THE RETRO MOVEMENT with Omar Tyree | Episode 1 (Bonus Audio) | Special Guest: Tawatha Agee

June 11, 2026

Episode Transcript

THE RETRO MOVEMENT with Omar Tyree - Episode 1 (with Music) - Special Guest: Tawatha Agee

Welcome to The Retro Movement, the new Zoom interview series hosted by NAACP Image Award winner and New York Times bestselling author Omar Tyree. Dedicated to "REspecting The ROots," the show highlights the stories, journeys, and legacies of influential writers, musicians, filmmakers, entrepreneurs, educators, activists, and media professionals.

In Episode 1, Omar sits down with legendary vocalist and songwriter Tawatha Agee for a candid conversation about her career, creative journey, and lasting impact on music and culture.

Produced by Valerie Denise Jones, The Retro Movement is a weekly series featuring engaging conversations with celebrities, industry leaders, and changemakers whose stories continue to inspire generations.

Follow Omar Tyree: @Only1OmarTyree | hotlavaentertainment.com
Produced by Valerie Denise Jones: @valeriedenisejones | valeriedenisejones.com

Join us weekly on Zoom and listen wherever podcasts are heard.

See full episode transcriptTranscript is autogenerated by AI

1 00:00:03,120 --> 00:00:04,160 Speaker 1: This is Towaka a G. 2 00:00:04,360 --> 00:00:08,160 Speaker 2: And you're listening to the retro movement with Omar Tyrie. 3 00:00:09,560 --> 00:00:13,960 Speaker 3: It's Retro Night shorting back in Chicago, Punk Check, Go 4 00:00:14,039 --> 00:00:19,440 off Face, South Sino Sleeve, don't Know, Hawaii Star Wars, 5 00:00:19,519 --> 00:00:26,160 High Snow Show your City, South Sssime Street caramone is 6 00:00:26,280 --> 00:00:29,760 Snow Mo No Mono Mo s Training out Dead. 7 00:00:29,640 --> 00:00:30,760 Speaker 4: Don't go even know. 8 00:00:30,800 --> 00:00:34,600 Speaker 3: It's like this show the Eartrio, John don't know. 9 00:00:34,520 --> 00:00:35,000 Speaker 5: What I know. 10 00:00:35,240 --> 00:00:39,640 Speaker 3: Yes, indeed, it's the retro movement, the very first show. 11 00:00:39,960 --> 00:00:44,200 So this is classic, the premier hosted by your dude, 12 00:00:44,520 --> 00:00:49,039 Old Mark Syrieda West Philadelphia and the Howard University Graduate, 13 00:00:49,280 --> 00:00:53,840 the na A Cpmagry World Writer, the storytelling from the bottom, 14 00:00:54,159 --> 00:00:57,799 and it's the retro movement where we respect the roots. 15 00:00:57,320 --> 00:00:58,759 Speaker 4: Of those who paid the way. 16 00:00:59,079 --> 00:01:03,439 Speaker 3: And we got our first discussing Howard University brand Tahuatha Ag. 17 00:01:05,519 --> 00:01:07,439 Speaker 4: We sang the classic. 18 00:01:07,000 --> 00:01:12,840 Speaker 3: Song Juicy Fruit, and I got my super producer Vollerie Denise. 19 00:01:12,439 --> 00:01:14,079 Speaker 4: Jones putting this together. 20 00:01:14,359 --> 00:01:18,480 Speaker 3: And we got my dude Jeff Kwan from BTP Media 21 00:01:18,560 --> 00:01:22,079 Group who got us in touch with Towatha Ag. And 22 00:01:22,159 --> 00:01:25,680 we want to start off with a good ag ain't Hugh. 23 00:01:25,920 --> 00:01:31,599 You know, I want to start off right here. Tahuafa. 24 00:01:32,120 --> 00:01:34,879 I have never seen that name before because I'm thinking 25 00:01:35,239 --> 00:01:40,280 the Twanda Tuanna Natasha, and I'm like, does anybody have 26 00:01:40,400 --> 00:01:40,840 that name? 27 00:01:41,799 --> 00:01:42,680 Speaker 4: Not that I know of. 28 00:01:43,200 --> 00:01:46,319 Speaker 2: That's what I actually I went on Instagram and there 29 00:01:46,400 --> 00:01:49,680 was some Tawatha's but out of the country. 30 00:01:50,120 --> 00:01:52,560 Speaker 3: The out of the country, so that was what was 31 00:01:52,560 --> 00:01:55,640 Was it Africa, Europe or somewhere It was not. 32 00:01:55,840 --> 00:01:59,079 Speaker 1: It was not Europe. Okay it was no, it was 33 00:01:59,120 --> 00:02:01,359 not Europe. It was was it was black. It was black. 34 00:02:01,439 --> 00:02:03,200 Speaker 3: It was Because I wanted to make sure I did 35 00:02:03,400 --> 00:02:05,760 say it wrong. I kept saying, Okay, you gotta say 36 00:02:05,760 --> 00:02:08,759 the A. So I'm not gonna say that A. I 37 00:02:08,759 --> 00:02:12,319 gotta say to I. I gotta be to Wafa. But 38 00:02:12,360 --> 00:02:15,400 I said, now, when you introduce yourself, you always got 39 00:02:15,400 --> 00:02:16,520 to make sure they get it right. 40 00:02:18,520 --> 00:02:20,800 Speaker 1: Yeah, my name can get massacred, you know. 41 00:02:20,919 --> 00:02:23,080 Speaker 2: And I always say it's like Hiawatha with a T, 42 00:02:23,840 --> 00:02:26,319 you know, and some people like that they can relate 43 00:02:26,319 --> 00:02:29,120 to that. But I don't mind correcting because I mean, 44 00:02:29,159 --> 00:02:30,840 I've done it my entire life. 45 00:02:30,919 --> 00:02:33,879 Speaker 4: So I was thinking that, like when your mom gives 46 00:02:33,879 --> 00:02:35,120 you a different name, you know. 47 00:02:35,280 --> 00:02:37,680 Speaker 3: I remember Tupac's your card was talking about that, like 48 00:02:38,039 --> 00:02:39,280 Mom's naming Tupac. 49 00:02:39,400 --> 00:02:40,800 Speaker 4: But then it became famous. 50 00:02:40,800 --> 00:02:43,319 Speaker 1: As ever, there you go and everybody knows. 51 00:02:44,199 --> 00:02:48,479 Speaker 3: Imagine, imagine coming up in New Jersey in the sixties 52 00:02:48,599 --> 00:02:51,960 and your name is Tupac and what the world you know? 53 00:02:52,960 --> 00:02:53,599 Speaker 4: Is that? Right? 54 00:02:54,680 --> 00:02:58,800 Speaker 1: So to Wafa T And I'll answer to it all. 55 00:02:58,879 --> 00:02:59,879 But I always correct. 56 00:03:00,000 --> 00:03:03,520 Speaker 4: I only did that. Now. You were born in Pittsburgh. 57 00:03:03,599 --> 00:03:05,599 Speaker 1: Born in Pittsburgh, raised in Newark. 58 00:03:06,120 --> 00:03:09,199 Speaker 3: Okay, Now, I actually went to school in Pittsburgh and 59 00:03:09,280 --> 00:03:12,080 I even worked at the Kennywood Park out there when 60 00:03:12,120 --> 00:03:15,080 I was nineteen twenty years old, before I transferred to 61 00:03:15,120 --> 00:03:17,960 Howard because I want to. I wanted to play football 62 00:03:17,960 --> 00:03:20,280 and went to pitt So you went there, yeah, and 63 00:03:20,319 --> 00:03:23,159 then you transferred or went over to Newark, New Jersey, 64 00:03:23,400 --> 00:03:25,479 what they called brick City, brick City. 65 00:03:25,680 --> 00:03:28,360 Speaker 1: Yeah, but it wasn't brick city back in the day. 66 00:03:28,439 --> 00:03:30,479 It was, you know, but it became, it. 67 00:03:30,479 --> 00:03:33,120 Speaker 4: Became it became. So when you got there, what was 68 00:03:33,159 --> 00:03:34,159 it like when you got there? 69 00:03:34,719 --> 00:03:40,080 Speaker 2: Oh, I was like three, so okay, it. 70 00:03:39,960 --> 00:03:41,840 Speaker 1: Was it was fine to me. It was home. 71 00:03:42,159 --> 00:03:43,520 Speaker 4: It's home. Well, I was I was. 72 00:03:43,560 --> 00:03:46,080 Speaker 3: I was reading about your upbringer, and it sounded like 73 00:03:46,080 --> 00:03:47,960 you was in the house all the time, Like you 74 00:03:48,120 --> 00:03:50,280 just listened to music on the radio. You didn't go 75 00:03:50,319 --> 00:03:51,800 outside listen. 76 00:03:51,560 --> 00:03:54,520 Speaker 2: To No, we couldn't couldn't go outside, didn't My mother 77 00:03:54,520 --> 00:03:56,319 didn't want me to mess up the grass. She didn't 78 00:03:56,319 --> 00:03:58,240 want to play in front of the house. I couldn't 79 00:03:58,240 --> 00:04:01,120 play in the yard. And so it's like, so I 80 00:04:01,280 --> 00:04:03,039 read and listened to music. 81 00:04:03,639 --> 00:04:05,479 Speaker 4: You gotta me because I kept reading that. 82 00:04:05,639 --> 00:04:07,479 Speaker 3: Like, wait a minute, she because I'm telling you, when 83 00:04:07,520 --> 00:04:09,840 I grew up in the bottom of West we was outside. 84 00:04:09,879 --> 00:04:10,680 Speaker 4: They kicked this out. 85 00:04:10,759 --> 00:04:12,360 Speaker 1: I get it the house right? 86 00:04:12,479 --> 00:04:15,400 Speaker 2: No, no, no, that is crazy. 87 00:04:15,520 --> 00:04:18,040 Speaker 4: You just listening to music all the time, all the. 88 00:04:18,040 --> 00:04:20,480 Speaker 1: Time, all the radio all the time. 89 00:04:20,959 --> 00:04:23,839 Speaker 4: Were you memorizing? Were you memorizing all the songs? 90 00:04:24,279 --> 00:04:27,079 Speaker 1: Uh? But you know, I didn't know that it was 91 00:04:27,240 --> 00:04:29,160 I was memorizing. Now. I just knew all the songs 92 00:04:29,199 --> 00:04:30,680 on the radio, you know what I'm saying. 93 00:04:30,759 --> 00:04:32,199 Speaker 4: I didn't know. I didn't know there was a word 94 00:04:32,240 --> 00:04:32,879 doing it for it. 95 00:04:32,920 --> 00:04:34,120 Speaker 1: There wasn't a word for it. 96 00:04:34,199 --> 00:04:36,279 Speaker 4: So yeah, you're just doing it, okay. 97 00:04:36,319 --> 00:04:40,079 Speaker 3: So y'all, y'all had a church family. So y'all, okay, 98 00:04:40,079 --> 00:04:41,879 every Sunday, every. 99 00:04:41,560 --> 00:04:46,120 Speaker 2: Sunday, Tuesday night choir rehearsal of a Bible study the 100 00:04:47,160 --> 00:04:48,240 whole nine yards. 101 00:04:48,480 --> 00:04:49,519 Speaker 4: How many kids is this? 102 00:04:49,680 --> 00:04:49,759 Speaker 6: You? 103 00:04:49,959 --> 00:04:50,759 Speaker 4: How many kids? 104 00:04:51,319 --> 00:04:53,519 Speaker 1: I'm the youngest of three girls. 105 00:04:53,519 --> 00:04:54,920 Speaker 4: Three girls, So you're the baby. 106 00:04:55,079 --> 00:04:55,759 Speaker 1: I'm the baby. 107 00:04:55,839 --> 00:04:58,680 Speaker 4: I was the baby. Was the big sister like bossy. 108 00:05:00,040 --> 00:05:03,319 Speaker 2: Oh, my big sister was amazing. Yes, yes, yes, yes, 109 00:05:03,360 --> 00:05:04,040 she was bossing. 110 00:05:04,079 --> 00:05:06,759 Speaker 1: But she was cool. She was way cool, way cool. 111 00:05:06,839 --> 00:05:09,480 Speaker 3: Well, when you say amazing, how do you how do 112 00:05:09,519 --> 00:05:10,399 you call her amazing? 113 00:05:10,480 --> 00:05:11,240 Speaker 4: Like? She was ext. 114 00:05:11,240 --> 00:05:13,120 Speaker 1: Well, she always she always looked out for me. 115 00:05:13,240 --> 00:05:15,519 Speaker 2: She even by the time I got to Howard, she 116 00:05:15,680 --> 00:05:18,000 was you know, when I went to Howard, you could 117 00:05:18,560 --> 00:05:20,480 you could eat for ten dollars a week, you know 118 00:05:20,519 --> 00:05:22,560 what I'm saying. Wow, So she would send me a 119 00:05:22,600 --> 00:05:25,120 little change, you know. So she made sure her sister 120 00:05:25,199 --> 00:05:26,560 was was cool, you know what I mean. 121 00:05:26,839 --> 00:05:29,240 Speaker 1: So she didn't go there, she didn't go. 122 00:05:29,319 --> 00:05:32,560 Speaker 2: I'm the only one in my family that went to college. 123 00:05:31,879 --> 00:05:35,639 Speaker 4: I'm the first. Yes, but you were the youngest. 124 00:05:35,920 --> 00:05:37,560 Speaker 1: But I was the youngest one in the family. 125 00:05:37,879 --> 00:05:40,399 Speaker 4: Yeah, so how come they your older sister, they didn't 126 00:05:40,399 --> 00:05:40,879 want to go. 127 00:05:41,680 --> 00:05:42,439 Speaker 1: I guess not. 128 00:05:43,040 --> 00:05:45,319 Speaker 2: They were seven and ten years older than me, so 129 00:05:45,879 --> 00:05:48,839 by that time, you know, the financial situation had changed 130 00:05:48,879 --> 00:05:50,240 by the time I was coming up. 131 00:05:50,519 --> 00:05:52,759 Speaker 3: So because I was going to ask you that, like 132 00:05:52,839 --> 00:05:56,839 if you got a scholarship or you just got no scholarship. 133 00:05:56,839 --> 00:05:57,560 Speaker 4: But let me tell you. 134 00:05:57,600 --> 00:05:59,720 Speaker 2: When I went to Howard, it was seven hundred and 135 00:05:59,759 --> 00:06:01,519 fifty dollars a semester. 136 00:06:02,079 --> 00:06:07,720 Speaker 1: Okay, So that's how long ago it was. So now 137 00:06:07,959 --> 00:06:10,439 now you need scholarships. Now you need scholarships. 138 00:06:10,680 --> 00:06:13,959 Speaker 4: Was it still like international or national like it is now? 139 00:06:14,000 --> 00:06:16,439 It's like they from all over the place? Was it 140 00:06:15,959 --> 00:06:17,279 like it was? It was? 141 00:06:17,399 --> 00:06:19,800 Speaker 2: I mean, I was Look, that was my first time away. 142 00:06:19,879 --> 00:06:22,639 The only school I applied to because I wanted to 143 00:06:22,680 --> 00:06:24,519 get away from home. I used to read a lot, 144 00:06:24,519 --> 00:06:26,959 and I read about people in different countries. It's like, 145 00:06:27,199 --> 00:06:29,920 wait a minute, I want to see these things, you know, 146 00:06:30,040 --> 00:06:32,040 and I want to have the type of career that 147 00:06:32,079 --> 00:06:32,959 I could see the world. 148 00:06:33,279 --> 00:06:34,920 Speaker 1: And that's how it turned out. 149 00:06:35,199 --> 00:06:37,720 Speaker 3: Now, when I got there, they had car washes everywhere, 150 00:06:37,800 --> 00:06:41,360 So I kept thinking about car wash when you got 151 00:06:41,399 --> 00:06:44,399 to d C. Because I'm from I had never seen 152 00:06:44,439 --> 00:06:47,319 that many car washes. I got on Georgia Avenue. It 153 00:06:47,360 --> 00:06:49,319 was like wash every three blocks. 