1
00:00:00,160 --> 00:00:03,040
Speaker 1: Quest Love Supreme is a production of iHeartRadio.

2
00:00:06,320 --> 00:00:09,760
Speaker 2: All Right, ladies and gentlemen, every story has a beginning,

3
00:00:10,280 --> 00:00:13,600
Speaker 2: and you're about to hear that very very awkward. In

4
00:00:13,600 --> 00:00:17,120
Speaker 2: the beginning, we shot a pilot for Quest Love Supreme

5
00:00:17,920 --> 00:00:22,000
Speaker 2: with our very own Unpaid Bill when the time. Didn't

6
00:00:22,000 --> 00:00:25,520
Speaker 2: know that by the time this centerview was over, he

7
00:00:25,600 --> 00:00:26,680
Speaker 2: was going to join the show.

8
00:00:27,560 --> 00:00:30,120
Speaker 3: Yeah. I don't know the genesis of this show.

9
00:00:30,200 --> 00:00:34,920
Speaker 2: I think it started with my fandom of Fonte and

10
00:00:35,200 --> 00:00:40,760
Speaker 2: the Boss Bills Gordon Cartreil podcast, and then you know,

11
00:00:41,040 --> 00:00:44,920
Speaker 2: Sup Steve and I always talked about joining our own podcast,

12
00:00:45,680 --> 00:00:50,200
Speaker 2: and I remember the notes from our boss is saying

13
00:00:50,240 --> 00:00:54,200
Speaker 2: that it might help to have a voice of a

14
00:00:54,240 --> 00:00:55,040
Speaker 2: woman on the show.

15
00:00:55,120 --> 00:00:58,600
Speaker 1: So Laia will have joined us, I think.

16
00:00:58,440 --> 00:00:59,440
Speaker 3: By episode five.

17
00:00:59,560 --> 00:01:03,800
Speaker 2: So this is episode one, the pilot episode of Quest

18
00:01:03,880 --> 00:01:08,760
Speaker 2: Love Supreme never heard before with Unpaid Bill. If my

19
00:01:08,800 --> 00:01:13,200
Speaker 2: memory serves me correct, I believe that Fante really knocked

20
00:01:13,200 --> 00:01:16,160
Speaker 2: the ball out of the park and rare form like

21
00:01:16,240 --> 00:01:20,399
Speaker 2: Fante was so good. I think that's what made Unpaid

22
00:01:20,400 --> 00:01:22,160
Speaker 2: Bill want to join the show.

23
00:01:22,520 --> 00:01:24,440
Speaker 3: So enjoy.

24
00:01:24,640 --> 00:01:26,520
Speaker 1: This is the first time I'm hearing it with you, guys.

25
00:01:26,560 --> 00:01:29,840
Speaker 3: This is the very first episode of Quest Love Supreme.

26
00:01:30,240 --> 00:01:44,440
Speaker 2: Hope you enjoyed, ladies and gentlemen, this is the first

27
00:01:44,480 --> 00:01:48,680
Speaker 2: episode of Quest Love Supreme. To my left we have

28
00:01:48,800 --> 00:01:53,880
Speaker 2: the Grand Imperial, the awesomest, the best podcast Ranter.

29
00:01:53,920 --> 00:02:02,480
Speaker 3: I know, supremely talented. What's going on? What up? Fonta Up?

30
00:02:03,480 --> 00:02:07,960
Speaker 2: And also we should acknowledge our resident team of Bill

31
00:02:07,960 --> 00:02:12,840
Speaker 2: bring Child Johnson. He's mute right now to Michael Steve Mandel,

32
00:02:13,000 --> 00:02:16,280
Speaker 2: later episodes will also offer his two cents.

33
00:02:16,320 --> 00:02:16,600
Speaker 3: How you do?

34
00:02:17,680 --> 00:02:21,960
Speaker 2: I'll tell you and later I said, And to my

35
00:02:22,160 --> 00:02:28,840
Speaker 2: right we have our very first guest, honored mister Bill Shermon. Bill,

36
00:02:29,360 --> 00:02:33,839
Speaker 2: you have a long storied history. And when the show

37
00:02:33,880 --> 00:02:37,280
Speaker 2: gets more professional, then I will have your actual credits on.

38
00:02:37,480 --> 00:02:41,760
Speaker 2: But being as though we made this phone call extremely

39
00:02:41,840 --> 00:02:46,360
Speaker 2: last minute, Bill was my one of one of the

40
00:02:46,639 --> 00:02:51,560
Speaker 2: fortunate eight producers of a small off.

41
00:02:51,360 --> 00:02:54,840
Speaker 3: Broadway play called Hamilton. You might have heard of it.

42
00:02:54,960 --> 00:02:57,560
Speaker 3: You might have heard it. How you doing, Bill, I'm

43
00:02:57,600 --> 00:03:01,760
Speaker 3: good man. That's great. Well, we're glad to have it

44
00:03:01,760 --> 00:03:05,920
Speaker 3: has an off Broadway place. I say it was a joke. Guy.

45
00:03:06,200 --> 00:03:09,360
Speaker 1: I was playing in Harlem somewhere at Harlem Church.

46
00:03:10,040 --> 00:03:14,160
Speaker 3: All female Okay, you know. Actually I saw.

47
00:03:13,960 --> 00:03:19,000
Speaker 2: This play once in Harlem. They were redoing the Nativity

48
00:03:19,240 --> 00:03:23,640
Speaker 2: scene and they happened to have I think Felicia Rashad

49
00:03:23,800 --> 00:03:28,720
Speaker 2: was like the Angel and no Felicia Rashad was. I

50
00:03:28,720 --> 00:03:33,280
Speaker 2: think Mary and Stephanie Mills singer Stephanie Mills was the

51
00:03:34,760 --> 00:03:38,440
Speaker 2: one of the angels before the whiz. No, this is

52
00:03:38,480 --> 00:03:41,520
Speaker 2: way cost me show. This is like last year. This

53
00:03:41,720 --> 00:03:44,160
Speaker 2: was I'll tell you what this is when the Roots

54
00:03:44,200 --> 00:03:47,360
Speaker 2: were mixing ill Adolph half Life, so this this had

55
00:03:47,400 --> 00:03:48,520
Speaker 2: to have been nineteen ninety six.

56
00:03:48,680 --> 00:03:50,920
Speaker 4: I like the fact that you can chronologically know what

57
00:03:50,960 --> 00:03:53,280
Speaker 4: happened in your life by what Ruth record we were

58
00:03:53,280 --> 00:03:54,840
Speaker 4: working on or you were working on, which I think

59
00:03:54,920 --> 00:03:56,960
Speaker 4: is fantastic because I can probably see parts of my

60
00:03:57,000 --> 00:03:59,320
Speaker 4: life when Ruth records came out that were important to me.

61
00:03:59,600 --> 00:04:03,880
Speaker 2: Well, no dates, My memory bank is about what albums

62
00:04:03,880 --> 00:04:06,240
Speaker 2: came out, Like I don't. That's how I remember dates,

63
00:04:06,280 --> 00:04:09,200
Speaker 2: not like what's her name, Mary lou Henter from Taxi

64
00:04:09,480 --> 00:04:14,400
Speaker 2: that has this, Like you can tell her like April fourteenth,

65
00:04:14,640 --> 00:04:16,440
Speaker 2: nineteen sixty two, and she'll tell you.

66
00:04:16,400 --> 00:04:17,680
Speaker 3: Exactly what happened that.

67
00:04:18,000 --> 00:04:20,480
Speaker 2: Wow, Like I've tested it a few times when she's

68
00:04:20,480 --> 00:04:23,440
Speaker 2: been on the Tonight Show. But I only remember based

69
00:04:23,480 --> 00:04:28,680
Speaker 2: on Prince albums, Michael Jackson records, and what the roots

70
00:04:28,680 --> 00:04:29,720
Speaker 2: were doing that year, that's all.

71
00:04:30,240 --> 00:04:34,120
Speaker 5: So Yeah, I remember Iladelf. That was I skipped school

72
00:04:34,160 --> 00:04:37,040
Speaker 5: to buy Iladelf. But I remember I I.

73
00:04:37,000 --> 00:04:39,680
Speaker 3: Mean you a juvenile, that was Hladelf.

74
00:04:39,960 --> 00:04:42,359
Speaker 5: That was one of the two albums that I broke

75
00:04:42,440 --> 00:04:45,400
Speaker 5: the law, well, other than the records I stole still

76
00:04:45,440 --> 00:04:48,080
Speaker 5: in that you know whatever. But like one of the

77
00:04:48,120 --> 00:04:49,880
Speaker 5: first record I can remember breaking the law for was

78
00:04:49,880 --> 00:04:51,280
Speaker 5: Goodie Mob Soul Food.

79
00:04:51,440 --> 00:04:55,680
Speaker 3: I drove to the mall on a learner's permit to

80
00:04:55,680 --> 00:04:57,040
Speaker 3: buy that album from the mall.

81
00:04:57,400 --> 00:04:59,440
Speaker 5: Yeah, like yeah, you know what I mean, Like I mean,

82
00:05:01,440 --> 00:05:06,920
Speaker 5: I drove to the ball the several So then on

83
00:05:06,920 --> 00:05:09,680
Speaker 5: on Ill Depth Half Life, I remember the record came

84
00:05:09,720 --> 00:05:12,560
Speaker 5: out and I was a junior in high school. My

85
00:05:12,640 --> 00:05:16,080
Speaker 5: homies were seniors and at the time, you know, juniors

86
00:05:16,360 --> 00:05:19,040
Speaker 5: only upper classes would go off campus for lunch. And

87
00:05:19,080 --> 00:05:20,919
Speaker 5: so one of my boys, like Yo, were going to

88
00:05:20,960 --> 00:05:22,640
Speaker 5: the record Change you get their roots joint.

89
00:05:22,880 --> 00:05:24,000
Speaker 3: I said, I'm riding with y'all.

90
00:05:24,000 --> 00:05:26,960
Speaker 5: Fuck that, let's go, And so I went and I

91
00:05:27,200 --> 00:05:28,560
Speaker 5: didn't go back to school that next day.

92
00:05:28,560 --> 00:05:30,160
Speaker 3: I think I showed I went back for like football

93
00:05:30,200 --> 00:05:33,640
Speaker 3: practice or something. But that was it. I was. I

94
00:05:33,680 --> 00:05:37,800
Speaker 3: was a truant for wow, I'm it. Yeah, man, I

95
00:05:37,839 --> 00:05:38,320
Speaker 3: had to have it.

96
00:05:38,480 --> 00:05:40,360
Speaker 4: Have you You could skip school and then go back

97
00:05:40,400 --> 00:05:41,200
Speaker 4: to play football.

98
00:05:41,480 --> 00:05:43,880
Speaker 5: Yeah, you could because the coaches, like, you know it

99
00:05:43,960 --> 00:05:45,000
Speaker 5: was they needed to help.

100
00:05:45,120 --> 00:05:49,279
Speaker 3: Yeah, it's cool. Did you have you ever committed a

101
00:05:49,400 --> 00:05:53,159
Speaker 3: musical crime that nature to buy a record? No?

102
00:05:53,400 --> 00:05:55,680
Speaker 4: I skipped school a couple of times, for sure, as

103
00:05:55,680 --> 00:05:58,280
Speaker 4: we all did. I didn't skip school to buy a record. Really,

104
00:05:58,320 --> 00:06:01,000
Speaker 4: I'm trying to remember. No, I didn't. I mean, I've

105
00:06:01,040 --> 00:06:03,880
Speaker 4: committed many musical crimes in the name of music, for sure.

106
00:06:04,279 --> 00:06:06,040
Speaker 4: But that's like a whole different story altogether.

107
00:06:06,880 --> 00:06:08,920
Speaker 1: Oh man, I don't know if I should share this

108
00:06:09,080 --> 00:06:09,720
Speaker 1: story or not.

109
00:06:09,839 --> 00:06:12,080
Speaker 3: Yes, you should. I think that definitely. That's the whole

110
00:06:12,080 --> 00:06:14,400
Speaker 3: purpose of the ship. I definitely think you share it.

111
00:06:14,680 --> 00:06:18,320
Speaker 3: All right, So the worst whipping I ever got in

112
00:06:18,400 --> 00:06:23,840
Speaker 3: my life was over nineteen ninety nine.

113
00:06:24,200 --> 00:06:27,760
Speaker 1: Close the time the Times first record.

114
00:06:28,279 --> 00:06:34,200
Speaker 2: What I have just set it up for you because basically,

115
00:06:34,800 --> 00:06:37,120
Speaker 2: all right, so there's a song called after high School

116
00:06:37,720 --> 00:06:40,880
Speaker 2: that's on the Time's first album, and.

117
00:06:42,279 --> 00:06:45,159
Speaker 1: You know, it was one of those moments at performing arts.

118
00:06:45,200 --> 00:06:48,680
Speaker 2: Now, I went to the private performing arts from first

119
00:06:48,720 --> 00:06:51,160
Speaker 2: grade to seventh grade.

120
00:06:51,040 --> 00:06:53,279
Speaker 1: And so you know, it's in the early eighties. So yes,

121
00:06:53,360 --> 00:06:55,000
Speaker 1: it was very much close.

122
00:06:54,760 --> 00:06:58,919
Speaker 2: To what life was like on that on Fame, like

123
00:06:59,000 --> 00:07:01,560
Speaker 2: people would break breakout and song breakout and.

124
00:07:01,560 --> 00:07:03,360
Speaker 1: Dance full scale production.

125
00:07:04,720 --> 00:07:07,520
Speaker 2: Yeah seriously, So someone had it was one of those

126
00:07:07,520 --> 00:07:08,359
Speaker 2: cliched moments.

127
00:07:08,360 --> 00:07:11,480
Speaker 1: Someone had a big giant boombox and.

128
00:07:11,840 --> 00:07:14,280
Speaker 2: Put the Time cassette in and put it after high

129
00:07:14,280 --> 00:07:17,080
Speaker 2: School on and then we were all doing that Eddie Murphy,

130
00:07:18,040 --> 00:07:20,920
Speaker 2: this is how white people dance dance, you know, the

131
00:07:21,200 --> 00:07:25,120
Speaker 2: Carlton right like, and it was a happy moment.

132
00:07:25,240 --> 00:07:28,320
Speaker 1: And then I unfortunately danced a little too close.

133
00:07:28,080 --> 00:07:33,640
Speaker 2: To the boom box and caused it to fall on

134
00:07:33,680 --> 00:07:35,120
Speaker 2: the ground, Like I ruined that moment.

135
00:07:35,480 --> 00:07:37,520
Speaker 1: To think of that rerun Doobie Brothers.

136
00:07:38,680 --> 00:07:42,160
Speaker 2: Yeah, shadows, I know a lot of references, a lot

137
00:07:42,160 --> 00:07:44,440
Speaker 2: of you won't get, but just just.

138
00:07:44,440 --> 00:07:45,160
Speaker 3: Google it, kids.

139
00:07:45,280 --> 00:07:47,320
Speaker 5: Yeah, I feel like we should have like some kind

140
00:07:47,320 --> 00:07:51,040
Speaker 5: of like annotations like okay, so Al Dunbard the Doobie

141
00:07:51,080 --> 00:07:52,360
Speaker 5: Brothers episode of What's Happening?

142
00:07:54,680 --> 00:08:01,000
Speaker 3: Yeah, he was the bootlegger. So so we.

143
00:08:01,040 --> 00:08:03,760
Speaker 5: Have to add say, okay, so it was the time

144
00:08:04,400 --> 00:08:07,400
Speaker 5: Rerun went to re won't wanted tickets to a Dowie

145
00:08:07,440 --> 00:08:09,080
Speaker 5: Brothers concert at their high school.

146
00:08:09,920 --> 00:08:13,360
Speaker 3: And you know what I'm saying, And like he was

147
00:08:13,440 --> 00:08:14,040
Speaker 3: he was the fact.

148
00:08:14,120 --> 00:08:15,720
Speaker 5: He was, you know, the fat kid that had the

149
00:08:15,840 --> 00:08:17,560
Speaker 5: like the day he could hide the tape players.

150
00:08:17,600 --> 00:08:20,360
Speaker 3: So he was like the original napster of like nineteen

151
00:08:20,440 --> 00:08:23,600
Speaker 3: seventy five. So like, so he goes.

152
00:08:23,360 --> 00:08:25,840
Speaker 2: And tries to take the ship and this episode, no,

153
00:08:25,960 --> 00:08:28,239
Speaker 2: oh my god, man nineteen eighty.

154
00:08:28,360 --> 00:08:30,080
Speaker 3: I was born in seventy eight.

155
00:08:30,160 --> 00:08:32,319
Speaker 5: I was right right behind youself, but nah, I Roba

156
00:08:32,400 --> 00:08:34,959
Speaker 5: used to watch this every day. So your man that

157
00:08:35,040 --> 00:08:38,040
Speaker 5: played Al Dunball was also the black guy. Theodore Wilson

158
00:08:38,040 --> 00:08:40,760
Speaker 5: who also played He was also carried on Good Times.

159
00:08:40,800 --> 00:08:42,480
Speaker 5: I can't remember which one he was on Good Time.

160
00:08:42,559 --> 00:08:45,440
Speaker 5: He wasn't He wasn't Lynna. Yeah, the name is Lynna.

161
00:08:45,880 --> 00:08:47,640
Speaker 3: He wasn't him. He was like another guy.

162
00:08:47,679 --> 00:08:49,960
Speaker 1: He was like, I get him and what's his name?

163
00:08:50,280 --> 00:08:50,720
Speaker 1: Mixed up?

164
00:08:50,800 --> 00:08:54,840
Speaker 5: How from Hal Williams. Hall Williams was, Who's Lester Jenkins?

165
00:08:54,840 --> 00:08:57,079
Speaker 5: It's oh, what is we going down? The black rabbit hole.

166
00:08:59,080 --> 00:09:00,400
Speaker 3: It's not even minute.

167
00:09:03,080 --> 00:09:06,600
Speaker 5: Dunbar coerces rerun to take this this uh this this

168
00:09:06,600 --> 00:09:09,880
Speaker 5: this this deeper rob show with Michael McDonald there in

169
00:09:09,920 --> 00:09:13,480
Speaker 5: his full beard and uh he jump up and the

170
00:09:13,520 --> 00:09:16,400
Speaker 5: tape player falls out, and so he gets caught like

171
00:09:16,520 --> 00:09:18,160
Speaker 5: you know, the Dowbie brothers see him, like, dude, we

172
00:09:18,200 --> 00:09:19,160
Speaker 5: thought you was our friends.

173
00:09:19,160 --> 00:09:20,520
Speaker 3: How could you boot like I should.

174
00:09:20,360 --> 00:09:24,080
Speaker 2: He's paraphrasing it, but it was amazing, like, first of all,

175
00:09:24,440 --> 00:09:27,280
Speaker 2: brothers do this show with a gong, it's on fire

176
00:09:28,360 --> 00:09:30,760
Speaker 2: and everything they doing, taking into the streets and then

177
00:09:30,800 --> 00:09:34,040
Speaker 2: reruns dancing his ass off, and then all of a sudden,

178
00:09:34,520 --> 00:09:36,000
Speaker 2: the tape player just falls to the.

179
00:09:35,920 --> 00:09:37,640
Speaker 3: Floor and the show stopped.

180
00:09:38,000 --> 00:09:40,920
Speaker 5: Someone notices it, one of the brothers noticed, and then

181
00:09:40,920 --> 00:09:43,600
Speaker 5: the Doobie brothers just look at him like it's it's

182
00:09:43,640 --> 00:09:45,800
Speaker 5: one of those like silent to be continued.

183
00:09:46,080 --> 00:09:49,960
Speaker 3: It's like it was like a very special episode, you

184
00:09:49,960 --> 00:09:50,520
Speaker 3: know what I'm saying.

185
00:09:50,679 --> 00:09:53,160
Speaker 5: And so so yeah, so they find so they got

186
00:09:53,280 --> 00:09:57,240
Speaker 5: they hook up and they go to Shirley's place and

187
00:09:57,280 --> 00:10:01,640
Speaker 5: they arrest al Dunbar and that was how was Yeah, it.

