel to

2078
01:59:22,200 --> 01:59:25,440
Speaker 10: promote that message. Black girls can do it, we can code,

2079
01:59:25,520 --> 01:59:27,000
Speaker 10: we can do some ship up in here.

2080
01:59:27,680 --> 01:59:31,320
Speaker 1: So yes, I got a friend who has two daughters

2081
01:59:31,400 --> 01:59:35,280
Speaker 1: that are like their dream is to be video games and.

2082
01:59:35,880 --> 01:59:36,920
Speaker 7: Black girls code.

2083
01:59:37,040 --> 01:59:44,520
Speaker 1: Okay, that's crazy. Yeah, I think I've learned everything. Yeah, boss, Bill,

2084
01:59:44,560 --> 01:59:45,480
Speaker 1: what did you learn to day man?

2085
01:59:45,560 --> 01:59:47,280
Speaker 5: What didn't I learn? Hold on, let me go through

2086
01:59:47,320 --> 01:59:51,120
Speaker 5: my notes. You keep come back to me, come back

2087
01:59:51,160 --> 01:59:55,800
Speaker 5: to me. Really all right, I'm paid, Bill Man, save

2088
01:59:55,800 --> 01:59:56,240
Speaker 5: as the ship.

2089
01:59:58,640 --> 01:59:59,640
Speaker 1: This is. This is amazing.

2090
01:59:59,760 --> 02:00:01,080
Speaker 5: This is to talk about being an artist and all

2091
02:00:01,080 --> 02:00:04,520
Speaker 5: this other stuff is super amazing and awesome. One of

2092
02:00:04,560 --> 02:00:06,120
Speaker 5: the things I learned that I'm going to treasure most

2093
02:00:06,240 --> 02:00:07,560
Speaker 5: is what the hell you guys were saying and don't

2094
02:00:07,560 --> 02:00:08,120
Speaker 5: look any further.

2095
02:00:09,760 --> 02:00:14,040
Speaker 1: That was going to come in to handy just I've

2096
02:00:14,040 --> 02:00:16,600
Speaker 1: always been a fan of yours, like I think.

2097
02:00:16,640 --> 02:00:17,840
Speaker 11: Sorry, no, it's okay.

2098
02:00:17,880 --> 02:00:19,560
Speaker 1: It's okay, don't apologize, don't apologize.

2099
02:00:21,280 --> 02:00:24,120
Speaker 5: I think I'm not Michael Jackson. But I love your voice.

2100
02:00:24,760 --> 02:00:26,840
Speaker 5: I love your voice, and you write amazing songs. I'm

2101
02:00:27,000 --> 02:00:28,640
Speaker 5: very honored to be in this room with you right now.

2102
02:00:28,800 --> 02:00:31,800
Speaker 5: So thank you for being here, Thanks for having me.

2103
02:00:32,000 --> 02:00:35,440
Speaker 5: This has been relatively painless, relatively.

2104
02:00:37,600 --> 02:00:38,040
Speaker 10: I don't know.

2105
02:00:39,800 --> 02:00:46,200
Speaker 1: Into what you say, Shoe, I want to go this shoe.

2106
02:00:46,360 --> 02:00:48,920
Speaker 9: There's no version of James Ingram singing man in the mirror.

2107
02:00:49,960 --> 02:00:52,280
Speaker 7: Hell, we can all rest a little easier.

2108
02:00:52,320 --> 02:00:54,120
Speaker 9: And no, no, I'm a fan of his.

2109
02:00:55,560 --> 02:00:59,160
Speaker 7: Wicked man. I have a question. You don't have to

2110
02:00:59,280 --> 02:01:09,800
Speaker 7: raise your hand this. Actually, yeah, I did Philip Ingram.

2111
02:01:09,920 --> 02:01:11,720
Speaker 10: Yeah, he was one of the guys that was at

2112
02:01:11,760 --> 02:01:14,720
Speaker 10: the auditions for Quincy and he started hiring me to

2113
02:01:14,760 --> 02:01:15,600
Speaker 10: do background session.

2114
02:01:15,600 --> 02:01:24,080
Speaker 1: I'm sorry, I'm so sorry. The carjack your memories. This happens,

2115
02:01:24,800 --> 02:01:31,440
Speaker 1: but he didn't mean to. To Selena and Barnes, you

2116
02:01:31,520 --> 02:01:33,720
Speaker 1: mentioned James Ingram and it just hit me that she

2117
02:01:33,800 --> 02:01:36,200
Speaker 1: did a song with Philip Ingram. And I was a

2118
02:01:36,280 --> 02:01:38,360
Speaker 1: massive switchman, And you know what.

