Speaker 1: Quest Love Supreme is a production of iHeartRadio.
Speaker 2: What y'all, it's Laiah for Team Supreme. Now, our newest
Speaker 2: episode of Quest Love Supreme is with the legend Ben Buren.
Speaker 3: Now, in that.
Speaker 2: Episode, which you have to check out, Ben mentions growing
Speaker 2: up in Brooklyn with none other than Glenn Turman. Yeah, y'all,
Speaker 2: they went to high school together. So this week we're
Speaker 2: gonna revisit our late twenty twenty interview with Glynn. Now,
Speaker 2: just to remind you, Glenn's career spans over sixty five
Speaker 2: years and numerous pivotal, pivotal I know the word, numerous
Speaker 2: pivotal roles. And in that conversation that we had, he
Speaker 2: speaks about his approach to the work, some of the
Speaker 2: roles that defined his career. Yes, it was very different
Speaker 2: than our conversation that we had with Ben spoke about
Speaker 2: his family and self discovery and more. But that's the
Speaker 2: beauty of Questlove Supreme, the beauty of these conversations and
Speaker 2: the beauty of preserving. So take a listen as we
Speaker 2: preserved and celebrate our history.
Speaker 1: May much better.
Speaker 4: Yeah, I was gonna say, also, uh, if he's been
Speaker 4: acting with Teddy Wilson at least three filmself.
Speaker 2: I gotta get picked, pay, pay and place Julia. That's
Speaker 2: all I'm saying. All right, I'm I'm just bringing it.
Speaker 5: I think between all of us will give me his career.
Speaker 6: Yeah, get y'all.
Speaker 5: Wow, Hello, legend, what's going on?
Speaker 3: What's that? Colonel Way?
Speaker 1: Listen?
Speaker 3: What know? Yeah? It's great, It's great.
Speaker 4: All right, ladies and gentlemen, please welcome to another episode
Speaker 4: of Quest of Supreme Supreme Teams in the house, all
Speaker 4: of us here and unpaid Bill.
Speaker 1: Yeah, you're doing how worried roys to the building? Ready
Speaker 1: for each of.
Speaker 4: Us in this room, we're gonna have like are our
Speaker 4: memories of our guest today?
Speaker 1: Find take alo you cool?
Speaker 5: Yeah, man, listen, I'm cool as I could be a legend,
Speaker 5: and I know.
Speaker 1: Questions.
Speaker 3: Cool.
Speaker 1: Good to see everybody.
Speaker 7: Nice to see you, sir.
Speaker 1: Oh yeah, and like you is also with us.
Speaker 2: I am over joyed over there.
Speaker 3: We already met.
Speaker 1: This is special.
Speaker 3: Now you got your healming on? No, I see him?
Speaker 4: Okay, So I'll say that you know our guest today
Speaker 4: beyond super legend. I mean I personally grew up watching
Speaker 4: his entire canon, even if I didn't know I was
Speaker 4: watching him. But he's literally been practically almost in every
Speaker 4: movie that I was allowed to watch, which speaks highly
Speaker 4: of his his his choice of film. This man is
Speaker 4: sixty years of acting under his belt on all mediums, movies, television, plays.
Speaker 4: I mean, if I name them, all will be here forever.
Speaker 4: I mean Raising the Sun, Julia Room two, my Squad,
Speaker 4: the White Shadow, Yeah, Coolie High, Peyton.
Speaker 3: Place, Homework ain't nothing, but.
Speaker 1: I know.
Speaker 4: All the Black ABC After School's specials.
Speaker 1: Jad's Revenged, you know, a different I'd see it had
Speaker 1: one g in exactly.
Speaker 3: You know that right, you.
Speaker 2: Know, Jamie Fox Stay that one day just made me laugh.
Speaker 4: I'm sorry, of course, our our white contendency definitely knows
Speaker 4: him from the wire, you know, currently.
Speaker 1: Riding high now on his I mean, uh, nomination.
Speaker 4: Of How to get Away with Murder, currently giving us
Speaker 4: a twofer in Fargo on effect.
Speaker 5: Doctor Senator, doctor Senator.
Speaker 4: His birth name, Doctor Senator. I love I love it,
Speaker 4: you know, not to be out done in the in
Speaker 4: the historical telling of My Rainey's uh illustrious career as
Speaker 4: a as a pioneer in My Rainey's Black Bottom. Ladies
Speaker 4: and gentlemen, please welcome to quest Love, Supreme One and
Speaker 4: only Glenn Turman.
Speaker 3: Yes, thank you very much for everyoneful introduction. My brother.
Speaker 3: You look, man, I grow up. I won't be like
Speaker 3: you look got kicked back. You up.
Speaker 4: I'm just you know this, you know, I'm just relaxing
Speaker 4: with friends. I know, I know, I know we usually
Speaker 4: do this chronological thing, but it would be forever, so
Speaker 4: I think this is going to be more rapid fire,
Speaker 4: so I will go first. You know, I'm obsessed with
Speaker 4: a particular period. I know that you're a Harlem Knight.
Speaker 1: Correct. You were born in Harlem, you know.
Speaker 4: And I've heard a lot from Nina Simone, James Baldwin,
Speaker 4: but I never got to hear any personal tales of
Speaker 4: the great Lorraine Huntsbury. And I know that she cast
Speaker 4: you at a young age and raising in the sun
Speaker 4: so and I think the way she casts you was
Speaker 4: very casual. It wasn't like you had, you know, these
Speaker 4: goals to be an actor. Can you just explain to me, like,
Speaker 4: what was it like in that environment growing up with
Speaker 4: those those giants as as a young person looking at them?
Speaker 3: Well, you know, I was born in Harlem but raised
Speaker 3: in Greenwich Village, so my mother a single parent moved
Speaker 3: from Harlem, she and I to a cold water flat
Speaker 3: six what they used to call cold water flat in
Speaker 3: Greenwich Village in the fifties, and that meant that the
Speaker 3: departments were were literally that there was no hot water
Speaker 3: and you had to walk up five flights and six
Speaker 3: flights of stairs and you had to boil your water,
Speaker 3: you know. And that was sort of the norm of
Speaker 3: apartments styles in the village at that time. And the
Speaker 3: people who were predominantly living in these these conditions were
Speaker 3: artists James Baldwin, Lorraine Hansbury, Smith, Oliver, Nina Simone, and
Speaker 3: all of these people were my mother's contemporaries. And there
Speaker 3: were few, just a handful of blacks in the village
Speaker 3: at that time, and she was a part of this
Speaker 3: bohemian sort of clique of intellectuals, you know. So one
Speaker 3: Dame Lorrain, my mother said, you know, my friend Ms. Hansbury,
Speaker 3: she's written a play. There's a part for a little
Speaker 3: boy in it, and she was wondering if you might
Speaker 3: be interested in and auditioning for the part. But I
Speaker 3: didn't know what an audition was. I had no idea.
Speaker 3: And my mother said, well, yeah, if you get this part.
Speaker 3: It's going to be many saturdays. So I said, well,
Speaker 3: I don't know. She said, well, let's study the part
Speaker 3: and we'll go and meet them on this particular date,
Speaker 3: which I did. And then there were a whole bunch
Speaker 3: of other little kids, black boys in the hallway when
Speaker 3: we got to this office up in Midtown, and I
Speaker 3: didn't know what they were there for. I didn't know
Speaker 3: that they were there competing for the same role that
Speaker 3: I was competing for. I thought the role was mine,
Speaker 3: So I couldn't figure out what all these other little
Speaker 3: knuckleheads was doing there because my role I read the play.
Speaker 3: There's only one little boy in the play. That's me.
Speaker 3: So what y'all doing here? You know? So but I
Speaker 3: larned to found out what an audition was that they
Speaker 3: were all we were all there for the same role.
Speaker 3: But I got the role, and so there I was
Speaker 3: in show business.
Speaker 1: That's that's a hell of an entry.
Speaker 4: Yeah, do you do you have just personal memories of
Speaker 4: speaking with her or interacting with her or well what
Speaker 4: it was?
Speaker 3: Yes, she she and I. I. You know, there were
Speaker 3: a lot of games that you played in the streets
Speaker 3: in those days. You didn't have to be in the
Speaker 3: house all the time. When I grew up, you know,
Speaker 3: there were games that you play, you know, stickball, stickball, skullzies,
Speaker 3: you know, sullies. Yeah, yeah, yeah, that was my game.
Speaker 3: So Skelzies and so on and so for and Ms Hansbury
Speaker 3: had a college dog. And and she herself was beautiful,
Speaker 3: She was really pretty. And what happened was that happened
Speaker 3: was because we were on the ground playing skullzies. You know,
Speaker 3: we were thumping the bottle caps or whatever it was
Speaker 3: was your piece. You know. We spent a lot of
Speaker 3: time down low on the ground as kids. But all
Speaker 3: of a sudden, this dog would walk through our game,
Speaker 3: you know, and then these beautiful set of legs would
Speaker 3: walk through the game. And when I was looking up,
Speaker 3: I would find myself saying hello. In his hands, she
Speaker 3: said hello, laying you know, I tell your mother this.
Speaker 3: I'll tell you mother that of blah blah blah blah blah.
Speaker 3: So she was very part of the neighborhood. You know,
Speaker 3: we were it was a neighborhood and we were all
Speaker 3: in this neighborhood. So you know, sometimes I say I
Speaker 3: carry that for you. I carry those groceries for you
Speaker 3: in Garam home and she just hitting me a quarter
Speaker 3: and so on and so forth, you.
Speaker 4: Know, everyone fighting to get her attention. I see wait,
Speaker 4: I do have a question for you. You mentioned growing
Speaker 4: up in Harlem. Do you have any memories whatsoever of
Speaker 4: the Harlem Cultural Festival that went on? It was it
Speaker 4: was it was a concert thrown by a gentleman named
Speaker 4: Tony Lawrence.