188
00:10:01,520 --> 00:10:02,600
Speaker 3: Was brought to his resolution.

189
00:10:03,200 --> 00:10:07,240
Speaker 2: Mine wasn't that dramatic, but basically to avoid the school

190
00:10:07,280 --> 00:10:11,360
Speaker 2: bully from beat me up because I destroyed his his

191
00:10:11,760 --> 00:10:17,760
Speaker 2: radio shack tape player. I just thought, well, maybe I'll

192
00:10:17,800 --> 00:10:21,640
Speaker 2: just you know, swipe some money from.

193
00:10:21,440 --> 00:10:23,720
Speaker 3: Home and I'll replace.

194
00:10:23,840 --> 00:10:27,240
Speaker 2: Right, There's nothing like being caught in a black household

195
00:10:27,440 --> 00:10:28,400
Speaker 2: with a black father.

196
00:10:32,280 --> 00:10:32,719
Speaker 3: That's real.

197
00:10:34,960 --> 00:10:37,840
Speaker 1: It really got.

198
00:10:39,480 --> 00:10:43,120
Speaker 3: No, it's even shut off. No, it's real.

199
00:10:43,200 --> 00:10:45,480
Speaker 5: It's real because it's just like I don't know what

200
00:10:45,679 --> 00:10:46,960
Speaker 5: I think with black fathers.

201
00:10:47,000 --> 00:10:50,679
Speaker 3: Man, Like it's just like we was. We were just

202
00:10:50,800 --> 00:10:52,080
Speaker 3: before we started taping.

203
00:10:52,280 --> 00:10:56,240
Speaker 5: We was talking about your your nephews, right like Bill,

204
00:10:56,320 --> 00:10:58,439
Speaker 5: his nephews is going through some stuff, you know what

205
00:10:58,440 --> 00:10:58,760
Speaker 5: I mean.

206
00:10:59,080 --> 00:11:00,559
Speaker 3: And so he was like, my go to go straighten

207
00:11:00,600 --> 00:11:00,920
Speaker 3: them out?

208
00:11:00,960 --> 00:11:02,880
Speaker 5: And Bill Sherman was like, man, they could kind of

209
00:11:02,880 --> 00:11:04,559
Speaker 5: straighten you out because they Oh. And the things I

210
00:11:04,600 --> 00:11:06,880
Speaker 5: don't understand about black men, I think once you get

211
00:11:06,880 --> 00:11:09,760
Speaker 5: to a certain age, you're just not defeating us.

212
00:11:09,800 --> 00:11:12,080
Speaker 3: Because it's like when I'm twenty years old and I

213
00:11:12,080 --> 00:11:13,040
Speaker 3: would like fight.

214
00:11:12,880 --> 00:11:16,080
Speaker 5: I would just hit you with my fist, but like

215
00:11:16,200 --> 00:11:19,600
Speaker 5: at like thirty seven, forty fifty, I'm hitting you with

216
00:11:19,720 --> 00:11:23,040
Speaker 5: every disappointment I've ever had in life, Like I'm hitting

217
00:11:23,040 --> 00:11:23,960
Speaker 5: you with Vietnam.

218
00:11:24,160 --> 00:11:24,880
Speaker 3: I'm hitting you.

219
00:11:26,360 --> 00:11:30,080
Speaker 5: I'm hitting you with my failt first marriage, I'm hitting

220
00:11:30,160 --> 00:11:33,679
Speaker 5: you with every job application that got denied. So for

221
00:11:33,720 --> 00:11:36,719
Speaker 5: you to steal from a black dad when you came

222
00:11:36,880 --> 00:11:40,760
Speaker 5: up like back in the day, like oh, man.

223
00:11:40,800 --> 00:11:46,520
Speaker 2: Dude, all in the name of Briyan of repairing his

224
00:11:47,720 --> 00:11:52,720
Speaker 2: tape player and maybe possibly buying that time except for myself,

225
00:11:53,000 --> 00:12:03,280
Speaker 2: oh woking up at two in the morning. Oh, I

226
00:12:03,320 --> 00:12:07,640
Speaker 2: canna laugh at it now, but it was quite the opposite. Yeah,

227
00:12:07,640 --> 00:12:10,160
Speaker 2: So that that was the worst crime. Well, I mean

228
00:12:10,520 --> 00:12:12,680
Speaker 2: I went through a lot in the early eighties to

229
00:12:13,360 --> 00:12:16,839
Speaker 2: listen to music like I'll share more of that later.

230
00:12:16,920 --> 00:12:22,559
Speaker 3: But anyway, Bill, let's talk about your life from black

231
00:12:22,600 --> 00:12:27,920
Speaker 3: Fithers to me. Fucking you going through a divorce right now?

232
00:12:27,960 --> 00:12:29,560
Speaker 5: So you probably got a lot more in common with

233
00:12:29,559 --> 00:12:30,840
Speaker 5: black fathers than you realize.

234
00:12:31,240 --> 00:12:35,600
Speaker 3: Are you about to in a little bit true? True?

235
00:12:36,000 --> 00:12:36,120
Speaker 5: Uh?

236
00:12:36,559 --> 00:12:39,000
Speaker 3: Is that the reason for the hair changed? No?

237
00:12:39,000 --> 00:12:42,160
Speaker 4: No, the reason this comes up a mere And I

238
00:12:42,200 --> 00:12:44,679
Speaker 4: made the Hamild's record, and I had really long hair

239
00:12:44,720 --> 00:12:47,200
Speaker 4: and looked like a like a like cool, like a

240
00:12:47,240 --> 00:12:48,319
Speaker 4: hobo a cool.

241
00:12:48,320 --> 00:12:52,480
Speaker 2: Hope you look hipsterisk okay of the eight producers of Hamilton.

242
00:12:52,520 --> 00:12:54,040
Speaker 2: I thought, okay, I have a lot of in comn

243
00:12:54,120 --> 00:12:56,960
Speaker 2: with this guy, like everyone else is a suit that's true.

244
00:12:57,520 --> 00:13:00,760
Speaker 4: Uh yeah, So I cut it all off because it

245
00:13:00,840 --> 00:13:03,040
Speaker 4: was getting long and I didn't I want to look

246
00:13:03,040 --> 00:13:05,040
Speaker 4: like a hobo anymore. And then and then I saw

247
00:13:05,080 --> 00:13:06,960
Speaker 4: a mirror to think and I said, yoh man, what's up?

248
00:13:06,960 --> 00:13:09,160
Speaker 4: And he didn't recognize me all at all, hilariot.

249
00:13:09,160 --> 00:13:11,800
Speaker 2: We were taking a photo with the Hamilton gold record

250
00:13:11,840 --> 00:13:12,800
Speaker 2: and he was staying next to me.

251
00:13:12,800 --> 00:13:13,560
Speaker 3: Like, hey, how you doing.

252
00:13:13,640 --> 00:13:19,800
Speaker 2: I was like, oh, no autographs now, no selfish my head, like, dude, yeah, so.

253
00:13:19,760 --> 00:13:21,080
Speaker 1: I didn't recognize you, Bill, Sorry.

254
00:13:21,160 --> 00:13:21,840
Speaker 3: It was pretty great.

255
00:13:22,280 --> 00:13:26,480
Speaker 2: So actually this isn't your first Grammy, Like what is

256
00:13:27,080 --> 00:13:29,720
Speaker 2: in the Heights your first for rate into professional producing,

257
00:13:29,800 --> 00:13:32,920
Speaker 2: or like what's your history with with that stuff?

258
00:13:32,960 --> 00:13:34,440
Speaker 3: With music?

259
00:13:35,320 --> 00:13:36,120
Speaker 1: Start from the beginning.

260
00:13:36,160 --> 00:13:37,800
Speaker 4: I grew up playing the saxophone. I was really into

261
00:13:37,880 --> 00:13:42,040
Speaker 4: jazz as like a Dexter Gordon Coltrane, Hank Mobley fanatic.

262
00:13:42,080 --> 00:13:43,480
Speaker 3: Who was a kid. How old?

263
00:13:43,880 --> 00:13:47,520
Speaker 4: Uh thirteen through twenty two?

264
00:13:47,800 --> 00:13:49,520
Speaker 3: Okay, do you still play sax now?

265
00:13:50,440 --> 00:13:52,520
Speaker 4: Every once in a while, I played to the other

266
00:13:52,559 --> 00:13:54,640
Speaker 4: day for my kids. And I couldn't understand that that's

267
00:13:54,880 --> 00:13:56,240
Speaker 4: something I did. It was pretty funny.

268
00:13:56,679 --> 00:13:58,680
Speaker 2: I'm a little traumatizing myself. I'm like, why didn't you

269
00:13:58,679 --> 00:14:00,559
Speaker 2: tell me this? I don't know, it never came up.

270
00:14:01,040 --> 00:14:01,600
Speaker 2: Why would it.

271
00:14:01,679 --> 00:14:03,480
Speaker 3: Do you play instruments? I mean I can play the.

272
00:14:03,400 --> 00:14:06,080
Speaker 2: Piano, Okay, Well, I was making light of the fact

273
00:14:06,120 --> 00:14:07,320
Speaker 2: that you didn't share with.

274
00:14:07,440 --> 00:14:12,600
Speaker 4: And I and the kazoo, and yeah, so I played

275
00:14:12,600 --> 00:14:14,480
Speaker 4: the saxophone. I went to college. I went to Wesley

276
00:14:14,480 --> 00:14:17,960
Speaker 4: and University in Connecticut. I studied jazz for a while,

277
00:14:18,000 --> 00:14:19,680
Speaker 4: and then I got into world music. I was really

278
00:14:19,680 --> 00:14:22,160
Speaker 4: into West Africa and got drumming. That was my thing

279
00:14:22,200 --> 00:14:25,760
Speaker 4: for a while. I went to Ghana first semester I studied,

280
00:14:25,760 --> 00:14:27,280
Speaker 4: and I played. I played with a bunch of fale

281
00:14:27,280 --> 00:14:29,520
Speaker 4: As guys while I was there in Ghana who had

282
00:14:29,560 --> 00:14:32,880
Speaker 4: come from Nigeria. This is also a discussion we've never had.

283
00:14:34,520 --> 00:14:36,080
Speaker 3: Yeah, I'm like it did.

284
00:14:36,720 --> 00:14:40,560
Speaker 4: And in addition to all the other ship that you

285
00:14:40,600 --> 00:14:41,680
Speaker 4: know about me, this you might not.

286
00:14:41,720 --> 00:14:41,800
Speaker 3: So.

287
00:14:41,840 --> 00:14:44,600
Speaker 4: I met Lynn Manuel Miranda in my junior.

288
00:14:44,360 --> 00:14:46,280
Speaker 3: Year of college.

289
00:14:46,360 --> 00:14:48,320
Speaker 4: And the great story with that, which I tell all

290
00:14:48,320 --> 00:14:50,680
Speaker 4: the time, is his girlfriend at the time was producing

291
00:14:50,680 --> 00:14:52,440
Speaker 4: this musical that I was music directing, but I wasn't

292
00:14:52,440 --> 00:14:53,240
Speaker 4: really into musicals.

293
00:14:53,240 --> 00:14:54,320
Speaker 3: But that's not the point.

294
00:14:54,480 --> 00:14:57,000
Speaker 4: And Lynn said, uh, he came up to me afterwards

295
00:14:57,000 --> 00:14:58,400
Speaker 4: and he said, you don't know me and I don't

296
00:14:58,440 --> 00:15:00,320
Speaker 4: know you, but we're gonna work together for really long time.

297
00:15:01,800 --> 00:15:04,040
Speaker 2: Did you think it was just a random crazy person totally?

298
00:15:04,120 --> 00:15:06,160
Speaker 2: I was like, okay, whatever, smart guy.

299
00:15:06,400 --> 00:15:07,600
Speaker 3: So we we we did.

300
00:15:07,600 --> 00:15:09,560
Speaker 4: We worked on his senior thesis and some other ship

301
00:15:09,640 --> 00:15:11,480
Speaker 4: and whatever, and then we graduated and then we were

302
00:15:11,480 --> 00:15:13,000
Speaker 4: gonna put on in Heights. We put on In the Heights.

303
00:15:13,080 --> 00:15:15,320
Speaker 4: That was my first musical. I never had a big

304
00:15:15,360 --> 00:15:17,520
Speaker 4: background of musicals. I just like music a whole lot.

305
00:15:17,600 --> 00:15:22,400
Speaker 4: And then I arranged orchestrated with Alex Lackmore in Heights

306
00:15:22,480 --> 00:15:24,280
Speaker 4: and then we won a Tony and a Grammy and

307
00:15:24,320 --> 00:15:27,240
Speaker 4: all that stuff. And then from there, I also play

308
00:15:27,280 --> 00:15:29,080
Speaker 4: in this group called Freestyle of the pre which is

309
00:15:29,080 --> 00:15:33,880
Speaker 4: a hip hop improvay which has you know what I'm saying.

310
00:15:34,680 --> 00:15:36,280
Speaker 3: He's making up, he's making this.

311
00:15:36,240 --> 00:15:37,760
Speaker 4: Follow Yes, this is all made up. This is my

312
00:15:37,800 --> 00:15:39,320
Speaker 4: life story, but it's all fictitious.

313
00:15:41,960 --> 00:15:44,400
Speaker 3: Wait a minute, do you know what you guys don't

314
00:15:44,440 --> 00:15:49,200
Speaker 3: know at all? Steve, are you back checking you? Guys?

315
00:15:49,240 --> 00:15:52,920
Speaker 3: We speak a bullshit. It's probably what you would you would,

316
00:15:52,960 --> 00:15:53,440
Speaker 3: you guys, don't.

317
00:15:53,880 --> 00:15:57,840
Speaker 2: I've known Steven Mandel, our engineer, for near twenty years,

318
00:15:58,360 --> 00:16:00,800
Speaker 2: and anytime there's a pie of f moment for me,

319
00:16:01,560 --> 00:16:05,640
Speaker 2: he's there, his smirk, He's totally enjoying the fact that

320
00:16:05,680 --> 00:16:08,440
Speaker 2: I literally am believing everywhere you're saying right.

321
00:16:08,360 --> 00:16:12,520
Speaker 3: Now, huh, okay, you should it's true. Okay style style.

322
00:16:13,040 --> 00:16:15,600
Speaker 4: What you know about this because you were supposed to

323
00:16:15,600 --> 00:16:16,880
Speaker 4: come to one of our gigs a long time ago

324
00:16:16,880 --> 00:16:19,120
Speaker 4: when we first met. It's we get suggestions from the

325
00:16:19,120 --> 00:16:20,960
Speaker 4: audience and we make up hip hop tunes and Lynn's

326
00:16:21,000 --> 00:16:23,800
Speaker 4: in it, and Chris Jackson's in it, and I play keyboards,

327
00:16:23,800 --> 00:16:25,680
Speaker 4: and there's beat boxer and we do all this thing right,

328
00:16:26,160 --> 00:16:28,560
Speaker 4: you know, not real. It's not real, but you should

329
00:16:28,600 --> 00:16:29,440
Speaker 4: see it. It's pretty cool.

330
00:16:29,720 --> 00:16:29,960
Speaker 3: See.

331
00:16:29,960 --> 00:16:32,600
Speaker 2: But the thing is is that Da Vid was on

332
00:16:32,640 --> 00:16:35,840
Speaker 2: the Tonight Show. No, but David was on the Tonight

333
00:16:35,920 --> 00:16:40,080
Speaker 2: Show speaking of hip hop improvisational group that he was

334
00:16:40,120 --> 00:16:42,160
Speaker 2: a part of with the same people.

335
00:16:41,880 --> 00:16:42,640
Speaker 3: You just mentioned.

336
00:16:43,200 --> 00:16:53,960
Speaker 4: Yeah, that's.

337
00:16:50,600 --> 00:16:51,640
Speaker 3: That's the first real thing.

338
00:16:52,600 --> 00:16:54,960
Speaker 2: Everything up to now has been alive a little bit.

339
00:16:55,360 --> 00:16:56,880
Speaker 2: That's real. It's all real, all right.

340
00:16:56,880 --> 00:16:57,400
Speaker 3: So what was the.

341
00:16:57,360 --> 00:17:00,440
Speaker 1: Concept of the the hip hop Improvisational.

342
00:16:59,760 --> 00:17:02,200
Speaker 4: Week GETSU justificy on. So it's like they do a

343
00:17:02,240 --> 00:17:04,600
Speaker 4: thing called person placer sing. It's like get a person,

344
00:17:04,880 --> 00:17:06,680
Speaker 4: one guy gets person, one guy gets placed, one guy

345
00:17:06,720 --> 00:17:08,480
Speaker 4: gets a singer, and then we just make up hip

346
00:17:08,480 --> 00:17:09,520
Speaker 4: hop tunes about that.

347
00:17:10,040 --> 00:17:13,119
Speaker 1: Oh okay, so musical version of whose line is?

348
00:17:13,280 --> 00:17:15,439
Speaker 4: And it's a hip hop version who's lining it anyway? Essentially,

349
00:17:15,440 --> 00:17:16,960
Speaker 4: but all the music's made up to it's all What

350
00:17:17,119 --> 00:17:20,119
Speaker 4: was the period of this It's it's ongoing. But like

351
00:17:20,119 --> 00:17:22,080
Speaker 4: when we graduated from college in two thousand and two,

352
00:17:22,560 --> 00:17:24,359
Speaker 4: we toured a lot and went around to play a

353
00:17:24,400 --> 00:17:25,440
Speaker 4: lot of the comedy festivals.

354
00:17:25,480 --> 00:17:27,480
Speaker 3: This is Wesleyan. It's post Wesleyan.

355
00:17:27,560 --> 00:17:30,000
Speaker 4: Yeah, but a lot of the guys are from wesley.

356
00:17:29,880 --> 00:17:32,520
Speaker 5: So like, how I guess my question because I just

357
00:17:32,560 --> 00:17:35,720
Speaker 5: think musicals, I mean, they fascinate me, you know what

358
00:17:35,720 --> 00:17:37,760
Speaker 5: I mean, Like I'm not I'm never was a person

359
00:17:37,760 --> 00:17:41,040
Speaker 5: that was really big into them, but I my the

360
00:17:41,080 --> 00:17:43,200
Speaker 5: craft that goes into them and just you know, having

361
00:17:43,200 --> 00:17:46,000
Speaker 5: to tell a story through song, like that's that's just

362
00:17:46,000 --> 00:17:46,960
Speaker 5: a lot of fucking words.

363
00:17:47,080 --> 00:17:48,040
Speaker 3: As a writer, you know what I mean.

364
00:17:48,240 --> 00:17:50,480
Speaker 5: So, like, how do you go from just a saxophone

365
00:17:50,520 --> 00:17:53,920
Speaker 5: player to writing musicals? Like how was it something you

366
00:17:54,000 --> 00:17:56,399
Speaker 5: kind of fell into or was it like how did

367
00:17:56,440 --> 00:17:57,399
Speaker 5: you find your groove in that?

368
00:17:58,520 --> 00:18:01,360
Speaker 3: Not on purpose? Uh?

369
00:18:01,480 --> 00:18:03,600
Speaker 4: I lived on Long Island as a kid. My parents

370
00:18:03,640 --> 00:18:05,639
Speaker 4: would bring me to see musicals like every once in

371
00:18:05,680 --> 00:18:07,439
Speaker 4: a while. But it wasn't something I was drawn to,

372
00:18:07,560 --> 00:18:11,080
Speaker 4: Like I'm not the genre specifically is not wasn't a

373
00:18:11,119 --> 00:18:13,159
Speaker 4: thing that I was into. And I met Lynn and

374
00:18:13,200 --> 00:18:13,800
Speaker 4: he and we.

375
00:18:13,760 --> 00:18:14,400
Speaker 3: Just did this.

376
00:18:14,720 --> 00:18:17,000
Speaker 4: We did these shows of his because I just liked

377
00:18:17,040 --> 00:18:19,000
Speaker 4: the music and in the heights was all like Latin

378
00:18:19,080 --> 00:18:20,840
Speaker 4: music and hip hop and stuff like that and stuff

379
00:18:20,840 --> 00:18:23,760
Speaker 4: I know, and and then it just kind of like

380
00:18:23,760 --> 00:18:24,919
Speaker 4: if you asked me what I wanted to do when

381
00:18:24,920 --> 00:18:26,720
Speaker 4: I was eighteen, it wasn't I want to write musical.