154 00:06:49,639 --> 00:06:51,399 Speaker 4: Was it through? Yeah it was. 155 00:06:51,439 --> 00:06:54,040 Speaker 2: It was a car wash and a church and a 156 00:06:54,079 --> 00:06:57,360 tavern or or whatever they call a bar whatever. 157 00:06:57,480 --> 00:06:59,879 Speaker 4: Yeah, I'm thinking about what are these cars they got? 158 00:07:01,680 --> 00:07:04,279 Speaker 1: I don't know because where you parking all this stuff? Yep? 159 00:07:04,439 --> 00:07:06,639 Speaker 6: I love. 160 00:07:07,040 --> 00:07:07,800 Speaker 4: What did you study? 161 00:07:08,759 --> 00:07:10,399 Speaker 1: I was a music education major. 162 00:07:11,040 --> 00:07:13,480 Speaker 4: Oh you was already in the field. 163 00:07:14,000 --> 00:07:16,920 Speaker 2: Well you know the thing was go to college, become 164 00:07:17,160 --> 00:07:19,399 become a teacher and come back home, you know what 165 00:07:19,439 --> 00:07:22,480 I'm saying, and teach in the community and stay and 166 00:07:22,519 --> 00:07:24,279 stay forever with your parents. 167 00:07:24,800 --> 00:07:27,120 Speaker 4: And you did teach. You came right out and went 168 00:07:27,199 --> 00:07:27,759 right back in the tea. 169 00:07:27,959 --> 00:07:29,560 Speaker 2: I talked for a little while, but I met I 170 00:07:29,600 --> 00:07:34,759 met him too May my senior year, so I was subbing. 171 00:07:34,879 --> 00:07:37,480 I couldn't find a full time job. And he says, well, 172 00:07:37,560 --> 00:07:38,959 I'm going to form a band. Do you want to 173 00:07:39,000 --> 00:07:39,959 sing in my new band? 174 00:07:40,319 --> 00:07:41,240 Speaker 1: And it's like sure? 175 00:07:42,600 --> 00:07:44,839 Speaker 4: Was he already in DC? No? 176 00:07:44,839 --> 00:07:45,040 Speaker 3: No? 177 00:07:45,040 --> 00:07:45,199 Speaker 6: No? 178 00:07:45,240 --> 00:07:46,120 Speaker 1: He came to d C. 179 00:07:46,560 --> 00:07:50,040 Speaker 2: He and Reggie Lucas his partner, were looking for a 180 00:07:50,079 --> 00:07:53,879 group to produce and they knew one of the instructors 181 00:07:53,879 --> 00:07:56,959 at Howard who knew a group that I sang in 182 00:07:57,040 --> 00:08:00,040 called hot tea and in that group was on a 183 00:08:00,040 --> 00:08:05,680 little wind Bush uh, and. 184 00:08:04,519 --> 00:08:05,079 Speaker 4: He sang with. 185 00:08:06,759 --> 00:08:09,279 Speaker 1: I talked to her every week. We have actually have 186 00:08:09,319 --> 00:08:10,040 a podcast. 187 00:08:11,079 --> 00:08:13,240 Speaker 4: I love as wind Bush. 188 00:08:13,279 --> 00:08:15,120 Speaker 1: My goodness, that's my little sister. 189 00:08:15,360 --> 00:08:17,800 Speaker 4: That's my Oh my goodness. We gotta get her next 190 00:08:17,839 --> 00:08:20,279 on the show. Now, you gotta. I gotta hook that up. Well, 191 00:08:20,279 --> 00:08:20,759 I love that. 192 00:08:20,879 --> 00:08:23,000 Speaker 1: I see what I can do because that's. 193 00:08:22,920 --> 00:08:24,079 Speaker 4: My first love song. 194 00:08:24,120 --> 00:08:30,720 Speaker 3: You made that first note, my first man, my my, 195 00:08:31,560 --> 00:08:35,879 oh my goodness, I get the chimp Philadelphia lovest that song, 196 00:08:35,960 --> 00:08:44,039 man absolutely, and then your smile nothing, your smile. 197 00:08:41,960 --> 00:08:44,919 Speaker 4: Smile, Oh my god, Oh I got I gotta get that. 198 00:08:48,480 --> 00:08:52,320 Speaker 3: Had her she was in your group, yes, oh, and 199 00:08:52,399 --> 00:08:54,639 you'all called it hot seat like burn my lips. 200 00:08:54,440 --> 00:08:56,639 Speaker 1: Hot because it was Towatha. 201 00:08:56,759 --> 00:09:01,039 Speaker 2: It was he let an Angela. We use that initials 202 00:09:01,039 --> 00:09:02,759 from our name, all right. 203 00:09:02,799 --> 00:09:05,080 Speaker 4: So him two May, he was coming from what city? 204 00:09:05,080 --> 00:09:05,799 Where are you coming from? 205 00:09:05,840 --> 00:09:07,919 Speaker 2: He was, well by this time he was in New Jersey. 206 00:09:08,000 --> 00:09:13,720 But you know he's a Philly guy. He's a Philly guy. Yeah, Philly. 207 00:09:13,919 --> 00:09:14,960 Speaker 1: He lived on Kent Street. 208 00:09:16,320 --> 00:09:19,440 Speaker 2: So in two May and Reggie that they had just 209 00:09:19,559 --> 00:09:21,080 left Miles Davis and ROBERTA. 210 00:09:21,120 --> 00:09:21,440 Speaker 1: Flack. 211 00:09:21,799 --> 00:09:24,759 Speaker 4: What Miles Davis. That's my student. I love. 212 00:09:25,759 --> 00:09:29,200 Speaker 2: And two May was his percussionists for years. Okay, and 213 00:09:29,559 --> 00:09:30,879 Reggie was the guitarist. 214 00:09:31,200 --> 00:09:33,879 Speaker 3: This is the this is what I'm doing is the roots. 215 00:09:34,120 --> 00:09:36,759 You are grabbing roofs together, just talking with each other. 216 00:09:37,000 --> 00:09:40,519 I love Miles Davis. He was the hardest black man ever. 217 00:09:40,720 --> 00:09:41,559 I love that brother. 218 00:09:41,919 --> 00:09:45,120 Speaker 2: He was phenomenal. He Miles Davis is God. You know 219 00:09:45,120 --> 00:09:47,840 what I'm saying is the musical of the trumpet. God 220 00:09:48,080 --> 00:09:48,639 the trumpet. 221 00:09:48,919 --> 00:09:52,440 Speaker 4: And he backed down from nobody. That's what he was. 222 00:09:52,480 --> 00:09:55,360 As rough as they come, and black and powerful blackness. 223 00:09:55,559 --> 00:09:59,480 Speaker 2: Absolutely, and every group, every band that I've ever worked with, 224 00:09:59,759 --> 00:10:02,519 all let band members we talk about was Miles Davis. 225 00:10:03,000 --> 00:10:03,360 Speaker 4: Wow. 226 00:10:03,799 --> 00:10:06,559 Speaker 2: He he influenced everybody. 227 00:10:06,879 --> 00:10:07,720 Speaker 4: Every Wow. 228 00:10:08,000 --> 00:10:10,480 Speaker 3: So when two of May, coming from Philly and Jersey, 229 00:10:10,799 --> 00:10:14,080 came down to Howard looking for people, looking for a group. 230 00:10:13,879 --> 00:10:16,279 Speaker 2: To produce, and he there was this group at Howard 231 00:10:16,360 --> 00:10:19,240 University called hot Tea, So they came to listen to 232 00:10:19,320 --> 00:10:19,840 us sing. 233 00:10:20,120 --> 00:10:20,879 Speaker 4: They liked us. 234 00:10:20,960 --> 00:10:24,879 Speaker 2: We did some demos for CBS. Now that didn't work out. 235 00:10:25,320 --> 00:10:26,360 Speaker 1: That didn't work out. 236 00:10:26,440 --> 00:10:28,519 Speaker 4: But I didn't work out. I don't know. 237 00:10:28,639 --> 00:10:31,360 Speaker 1: That's that's the record company stuff, you know. 238 00:10:31,519 --> 00:10:32,679 Speaker 4: I didn't care. I was singing. 239 00:10:32,759 --> 00:10:40,440 Speaker 2: I was like, exactly, exactly, so, uh that didn't work out, 240 00:10:40,639 --> 00:10:43,600 and and so it just so happened that in two 241 00:10:43,639 --> 00:10:45,840 May and I lived in New York. We lived in 242 00:10:45,879 --> 00:10:49,960 the same city. We kept in touch, and he called me. 243 00:10:50,080 --> 00:10:53,159 I was trying to be a teacher, trying to couldn't. 244 00:10:52,799 --> 00:10:53,799 Speaker 1: Get a full time job. 245 00:10:53,879 --> 00:10:54,480 Speaker 4: I was so ok. 246 00:10:55,120 --> 00:10:57,200 Speaker 2: I was get up every morning, get dressed, wait for 247 00:10:57,279 --> 00:10:59,360 the phone and ring But. 248 00:10:59,320 --> 00:11:02,360 Speaker 4: You didn't get this storage. Oh did you get you did? 249 00:11:03,399 --> 00:11:05,960 Speaker 1: I'm sorry about that turned this ringer off? 250 00:11:06,120 --> 00:11:06,320 Speaker 3: Yeah? 251 00:11:07,960 --> 00:11:08,159 Speaker 4: No. 252 00:11:08,240 --> 00:11:11,399 Speaker 2: But the thing is, after a while and to May 253 00:11:11,480 --> 00:11:13,879 and Reggie decided they were going to form another band, 254 00:11:14,480 --> 00:11:16,759 and so they asked me if I wanted to sing 255 00:11:16,799 --> 00:11:17,240 in their. 256 00:11:17,120 --> 00:11:19,799 Speaker 4: Band, and he ended up he ended up using his 257 00:11:19,919 --> 00:11:21,799 name in two Yeah. 258 00:11:21,879 --> 00:11:24,360 Speaker 1: Yeah, that was clever because you never heard of that before. 259 00:11:24,720 --> 00:11:27,039 For so, how. 260 00:11:26,919 --> 00:11:29,120 Speaker 3: Did y'all think about it when you first said that, Like, oh, man, 261 00:11:29,159 --> 00:11:30,960 you're gonna put your own name on which storing? 262 00:11:31,200 --> 00:11:34,159 Speaker 4: Oh yeah, it didn't matter to me. I was singing. 263 00:11:34,600 --> 00:11:35,120 I was singing. 264 00:11:35,200 --> 00:11:39,159 Speaker 1: All I want to do was sing. Oh that's right, that's. 265 00:11:39,039 --> 00:11:40,039 Speaker 4: What you did? Okay? 266 00:11:40,080 --> 00:11:42,039 Speaker 3: So what was the one of the first songs y'all were. 267 00:11:42,159 --> 00:11:43,799 Do you remember one of the first songs y'all in 268 00:11:43,840 --> 00:11:44,240 the studio? 269 00:11:45,200 --> 00:11:49,279 Speaker 2: Okay, because that was like in seventy six, seventy seventy seven, 270 00:11:49,360 --> 00:11:53,080 seventy eight. What was it? 271 00:11:53,080 --> 00:11:54,759 Speaker 1: It was a song called just Funning. 272 00:11:56,960 --> 00:11:58,240 Speaker 4: But was it a funk song? 273 00:12:00,120 --> 00:12:02,559 Speaker 2: Sorta sorta they were getting to the funk. Remember they 274 00:12:02,559 --> 00:12:03,679 had jazz backgrounds. 275 00:12:04,000 --> 00:12:06,159 Speaker 4: Okay. He came from Miles Davis, he. 276 00:12:06,120 --> 00:12:08,919 Speaker 2: Came from out So the music was kind of It 277 00:12:09,000 --> 00:12:09,799 wasn't R and B. 278 00:12:10,440 --> 00:12:14,159 Speaker 1: It wasn't jazz. It was a mellow mellow or no, 279 00:12:14,200 --> 00:12:15,200 it's more than mellow. 280 00:12:15,360 --> 00:12:16,320 Speaker 4: It was mellow. 281 00:12:16,720 --> 00:12:19,200 Speaker 2: But by this time they had already written the closer 282 00:12:19,240 --> 00:12:20,440 I Get to You for ROBERTA. 283 00:12:20,480 --> 00:12:21,279 Speaker 1: Flack and down there. 284 00:12:23,039 --> 00:12:25,440 Speaker 4: There you go. I mean, I'm old school. I'm from 285 00:12:25,480 --> 00:12:26,840 phillip You know we heard all of it. 286 00:12:27,159 --> 00:12:27,320 Speaker 1: Oh. 287 00:12:28,120 --> 00:12:29,919 Speaker 4: I got Kenny Gamble on Speed Down. 288 00:12:29,960 --> 00:12:33,519 Speaker 1: But I love I love Kenny Gamble, I love Gambling. 289 00:12:34,480 --> 00:12:35,679 Speaker 4: All he wants to do is teach. 290 00:12:35,759 --> 00:12:38,000 Speaker 3: Now, he got several schools that I've been in, and 291 00:12:38,039 --> 00:12:40,799 he's in educating our people. But he's like, I guess 292 00:12:40,840 --> 00:12:43,000 the music thing. He then made so many hits and 293 00:12:43,039 --> 00:12:45,399 they burned so many bridges from him. He don't want 294 00:12:45,399 --> 00:12:46,960 nothing to do with it. I'm like Kenny Man, you 295 00:12:47,039 --> 00:12:47,799 a lessond man. 296 00:12:48,080 --> 00:12:49,039 Speaker 1: I got a legend. 297 00:12:49,200 --> 00:12:51,279 Speaker 2: He always got to dude, look back and look look 298 00:12:51,320 --> 00:12:52,279 at his his. 299 00:12:52,480 --> 00:12:54,159 Speaker 1: Royalty, royalty payments. 300 00:12:54,279 --> 00:12:55,000 Speaker 4: You know what I'm saying. 301 00:12:55,080 --> 00:12:57,639 Speaker 1: He doesn't have to write another song, but he has 302 00:12:57,679 --> 00:12:58,399 a lot to give. 303 00:13:00,000 --> 00:13:01,679 Speaker 4: And I grew up with that. So you know, my 304 00:13:01,759 --> 00:13:04,360 ears are like hyper for music. Man in the seventies, 305 00:13:04,360 --> 00:13:05,360 I grew up with all that. 306 00:13:05,639 --> 00:13:07,559 Speaker 2: I loved it, and I love What I loved about 307 00:13:07,559 --> 00:13:11,519 Philly International was that they credited all the musicians and 308 00:13:11,519 --> 00:13:14,279 that's how I knew who was playing what, who. 309 00:13:14,120 --> 00:13:14,639 Speaker 1: Was singing what. 310 00:13:14,960 --> 00:13:17,559 Speaker 2: And I always said, I'm going to see my name 311 00:13:17,639 --> 00:13:19,840 on album covers just like this one day. 312 00:13:20,559 --> 00:13:23,039 Speaker 3: And you know, that dude, Teddy Pendergrass came out of 313 00:13:23,080 --> 00:13:25,000 there that you talk about, and that dude that he 314 00:13:25,159 --> 00:13:26,679 was just a legend of legends. 315 00:13:26,759 --> 00:13:28,559 Speaker 1: But you know he did one of my songs. 316 00:13:29,000 --> 00:13:30,559 Speaker 4: Oh he did what's your song? That he did? 317 00:13:30,679 --> 00:13:33,840 Speaker 1: Go ahead, he did two hearts. He and Stephanie Mills. 318 00:13:34,080 --> 00:13:37,000 Speaker 4: I wrote that I did, You're going to sing so 319 00:13:37,080 --> 00:13:38,759 much go aha and sing. Some of it came. 320 00:13:38,600 --> 00:13:45,039 Speaker 6: Into my life a stranger. You captured my heart. Now 321 00:13:45,080 --> 00:13:49,039 I got to face the danger. I'm read at the 322 00:13:49,080 --> 00:13:50,759 start and the hook. 323 00:13:51,600 --> 00:14:01,399 Speaker 5: Two hearts are always better forever, you know of her 324 00:14:01,440 --> 00:14:03,000 show beautiful. 325 00:14:03,200 --> 00:14:06,320 Speaker 3: One thing about Philadelphia, we had records that meant something 326 00:14:06,320 --> 00:14:09,200 to the people. To Wafer, It's like they wasn't singing 327 00:14:09,399 --> 00:14:12,720 just you know, popcorn stuff. It wasn't always something that 328 00:14:12,840 --> 00:14:13,440 meant something. 