Speaker 1: And this was like nineteen sixty nine. It was like Nina.
Speaker 4: Simone Stevie Wonder. Yeah, like it was all the summer
Speaker 4: of nineteen sixty nine.
Speaker 1: Do you have any memories of I don't.
Speaker 3: I really don't. I came to California in sixty eight, literally,
Speaker 3: and I've been in California living since nineteen sixty eight,
Speaker 3: so that that particular event I'm not necessarily familiar with.
Speaker 1: What prompted the move to California.
Speaker 3: I came to do a play at a theater company
Speaker 3: called the Inner City Cultural Center. The Inner City Cultural
Speaker 3: Center was over on Pico and New Hampshire, the East
Speaker 3: LA and it was run by a man by the
Speaker 3: name of ce Bernard Jackson, and it was a wonderful
Speaker 3: theater company. It there's still remnants of it now, which
Speaker 3: I'm still a part of As a matter of fact,
Speaker 3: we've got a zoom thing that we're getting ready to
Speaker 3: do pretty soon. But I came to do a play
Speaker 3: there called Slow Dance on the Killing Ground, which had
Speaker 3: been done in Broadway in New York with Clarence Williams
Speaker 3: the third and I was going to do the West
Speaker 3: Coast version of it, and that brought me here by
Speaker 3: a woman who is a high school teacher of mine
Speaker 3: at the High School Performing Arts which I attended. She
Speaker 3: brought me out here to do that play. Her name
Speaker 3: was Bennett Carroll, and she was one of the first
Speaker 3: black female directors on Broadway, having directed a play called
Speaker 3: Your Arms Are Too Short to Box with God, God.
Speaker 4: Before Your Turn and Raising in the Sun. Did you
Speaker 4: have aspirations to give them a business or to be
Speaker 4: an actor or was it just like something that worked
Speaker 4: out and you're like, well, I want to try it again?
Speaker 1: Like what was No?
Speaker 3: I had no obsperation at all. You know, I did
Speaker 3: this thing. My mama told me about it. She said,
Speaker 3: we get to travel, so which we did. You know.
Speaker 3: I was got to go to Chicago and Philly and
Speaker 3: New Hampshire with the play touring before we came into
Speaker 3: New York. Of course I got to meet all these
Speaker 3: wonderful people, Sidney Poitier and work with them, Ruby d
Speaker 3: and Ivan Dixon and Lou Gossett, you know, all these
Speaker 3: people that were fantastic. And then see some people that
Speaker 3: I knew from the movies like Sammy Davis, Junior Earth
Speaker 3: a kid to you know, beautiful Dothy Dandridge. You know.
Speaker 3: So I got to meet all these people that my
Speaker 3: mother and my aunties and everybody was like saying, oh
Speaker 3: my god, oh my god, oh my god, you know,
Speaker 3: but for me it wasn't. I was just a kid,
Speaker 3: so it was it was a big deal, but it
Speaker 3: wasn't a big deal. You know what I'm saying. Kids
Speaker 3: don't really pay a lot of attention to that.
Speaker 4: Right So when it's over, then suddenly is it feeling
Speaker 4: of emptiness like, well, when's the next one?
Speaker 1: Or how can I do this?
Speaker 3: No? I kept. I quit the play. I quit the
Speaker 3: play after a year being in it. Sidney Poitier left.
Speaker 3: I left soon after, just to get back to being
Speaker 3: a regular kid, you know, and going to my regular
Speaker 3: high school because I was going at that time. They
Speaker 3: took me out of my regular school and put me
Speaker 3: in a children's school, professional school, you know, and I
Speaker 3: didn't like it. You know, all my thug buddies.
Speaker 8: Was going to a different school, right so I was
Speaker 8: ready for thug every one oh one, you know, and
Speaker 8: I wasn't going to give that mace professional children's school.
Speaker 3: You know what made what made.
Speaker 2: You stay that long? I'm curious because you mentioned that
Speaker 2: you weren't like phased by the stars or anything else,
Speaker 2: but you stay long.
Speaker 3: It was fun. I did this, you know, I was
Speaker 3: with them. But also, you know, like I said, we
Speaker 3: needed the money. You know, my mother was a single parent.
Speaker 3: She wasn't working at the time, you know, and this
Speaker 3: money came in handy to turn the lights back on,
Speaker 3: you know, so uh uh. You know it was a
Speaker 3: practical factor involved as well. And once we got on
Speaker 3: our feet, you know, mom said it was okay, leave,
Speaker 3: We're cool, and I split. Wow, you mentioned, but I
Speaker 3: kept getting parts. I kept getting parts while I was
Speaker 3: in junior high school because I had such notoriety as
Speaker 3: a result of being this kid in a Broadway place.
Speaker 3: So anytime there was a little black kid, they kept
Speaker 3: putting me. I kept getting in these different shows. A
Speaker 3: lot of different television shows, you know, and a lot
Speaker 3: of different stage plays with Leroy Jones, who was Mari Baraka.
Speaker 3: So I worked with him when creating some of his
Speaker 3: early works. I worked with James James Kahn, Jimmy Kahn
Speaker 3: and Robert Redford in a TV series, you know, TV special.
Speaker 3: They were live, it was live television, man. And so
Speaker 3: I kept getting in these things, and uh, then uh,
Speaker 3: it came time to go to high school. And I
Speaker 3: had a teacher, a wood shop teacher, black wood shop teacher,
Speaker 3: who said, Terman, what what school you're going to go to?
Speaker 3: What high school you're going I said, I'm going to
Speaker 3: high school with aviations in his design. I'm going to
Speaker 3: become an aviation's engineer. He said, Terman, you are a
Speaker 3: chronic truant. You haven't been to a math class since
Speaker 3: in the last three semesters. How do you don't? You
Speaker 3: have to take a test for aviation and aviation and
Speaker 3: design and you don't know anything about math. You know,
Speaker 3: it's all math. I said, that's okay, I'm going to
Speaker 3: take the test and I'll pass it. He said, well, look,
Speaker 3: there's a school called the High School Performing Arts. It's
Speaker 3: now called LaGuardia, right, And I said, he said, why
Speaker 3: don't you audition for that school? They do acting and
Speaker 3: stuff like that, the art I said, oh no, no, no, no, no,
Speaker 3: I'm not doing that. I'm going to aviation and design,
Speaker 3: you know. And he said they said, he said, well
Speaker 3: do this take the test and the audition. Well I
Speaker 3: failed the test, like he knew I would the audition.
Speaker 4: What was the school like back in I'm assuming this
Speaker 4: is the mid sixties or late sixties.
Speaker 3: Yeah, early sixties earlier.
Speaker 4: Yeah, Like I like, I've attended to Performing Arts school,
Speaker 4: but in the late eighties and nineties. But what was
Speaker 4: the curriculum like back then? Like was it diverse?
Speaker 3: The Guadia is now on I think fifty ninth Street
Speaker 3: or something like that, Yeah, and ninth or tenth Avenue.
Speaker 3: But then Performing Arts, which was the movie Fame was
Speaker 3: made about. Yeah, and actually that was my graduating class
Speaker 3: that they made that movie about. What Yeah, And that
Speaker 3: school was on forty sixth Street between sixth and seventh Avenue,
Speaker 3: so it was right in the heart of Broadway. So
Speaker 3: there I was again in the middle of Broadway, you know,
Speaker 3: where I had been as a as a kid all
Speaker 3: that time, and I ended up becoming top of the class.
Speaker 3: I got an A for the first time ever in school.
Speaker 3: I got all these great marks and graduated vice president
Speaker 3: of my senior class and won all the awards and
Speaker 3: all that. I said. When I got from A that
Speaker 3: first semester, I came home, I said, Mom, look I
Speaker 3: got an A. And she said, yeah, well I've been
Speaker 3: trying to tell you, you know, so you need to go.
Speaker 1: So she wanted it for you even more than you.
Speaker 3: Wanted it for yourself, you know. But that was always
Speaker 3: a ham. You know, I'm always a kid. You know,
Speaker 3: you got a cousin or if maybe it's you, you
Speaker 3: know that you got a kid that on the holidays
Speaker 3: or the party, the house party or whatever. When you
Speaker 3: were a kid, you know, your folks would call you,
Speaker 3: come on out and do sing a song, Come on
Speaker 3: out and dance, come on out and do this.
Speaker 8: Come on.
Speaker 3: I was always that kid, you know.
Speaker 2: So you mentioned you went since Fame was based off
Speaker 2: of your class, where there's some peers that came out
Speaker 2: with you.
Speaker 3: Remember there was a black kid in that movie Fame,
Speaker 3: Lee Roy that was Ben Vereen. Shut up, yes, yes, So.
Speaker 4: Genie was a troubled uh the troubled child that was
Speaker 4: talented and still.
Speaker 3: We're all troubled children. Word. But Ben and I close
Speaker 3: to this day. We've been buddies ever since we've been roommates.
Speaker 3: And the whole thing, as a matter of fact.
Speaker 2: What's crazy is we interview the woman, the woman who
Speaker 2: taught him how to dance. Her grandson became like the
Speaker 2: legendary rapper because but she used to dance in the
Speaker 2: Cotton Club. It's like a whole circle, remember y'all prodigy? Yeah, sorry,
Speaker 2: but that's just.
Speaker 3: So yeah, sure, that's dope.