382
00:18:26,800 --> 00:18:28,760
Speaker 4: That was probably not even anywhere on my brain. I mean,

383
00:18:28,800 --> 00:18:30,639
Speaker 4: I just like, I just like music, and this was

384
00:18:30,680 --> 00:18:32,600
Speaker 4: one of the things that I do. And then it

385
00:18:32,720 --> 00:18:34,879
Speaker 4: sort of spawned all these other things, which is you know,

386
00:18:35,000 --> 00:18:36,639
Speaker 4: similar to you. It's like you do this thing and

387
00:18:36,680 --> 00:18:38,840
Speaker 4: does all these other things. You write cookbooks, you know

388
00:18:38,920 --> 00:18:42,119
Speaker 4: that kind of shit. And then uh so is the

389
00:18:42,400 --> 00:18:44,080
Speaker 4: is the cook book out? Is it not a cook

390
00:18:44,119 --> 00:18:45,879
Speaker 4: It's not a cookbook. It's not a cookbook at all.

391
00:18:45,920 --> 00:18:49,120
Speaker 4: I've read it. It's cover to cover twice. That's bullshit, Steve,

392
00:18:49,160 --> 00:18:55,560
Speaker 4: don't it's an EXPOA Steve, you're the official judge of

393
00:18:57,640 --> 00:18:59,480
Speaker 4: You're right, yeah, a ref, Steve, A ref.

394
00:19:04,119 --> 00:19:04,479
Speaker 3: Okay.

395
00:19:04,600 --> 00:19:08,399
Speaker 2: So when the idea of Hamilton was presented to you,

396
00:19:09,200 --> 00:19:12,440
Speaker 2: at what point do you enter the foray as far

397
00:19:12,440 --> 00:19:15,280
Speaker 2: as the the genesis at least?

398
00:19:15,320 --> 00:19:17,600
Speaker 4: Like well, I probably entered Hamilton the same time you did,

399
00:19:17,640 --> 00:19:19,560
Speaker 4: because I didn't work on Hamilton the show. I worked

400
00:19:19,560 --> 00:19:21,399
Speaker 4: on Hamilton the record. We probably got the call at

401
00:19:21,400 --> 00:19:23,640
Speaker 4: the same time I worked on In the Heights the show.

402
00:19:23,760 --> 00:19:25,520
Speaker 4: I arranged orch Stray the music for that. But I

403
00:19:25,520 --> 00:19:27,560
Speaker 4: did not work on Hamilton the show. I just made

404
00:19:27,560 --> 00:19:29,600
Speaker 4: the record, So probably we got the call.

405
00:19:30,080 --> 00:19:33,360
Speaker 2: So when it was presented to you, did you instantly

406
00:19:33,359 --> 00:19:36,520
Speaker 2: feel like, oh, I'm instantly getting my second you know,

407
00:19:36,680 --> 00:19:38,240
Speaker 2: Tony and my second Grammy.

408
00:19:38,320 --> 00:19:38,560
Speaker 3: Yeah?

409
00:19:38,680 --> 00:19:47,080
Speaker 4: No, you know, it's funny. It should totally be a thing,

410
00:19:47,800 --> 00:19:50,880
Speaker 4: I you know, to be totally honest, I saw an

411
00:19:50,920 --> 00:19:54,240
Speaker 4: early reading of Hamilton, and I was like, I thought

412
00:19:54,240 --> 00:19:57,520
Speaker 4: to myself, there's no way that like my Jewish grandmother

413
00:19:57,640 --> 00:20:00,159
Speaker 4: or anyone's Jewish grandmother is gonna pick it up to

414
00:20:00,200 --> 00:20:02,760
Speaker 4: be able to take it all in. And I watched it,

415
00:20:02,840 --> 00:20:06,160
Speaker 4: and I was like, it's like lyrically, it's just profound,

416
00:20:06,160 --> 00:20:08,720
Speaker 4: and so you just sort of wow, and and then

417
00:20:08,760 --> 00:20:10,879
Speaker 4: then and then it from that moment on, it just

418
00:20:10,960 --> 00:20:12,600
Speaker 4: gained steam over and over and over, and I just

419
00:20:12,640 --> 00:20:14,359
Speaker 4: sort of watched it become this thing. I didn't.

420
00:20:14,560 --> 00:20:14,960
Speaker 3: I didn't.

421
00:20:15,200 --> 00:20:16,879
Speaker 4: I didn't think that it was going to have the

422
00:20:16,880 --> 00:20:18,359
Speaker 4: impact that has. Of course, you could say that about

423
00:20:18,359 --> 00:20:21,199
Speaker 4: anything that's really impactful in the world, but I was

424
00:20:21,480 --> 00:20:23,800
Speaker 4: I didn't think people would get it or could follow it.

425
00:20:23,840 --> 00:20:26,080
Speaker 2: But I was wrong, and you knew what it was

426
00:20:27,240 --> 00:20:28,920
Speaker 2: at the time when it was presented to you, because

427
00:20:28,920 --> 00:20:31,720
Speaker 2: the thing was, I don't know. I believe that if

428
00:20:31,760 --> 00:20:36,919
Speaker 2: it were properly or thoroughly explain to me what it was,

429
00:20:37,880 --> 00:20:40,560
Speaker 2: I would have probably made a few excuses to not

430
00:20:41,680 --> 00:20:43,280
Speaker 2: because it was just like, Okay, there's going to be

431
00:20:43,320 --> 00:20:47,800
Speaker 2: a hip hop play about the Founding Fathers and the Constitution.

432
00:20:47,960 --> 00:20:51,680
Speaker 3: Yeah, not on paper. That's not a very premise at all, especially.

433
00:20:51,880 --> 00:20:56,240
Speaker 2: In the light of the the sort of can't miss

434
00:20:56,280 --> 00:20:59,880
Speaker 2: Tupac on Broadway play.

435
00:21:00,080 --> 00:21:05,080
Speaker 4: Happened, like yes, Williams, Chris Jackson is right, yes.

436
00:21:05,000 --> 00:21:08,680
Speaker 2: Right, yes, yeah, it happened, and then it went away

437
00:21:08,080 --> 00:21:10,000
Speaker 2: in three weeks and so.

438
00:21:10,800 --> 00:21:12,600
Speaker 4: But that was like a jukebox musical in the same

439
00:21:12,600 --> 00:21:13,480
Speaker 4: way Jersey Boys is.

440
00:21:13,600 --> 00:21:14,240
Speaker 3: So that's the thing.

441
00:21:14,440 --> 00:21:20,040
Speaker 2: Like to me, nothing was going to top failure, and

442
00:21:20,119 --> 00:21:21,919
Speaker 2: I was just like, Okay, that's a lightning in a

443
00:21:22,000 --> 00:21:26,359
Speaker 2: bottle moment, which I mean was rather bittersweet working on it.

444
00:21:26,560 --> 00:21:30,360
Speaker 2: But it's just that it took two of the most

445
00:21:30,400 --> 00:21:34,360
Speaker 2: cynical people I knew to run to me and be like, yo,

446
00:21:35,280 --> 00:21:39,359
Speaker 2: you really need to see this now, Like Tarik Black

447
00:21:39,400 --> 00:21:42,200
Speaker 2: thought of the roots. Tarik and my manager Sean g

448
00:21:42,800 --> 00:21:48,639
Speaker 2: are excited about not much. I mean, even if something

449
00:21:48,800 --> 00:21:51,320
Speaker 2: is real dope, be like, yeah, that's cool, it's all right.

450
00:21:51,840 --> 00:21:55,240
Speaker 2: But they were like, you gotta see this. And even

451
00:21:55,240 --> 00:21:57,200
Speaker 2: then they didn't tell me it was a hip hop.

452
00:21:57,240 --> 00:21:59,000
Speaker 2: I didn't know what to expects. I just sat there

453
00:21:59,800 --> 00:22:02,679
Speaker 2: and notice that this was the longest song in history,

454
00:22:02,720 --> 00:22:05,480
Speaker 2: Like it's.

455
00:22:04,200 --> 00:22:06,320
Speaker 1: A play with no dialogue in it, all of what

456
00:22:06,520 --> 00:22:07,280
Speaker 1: like ten lines.

457
00:22:07,320 --> 00:22:11,840
Speaker 2: But I'm just saying like, how in the world did like,

458
00:22:11,960 --> 00:22:14,960
Speaker 2: did you even think that this would hit jack pot

459
00:22:15,040 --> 00:22:16,760
Speaker 2: or well.

460
00:22:16,720 --> 00:22:19,000
Speaker 4: Lin Lynn's been my very close friend for a very

461
00:22:19,040 --> 00:22:22,600
Speaker 4: long period of time. And he called me while he

462
00:22:22,640 --> 00:22:25,640
Speaker 4: was reading that book, the Hamilton Book, which I tried

463
00:22:25,680 --> 00:22:27,640
Speaker 4: to read but only got through about one hundred pages.

464
00:22:28,560 --> 00:22:30,960
Speaker 2: To be honest, for those for those that don't know,

465
00:22:31,359 --> 00:22:34,159
Speaker 2: the whole genesis of it all was once in the

466
00:22:34,200 --> 00:22:35,399
Speaker 2: Heights Mania ended.

467
00:22:36,280 --> 00:22:38,000
Speaker 3: Uh le Manuel went on.

468
00:22:38,040 --> 00:22:41,479
Speaker 2: Vacation with his wife and decided, I'm going to take

469
00:22:41,480 --> 00:22:44,520
Speaker 2: a book with me for summer reading, and takes the

470
00:22:45,160 --> 00:22:46,720
Speaker 2: nine hundred biggest book.

471
00:22:47,880 --> 00:22:51,000
Speaker 1: It's like the you know, the family Bible that's in

472
00:22:51,040 --> 00:22:52,680
Speaker 1: every ye those.

473
00:22:58,960 --> 00:23:02,560
Speaker 2: Yes, wait, I'm not the only one, hey man. Every

474
00:23:02,600 --> 00:23:04,399
Speaker 2: black family keeps the birth certificates and.

475
00:23:05,880 --> 00:23:07,840
Speaker 3: Keep it close. You gotta keep it close to Jesus.

476
00:23:13,760 --> 00:23:14,639
Speaker 3: We love Jesus.

477
00:23:15,720 --> 00:23:17,520
Speaker 5: And I'm in the South too, so I mean, you know,

478
00:23:17,600 --> 00:23:20,040
Speaker 5: we really love Jesus. So dog, I really thought that

479
00:23:20,160 --> 00:23:22,600
Speaker 5: was just a Thompson the household thing. Oh no, brother,

480
00:23:22,680 --> 00:23:25,159
Speaker 5: But I mean, but your people like you, Philly, but

481
00:23:25,280 --> 00:23:27,000
Speaker 5: I mean your people from.

482
00:23:26,840 --> 00:23:29,320
Speaker 1: The South, Okay, but that is my family's from North Carolina.

483
00:23:29,400 --> 00:23:31,080
Speaker 3: There is that is wow.

484
00:23:31,240 --> 00:23:36,560
Speaker 2: Okay, So yeah, Lin took this near Black Family Bible

485
00:23:38,119 --> 00:23:43,080
Speaker 2: on vacation with him and uh and somehow got the

486
00:23:43,119 --> 00:23:44,159
Speaker 2: inspira it was.

487
00:23:44,640 --> 00:23:46,280
Speaker 3: According to him, he couldn't put it down.

488
00:23:47,160 --> 00:23:54,240
Speaker 2: Well, there's the difference. I got past the index. Maybe

489
00:23:54,240 --> 00:23:57,040
Speaker 2: I got past the index. So I don't know, but uh,

490
00:23:57,600 --> 00:24:00,520
Speaker 2: like how though, I mean, I don't know.

491
00:24:00,560 --> 00:24:03,879
Speaker 4: I mean he he Lynn has always been like a

492
00:24:04,040 --> 00:24:06,880
Speaker 4: sponge for all kinds of things, like pop culture things.

493
00:24:06,880 --> 00:24:08,920
Speaker 4: He reads all of like the People magazine, the E

494
00:24:09,080 --> 00:24:11,800
Speaker 4: W magazines weekly, and he just and and he's always

495
00:24:11,840 --> 00:24:15,200
Speaker 4: reading and learning and watching and whatever. And I don't

496
00:24:15,200 --> 00:24:16,840
Speaker 4: know who who knows, you know, I mean like when

497
00:24:16,880 --> 00:24:20,000
Speaker 4: you when you know you're about to write a tune

498
00:24:20,000 --> 00:24:22,480
Speaker 4: and you know it's gonna be the ship versus, just

499
00:24:22,520 --> 00:24:24,560
Speaker 4: like some other song. He just knew he had something.

500
00:24:24,880 --> 00:24:27,320
Speaker 4: But you know, the interesting thing was he uh, he

501
00:24:27,359 --> 00:24:29,840
Speaker 4: googled it because he thought that someone already had this idea.

502
00:24:29,880 --> 00:24:32,520
Speaker 4: There's no way that this stor hasn't been told in something.

503
00:24:32,520 --> 00:24:34,080
Speaker 4: And he googled it and nothing came up. And so

504
00:24:34,160 --> 00:24:35,840
Speaker 4: I suppose he called his agent and there it was,

505
00:24:35,840 --> 00:24:36,359
Speaker 4: and here we are.

506
00:24:36,440 --> 00:24:41,080
Speaker 2: Wow, it's amazing how did you get started on Sesame Street? I?

507
00:24:41,280 --> 00:24:41,440
Speaker 3: Uh?

508
00:24:42,320 --> 00:24:44,159
Speaker 4: After in the Heights, I was the music director of

509
00:24:44,200 --> 00:24:47,360
Speaker 4: the Electric Company, the reboot of The Electric Company, I.

510
00:24:47,359 --> 00:24:49,960
Speaker 3: See, and uh did you?

511
00:24:50,080 --> 00:24:53,760
Speaker 2: Did you have immediate fantasies of rebooting it like the

512
00:24:54,280 --> 00:24:58,960
Speaker 2: original seventies show, which I feel is another stoner Yeah.

513
00:24:59,040 --> 00:25:01,639
Speaker 4: I also just had immediate fantasies of holy shit, I

514
00:25:01,680 --> 00:25:02,120
Speaker 4: have a job.

515
00:25:02,400 --> 00:25:05,680
Speaker 3: That was That was the immediate fancy fantasy.

516
00:25:06,119 --> 00:25:09,160
Speaker 1: The new Electric Company isn't necessarily.

517
00:25:08,480 --> 00:25:11,280
Speaker 3: Like no, It's totally not. It's totally not.

518
00:25:11,400 --> 00:25:13,600
Speaker 2: I'm so glad you verify that, because I feel like

519
00:25:13,640 --> 00:25:15,280
Speaker 2: Steve is like, are you really going to start?

520
00:25:15,680 --> 00:25:18,480
Speaker 3: No, I haven't seen it because.

521
00:25:18,240 --> 00:25:22,240
Speaker 4: You're The old Electric Company was just more I think

522
00:25:22,240 --> 00:25:25,000
Speaker 4: of the stoner TV you're talking about, but I think

523
00:25:25,000 --> 00:25:28,600
Speaker 4: the newer one was like super sleek, super Now someone's

524
00:25:28,640 --> 00:25:29,920
Speaker 4: like three to one contact.

525
00:25:30,040 --> 00:25:33,120
Speaker 3: Yeah, so let's go back to special. Yeah.

526
00:25:33,320 --> 00:25:36,560
Speaker 2: I gotta say that one of the best experiences of

527
00:25:36,600 --> 00:25:40,840
Speaker 2: my life was meaning that cast when they came here

528
00:25:40,960 --> 00:25:43,600
Speaker 2: for the first time at the to the Tonight Show

529
00:25:45,920 --> 00:25:49,679
Speaker 2: and how cool they were. Again, was this like a oh,

530
00:25:49,760 --> 00:25:53,640
Speaker 2: I just have a job thing or initially that wear

531
00:25:53,720 --> 00:25:56,159
Speaker 2: off after man, you know, so you weren't impressed to

532
00:25:56,200 --> 00:25:59,919
Speaker 2: the fact that here's Bob and Maria and I was.

533
00:26:00,080 --> 00:26:03,040
Speaker 4: I was more impressed with the puppets because they were

534
00:26:03,119 --> 00:26:05,280
Speaker 4: more part of my generation of growing up.

535
00:26:05,359 --> 00:26:08,160
Speaker 3: Can I tell you something? You can this is your show?

536
00:26:08,600 --> 00:26:13,920
Speaker 3: Are they right? What? Okay? Not right? That means.

537
00:26:15,680 --> 00:26:18,920
Speaker 2: If I were to askte are they right?

538
00:26:19,880 --> 00:26:22,080
Speaker 5: You would know what I'm I mean all the puppets right,

539
00:26:22,160 --> 00:26:24,120
Speaker 5: or all the people that the puppeteers right.

540
00:26:24,640 --> 00:26:28,720
Speaker 2: I've seen them many a times when the camera's not on,

541
00:26:29,920 --> 00:26:30,960
Speaker 2: still in character.

542
00:26:31,640 --> 00:26:32,119
Speaker 3: Oh wow?

543
00:26:32,560 --> 00:26:35,680
Speaker 2: Now is that just so that they can execute a

544
00:26:35,720 --> 00:26:39,000
Speaker 2: good job, because even when it's long, even when the

545
00:26:39,000 --> 00:26:42,199
Speaker 2: shoot is done, they're still talking to me.

546
00:26:42,440 --> 00:26:44,680
Speaker 3: It's like method acting to the hundred power.

547
00:26:45,040 --> 00:26:46,439
Speaker 4: But I think the thing about to me, the thing

548
00:26:46,480 --> 00:26:49,160
Speaker 4: about the puppeteers is like, there's like twenty five people

549
00:26:49,240 --> 00:26:51,439
Speaker 4: in the world that do what they do, and so

550
00:26:51,480 --> 00:26:53,960
Speaker 4: it's this small sect of people that just this is

551
00:26:54,000 --> 00:26:56,960
Speaker 4: their life and this is their thing, and and and

552
00:26:56,960 --> 00:26:58,879
Speaker 4: and in the same way it was for Jim Henson,

553
00:26:58,920 --> 00:27:00,800
Speaker 4: it was just like this is this is this is

554
00:27:00,800 --> 00:27:01,240
Speaker 4: what it is.

555
00:27:01,280 --> 00:27:04,720
Speaker 1: But you're telling me that Jim Henson twenty four to seven.

556
00:27:04,680 --> 00:27:06,720
Speaker 3: Was like, well, I don't know. I've never met Jim Henson,

557
00:27:07,280 --> 00:27:07,880
Speaker 3: I don't know that.

558
00:27:08,080 --> 00:27:11,080
Speaker 4: But but with these people it's just it's it's it's

559
00:27:11,080 --> 00:27:13,080
Speaker 4: who they are. It's like just such a in the

560
00:27:13,119 --> 00:27:14,920
Speaker 4: same way that the puppets sort of like an extension

561
00:27:14,920 --> 00:27:16,640
Speaker 4: of their hand, the voice is sort of an extension

562
00:27:16,640 --> 00:27:19,120
Speaker 4: of the way they talk, and so they just particularly

563
00:27:19,200 --> 00:27:21,560
Speaker 4: I mean, it happens more so with particular people who

564
00:27:21,560 --> 00:27:25,000
Speaker 4: are just more whatever. And who plays Zoe on the show,

565
00:27:25,080 --> 00:27:28,080
Speaker 4: Zoe Jen Barn you're talking about Abby?

566
00:27:28,200 --> 00:27:30,600
Speaker 3: Is that? Aha? Lebie Leslie?

567
00:27:30,760 --> 00:27:35,040
Speaker 2: Leslie, She's great, I'm sure right now she's talking and Abby's.