329 00:14:13,480 --> 00:14:13,679 Speaker 6: Man. 330 00:14:13,759 --> 00:14:16,360 Speaker 4: You know, I always loved my mom. 331 00:14:17,000 --> 00:14:26,039 Speaker 2: Look the phonics and stylistics. Oh my money, Oh no, 332 00:14:26,480 --> 00:14:27,840 don't let it go to your head. 333 00:14:29,000 --> 00:14:32,279 Speaker 4: Gene Carn, Oh yeah, Oh my goodness, I know all that. 334 00:14:32,399 --> 00:14:34,679 Grew up with that, me too, me too. 335 00:14:34,879 --> 00:14:36,799 Speaker 1: And then I had a chance to meet them. You 336 00:14:36,840 --> 00:14:37,519 know what I'm saying. 337 00:14:37,799 --> 00:14:39,759 Speaker 2: I had a chance to meet Gambling Huff, I had 338 00:14:39,799 --> 00:14:41,519 a chance to meet in this Gene Karn. 339 00:14:42,039 --> 00:14:45,639 Speaker 1: Oh, It's like it was amazing, It was amazing, And 340 00:14:45,679 --> 00:14:46,159 we grew. 341 00:14:46,120 --> 00:14:48,519 Speaker 4: Up with all this. Goy w das radio w h 342 00:14:48,600 --> 00:14:51,799 A t d Y right right right right. You know. 343 00:14:51,960 --> 00:14:53,600 One of the first songs my mom. 344 00:14:53,720 --> 00:14:55,919 Speaker 3: I always connected to my mom when I was a kid, 345 00:14:56,279 --> 00:14:57,000 they had this song. 346 00:14:57,039 --> 00:14:59,399 Speaker 4: It wasn't a Philadelphia song. But it was have you 347 00:14:59,480 --> 00:15:04,720 ever seen have you ever seen? Mom? The shotlights? And 348 00:15:04,759 --> 00:15:06,039 that every time. 349 00:15:10,320 --> 00:15:13,120 Speaker 3: That song, every time it comes on, I think about 350 00:15:13,159 --> 00:15:15,039 my mother because it was like, you know how they 351 00:15:15,080 --> 00:15:18,240 play songs at the same time every morning whatever, Like 352 00:15:18,639 --> 00:15:21,399 every time she's driving me to daycare, Here come that 353 00:15:21,480 --> 00:15:23,480 song my my. 354 00:15:24,080 --> 00:15:25,279 Speaker 4: And my mom is driving me. 355 00:15:25,360 --> 00:15:27,279 Speaker 3: So when that song come on, I can see my 356 00:15:27,320 --> 00:15:30,080 mom driving me to school. And that's what music does. 357 00:15:29,919 --> 00:15:34,159 Speaker 2: To you, right, Yes, it does. Yes, And you remember 358 00:15:34,200 --> 00:15:37,360 all of those songs. You remember it now. There's things 359 00:15:37,360 --> 00:15:39,720 that are out today that that are not memorable, but 360 00:15:39,879 --> 00:15:44,559 those songs from from uh Philly International amazing. 361 00:15:45,000 --> 00:15:47,279 Speaker 3: All right, But let me see if you can remember 362 00:15:47,399 --> 00:15:48,879 one of the first song I just did, one of 363 00:15:48,879 --> 00:15:49,960 the first songs I remember. 364 00:15:50,159 --> 00:15:52,759 Speaker 4: Can you remember one of the first songs that you 365 00:15:52,960 --> 00:15:54,519 love that you heard on the radio? 366 00:15:54,600 --> 00:15:57,519 Speaker 1: Let me see if it would have to be an 367 00:15:57,519 --> 00:15:58,759 Aretha Franklin. 368 00:15:58,440 --> 00:16:01,200 Speaker 4: Song I love Fish. She got a lot of them. 369 00:16:01,279 --> 00:16:06,399 Speaker 2: Yeah, yea rich think ain't no way, Oh my goodness, 370 00:16:06,480 --> 00:16:08,440 And you know I used to sing with Areafa, so. 371 00:16:10,000 --> 00:16:11,080 Speaker 1: Yes, send me. 372 00:16:11,039 --> 00:16:11,279 Speaker 3: Some of it. 373 00:16:11,360 --> 00:16:13,120 Speaker 4: Ain't no way, Go ahead, give me some of. 374 00:16:13,039 --> 00:16:18,399 Speaker 6: That Ain't no way for me to love you if 375 00:16:18,440 --> 00:16:19,679 you won't let me. 376 00:16:20,919 --> 00:16:25,600 Speaker 4: And then you know Aretha. 377 00:16:26,080 --> 00:16:29,080 Speaker 3: I saw her one of her last shows at Essence 378 00:16:29,159 --> 00:16:31,879 Music Festival, and I mean it was the last. It 379 00:16:32,000 --> 00:16:33,639 was just shut to think. I mean it was like 380 00:16:33,720 --> 00:16:36,879 church and this dude, like dude wasn't moving. She came 381 00:16:36,919 --> 00:16:39,759 out there the last performer. I think that had to 382 00:16:39,799 --> 00:16:41,840 been like I don't know how many years ago, but 383 00:16:41,919 --> 00:16:43,960 it was like it was that. That's the only thing 384 00:16:44,000 --> 00:16:45,639 I remember from that dag going tovent. 385 00:16:45,960 --> 00:16:47,879 Speaker 2: Wait a minute, the last performer was supposed to be 386 00:16:47,879 --> 00:16:49,120 Shaka Khan because I was there. 387 00:16:49,960 --> 00:16:53,759 Speaker 4: I was I was Shaka come on after that. Yes, 388 00:16:53,840 --> 00:16:56,360 I did close it out. 389 00:16:56,879 --> 00:17:00,279 Speaker 3: I got so caught up into Aretha and I love 390 00:17:00,360 --> 00:17:01,000 Shaka khn. 391 00:17:01,240 --> 00:17:02,360 Speaker 4: I love Shaka Count. 392 00:17:02,480 --> 00:17:04,960 Speaker 3: In fact, you know when you won the ninety five 393 00:17:05,000 --> 00:17:06,519 and you handing down the Hogward and they got the 394 00:17:06,680 --> 00:17:08,680 Maryland House and they got the Chesapeake House. 395 00:17:09,160 --> 00:17:10,839 Speaker 4: Yes, we met Shaka. 396 00:17:11,519 --> 00:17:14,519 Speaker 3: We met Shaka Khan at the Maryland House right there 397 00:17:14,559 --> 00:17:15,400 at ninety five. 398 00:17:15,759 --> 00:17:18,640 Speaker 4: My family lost that. Oh my god, shot Count and 399 00:17:18,720 --> 00:17:22,039 she had like bodyguards and stuff. It was like so beautiful. 400 00:17:22,279 --> 00:17:23,160 That is cool. Y'all. 401 00:17:23,160 --> 00:17:25,359 Speaker 3: Don't have to keep because the bodyguards ready to jump 402 00:17:25,440 --> 00:17:28,200 out and grab people, and you're like, no, it's cool, 403 00:17:28,319 --> 00:17:31,000 it's cool, it's cool, you know, But yeah, I can't 404 00:17:31,279 --> 00:17:32,440 I remember Aretha. 405 00:17:32,799 --> 00:17:34,359 Speaker 4: I don't know if. I don't know why. 406 00:17:34,440 --> 00:17:38,279 Speaker 3: I couldn't remember anything because on stage, but Chaka Khan 407 00:17:38,400 --> 00:17:39,319 closed it out that year. 408 00:17:39,519 --> 00:17:40,640 Speaker 1: Chaka Khan closed it out. 409 00:17:40,680 --> 00:17:42,880 Speaker 4: And what year that was? How many years was that? 410 00:17:43,039 --> 00:17:45,640 Five years? Six? Seven years? I don't know. Wow, I 411 00:17:45,680 --> 00:17:47,119 don't remember because I don't remember. 412 00:17:48,119 --> 00:17:50,359 Speaker 2: That was like the only time I was at the 413 00:17:50,480 --> 00:17:51,480 Essence Festival, and it. 414 00:17:51,440 --> 00:17:55,119 Speaker 3: Was there because I was there that night, so you 415 00:17:55,240 --> 00:17:57,200 having to be there, that's the only time being there. 416 00:17:57,200 --> 00:17:59,839 Speaker 2: He was that busy, that was right, true because I 417 00:17:59,920 --> 00:18:02,400 was working with other people. Yeah, okay, so he was 418 00:18:02,440 --> 00:18:04,759 always traveling and stuff always yeah. 419 00:18:05,359 --> 00:18:06,559 Speaker 4: Yeah, Now I'm reading. 420 00:18:06,440 --> 00:18:09,640 Speaker 3: You had a long article and Rolling Stone Magas they 421 00:18:09,680 --> 00:18:13,240 must have interviewed you for like fifty they asked everything. 422 00:18:13,400 --> 00:18:15,960 Speaker 1: I said everything. 423 00:18:16,480 --> 00:18:19,160 Speaker 3: Yeah, you was named the foss the good God the name, 424 00:18:19,559 --> 00:18:22,200 and you won the Hall of Fame Songwriters Award in 425 00:18:22,240 --> 00:18:23,039 twenty twenty one. 426 00:18:23,119 --> 00:18:23,599 Speaker 4: That was the same. 427 00:18:23,759 --> 00:18:27,440 Speaker 1: Yes, yes, yes, yes, Women's Songwriters Hall of Fame. Yes. 428 00:18:27,839 --> 00:18:30,079 Speaker 4: Did they have an event or they just tored you 429 00:18:30,160 --> 00:18:30,920 up and gave you the war. 430 00:18:31,079 --> 00:18:34,079 Speaker 2: No, they had an event, and I believe it was 431 00:18:34,160 --> 00:18:35,440 in Where was it. 432 00:18:35,480 --> 00:18:37,240 Speaker 1: I believe it was in Philly. I believe it was 433 00:18:37,240 --> 00:18:38,279 in Philly and Philly. 434 00:18:38,680 --> 00:18:41,119 Speaker 2: I couldn't go because the two men it was very 435 00:18:41,160 --> 00:18:43,519 ill and I needed to stay. 436 00:18:43,599 --> 00:18:44,400 Speaker 1: I needed to stay. 437 00:18:44,599 --> 00:18:47,920 Speaker 4: Yeah, yeah, yeah, rest in peace for the Yes, yes, yes, 438 00:18:48,000 --> 00:18:50,079 yes yeah. Was he still in Philly or was he 439 00:18:50,160 --> 00:18:52,119 somewhere else? No, in Jersey Jersey? 440 00:18:52,200 --> 00:18:54,920 Speaker 3: Okay, he was back in Jersey. Okay, so he stayed 441 00:18:54,920 --> 00:18:56,839 in Jersey. He never came back to Philly. He's just 442 00:18:56,880 --> 00:18:57,559 stayed in Jersey. 443 00:18:57,559 --> 00:18:58,720 Speaker 4: No, he's no family. 444 00:18:58,720 --> 00:19:01,759 Speaker 2: He was always going back and forth. But they resided 445 00:19:01,799 --> 00:19:03,119 in uh in New Jersey. 446 00:19:03,240 --> 00:19:05,880 Speaker 4: Yeah, okay. Yeah. Did they send you an a ward 447 00:19:05,920 --> 00:19:08,279 after either at Cloque or something or do you know? 448 00:19:08,359 --> 00:19:10,559 Speaker 1: I'm still waiting for that thing for real. 449 00:19:11,079 --> 00:19:14,000 Speaker 4: Yeah that was five years. You just reminded me. 450 00:19:14,079 --> 00:19:16,759 Speaker 1: I got well, a lot's been going on, and lot's 451 00:19:16,799 --> 00:19:17,240 been going on. 452 00:19:17,640 --> 00:19:18,599 Speaker 4: Oh yeah. 453 00:19:18,720 --> 00:19:21,279 Speaker 3: So now when you were traveling all around the world, 454 00:19:21,440 --> 00:19:23,160 you went through the same experience when you had them 455 00:19:23,200 --> 00:19:26,720 big rooms and stuff. Let me tell you something. One 456 00:19:26,799 --> 00:19:29,119 time they had me staying when I'm on an off 457 00:19:29,160 --> 00:19:32,200 the tour. I was at the Dolphine Hotel and dollars 458 00:19:32,319 --> 00:19:35,440 okay to Watha. They gave me two rooms and a 459 00:19:35,440 --> 00:19:37,720 suite on a balcony on the twelfth floor. 460 00:19:38,160 --> 00:19:40,880 Speaker 4: I'm one dude. I was like, what the heck is this? 461 00:19:41,160 --> 00:19:44,079 Speaker 3: I'm thinking about having a movie and having a part. 462 00:19:44,920 --> 00:19:47,720 Speaker 4: I got two rooms in a bakay what I'm like? 463 00:19:47,759 --> 00:19:51,000 What they show off? Man? Sometimes they show off? 464 00:19:51,119 --> 00:19:51,720 Speaker 1: Yes they do. 465 00:19:51,920 --> 00:19:54,599 Speaker 2: I mean as you as you read in the in 466 00:19:54,640 --> 00:19:57,160 the bio. I got a room that was larger than 467 00:19:57,200 --> 00:19:59,599 the apartment I was living in. And I called my 468 00:19:59,599 --> 00:20:01,759 my friend and I said, Phronsie, I think I think 469 00:20:01,759 --> 00:20:04,799 they gave me the artist room and he said, no, 470 00:20:04,920 --> 00:20:07,319 everybody's room looks like I didn't. 471 00:20:08,200 --> 00:20:08,799 Speaker 4: I didn't know. 472 00:20:09,000 --> 00:20:10,599 Speaker 1: I did not know, but I loved it. 473 00:20:11,680 --> 00:20:13,799 Speaker 3: Now another thing I got scared of when you get 474 00:20:13,920 --> 00:20:16,599 these rooms and they got room service and orders, and 475 00:20:17,200 --> 00:20:20,400 you know, I'm a hardcore Philly dude and I'm a hustles. 476 00:20:20,440 --> 00:20:22,599 I had my I'm like, I'm not ordering nothing of 477 00:20:22,920 --> 00:20:25,720 making no phone calls up. I was scared to death 478 00:20:25,799 --> 00:20:28,480 because you start looking at the menu and it's like 479 00:20:29,000 --> 00:20:31,640 twenty dollars thirty dollars for like a piece of poe. 480 00:20:31,640 --> 00:20:33,720 I'm like, hey, I'm not eating nothing here. How did 481 00:20:33,759 --> 00:20:35,160 you feel when you were in the rooms? 482 00:20:35,440 --> 00:20:37,720 Speaker 2: But you know what they gave us per dim for food, 483 00:20:37,880 --> 00:20:40,920 so you know, so it was a new experience for me. 484 00:20:40,960 --> 00:20:42,839 I mean, because I'm used to going to the corner 485 00:20:42,839 --> 00:20:44,720 store buying some extra. 486 00:20:47,160 --> 00:20:51,440 Speaker 4: Twenty five cent, one dollar, ninety five cent. Right these 487 00:20:51,440 --> 00:20:54,680 hotel rooms, I'm like, whoa. 488 00:20:53,799 --> 00:20:54,920 Speaker 1: Oh no, no, no, no, no, no no. 489 00:20:54,960 --> 00:20:57,640 Speaker 2: And you know, and I had the luxury of staying 490 00:20:57,720 --> 00:21:01,759 in pretty nice hotels, and so berger would be thirty. 491 00:21:01,480 --> 00:21:05,279 Speaker 3: Dollars for a burger and then and then you want, 492 00:21:05,359 --> 00:21:07,039 she's on it a seven more dollars. 493 00:21:07,119 --> 00:21:10,279 Speaker 4: Yeah, you crazy? You know. Now, now here you go. 494 00:21:10,680 --> 00:21:13,119 Speaker 3: Some people can get that hats big, don't let it go, 495 00:21:13,319 --> 00:21:16,000 and they start ordering stuff and then did the bill come? 496 00:21:16,440 --> 00:21:18,480 And it's like, did you ever go through that like 497 00:21:18,519 --> 00:21:20,400 with somebody that was with you or did you ever 498 00:21:20,440 --> 00:21:22,160 get confused and forget? 