Speaker 4: Okay, I'm gonna push it up a little bit because again,
Speaker 4: your your career sprawls decades, and you know, we got
Speaker 4: to cover everything, and then I'm gonna let you all
Speaker 4: take it after do this question because I know y'all
Speaker 4: got questions too, But I just want to say that
Speaker 4: in retrospect, I guess, uh, Preach was was maybe the
Speaker 4: first black nerd I've ever seen on media screen. So
Speaker 4: maybe because the thing is is that when all my
Speaker 4: friends watched Coolly High, they all related to coaches. And
Speaker 4: for me, she goes, yeah, I related to Preach. You know,
Speaker 4: I mean I didn't see myself as a nerd back then.
Speaker 4: But I mean, obviously I was more preach.
Speaker 1: Than I was.
Speaker 4: You hold the podcast. No, man, I'm fucked out done.
Speaker 4: It was just no, it was it was important. It
Speaker 4: was important for me to see that, even though I
Speaker 4: guess in real time I didn't see that as a
Speaker 4: seed being planted, but I definitely knew that watching that
Speaker 4: character and kind of the cheapest way that he didn't
Speaker 4: want people to know that he was that smart. Like,
Speaker 4: especially when you have to survive in the area that
Speaker 4: you grow up, you know, you don't want people think
Speaker 4: that you're weaker anything, so you try and over commodate whatever.
Speaker 4: But can you just talk about like just working with
Speaker 4: Michael Schultz and that whole like as coolly high, as
Speaker 4: iconic to you as it is to us, or you
Speaker 4: are you tired of everyone like making the deal over it?
Speaker 3: No? Actually, it is one of my favorite movies. Even
Speaker 3: if I wasn't in it, the fact that I am
Speaker 3: in it makes it one of my favorite movies that
Speaker 3: I've been in. Oh really yeah, Yeah, it's a terrific movie.
Speaker 3: And because its it talks about just what an exposed is,
Speaker 3: just what you're talking about, a side of us that
Speaker 3: very few, so especially at the time when exploitation movies
Speaker 3: were being made, because all the characters were pimps or
Speaker 3: players or tough guys or gangsters and so on and
Speaker 3: so forth. So all of a sudden, here you are
Speaker 3: in the neighborhood, and the gangsters are not the star
Speaker 3: of the movie. A nerd is the star of the movie.
Speaker 3: You know. It gave us a chance to expose that
Speaker 3: some of your concerns, you know, how do I stay
Speaker 3: smart and stay cool? So you know, so he was
Speaker 3: indeed a cool nerd, you know, and that's that's what
Speaker 3: we that's what he turned out to be. But at
Speaker 3: the same time, it was interesting that that our culture,
Speaker 3: which was my culture. We used to hit you on
Speaker 3: the back of the buses, you know, jump the turnstiles,
Speaker 3: ditch class. Told you that ditch class. I Holly every
Speaker 3: went to the class, you know, and so all those
Speaker 3: and spend time after zoo while waiting, you know, for
Speaker 3: school to be over so we can go back and
Speaker 3: get up books and do whatever. All of that was
Speaker 3: my culture, you know, and we had never seen that
Speaker 3: on the screen before. Now the fact that forty five
Speaker 3: years later, there are still for decades of people, youngsters
Speaker 3: who grow up watching that movie. That surprises me, you know,
Speaker 3: because I still have you know, young teenagers will come
Speaker 3: up and say, oh, you preach you know. I said,
Speaker 3: well you you watch Coolie. Yeah, yeah, you know. So
Speaker 3: that's that surprises me. So no, I did not and
Speaker 3: we did not expect it to be the iconic film
Speaker 3: that it turned out to be. But a lot of
Speaker 3: that has to do with Michael Schultz and Steve Krantz,
Speaker 3: who was the producer, Michael Schultz, of course the director,
Speaker 3: and of course Eric Monte who wrote the piece. They
Speaker 3: did something that was brilliant. There's a star. There's a
Speaker 3: star in the movie that no one notices. Of course,
Speaker 3: there's myself, and there's Lawrence Hilton Jacobs and Garrett Morris
Speaker 3: and Steven Williams and and the people who were acting
Speaker 3: in the movie. But there's also a movie a music
Speaker 3: score that you couldn't pay.
Speaker 4: For today, Before the Big the greatest Motown score Motown. Yeah,
Speaker 4: I was about to say, before the Big Chill. Yeah, yeah, yeah,
Speaker 4: before the Big Chill. Cool music is a star of
Speaker 4: the movie.
Speaker 3: You know, it's one of the stars, you know, and uh,
Speaker 3: you couldn't you couldn't buy that now for a motion picture,
Speaker 3: you know, too expensive.
Speaker 5: I was watching an interview you did.
Speaker 6: It was some years back, and you were talking about
Speaker 6: that period in your career where, you know, the the
Speaker 6: industry in kind of Hollywood. They were calling it black exportation.
Speaker 6: But I always admired what you said. You said, you know,
Speaker 6: to y'all it was black exportation.
Speaker 5: To me, it was just work. Yeah, like we was.
Speaker 6: We were just working, you know, And so I was
Speaker 6: curious just to know, like, just with all your you know, career,
Speaker 6: all your years in the game, you know, how has
Speaker 6: your view on those movies changed, you know, like, you know,
Speaker 6: do you still just see it just work or do
Speaker 6: you think that there were some larger implications around those
Speaker 6: kind of films.
Speaker 3: No, I see it as work, you know, exploitation. Yeah,
Speaker 3: you could look at it like that, you know, but
Speaker 3: a lot of good came out of it, A lot
Speaker 3: of progress came out of it, you know, and it
Speaker 3: fed families, you know, because it gave us opportunity to work.
Speaker 3: The only problem was that most of the time, it
Speaker 3: was a one sided view of who we were as
Speaker 3: a people. When those things opened up, those views opened up,
Speaker 3: and especially now, I'm so proud of what the young
Speaker 3: people you guys are doing now in terms of bringing
Speaker 3: forth projects that show more dimensions of our experience and
Speaker 3: who we are. You know, That's what our fight was
Speaker 3: about back then. You know, that's what we went to
Speaker 3: the head office about. That's what we lost jobs about.
Speaker 3: That's how we, you know, get fired by speaking up
Speaker 3: about you know, this character doesn't have a backstory, or
Speaker 3: this character is one dimensional. Why doesn't this happen? Why
Speaker 3: does this woman have to do this or that? You know.
Speaker 3: So those were the battles that we were facing. But
Speaker 3: and to see what you guys are doing now with
Speaker 3: with your opportunities, in terms of taking advantage of the
Speaker 3: changing tide is heartwarming for me, you know, because it's
Speaker 3: been a long haul.
Speaker 5: Well, we wouldn't be there without y'all.
Speaker 2: I was about to say, yeah, thank you.
Speaker 4: How difficult is that particular Hollywood shuffle where you kind
Speaker 4: of have to wrestle between your dignity and a good paycheck.
Speaker 4: Because there's there's one particular film that isn't often listed
Speaker 4: in your your credits that I saw now. In two thousand,
Speaker 4: I did a film with Spike Lee called bamboozle about
Speaker 4: menstrual culture. And when Spike was first pitching us this film,
Speaker 4: the first thing he did was he came to our
Speaker 4: studio and he was like, all right, I need three hours.
Speaker 4: I'm gonna show you this movie. And he puts in
Speaker 4: this movie from seventy seven called minstrel Man, and basically,
Speaker 4: like Spike, Lee just gave us a crash course on
Speaker 4: the entire history of menstrual entertainment.
Speaker 1: And you know, the thing on the Spike was like,
Speaker 1: this movie's been banned.
Speaker 4: You can't see you nowhere, Like he had to pull
Speaker 4: strings to get this from like, you know, whatever company
Speaker 4: had or whoever, like one.
Speaker 1: Of the producers was.
Speaker 4: But yeah, I've watched that film like three times and
Speaker 4: even now then when I did the film, you know,
Speaker 4: I thought, okay, well, Spike saying this is a satire.
Speaker 4: But you know, I was kind of in that naive
Speaker 4: place where I thought, like, okay, you know, we're we're
Speaker 4: in a post racial part of you know, where it's
Speaker 4: two thousand, there's a new leaf and da da da da,
Speaker 4: And sure enough we've eased back into probably even worse
Speaker 4: a need what I call neo minstrelsy. But at the time,
Speaker 4: What made you want to do such a daring film
Speaker 4: about uh, the history of menstrue entertainment?
Speaker 1: And why was it not.
Speaker 4: Exposed even on your on your Wikipedia page, it's not
Speaker 4: even mentioned.
Speaker 3: Uh, it's one of them. It's one of my favorite
Speaker 3: pieces menstrum Man. It was daring, It was a revolutionary
Speaker 3: film and it paid homage too. We as performance, somebody
Speaker 3: had to bite the bullets, and these these performance bit
Speaker 3: the bullet. You know, I met Stephen Fetcher, mister Perry
Speaker 3: when I was doing Koolie High. You're all familiar with
Speaker 3: the stepping Fees. Yes, who did more in terms of
Speaker 3: really putting an image out there that really hurt us
Speaker 3: as a as a as a people. But at the
Speaker 3: same time, the reason it hurts is because he was
Speaker 3: so brilliant at what it was that he was doing.
Speaker 3: His performance capabilities were astounded, just like W. C. Fields,
Speaker 3: just just like you know any of those great comedians
Speaker 3: of those of that time, you know, Buster Keaton, all
Speaker 3: those guys. But he took it on himself to give
Speaker 3: you an interpretation of what was thought about us. In
Speaker 3: other words, he took the he took the narrative of
Speaker 3: somebody some other cultures describing us and those wasn't true
Speaker 3: he visualized it. It was detrimental, but it was brilliant.
Speaker 9: It was really brilliant, so much so that it it
Speaker 9: harnessed an entire race of people. Before that, he became
Speaker 9: the highest one of the highest paid actors in Hollywood.