568
00:27:35,160 --> 00:27:37,119
Speaker 2: The other thing about it is her actual voice and

569
00:27:37,160 --> 00:27:40,359
Speaker 2: Abby's voice are very similar, so so that might have

570
00:27:40,400 --> 00:27:42,000
Speaker 2: something to do with it. But like the guy who

571
00:27:42,000 --> 00:27:44,800
Speaker 2: plays Elmo doesn't talk like Elmo most of the time.

572
00:27:44,880 --> 00:27:47,240
Speaker 2: He talks like you know, another person, a real person,

573
00:27:47,600 --> 00:27:48,119
Speaker 2: Red Flax.

574
00:27:48,760 --> 00:27:55,280
Speaker 3: Right, they're all nuts, I'm sure, I.

575
00:27:55,240 --> 00:27:57,040
Speaker 4: Mean, in the same way whoever would come in here

576
00:27:57,040 --> 00:27:59,000
Speaker 4: and fill this be Like, those guys are fucking nuts too.

577
00:27:59,080 --> 00:28:00,960
Speaker 3: It just depends. I'll show you. Yeah, I'm sure they would.

578
00:28:01,520 --> 00:28:03,919
Speaker 5: I read I read something you did an NPR interview

579
00:28:04,160 --> 00:28:08,359
Speaker 5: and Uh. I read you saying, uh sometimes the quote

580
00:28:08,400 --> 00:28:10,879
Speaker 5: was sometimes composers think that because the session stout have

581
00:28:10,960 --> 00:28:13,960
Speaker 5: to dumb it down. But these day children have unbelievably

582
00:28:14,000 --> 00:28:14,920
Speaker 5: sophisticated ears.

583
00:28:14,920 --> 00:28:17,920
Speaker 3: I think them and down is disrespectful to kids.

584
00:28:17,960 --> 00:28:20,400
Speaker 5: And uh, I don't know what what you thought about that,

585
00:28:20,440 --> 00:28:23,040
Speaker 5: Like do you think why do you think kids today

586
00:28:23,200 --> 00:28:26,720
Speaker 5: are more their ears are more sophisticated, or do you

587
00:28:26,720 --> 00:28:28,960
Speaker 5: think they are more or less sophisticated than the kids

588
00:28:29,000 --> 00:28:32,280
Speaker 5: back from the Joe ropostal Ara era where you had

589
00:28:32,400 --> 00:28:35,679
Speaker 5: like Porner sisters and you know, Stevie and all that

590
00:28:35,760 --> 00:28:36,560
Speaker 5: kind of stuff going on.

591
00:28:36,760 --> 00:28:38,240
Speaker 3: Asked me to quote my quote.

592
00:28:38,640 --> 00:28:43,080
Speaker 5: Yeah, yeah, quote on your quote.

593
00:28:43,120 --> 00:28:46,200
Speaker 3: Did a little research. I think google me, he told

594
00:28:46,200 --> 00:28:48,040
Speaker 3: me Google. I was reading up on you.

595
00:28:48,480 --> 00:28:50,400
Speaker 1: You'll here like what you've done the interviews before.

596
00:28:51,280 --> 00:28:53,640
Speaker 2: You know, man, just because you called yesterday and some

597
00:28:53,800 --> 00:28:57,480
Speaker 2: HU canceled and I don't even nobody I feel.

598
00:29:00,040 --> 00:29:01,760
Speaker 3: Yeah, I'm totally there. I want to be away. I

599
00:29:01,800 --> 00:29:05,760
Speaker 3: want to stay. I will well.

600
00:29:06,360 --> 00:29:07,920
Speaker 4: I mean, you've written for Sesame Street.

601
00:29:07,880 --> 00:29:10,120
Speaker 3: I I the way I look at.

602
00:29:10,080 --> 00:29:12,000
Speaker 4: It is like if my my daughters come downstairs and

603
00:29:12,000 --> 00:29:13,360
Speaker 4: they hear what I'm writing and they don't like it.

604
00:29:13,360 --> 00:29:14,880
Speaker 4: It means it's not good. My kids listen to like

605
00:29:14,920 --> 00:29:17,480
Speaker 4: Top forty radio. They're not into kids music, and they're

606
00:29:17,480 --> 00:29:21,320
Speaker 4: into into hooks and catchiness and things that make today's

607
00:29:21,320 --> 00:29:23,760
Speaker 4: pop music as good as it is. And that's just

608
00:29:23,800 --> 00:29:25,640
Speaker 4: what kid's ears are open to now. And so like

609
00:29:26,000 --> 00:29:28,320
Speaker 4: when I ask people to write for Sesame Street, which

610
00:29:28,360 --> 00:29:30,520
Speaker 4: is something you didn't did not do, is is they

611
00:29:30,560 --> 00:29:33,360
Speaker 4: often like will go to vaudeville like the first thing

612
00:29:33,400 --> 00:29:36,880
Speaker 4: because to people, to the general world, like Tesame Street

613
00:29:36,880 --> 00:29:41,240
Speaker 4: is liked or like some two beat shit and and

614
00:29:41,240 --> 00:29:43,920
Speaker 4: and these days it's not like kids get turned off

615
00:29:43,960 --> 00:29:45,640
Speaker 4: by that just as much as anybody else does. And

616
00:29:45,680 --> 00:29:48,520
Speaker 4: I think that if you can write music that appeals

617
00:29:48,600 --> 00:29:52,520
Speaker 4: to everybody, kid, parent, you, whomever, I think that that's

618
00:29:52,560 --> 00:29:54,120
Speaker 4: that's kind of the thing that I try to push for.

619
00:29:54,240 --> 00:29:57,560
Speaker 4: That being said, sometimes we you should talk about this

620
00:29:57,640 --> 00:30:00,080
Speaker 4: because because I feel like at least the tune that

621
00:30:00,080 --> 00:30:05,400
Speaker 4: that you wrote was this weird sort of conglomertion of

622
00:30:05,520 --> 00:30:08,600
Speaker 4: music that totally worked and was like would be considered

623
00:30:08,600 --> 00:30:11,720
Speaker 4: by the general ear to be Sesame Street and something

624
00:30:11,720 --> 00:30:13,240
Speaker 4: that for hell would put on his next record or

625
00:30:13,240 --> 00:30:15,720
Speaker 4: whatever it is. It's like this weird and that's what

626
00:30:15,720 --> 00:30:17,080
Speaker 4: that's kind of what I try to do every day.

627
00:30:17,840 --> 00:30:21,080
Speaker 2: It was adventurous enough to actually want to sing something

628
00:30:21,120 --> 00:30:24,760
Speaker 2: that weird, or it would be right up Sally. But

629
00:30:24,840 --> 00:30:28,880
Speaker 2: I'll tell you something, I don't know if singing dumb

630
00:30:28,920 --> 00:30:33,560
Speaker 2: it down is necessarily a valid thing.

631
00:30:33,640 --> 00:30:34,400
Speaker 1: I don't know why.

632
00:30:34,520 --> 00:30:38,280
Speaker 2: I'm going through a phase right now in which I

633
00:30:38,360 --> 00:30:43,280
Speaker 2: really respect pop music, simple music. And I don't know

634
00:30:43,280 --> 00:30:47,800
Speaker 2: if it's the light of and light of Prince's passing

635
00:30:47,960 --> 00:30:51,520
Speaker 2: or whatever it is, but I have the utmost respect

636
00:30:51,560 --> 00:30:55,840
Speaker 2: for anyone that can write the most simplest song ever

637
00:30:56,160 --> 00:30:57,040
Speaker 2: and it sticks.

638
00:30:57,760 --> 00:31:01,680
Speaker 3: And that's one thing I'm learning to do.

639
00:31:02,520 --> 00:31:05,719
Speaker 2: Like twenty years ago, you couldn't have told me what

640
00:31:05,760 --> 00:31:08,640
Speaker 2: a melody was, Like, Oh, the melody is what you

641
00:31:08,640 --> 00:31:10,600
Speaker 2: play with your right hand, you know.

642
00:31:10,760 --> 00:31:13,440
Speaker 3: I was. I was. I more or less came from

643
00:31:13,720 --> 00:31:14,520
Speaker 3: a vibe place.

644
00:31:15,240 --> 00:31:18,480
Speaker 2: My music felt vibe like it puts you in a

645
00:31:18,480 --> 00:31:20,960
Speaker 2: place where it's like a relaxed place, or I guess

646
00:31:21,000 --> 00:31:22,640
Speaker 2: people we'll call it like.

647
00:31:22,640 --> 00:31:24,520
Speaker 3: Sunday house cleaning music.

648
00:31:24,880 --> 00:31:30,240
Speaker 2: Yeah, But it really wasn't until five years ago that

649
00:31:30,360 --> 00:31:33,280
Speaker 2: I realized, like, I don't know how to write a

650
00:31:33,280 --> 00:31:38,080
Speaker 2: pop song, and now working at Fallon, where you're constantly

651
00:31:38,920 --> 00:31:44,400
Speaker 2: told to write these seven second jingles, Now I'm more aware, like, oh,

652
00:31:44,440 --> 00:31:48,000
Speaker 2: we got to write an impactful song in seven seconds.

653
00:31:48,240 --> 00:31:52,520
Speaker 2: So I kind of I respect that the art more so.

654
00:31:53,000 --> 00:31:54,080
Speaker 2: I don't think that.

655
00:31:53,960 --> 00:31:57,120
Speaker 5: Has influenced your recording anyway, like you work with Roots.

656
00:31:57,400 --> 00:32:04,320
Speaker 2: This next Roots album I believe will be our most

657
00:32:05,000 --> 00:32:09,160
Speaker 2: focused album as okay as a as a music fan,

658
00:32:09,320 --> 00:32:12,720
Speaker 2: I feel like the way that I feel about earth

659
00:32:12,720 --> 00:32:14,560
Speaker 2: Wood and Fire, and the way I feel about Stevie Wonder,

660
00:32:14,520 --> 00:32:17,240
Speaker 2: the way I felt about Prince as a music fan,

661
00:32:17,280 --> 00:32:19,720
Speaker 2: and I'm always like dog, all they have to do

662
00:32:20,240 --> 00:32:23,400
Speaker 2: is get the same microphones, the same sound mixing, boartant,

663
00:32:23,560 --> 00:32:27,320
Speaker 2: the same instruments. So you know, I know a lot

664
00:32:27,320 --> 00:32:28,880
Speaker 2: of people will say like, well, you're too close to

665
00:32:28,920 --> 00:32:32,440
Speaker 2: your creation, so you can't. I know that no artists

666
00:32:32,480 --> 00:32:36,120
Speaker 2: can ever go one linear all the time, that they

667
00:32:36,160 --> 00:32:39,040
Speaker 2: have to circle back and start all over again. So

668
00:32:40,080 --> 00:32:44,280
Speaker 2: I think the music fan of me knows that we

669
00:32:44,440 --> 00:32:46,800
Speaker 2: have to go back to step.

670
00:32:46,480 --> 00:32:47,760
Speaker 1: One again, gotcha.

671
00:32:47,840 --> 00:32:49,200
Speaker 3: I don't want to go back to ninety four.

672
00:32:49,200 --> 00:32:51,000
Speaker 2: I kind of want to go back to ninety This

673
00:32:51,040 --> 00:32:52,920
Speaker 2: album is going to be very close to ninety six

674
00:32:53,800 --> 00:32:57,480
Speaker 2: ninety nine. This will be the Hladelph Things Fall Apart

675
00:32:57,680 --> 00:32:59,960
Speaker 2: album that I think a lot of our early fan

676
00:33:00,120 --> 00:33:01,000
Speaker 2: BASI has been waiting for.

677
00:33:01,480 --> 00:33:02,520
Speaker 1: It's break beat heavy.

678
00:33:03,040 --> 00:33:08,320
Speaker 2: But having wrote for the show so much, I can't

679
00:33:08,360 --> 00:33:12,880
Speaker 2: ignore the education that I've gotten being a DJ and

680
00:33:12,960 --> 00:33:17,840
Speaker 2: being a songwriter on the show, which is I'm instantly thinking, Okay,

681
00:33:17,840 --> 00:33:21,040
Speaker 2: where's the melody, where's the where's the part that you know?

682
00:33:21,720 --> 00:33:24,000
Speaker 2: My assistant will be like, oh I remember that song,

683
00:33:24,280 --> 00:33:27,800
Speaker 2: Like it's it's going to be hard to ignore the

684
00:33:27,960 --> 00:33:31,640
Speaker 2: education I've gotten again, like like do you believe in

685
00:33:31,680 --> 00:33:32,880
Speaker 2: good songs are bad songs?

686
00:33:32,960 --> 00:33:35,160
Speaker 3: Or effective so versus non effective?

687
00:33:35,200 --> 00:33:37,560
Speaker 5: Yet well, I think I guess to me is more

688
00:33:37,560 --> 00:33:39,800
Speaker 5: of a thing where for me it's a little bit

689
00:33:39,840 --> 00:33:41,680
Speaker 5: of both. It's like I think that there can be

690
00:33:41,760 --> 00:33:45,880
Speaker 5: songs where like if the only place I can enjoy

691
00:33:45,920 --> 00:33:51,120
Speaker 5: it is if I'm halfway drunk, then probably is you know. No,

692
00:33:51,240 --> 00:33:53,800
Speaker 5: I'm just saying like like if that's the only place,

693
00:33:53,920 --> 00:33:58,640
Speaker 5: if that's the only time, ship like any other go

694
00:33:58,720 --> 00:34:01,960
Speaker 5: through any like play like right now on like you know,

695
00:34:02,280 --> 00:34:04,600
Speaker 5: wherever a hot nine, seven, one or five?

696
00:34:04,880 --> 00:34:05,200
Speaker 3: Wherever?

697
00:34:05,520 --> 00:34:07,640
Speaker 5: But I mean if But I'm saying, if I can

698
00:34:07,680 --> 00:34:10,600
Speaker 5: only enjoy those songs in that particular setting, it is

699
00:34:10,680 --> 00:34:13,560
Speaker 5: an effective song and I can get it. But once

700
00:34:13,640 --> 00:34:16,480
Speaker 5: I come out of that kind of haze, I can

701
00:34:16,520 --> 00:34:18,799
Speaker 5: be like, Okay, this is kind of a shitty song,

702
00:34:18,880 --> 00:34:20,720
Speaker 5: but it does work in its context.

703
00:34:20,719 --> 00:34:21,880
Speaker 3: But it's like McDonald's.

704
00:34:21,880 --> 00:34:24,279
Speaker 5: It's like, I like McDonald's, and when I want McDonald's,

705
00:34:24,320 --> 00:34:25,680
Speaker 5: I fucking want McDonald's.

706
00:34:25,800 --> 00:34:28,960
Speaker 3: But I'm not about to argue in someone the nutritional

707
00:34:29,040 --> 00:34:31,279
Speaker 3: value of McDonald's. It's like, nigga, I'm not about to

708
00:34:31,320 --> 00:34:32,480
Speaker 3: do that, you.

709
00:34:32,520 --> 00:34:34,279
Speaker 5: Know what I'm saying, Like it's just if you want

710
00:34:34,280 --> 00:34:36,000
Speaker 5: a quarter pound, to eat your quarter pound and be

711
00:34:36,080 --> 00:34:39,319
Speaker 5: happy and just that's what it is. But don't I'm

712
00:34:39,320 --> 00:34:41,520
Speaker 5: not about to them argue as to why you should

713
00:34:41,560 --> 00:34:43,719
Speaker 5: eat McDonald's every day, like getting me?

714
00:34:43,800 --> 00:34:45,600
Speaker 3: So, is there a committee on session?

715
00:34:45,640 --> 00:34:50,400
Speaker 2: Because I would imagine a show so well respected, with

716
00:34:50,600 --> 00:34:54,839
Speaker 2: all these songs that stick, I would imagine that there

717
00:34:55,040 --> 00:34:59,520
Speaker 2: is a jury of you know, of people that are

718
00:35:00,400 --> 00:35:04,640
Speaker 2: are constantly dissecting, uh, every creation that's on the show,

719
00:35:05,960 --> 00:35:06,360
Speaker 2: like what's that?

720
00:35:06,440 --> 00:35:07,800
Speaker 1: What's the songwriting process?

721
00:35:07,920 --> 00:35:11,560
Speaker 4: Like I spayed four week all of the lyrics are

722
00:35:12,120 --> 00:35:15,560
Speaker 4: given to given to me by the scriptwriters, and prior

723
00:35:15,600 --> 00:35:18,080
Speaker 4: to that, they're passed through the education department. So they've

724
00:35:18,120 --> 00:35:19,640
Speaker 4: gone through the lyrically, it's gone through a bunch of

725
00:35:19,640 --> 00:35:22,920
Speaker 4: different things because it needs to be grammatically correct and

726
00:35:22,960 --> 00:35:24,919
Speaker 4: it needs to get across the education thing we're trying

727
00:35:24,920 --> 00:35:26,920
Speaker 4: to get across. Once that's done, it comes to me

728
00:35:26,960 --> 00:35:29,839
Speaker 4: and then it's just sort of like so for every song, yeah,

729
00:35:29,840 --> 00:35:30,560
Speaker 4: pretty much.

730
00:35:30,400 --> 00:35:34,359
Speaker 3: Songs about emotions and even songs about the number two. Wow. Yeah,

731
00:35:34,400 --> 00:35:38,719
Speaker 3: every song goes through this stinking process. Yeah what red flag?

732
00:35:39,200 --> 00:35:42,000
Speaker 3: No nos are there in sesame street songwriting?

733
00:35:42,120 --> 00:35:45,080
Speaker 4: Like most of it's about the character. If it's not

734
00:35:45,160 --> 00:35:47,680
Speaker 4: written like the character would say it, like, for example,

735
00:35:47,760 --> 00:35:50,240
Speaker 4: like Elmo never says, I am.

736
00:35:50,719 --> 00:35:54,480
Speaker 3: How come Elman cookies talk grammatically and correct? It's a

737
00:35:54,480 --> 00:35:56,839
Speaker 3: good question. Don't know the answer to that. You could.

738
00:35:56,880 --> 00:35:58,279
Speaker 4: You should ask them the next time you see them.

739
00:35:58,400 --> 00:36:00,000
Speaker 4: I'm sure that believes I still have a job.

740
00:36:00,040 --> 00:36:03,640
Speaker 3: Okay, that really is weird. Yeah, yeah, he I don't know.

741
00:36:03,719 --> 00:36:04,960
Speaker 3: Yeah he says that, that's right.

742
00:36:05,120 --> 00:36:07,919
Speaker 4: I mean because he's because they're three or they're five,

743
00:36:07,960 --> 00:36:10,040
Speaker 4: and maybe that's what kids who are three or five too.

744
00:36:10,239 --> 00:36:11,120
Speaker 4: I should probably know that.

745
00:36:11,160 --> 00:36:15,040
Speaker 2: My kids are three or five anyway anyway, So the

746
00:36:15,080 --> 00:36:16,440
Speaker 2: process is so then so then it comes to me

747
00:36:16,480 --> 00:36:18,040
Speaker 2: and then it's like, if it's a song that exists

748
00:36:18,040 --> 00:36:19,319
Speaker 2: in a script, it's how does it throw.

749
00:36:19,440 --> 00:36:21,200
Speaker 4: You know, how does it work narratively? And what does

750
00:36:21,239 --> 00:36:23,160
Speaker 4: it want to feel like and sound like? And then

751
00:36:23,200 --> 00:36:26,120
Speaker 4: if it's a pull out song, it's like, if it's

752
00:36:26,120 --> 00:36:28,319
Speaker 4: for a celebrity, who are they and what do they

753
00:36:28,360 --> 00:36:29,920
Speaker 4: sound like? And can we make it sound like them?

754
00:36:29,960 --> 00:36:32,080
Speaker 4: And then it sort of goes from there, and then

755
00:36:32,120 --> 00:36:34,239
Speaker 4: I write it or somebody writes it, and then it

756
00:36:34,280 --> 00:36:36,640
Speaker 4: goes back to the producing staff I'm sure similar to

757
00:36:36,800 --> 00:36:39,120
Speaker 4: whatever goes on here, and and they approve it or

758
00:36:39,160 --> 00:36:40,560
Speaker 4: they don't really Da da dah, and then.

759
00:36:40,440 --> 00:36:42,280
Speaker 3: It's sort of that's it.