499 00:21:22,960 --> 00:21:25,119 Speaker 4: No? No, no, no, no. I'm very thrifty. 500 00:21:25,240 --> 00:21:29,640 Speaker 2: I always know what things cost before I order, because. 501 00:21:29,400 --> 00:21:30,839 Speaker 1: I got to stay on a budget. 502 00:21:30,480 --> 00:21:31,000 Speaker 4: You know what I mean. 503 00:21:31,119 --> 00:21:34,359 Speaker 3: I got budget because oh yeah, yeah, because that's the 504 00:21:34,359 --> 00:21:37,079 thing that the whole music industry. Did you ever feel like, 505 00:21:37,119 --> 00:21:39,839 you know, you went somewhere and then they overcharged you, 506 00:21:39,920 --> 00:21:41,559 and it's like you had to fight and get your 507 00:21:41,559 --> 00:21:42,039 money back. 508 00:21:42,079 --> 00:21:43,640 Speaker 4: With the music industry, I. 509 00:21:44,000 --> 00:21:45,039 Speaker 1: Never had that problem. 510 00:21:45,119 --> 00:21:45,799 Speaker 4: Okay, that's good. 511 00:21:45,920 --> 00:21:46,000 Speaker 3: Now. 512 00:21:46,240 --> 00:21:48,759 Speaker 1: Look I worked with some pretty high end band, so 513 00:21:48,920 --> 00:21:49,799 they took care of it. 514 00:21:50,160 --> 00:21:50,720 Speaker 4: Took care of you. 515 00:21:50,799 --> 00:21:53,720 Speaker 3: Yeah, they took care So you work with Teddy Penderga, 516 00:21:53,720 --> 00:21:54,960 I'm gonna get to some of the other people who 517 00:21:55,000 --> 00:21:55,400 work with you. 518 00:21:55,440 --> 00:21:56,480 Speaker 4: Work with Teddy Pendergrad. 519 00:21:56,640 --> 00:21:59,640 Speaker 1: No, No, Teddy Pendergrass, you sang your song, so you 520 00:21:59,680 --> 00:22:01,599 know with No, I never worked with him. 521 00:22:02,279 --> 00:22:04,200 Speaker 4: But you work with Luther. You got a whole lot 522 00:22:04,200 --> 00:22:05,079 of talk about Luth. 523 00:22:05,160 --> 00:22:08,359 Speaker 2: I've worked with Luther since nineteen eighty one until until 524 00:22:08,359 --> 00:22:09,039 he passed. 525 00:22:09,920 --> 00:22:10,759 Speaker 1: Until he passed. 526 00:22:10,759 --> 00:22:13,640 Speaker 2: I sang on Luther's demo for Never too Much, his 527 00:22:13,799 --> 00:22:15,400 first album, and. 528 00:22:15,319 --> 00:22:17,920 Speaker 3: He would keep he would keep your demo tracks all 529 00:22:18,079 --> 00:22:20,359 on to his. And so you did like the extra track, 530 00:22:20,400 --> 00:22:21,240 he would keep them on it. 531 00:22:21,680 --> 00:22:24,039 Speaker 1: You actually read the information. 532 00:22:23,599 --> 00:22:27,079 Speaker 4: I'm a reader. I'm not read. 533 00:22:27,559 --> 00:22:31,279 Speaker 2: Yeah, definitely, I really appreciate that because a lot of people, 534 00:22:31,519 --> 00:22:33,799 you know, they. 535 00:22:32,839 --> 00:22:35,880 Speaker 4: Trust me, trust me. I've done interviews with it O. 536 00:22:36,000 --> 00:22:37,839 Speaker 3: My Wayne read your book, but I know how I'm 537 00:22:37,839 --> 00:22:39,240 gonna fill it off, and I knew to get the 538 00:22:39,279 --> 00:22:41,480 gap talking something they don't worry about that I'm gonna 539 00:22:41,519 --> 00:22:43,039 talk about because you know what you're saying. 540 00:22:43,079 --> 00:22:45,880 Speaker 4: You know what you did, so you just start talking exactly. 541 00:22:47,640 --> 00:22:50,640 Nor Nobody's sister to Watha. 542 00:22:50,960 --> 00:22:54,480 Speaker 3: Nobody's getting on this retro movement show without me reading 543 00:22:54,759 --> 00:22:56,759 what they've done because I got to ask questions. 544 00:22:56,799 --> 00:22:57,440 Speaker 4: It's on point. 545 00:22:57,839 --> 00:23:01,839 Speaker 2: Well, your guests will definitely appreciate that, definitely, And I 546 00:23:01,920 --> 00:23:04,559 don't want that. God the Wikipedia thing, it's like because 547 00:23:04,559 --> 00:23:08,000 the Wikipedia has wrong information and so and they always 548 00:23:08,039 --> 00:23:11,200 say yes and you did this, and it's like, oh Wikipedia, right, 549 00:23:11,920 --> 00:23:15,039 got update it, gotta update, Yes, you gotta update. 550 00:23:15,319 --> 00:23:18,079 Speaker 3: Where was uh Luther riginally from? I always think that 551 00:23:18,079 --> 00:23:20,880 where's the Ruther from? Was he from Ohio? Where's he from? 552 00:23:21,200 --> 00:23:21,240 Speaker 4: No? 553 00:23:21,319 --> 00:23:21,359 Speaker 6: No? 554 00:23:21,480 --> 00:23:25,200 Speaker 2: No, he was Luther was from New York, New York. Yeah, yeah, 555 00:23:25,240 --> 00:23:26,559 but I think he went to call he went to 556 00:23:26,640 --> 00:23:31,119 college in New He went to college in Ohio. I 557 00:23:31,160 --> 00:23:34,160 think like for like two minutes and then he decided, 558 00:23:34,200 --> 00:23:35,200 I'm just gonna sing. 559 00:23:35,599 --> 00:23:37,519 Speaker 3: Because I keep thinking, Ohio, do you know what, bro 560 00:23:37,720 --> 00:23:39,599 he was from New York because New York is right 561 00:23:39,680 --> 00:23:40,920 next to Ith. 562 00:23:41,400 --> 00:23:44,680 Speaker 1: No, No, I think he was from Harlem. I'm not sure. 563 00:23:44,839 --> 00:23:45,319 Speaker 4: I'm sure. 564 00:23:45,319 --> 00:23:48,319 Speaker 3: I love hall them. Okay, So where'd you first meet him? 565 00:23:48,319 --> 00:23:49,480 Where'd you first meet Luther? 566 00:23:49,920 --> 00:23:52,240 Speaker 1: I first met when I hired him for a job. 567 00:23:54,960 --> 00:23:57,880 Speaker 2: Yeah, I get it, because and to May and Reggie, 568 00:23:58,279 --> 00:24:01,039 I was I hired the singers for all their projects, 569 00:24:01,960 --> 00:24:04,079 so and I wanted Luther to sing on the on 570 00:24:04,160 --> 00:24:05,720 the on this particular project, and. 571 00:24:05,799 --> 00:24:06,559 Speaker 4: So I got them. 572 00:24:07,599 --> 00:24:10,480 Speaker 3: Well, now I understand because we started with the roots. 573 00:24:10,559 --> 00:24:13,400 You was the baby, and so I've read the interviews 574 00:24:13,440 --> 00:24:16,319 when you wanted to support people. Now that makes sense 575 00:24:16,319 --> 00:24:18,559 because you were the baby. You want to support the 576 00:24:18,640 --> 00:24:22,400 oldest sisters. I'm like, okay, because at first, let me 577 00:24:22,480 --> 00:24:24,200 tell you something, singers. 578 00:24:23,880 --> 00:24:26,960 Speaker 4: Are not like that. Now, oh my goodness. Oh they are. 579 00:24:27,039 --> 00:24:31,119 Speaker 3: They are the opposite now now, oh my goodness. So 580 00:24:31,200 --> 00:24:33,160 when I read that, I was like, you got to 581 00:24:33,200 --> 00:24:36,160 be from another planet, like what? But now I understand 582 00:24:36,200 --> 00:24:37,359 you had two older sisters. 583 00:24:37,759 --> 00:24:40,759 Speaker 1: Yeah, I'm so sorry. 584 00:24:40,839 --> 00:24:42,720 Speaker 4: Can you lower your camera so we can get a 585 00:24:42,799 --> 00:24:45,359 better frame of your face because I've tried it on 586 00:24:45,599 --> 00:24:45,880 very well. 587 00:24:45,920 --> 00:24:46,240 Speaker 3: You know what. 588 00:24:46,559 --> 00:24:49,759 Speaker 2: I'm holding this in my hand, and when we're talking, 589 00:24:49,799 --> 00:24:51,240 I'm getting I'm. 590 00:24:51,160 --> 00:24:56,000 Speaker 4: Sorry, it's cool. Thanks, that's my super. 591 00:24:59,200 --> 00:24:59,480 Speaker 3: All right. 592 00:24:59,720 --> 00:25:05,000 Speaker 4: Is that better? Let's see lowered to your eyeline a 593 00:25:05,039 --> 00:25:08,480 little more so so you're not looking up at the camera. 594 00:25:08,799 --> 00:25:10,920 Speaker 1: Okay, because I'm looking. I'm looking at Omar. 595 00:25:11,240 --> 00:25:12,680 Speaker 3: So she wants you to pull it. She wants you 596 00:25:12,720 --> 00:25:18,000 to pull the camera closer. Yeah, higher, right, there you go. 597 00:25:18,279 --> 00:25:21,039 Speaker 4: You want to pull it higher, looking directly in higher 598 00:25:21,720 --> 00:25:22,440 into your eyes. 599 00:25:22,960 --> 00:25:24,559 Speaker 1: I'm looking into Omar's eyes. 600 00:25:26,680 --> 00:25:28,559 Speaker 4: Yeah, she wants you to pull the camera up higher 601 00:25:28,720 --> 00:25:32,000 so it can be more like that. Okay, So I 602 00:25:32,119 --> 00:25:33,599 must be up so you okay. 603 00:25:33,400 --> 00:25:36,200 Speaker 1: All right, Yeah, I'm sorry. 604 00:25:36,359 --> 00:25:40,160 Speaker 2: I'm sorry because I'm enjoying the conversation and so I'm 605 00:25:40,279 --> 00:25:41,119 going back and forth. 606 00:25:42,200 --> 00:25:46,799 Speaker 4: That's that's perfect. Yeah, I just wanted you to look we're. 607 00:25:46,200 --> 00:25:50,279 Speaker 3: Talking about Yeah, we're talking about the support. Were talking 608 00:25:50,279 --> 00:25:52,440 about the support. You were making all the calls to 609 00:25:52,519 --> 00:25:54,720 get people on. So you would like the great teammates 610 00:25:54,880 --> 00:25:55,720 to get everybody on. 611 00:25:56,960 --> 00:25:59,960 Speaker 2: Right, it's called contractor, you know, for the union, it's 612 00:26:00,039 --> 00:26:02,559 called the contractor. So I would call I would call 613 00:26:02,640 --> 00:26:04,400 people to come and sing. I would make sure that 614 00:26:04,440 --> 00:26:06,400 their paperwork was correct so they can get paid. 615 00:26:06,839 --> 00:26:10,200 Speaker 4: And so you know, it's like, oh, you were the hookup, bro. 616 00:26:10,319 --> 00:26:12,960 Speaker 1: The was the hook up, right, but they called it 617 00:26:13,079 --> 00:26:14,640 contractor yeah. 618 00:26:15,319 --> 00:26:17,160 Speaker 3: That is great because I was looking at that like 619 00:26:17,960 --> 00:26:20,160 doing all the work. But now I understand it, right, 620 00:26:20,440 --> 00:26:22,440 because you were the one that was under the sisters. 621 00:26:22,480 --> 00:26:25,079 You want to help everybody out, that's what's great. And 622 00:26:25,119 --> 00:26:26,960 then you end up singing, so you know all the 623 00:26:27,039 --> 00:26:28,519 records because you know what they would. 624 00:26:28,319 --> 00:26:30,799 Speaker 2: Try to do, none and the whole nun absolutely because 625 00:26:30,839 --> 00:26:34,079 I taught the singers the parts for the songs and 626 00:26:34,279 --> 00:26:36,480 uh where I worked with him to May and Reggie 627 00:26:36,640 --> 00:26:38,920 for the vocal arrangement. 628 00:26:39,119 --> 00:26:42,039 Speaker 3: So it's like yeah, right right, and then you start 629 00:26:42,079 --> 00:26:43,880 working with Luther and you were doing the same thing 630 00:26:43,960 --> 00:26:44,480 with him too. 631 00:26:44,960 --> 00:26:46,799 Speaker 4: Well, No, with Luther, I was. 632 00:26:46,960 --> 00:26:48,480 Speaker 2: I was just one of the singers with Luthor, but 633 00:26:48,599 --> 00:26:51,880 lucause Luthor had everything under control. He was he knew 634 00:26:51,880 --> 00:26:54,920 what he wanted and he had people call, you know, 635 00:26:55,240 --> 00:26:57,440 the singers, and as it turned out, it was the 636 00:26:57,519 --> 00:26:58,680 same singers all the time. 637 00:26:59,079 --> 00:27:03,680 Speaker 4: So you know, as he was consistent, he knew liked consistent. 638 00:27:03,880 --> 00:27:06,279 Speaker 2: Marina called us the Luther Vandreis Singer's like we were 639 00:27:06,319 --> 00:27:07,119 a gospel group. 640 00:27:08,440 --> 00:27:09,200 Speaker 4: Yeah, he was great. 641 00:27:09,519 --> 00:27:13,279 Speaker 3: The house is not a home, yeah, but you know 642 00:27:13,599 --> 00:27:15,839 he's the dude that him and set the pendergrass. 643 00:27:16,119 --> 00:27:18,720 Speaker 4: You can just put them along and of course Marvin J. 644 00:27:19,200 --> 00:27:22,319 You just put them on. No dancers needed, and them dudes. 645 00:27:22,400 --> 00:27:26,960 Just get them three dudes man, Marvin Day, Teddy and Luther. 646 00:27:27,359 --> 00:27:28,720 Just get him a microphone. Now. 647 00:27:28,720 --> 00:27:30,519 Speaker 3: I know they always bringing back up, but you get 648 00:27:30,559 --> 00:27:33,160 them dudes a microphone, and it's like, that's all we need. 649 00:27:33,720 --> 00:27:36,559 Speaker 2: And they will never be replaced. There's never been another Marvin. 650 00:27:36,640 --> 00:27:40,519 There's never been. Even though October London sounds like Marvin, 651 00:27:40,680 --> 00:27:43,319 he's not Marvin, okay, but he sounds like it, so 652 00:27:43,400 --> 00:27:46,799 it's a good homage. No one sounds like Teddy and 653 00:27:46,920 --> 00:27:50,359 no one sounds like Luther. They're all in a class 654 00:27:50,400 --> 00:27:52,119 by themselves and I love them all. 655 00:27:53,079 --> 00:27:55,640 Speaker 4: Wow. Well, you got a whole lot of new talent. 656 00:27:55,720 --> 00:27:57,400 Are you listening to any of the new talent? 657 00:27:57,559 --> 00:27:57,599 Speaker 3: Like? 658 00:27:57,960 --> 00:28:01,279 Speaker 4: I like the Censor girls. She's pretty versatile. 659 00:28:02,920 --> 00:28:03,799 Speaker 1: She's a Jersey girl. 660 00:28:03,960 --> 00:28:06,400 Speaker 4: Yes, I like her. I like h I jumped that 661 00:28:06,480 --> 00:28:06,759 out there. 662 00:28:06,920 --> 00:28:08,680 Speaker 3: I'm gonna let you say because You've been around a 663 00:28:08,720 --> 00:28:11,799 lot more singers than me, the older people. 