Speaker 9: So there's that double edged sword of as a performer
Speaker 9: as an artist, what do we do?
Speaker 3: What are we about? And what do we do? And
Speaker 3: how do we select what do we do? So I
Speaker 3: saw this film as a film that tried to explain
Speaker 3: that what do we do? We're brilliant people, how do
Speaker 3: we make what we have work for us? And what's
Speaker 3: too much? You know, when do we stop? When do
Speaker 3: we stop? When do we not say okay? When do
Speaker 3: we say that's enough? And we still have it to
Speaker 3: this day. It's not like on the way you.
Speaker 2: Think it was different when it was only like one
Speaker 2: or two of us, And now that that's changed a little,
Speaker 2: maybe that space has changed, because when it's only one
Speaker 2: of us representing everybody, then of course we're like no, no.
Speaker 3: There was always a lot. That's why you should see
Speaker 3: the still menstrum.
Speaker 2: Man Okay, okay, I do I wrote it down. I
Speaker 2: am where can I see?
Speaker 3: Where can I?
Speaker 1: I believe it's still on YouTube.
Speaker 3: It might be on YouTube.
Speaker 4: Okay, you know it's funny. It's weird you said that
Speaker 4: because maybe like four years ago, I went on a
Speaker 4: deep dive about the whole menstrual culture and someone had
Speaker 4: a different perspective of step and fetch It in which
Speaker 4: he said that the one weapon that black people could
Speaker 4: use against racism and white supremacy at that time was humor.
Speaker 4: And so he saw step and Fetch It less as
Speaker 4: like a you know, if people were saying like, well,
Speaker 4: he's not a credit to his race or a sellout,
Speaker 4: but more on the terms of he discovered a way
Speaker 4: to disarm powerful white people at the time using humor.
Speaker 4: Because on the other hand, Stepan would also take his
Speaker 4: money and start funding like these black Shakespearean plays, like
Speaker 4: he would use his money that he made for movies
Speaker 4: and then really start a revolution by you know, Paul
Speaker 4: Robins and stuff and that sort of thing. And so
Speaker 4: you know, it's it's kind of a double edged sword
Speaker 4: where I guess now you could just say that's just
Speaker 4: what we call code switching. Whereas you know, Steppen was
Speaker 4: the original code Switcher. But yeah, I wish, you know,
Speaker 4: kind of wish that that film could come out of
Speaker 4: its retirement. I mean at the time, was it at
Speaker 4: the time, at the time where you shocked that well,
Speaker 4: I mean kind of I assume that I wasn't well received,
Speaker 4: so it was thrown like sort of underground.
Speaker 3: It was well received. That was the problem.
Speaker 1: It was too well received, well received for the wrong reasons.
Speaker 3: Reasons. Well, it was you know, it was all of
Speaker 3: a sudden, people got a conscious about what they thought
Speaker 3: we should be showing, you know, and I see it
Speaker 3: suffered the fate that it suffered, you know, and I'm
Speaker 3: very sorry that it did, very sorry that it did well.
Speaker 4: Yeah, I still recommend people see it, you know, because
Speaker 4: it really especially uh. I remember one part in which
Speaker 4: in the very beginning of the film where they explained that,
Speaker 4: you know, when African American actors wanted to act, they
Speaker 4: had to act like the white people imitating black people.
Speaker 4: And then that's when I realized how meta that was.
Speaker 4: That Oh, that that was okay, So that was the
Speaker 4: whole point of minster entertainment, that we were imitating those who.
Speaker 3: Were imitating thoating.
Speaker 4: Us, imitating us, and and terrorizing us. Hey, can you
Speaker 4: settle something? Is it true that I heard that you
Speaker 4: were supposed to be the original Han Solo?
Speaker 1: And start?
Speaker 3: Yeah?
Speaker 1: Yeah, uh what happened?
Speaker 3: So who does who does Hans Solo have a love affair.
Speaker 2: With Leo.
Speaker 5: That's on a white woman?
Speaker 3: I know?
Speaker 2: George Lucas was like, I'm just trying to live out
Speaker 2: my fantasy.
Speaker 3: Yeah, but he says, he says, that's what the problem was.
Speaker 3: He says that that was that was what he didn't
Speaker 3: want to open the canopies in that that area, and
Speaker 3: so that's what stopped him from going, uh down that path,
Speaker 3: you know. And I asked him. I finally I asked,
Speaker 3: I had a chance to. I ran into him at
Speaker 3: ut at Sam Jackson's party a couple of years ago,
Speaker 3: and he and his wife were there, and I hadn't
Speaker 3: seen him since that day, you know those times, and
Speaker 3: uh so I stepped up to him and asked him.
Speaker 3: I said, Man, I'm read that you were thinking about
Speaker 3: me for Hot Solo. He says, yeah, that's right. I said,
Speaker 3: And you didn't do it because he says, yeah, I
Speaker 3: didn't want to go down there. I said, I understand,
Speaker 3: I understand.
Speaker 2: I love that didn't do it because fill a blank.
Speaker 6: Yeah, I won't smoking eighty two now, I wouldn't get it, but.
Speaker 3: Have some thought it was me some money because that
Speaker 3: was cleaned up on on that Star Wars thing. I
Speaker 3: sure would like to get my percentage of of that
Speaker 3: because that was before Jones. It's all, it's all good,
Speaker 3: no problems, I got no regrets.
Speaker 6: One of your films I wanted to ask you about
Speaker 6: that is like a classic and hip hop and I
Speaker 6: don't even know if you're aware you maybe but JD's
Speaker 6: Revenge Man, JD's Revenge. I didn't see the movie. I
Speaker 6: didn't see it until I mean maybe around like yeah,
Speaker 6: like two thousand or so around. I bought the DVD,
Speaker 6: but it was sample in a ghost Face Killer Wu
Speaker 6: Tang Clan album. And so when we figured out that's
Speaker 6: what it was like a lot of me and a
Speaker 6: lot of my homies, a lot of hip hop cats.
Speaker 6: We ended up getting that movie and watching it, and
Speaker 6: I actually still have it on DVD right now.
Speaker 5: But what do you remember, if anything.
Speaker 3: Snoop's favorite movie? Really? Yeah?
Speaker 6: Yeah, Four of Us classic, classic, yeah, those that period
Speaker 6: of your career. What do you remember about shooting like
Speaker 6: movies like that, like you know, JD's Revenge, these movies
Speaker 6: that were, you know, kind of low budget and but
Speaker 6: they were entertaining. I mean, you know, Joe JD's Revenge
Speaker 6: and also uh, Penitentiary to the movie I had no
Speaker 6: business seeing as like a six year old, but I
Speaker 6: was afraid.
Speaker 10: That sweet Come on, well, what was it like?
Speaker 5: Because that movie was insane and like but what was it?
Speaker 3: Was it like?
Speaker 5: Working on it?
Speaker 3: It was insane working on it, you know. You know,
Speaker 3: first of all, you know, we shot it in the Orleans.
Speaker 11: You know, Oh wow, that was the first time I
Speaker 11: had been to New Orleans. Oh and you know, I'm
Speaker 11: shooting a movie where as a character, I've got to
Speaker 11: be possessed, you know, So I'm coming in and out
Speaker 11: of these possessions and you know, anything about the Orleans
Speaker 11: that's real now.
Speaker 3: Man, you know, indeed, that's the way that goes down there.
Speaker 3: And being a young actor at the time, I was,
Speaker 3: you know, as I still am, but especially back then,
Speaker 3: I was all about going for the reality of things,
Speaker 3: you know, and going because I had to go to deliver,
Speaker 3: you know, and without any filters, you know, so I
Speaker 3: uh went on quite on, quite a ride down there,
Speaker 3: you know, and doing.
Speaker 12: That how much of a ride, white boy?
Speaker 3: It was a hell of a ride, it was, you know,
Speaker 3: because the city itself was such a character in the film.
Speaker 3: You know, they're gargoyles and all of the architecture, you know,
Speaker 3: so there's always something looking at you, you know, and
Speaker 3: it was a hell of It was a hell of
Speaker 3: an experience. Hey.
Speaker 4: You know of the what I call the the seventy
Speaker 4: squad of young black actors who later in the eighties
Speaker 4: sort of elevated themselves to directors and producers, I know
Speaker 4: that it was. It was a big deal when like
Speaker 4: Kevin Hooks sort of like left the white shadow and
Speaker 4: became a director. I know that in nineteen eighty three
Speaker 4: you directed like Dynasty was a religion in my grandmother's.
Speaker 1: Household, like all my aunts. Wow, everyone watch.
Speaker 3: Congress And.
Speaker 1: How how was that your first foray into directing.
Speaker 3: Television? Yes, it was, Yes, it was.
Speaker 4: So what what prompted uh that, particularly as far as
Speaker 4: you getting into directing.
Speaker 3: Show Biz is an interesting multi headed beast. The movie
Speaker 3: we spoke about menstrul Man mm hmm ran into all
Speaker 3: sort of stumbling blocks, as as you noted, of course,
Speaker 3: but one of the one of the wonderful things that
Speaker 3: came out of it was a relationship that I formed
Speaker 3: with the authors of that piece, the Shapiro's, Richard and
Speaker 3: Esther Shapiro, wonderful, wonderful, talented, talented people. They wrote menstrul Man,
Speaker 3: and they cast me in menstrul Man, and during a
Speaker 3: course of our knowing one another, they developed dynasty.
Speaker 1: Oh nasty.
Speaker 3: And then talking with the conversation, Glenn was next on
Speaker 3: your agenda, what do you see yourself? I said, I
Speaker 3: see myself directing. I had to have been directing some
Speaker 3: plays at the Inner City Cultural Center that I spoke
Speaker 3: of earlier, and they said really, I said, yeah, you know.