760
00:36:42,280 --> 00:36:45,040
Speaker 4: It's a lot of people, but at this point, forty

761
00:36:45,080 --> 00:36:48,040
Speaker 4: seven years later, are there hurt feelings?

762
00:36:48,080 --> 00:36:49,880
Speaker 3: Nothing's worse than getting the song rejected.

763
00:36:50,280 --> 00:36:53,080
Speaker 4: I gotta say this. I mean, I've written ten thousand

764
00:36:53,080 --> 00:36:55,000
Speaker 4: songs at this point. If one gets rejected, I just

765
00:36:55,000 --> 00:36:56,840
Speaker 4: go and write another one. Like I don't personally, I

766
00:36:56,880 --> 00:36:59,080
Speaker 4: don't really I'm not too precious with anything at this

767
00:36:59,120 --> 00:37:01,239
Speaker 4: point because I can't be because it just needs to

768
00:37:01,280 --> 00:37:02,040
Speaker 4: happen too quickly.

769
00:37:02,200 --> 00:37:04,520
Speaker 2: So oh so if you don't have it, then blah

770
00:37:04,520 --> 00:37:07,080
Speaker 2: blah blah will have it, yeah, or like if it

771
00:37:07,080 --> 00:37:08,880
Speaker 2: comes back and I was if I'm if I'm so

772
00:37:09,040 --> 00:37:11,920
Speaker 2: far away that they're like trashing right a new one,

773
00:37:11,920 --> 00:37:13,879
Speaker 2: then I'm like what at this point?

774
00:37:14,000 --> 00:37:15,919
Speaker 4: Like how can I be that fucking far away?

775
00:37:16,000 --> 00:37:16,320
Speaker 3: Right?

776
00:37:16,360 --> 00:37:18,320
Speaker 2: But it happens from time to time, but must sometimes

777
00:37:18,320 --> 00:37:19,600
Speaker 2: just like it's too fast, we want it to be

778
00:37:19,640 --> 00:37:20,000
Speaker 2: slower so.

779
00:37:20,040 --> 00:37:22,200
Speaker 4: Kids can understand it that I get a lot, or

780
00:37:22,960 --> 00:37:25,040
Speaker 4: it's not cooking enough, funny enough. You mentioned like if

781
00:37:25,120 --> 00:37:28,080
Speaker 4: if it's not a thing that a your kid could

782
00:37:28,080 --> 00:37:29,960
Speaker 4: sing back or be they want to stand up and

783
00:37:30,080 --> 00:37:32,000
Speaker 4: dance to, then then it's not good enough.

784
00:37:32,080 --> 00:37:34,520
Speaker 5: That's how often I wanted to ask, man, how often

785
00:37:34,560 --> 00:37:37,200
Speaker 5: for you is it that because I haven't done I've

786
00:37:37,239 --> 00:37:40,680
Speaker 5: done some TV work, some movie work, writing for stuff, whatever,

787
00:37:40,760 --> 00:37:42,120
Speaker 5: and I haven't done a lot of it, but I've

788
00:37:42,160 --> 00:37:42,440
Speaker 5: done some.

789
00:37:42,800 --> 00:37:45,640
Speaker 3: How often for you is it that you will do

790
00:37:45,680 --> 00:37:46,080
Speaker 3: a song?

791
00:37:46,239 --> 00:37:48,560
Speaker 5: They send it, they reject it, and they asked you

792
00:37:48,600 --> 00:37:51,080
Speaker 5: to make changes or whatever, and it actually is better,

793
00:37:51,640 --> 00:37:53,279
Speaker 5: like you like you sit back after it's done and

794
00:37:53,280 --> 00:37:56,200
Speaker 5: be like, well, damn, that was right, versus man.

795
00:37:56,200 --> 00:37:58,160
Speaker 3: Y'all fuck my song up? Like, how often does that

796
00:37:58,239 --> 00:38:01,319
Speaker 3: happen for you? A few times a week?

797
00:38:01,320 --> 00:38:04,560
Speaker 4: I mean, it depends, really, And so this week I

798
00:38:04,600 --> 00:38:06,960
Speaker 4: wrote this song for Titus Burgess for this show I'm

799
00:38:07,000 --> 00:38:09,799
Speaker 4: working on, and it was too fast and they wanted

800
00:38:09,800 --> 00:38:12,240
Speaker 4: it to be slower. And I'm always hesitant about slowing

801
00:38:12,280 --> 00:38:14,720
Speaker 4: things down because it just fucks it up all the time. However,

802
00:38:14,760 --> 00:38:17,839
Speaker 4: in this case it came to I brought it back

803
00:38:17,880 --> 00:38:19,520
Speaker 4: a little bit and worked totally fine. So there's that,

804
00:38:19,680 --> 00:38:22,160
Speaker 4: and then the same thing that happened, like I wrote

805
00:38:22,160 --> 00:38:24,160
Speaker 4: a song where I crunched the verse really quickly. Because

806
00:38:24,160 --> 00:38:26,239
Speaker 4: the other thing about children's songs, if you've listened to them, is,

807
00:38:26,719 --> 00:38:28,440
Speaker 4: especially with Sesame Street, you're trying to get so much

808
00:38:28,440 --> 00:38:30,680
Speaker 4: across that there's a lot of words, a lot of syllables.

809
00:38:30,680 --> 00:38:32,840
Speaker 4: It's not like you're holding notes, You're not like soaring

810
00:38:32,840 --> 00:38:35,480
Speaker 4: and stuff's not really it doesn't really happen. So so

811
00:38:36,200 --> 00:38:38,719
Speaker 4: in doing so, you know, you have to make sure

812
00:38:38,760 --> 00:38:41,360
Speaker 4: that every word, like you can't overlap like the end

813
00:38:41,400 --> 00:38:44,239
Speaker 4: of a verse into a chorus, because you can't then

814
00:38:44,320 --> 00:38:46,319
Speaker 4: hear the end of the verse mix wise or not,

815
00:38:46,400 --> 00:38:47,959
Speaker 4: like if it's on the screen and there's two people

816
00:38:47,960 --> 00:38:50,080
Speaker 4: at the same time. That's another thing about Sesame Street.

817
00:38:50,080 --> 00:38:52,480
Speaker 4: It's not a lot of duets or not a lot

818
00:38:52,480 --> 00:38:54,279
Speaker 4: of people singing at the same time, unless it's like

819
00:38:54,280 --> 00:38:57,000
Speaker 4: a chorus thing, Like you would never hear two puppets

820
00:38:57,040 --> 00:39:00,000
Speaker 4: like singing harmonizing or harmonizing for sure, but like singing

821
00:39:00,320 --> 00:39:02,880
Speaker 4: count over. They would never sing over the top of

822
00:39:02,920 --> 00:39:10,560
Speaker 4: each other. Hey man, Which, by the way, that was

823
00:39:10,560 --> 00:39:12,520
Speaker 4: a deep cut and I was really happy about that.

824
00:39:12,800 --> 00:39:15,640
Speaker 3: Yeah, but nobody knew any.

825
00:39:15,560 --> 00:39:18,120
Speaker 2: Sesame Street songs on the show Man, Like the old

826
00:39:18,200 --> 00:39:20,040
Speaker 2: producer Staffs is looking at me like.

827
00:39:20,920 --> 00:39:23,960
Speaker 4: Yeah, no one's going to get this, but you got it.

828
00:39:28,600 --> 00:39:31,680
Speaker 2: I always thought that frank Oz should have like a

829
00:39:31,800 --> 00:39:33,280
Speaker 2: Lozengers deal or something.

830
00:39:33,440 --> 00:39:34,120
Speaker 3: He's the best.

831
00:39:34,160 --> 00:39:39,840
Speaker 2: It's how was he able to utilize that voice?

832
00:39:40,800 --> 00:39:43,719
Speaker 1: And he was Cookie Monster for at least forty years.

833
00:39:43,760 --> 00:39:51,440
Speaker 2: Yeah, and Grover and Piggy and Bird oh wow, yeah, yeah,

834
00:39:51,480 --> 00:39:51,960
Speaker 2: I don't know.

835
00:39:53,360 --> 00:39:53,640
Speaker 3: Yeah.

836
00:39:55,120 --> 00:39:57,759
Speaker 4: So frank Oz left Sesame Street like I don't know,

837
00:39:57,800 --> 00:39:59,640
Speaker 4: ten years ago or something, and the guy who took

838
00:39:59,640 --> 00:40:03,520
Speaker 4: over his name is David Rudman. He and I believe he's

839
00:40:03,520 --> 00:40:05,560
Speaker 4: also the hands of the Swedish Chef, which I think

840
00:40:05,600 --> 00:40:08,239
Speaker 4: is a pretty cool thing. But yeah, but he does

841
00:40:08,280 --> 00:40:10,759
Speaker 4: Cookie Monster and and baby Bear and a bunch of

842
00:40:10,800 --> 00:40:14,319
Speaker 4: other stuff. But yeah, he he When we record with him,

843
00:40:14,320 --> 00:40:18,120
Speaker 4: we sometimes if it's too low. He can only last

844
00:40:18,120 --> 00:40:21,080
Speaker 4: a certain amount of time because that voice is so insane.

845
00:40:21,600 --> 00:40:25,120
Speaker 2: How many voice characters are still on the show that

846
00:40:25,239 --> 00:40:27,759
Speaker 2: were there? Is Carol Spinny. Carol Spinny is the last

847
00:40:27,840 --> 00:40:30,400
Speaker 2: still bill Big Bird. He's he does the voice of

848
00:40:30,400 --> 00:40:31,720
Speaker 2: Big Bird and the voice of Oscar.

849
00:40:32,040 --> 00:40:32,680
Speaker 3: Oh wow.

850
00:40:32,880 --> 00:40:35,759
Speaker 2: Yeah, and last year am I allowed to ask how

851
00:40:35,800 --> 00:40:36,759
Speaker 2: old Carol Spinny is.

852
00:40:37,560 --> 00:40:38,120
Speaker 3: He's a male?

853
00:40:38,239 --> 00:40:43,480
Speaker 4: Yeah, yeah, all right, I think he's eighty something. Seriously,

854
00:40:43,560 --> 00:40:45,480
Speaker 4: And yeah, the best line about Carol, of which there

855
00:40:45,520 --> 00:40:49,160
Speaker 4: are many, is like a few years ago or five

856
00:40:49,239 --> 00:40:51,520
Speaker 4: or six, he said I don't think I can do

857
00:40:51,640 --> 00:40:53,719
Speaker 4: Big Bird and roller skates anymore, which I thought was

858
00:40:53,719 --> 00:40:54,359
Speaker 4: a pretty good line.

859
00:40:54,520 --> 00:40:55,000
Speaker 3: That's true.

860
00:40:55,440 --> 00:40:57,799
Speaker 2: Wait, he was also the body of Big Bird, yes,

861
00:40:57,960 --> 00:41:00,759
Speaker 2: for the entire span of the show. Oh, and just

862
00:41:00,800 --> 00:41:03,680
Speaker 2: stopped doing it since I two years ago, a year ago.

863
00:41:03,920 --> 00:41:05,040
Speaker 3: So now someone.

864
00:41:04,960 --> 00:41:07,040
Speaker 4: Someone someone bodies it and he does the voice. Same

865
00:41:07,040 --> 00:41:10,960
Speaker 4: thing with Oscar the Grouch. Wow, yeah, pretty amazing. There's

866
00:41:10,960 --> 00:41:16,160
Speaker 4: some great eight or something. Yeah, like are there voices

867
00:41:16,239 --> 00:41:18,960
Speaker 4: insured or I don't know, it's a good question. Yeah,

868
00:41:19,239 --> 00:41:23,120
Speaker 4: I have no idea they should be saying. But Frank,

869
00:41:23,400 --> 00:41:25,360
Speaker 4: you have a backup bird just in case there is,

870
00:41:25,400 --> 00:41:26,239
Speaker 4: there's a backup bird.

871
00:41:26,440 --> 00:41:26,839
Speaker 3: Is he good?

872
00:41:26,880 --> 00:41:31,440
Speaker 4: He's great. He's also that guy is Matt Vogel. He's

873
00:41:31,440 --> 00:41:33,719
Speaker 4: in the Electric Mayhem band. Who's the guy who plays

874
00:41:33,719 --> 00:41:36,480
Speaker 4: the bass in the Electric Mayhem band. I'm blanking Shannon Tweed.

875
00:41:42,920 --> 00:41:47,799
Speaker 6: Actually I actually figured out why Cookie Monster doesn't speak

876
00:41:47,840 --> 00:41:48,960
Speaker 6: grammatically correctly?

877
00:41:49,200 --> 00:41:54,719
Speaker 4: Why grammatically correctly.

878
00:41:57,040 --> 00:41:58,120
Speaker 3: Correctly? He's a monster.

879
00:41:58,560 --> 00:42:01,839
Speaker 6: Oh he's not like a real you know person, He's

880
00:42:02,440 --> 00:42:03,480
Speaker 6: he's crazy or whatever.

881
00:42:03,640 --> 00:42:07,359
Speaker 4: We just have thoughts from Steven Steve Star.

882
00:42:08,120 --> 00:42:11,800
Speaker 2: He's going to be the start this podcast three months.

883
00:42:11,920 --> 00:42:14,279
Speaker 3: He's gonna get his own second. He's that makes it.

884
00:42:14,360 --> 00:42:19,000
Speaker 3: That makes I was I think it was diabetes because sugar,

885
00:42:21,080 --> 00:42:24,160
Speaker 3: the sugars. Yeah, sugar, Yeah, yeah, that is that. Yeah,

886
00:42:24,200 --> 00:42:26,080
Speaker 3: the sugars. That is another thing that goes into the

887
00:42:26,080 --> 00:42:26,720
Speaker 3: Black Bible.

888
00:42:29,520 --> 00:42:33,840
Speaker 2: All right, So Steve and I met, Uh. Steve was

889
00:42:34,520 --> 00:42:37,600
Speaker 2: an engineer at Electric Lady Studios. So during the whole

890
00:42:38,239 --> 00:42:44,120
Speaker 2: soul quarium, renaissance of of what uh voodoo and Erica's

891
00:42:44,120 --> 00:42:46,440
Speaker 2: Mama's Gun and all the all the common records.

892
00:42:47,040 --> 00:42:49,680
Speaker 1: That's how Steve and I worked with each other.

893
00:42:49,760 --> 00:42:52,000
Speaker 2: So when he left Electric Lady and I hired him

894
00:42:52,000 --> 00:42:54,640
Speaker 2: as my full time engineering Philly.

895
00:42:55,320 --> 00:42:57,480
Speaker 1: Uh what started in two thousand and six.

896
00:42:57,880 --> 00:43:00,800
Speaker 3: I'm still thinking about cooking. I'm sorry, shout.

897
00:43:00,880 --> 00:43:02,719
Speaker 6: We should do we should do an episode where the

898
00:43:02,800 --> 00:43:05,440
Speaker 6: cookie Monster learns how to speak correctly.

899
00:43:06,520 --> 00:43:08,480
Speaker 4: We did one where he didn't eat cookies.

900
00:43:10,239 --> 00:43:10,600
Speaker 3: Monster.

901
00:43:11,560 --> 00:43:13,400
Speaker 4: People were like up in arms, like, yeah, I didn't

902
00:43:13,440 --> 00:43:14,040
Speaker 4: like to take that.

903
00:43:14,239 --> 00:43:17,279
Speaker 3: I do not that I watched it. Know, that's that's

904
00:43:17,320 --> 00:43:18,360
Speaker 3: his legacy.

905
00:43:18,640 --> 00:43:21,120
Speaker 4: You're the only friend I have to watches just for

906
00:43:21,160 --> 00:43:21,600
Speaker 4: the record.

907
00:43:22,160 --> 00:43:28,120
Speaker 6: Well, anyway, he's in his mouth, he crumbles him up

908
00:43:28,120 --> 00:43:29,799
Speaker 6: and he throws them like he doesn't even eat any

909
00:43:29,800 --> 00:43:30,040
Speaker 6: of it.

910
00:43:30,120 --> 00:43:31,719
Speaker 4: I like that you're telling me this, like I don't know.

911
00:43:35,600 --> 00:43:36,399
Speaker 3: Thanks, Thanks Steve.

912
00:43:36,680 --> 00:43:40,319
Speaker 2: Anyway, So when Steve came to Philly to work full

913
00:43:40,360 --> 00:43:45,600
Speaker 2: time for the Roots, his tired diet became my diet.

914
00:43:46,320 --> 00:43:49,719
Speaker 3: So every day, Yeah, do I even need to finish it? Yes?

915
00:43:50,880 --> 00:43:52,040
Speaker 3: Steve is one of the first.

916
00:43:51,880 --> 00:43:53,920
Speaker 1: White people I know that had the sugars.

917
00:43:54,400 --> 00:43:59,160
Speaker 3: Oh damn what we got? Cookie Monster is fine.

918
00:43:59,200 --> 00:43:59,880
Speaker 1: I'm fed up.

919
00:44:01,000 --> 00:44:02,600
Speaker 3: You let quiess love seriously.

920
00:44:04,160 --> 00:44:07,000
Speaker 1: Well, there's a soul food church, like down the street from.

921
00:44:06,840 --> 00:44:09,160
Speaker 2: The there's a soul food church down the street from

922
00:44:09,160 --> 00:44:10,399
Speaker 2: the studio, so we ate there.

923
00:44:10,440 --> 00:44:13,839
Speaker 1: Everything like clockwork is man.

924
00:44:14,760 --> 00:44:17,600
Speaker 3: So it's kind of equivalent.

925
00:44:17,640 --> 00:44:21,719
Speaker 2: What was the McDonald's thing for thirty days of supersize? Yeah,

926
00:44:21,880 --> 00:44:25,000
Speaker 2: so I mean he ate soul food at least like

927
00:44:25,239 --> 00:44:28,360
Speaker 2: four months in the road and by the end he

928
00:44:28,440 --> 00:44:30,160
Speaker 2: was done.

929
00:44:30,239 --> 00:44:30,759
Speaker 3: Shots.

930
00:44:31,960 --> 00:44:37,600
Speaker 2: Wow, Wow, Steve had the sugar, Steve Sugar, How did

931
00:44:37,640 --> 00:44:38,080
Speaker 2: you recover?

932
00:44:38,880 --> 00:44:39,279
Speaker 3: Just left?

933
00:44:39,320 --> 00:44:42,959
Speaker 6: You don't recover from you just keep going with it.

934
00:44:44,640 --> 00:44:47,960
Speaker 3: Damn, Steve. Steve's in the Black Bible, man, Yo, you

935
00:44:48,040 --> 00:44:50,160
Speaker 3: were fishing in the Black Bible. Steve. You got daby

936
00:44:50,360 --> 00:44:53,239
Speaker 3: that's like the blackest disease up like that and.

937
00:44:53,320 --> 00:44:57,319
Speaker 5: The gout like no one, no one figures out what

938
00:44:57,360 --> 00:44:58,040
Speaker 5: the gout is.

939
00:44:58,080 --> 00:45:00,439
Speaker 3: But it's just you don't want that ship. I got

940
00:45:00,480 --> 00:45:09,760
Speaker 3: all that ship. Welcome you ride a dice d ride

941
00:45:09,760 --> 00:45:15,799
Speaker 3: to Dad. You know what, one day, one day we're

942
00:45:15,800 --> 00:45:17,759
Speaker 3: going to listen to this episode.

943
00:45:19,360 --> 00:45:21,880
Speaker 1: When we're like professional and.

944
00:45:21,280 --> 00:45:22,120
Speaker 3: I'll be dead.

945
00:45:29,160 --> 00:45:32,120
Speaker 6: It wasn't just fried chicken that came and died that

946
00:45:32,160 --> 00:45:34,520
Speaker 6: takes it takes longer than four months to get it too,

947
00:45:34,640 --> 00:45:34,920
Speaker 6: you know.

948
00:45:35,080 --> 00:45:41,120
Speaker 2: But you're also so you're gonna take now.

949
00:45:39,480 --> 00:45:41,920
Speaker 3: You Yeah, you still do it.