664 00:28:11,599 --> 00:28:15,119 Speaker 2: To like now, I like, I like Sisster, I like 665 00:28:15,279 --> 00:28:19,920 Jazmine Sullivan, I like I like I like October London 666 00:28:20,000 --> 00:28:23,039 because I was such a big Marvin fan, such a 667 00:28:23,079 --> 00:28:24,079 big Marvin Gaye fan. 668 00:28:24,640 --> 00:28:28,240 Speaker 1: And who else we got. 669 00:28:28,319 --> 00:28:31,480 Speaker 3: We got JCT and we got Eric Abatu that came 670 00:28:31,519 --> 00:28:33,200 out of the soul, and then we gotta. 671 00:28:33,720 --> 00:28:34,680 Speaker 4: The neo soul people. 672 00:28:34,799 --> 00:28:36,960 Speaker 1: Yeah, the neo sould people, well all of them. But 673 00:28:37,440 --> 00:28:42,720 I like new, new, new people. I'm not new anymore. 674 00:28:42,920 --> 00:28:43,880 Erica is not new. 675 00:28:44,440 --> 00:28:47,640 Speaker 3: So we skipped the generations because it's like I'm you know, 676 00:28:47,680 --> 00:28:49,480 I'm older too now, so it's like, yeah. 677 00:28:50,759 --> 00:28:54,519 Speaker 2: Laurence, Laurence Hill, I mean I love Yeah, I lovell 678 00:28:55,359 --> 00:28:57,519 And then look and you still got Gladys and Patty 679 00:28:57,599 --> 00:29:02,480 still singing out on which definitely Shaka so the Queen's Tour. 680 00:29:02,640 --> 00:29:05,960 Speaker 1: So it's it's a lot of good talent out there. 681 00:29:06,640 --> 00:29:09,880 Speaker 4: Now. You brought up Angela Winbush. At that same time, 682 00:29:10,519 --> 00:29:11,599 we had Denise. 683 00:29:11,359 --> 00:29:17,039 Speaker 3: Williams, Yes I could have it, and that song free 684 00:29:17,400 --> 00:29:20,960 play and the free Way use that one, and then 685 00:29:21,000 --> 00:29:23,480 I'm gonna bring up the other one. We had another 686 00:29:23,680 --> 00:29:26,799 woman by the name of Anita Baker. 687 00:29:27,799 --> 00:29:32,000 Speaker 1: Yes, yes, yes, yes. 688 00:29:32,039 --> 00:29:34,160 Speaker 3: And that did going with what the name of that 689 00:29:34,880 --> 00:29:38,400 my Angel? We in Philadelphia. We were melting off that 690 00:29:38,559 --> 00:29:39,160 angel song. 691 00:29:41,000 --> 00:29:43,559 Speaker 4: Oh no, Baker was all of it is all of that, 692 00:29:43,759 --> 00:29:45,920 It's all but that. But that's an oldest school, so 693 00:29:46,000 --> 00:29:47,000 I'm going back again. 694 00:29:47,559 --> 00:29:47,759 Speaker 3: Yeah. 695 00:29:47,880 --> 00:29:50,599 Speaker 2: So yeah, So when you were asking about new people, 696 00:29:50,640 --> 00:29:53,319 I wasn't thinking about them because they've been. 697 00:29:53,240 --> 00:29:54,200 Speaker 4: Around a long time. 698 00:29:54,960 --> 00:29:57,480 Speaker 2: Jill, Jill's been around at least for twenty years now, 699 00:29:58,279 --> 00:30:01,240 so you know, you know. And as a matter of fact, 700 00:30:01,599 --> 00:30:05,480 Jilly from Philly. We sang background for her when she 701 00:30:05,680 --> 00:30:09,240 was performing at the Grammys many many years ago. 702 00:30:09,519 --> 00:30:10,839 Speaker 4: Many Yeah. 703 00:30:11,160 --> 00:30:14,279 Speaker 3: Wow, yeah, did you guys have conversations about you know, 704 00:30:14,440 --> 00:30:14,920 your age? 705 00:30:17,079 --> 00:30:18,920 Speaker 1: No, No, of course she was at the rehearsal and 706 00:30:19,000 --> 00:30:20,960 it was like it was cool. She was totally cool. 707 00:30:21,200 --> 00:30:22,039 Speaker 4: She was so good. 708 00:30:22,319 --> 00:30:24,720 Speaker 3: Yeah, Okay, do you ever get a do you ever 709 00:30:24,759 --> 00:30:26,440 get a chance to sit down with the new people 710 00:30:26,519 --> 00:30:28,440 or like, you know, check, because that's what I'm trying 711 00:30:28,440 --> 00:30:30,960 to bridge the gap because they don't know so much 712 00:30:31,119 --> 00:30:33,559 is it's crazy, like, have you ever had a chance 713 00:30:33,599 --> 00:30:36,559 to sit down with the younger singers and talk about stuff. 714 00:30:36,680 --> 00:30:39,920 Speaker 1: Only if I'm working with them, working with them. 715 00:30:39,920 --> 00:30:42,799 Speaker 2: There's never been a situation where there's been an event 716 00:30:42,920 --> 00:30:44,920 or something where we could all sit down and. 717 00:30:45,000 --> 00:30:46,640 Speaker 1: Have a conversation, you know. 718 00:30:46,839 --> 00:30:48,960 Speaker 2: But if I'm working with a group of singers and 719 00:30:49,039 --> 00:30:50,960 the new singers, I mean I try to you know, 720 00:30:51,480 --> 00:30:54,799 I'm I'm the eternal auntie. I give them advice about, 721 00:30:54,880 --> 00:30:57,119 you know, how to work in the studio and how 722 00:30:57,279 --> 00:30:59,880 to work the microphone and and what you should do, 723 00:31:00,359 --> 00:31:04,359 uh and the protocol, the protocol because most people come in, 724 00:31:04,480 --> 00:31:07,319 you know, they see you singing on what's that American 725 00:31:07,400 --> 00:31:09,759 idol or something and think that's like overnight success. 726 00:31:10,279 --> 00:31:12,319 Speaker 1: That's a lot of work. It's a lot of work. 727 00:31:13,200 --> 00:31:15,519 Speaker 2: People just see the performance part, but they don't know 728 00:31:15,640 --> 00:31:19,400 the work going towards the performance. That's a lot, a whole. 729 00:31:19,200 --> 00:31:19,680 Speaker 4: Lot of work. 730 00:31:19,920 --> 00:31:20,680 Speaker 1: It's a lot of work. 731 00:31:21,119 --> 00:31:23,799 Speaker 4: I remember that Dance Fever show that was ordered the seventies. 732 00:31:23,920 --> 00:31:25,440 Do you ever get a chance to get on that show, 733 00:31:26,119 --> 00:31:31,359 Dance Dance Fever with the DJ and stuff they had, 734 00:31:32,960 --> 00:31:34,079 I think din of Summer. 735 00:31:34,240 --> 00:31:35,799 Speaker 3: I think they was that because you had that that 736 00:31:35,960 --> 00:31:38,519 disco music to Die of Summer and they did a 737 00:31:38,559 --> 00:31:40,920 whole lot of that with the Dance Fever because everybody 738 00:31:41,039 --> 00:31:43,359 was into American dance standing soul trade. 739 00:31:43,640 --> 00:31:46,240 Speaker 4: Well you don't remember that the Dance Fever soul traded. 740 00:31:46,880 --> 00:31:50,640 Speaker 1: Danny Terryo was the whole Yeah, you know, there you go. 741 00:31:51,359 --> 00:31:52,079 I remember Dan. 742 00:31:52,799 --> 00:31:55,119 Speaker 3: I don't know why, maybe because I was younger and 743 00:31:55,200 --> 00:31:58,160 it had more energy that right now, energy and the 744 00:31:58,319 --> 00:31:58,920 soul trade. 745 00:31:58,960 --> 00:32:00,240 Speaker 4: They had the soul training thing. 746 00:32:00,319 --> 00:32:02,799 Speaker 2: Everybody go down and well, you know, Don Cornelius was 747 00:32:02,839 --> 00:32:04,960 super cool, you know what I'm saying. So you know, 748 00:32:05,319 --> 00:32:09,000 and and on Soul Train people sang live. Originally people 749 00:32:09,039 --> 00:32:14,119 sang live, so you really had to do it. Yeah, exactly, exactly, Okay, okay. 750 00:32:14,000 --> 00:32:15,960 Speaker 4: So you was never on even one of them shows 751 00:32:16,440 --> 00:32:19,400 were we were on Soul Train once? Okay, yeah, but 752 00:32:19,519 --> 00:32:23,680 what was that experience? Like weird? I remember that we 753 00:32:23,880 --> 00:32:27,079 were all what was weird about it? Don Cornelius? 754 00:32:27,960 --> 00:32:28,000 Speaker 3: What? 755 00:32:28,839 --> 00:32:29,440 Speaker 4: Okay? Yeah? 756 00:32:29,559 --> 00:32:32,880 Speaker 1: Yeah, yeah, yeah, well he was a big time dude, right, 757 00:32:32,960 --> 00:32:34,359 but you know, and you know, we came out. 758 00:32:34,440 --> 00:32:35,400 Speaker 4: We were totally different. 759 00:32:35,480 --> 00:32:37,599 Speaker 2: We came out and you could see this clip on YouTube. 760 00:32:37,880 --> 00:32:40,079 We had costumes and two May had on a mask 761 00:32:40,200 --> 00:32:42,960 with feathers and it was it was. It was a 762 00:32:43,079 --> 00:32:46,079 sight to see and the song was given on up 763 00:32:46,160 --> 00:32:48,319 from the I think the first album. I think the 764 00:32:48,400 --> 00:32:51,039 first album or the second, I'm not sure so. And 765 00:32:51,119 --> 00:32:52,799 that was the only time we were on Soul Trained 766 00:32:52,839 --> 00:32:55,559 because Don Cornelius said, what is all of this? 767 00:32:56,119 --> 00:32:56,319 Speaker 4: You know? 768 00:32:57,640 --> 00:32:58,119 Speaker 1: And it's like. 769 00:32:59,759 --> 00:33:03,079 Speaker 3: You so y'all was feeling yourselves coming out and then 770 00:33:03,160 --> 00:33:05,440 he just kind of took off the movie. 771 00:33:05,720 --> 00:33:06,640 Speaker 4: What the heck are y'all doing? 772 00:33:06,720 --> 00:33:11,000 Speaker 1: Well, no, no, because we're never very but what what 773 00:33:11,200 --> 00:33:12,000 kind of music is this? 774 00:33:12,160 --> 00:33:19,279 Speaker 2: And then to black music, black music, brother, Wow, and 775 00:33:19,599 --> 00:33:20,720 You're never on again? 776 00:33:22,079 --> 00:33:25,480 Speaker 4: Wow? All right, Well that's something up with that song 777 00:33:25,599 --> 00:33:27,559 that different from everybody else's music. 778 00:33:27,720 --> 00:33:29,240 Speaker 2: Well, it was just the I think it was a 779 00:33:29,359 --> 00:33:35,119 combination of the instrumentation and the costuming and it was 780 00:33:35,240 --> 00:33:37,599 just a different tempo kind of song that just like 781 00:33:37,680 --> 00:33:40,440 when Juicy came out, Juicy was slow to most people. 782 00:33:40,599 --> 00:33:43,279 Speaker 1: It's like, I thought, it's too slow, you know, because the. 783 00:33:47,759 --> 00:33:55,480 Speaker 2: Yeah, right, it slowed everything down, slowed everything down, slowed 784 00:33:55,519 --> 00:33:56,160 the tempo down. 785 00:33:57,000 --> 00:34:01,119 Speaker 4: Put that once the number one week for eight weeks. 786 00:34:01,799 --> 00:34:03,920 I mean, that's phenomenal, man. A whole lot of people 787 00:34:03,960 --> 00:34:06,160 don't have Number one is that not true. 788 00:34:06,200 --> 00:34:08,159 Speaker 2: I mean we couldn't walk down the street. We could 789 00:34:08,239 --> 00:34:10,400 not walk down the street at home, you know what 790 00:34:10,440 --> 00:34:12,480 I mean? Parking out of tendance? 791 00:34:12,519 --> 00:34:15,719 Speaker 4: Hey, Juicy, how you doing so? Was you thinking like, well, 792 00:34:15,760 --> 00:34:18,480 how dyne fell about us? Now we got the number one? 793 00:34:18,719 --> 00:34:22,039 Was that after or before? That was after? No? 794 00:34:22,559 --> 00:34:23,760 Speaker 1: She was eighty three Juicy? 795 00:34:24,639 --> 00:34:25,639 Speaker 4: Yeah, okay, so that I. 796 00:34:25,639 --> 00:34:27,519 Speaker 3: Had to be after you said, what eighty one when 797 00:34:27,559 --> 00:34:30,280 you want to show? Who was going to show on train? 798 00:34:30,840 --> 00:34:33,639 Speaker 4: Yeah? No, I don't know, because that was giving on up. 799 00:34:33,679 --> 00:34:35,960 Speaker 1: That was that was many That was years before. 800 00:34:36,199 --> 00:34:38,679 Speaker 3: Has seven okay? Since yeah, okay, you wasn't probably thinking. 801 00:34:38,719 --> 00:34:40,480 I don't even soul Train was still going. Was it 802 00:34:40,519 --> 00:34:42,159 still born in the I can't remember it was still 803 00:34:42,159 --> 00:34:42,880 born in the eighties. 804 00:34:44,159 --> 00:34:45,360 Speaker 4: I don't know, and I don't think. 805 00:34:45,400 --> 00:34:47,159 Speaker 2: I don't think so because we never we never went 806 00:34:47,239 --> 00:34:50,000 back because if for any song, we would go back 807 00:34:50,039 --> 00:34:51,400 on for Juicy Fruit, but. 808 00:34:51,960 --> 00:34:53,519 Speaker 4: I don't even know if it was still around then. 809 00:34:54,199 --> 00:34:56,480 Speaker 1: Yeah, but that didn't stop us from being on tour 810 00:34:56,679 --> 00:34:58,239 and doing a great job on tour. 811 00:34:58,440 --> 00:35:01,480 Speaker 3: So yeah, yeah, yeah, So when y'all when y'll blew 812 00:35:01,599 --> 00:35:04,039 up with that hit Juicy crew, now, you're the closer, 813 00:35:04,360 --> 00:35:06,719 and you have some guys that y'all introduced, because by 814 00:35:06,840 --> 00:35:09,199 times when you're the closer, now you can introduce people. 815 00:35:09,360 --> 00:35:11,400 Speaker 4: Do you remember introducing people under y'all? 816 00:35:12,239 --> 00:35:15,800 Speaker 2: Well, you know what, we didn't mind if somebody you know, 817 00:35:15,880 --> 00:35:19,000 we did a show with Rick James and mid I think. 818 00:35:18,920 --> 00:35:19,880 Speaker 1: It was midnight show. 819 00:35:20,320 --> 00:35:23,360 Speaker 2: Yeah, it was like one of those super fast things. 820 00:35:23,679 --> 00:35:27,400 And Rick was staying on stage a long time. 821 00:35:27,920 --> 00:35:28,639 Speaker 4: He loved that. 822 00:35:28,760 --> 00:35:31,679 Speaker 1: He loved it, you know, because he could because he could. 823 00:35:32,199 --> 00:35:35,840 Speaker 2: And the other group was supposed to, uh, they had 824 00:35:36,000 --> 00:35:38,559 they had to go to the next gig, so they 825 00:35:38,639 --> 00:35:39,719 had to leave and so. 826 00:35:39,880 --> 00:35:42,360 Speaker 1: And tiommate just let them go on before us and 827 00:35:42,480 --> 00:35:43,599 we closed it out. 828 00:35:44,239 --> 00:35:46,760 Speaker 2: So, I mean, it didn't matter what position you were 829 00:35:46,800 --> 00:35:49,280 in in the show. It's like, as long as you 830 00:35:49,400 --> 00:35:51,440 do well, that's that's the only thing that matters. 