2119
02:01:38,600 --> 02:01:42,200
Speaker 10: Switch came to my high school and I told Philip word, Yeah,

2120
02:01:42,320 --> 02:01:44,680
Speaker 10: I like went up to meet him, and he was

2121
02:01:44,760 --> 02:01:47,640
Speaker 10: so snotty, and I said, you were a bitch to me.

2122
02:01:47,800 --> 02:01:49,920
Speaker 10: You were just so mean, he said, when so when

2123
02:01:49,920 --> 02:01:51,760
Speaker 10: I was in high school, your group came and you

2124
02:01:51,840 --> 02:01:53,520
Speaker 10: didn't You didn't even I was.

2125
02:01:53,680 --> 02:01:55,680
Speaker 7: I just read them the riot Act. He said. I'm sorry,

2126
02:01:55,760 --> 02:01:58,000
Speaker 7: I didn't know. You know, he's so sweet. I just

2127
02:01:58,160 --> 02:02:01,440
Speaker 7: adore him, him, Philipping, great singer.

2128
02:02:02,440 --> 02:02:03,240
Speaker 1: What you got to say?

2129
02:02:03,320 --> 02:02:06,440
Speaker 7: Shooting got that sugar?

2130
02:02:07,040 --> 02:02:10,840
Speaker 16: I mean, it's it's clearly. I mean, I guess I'm

2131
02:02:10,880 --> 02:02:14,000
Speaker 16: staying the obvious. But you know, Michael Jackson was your husband,

2132
02:02:15,160 --> 02:02:18,480
Speaker 16: and then you end up doing the duet across the microphone.

2133
02:02:18,560 --> 02:02:21,080
Speaker 1: Yeah, I mean, it's pretty, it's pretty incredible.

2134
02:02:21,200 --> 02:02:22,880
Speaker 7: It was a dream. It was a dream I didn't

2135
02:02:22,880 --> 02:02:23,520
Speaker 7: even know I had.

2136
02:02:24,320 --> 02:02:28,040
Speaker 10: I mean, if somebody had told me that that would

2137
02:02:28,040 --> 02:02:29,680
Speaker 10: have happened, I would have just laughed them out of

2138
02:02:29,760 --> 02:02:33,080
Speaker 10: the room, because, you know, who, how could that happen?

2139
02:02:33,120 --> 02:02:34,200
Speaker 7: How can that possibly happen?

2140
02:02:34,560 --> 02:02:36,720
Speaker 1: It happens, you know once in a while.

2141
02:02:36,760 --> 02:02:39,000
Speaker 7: I guess the moon must have been blue that day.

2142
02:02:39,720 --> 02:02:44,560
Speaker 1: Sweet sweet Margaret, any last words? Cheese throw off?

2143
02:02:45,160 --> 02:02:45,440
Speaker 7: Margaret?

2144
02:02:47,360 --> 02:02:47,640
Speaker 1: Margaret?

2145
02:02:48,840 --> 02:02:49,440
Speaker 7: Does she know that?

2146
02:02:49,720 --> 02:02:49,760
Speaker 6: No?

2147
02:02:50,080 --> 02:02:54,200
Speaker 7: No, yes, Okay, you're gonna leave a sweet Margret today.

2148
02:02:56,720 --> 02:02:59,840
Speaker 1: Why is it sweet? There's a basketball reference?

2149
02:03:00,080 --> 02:03:04,840
Speaker 6: Oh oh okay, I learned number one that one of

2150
02:03:04,880 --> 02:03:06,440
Speaker 6: my heroes loves to cuss as much as I do.

2151
02:03:06,520 --> 02:03:07,480
Speaker 8: I love that profanity.

2152
02:03:07,880 --> 02:03:09,160
Speaker 1: Also, this.

2153
02:03:15,640 --> 02:03:16,760
Speaker 7: Power of new Cheese.

2154
02:03:17,360 --> 02:03:18,720
Speaker 8: I am taking this now. I don't really think I

2155
02:03:18,760 --> 02:03:20,040
Speaker 8: need to read the book at this point, because y'all

2156
02:03:20,040 --> 02:03:21,160
Speaker 8: gave me the whole thing.

2157
02:03:21,160 --> 02:03:21,880
Speaker 7: You got the gist.

2158
02:03:22,320 --> 02:03:24,360
Speaker 8: But what you did with your new Cheese is so

2159
02:03:24,520 --> 02:03:25,200
Speaker 8: fucking amazing.