950
00:45:42,320 --> 00:45:44,520
Speaker 6: Whenever I eat, I have to take in something and

951
00:45:44,560 --> 00:45:47,600
Speaker 6: then I take in something like a one that different

952
00:45:47,680 --> 00:45:50,520
Speaker 6: kind of that helps you twenty four hours a day.

953
00:45:50,840 --> 00:45:52,719
Speaker 1: Try and keep it like there's no coming back from it.

954
00:45:53,400 --> 00:45:55,560
Speaker 3: Not yet. They're working on it. Don't worry. Wait, did

955
00:45:55,600 --> 00:45:58,839
Speaker 3: I really do this? Theme? Like I feel bad? It's

956
00:45:59,239 --> 00:46:01,280
Speaker 3: like for a moment right now, go ahead.

957
00:46:02,040 --> 00:46:07,080
Speaker 6: They're working on it. Like your family gonna be like, no,

958
00:46:07,600 --> 00:46:08,879
Speaker 6: I didn't tell them that you did this.

959
00:46:10,120 --> 00:46:16,279
Speaker 2: All right, so we can just take this past. Have

960
00:46:16,360 --> 00:46:17,759
Speaker 2: we talked about music at all?

961
00:46:17,920 --> 00:46:23,000
Speaker 3: Right? Black Bible? There was Steve's diabetes.

962
00:46:24,560 --> 00:46:29,120
Speaker 5: Great show man, we're talking about music. We supposed to

963
00:46:29,120 --> 00:46:34,200
Speaker 5: be talking about something when we when we dried out all.

964
00:46:34,080 --> 00:46:40,880
Speaker 3: Of our resources. What's Steve has diabetes? That was depressing?

965
00:46:40,960 --> 00:46:43,719
Speaker 3: Ship from man.

966
00:46:44,160 --> 00:46:47,360
Speaker 4: Don't pass out, Steve, keep it together, yo, because.

967
00:46:47,360 --> 00:46:49,880
Speaker 3: It's such a depressing disease. Like I got an uncle.

968
00:46:51,520 --> 00:46:55,200
Speaker 5: Nah, dude, like no, like dude, because it's because the

969
00:46:55,239 --> 00:46:59,520
Speaker 5: thing is is Okay, I'm gonna tell you the tragedy sympathy, no, no, no,

970
00:46:59,560 --> 00:47:01,680
Speaker 5: for real you and I'm gonna tell you the tragedy

971
00:47:01,719 --> 00:47:05,040
Speaker 5: in this. It's because, like Steve, like you're a skinny guy,

972
00:47:05,080 --> 00:47:06,719
Speaker 5: so you ain't even got the fatness to go with

973
00:47:06,800 --> 00:47:07,400
Speaker 5: the diabetes.

974
00:47:07,440 --> 00:47:09,800
Speaker 3: So it's not even like you earned it, you know

975
00:47:09,840 --> 00:47:11,680
Speaker 3: what I mean. It's like it's like you're not even

976
00:47:12,160 --> 00:47:12,839
Speaker 3: you know what I'm saying.

977
00:47:12,920 --> 00:47:15,279
Speaker 5: It's like it's like I know a chick that's like

978
00:47:15,280 --> 00:47:17,319
Speaker 5: a fat vegan and it's just like honey.

979
00:47:16,960 --> 00:47:21,960
Speaker 7: Wow wow, yeah, Like it's just you know, I mean,

980
00:47:22,000 --> 00:47:23,879
Speaker 7: like why like you you if you go if I'm

981
00:47:23,880 --> 00:47:25,520
Speaker 7: a fat, if I'm gonna be fat, I'm gonna have

982
00:47:25,680 --> 00:47:28,160
Speaker 7: everything that comes with it, and I'm gonna earn the fatness.

983
00:47:28,280 --> 00:47:30,600
Speaker 5: So to be a skinny guy with that's fucking miserable.

984
00:47:31,560 --> 00:47:33,879
Speaker 5: I really, you have myself and to think about every

985
00:47:33,920 --> 00:47:35,800
Speaker 5: time I sit down to eat a meal, I gotta

986
00:47:35,880 --> 00:47:38,399
Speaker 5: think about what I'm gonna eat. I got an uncle

987
00:47:38,440 --> 00:47:41,359
Speaker 5: with diabetes. Thanksgiving, he can't have sweet Tata pot and.

988
00:47:43,239 --> 00:47:45,600
Speaker 3: He can't do it. Like it'll be like what we

989
00:47:45,680 --> 00:47:49,479
Speaker 3: call the ems. All right, we're gonna blue smoke after all? Yeah,

990
00:47:49,680 --> 00:47:52,879
Speaker 3: right straight there? You know, Yeah, I gotta earn it.

991
00:47:56,520 --> 00:48:05,120
Speaker 2: Oh boy, Okay, weird music, So I have I.

992
00:48:05,320 --> 00:48:07,839
Speaker 4: I orchestraighted in the Heights in two thousand and eight

993
00:48:07,840 --> 00:48:10,120
Speaker 4: and I wanted Tony. It was a wild night and

994
00:48:10,160 --> 00:48:12,759
Speaker 4: the first time I ever won an award and that

995
00:48:12,880 --> 00:48:13,240
Speaker 4: was great.

996
00:48:13,680 --> 00:48:16,000
Speaker 1: Do cast albums get Tony's at all?

997
00:48:16,400 --> 00:48:18,000
Speaker 4: No, they get Grammys.

998
00:48:18,920 --> 00:48:23,080
Speaker 3: I'm not. I'm not gonna get it. Bye, you are

999
00:48:23,080 --> 00:48:23,399
Speaker 3: you playing?

1000
00:48:23,719 --> 00:48:26,799
Speaker 2: I'm going and I'm bom wrestling that stage when how

1001
00:48:26,840 --> 00:48:29,760
Speaker 2: many people are gonna get on that stage with one hundred?

1002
00:48:30,880 --> 00:48:31,040
Speaker 3: Yo?

1003
00:48:31,120 --> 00:48:35,480
Speaker 2: Wouldn't it be hilarious if the voting Academy just assumes

1004
00:48:35,640 --> 00:48:38,320
Speaker 2: that Hamilton is going to get Best Playing.

1005
00:48:38,400 --> 00:48:40,719
Speaker 3: So they decided, like, let me just give it to

1006
00:48:40,760 --> 00:48:41,279
Speaker 3: something else.

1007
00:48:41,520 --> 00:48:43,200
Speaker 4: I mean, I thought when we were so when they

1008
00:48:43,320 --> 00:48:45,440
Speaker 4: we did the Grammys and they gave the award on

1009
00:48:45,440 --> 00:48:47,400
Speaker 4: the stage at the Richard Rogers, and I was the

1010
00:48:47,400 --> 00:48:49,799
Speaker 4: only person in LA for a moment, I was like,

1011
00:48:49,840 --> 00:48:53,000
Speaker 4: what if Seth McFarland walked up there and is suddenly

1012
00:48:53,000 --> 00:48:55,160
Speaker 4: presenting the best Cast album that no one gives a

1013
00:48:55,200 --> 00:48:58,920
Speaker 4: fuck about? And he goes and it goes to not Hamilton,

1014
00:48:59,040 --> 00:49:01,520
Speaker 4: I mean the patant and that it would have been unbelievable.

1015
00:49:01,560 --> 00:49:03,600
Speaker 4: That would have been such a great moment, like and

1016
00:49:03,680 --> 00:49:05,160
Speaker 4: I would have been the only person there in l

1017
00:49:05,200 --> 00:49:07,839
Speaker 4: a be like wow, that would have been like.

1018
00:49:07,760 --> 00:49:12,000
Speaker 5: A Steve Harvey at the pageant moment, right because the

1019
00:49:12,000 --> 00:49:12,960
Speaker 5: winner is Hamilton.

1020
00:49:13,640 --> 00:49:19,839
Speaker 3: I'm sorry, folks, I gotta be real. That was ship. Yeah.

1021
00:49:20,280 --> 00:49:24,480
Speaker 2: I think the way that the Roots one, our first Grammy,

1022
00:49:25,239 --> 00:49:28,120
Speaker 2: was that moment because it's like.

1023
00:49:28,920 --> 00:49:29,560
Speaker 3: I've heard your.

1024
00:49:31,080 --> 00:49:34,120
Speaker 5: Buty'all were up against like it was like Doctor Dre

1025
00:49:34,160 --> 00:49:36,200
Speaker 5: and Snow was to go ahead.

1026
00:49:39,400 --> 00:49:40,600
Speaker 3: It was just kidding.

1027
00:49:40,640 --> 00:49:42,279
Speaker 2: Got to Doctor Pare the Roots of General told to

1028
00:49:42,280 --> 00:49:43,360
Speaker 2: shut the fuck up, go ahead.

1029
00:49:43,800 --> 00:49:50,920
Speaker 3: It was wait, I ain't gonna even on the red carpet.

1030
00:49:51,520 --> 00:49:54,120
Speaker 2: Moby was like, yeah, I'm really excited to going to

1031
00:49:54,160 --> 00:49:57,040
Speaker 2: present the you know the best Rapperward or whatever.

1032
00:49:57,400 --> 00:49:59,160
Speaker 3: They were like, well, who are your favorites? I don't know.

1033
00:49:59,160 --> 00:50:01,560
Speaker 3: It could be doctor Dre, it could be Eminem, could

1034
00:50:01,560 --> 00:50:02,680
Speaker 3: be snoop ah Man.

1035
00:50:02,840 --> 00:50:04,839
Speaker 2: I really hope it's Bust Rhymes Jane Jackson. I love

1036
00:50:04,880 --> 00:50:07,439
Speaker 2: that song. I love those guys. Matter of fact, even

1037
00:50:07,440 --> 00:50:09,359
Speaker 2: if they're not the winners. I'm gonna say that bust

1038
00:50:09,440 --> 00:50:10,960
Speaker 2: Rhymes and Janet Jackson is the winner.

1039
00:50:11,239 --> 00:50:12,320
Speaker 3: So that was the movie.

1040
00:50:12,719 --> 00:50:17,480
Speaker 4: So that was the energy that he can vegan Skinny Vegan.

1041
00:50:17,640 --> 00:50:19,440
Speaker 3: Probably that was.

1042
00:50:23,360 --> 00:50:25,760
Speaker 1: The energy that he put on the red carpet.

1043
00:50:25,960 --> 00:50:31,280
Speaker 2: So meanwhile, we already lost uh two Grammy's two eminem

1044
00:50:31,400 --> 00:50:35,040
Speaker 2: earlier that night, and so sitting in the audience, I

1045
00:50:35,080 --> 00:50:37,040
Speaker 2: was like, well, I know we're not gonna win, so

1046
00:50:37,160 --> 00:50:42,080
Speaker 2: it's whatever. And suddenly I didn't Now I didn't hear

1047
00:50:42,120 --> 00:50:46,279
Speaker 2: what movie said from the stage, but when they called

1048
00:50:46,280 --> 00:50:49,359
Speaker 2: her name, I was like, holy crap, Like we won.

1049
00:50:49,560 --> 00:50:50,240
Speaker 3: How this happened?

1050
00:50:50,239 --> 00:50:54,000
Speaker 1: It's it's like that scene in Boogie Knights when Don Chetle.

1051
00:50:53,760 --> 00:50:57,880
Speaker 2: Goes into the door and all white and everyone gets

1052
00:50:57,880 --> 00:50:59,320
Speaker 2: shot and fills, except.

1053
00:50:59,120 --> 00:51:01,440
Speaker 5: He walks off with the he makes it and starts

1054
00:51:01,480 --> 00:51:03,440
Speaker 5: his his shot his seal shop.

1055
00:51:03,920 --> 00:51:08,239
Speaker 2: Yeah, and doctor Dre and Snoop versus Doctor Dre and

1056
00:51:08,320 --> 00:51:13,839
Speaker 2: Eminem versus R. Kelly and Puffy versus Janet Jackson and

1057
00:51:13,920 --> 00:51:16,960
Speaker 2: Bustin Rhymes, and then the roots in Eric Aboudu and

1058
00:51:17,080 --> 00:51:18,319
Speaker 2: somehow you.

1059
00:51:18,280 --> 00:51:19,720
Speaker 3: Won, y'all were the last one standing.

1060
00:51:20,600 --> 00:51:23,919
Speaker 2: I felt it was only that specific situation at which

1061
00:51:23,960 --> 00:51:27,080
Speaker 2: we were allowed to win now. I went home to

1062
00:51:27,200 --> 00:51:30,200
Speaker 2: night to watch the victory tape and then movie was like,

1063
00:51:30,239 --> 00:51:31,040
Speaker 2: and the winner is.

1064
00:51:32,960 --> 00:51:33,600
Speaker 3: In theory?

1065
00:51:34,560 --> 00:51:36,520
Speaker 1: Oh wow, the Roots?

1066
00:51:36,520 --> 00:51:39,120
Speaker 3: And did he say that? He said the winner is.

1067
00:51:40,200 --> 00:51:44,759
Speaker 2: In theory the Roots, and Eric about du wow. I

1068
00:51:44,800 --> 00:51:46,840
Speaker 2: didn't know what in theory meant, so I was like,

1069
00:51:46,840 --> 00:51:47,799
Speaker 2: what does in theory mean?

1070
00:51:48,360 --> 00:51:50,160
Speaker 3: That means you didn't deserve to win a mirror, but

1071
00:51:50,200 --> 00:51:52,600
Speaker 3: you're technically the winner. Yah ah man.

1072
00:51:52,880 --> 00:51:55,440
Speaker 4: And I was like, that's some shit. Can I ask

1073
00:51:55,480 --> 00:51:57,479
Speaker 4: a question about that song? Because because we were talking

1074
00:51:57,480 --> 00:51:59,760
Speaker 4: before about hooks and pop music and things.

1075
00:51:59,600 --> 00:52:01,680
Speaker 3: Like that, which one you got you got?

1076
00:52:01,920 --> 00:52:03,880
Speaker 4: Is there something to be said that The Roots is

1077
00:52:03,920 --> 00:52:07,799
Speaker 4: biggest pop success. Is one of the only songs you

1078
00:52:07,840 --> 00:52:09,759
Speaker 4: have that has like melody and stuff in it that

1079
00:52:09,760 --> 00:52:11,600
Speaker 4: that that has the hook of hooks?

1080
00:52:11,680 --> 00:52:15,240
Speaker 3: I mean, I think we got lucky.

1081
00:52:15,320 --> 00:52:17,880
Speaker 1: I mean, plus, you can't discount Scott Stewart.

1082
00:52:18,880 --> 00:52:21,440
Speaker 2: Like of all the keyboard players that have been in

1083
00:52:21,480 --> 00:52:28,279
Speaker 2: the Roots, Scott's right hand is automatically programmed to think

1084
00:52:28,360 --> 00:52:31,680
Speaker 2: of what the melody is. I mean, at the time,

1085
00:52:32,200 --> 00:52:36,120
Speaker 2: what was the number one communication device two way pages?

1086
00:52:35,800 --> 00:52:37,880
Speaker 5: Yeah, that was kind of a Yeah, that was.

1087
00:52:37,960 --> 00:52:41,799
Speaker 2: Scott's whole theory was it's not a hit if you

1088
00:52:41,800 --> 00:52:44,200
Speaker 2: can't put it in a two way page. And I

1089
00:52:44,239 --> 00:52:46,920
Speaker 2: was like, I never thought of that. But then, I mean,

1090
00:52:47,120 --> 00:52:50,279
Speaker 2: in the in the light of Neptune's beats with you know,

1091
00:52:50,400 --> 00:52:54,080
Speaker 2: just simple one New Chords, it felt at the time

1092
00:52:54,120 --> 00:52:56,640
Speaker 2: it felt like, oh, that's just lazy songwriting whatever. But

1093
00:52:56,680 --> 00:53:00,240
Speaker 2: now I get and understand what melody is. But yeah,

1094
00:53:00,239 --> 00:53:03,440
Speaker 2: it baffles me every day that we've never had a

1095
00:53:04,080 --> 00:53:07,160
Speaker 2: dance jam or a dance hit or you know.

1096
00:53:07,640 --> 00:53:10,080
Speaker 5: Now I will say this, I was always questioned, I

1097
00:53:10,120 --> 00:53:12,799
Speaker 5: want to ask you this. I was always wondered, you know,

1098
00:53:12,920 --> 00:53:14,880
Speaker 5: like Bill was saying, what you got me? Being the

1099
00:53:14,920 --> 00:53:17,520
Speaker 5: one that I had Melody, one of my favorites, still

1100
00:53:17,520 --> 00:53:19,680
Speaker 5: one of my favorite melodies by y'all to this day,

1101
00:53:20,280 --> 00:53:24,240
Speaker 5: is complexity with jill Off phrenology.

1102
00:53:23,880 --> 00:53:27,759
Speaker 3: Right, why why you got me? And not that one?

1103
00:53:27,840 --> 00:53:30,920
Speaker 5: I mean, aside from one getting a push or you

1104
00:53:30,960 --> 00:53:33,080
Speaker 5: know whatever, or one being pushed as a single, because

1105
00:53:33,080 --> 00:53:35,359
Speaker 5: complexitly wasn't a single, It wasn't a.

1106
00:53:35,320 --> 00:53:36,719
Speaker 3: Singing something that was hard to sing.

1107
00:53:36,920 --> 00:53:40,319
Speaker 2: In my in my heart I felt and in my

1108
00:53:40,440 --> 00:53:45,320
Speaker 2: heart I knew. I think I wanted to make cool filler.

1109
00:53:46,280 --> 00:53:49,840
Speaker 2: I think I made great filler, and even the artist

1110
00:53:49,920 --> 00:53:54,080
Speaker 2: that I like, Stevie Wonder printing the Beatles, and like

1111
00:53:55,080 --> 00:53:57,480
Speaker 2: you can judge a really good artist based on the filler,

1112
00:53:57,600 --> 00:53:59,719
Speaker 2: Like I like their filler more than I like the

1113
00:53:59,760 --> 00:54:01,560
Speaker 2: sing Gotcha Bill?

1114
00:54:01,600 --> 00:54:03,680
Speaker 5: Do you spend a lot of time working on lyrics?

1115
00:54:03,719 --> 00:54:06,839
Speaker 5: Like is that something that you like? What comes first

1116
00:54:06,880 --> 00:54:08,319
Speaker 5: to you? Is it music first? Lyrics first?

1117
00:54:08,360 --> 00:54:09,839
Speaker 3: Like justing now right?

1118
00:54:10,600 --> 00:54:12,120
Speaker 4: Yeah, I mean I always get sent a page of

1119
00:54:12,239 --> 00:54:13,840
Speaker 4: lyrics for the most part when I'm working on like

1120
00:54:14,040 --> 00:54:16,520
Speaker 4: TV shows and things like that. But then when I'm not,

1121
00:54:17,239 --> 00:54:19,919
Speaker 4: I'm not I hire lyricist. I'm not a lyricist per se.

1122
00:54:20,000 --> 00:54:22,920
Speaker 4: I think for me, the music always comes first, or

1123
00:54:22,920 --> 00:54:25,839
Speaker 4: the or the or the the hook, Like I'll write

1124
00:54:25,840 --> 00:54:27,560
Speaker 4: hooks first and then go back first.

1125
00:54:27,719 --> 00:54:29,279
Speaker 5: That's the same way I am too. For me, it's

1126
00:54:29,360 --> 00:54:32,000
Speaker 5: like I was an English major in college. So for me,

1127
00:54:32,640 --> 00:54:35,160
Speaker 5: writing a song like the hook is like your thesis statement,

1128
00:54:35,520 --> 00:54:39,760
Speaker 5: and then your verses are like the paragraphs to support

1129
00:54:39,880 --> 00:54:42,600
Speaker 5: the thesis statement. So it was it was very much

1130
00:54:43,200 --> 00:54:44,239
Speaker 5: My process is the same way.

1131
00:54:44,239 --> 00:54:47,160
Speaker 2: See I'm asked backwards verses verse.

1132
00:54:47,440 --> 00:54:49,680
Speaker 3: I'll even go deeper than that beat first.