831 00:35:51,840 --> 00:35:55,239 Speaker 3: But y'all wouldn't battle about him getting Rick James going there, 832 00:35:55,320 --> 00:35:58,400 get thirty five minutes and y'all end up with seventeen. 833 00:35:58,480 --> 00:36:01,320 Speaker 4: Y'all wouldn't get mad at that. But what you gonna do? 834 00:36:03,559 --> 00:36:06,840 Speaker 3: I was reading about Chuck d and Public Enemy one time, 835 00:36:06,960 --> 00:36:08,719 you know, the whole Public Enemy, and he. 836 00:36:08,840 --> 00:36:10,960 Speaker 4: Was saying he was on this tour with the rock band, 837 00:36:11,400 --> 00:36:12,400 and he said that they. 838 00:36:12,360 --> 00:36:15,920 Speaker 3: Went overboard like five minutes and the rock band took 839 00:36:16,000 --> 00:36:17,360 five minutes from the next show. 840 00:36:17,559 --> 00:36:21,760 Speaker 4: It just got that show like you wasn't playing, but 841 00:36:21,920 --> 00:36:22,639 y'all didn't care. 842 00:36:23,079 --> 00:36:25,360 Speaker 2: But you know what, sometimes it's a union hall and 843 00:36:25,440 --> 00:36:26,920 you got to be out of there by a certain 844 00:36:26,960 --> 00:36:29,679 time or you get fined. You get like ten thousand 845 00:36:29,719 --> 00:36:32,039 dollars every ten minutes or something that they got to 846 00:36:32,119 --> 00:36:32,559 clean up. 847 00:36:32,960 --> 00:36:34,760 Speaker 4: They got to clean up. Yeah, they got all that. 848 00:36:35,199 --> 00:36:37,320 Speaker 3: Wait, and it's like, look, we do shows here every night, 849 00:36:37,320 --> 00:36:38,760 and they're really strict in regiment. 850 00:36:39,000 --> 00:36:42,320 Speaker 1: Oh exactly, because it's that's that's his business. That's his business. 851 00:36:42,440 --> 00:36:43,519 Speaker 4: Why are you playing overtime? 852 00:36:43,599 --> 00:36:45,199 Speaker 1: I mean, you know you don't have to do that. 853 00:36:47,039 --> 00:36:47,360 Speaker 4: Okay. 854 00:36:47,440 --> 00:36:50,000 Speaker 3: Now, of course we end up taking that back on 855 00:36:50,159 --> 00:36:52,840 Juicy through song and the next thing we know, we 856 00:36:53,000 --> 00:36:55,480 got this rapper on there and the dude, you know, 857 00:36:55,519 --> 00:36:57,480 if people don't want to tell the Puffy end up 858 00:36:57,519 --> 00:36:58,320 taking that sample. 859 00:36:58,400 --> 00:36:59,079 Speaker 4: It's in the movie. 860 00:36:59,280 --> 00:37:01,519 Speaker 3: You're going through it song of this sample. Y'all don't 861 00:37:01,559 --> 00:37:04,239 care what you do, You're gonna do. Puffy forced them. 862 00:37:04,320 --> 00:37:06,679 We're gonna do this at another Howard University. 863 00:37:06,840 --> 00:37:07,079 Speaker 4: Dude. 864 00:37:07,280 --> 00:37:09,719 Speaker 3: But when when y'all first heard the song, I want 865 00:37:09,760 --> 00:37:12,199 to hear, what was y'all thinking, like, Hey, what's going 866 00:37:12,199 --> 00:37:14,679 on here? What I want to hear the response to 867 00:37:14,840 --> 00:37:17,559 first hearing that dack on Juicy record from Well. 868 00:37:17,440 --> 00:37:20,480 Speaker 2: First of all, Puffy asked for permission to use the song. 869 00:37:21,039 --> 00:37:22,920 Speaker 1: It's not that that was That was fiction. 870 00:37:23,239 --> 00:37:23,760 Speaker 4: That was fiction. 871 00:37:23,880 --> 00:37:27,079 Speaker 1: That was just the script. That was not what happened. 872 00:37:27,199 --> 00:37:28,599 Speaker 4: That was maybe a little bit. 873 00:37:28,760 --> 00:37:31,119 Speaker 3: I'm just saying he was selling, Biggie, you're gonna do 874 00:37:31,320 --> 00:37:33,119 Biggie didn't want to do the record. I'm saying in 875 00:37:33,159 --> 00:37:36,360 the movie, he wanted to make sure Biggie did that record. 876 00:37:36,480 --> 00:37:38,519 I'm not saying that, you know, he did anything, you know, 877 00:37:38,679 --> 00:37:40,880 opposite of that. I'm just saying he was saying, look, 878 00:37:41,119 --> 00:37:43,440 this is a hit record. You're gonna do this record. 879 00:37:43,559 --> 00:37:46,199 That's all I'm saying. Yeah, So he asked for permission, 880 00:37:46,239 --> 00:37:46,920 go back to your story. 881 00:37:46,960 --> 00:37:47,320 Speaker 4: You got it? 882 00:37:47,320 --> 00:37:49,039 Speaker 2: Oh yeah, yeah, yeah, yeah yeah, because you have to 883 00:37:49,039 --> 00:37:51,679 get permission to sample a song. And we're we're really 884 00:37:51,719 --> 00:37:54,480 happy that he did because it introduced Juicy Fruit to 885 00:37:54,639 --> 00:37:57,920 another generation of listeners. You know, what I'm saying because 886 00:37:57,960 --> 00:38:00,400 by that time, Juicy Fruit was ten years old by 887 00:38:00,480 --> 00:38:03,760 the time they redid it, by the time they did it, and. 888 00:38:03,840 --> 00:38:04,920 Speaker 4: It was all a dream. 889 00:38:05,039 --> 00:38:08,000 Speaker 1: It's like, yes, thank you, Biggie, thank you biggie. 890 00:38:09,360 --> 00:38:12,920 Speaker 4: So you guys had like a party, always celebration, like yes, 891 00:38:13,239 --> 00:38:15,519 how y'all feel good? 892 00:38:15,639 --> 00:38:18,440 Speaker 2: Music last forever and they were just extending the term 893 00:38:18,519 --> 00:38:20,880 of the of the song. And it's still that's one 894 00:38:20,920 --> 00:38:22,960 of the most simple songs songs. 895 00:38:22,679 --> 00:38:23,400 Speaker 4: In hip hop now. 896 00:38:23,679 --> 00:38:27,599 Speaker 2: So I mean, you know, thank you, Biggie, thank you, Puffy, 897 00:38:28,239 --> 00:38:30,679 thank you, thank you, thank you, thank you. They asked 898 00:38:30,760 --> 00:38:32,679 us if he wanted to be in the video, and 899 00:38:32,800 --> 00:38:33,119 it's like. 900 00:38:33,360 --> 00:38:37,760 Speaker 3: Okay, too much, too much, but he went so he 901 00:38:37,880 --> 00:38:39,679 gave you a lot of respect and he asked to 902 00:38:39,760 --> 00:38:43,800 be in the video. And he asked, oh yeah, yeah, yeah, 903 00:38:44,159 --> 00:38:46,360 I'm glad you brought that up because that means that 904 00:38:46,480 --> 00:38:47,880 Puff came out with respect. 905 00:38:48,039 --> 00:38:50,440 Speaker 4: He came right to y'all, asked for a chamce to 906 00:38:50,480 --> 00:38:54,159 do it. He's young, dude, Howard, dude? Did he know Howard? 907 00:38:54,519 --> 00:38:54,880 You can't? 908 00:38:55,480 --> 00:38:56,880 Speaker 1: I don't think so. I don't think so. 909 00:38:57,199 --> 00:38:59,800 Speaker 2: No, No, because he came, he came proper he came 910 00:39:00,400 --> 00:39:02,199 because he wanted the business to be correct. 911 00:39:02,440 --> 00:39:03,239 Speaker 4: That that was then. 912 00:39:03,280 --> 00:39:05,840 Speaker 2: I don't know what happened later, I mean many years later, 913 00:39:05,960 --> 00:39:08,280 but for Juicy Fruit, everything was on the. 914 00:39:08,360 --> 00:39:11,920 Speaker 4: Up and up. Well. As they say, power can corrupt you. 915 00:39:12,360 --> 00:39:15,400 Speaker 3: And I understand because I got a book out called Control, 916 00:39:16,039 --> 00:39:18,719 and you know, I love Kanye West, but when you 917 00:39:18,840 --> 00:39:21,320 start controlling stuff, it can go to you. 918 00:39:21,559 --> 00:39:23,639 Speaker 4: Again, I grew up with it. Don't let it go 919 00:39:23,800 --> 00:39:28,679 to your head and get it can get the most 920 00:39:28,760 --> 00:39:30,199 of all of us. That's sure. 921 00:39:30,519 --> 00:39:32,679 Speaker 3: Didn't and the next thing, you know, and then somebody 922 00:39:32,760 --> 00:39:35,639 take advantage of you, and then you got so I understand. 923 00:39:35,800 --> 00:39:39,760 I'm a writer, so I understand people don't under I 924 00:39:39,960 --> 00:39:43,679 understand how it can get getting over But you started 925 00:39:43,719 --> 00:39:46,480 to say he came right in, asked for permission, and 926 00:39:46,559 --> 00:39:47,079 the whole. 927 00:39:47,039 --> 00:39:50,119 Speaker 1: Nine ask for permission. That the paperwork was right, you 928 00:39:50,199 --> 00:39:52,960 know what I'm saying. So it's like, okay, and thank you, 929 00:39:53,119 --> 00:39:53,559 young man. 930 00:39:54,079 --> 00:39:55,320 Speaker 4: Just do whatever you want to do. 931 00:39:55,760 --> 00:39:57,519 Speaker 1: You know, and then it was huge. 932 00:39:58,440 --> 00:40:00,840 Speaker 3: Got did you guys have any other records that you 933 00:40:00,880 --> 00:40:02,559 know some of the people came in and wanted to 934 00:40:02,639 --> 00:40:05,519 do another one of your songs or anything else. 935 00:40:05,639 --> 00:40:09,320 Speaker 4: Well, you know, Mary J. Blige sampled the song Oh 936 00:40:09,400 --> 00:40:10,599 my goodness, what is it called? 937 00:40:11,280 --> 00:40:14,559 Speaker 1: It was her first single, still Believe in Love? Still 938 00:40:14,599 --> 00:40:15,920 Believe in Love said, but that was. 939 00:40:15,920 --> 00:40:16,559 Speaker 4: One of our songs. 940 00:40:16,599 --> 00:40:18,280 Speaker 1: That was a song that in two man I had written. 941 00:40:19,039 --> 00:40:21,079 Speaker 4: Was it the same process that she come to y'ard 942 00:40:21,159 --> 00:40:21,800 and her group coming. 943 00:40:22,199 --> 00:40:23,639 Speaker 2: That's what you have to do now, you can't. You 944 00:40:23,719 --> 00:40:26,719 can't just you can't just take somebody's song and use it. 945 00:40:26,960 --> 00:40:30,320 You have to get permission because you get sued. 946 00:40:31,280 --> 00:40:33,360 Speaker 4: She was working with Puffy? Was it was it? You know, 947 00:40:33,400 --> 00:40:35,239 it was somebody else that came and asked for the 948 00:40:35,280 --> 00:40:36,599 record or oh no, no, no, no. 949 00:40:36,679 --> 00:40:38,480 Speaker 1: This is this is like this is like when the 950 00:40:38,559 --> 00:40:42,800 past year or so, not not during the Puffy period. 951 00:40:42,880 --> 00:40:48,360 Speaker 3: No no, okay, okay, okay, that was the most recent thing. Okay, 952 00:40:48,480 --> 00:40:52,400 so right now again, what about Rihanna? I'm going just 953 00:40:52,480 --> 00:40:54,840 the pop soul thing because we go back to the 954 00:40:54,920 --> 00:40:56,920 new people now, Oh got cha? 955 00:40:57,800 --> 00:40:58,559 Speaker 4: You like Rihanna? 956 00:40:58,679 --> 00:40:59,960 Speaker 1: Oh yea ya yea, yeah yeah yah yeah. 957 00:41:00,440 --> 00:41:02,880 Speaker 3: You know when she did that song, was were talking 958 00:41:02,880 --> 00:41:05,199 about Mary Jay and Mary J turned down? 959 00:41:05,280 --> 00:41:06,960 Speaker 4: That was that unbrother song. 960 00:41:08,960 --> 00:41:11,679 Speaker 3: But here's here's the deal, though, if I'm thinking about 961 00:41:11,719 --> 00:41:16,280 that song, brother, I'm like, that's not Mary j I 962 00:41:16,320 --> 00:41:18,239 don't know, you know what I mean like that, But 963 00:41:18,639 --> 00:41:23,639 with Rihanna, that became her signature now, the triple double double, 964 00:41:23,880 --> 00:41:26,199 that's what she does, and it was great for her 965 00:41:26,639 --> 00:41:30,800 that Oh my goodness. Same thing with Anita Baker, you know, 966 00:41:30,960 --> 00:41:34,159 the Braxton Tony Braxton ended up with a record that 967 00:41:34,280 --> 00:41:38,239 Anita Baker turned down. And Tony Braxton she had that huskier, 968 00:41:38,440 --> 00:41:42,360 deeper voice like Anita and it ended up working with 969 00:41:42,519 --> 00:41:44,760 Baby Facing, you know what I mean. So sometimes she 970 00:41:44,960 --> 00:41:46,000 ended up getting the record. 971 00:41:46,400 --> 00:41:48,679 Speaker 2: So I'm sure she's glad that she turned that song down, 972 00:41:48,960 --> 00:41:51,039 so so Tony Braxton could go in and. 973 00:41:51,119 --> 00:41:52,719 Speaker 4: Do what she needed to do, you know what I'm saying. 974 00:41:52,760 --> 00:41:53,679 Oh my goodness. 975 00:41:53,800 --> 00:41:56,719 Speaker 2: Yeah, but but you know different, it would probably would 976 00:41:56,719 --> 00:42:00,280 have sounded different if Mary had sung another song, Ifry 977 00:42:00,320 --> 00:42:02,480 had sung Umbrolla, you know it would it wouldn't have 978 00:42:02,519 --> 00:42:02,960 been the same. 979 00:42:03,360 --> 00:42:04,199 Speaker 4: She would have changed it. 980 00:42:05,400 --> 00:42:08,000 Speaker 1: So I mean, you know, everybody, everything landed where was 981 00:42:08,039 --> 00:42:08,760 supposed to land. 982 00:42:09,079 --> 00:42:12,320 Speaker 3: Yeah, because that really it gave us a listening piece 983 00:42:12,400 --> 00:42:15,079 of how to listen to Rihanna. And then from there 984 00:42:15,599 --> 00:42:18,800 now she got a style in style. So I'm always 985 00:42:18,840 --> 00:42:21,280 thinking of Rihanna tripling, doubling and you know what I mean, 986 00:42:21,320 --> 00:42:23,480 that kind of thing because it works for her, you know. 987 00:42:23,800 --> 00:42:25,400 And then when she talks, she has that no no 988 00:42:25,480 --> 00:42:26,960 no no no no no no no no, you know, 989 00:42:27,079 --> 00:42:28,239 that whole Caribbean thing. 990 00:42:28,559 --> 00:42:30,519 Speaker 1: So she's a great business woman. 991 00:42:30,599 --> 00:42:33,199 Speaker 2: She's a great business move because she's she's making more 992 00:42:33,320 --> 00:42:34,480 off the makeup. 993 00:42:34,320 --> 00:42:35,960 Speaker 4: Than she ever did with the music. 994 00:42:36,400 --> 00:42:39,199 Speaker 2: So but she's great at both. She's great at both. 995 00:42:39,280 --> 00:42:42,599 And that the other songs she did with Stars the Stars, you. 996 00:42:42,639 --> 00:42:44,280 Speaker 1: Know, that's beautiful. 