Speaker 3: She said, well, we're putting in a program for directors.
Speaker 3: We want more that minority directors to come and be
Speaker 3: a part of this. I said, count me in. And
Speaker 3: so I shadowed one of the directors for months and
Speaker 3: months and months, and finally gave me my shot.
Speaker 2: Oh, I'm so glad you mentioned that, because more people
Speaker 2: don't talk about all these programs that are available, especially
Speaker 2: for minorities, that they're able to do that. It's a
Speaker 2: lot of networks and in places to do that. I'm
Speaker 2: just as people to listen to us. I want you
Speaker 2: to know you should look into that because that's still
Speaker 2: something really popular. Do you still audition?
Speaker 3: No, ma'am, So when's the last.
Speaker 2: Time you did?
Speaker 3: I just.
Speaker 2: Okay, then I'm I'm getting myself together my question when
Speaker 2: I'm just curious, when it is the last time that
Speaker 2: you did?
Speaker 3: Oh?
Speaker 2: Yeah, okay, don't.
Speaker 1: Roll yea talk.
Speaker 3: Ship. Last time I auditioned.
Speaker 5: Last time that I checked.
Speaker 3: It was for a Tom Cruise movie. And maybe you know,
Speaker 3: I don't know how many years ago I knew that
Speaker 3: after I came out of that audition that I would
Speaker 3: never audition again.
Speaker 1: M speak.
Speaker 3: And I told that to my to my agents, I said,
Speaker 3: I'll never auditioned again.
Speaker 2: I'm trying to do the math on this. Do you
Speaker 2: remember if this was in the nineties the two thousands,
Speaker 2: because that just means that I just don't know how many
Speaker 2: people just called you and said I got a role.
Speaker 2: Let's go like that's just it.
Speaker 3: Was in the nineties.
Speaker 1: Wow, What made you?
Speaker 3: Man?
Speaker 5: What about that process made you make that decision?
Speaker 3: Because I realized I knew who I knew, they knew
Speaker 3: who they wanted for the roles. So I was going
Speaker 3: through an exercise that I didn't tend to go through
Speaker 3: anymore in my career. At that time, I had paid
Speaker 3: my dues and so it came a time for me
Speaker 3: to stand on that principle. And luckily it's turned how well,
Speaker 3: you know, and I have nothing against auditioning. You know,
Speaker 3: if audition, if you feel that that's what's going to
Speaker 3: help you get the role as a as an actor actress,
Speaker 3: go for the audition. But after but if it gets
Speaker 3: to a point where it's it's sours what you're in
Speaker 3: this for, it starts taking away any of the joy
Speaker 3: that you're doing this, then it's it's contaminating your process,
Speaker 3: and you have to make a decision because then the
Speaker 3: joy and the fun is being taken out of And
Speaker 3: that's what I got in this for. As you see,
Speaker 3: it just kept coming to me. So I wasn't in
Speaker 3: it for money, you know. I was in it because
Speaker 3: it was afforded to me and I found that I
Speaker 3: could do something that I ended up loving doing.
Speaker 2: What a blessing.
Speaker 3: So why subject myself to something that at that stage
Speaker 3: of the game was making it was ruining the love affair.
Speaker 3: I refused to have them ruin the love affair.
Speaker 2: You're already thirty years in by that.
Speaker 3: Anyway, you arned.
Speaker 6: Yeah, Keith David, I've read this piece with him a
Speaker 6: couple of years ago. He was saying something very similar
Speaker 6: to what you were saying, and that he said, I
Speaker 6: don't sell myself at this one of my career. I
Speaker 6: don't sell myself. I just present myself at this point.
Speaker 6: You know what it is. You know what I'm saying.
Speaker 6: You know, if you're coming to me, Yeah, if you're
Speaker 6: coming to me, you want me, and and that's.
Speaker 1: What it is.
Speaker 3: Don't get me wrong. I love and I respect. I
Speaker 3: love and I respect the business. Like he said, I
Speaker 3: present myself and I've got a track record. I feel
Speaker 3: that speaks for myself.
Speaker 1: Okay, okay, so let's jump into it, all right, doctor warr.
Speaker 3: One of y'all got a job for me.
Speaker 2: I'm like, I'm looking at this thing and I'm like,
Speaker 2: ain't no spike moving ahead? How many times he says
Speaker 2: no to people, I'm sorry, I just.
Speaker 3: Go ahead, mayor got okay?
Speaker 4: So, of course, as as as lovingly dubbed doctor war
Speaker 4: because of your you're a rep for being a hard math.
Speaker 4: Uh Professor a majority of our audience, of course, connects
Speaker 4: with you as Colonel Bradford Taylor or a different world.
Speaker 4: I have to say that probably in Quarantine. I've revisited
Speaker 4: that entire series and didn't realize how ahead of its
Speaker 4: time it was, especially with what we're dealing with now.
Speaker 6: Like I went to a black college because of that,
Speaker 6: because of the different world that I went to graduating
Speaker 6: from hbc U Facts.
Speaker 3: And now we've got a vice president that went.
Speaker 2: Yeah, probably because of you too, that's right.
Speaker 3: Here in general?
Speaker 4: Did you I mean, at the time, did you see
Speaker 4: this as a well, I guess nothing's revolutionary as you're
Speaker 4: you're doing it, uh when you're in the vacuum, and
Speaker 4: it's only with perspective that you see how important it is.
Speaker 4: But at the time, like, what were your thoughts on
Speaker 4: a different world? Did you think that, wow, this is
Speaker 4: really historically significant or it's just a very good, steady job,
Speaker 4: or like what what was the process?
Speaker 3: Well, all that, you know, I came to find out
Speaker 3: that Susan Fails, the team of Susan Fails and Debbie
Speaker 3: Allen was an unstoppable force. I had been in enough
Speaker 3: in the business enough and had been uh in the
Speaker 3: world long enough to know to get a whiff of
Speaker 3: what revolutions sounds like or smells like, looks like. So
Speaker 3: when I saw the scripts coming across the desk, scripts
Speaker 3: that dealt with you know, aides, or the scripts that
Speaker 3: dealt with abuse, uh, you know, scripts that dealt with
Speaker 3: some of the issues, you know, with the war. You know,
Speaker 3: these were scripts and stories that were revolutionary. And the
Speaker 3: revolutionary fact was from the top down it was all
Speaker 3: black people.
Speaker 2: Except for your first wife that we never saw right right, Oh,
Speaker 2: you forgot that about different.
Speaker 3: World, but even revolutionary, right exactly. And it was and
Speaker 3: it was even that was revolutionary. And so I was
Speaker 3: I was one of those who who who realized that
Speaker 3: that's what was taking place, and my head went off
Speaker 3: to the Cosbys were taking that stance and fighting those
Speaker 3: that were, you know, opposed to some of the positions
Speaker 3: that we were talking about, some of the things we
Speaker 3: were talking about, you know, and keeping us never less
Speaker 3: than number five in the ratings for seven years. The
Speaker 3: kudos that usually goes with that kind of uh, sustainability
Speaker 3: and that kind of uh, you know, stewardship, we got
Speaker 3: none of the We got none of those kudos.
Speaker 1: I don't know.
Speaker 4: I feel that people are slowly rediscovering it now that
Speaker 4: it's on Amazon, so so yeah, I feel as though
Speaker 4: that people are rediscovering that that series in a different
Speaker 4: way and sort of under a different lens than when
Speaker 4: it was previously on thirty years ago. Definitely with how
Speaker 4: they handled subjects, Like there were some episodes I didn't
Speaker 4: even remember them covering.
Speaker 6: You're like the Freddy episode, the like which shot the
Speaker 6: date rate, the shaza was it that there was one with.
Speaker 1: Well no no where a time act?
Speaker 2: Yeah, the first one of the first season when Dwayne
Speaker 2: all that one.
Speaker 5: Oh yeah, okay, yeah, yeah, yeah, yeah yeah.
Speaker 2: I was gonna ask him what his favorite was there
Speaker 2: a favorite storyline for your for your character, for Colonel Taylor.
Speaker 3: For Colonel Taylor. I love the one that Blair Underwood
Speaker 3: and I did when he was golf war and when
Speaker 3: he came to Colonel Taylor to ask to let him
Speaker 3: know that he was afraid, you know, going into war.
Speaker 3: You know, I thought that that was so powerful and
Speaker 3: what that whole thing was about. It was so it
Speaker 3: was it was the essence of patriot you know, we
Speaker 3: we do as a black people don't think in terms
Speaker 3: of being patriotic. We don't think we're patriotic because no
Speaker 3: one else looks at us as patriotic. But we're very
Speaker 3: patriotic as a people.
Speaker 2: We were part of every fight they let us be
Speaker 2: in huh said, we were a part of every battle.
Speaker 3: They let us be every battle, every battle from the
Speaker 3: very first gun shot from the revolution from the Revolutionary War.
Speaker 3: Don't look at ourselves that way. And uh so we're
Speaker 3: always clamoring to be thought of as that, and all
Speaker 3: the evidence points to everything otherwise. And this was a wonderful,
Speaker 3: wonderful expose of disenfranchised people doing what was patriotic. And
Speaker 3: it was right during the war, I mean, the war
Speaker 3: was going to what was going on right at that time.
Speaker 2: It gave us a perspective on TV we never get
Speaker 2: to see. We don't like you said, we don't see
Speaker 2: us in it and how we're thinking and stuff.
Speaker 3: That was how we're thinking about it. So it's it
Speaker 3: was wonderful, you know, And and the show was just
Speaker 3: a fantastic show.
Speaker 5: Misster.