1133
00:54:50,400 --> 00:54:54,399
Speaker 2: First of all, I'm so non singles thinking I think

1134
00:54:54,400 --> 00:54:57,480
Speaker 2: of the album, and when I'm thinking of the album,

1135
00:54:57,719 --> 00:55:00,920
Speaker 2: the first thing I work on are the interludes. Okay

1136
00:55:01,040 --> 00:55:04,520
Speaker 2: to me, I don't know you remember that feeling of

1137
00:55:04,800 --> 00:55:07,040
Speaker 2: getting Pete Rock's records thelues.

1138
00:55:07,120 --> 00:55:10,120
Speaker 5: Look, man, I remember buying. I didn't break the law

1139
00:55:10,160 --> 00:55:10,920
Speaker 5: for main ingredient.

1140
00:55:10,960 --> 00:55:15,120
Speaker 3: I didn't. That was like break This is a fun

1141
00:55:15,640 --> 00:55:18,160
Speaker 3: breaks breaks the law episode.

1142
00:55:18,320 --> 00:55:20,959
Speaker 5: Okay, the last that was last one, I can last record.

1143
00:55:20,960 --> 00:55:22,000
Speaker 5: I remember breaking the law for it.

1144
00:55:22,160 --> 00:55:23,120
Speaker 3: I broke the law for.

1145
00:55:24,760 --> 00:55:27,120
Speaker 5: I had a home it that worked at a record store,

1146
00:55:27,920 --> 00:55:30,440
Speaker 5: and I broke the law. Now it wasn't best By.

1147
00:55:30,600 --> 00:55:33,400
Speaker 5: It wasn't best By. It was another record store. I'm

1148
00:55:33,400 --> 00:55:35,200
Speaker 5: not gonna name because I don't know if the statuteation

1149
00:55:35,280 --> 00:55:35,879
Speaker 5: is up on this ship.

1150
00:55:36,560 --> 00:55:38,000
Speaker 3: So, but it was a record store.

1151
00:55:38,960 --> 00:55:41,279
Speaker 5: So he would just let me came in and I

1152
00:55:41,280 --> 00:55:42,880
Speaker 5: gave him like five dollars and he would just let

1153
00:55:42,960 --> 00:55:44,040
Speaker 5: me like grab whatever funk.

1154
00:55:44,080 --> 00:55:45,560
Speaker 3: I wanted one of those.

1155
00:55:45,360 --> 00:55:50,319
Speaker 5: Records, mans records, right, let's talk about it. One of

1156
00:55:50,320 --> 00:55:52,920
Speaker 5: those records was Okay Computer and that was my first

1157
00:55:53,040 --> 00:55:56,239
Speaker 5: introduction radio hit and ever since then I was I

1158
00:55:56,280 --> 00:55:59,560
Speaker 5: was converted. But but now I remember main Ingredient. I

1159
00:55:59,560 --> 00:56:02,640
Speaker 5: bought main Ingredient, and honestly, main Agreed was a record

1160
00:56:02,680 --> 00:56:05,600
Speaker 5: for me. I didn't like I Gotta Love. Like I

1161
00:56:05,640 --> 00:56:08,160
Speaker 5: heard the singer. I was just like Kanye said, that's

1162
00:56:08,160 --> 00:56:08,879
Speaker 5: his favorite song.

1163
00:56:09,000 --> 00:56:12,440
Speaker 3: No, that's no. Yeah, I'm like, bro, that is Everyone's.

1164
00:56:12,000 --> 00:56:16,040
Speaker 2: Frowning in this room even though people had never heard.

1165
00:56:18,080 --> 00:56:21,720
Speaker 5: Everyone's like, yeah, I hate it, I gotta love. But

1166
00:56:21,719 --> 00:56:23,080
Speaker 5: but I still bought the record. I was like, let

1167
00:56:23,120 --> 00:56:26,120
Speaker 5: me see and oh my god, but yeah, the interludes,

1168
00:56:26,120 --> 00:56:27,799
Speaker 5: You're right, the interludes for that record.

1169
00:56:27,520 --> 00:56:31,600
Speaker 3: Were better than a lot of the same thing.

1170
00:56:31,960 --> 00:56:34,879
Speaker 1: Yeah, And to me, like, I feel like I work

1171
00:56:35,000 --> 00:56:35,840
Speaker 1: ass backwards.

1172
00:56:36,000 --> 00:56:41,560
Speaker 2: I figured that interludes first, and then I match the

1173
00:56:41,560 --> 00:56:46,840
Speaker 2: song to that interlude, and then you work on the groove,

1174
00:56:46,880 --> 00:56:48,919
Speaker 2: and then you add the verses, and then the hook

1175
00:56:49,040 --> 00:56:54,520
Speaker 2: is the afterthought. Like I work completely backwards from you know,

1176
00:56:54,640 --> 00:56:56,680
Speaker 2: from how the average That's how I used to do.

1177
00:56:57,080 --> 00:57:00,680
Speaker 2: Now I'm thinking of what's your hook, what's the thing

1178
00:57:00,719 --> 00:57:03,920
Speaker 2: that's going to stick? Which I almost feel like like

1179
00:57:03,960 --> 00:57:06,040
Speaker 2: a dirty businessman for doing that.

1180
00:57:06,080 --> 00:57:09,759
Speaker 3: Like, hey, you gotta make a living, brother. I mean,

1181
00:57:10,239 --> 00:57:11,480
Speaker 3: but I think I think too.

1182
00:57:11,520 --> 00:57:13,120
Speaker 5: I mean, what you're doing to DJ, I imagine it

1183
00:57:13,120 --> 00:57:16,880
Speaker 5: would be kind of hard to not be informed by that,

1184
00:57:17,160 --> 00:57:18,600
Speaker 5: you know what, I because I remember one time I

1185
00:57:18,640 --> 00:57:20,520
Speaker 5: went to one of your I think we did the

1186
00:57:20,600 --> 00:57:21,800
Speaker 5: thing over it.

1187
00:57:21,800 --> 00:57:23,480
Speaker 3: It was at the do Over in London.

1188
00:57:23,520 --> 00:57:25,800
Speaker 5: We were in London for the Olympics, right, and some

1189
00:57:25,840 --> 00:57:28,960
Speaker 5: of the stuff you played with records that I would

1190
00:57:29,000 --> 00:57:31,520
Speaker 5: not listen to, like you in my car or in

1191
00:57:31,560 --> 00:57:34,680
Speaker 5: my life, but they totally killed the party. And I

1192
00:57:34,680 --> 00:57:37,360
Speaker 5: mean they were good records, but you know they worked

1193
00:57:37,360 --> 00:57:37,960
Speaker 5: in that setting.

1194
00:57:38,000 --> 00:57:41,919
Speaker 2: What I spend and what I listened to are just night,

1195
00:57:42,120 --> 00:57:46,720
Speaker 2: night and day. What do you well, you don't DJ D?

1196
00:57:47,320 --> 00:57:47,480
Speaker 3: No?

1197
00:57:47,920 --> 00:57:51,440
Speaker 2: Okay, Like what is your go to? I have to

1198
00:57:51,480 --> 00:57:53,880
Speaker 2: listen to to get me through the day.

1199
00:57:54,120 --> 00:57:56,160
Speaker 4: I know people ask me, I don't listen to a

1200
00:57:56,160 --> 00:57:58,400
Speaker 4: lot of music. I'm the opposite of you don't.

1201
00:57:58,360 --> 00:57:59,840
Speaker 1: So you're too immersed in music.

1202
00:58:00,120 --> 00:58:02,760
Speaker 4: I feel like I go downstairs to my office at

1203
00:58:02,800 --> 00:58:04,560
Speaker 4: nine am and I come out at six am. My

1204
00:58:04,600 --> 00:58:06,440
Speaker 4: ears are just shot, and I just when I'm in

1205
00:58:06,480 --> 00:58:08,919
Speaker 4: the car listen to like the news or comedy most

1206
00:58:09,320 --> 00:58:12,600
Speaker 4: or Top forty because I feel like so often that

1207
00:58:12,680 --> 00:58:14,600
Speaker 4: not when people are asking me to write something. They're like, oh,

1208
00:58:14,600 --> 00:58:16,800
Speaker 4: it sounds like the new but tune, so I have

1209
00:58:16,840 --> 00:58:18,760
Speaker 4: to know what that reference is and I gotcha. And

1210
00:58:18,800 --> 00:58:21,040
Speaker 4: to my kids because they know them and I should.

1211
00:58:21,120 --> 00:58:23,360
Speaker 3: So are you listen because I do the same things.

1212
00:58:23,360 --> 00:58:25,800
Speaker 5: I will listen to like talk radio or NPR or

1213
00:58:25,840 --> 00:58:28,560
Speaker 5: something like just to kind of cleanse or just kind

1214
00:58:28,560 --> 00:58:30,040
Speaker 5: of decompress, you know what I mean.

1215
00:58:30,680 --> 00:58:31,200
Speaker 3: You say you go.

1216
00:58:31,240 --> 00:58:33,280
Speaker 5: Downstairs in your office. Do you work from home? Is

1217
00:58:33,320 --> 00:58:34,280
Speaker 5: that kind of your home base?

1218
00:58:34,400 --> 00:58:34,560
Speaker 3: Yeah?

1219
00:58:34,600 --> 00:58:35,800
Speaker 4: I kind of move around. It depends on what the

1220
00:58:35,840 --> 00:58:39,560
Speaker 4: day it is. Like it's either Sesame Street in Queens

1221
00:58:39,760 --> 00:58:42,160
Speaker 4: or our studios on Fifth Street or record music or

1222
00:58:42,200 --> 00:58:43,600
Speaker 4: I'm at in my basement.

1223
00:58:43,800 --> 00:58:45,760
Speaker 5: So do you have like a home studio just set

1224
00:58:45,800 --> 00:58:47,560
Speaker 5: up just kind of do anything up?

1225
00:58:48,400 --> 00:58:53,440
Speaker 4: It's easy.

1226
00:58:53,560 --> 00:58:56,920
Speaker 5: How do you find your balance as a dad? And

1227
00:58:57,280 --> 00:58:59,000
Speaker 5: or is there even a balance?

1228
00:58:59,160 --> 00:58:59,560
Speaker 3: I don't know.

1229
00:59:00,640 --> 00:59:02,720
Speaker 1: I mean, do your daughters control the radio yet?

1230
00:59:03,120 --> 00:59:03,560
Speaker 3: Oh? Yeah?

1231
00:59:03,680 --> 00:59:06,640
Speaker 4: They They will pick certain songs and ask to stay

1232
00:59:06,640 --> 00:59:09,080
Speaker 4: on certain channels. And my one daughter will move the

1233
00:59:09,120 --> 00:59:10,000
Speaker 4: dial and stuff like that.

1234
00:59:10,040 --> 00:59:11,840
Speaker 3: She knows what she's So who controls the music in

1235
00:59:11,880 --> 00:59:14,040
Speaker 3: the household? My kids?

1236
00:59:14,520 --> 00:59:16,439
Speaker 4: They it's it's pop radio. All the time in my house.

1237
00:59:16,440 --> 00:59:21,240
Speaker 2: What's the most adult intellectual thing they listen to on

1238
00:59:21,320 --> 00:59:21,960
Speaker 2: pop radio?

1239
00:59:22,480 --> 00:59:26,200
Speaker 3: No? Just I mean, yeah, you ain't gonna find much yet.

1240
00:59:26,240 --> 00:59:26,920
Speaker 3: I was listening to.

1241
00:59:26,880 --> 00:59:30,040
Speaker 2: Beatles at five, so yeah, my kids so. But it's

1242
00:59:30,080 --> 00:59:32,800
Speaker 2: also the parents responsibility, I agree with. Do you let

1243
00:59:32,800 --> 00:59:34,840
Speaker 2: them choose what they want to listen to?

1244
00:59:34,960 --> 00:59:38,160
Speaker 4: Yeah, I don't put it on them. I haven't yet.

1245
00:59:37,520 --> 00:59:41,000
Speaker 4: But it's interesting because I did not have parents, but

1246
00:59:41,120 --> 00:59:43,040
Speaker 4: both my parents are doctors, so clearly we have a

1247
00:59:43,040 --> 00:59:43,600
Speaker 4: lot in common.

1248
00:59:43,880 --> 00:59:45,000
Speaker 3: And uh uh.

1249
00:59:45,440 --> 00:59:47,600
Speaker 4: My parents listened to like smooth My dad listened to

1250
00:59:47,600 --> 00:59:50,120
Speaker 4: like Dave Sanborne, like smooth jazz all day long, wow,

1251
00:59:50,200 --> 00:59:53,000
Speaker 4: and like like for real and uh and I was

1252
00:59:53,000 --> 00:59:57,480
Speaker 4: a saxophone player and I was like no, and uh

1253
00:59:57,600 --> 01:00:01,680
Speaker 4: uh yeah, like super smoothy. But they they didn't know music.

1254
01:00:01,680 --> 01:00:03,280
Speaker 4: They still don't know me. They have no idea. So

1255
01:00:03,320 --> 01:00:05,320
Speaker 4: like when I was a kid, all the cool kids

1256
01:00:05,320 --> 01:00:07,840
Speaker 4: listened to like the Beatles and led Zeppelin and Pink

1257
01:00:07,880 --> 01:00:09,840
Speaker 4: Floyd and like that was the thing in the very

1258
01:00:09,840 --> 01:00:12,240
Speaker 4: white suburban neighborhood. I grew up on Long Island. Calm

1259
01:00:12,320 --> 01:00:14,840
Speaker 4: down a fucking second before you judge me, And so

1260
01:00:15,000 --> 01:00:21,520
Speaker 4: then it did not until later. You're shaking your head

1261
01:00:21,520 --> 01:00:23,440
Speaker 4: because you feel for me. Okay, okay, my bad, so

1262
01:00:23,600 --> 01:00:24,439
Speaker 4: and so now.

1263
01:00:24,320 --> 01:00:25,560
Speaker 1: I'll tell you why I was shaking my head, but

1264
01:00:25,560 --> 01:00:25,920
Speaker 1: go ahead.

1265
01:00:25,960 --> 01:00:29,680
Speaker 4: So not until later, was was right right at high

1266
01:00:29,680 --> 01:00:31,400
Speaker 4: schools ending in college was starting where it was like,

1267
01:00:31,920 --> 01:00:33,880
Speaker 4: this is what you have to open up your head

1268
01:00:33,880 --> 01:00:36,200
Speaker 4: a little bit. It's not just about these particular things.

1269
01:00:36,240 --> 01:00:38,400
Speaker 4: And so then it became more of a like a

1270
01:00:38,480 --> 01:00:41,760
Speaker 4: quest as as as opposed to as opposed to like

1271
01:00:41,760 --> 01:00:43,200
Speaker 4: something being given to you, you know you have to

1272
01:00:43,200 --> 01:00:44,600
Speaker 4: go and get it. And I thought that that part

1273
01:00:44,640 --> 01:00:46,360
Speaker 4: of it was cool because it became a thing of discovery.

1274
01:00:46,360 --> 01:00:48,680
Speaker 4: Like I didn't get into the Beatles until way after

1275
01:00:48,720 --> 01:00:51,200
Speaker 4: I should have, and so when I finally did, I

1276
01:00:51,240 --> 01:00:53,200
Speaker 4: was at a different place musically that it meant more

1277
01:00:53,200 --> 01:00:55,560
Speaker 4: to me, and I was interested in very different things.

1278
01:00:55,720 --> 01:00:57,680
Speaker 3: I think you do have to kind of brainwash the key.

1279
01:00:57,760 --> 01:00:58,600
Speaker 3: I mean, at least I do.

1280
01:00:58,760 --> 01:01:01,320
Speaker 5: I mean you got a brainwashing, because I mean they

1281
01:01:01,400 --> 01:01:04,280
Speaker 5: gonna get brainwashed from other people. So at least, like

1282
01:01:04,320 --> 01:01:08,320
Speaker 5: when my music, I was not punished, the only time

1283
01:01:08,360 --> 01:01:13,760
Speaker 5: I can remember being even like something like kind of

1284
01:01:13,800 --> 01:01:17,600
Speaker 5: getting getting words at me my granddad. I had Bigger

1285
01:01:17,600 --> 01:01:20,440
Speaker 5: and Death for LL the second album. I had Bigger

1286
01:01:20,520 --> 01:01:24,280
Speaker 5: Deafer and I'm Bad comes on and I had it

1287
01:01:24,360 --> 01:01:28,760
Speaker 5: playing and he was in the room and oh my,

1288
01:01:29,200 --> 01:01:30,919
Speaker 5: I ain't met a motherfucker who could do that yet

1289
01:01:30,960 --> 01:01:33,880
Speaker 5: that one l Lyric I had the same experience. Oh

1290
01:01:33,960 --> 01:01:36,480
Speaker 5: my god, it was just the same thing. Yeah, that

1291
01:01:36,600 --> 01:01:38,680
Speaker 5: one that you let it play. I let it play,

1292
01:01:38,680 --> 01:01:40,360
Speaker 5: but it was it was too late, like I cut you.

1293
01:01:41,360 --> 01:01:43,240
Speaker 5: I was on the other side of the earth and

1294
01:01:43,280 --> 01:01:45,320
Speaker 5: I ran faster.

1295
01:01:48,480 --> 01:01:54,600
Speaker 2: And Carl Lewis and I ran yeah.

1296
01:01:53,520 --> 01:01:54,000
Speaker 3: Yeah, yeah.

1297
01:01:54,040 --> 01:01:56,520
Speaker 5: It was man and my grandad from neighborhood where what

1298
01:01:56,600 --> 01:01:59,440
Speaker 5: was that tape at you listen to talking about motherfuckers

1299
01:02:00,080 --> 01:02:03,360
Speaker 5: and my grand yo And I'm thinking about this now,

1300
01:02:03,880 --> 01:02:06,480
Speaker 5: my granddad, because I know there's a link here. My

1301
01:02:06,560 --> 01:02:09,960
Speaker 5: grandfather was a huge fan of that King Cole. That's

1302
01:02:09,960 --> 01:02:11,440
Speaker 5: really all he listened to.

1303
01:02:11,640 --> 01:02:15,040
Speaker 3: So if it wasn't that King Cole, he wasn't trying

1304
01:02:15,040 --> 01:02:15,919
Speaker 3: to fuck with none of that ship.

1305
01:02:16,360 --> 01:02:21,040
Speaker 5: Were any rappers, any black men you're objected to listening

1306
01:02:21,080 --> 01:02:21,400
Speaker 5: to it?

1307
01:02:21,640 --> 01:02:24,200
Speaker 3: I was. He would my granddad every Christmas.

1308
01:02:24,200 --> 01:02:27,480
Speaker 5: He would bring out the Christmas album and he would

1309
01:02:27,480 --> 01:02:29,680
Speaker 5: just sit us in the den and you just had

1310
01:02:29,720 --> 01:02:31,640
Speaker 5: to listen to that and that was it.

1311
01:02:31,640 --> 01:02:34,040
Speaker 3: It wasn't no talking. This is not up for discussion.

1312
01:02:34,080 --> 01:02:34,800
Speaker 3: It's not debate.

1313
01:02:35,280 --> 01:02:41,320
Speaker 5: Utfo no nah, none of that no utfo. Oh my god, no.

1314
01:02:42,120 --> 01:02:43,600
Speaker 3: None of that, none of that joint, none of the

1315
01:02:43,680 --> 01:02:46,000
Speaker 3: Christmas records. It was all. It was all that, King cole.

1316
01:02:46,600 --> 01:02:51,000
Speaker 2: My jazz education was kind of also asked backwards because

1317
01:02:51,880 --> 01:02:55,920
Speaker 2: jazz was punishment in my household. Oh wow, like you

1318
01:02:55,920 --> 01:02:59,760
Speaker 2: you were punished, Yeah, Like I feel like my parents

1319
01:02:59,760 --> 01:03:04,680
Speaker 2: felt as though jazz music was a way to exercise

1320
01:03:05,400 --> 01:03:11,200
Speaker 2: the prince demons out of me. So whenever, I mean,

1321
01:03:11,600 --> 01:03:15,680
Speaker 2: my public telling of the amount of times I've gotten

1322
01:03:15,720 --> 01:03:22,200
Speaker 2: punished for owning nineteen ninety nine is super legendary. But

1323
01:03:22,560 --> 01:03:24,960
Speaker 2: they would break the record and then you know, it

1324
01:03:24,960 --> 01:03:28,040
Speaker 2: would be like no stereo for two to three weeks,

1325
01:03:28,080 --> 01:03:31,160
Speaker 2: which is like a lifetime to me. And the only

1326
01:03:31,200 --> 01:03:33,360
Speaker 2: thing I was allowed to listen to was Christian radio

1327
01:03:33,880 --> 01:03:34,880
Speaker 2: and jazz music.