997 00:42:44,840 --> 00:42:46,639 Speaker 4: Yeah. Oh, she got a lot of she got a 998 00:42:46,639 --> 00:42:47,079 lot of hits. 999 00:42:47,199 --> 00:42:47,960 Speaker 1: She got a lot of hits. 1000 00:42:48,039 --> 00:42:50,000 Speaker 4: Yeah. I like that Anti the whole album. 1001 00:42:50,079 --> 00:42:52,679 Speaker 3: I like the album, you know, because it was like, look, 1002 00:42:52,719 --> 00:42:54,559 I'm gonna do my thing the way I want to 1003 00:42:54,679 --> 00:42:55,800 now I've been listening to other of you. 1004 00:42:55,960 --> 00:42:57,760 Speaker 4: I'm gonna do my thing. This is my record. I 1005 00:42:57,800 --> 00:42:59,719 don't care what's your thing. And she put that and 1006 00:42:59,800 --> 00:43:03,360 I was like, yes, yes, since it was on that. 1007 00:43:03,440 --> 00:43:07,599 Speaker 3: First record, the introduction record Girl, that whole album, I 1008 00:43:07,760 --> 00:43:10,480 was like, yeah, I like that, and the whole title 1009 00:43:10,599 --> 00:43:13,400 an top like I'm going against you know, you ever 1010 00:43:13,480 --> 00:43:15,119 have to do that when you had to go against 1011 00:43:15,280 --> 00:43:18,039 what somebody else wanted for you and you did something different, 1012 00:43:18,280 --> 00:43:18,719 did you ever? 1013 00:43:18,800 --> 00:43:21,239 Speaker 2: Well? You know sometimes they when they see you, they 1014 00:43:21,360 --> 00:43:24,880 have they have the uh they think you're one way. 1015 00:43:25,280 --> 00:43:28,559 They they yeah, and it's like that, ain't me. I'm 1016 00:43:28,599 --> 00:43:30,840 not with the I can't do like the long hair 1017 00:43:31,000 --> 00:43:32,800 and you know what I'm saying this, But you know, 1018 00:43:32,960 --> 00:43:36,000 it's just just different the whole thing. They try to 1019 00:43:36,079 --> 00:43:38,599 change your whole image, you know, or they tell you 1020 00:43:38,719 --> 00:43:40,400 you need to lose weight, or they tell you. 1021 00:43:40,800 --> 00:43:41,519 Speaker 1: That you know. 1022 00:43:41,559 --> 00:43:43,679 Speaker 4: Okay, okay, okay, answer me this. 1023 00:43:44,079 --> 00:43:48,760 Speaker 2: Why is it then when black artists, female artists become successful, 1024 00:43:48,960 --> 00:43:50,079 they dyed their hair blonde. 1025 00:43:51,000 --> 00:43:52,880 Speaker 4: That's what they're doing now. And I don't like it either. 1026 00:43:53,239 --> 00:43:54,119 I don't like it either. 1027 00:43:54,119 --> 00:43:56,800 Speaker 3: I don't want to name any names because they names 1028 00:43:56,800 --> 00:43:59,159 because you can get mad at you. But I'm gonna 1029 00:43:59,159 --> 00:44:02,440 say this though, Mary J. Blige, she always had it, 1030 00:44:02,880 --> 00:44:05,360 so it's like you think like that the first records. 1031 00:44:05,639 --> 00:44:07,920 I was used to marry doing it, so it's like 1032 00:44:08,239 --> 00:44:11,000 with Mary, So it's like I'm not mad at Mary 1033 00:44:11,079 --> 00:44:13,559 because I'm used to seeing her with it, But with 1034 00:44:13,719 --> 00:44:15,599 somebody else that's changed into it. 1035 00:44:16,159 --> 00:44:17,920 Speaker 4: I'm like, how what are you doing? Why were you 1036 00:44:18,039 --> 00:44:20,519 doing that? You know? Yeah? I mean, yeah, that's the 1037 00:44:20,719 --> 00:44:23,320 thing you're gonna cross. So you know, when I think 1038 00:44:23,360 --> 00:44:27,199 about the Five Heartbeats, you know, cross that's one of. 1039 00:44:27,239 --> 00:44:28,079 Speaker 1: My favorite movies. 1040 00:44:28,159 --> 00:44:29,280 Speaker 4: That's one of my favorite movies. 1041 00:44:29,519 --> 00:44:31,239 Speaker 2: But but you know what, you know what and too 1042 00:44:31,280 --> 00:44:33,000 they used to say, he said, you know, you can 1043 00:44:33,079 --> 00:44:34,480 cross over and can't get black. 1044 00:44:34,920 --> 00:44:38,039 Speaker 4: Yeah, not back, but black. 1045 00:44:38,559 --> 00:44:40,840 Speaker 3: I've seen that with some book writers sho yes, that 1046 00:44:40,920 --> 00:44:43,239 they've done that and he couldn't get back. Yeah, you know, 1047 00:44:43,599 --> 00:44:47,159 so that's that's dynamite. But yeah, so Rihanna Sizza. Is 1048 00:44:47,199 --> 00:44:49,239 there some artists that I don't know of it that 1049 00:44:49,400 --> 00:44:51,159 you might know of that that's up and coming? 1050 00:44:51,639 --> 00:44:51,800 Speaker 4: Uh? 1051 00:44:52,400 --> 00:44:54,960 Speaker 1: No, no, because you know what I may, I mainly 1052 00:44:55,039 --> 00:44:56,199 listen to gospel music. 1053 00:44:56,400 --> 00:44:59,079 Speaker 2: I love gospel. So that's that's that's it for me 1054 00:44:59,280 --> 00:45:00,880 that's playing twenty four to seven. 1055 00:45:01,280 --> 00:45:03,199 Speaker 4: What about some new young gospel singers? 1056 00:45:04,360 --> 00:45:07,239 Speaker 2: None of those, Well, you see, new is a I 1057 00:45:07,320 --> 00:45:09,280 don't know what that word is new. Like I like 1058 00:45:09,440 --> 00:45:10,519 this artist by the name of b. 1059 00:45:10,679 --> 00:45:15,079 Speaker 1: Slade. His name used to be Tone, but now now 1060 00:45:15,159 --> 00:45:17,880 his name is B Slade. So he's great. 1061 00:45:18,800 --> 00:45:20,360 Speaker 2: But see when I was coming up, it was the 1062 00:45:21,840 --> 00:45:25,559 Hawkins family. You know what I'm saying, James Cleveland, I mean, I'm. 1063 00:45:25,440 --> 00:45:28,400 Speaker 1: Going way, way way wait wait all. 1064 00:45:28,440 --> 00:45:30,320 Speaker 2: I'm going back to your parents, you know what I mean. 1065 00:45:30,679 --> 00:45:34,239 So I love contemporary gospel US. I love Kirk Franklin, 1066 00:45:34,599 --> 00:45:38,639 you know, because he's like the newest new the youngest 1067 00:45:38,800 --> 00:45:39,719 oldest person. 1068 00:45:39,920 --> 00:45:42,440 Speaker 4: Well he's director to me, he's always directed. 1069 00:45:42,559 --> 00:45:45,679 Speaker 2: What's mc He's not the singer, but he likes the 1070 00:45:45,760 --> 00:45:48,440 music and produces the music and he's a great performer. 1071 00:45:48,599 --> 00:45:51,519 Speaker 1: But he does not sing. He doesn't sing, but he 1072 00:45:51,599 --> 00:45:52,920 has people to sing for him. 1073 00:45:53,239 --> 00:45:57,000 Speaker 3: So yeah, you know, now now you were talking about retired, 1074 00:45:57,039 --> 00:45:58,760 would you still be doing references? 1075 00:45:58,800 --> 00:46:00,960 Speaker 4: Would you still call up people? You're just like, Okay, 1076 00:46:01,039 --> 00:46:02,000 I'm just going to enjoy it. 1077 00:46:02,400 --> 00:46:05,920 Speaker 1: I'll come out for the right price, because you know, 1078 00:46:06,000 --> 00:46:07,000 it's all it's all about the. 1079 00:46:07,039 --> 00:46:10,519 Speaker 2: Paper now, it's all about I don't have anything to prove, 1080 00:46:10,719 --> 00:46:12,320 you know what I'm saying, But I got a lot 1081 00:46:12,400 --> 00:46:16,840 to show because you know, I've got a nice discography. 1082 00:46:16,239 --> 00:46:18,159 Speaker 4: And a good biography. 1083 00:46:18,320 --> 00:46:22,360 Speaker 3: So it's like, you know, but but but you used 1084 00:46:22,360 --> 00:46:24,639 to call up new young artists. Do you think you 1085 00:46:24,679 --> 00:46:27,199 can still do that in the social media ever? Because 1086 00:46:27,239 --> 00:46:28,039 now it's like, you. 1087 00:46:28,079 --> 00:46:30,760 Speaker 1: Know, it's really different. 1088 00:46:30,880 --> 00:46:35,679 Speaker 2: It's really different now, and what what goes for singing 1089 00:46:35,920 --> 00:46:40,760 today sometimes doesn't hold up to what the standard was before. 1090 00:46:41,199 --> 00:46:45,039 So you know, and I'm talking about before assistance. 1091 00:46:44,559 --> 00:46:47,599 Speaker 4: With a. 1092 00:46:49,920 --> 00:46:52,920 Speaker 2: Auto tunes and stuff. It's like there was no auto 1093 00:46:53,280 --> 00:46:53,960 corrected coming. 1094 00:46:54,039 --> 00:46:56,320 Speaker 4: They got apps now where they correct your singing. 1095 00:46:56,360 --> 00:46:59,679 Speaker 3: They go in and change the noting and they will 1096 00:46:59,719 --> 00:47:02,440 spend I was doing that correct and you're singing, and 1097 00:47:02,519 --> 00:47:02,800 then you. 1098 00:47:02,880 --> 00:47:06,159 Speaker 2: Get on stage and that put but you got the 1099 00:47:06,280 --> 00:47:09,000 person up there standing on stage and she can't duplicate 1100 00:47:09,119 --> 00:47:12,639 or he can't duplicate what's on the record, so they 1101 00:47:12,719 --> 00:47:13,320 so what do they do? 1102 00:47:13,440 --> 00:47:15,480 Speaker 1: They play tracks? So you up there lip singing. It's 1103 00:47:15,559 --> 00:47:16,320 like that ain't singing. 1104 00:47:17,480 --> 00:47:18,239 Speaker 4: The only time that. 1105 00:47:18,320 --> 00:47:20,519 Speaker 2: Works is if you're doing you got a serious dance 1106 00:47:20,639 --> 00:47:23,199 routine going on, and you know, and now. 1107 00:47:23,079 --> 00:47:26,119 Speaker 4: It's a whole performance and you're getting away from the singing. 1108 00:47:26,280 --> 00:47:29,400 Speaker 1: But that's not the that's not singing. That's not singing. 1109 00:47:29,519 --> 00:47:31,159 Speaker 2: And if they got to correct your stuff in the 1110 00:47:31,199 --> 00:47:34,239 studio before you even get out, it's like, is that 1111 00:47:34,440 --> 00:47:35,559 really you. 1112 00:47:36,760 --> 00:47:40,480 Speaker 3: Yeah yeah, Now I heard an interview from Stephanie Mills 1113 00:47:40,519 --> 00:47:42,039 and you work with Stephanie Mills too. 1114 00:47:42,199 --> 00:47:43,480 Speaker 1: That's my girl, that's my girl. 1115 00:47:44,119 --> 00:47:45,840 Speaker 4: Okay, what are some of the songs you worked on 1116 00:47:45,920 --> 00:47:46,519 with Stephanie? 1117 00:47:47,880 --> 00:47:49,480 Speaker 1: All the stuff they did would have too many you 1118 00:47:49,559 --> 00:47:50,480 know what I used to do. 1119 00:47:50,719 --> 00:47:53,079 Speaker 2: I used to sing the reference vocals and then we 1120 00:47:53,239 --> 00:47:56,719 send them to because they didn't have MP three's and stuff, 1121 00:47:56,760 --> 00:47:59,920 and you know, just text the songs. I had to 1122 00:48:00,119 --> 00:48:03,199 actually sing all the songs that they they wrote for 1123 00:48:03,320 --> 00:48:04,679 Stephanie for philis. 1124 00:48:04,400 --> 00:48:05,920 Speaker 4: Hymon and so. 1125 00:48:07,800 --> 00:48:11,199 Speaker 1: So I know Stephanie very well. I know her extringable. 1126 00:48:11,280 --> 00:48:13,199 Speaker 2: We come in and I used to come in and 1127 00:48:13,320 --> 00:48:15,920 sing with her, you know what I'm saying, because she 1128 00:48:15,960 --> 00:48:18,400 would do the I would sing the reference, she'd sing 1129 00:48:18,480 --> 00:48:21,039 the song and then we start putting background parts. 1130 00:48:21,079 --> 00:48:25,559 Speaker 4: Now, yea good, got the money? Stepan. Are you still 1131 00:48:25,599 --> 00:48:28,079 in touch with Angela Wynn Bush? And she's still like one? 1132 00:48:29,719 --> 00:48:32,599 Speaker 1: She is on speed Doll. We we do a radio 1133 00:48:32,719 --> 00:48:34,960 show every every every two weeks. 1134 00:48:37,039 --> 00:48:37,960 Speaker 4: She's been my friend for. 1135 00:48:38,039 --> 00:48:38,880 Speaker 1: Fifty four years. 1136 00:48:39,320 --> 00:48:41,679 Speaker 4: Okay, yeah, yeah, yeah, yeah, yeah, yeah, that's my girl. 1137 00:48:42,039 --> 00:48:45,400 Speaker 2: And then Stefanie and Stephanie comes in on sometimes when 1138 00:48:45,480 --> 00:48:46,199 she's available. 1139 00:48:46,320 --> 00:48:49,000 Speaker 1: So we're all keycky in on the radio everywhere. 1140 00:48:49,000 --> 00:48:51,280 Speaker 3: Okay, Now, now again, you're doing a radio show. You 1141 00:48:51,320 --> 00:48:53,280 gotta tell us what do y'all do on the radio show? 1142 00:48:53,320 --> 00:48:54,159 What kind of show is it? 1143 00:48:54,239 --> 00:48:58,159 Speaker 2: Well, it's about it's about empowering women and being in 1144 00:48:58,239 --> 00:49:01,840 the music business and our experiences working in the music business, 1145 00:49:01,960 --> 00:49:04,719 and people call up and I think this week, this 1146 00:49:04,840 --> 00:49:09,159 week we had Freddie Jackson on. Yeah, yeah, yeah, Freddie Jackson, 1147 00:49:09,239 --> 00:49:12,559 and a few weeks before that we had Mary from. 1148 00:49:14,039 --> 00:49:19,079 Speaker 1: The S O S Band, So so yes, yes, yes, yes, 1149 00:49:19,239 --> 00:49:23,920 So I mean what it's called Angel Nation? 1150 00:49:24,239 --> 00:49:26,039 Speaker 4: Angel like that? 1151 00:49:26,840 --> 00:49:30,559 Speaker 1: Why that's that's Angelo's name that. 1152 00:49:32,280 --> 00:49:33,800 Speaker 2: She got the she got the gig, and then she 1153 00:49:33,920 --> 00:49:35,920 called me and said, you know it's come up and 1154 00:49:36,000 --> 00:49:37,480 be my sidekick, you know what I mean. 1155 00:49:37,800 --> 00:49:39,280 Speaker 4: So that's my girl. 1156 00:49:40,000 --> 00:49:41,239 Speaker 1: And look I convinced her. 1157 00:49:41,639 --> 00:49:44,679 Speaker 2: She was an architecture major at Howard and it's like 1158 00:49:45,559 --> 00:49:47,800 and then I saw her singing in the in the 1159 00:49:48,079 --> 00:49:51,000 music in the music building and fine Arts building, and 1160 00:49:51,079 --> 00:49:52,960 it's like, well, you should be singing. 