Speaker 6: I wanted to ask you about your time the time
Speaker 6: with Areta, when you guys would together, y'all would like
Speaker 6: the first Instagram Cob, Yeah.
Speaker 2: Yeah, yeah, I was thinking the same thing. Yeah, they were, y'all.
Speaker 1: Were like spread with them.
Speaker 2: Yeah, jet ebony jets jet ya the jet yet Yeah yeah,
Speaker 2: what was that period in your life?
Speaker 5: Like, man, what was it like?
Speaker 3: Well, when it was good, it was the very best
Speaker 3: of times, you know, it was the very best of times.
Speaker 3: We remain friends for all those years, thirty five years
Speaker 3: after we were married. Uh so we had a wonderful,
Speaker 3: wonderful relationship, and it was some points that was just unbelievable.
Speaker 3: You know, some things you can't you can't be relieve,
Speaker 3: you can't really even imagine. You know, there's some some
Speaker 3: some directions your life takes and you really have to
Speaker 3: sometimes step outside yourself and say what, how what am
Speaker 3: I doing here? You know, I feel like that right now.
Speaker 2: It had to be good because I know it. In
Speaker 2: your filmography, those are the years that you took a break,
Speaker 2: like you was just like, I'm well.
Speaker 3: No, because no, there were tough that that that you know,
Speaker 3: there were tough times. Okay, there were tough times, not
Speaker 3: that we had the option to take a break. You
Speaker 3: have to remember that disco came on the scene at
Speaker 3: that time as well, all of the soul singers were
Speaker 3: in dire straits as well.
Speaker 5: Because, uh, they were struggling.
Speaker 3: Yeah, they were struggling. There was a struggling time. There
Speaker 3: was a paradigm shift in the whole music uh world,
Speaker 3: as well as the black explortation movies were trying to
Speaker 3: be replaced. I was at an age where I was
Speaker 3: coming out of a young man and now into a
Speaker 3: leading man area, you know. So there was a struggle
Speaker 3: in that aspect, which all actors go through if they're
Speaker 3: in the game long enough and start young enough, you know. So,
Speaker 3: I'm not in a business where you take a break.
Speaker 6: You Now, you don't take a break. The business takes
Speaker 6: a break from you from you, right.
Speaker 5: Man?
Speaker 6: What do you think I watched you and your you
Speaker 6: and your your current wife on on Black Love and Interview.
Speaker 5: Yeah, say, now that was a beautiful interview.
Speaker 6: What do you think you learned from from you know,
Speaker 6: from the marriage within then just you know, other marriage.
Speaker 6: What were you think some of the key lessons you
Speaker 6: learned in those early marriages that prepared you for your
Speaker 6: current marriage with your wife.
Speaker 3: Now, one of the key ingredients to a relationship is
Speaker 3: liking the person that you're in a relationship with.
Speaker 5: You eight told us that, yeah, house with somebody your
Speaker 5: own life.
Speaker 3: Yeah, you could be locked up in this twenty twenty
Speaker 3: situation with somebody you don't like, you know. I think
Speaker 3: that that's what over the years that I've learned out
Speaker 3: of three marriages, is that liking the person makes it
Speaker 3: is a key ingredient. So you know, I like this
Speaker 3: person that I'm with here, you know, and we build
Speaker 3: on that. Well.
Speaker 2: Since he mentioned that he hasn't been auditioning since the nineties,
Speaker 2: this has changed my way of thought totally, since you
Speaker 2: totally pick out what you want to do. So before
Speaker 2: Bill gets we get to the wire questions. I just
Speaker 2: got to know the role House sublies. Don Cheeto's daddy, just.
Speaker 1: Tell me a little later.
Speaker 2: I know it came later, but you've taken too long
Speaker 2: to get to the wire. So I just got to
Speaker 2: know why, Why did you decide that that was a
Speaker 2: role for you? And what was it about the role
Speaker 2: that made you go, oh, yeah, I'm an I want
Speaker 2: to do that.
Speaker 3: Very simple, don Chu said, I want Glenn Turman to
Speaker 3: play my daddy.
Speaker 2: I mean you daddy. I feel like, in an acting.
Speaker 3: Sense, wasn't a hard choice at all, you know, I
Speaker 3: love John. I'm a fan of his work. That at
Speaker 3: this stage in the game, the young people and saying
Speaker 3: that they want Glenn Turman to be a part of
Speaker 3: the show. I'm flatted on it, and so I brought it.
Speaker 1: All right, So let's talk about the Wild roy Sir,
Speaker 1: I would like.
Speaker 3: To say that talk.
Speaker 6: To me about donated to your campaign.
Speaker 3: I don't believe one of you.
Speaker 2: I didn't.
Speaker 13: Think other than being a fascinating character, what is it
Speaker 13: like coming into a pre existing series way like a
Speaker 13: few seasons, a few seasons into it in a particular
Speaker 13: series like that where every season changes, it doesn't change,
Speaker 13: you know, but has a different plot line and making
Speaker 13: an impact. Because Mayor Royce was a super impactful character,
Speaker 13: even though it was many seasons into the thing, and
Speaker 13: all of these characters had already been established and then
Speaker 13: all of a sudden you come along and you have
Speaker 13: an impact as well.
Speaker 5: What was the what was.
Speaker 13: That process like? That was a very actory question. It
Speaker 13: sounded like an actor. I'm not an actor. That was
Speaker 13: a rectory question.
Speaker 3: There you go, all right. David Simon is a genius
Speaker 3: the producer of the Why oh yeah, yeah, yeah, yeah,
Speaker 3: we know, And he's got such insight into his characters.
Speaker 3: He knows all of his characters inside and out. I
Speaker 3: had a conversation with him. He was he was wonderful
Speaker 3: in the way he cared for the characters. That that
Speaker 3: that he was pointing out to me, and how he
Speaker 3: got there, and what he thought about Mayor Royce, that
Speaker 3: it was actually the mayor that was the mayor at
Speaker 3: the time in Baltimore, and that I was playing actually him.
Speaker 3: To give you an idea of how precise David Simon is.
Speaker 3: I came to that show while doing another show, a
Speaker 3: motion picture. I was doing a motion picture in Morocco,
Speaker 3: and it was one with Penelope Cruz and scl Sahara
Speaker 3: and Matthew McConaughey. And during a break in that filming,
Speaker 3: I booked the wire. But in that filming I had
Speaker 3: a go tee And so the first day of shooting,
Speaker 3: the directors saying, well, Glenn, we need you to shave
Speaker 3: your go tee. I said, I can't because I have
Speaker 3: to go back and finish this motion picture that I'm doing.
Speaker 3: So Hearah and they've got first first digs on me.
Speaker 3: So I've got to I've got to do. You know,
Speaker 3: Look the way I've looked in that show. On the spot,
Speaker 3: Simon says, Okay, tell you what. Next season, there's going
Speaker 3: to be an election runoff, a big election with a
Speaker 3: younger guy.
Speaker 5: I know where you yes, yes.
Speaker 3: With a younger character, Carsetti.
Speaker 5: You go.
Speaker 3: Into the script that because he's younger, you're trying to
Speaker 3: look younger with with the with the for the for
Speaker 3: your constituents, shave off your your your yes. And that's
Speaker 3: what he did. But he saw that on the spot
Speaker 3: a year before it happened. Yeah, yeah, I mean he
Speaker 3: solved that just like that on the spot. That's how
Speaker 3: I hit That's how telescopic his vision is. You know, so,
Speaker 3: how do you not be a part of somebody who's
Speaker 3: leading the charge like that? You want to be a
Speaker 3: part of something like that? Wait?
Speaker 13: I got a question along those lines, like, what's the
Speaker 13: difference between a script that's super specific, clearly, like one
Speaker 13: that's like a David Simon one versus one that's not
Speaker 13: versus one where where the actors ask to put way
Speaker 13: more into it versus just reading what's on the page
Speaker 13: or just responding to what's.
Speaker 3: On the page.
Speaker 13: Is there a how do you how do you do
Speaker 13: you favor scripts that go one way or the other,
Speaker 13: or how do you react to each of them?
Speaker 3: With the Wire? Now, you have to understand actors are
Speaker 3: the vainous people in the world.
Speaker 13: No, No, I know that they're most of my friends.
Speaker 3: But you also know that when actors get scripts, the
Speaker 3: first thing they do is some through it to get
Speaker 3: to their part.
Speaker 6: Yeah, my life, my line bullshite.
Speaker 3: With every script of the Wire. I read every script
Speaker 3: from beginning to whether I was in it or not,
Speaker 3: because it was like reading a book. That's your difference.
Speaker 1: Have you kept off of your scripts or are you?
Speaker 1: Do you have to give them all back?
Speaker 3: Yeah, I've got I've got him here in my office
Speaker 3: from the Wire. Yeah, a lot of them.
Speaker 4: Do you find that the Wires the I think for
Speaker 4: black people it's still for black people at a certain
Speaker 4: age it's coolly high. But do you are you shocked
Speaker 4: at the amount of white people that love the Wire
Speaker 4: as much?
Speaker 5: Well, I don't know what you're talking about, is.
Speaker 2: That white people show.
Speaker 3: No, I'll go if I go into uh to office
Speaker 3: to talk about a script with producers or whoever, the
Speaker 3: director will zoom through what we're there to talk about.
Speaker 1: Mm hmm, and then.
Speaker 3: The first question after that is, so tell me about
Speaker 3: the wire. And I'm there. I'm there for another half
Speaker 3: an hour, asking questions like you just asked me brother,
Speaker 3: you know wow, still just ask and we go into
Speaker 3: the wire and that's black, white or anything, it doesn't matter.
Speaker 3: That's the way that's been.