2160
02:03:25,240 --> 02:03:27,120
Speaker 6: And I hope that you realize one day that even

2161
02:03:27,160 --> 02:03:29,480
Speaker 6: though you did not go necessarily the path that you

2162
02:03:29,600 --> 02:03:32,480
Speaker 6: wanted to, what you have done is so much bigger

2163
02:03:32,640 --> 02:03:36,520
Speaker 6: to so many people and individually, like the words that

2164
02:03:36,640 --> 02:03:39,280
Speaker 6: you bring bring people to so many emotions joy and

2165
02:03:39,560 --> 02:03:41,560
Speaker 6: you know, and sadness and everything else, everything they need

2166
02:03:41,600 --> 02:03:41,880
Speaker 6: to feel.

2167
02:03:42,000 --> 02:03:43,800
Speaker 8: So anyway, this is what I learned, and I learned

2168
02:03:43,880 --> 02:03:46,120
Speaker 8: Cya to Garrett is the ship was.

2169
02:03:47,880 --> 02:03:51,520
Speaker 6: Yeah, well today officially personality wise, this is the first

2170
02:03:51,560 --> 02:03:53,640
Speaker 6: time meeting, so yeah, the work was a ship.

2171
02:03:53,840 --> 02:03:58,640
Speaker 1: I know she was shipped to uh my lesson what

2172
02:03:58,760 --> 02:04:09,080
Speaker 1: about so forgettable? Just guess in case you had scratching

2173
02:04:09,240 --> 02:04:13,560
Speaker 1: when we after we conclude a sermon or an interview.

2174
02:04:14,000 --> 02:04:17,680
Speaker 1: We all have our reflections on what we learned. But yeah,

2175
02:04:17,800 --> 02:04:22,000
Speaker 1: I'll say again that and I'll double down on what

2176
02:04:22,200 --> 02:04:27,840
Speaker 1: Laiah said. For all of you listening, and if I

2177
02:04:28,880 --> 02:04:31,600
Speaker 1: made you or texted you to listen to this episode,

2178
02:04:31,880 --> 02:04:34,360
Speaker 1: yes I'm talking to you. And if I tweeted it

2179
02:04:34,560 --> 02:04:36,560
Speaker 1: more than once, yes I was really talking to you.

2180
02:04:37,480 --> 02:04:41,640
Speaker 1: Yeah if if, if it's time for new cheese. And

2181
02:04:42,480 --> 02:04:44,560
Speaker 1: you know, I'm bringing it back to my basketball metaphor,

2182
02:04:44,720 --> 02:04:47,600
Speaker 1: like everyone's trying to be Jordan's, everyone's trying to be Lebron.

2183
02:04:48,280 --> 02:04:50,320
Speaker 1: But you know what I'm saying, at the end of

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Speaker 1: the day, the the the trainer might move up to

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Speaker 1: assistant coach, might move to defensive coach, might make it

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Speaker 1: to owner of the team. You know, like not everyone.

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Speaker 1: There's you know, there's there's there's a little glory and

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Speaker 1: being Alan Iverson or being Lebron, But at the end

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Speaker 1: of the day that the cats, the Simon checks the

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Speaker 1: guys behind the scenes, there's new cheese, not just the

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Speaker 1: Spotlight cheese, but there's other cheese there. And that's that's

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Speaker 1: the lesson I want people. That's where I really wanted

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Speaker 1: you on the show, so that you could share that

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Speaker 1: story and I thank you.

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Speaker 5: So much.

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Speaker 1: For this episode.

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Speaker 8: And we will I am Studio Bam.

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Speaker 1: I just want to say to that, yes, thank you,

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Speaker 1: will I am for Where is White? And they have

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Speaker 1: all the Japanese and actually assault about what are you

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Speaker 1: talking about? The turlet said hello when you walk in

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Speaker 1: anyway or app of Missing Fonte. I'm Ve Bill, Quoss, Bill,

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Speaker 1: Sugar Steve, Sweet Margaret and the Lovely Sight Garrett and

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Speaker 1: loud As Eric, Yeah, Camera, this is Quest Love Supreme.

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Speaker 1: We will see you on the next go round. Thank you.

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Speaker 1: Quest Love Supreme is a production of iHeartRadio. This classic

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Speaker 1: episode was produced by the team at Pandora. For more

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Speaker 1: podcasts from iHeart Radio, visit the iHeart Radio app, Apple Podcasts,

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Speaker 1: or wherever you listen to your favorite shows.