1328
01:03:35,840 --> 01:03:38,760
Speaker 3: And so usually it's like each your vegetables kind of thing.

1329
01:03:39,360 --> 01:03:44,240
Speaker 2: Yeah, So all my knowledge and my associations of all

1330
01:03:44,280 --> 01:03:48,560
Speaker 2: those culturing songs Alabama and Love Supreme and the entire

1331
01:03:48,600 --> 01:03:51,600
Speaker 2: Coltrane plays the blues record is based on just the

1332
01:03:51,640 --> 01:03:55,360
Speaker 2: fact that this is world music, not that Prince, you know.

1333
01:03:55,440 --> 01:03:57,560
Speaker 3: I mean dad just thought like Prince was a dude

1334
01:03:57,600 --> 01:04:00,960
Speaker 3: that wore a diaper. Oh wow.

1335
01:04:01,040 --> 01:04:05,840
Speaker 2: I mean he saw the Yeah No Midnight Special when

1336
01:04:05,840 --> 01:04:09,480
Speaker 2: he's doing I Want to Be Alone. You know, boy,

1337
01:04:09,640 --> 01:04:11,440
Speaker 2: don't you ever wear no diaper?

1338
01:04:11,920 --> 01:04:15,520
Speaker 5: Like and you know what, man, anything you say that

1339
01:04:15,640 --> 01:04:17,200
Speaker 5: is like, I guess that's kind of where I'm at

1340
01:04:17,200 --> 01:04:20,800
Speaker 5: now with my kids because my oldest son, he is

1341
01:04:20,840 --> 01:04:21,440
Speaker 5: in the music.

1342
01:04:21,720 --> 01:04:23,280
Speaker 3: But the thing I will say about him is that

1343
01:04:23,400 --> 01:04:26,400
Speaker 3: he listens to everything. He listens to. He'll listen to

1344
01:04:26,520 --> 01:04:30,840
Speaker 3: like Young Thug and Little Yachty.

1345
01:04:30,600 --> 01:04:34,760
Speaker 5: Like all the all the XXL cover dudes, but then

1346
01:04:35,800 --> 01:04:38,440
Speaker 5: the Freshman covered dudes, he'll listen to them. But then

1347
01:04:38,760 --> 01:04:43,200
Speaker 5: he'll listen to the Beatles, like he'll listen to And

1348
01:04:43,240 --> 01:04:45,080
Speaker 5: that was the thing, Like when we were talking earlier,

1349
01:04:45,080 --> 01:04:48,080
Speaker 5: you said the kids are more sophisticated, because I think

1350
01:04:48,080 --> 01:04:50,320
Speaker 5: what it is now, like kids now they ain't got

1351
01:04:50,360 --> 01:04:52,880
Speaker 5: a paper ship, so they can listen to everything.

1352
01:04:52,920 --> 01:04:55,240
Speaker 3: Like I remember buying music or stilling music back.

1353
01:04:55,080 --> 01:04:58,440
Speaker 5: In my day, Like you had to make a choice,

1354
01:04:58,440 --> 01:04:59,840
Speaker 5: you know, what I'm saying, even a choice of what

1355
01:04:59,880 --> 01:05:00,320
Speaker 5: the steal.

1356
01:05:00,360 --> 01:05:01,560
Speaker 3: You couldn't fit all the ship in the bag.

1357
01:05:01,600 --> 01:05:02,920
Speaker 5: It's like I got to make a choice of them

1358
01:05:03,000 --> 01:05:09,160
Speaker 5: steal today but back then. But now, like kids, wait,

1359
01:05:09,320 --> 01:05:12,160
Speaker 5: let's have another front race long moment, tell us another

1360
01:05:12,200 --> 01:05:12,800
Speaker 5: story front.

1361
01:05:12,840 --> 01:05:15,760
Speaker 3: Well, no, I mean you couldn't get caught stealing the ship? Nah,

1362
01:05:15,760 --> 01:05:16,920
Speaker 3: I never did. I never did.

1363
01:05:17,120 --> 01:05:19,560
Speaker 5: But it was because because they switched it up. They

1364
01:05:19,600 --> 01:05:22,440
Speaker 5: switched you got called ste Island. Bill has the story.

1365
01:05:23,320 --> 01:05:25,440
Speaker 3: I got caught stealing when I was fourteen from Target.

1366
01:05:25,480 --> 01:05:26,920
Speaker 3: I had Target.

1367
01:05:28,320 --> 01:05:32,960
Speaker 8: Target just came out like last year, right, I'm thirty six,

1368
01:05:33,520 --> 01:05:35,360
Speaker 8: All right, this was this was ninety four.

1369
01:05:36,080 --> 01:05:37,320
Speaker 3: I used to every Friday.

1370
01:05:37,320 --> 01:05:39,400
Speaker 8: I would go to the mall and I had like

1371
01:05:39,400 --> 01:05:41,760
Speaker 8: this big Charlotte hornet starter jacket with the pocket in

1372
01:05:41,800 --> 01:05:42,840
Speaker 8: the front flap.

1373
01:05:42,880 --> 01:05:44,720
Speaker 3: You was mental or bad.

1374
01:05:45,240 --> 01:05:47,040
Speaker 8: I had this small pa because you know, you know

1375
01:05:47,080 --> 01:05:49,400
Speaker 8: how they had the little plastic thing passic around the

1376
01:05:49,440 --> 01:05:51,360
Speaker 8: plastic around it. So I would take them to take

1377
01:05:51,400 --> 01:05:54,280
Speaker 8: the CD to the handicap bathroom, cut the plastic thing

1378
01:05:54,320 --> 01:05:56,240
Speaker 8: off of it, open the CDs, tossed everything in the

1379
01:05:56,240 --> 01:05:57,040
Speaker 8: trash and just walking.

1380
01:05:57,080 --> 01:06:00,680
Speaker 3: It was like a real thief. Yeah, handicap. You took

1381
01:06:00,720 --> 01:06:03,720
Speaker 3: it too far. That should lasted for a good year.

1382
01:06:04,040 --> 01:06:05,400
Speaker 3: Oh man, I didn't even do all that.

1383
01:06:05,520 --> 01:06:07,919
Speaker 5: See, all I did was like I just I didn't

1384
01:06:07,920 --> 01:06:10,000
Speaker 5: even have like I had like a little key, like

1385
01:06:10,080 --> 01:06:13,760
Speaker 5: my key, my mailbox key in my that went to

1386
01:06:13,800 --> 01:06:16,800
Speaker 5: my in college, like you get your mailboxy. My mailbox

1387
01:06:16,840 --> 01:06:19,640
Speaker 5: key was mad sharp. So all I would do is

1388
01:06:19,760 --> 01:06:22,320
Speaker 5: just you know, beforehand, we would just like take them

1389
01:06:22,320 --> 01:06:24,960
Speaker 5: and you just go to college. Yeah, this was like

1390
01:06:25,000 --> 01:06:29,200
Speaker 5: I think it, but it was I didn't have I

1391
01:06:29,200 --> 01:06:33,400
Speaker 5: didn't get my first computer until two thousand and three four.

1392
01:06:33,560 --> 01:06:37,200
Speaker 3: So like that was when I got the computer. Man, I.

1393
01:06:39,520 --> 01:06:42,800
Speaker 5: I would have got one, but by last one, I remember,

1394
01:06:42,960 --> 01:06:44,760
Speaker 5: like you just opened a little joint because then they

1395
01:06:44,760 --> 01:06:47,560
Speaker 5: started changing it and they would put the sensors inside

1396
01:06:47,640 --> 01:06:49,680
Speaker 5: the CD coup So then what you do, that's when

1397
01:06:49,680 --> 01:06:52,000
Speaker 5: I had the key. You just take the key and

1398
01:06:52,040 --> 01:06:54,640
Speaker 5: then you just get the CD out and then you

1399
01:06:54,760 --> 01:06:56,680
Speaker 5: just leave the case and put the case back up

1400
01:06:56,720 --> 01:06:58,720
Speaker 5: in So like if I was still in a stero,

1401
01:06:58,840 --> 01:07:02,640
Speaker 5: it's like ever here fucking you know everything. But the

1402
01:07:02,680 --> 01:07:08,800
Speaker 5: girl clear, no, no, no, I'm just saying that I'm

1403
01:07:08,800 --> 01:07:09,919
Speaker 5: not getting rested with clear.

1404
01:07:10,320 --> 01:07:12,640
Speaker 3: But it was like the E section. I mean, who

1405
01:07:12,760 --> 01:07:18,400
Speaker 3: was who was popping at that time? Right? It was

1406
01:07:18,440 --> 01:07:20,920
Speaker 3: all at see. Okay, so what did you get caught stealing? Well?

1407
01:07:20,920 --> 01:07:21,720
Speaker 3: How did you get caught?

1408
01:07:21,720 --> 01:07:24,320
Speaker 8: First off, Okay, I got caught because somebody came into

1409
01:07:24,360 --> 01:07:26,480
Speaker 8: the bathroom like right after I did and saw all

1410
01:07:26,520 --> 01:07:29,480
Speaker 8: the ship that I had thrown away in and they snitched.

1411
01:07:29,680 --> 01:07:32,160
Speaker 1: Yeah, they snitched. So it was a Storm employee.

1412
01:07:32,200 --> 01:07:33,640
Speaker 3: It was I don't think it was a stor employe.

1413
01:07:33,680 --> 01:07:35,280
Speaker 8: It was probably like some woman and her child or

1414
01:07:35,320 --> 01:07:38,640
Speaker 8: whatever walked in the titles and CDs. I stole LLL scratched

1415
01:07:38,640 --> 01:07:40,160
Speaker 8: his first album.

1416
01:07:39,840 --> 01:07:42,640
Speaker 5: Wow, which was an EP. It was like where my Homies?

1417
01:07:42,680 --> 01:07:45,440
Speaker 5: Like eight times it was like, where are my homies?

1418
01:07:46,840 --> 01:07:49,760
Speaker 3: Homies? Where my homies?

1419
01:07:49,760 --> 01:07:54,760
Speaker 8: At L scratched Keith Murray's Most Beautifulest Thing in the World.

1420
01:07:55,040 --> 01:07:58,320
Speaker 3: Okay, TLC is crazy, sexy, cool, all right? And the

1421
01:07:58,320 --> 01:08:01,960
Speaker 3: one that is clown worthy Ray Carri's Christmas out.

1422
01:08:02,000 --> 01:08:06,840
Speaker 2: Oh right after that kid Cold Right now?

1423
01:08:06,920 --> 01:08:14,520
Speaker 6: The cover though of that.

1424
01:08:14,040 --> 01:08:18,559
Speaker 2: You're in the VHS section, Steve, you know what, Actually,

1425
01:08:18,920 --> 01:08:23,280
Speaker 2: I stole a steep. I stole I forgot. I used

1426
01:08:23,320 --> 01:08:25,400
Speaker 2: to work One of my biggest shames in life was

1427
01:08:25,400 --> 01:08:28,400
Speaker 2: that I got fired from Sam Goodies.

1428
01:08:30,400 --> 01:08:32,880
Speaker 3: From Sam Goodie, you still, I know, like how what

1429
01:08:33,360 --> 01:08:33,640
Speaker 3: I know?

1430
01:08:33,680 --> 01:08:37,320
Speaker 2: It's like it's such a new brainer, right, I should

1431
01:08:37,439 --> 01:08:46,080
Speaker 2: still be working at Sam Goodie right now. But yeah

1432
01:08:46,240 --> 01:08:51,679
Speaker 2: it was. It was January of eighty nine and three

1433
01:08:51,720 --> 01:08:54,200
Speaker 2: ft high and rising by day. Last Soul just came

1434
01:08:54,240 --> 01:08:59,360
Speaker 2: out and I took the promo concept from the store

1435
01:09:00,640 --> 01:09:01,559
Speaker 2: and I guess.

1436
01:09:01,760 --> 01:09:06,160
Speaker 3: That's not well, it's not only one copy of it.

1437
01:09:06,400 --> 01:09:09,280
Speaker 2: I guess the manager wanted it.

1438
01:09:09,520 --> 01:09:10,559
Speaker 3: They called.

1439
01:09:10,880 --> 01:09:13,160
Speaker 2: They didn't call me out on it, but you know,

1440
01:09:13,200 --> 01:09:15,040
Speaker 2: it's just like, all right, we're letting you go.

1441
01:09:15,000 --> 01:09:20,040
Speaker 3: A mire and I didn't say anything. I just walked away, defeated.

1442
01:09:22,360 --> 01:09:31,320
Speaker 3: Then I started, I would get tier worth getting fired over. Yeah,

1443
01:09:31,479 --> 01:09:33,639
Speaker 3: that's that's if you're gonna get fired. I wasn't better.

1444
01:09:33,720 --> 01:09:36,960
Speaker 2: But when we did have an in store for our

1445
01:09:37,200 --> 01:09:44,480
Speaker 2: second album, do You Want More? Uh, I denied the.

1446
01:09:43,040 --> 01:09:45,880
Speaker 3: The store uh doing an in store there? Instead? I

1447
01:09:45,880 --> 01:09:50,799
Speaker 3: did a Tower Records. That's how Records. That's how bitter

1448
01:09:50,840 --> 01:09:51,280
Speaker 3: I was.

1449
01:09:51,880 --> 01:09:54,160
Speaker 4: Yeah, I just wrote the music for a Tower Records documentary,

1450
01:09:54,240 --> 01:09:57,840
Speaker 4: not just it was a long time ago that.

1451
01:10:00,000 --> 01:10:01,720
Speaker 3: It's the one.

1452
01:10:01,920 --> 01:10:05,240
Speaker 1: Music documentary that you're not in that. I did a

1453
01:10:05,520 --> 01:10:07,920
Speaker 1: five hour interview for Colin Hanks.

1454
01:10:08,040 --> 01:10:09,080
Speaker 3: You're still not in that.

1455
01:10:09,160 --> 01:10:10,920
Speaker 1: I got put on the cutting room floor.

1456
01:10:11,040 --> 01:10:12,600
Speaker 4: But you know that if you go to IMDb or

1457
01:10:12,600 --> 01:10:15,120
Speaker 4: the first face I think that's there, it's the roll

1458
01:10:15,160 --> 01:10:15,599
Speaker 4: and then you.

1459
01:10:15,680 --> 01:10:22,679
Speaker 3: But you're not even in it. You got hanked. I'm

1460
01:10:22,680 --> 01:10:25,840
Speaker 3: not bitter, though, not all. I didn't see the movie.

1461
01:10:25,680 --> 01:10:28,599
Speaker 2: Like, is it that it's only Tower employees that were

1462
01:10:29,479 --> 01:10:30,439
Speaker 2: in it or no?

1463
01:10:30,600 --> 01:10:33,840
Speaker 4: I think I was like, yeah, no, buts in it

1464
01:10:33,920 --> 01:10:38,280
Speaker 4: as well? Right, I think so yeah, yeah, I don't know.

1465
01:10:38,840 --> 01:10:40,320
Speaker 4: He might have gotten other cuttingroom floor too.

1466
01:10:40,680 --> 01:10:42,040
Speaker 3: How is it? Is it good? I haven't seen?

1467
01:10:43,360 --> 01:10:47,759
Speaker 2: I mean, but I spoke for like five hours and

1468
01:10:47,360 --> 01:10:48,840
Speaker 2: and ain't usually.

1469
01:10:48,600 --> 01:10:53,280
Speaker 3: Nothing was usable. Dang, my feelings were hurt. It's okay, Well.

1470
01:10:53,680 --> 01:10:56,160
Speaker 1: We've learned a lot here todayly and gentlemen.

1471
01:10:57,680 --> 01:10:58,920
Speaker 3: This can go on forever.

1472
01:10:59,280 --> 01:11:03,360
Speaker 5: But I got my work cut out for me today.

1473
01:11:03,520 --> 01:11:05,519
Speaker 5: Yeah you good, and you have to give them a

1474
01:11:05,520 --> 01:11:06,200
Speaker 5: cut tomorrow.

1475
01:11:06,760 --> 01:11:07,640
Speaker 3: Oh okay.

1476
01:11:08,720 --> 01:11:12,519
Speaker 2: Bill wants to prepare this years and events. No, Sean

1477
01:11:12,520 --> 01:11:15,519
Speaker 2: wants to prepare everything. Yeah, so I'm cool with right.

1478
01:11:15,640 --> 01:11:19,560
Speaker 2: I know you guys are prepared. See, I keep responsible

1479
01:11:19,600 --> 01:11:22,160
Speaker 2: people in my life because I am a slacker at

1480
01:11:22,200 --> 01:11:22,559
Speaker 2: the heart.

1481
01:11:22,720 --> 01:11:26,960
Speaker 3: I feel you, bro, Yeah all right, well whole responsibility.

1482
01:11:27,120 --> 01:11:29,040
Speaker 5: And you know what, And that's it's very profound that

1483
01:11:29,080 --> 01:11:30,960
Speaker 5: you say that, because I've been trying to explain that

1484
01:11:31,000 --> 01:11:34,360
Speaker 5: people like it's like because they see you working.

1485
01:11:34,160 --> 01:11:35,600
Speaker 3: Hard and they're like, man, you're going to get it.

1486
01:11:35,640 --> 01:11:36,360
Speaker 3: You work really hard.

1487
01:11:36,360 --> 01:11:38,800
Speaker 5: And it's like the reason I'm working hard is because

1488
01:11:38,840 --> 01:11:41,280
Speaker 5: I'm trying to get it. You know, I've officially got

1489
01:11:41,320 --> 01:11:43,600
Speaker 5: it when you motherfuckers never see me again, you.

1490
01:11:43,600 --> 01:11:44,000
Speaker 2: Know what I mean?

1491
01:11:44,160 --> 01:11:47,840
Speaker 3: Like that, Like that's when you know I've made it.

1492
01:11:47,920 --> 01:11:50,040
Speaker 5: Like when when you don't see me tweeting, we don't

1493
01:11:50,040 --> 01:11:52,840
Speaker 5: see no Instagram with all that social media.

1494
01:11:52,640 --> 01:11:55,320
Speaker 1: Is over, Oh Son, there's no such thing as disappearing.

1495
01:11:55,960 --> 01:11:58,160
Speaker 3: You know, think, well you might get to do this

1496
01:11:58,320 --> 01:12:02,120
Speaker 3: and you're like, oh, the two phone actually four? But yeah, Liam,

1497
01:12:02,520 --> 01:12:05,200
Speaker 3: so why so why would you need full phone? Which

1498
01:12:05,200 --> 01:12:06,920
Speaker 3: one of the which one is the whole phone?

1499
01:12:11,479 --> 01:12:17,000
Speaker 9: And that's what's supreme, Lad, that's the fife on behalf

1500
01:12:17,040 --> 01:12:24,720
Speaker 9: of our our new in Bill Sermon, Bill Johnson, Mandel.

1501
01:12:25,840 --> 01:12:29,800
Speaker 3: Coleman and your Shoely quest Love. We thank you very much.

1502
01:12:29,880 --> 01:12:33,880
Speaker 3: We pray that you come back next time. God Willie

1503
01:12:34,120 --> 01:12:35,960
Speaker 3: next ones that good night you go. We come back

1504
01:12:36,000 --> 01:12:38,880
Speaker 3: next Yes see you later.

1505
01:12:48,000 --> 01:12:50,880
Speaker 1: West Love Supreme is a production of iHeart Radio.

1506
01:12:53,880 --> 01:12:57,160
Speaker 2: For more podcasts from iHeart Radio, visit the iHeart Radio app,

1507
01:12:57,400 --> 01:13:00,439
Speaker 2: Apple Podcasts, or wherever you listen to your favorite chose