Speaker 2: I was gonna say, can you predict, depending on what
Speaker 2: situation you're in, who's going to come up to you
Speaker 2: and ask you which character? Like I'm in the grocery store,
Speaker 2: so I know you know it's going, you know, the
Speaker 2: conversation about Omar, right right?
Speaker 3: Right? Yeah?
Speaker 6: Do you remember the day if you remember what you
Speaker 6: can tell us the day of you shot the scene
Speaker 6: where you're caught in an uncompromising position, a position in
Speaker 6: the office.
Speaker 3: I don't know what you're talking about, pay, I don't
Speaker 3: know what you're talking about.
Speaker 1: The rules was a savage, he was.
Speaker 2: Mean.
Speaker 5: So h man, that was like a great role.
Speaker 6: I think that just spoke the so many for me
Speaker 6: in particular, it spoke to me seeing you in that
Speaker 6: role because up until that time, uh, you know, I
Speaker 6: had only seen you in you know kind of I guess,
Speaker 6: would you consider good guy Rose like Colonel Taylor?
Speaker 5: That was a great role. But yeah, he was very dignified.
Speaker 6: But you know in the wire that was just somebody
Speaker 6: you were so conflicted, you know what I'm saying. It's
Speaker 6: like he wasn't just a straight good guy, but you know,
Speaker 6: he wasn't a bad guy, like he just had like all.
Speaker 5: Them showing he was a politician. He's a politician in
Speaker 5: every sense of the word.
Speaker 6: Like when my favorite scene, you know, you when they
Speaker 6: were when Bunny Covin they find out that, you know
Speaker 6: that what he's been doing with Amsterdam, and everyone is
Speaker 6: in the office and they just everybody talking shit, everybody's
Speaker 6: raising hell and the mayor is just sitting back and
Speaker 6: you just looking at the numbers, like h like that's
Speaker 6: all he cares about, you know what.
Speaker 3: What was what was interesting about that was, like I said,
Speaker 3: I got to meet the mayor god I can't remember
Speaker 3: his name right now, who was the mayor at that time,
Speaker 3: and he was actually in that scene so well he
Speaker 3: what I asked him about that the whole incident with
Speaker 3: the legalizing uh that district for for the drugs, and
Speaker 3: he said, I made a horrible mistake. I said, what
Speaker 3: was that? He says, I framed that whole thing as
Speaker 3: a drug zone, and I should have framed it as
Speaker 3: a as a medical epidemic. Urt Hurt Smoke right right,
Speaker 3: you got it, You got it, You got it, Smoke said,
Speaker 3: I should have framed the whole thing as a as
Speaker 3: a medical problem. If I got use it as a
Speaker 3: medical problem, I would have been able to get away
Speaker 3: with it.
Speaker 4: I want to know if you know, because of the
Speaker 4: critical claim that the show had and the fact that
Speaker 4: it just completely got snubbed during the Emmys, did you
Speaker 4: guys ever feel a certain way about that?
Speaker 3: Yeah, that's miss Joanne. She's been asking about you.
Speaker 5: What's up, missne What we loved your black Love Love?
Speaker 3: Thank you?
Speaker 1: Okay, fun, Yes, ma'am.
Speaker 4: Now, I was saying that the fact that the show
Speaker 4: was so critically acclaimed and so well loved, were you
Speaker 4: guys at all disp pointed that you you know you,
Speaker 4: I wouldn't say blackballing, but the fact that the Emmy's
Speaker 4: refused to recognize you guys as the powerhouse that you
Speaker 4: were as far as the Emmys were concerned with the wire.
Speaker 3: Yeah, I never understood that it was other than that
Speaker 3: there was like twenty six black major players on this show.
Speaker 3: You know that had never happened before. But they just
Speaker 3: would not give the propers. They would not give the
Speaker 3: propers and I don't know why.
Speaker 4: Well, speaking of which, your role as in How to
Speaker 4: Get Away with Murder, you were nominated this year for yeah,
Speaker 4: an Emmy.
Speaker 1: What did that feel like?
Speaker 4: Like, is that important to you at all to get
Speaker 4: recognized by your peers or uh.
Speaker 3: Sure, absolutely, absolutely that's important. I don't take that for
Speaker 3: granted at all. You know, I've been blessed to have
Speaker 3: been the recipient of several wonderful awards, you know, I
Speaker 3: mean being a being a crown jewel, so to speak,
Speaker 3: you know, the one that I won, the one that
Speaker 3: I'm was nominated for. So no, I don't you know
Speaker 3: when your peers hold you up like that, you know,
Speaker 3: that's that's just something as a young actor, as a kid,
Speaker 3: you know, you're looking in the mirror and you're practicing,
Speaker 3: you're accepting speeches. You know, that's all that's real, you know,
Speaker 3: So then all of a sudden, there it is for real,
Speaker 3: and it's like you get up there and you're like
Speaker 3: tongue tied, you know, nervous.
Speaker 6: And I thought about like JD's Revenge it made me think,
Speaker 6: have you and Luca said Java worked together again?
Speaker 5: After that, we worked you know, Lou.
Speaker 3: The first time Lou and I worked together was in
Speaker 3: Raisin in the Sun.
Speaker 5: Ah right, yeah, because he was one of.
Speaker 3: The characters in the Raisin in the Sun. So I've
Speaker 3: known Lou. He's been a big brother of mine since
Speaker 3: I was twelve years old. So then again we did
Speaker 3: the River Niger with.
Speaker 2: Niger, which is a country.
Speaker 3: Yeah, okay, thank you, with James L. Jones and Sicily Tyson.
Speaker 2: Putting on my watch list.
Speaker 3: And then we did uh uh j D's Revenge uh
Speaker 3: after that, and we've been you know, he's always been
Speaker 3: a big brother kind of figure for me.
Speaker 4: Who who is your? Who's your You're starting five? You're
Speaker 4: You're inner circle? Like besides Ben Vereen, like, do you
Speaker 4: have a circle of peers that you're tight with it.
Speaker 10: We've got a road Dog road dog crew, like black Is,
Speaker 10: I say, like black.
Speaker 3: Is yeah, yeah, right right, yeah, we got a road
Speaker 3: dog crew that we we we all stay in touch
Speaker 3: and even through this pandemic, we talk every Sunday, you know,
Speaker 3: and some you know and some you wouldn't. Maybe not
Speaker 3: necessarily no, although most the crew.
Speaker 5: Who's who's the crew?
Speaker 3: Well, gosh, I don't want to go into before leave
Speaker 3: somebody out.
Speaker 5: Listening.
Speaker 1: Okay, well, well let's just flip in that.
Speaker 7: I have a question, Sugar, Steve here, Steve, you were
Speaker 7: in Gremlins, which nobody brought up yet.
Speaker 1: Yes, you were actually four, Yes you were. What are
Speaker 1: your memories of that? Was that a fun movie to
Speaker 1: be involved in.
Speaker 3: Gremlins was great to be involved in because, Sugar, that
Speaker 3: was the first time that that kind of puppet was
Speaker 3: made for the screen, So the eyes rolling and everything.
Speaker 3: There were about five or six people underneath the table
Speaker 3: with a hole in the table for the cables and
Speaker 3: everything to go to the puppet for the magua and
Speaker 3: all of them to operate my eyes and to operate
Speaker 3: their ears and all that kind of stuff. So it
Speaker 3: was fascinating. Now, then you cut forward to a movie
Speaker 3: I just did last year. It's just come out as
Speaker 3: it's only been out maybe a year. A Bumblebee is
Speaker 3: another Stephen Spielberg movie. My second thing is my second
Speaker 3: Steven Spielberg movie. And the technology has changed so much
Speaker 3: now we're doing giants, right, big big bumble Bee. Those
Speaker 3: those robots, you know, those big robots that change into
Speaker 3: cars and change into this and changingto that transform. They're gigantic, right,
Speaker 3: but they're really just for Eyeline, for the actor. A
Speaker 3: tennis ball on the end of a tall stick. That's
Speaker 3: all you're looking at, and that's up in the air,
Speaker 3: and you're acting to this thing. And then they put
Speaker 3: all of it together in post. But when we did
Speaker 3: the Grimlins, those little gadgets were right there, you know,
Speaker 3: and table there's six six dudes under there working some
Speaker 3: facet of the gadget, you know. So I said, wow,
Speaker 3: you know, I said, what a what a change in times?
Speaker 3: You know, it was really interesting. It was really fascinating
Speaker 3: to be a part of that.
Speaker 7: You are, and they're still using puppets over at Sesame
Speaker 7: Street Bill. I mean, what's going on with you guys?
Speaker 3: The old school stugger?
Speaker 1: I don't tell you.
Speaker 3: I have one more question.
Speaker 7: What can you tell me about Honky your first movie
Speaker 7: from nineteen seventy was waiting for.
Speaker 3: It?
Speaker 2: I feel like was first waiting for you to be
Speaker 2: specific on which one, but then he was all the
Speaker 2: move bait.
Speaker 3: I can't tell you much, man, I can't tell you.
Speaker 3: I can't sh sugar. That was a long.
Speaker 5: Man.
Speaker 6: I was just gonna ask you about, you know, because
Speaker 6: we were able to see uh, you know, my Rainey's
Speaker 6: and man like your performance in that, like you know great,
Speaker 6: you know what I'm saying, just as everything, but you know,
Speaker 6: just your you with with Chad with I mean, you
Speaker 6: know that being his last film, man, what was that like,
Speaker 6: you know, working with the last time?
Speaker 5: Yes?
Speaker 3: Really, And here's what you got to understand. All those
Speaker 3: fight scenes and tussling and him lifting me after after
Speaker 3: the end of that whole thing. We did that maybe
Speaker 3: twenty times.
Speaker 5: Wow, what was in it?
Speaker 2: Yeah? He was magic. I don't even want to use magic.
Speaker 2: That's just I don't know.
Speaker 3: Because and I was as dead weight as I could be,
Speaker 3: and he was literally holding me up and picking me up.
Speaker 3: And we did several different takes, several different angles, several
Speaker 3: different moments, and he just went for it every single time.
Speaker 3: And we had no idea that he was sick. I
Speaker 3: just kept saying to myself, Damn, this is strong, you know,
Speaker 3: And he was. He was just strong, strong, willed, you know,
Speaker 3: he willed himself to do all of that. So I
Speaker 3: just I miss him already. You know. He was wonderful.
Speaker 3: We had a great, great time. He had a great
Speaker 3: sense of humor. I used to tease him and Simon
Speaker 3: his wife when I first he first introduced me to her.
Speaker 3: You know, they were such a cute couple and uh
Speaker 3: so I had a great with them, and uh and
Speaker 3: his work ethic was just it reminded me of me
Speaker 3: back in the day.
Speaker 2: You know, I was gonna say you not for nothing.
Speaker 2: It's so eerie to me. And looking back at his
Speaker 2: filmography that it seems like he was very purposeful and
Speaker 2: the roles and the projects that he chose and was
Speaker 2: a part of, and especially in the sense of his
Speaker 2: commitment to his people, And it just made me think
Speaker 2: of you as well as how you became very purposeful
Speaker 2: in your roles. And I was curious if y'all had
Speaker 2: a conversation between the two of you guys about that.
Speaker 3: No, he was a coolie, big coolie HI fan, you know,
Speaker 3: and so he wanted to know a lot of questions
Speaker 3: about Coolie high. But he was just he was just
Speaker 3: a dedicated performer. You know.
Speaker 6: Do you have a lot of the younger guys like
Speaker 6: coming to you for advice, like like young black actors
Speaker 6: or you because you seem very much, kind of just
Speaker 6: you know, a og in the game. Do you have
Speaker 6: the people, you know, the younger actors come just.
Speaker 3: That happens quite a bit. That happens quite a bit,
Speaker 3: you know. I try to try to feed the you know,
Speaker 3: I was lucky I had the James Earl Joneses or
Speaker 3: the Sydney Poitiers who I could always call, you know,
Speaker 3: and go to wow. And you know, so I tried
Speaker 3: to reciprocate that same spirit.
Speaker 6: What were some of the biggest lessons you learned from
Speaker 6: James and Sydney.
Speaker 3: Well, I told her I ran into Sydney Poitier. I
Speaker 3: was a struggling actor. We had done and raising in
Speaker 3: the sun. And now I've graduated high school. I'm about
Speaker 3: nineteen years old. I'm struggling, trying to get the next job,
Speaker 3: trying to find a job. Nothing's happening. I'm going uptown.
Speaker 3: I was a truck dripper in New York and I'm
Speaker 3: taking a load of furniture uptown and I see Sydney
Speaker 3: coming out of a out of a restaurant on Seventh
Speaker 3: Avenue in the fifties, and I immediately say, oh my god, Sydney,
Speaker 3: I pull over, you know, and I got it all
Speaker 3: this furniture and everything that is big at this truck,
Speaker 3: you know, and I pull it over and I jump out,
Speaker 3: and I'm all dirty and grammy, I've been lifting furniture
Speaker 3: all day. And he comes out and he's all clean
Speaker 3: and shop and everything. You know, he coming out of there,
Speaker 3: going restaurants, you know. And I said, it's Glenn, and
Speaker 3: he kind of looks Glynn. Remember Travis, I'm raising him. Son.
Speaker 3: Oh how are you?
Speaker 1: I said, spot On?
Speaker 3: I said fine, bye, I said, s fine. I said, man,
Speaker 3: I'm you know, I graduated performing arts high school. You know,
Speaker 3: I'm trying to do my thing. You know, I'm just
Speaker 3: driving the truck right now. I'm auditioning and blah blah blah.
Speaker 3: What can you tell me about the business man? What
Speaker 3: do I need to know? He said, study math on
Speaker 3: all the way back to math.
Speaker 2: Right, yes, I said, we suck it.
Speaker 3: My yeah right right, studying man, Yeah, yeah, I got that.
Speaker 3: I got that, you know. And he took off, you know,
Speaker 3: down the street, and he's gone. He's wishing like disappears,
Speaker 3: you know, and I'm like, studying man, study What the
Speaker 3: is he talking about? Studying man? Study? Man? That's ship
Speaker 3: studying man drive. You just don't want to tell me. Well,
Speaker 3: this is a business. It's called show business.
Speaker 6: Count your paper, paper, I see.
Speaker 5: That's it.
Speaker 1: Wait before we close.
Speaker 4: You know, as I mentioned, you're you're dropping us with
Speaker 4: the two for of course my Rainy being one of them,
Speaker 4: but fogs your work on Fargo Doctor Senator, which which
Speaker 4: hopefully will be sending you back to vm me's next.
Speaker 3: Year from your list.
Speaker 2: Say it again, you.
Speaker 4: Know it's it's it's I already see it happen. I'm
Speaker 4: I'm putting it out there. Yeah, just in the fact
Speaker 4: that they're telling a black storyline, like no one was
Speaker 4: more shocked than I was. So how did this come
Speaker 4: to be?
Speaker 3: How?
Speaker 1: How did this come to fruition?
Speaker 3: I picked up the phone and running rang. My agent said,
Speaker 3: we've got an offer for you to do a Fargo.
Speaker 3: I said, send me, and they sent me the script
Speaker 3: and I said, I'm in.
Speaker 1: Were you familiar with the series at all before?
Speaker 3: It's a movie and I'd watched an episode here, in
Speaker 3: an episode there, but not really into it, you know.
Speaker 3: But once I signed on, you know, I got all
Speaker 3: of the episodes and binge Binge watched all of When
Speaker 3: I got there, I met Noah Howley, who was brilliant
Speaker 3: young man, and uh, he just you know, he and
Speaker 3: I just talked. I loved what he was saying. I
Speaker 3: loved what he was talking about in terms of and
Speaker 3: it was not deep. Everything was really rather rather simple.
Speaker 3: But he obviously to give you an idea of how
Speaker 3: his mind works in terms of details. Just I just
Speaker 3: watched this last episode. You know, I'm deadn't going about
Speaker 3: I'm still uh, you know, he had a thing in
Speaker 3: every way he said. I'm paraphrasing now, but one of
Speaker 3: the one of the black characters says, I don't think
Speaker 3: it was Chris, something about I got to get out
Speaker 3: of here and I'm going to go get some greens. Now,
Speaker 3: that's that's that's a white guy, right, Oh, no.
Speaker 2: Scars on their head like.
Speaker 3: You know. So he's he's so to the nuances. It's
Speaker 3: about the nuances of his scripts and his characters. It's
Speaker 3: the nuances that make that make the characters so interesting,
Speaker 3: you know. And he's brilliant at that, you know, and
Speaker 3: that those are what's so fun to play Doctor Sennerstor's nuances.
Speaker 3: We're just so much fun.
Speaker 2: So, but answer this question, Glenn. In the beginning of
Speaker 2: far Ago, it says, this is true, some of the
Speaker 2: things have been changed. But please, can you please tell
Speaker 2: me if any it is true that the black Man
Speaker 2: create the credit card.
Speaker 3: Come on, it's been a pleasure.
Speaker 1: Where you go?
Speaker 2: Before you go, can I just say, how poetic does
Speaker 2: it feel that you started out and raising in the
Speaker 2: sun with Lorraine and you now brought Uh. I was
Speaker 2: going August Wilson second, like a second play to the
Speaker 2: film to film, like what does that feel like? Like?
Speaker 2: I said that really nice in articulate.
Speaker 3: Yeah, it feels great. It feels great. Well, it just
Speaker 3: it just feels great. And you know, it's all so great.
Speaker 3: But to be here with you guys, to see you
Speaker 3: guys doing your thing, all of you together, doing your thing,
Speaker 3: asking great questions, got it, got your own thing going on?
Speaker 3: I love seeing this. You have to understand that it
Speaker 3: wasn't always like this. So you guys are real. You
Speaker 3: guys are my heroes.
Speaker 2: We stand on your shoulders, sir, thank you question like supreme,
Speaker 2: We are heroes.
Speaker 4: Well, we thank you very much, uh for sharing your
Speaker 4: stories and and and your creativity and and thank you always.
Speaker 5: Making us look good man.
Speaker 3: Yeah, yes, like.
Speaker 1: We appreciate that.
Speaker 4: Yeah, so on behalf of Sugar Steve on pay Bill fan,
Speaker 4: Tickeolo and la yea. This is Quest Love signing off
Speaker 4: from Quest Love Supreme. The Great Glenn Terman. Definitely see
Speaker 4: my rainees black.
Speaker 1: Black bottom.
Speaker 2: It's not nasty. Well it is though it is.
Speaker 1: I had a momentary lapse of reasons.
Speaker 4: Yes, and also yes, mom, Rainey's black bottom definitely must
Speaker 4: see and uh yeah support him in Fargo.
Speaker 1: And yeah we I'm calling it now this Yeah, it's
Speaker 1: it's it's in me time for this entire season.
Speaker 4: Yeah, I'm calling it right, the Great Glen termin Ladies, gentlemen,
Speaker 4: thank you very much.
Speaker 1: This question of Supreme signing off.
Speaker 3: Hey, this is Sugar Steve.
Speaker 14: Make sure you keep up with us on Instagram at
Speaker 14: qu l s and let us know what you think
Speaker 14: and you should be next to sit down with us.
Speaker 14: Don't forget to subscribe to our podcast.
Speaker 1: What's Love Supreme is a production of iHeartRadio.
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