1161 00:49:53,039 --> 00:49:54,800 Speaker 1: Why are you trying to be an architect? 1162 00:49:55,079 --> 00:49:56,000 Speaker 4: You need to be singing. 1163 00:49:56,320 --> 00:49:59,960 Speaker 2: So Richard Smallwood and myself convinced Angela to switch her 1164 00:50:00,119 --> 00:50:01,239 major to music. 1165 00:50:02,239 --> 00:50:09,039 Speaker 4: Wow, look at these Howard University. Yeah, yes, oh my cots. 1166 00:50:09,239 --> 00:50:12,199 Speaker 3: You know when you brought up Phillips Hyman, Okay, I 1167 00:50:12,320 --> 00:50:14,920 immediately thought of Many Rippertson because she. 1168 00:50:15,039 --> 00:50:18,960 Speaker 1: Was in many classic Classic. 1169 00:50:18,679 --> 00:50:20,599 Speaker 4: Were you ever around her? Did you ever get around me? 1170 00:50:20,800 --> 00:50:23,800 Know that many, many, many represents was before me? 1171 00:50:23,960 --> 00:50:26,519 Speaker 1: I couldn't she know she was gone by the time. 1172 00:50:26,559 --> 00:50:29,440 I can't, I can't, But I love Many. 1173 00:50:30,400 --> 00:50:35,440 Speaker 3: I love yeah, yeah, Jasmine Sutheran. I've tried to put 1174 00:50:35,480 --> 00:50:37,320 together a few songs for her and Philly, but she 1175 00:50:37,440 --> 00:50:38,400 does her own stuff, you. 1176 00:50:38,400 --> 00:50:43,119 Speaker 1: Know, yeah, yeah, yeah, got my own Yeah, she got 1177 00:50:43,199 --> 00:50:45,000 own stuff. Yeah, you know that's Philly. 1178 00:50:45,119 --> 00:50:46,480 Speaker 4: I mean, you know you all got your. 1179 00:50:46,440 --> 00:50:47,320 Speaker 1: Own thing, you know. 1180 00:50:48,199 --> 00:50:50,519 Speaker 4: Yeah, you already know it. Boy, you know it. 1181 00:50:50,880 --> 00:50:51,920 Speaker 1: I know it. I know it. 1182 00:50:52,519 --> 00:50:54,840 Speaker 3: So what's next for you with outside doing the radio show? 1183 00:50:54,880 --> 00:50:57,039 You come back, I want to send you I'm going 1184 00:50:57,079 --> 00:50:58,639 to tell you right on the air. I'm going to 1185 00:50:58,719 --> 00:51:01,719 send you a song. I wrote a song. Now, it's 1186 00:51:01,760 --> 00:51:04,239 the same thing that Puffy and them did with the 1187 00:51:04,480 --> 00:51:07,000 toom May song. There was a song called you Don't 1188 00:51:07,039 --> 00:51:10,320 Even Know from Atlanta, A dude named Rocco and he 1189 00:51:10,440 --> 00:51:13,119 had a beat, and I got a vertical. Now, Easter 1190 00:51:13,280 --> 00:51:15,519 Ray came out with a vertical called I forget the 1191 00:51:15,599 --> 00:51:17,760 name of it, but there's seventy five millions. They got 1192 00:51:17,800 --> 00:51:21,280 these new cell phone movies that they cut into microfilms, 1193 00:51:21,559 --> 00:51:22,760 and so she did a vertical. 1194 00:51:23,000 --> 00:51:25,320 Speaker 4: Yeah, so I'm doing one called bad Decisions. 1195 00:51:25,760 --> 00:51:27,880 Speaker 3: And so I was listening to this rap song you 1196 00:51:27,920 --> 00:51:30,760 don't even know, and it was a classic beating melodies 1197 00:51:30,800 --> 00:51:32,960 and all that, and I'm writing a song to it 1198 00:51:33,519 --> 00:51:37,239 and I wrote it so perfectly, and I'm like, yo, man, 1199 00:51:37,320 --> 00:51:37,559 it's a. 1200 00:51:37,639 --> 00:51:40,639 Speaker 4: Solid bad decisions. Decisions Decisions. 1201 00:51:40,920 --> 00:51:43,079 Speaker 3: And you know when you get that whole, when you 1202 00:51:43,159 --> 00:51:46,440 can reproduce the sound bad Decisions. I said, dude, you 1203 00:51:46,599 --> 00:51:49,599 said so many times it's hypnotic. And I'm like, but 1204 00:51:49,760 --> 00:51:52,400 here's the problem. When you're trying to call people like 1205 00:51:52,519 --> 00:51:55,440 you did to get young singers, they want to write 1206 00:51:55,480 --> 00:51:57,559 their own stuff. They want to do their own and 1207 00:51:57,679 --> 00:52:00,400 so it's like, come on, man, And so I'm right now, 1208 00:52:00,440 --> 00:52:02,800 I'm like, look, I will give you some of the publishing. 1209 00:52:03,039 --> 00:52:05,000 Speaker 4: I would do it. I would give you just do 1210 00:52:05,239 --> 00:52:09,480 the solve bad. So I want to send that one song. 1211 00:52:09,360 --> 00:52:12,400 Speaker 3: To you and see what you think, because I think 1212 00:52:12,519 --> 00:52:14,920 it's incredible and it would be the same thing that 1213 00:52:15,119 --> 00:52:18,119 hip hop record came out in twenty thirteen, right, so. 1214 00:52:18,280 --> 00:52:21,360 Speaker 4: That's thirteen years ago, just like when y'all record came out. 1215 00:52:21,840 --> 00:52:23,800 So this taggle, but I want. 1216 00:52:23,679 --> 00:52:26,480 Speaker 3: To send you that because you understand references and voice 1217 00:52:26,519 --> 00:52:29,000 hone and all of that, and you're always doing that. 1218 00:52:29,159 --> 00:52:31,440 Speaker 4: And you did that, you called up people. You know, 1219 00:52:31,519 --> 00:52:33,199 I don't know who were called now, but right. 1220 00:52:33,159 --> 00:52:35,119 Speaker 1: Now, yeah, I don't know either, because it's it's it's 1221 00:52:35,559 --> 00:52:37,559 it's a little different now. It's different now. 1222 00:52:38,159 --> 00:52:41,719 Speaker 2: Yeah, yeah, then, and everybody wants to be a star. 1223 00:52:41,960 --> 00:52:44,000 You know what I'm saying. Everybody wants to be a star. 1224 00:52:44,480 --> 00:52:47,199 Speaker 1: I never wanted to do. I never wanted to be 1225 00:52:47,280 --> 00:52:47,599 in the front. 1226 00:52:47,599 --> 00:52:50,480 Speaker 3: I always wanted to be a that is beautiful. So 1227 00:52:50,800 --> 00:52:52,679 they don't make them like you anymore. So when I 1228 00:52:52,800 --> 00:52:53,920 read that, I was like, but. 1229 00:52:54,079 --> 00:52:57,079 Speaker 4: Now we understand, yeah, because you were the third system 1230 00:52:57,400 --> 00:52:58,079 looking up. 1231 00:52:58,119 --> 00:52:59,599 Speaker 3: And it's like I want to help y'all and to 1232 00:52:59,639 --> 00:53:02,039 help you and then God bless you with all the 1233 00:53:02,119 --> 00:53:04,760 beautiful things and you still got that juicy. 1234 00:53:04,880 --> 00:53:07,559 Speaker 4: Yeah, but isn't that amazing. Isn't that amazing? 1235 00:53:07,679 --> 00:53:09,280 Speaker 2: And like I said, I used to read the line 1236 00:53:09,280 --> 00:53:12,599 of notes from Philly International Records and it's like, one 1237 00:53:12,679 --> 00:53:15,559 day I'm gonna see my name up there and look 1238 00:53:15,679 --> 00:53:18,199 look at God, look beautiful. 1239 00:53:18,559 --> 00:53:20,119 Speaker 3: So what do you want to say to close out? 1240 00:53:20,199 --> 00:53:23,039 This is the retro? Respect the roots and so why 1241 00:53:23,199 --> 00:53:25,440 the age? He gave us a whole lot of respect, 1242 00:53:25,679 --> 00:53:29,159 a whole lot more to give beautiful personality up there 1243 00:53:29,159 --> 00:53:31,440 in your brand new house over there. You got to 1244 00:53:31,519 --> 00:53:34,480 move into shows and everything else that's beautiful. That means 1245 00:53:34,559 --> 00:53:36,320 you're coming up. I'm coming up. 1246 00:53:36,599 --> 00:53:38,599 Speaker 4: I'm coming up. I'm still coming up. 1247 00:53:39,480 --> 00:53:41,239 Speaker 3: So go ahead, close this out with what you want 1248 00:53:41,280 --> 00:53:43,920 to say to the people the retro movement, Respect the roots. 1249 00:53:43,960 --> 00:53:45,880 Speaker 4: What you want to say to the young next generation? 1250 00:53:46,800 --> 00:53:49,719 Speaker 2: Keep doing what you're doing, but don't forget the past. 1251 00:53:49,880 --> 00:53:53,079 Don't forget the past. Do not forget the past. What 1252 00:53:53,239 --> 00:53:56,400 you're doing it might be unique, but you know, don't 1253 00:53:56,480 --> 00:53:59,519 forget the past, because if it wasn't for the past, 1254 00:53:59,559 --> 00:54:00,760 you wouldn't you here right now? 1255 00:54:03,039 --> 00:54:06,159 Speaker 3: Beautiful, Thank you, sister, And again I'm gonna get in 1256 00:54:06,239 --> 00:54:08,519 touch with you to send you that song Bad Decisions. 1257 00:54:08,559 --> 00:54:11,239 Speaker 4: I need to hear your opinion because I may be crazy, 1258 00:54:11,719 --> 00:54:12,840 it may be all my ego. 1259 00:54:13,360 --> 00:54:13,880 Speaker 3: I grew up. 1260 00:54:14,280 --> 00:54:17,199 Speaker 2: You need another opinion, You need objective ears. You need 1261 00:54:17,280 --> 00:54:18,639 objective ears to listen. 1262 00:54:19,000 --> 00:54:23,039 Speaker 3: Yeah, you know, as I keep hearing about what's Dag Fox, 1263 00:54:23,239 --> 00:54:26,039 Jamie Fox, and he was talking about making a song 1264 00:54:26,119 --> 00:54:28,800 with Kanye and he's here, he say, and he said, 1265 00:54:29,039 --> 00:54:30,800 Kanye was like, no, don't sing it that way. And 1266 00:54:30,880 --> 00:54:33,079 he's like, Kanye, don't know you something about And Kanye 1267 00:54:33,199 --> 00:54:35,639 made a hot record out of it. So sometimes we 1268 00:54:35,800 --> 00:54:38,880 don't know but need an this record. I think this 1269 00:54:39,000 --> 00:54:41,320 record is dynamite. But I want your opinion. I want 1270 00:54:41,360 --> 00:54:43,199 to work with you more. And I definitely want to 1271 00:54:43,239 --> 00:54:45,840 interview Angela Wimbush and you let her know him another 1272 00:54:46,000 --> 00:54:48,440 hu dude, And you know, I'm gonna do all my research. 1273 00:54:48,679 --> 00:54:50,719 Speaker 4: And we grew up listening to her stuff, just like 1274 00:54:50,840 --> 00:54:53,840 we listen to yours. And while you got to have that. 1275 00:54:54,039 --> 00:54:55,159 So it's all love. 1276 00:54:55,400 --> 00:54:57,679 Speaker 3: We got to help each other now because a lot 1277 00:54:57,719 --> 00:54:59,519 of these kids are not looking out And the first 1278 00:54:59,559 --> 00:55:01,679 thing they say, well, how many screens you got and 1279 00:55:01,760 --> 00:55:04,039 how many follows you got? I'm look at the end 1280 00:55:04,119 --> 00:55:06,480 of the day is it about a good conversation and 1281 00:55:06,599 --> 00:55:07,599 good talk, but. 1282 00:55:07,679 --> 00:55:09,320 Speaker 1: They don't talk to it. They don't talk. 1283 00:55:09,519 --> 00:55:10,599 Speaker 4: They don't talk to each other. 1284 00:55:10,920 --> 00:55:13,639 Speaker 1: And I'm from the school each one teach one, you know, 1285 00:55:13,880 --> 00:55:14,719 each one teach one. 1286 00:55:14,760 --> 00:55:17,639 Speaker 4: You gotta do that, you know, beautiful, Thank you, sister. 1287 00:55:17,920 --> 00:55:18,760 This is my pleasure. 1288 00:55:19,320 --> 00:55:21,639 Speaker 3: I'm glad you loved the interview. Was just talking it 1289 00:55:21,719 --> 00:55:23,800 out and I want to get all the friends you got. 1290 00:55:23,960 --> 00:55:25,880 What we want to do is really big up the 1291 00:55:26,000 --> 00:55:28,000 roots of the people that paved the way. So all 1292 00:55:28,039 --> 00:55:30,239 the people that come on the show, they ain't say 1293 00:55:30,280 --> 00:55:32,519 that's the name of the dag On radio program. 1294 00:55:32,679 --> 00:55:36,119 Speaker 4: Angelo said again, Oh yeah, Angel, it's an Angel Nation, 1295 00:55:36,800 --> 00:55:37,400 Angel Nation. 1296 00:55:37,559 --> 00:55:40,199 Speaker 3: I gotta get it right, Angel Nation, Angela Wimbush and 1297 00:55:40,280 --> 00:55:43,119 to wap the age two h U people and I'm 1298 00:55:43,159 --> 00:55:45,400 another age shoe, so I gotta get them all on there. 1299 00:55:45,559 --> 00:55:46,880 Speaker 4: Well, all the guests, you guys have it. 1300 00:55:46,920 --> 00:55:49,800 Speaker 3: I'm gonna do the same thing, an hour long brand 1301 00:55:49,880 --> 00:55:51,840 and the roots for the next generation to get what 1302 00:55:51,960 --> 00:55:52,559 we put down. 1303 00:55:52,800 --> 00:55:55,320 Speaker 1: Thank you very much, Thank you, my pleasure, my pleasure. 1304 00:55:55,320 --> 00:55:56,800 I hope to see you again soon. 1305 00:56:05,519 --> 00:56:10,280 Speaker 4: That the bat, that's the part you know very well 1306 00:56:10,719 --> 00:56:11,599 what you are. 1307 00:56:12,079 --> 00:56:16,719 Speaker 1: You're my sugar thing, my choper stuff. I've had a 1308 00:56:16,800 --> 00:56:23,920 few but nothing. You're the young that gives me good 1309 00:56:24,039 --> 00:56:32,840 and plenty sad, Oh my god, some sounds of life. 1310 00:56:33,519 --> 00:56:36,400 Speaker 3: You gotta learn how to do things for yourself to 1311 00:56:36,599 --> 00:56:40,280 make sure that you maintain the vision and get it 1312 00:56:40,360 --> 00:56:48,800 done right. It's restaurants like showing back in Chicago, punk 1313 00:56:49,000 --> 00:56:53,119 rock check note, scarf face au Machino, go Sleep, No 1314 00:56:53,840 --> 00:56:56,679 Hawaii by Vote, Star Wars. 1315 00:56:56,519 --> 00:56:57,159 Speaker 4: High Soul, no. 1316 00:56:58,960 --> 00:57:02,039 Speaker 3: Show New York did He's out pop sets to the street, 1317 00:57:02,159 --> 00:57:05,760 el Mo camera, mold and slow mot no mons means 1318 00:57:05,840 --> 00:57:06,280 no more. 1319 00:57:06,480 --> 00:57:09,039 Speaker 4: It's raining out dead, don't go moving. 1320 00:57:08,840 --> 00:57:12,280 Speaker 3: Up like the Jeffersons show The Urban Grid. Yo, y'all 1321 00:57:12,400 --> 00:57:14,559 don't know what I know? Made it now? 1322 00:57:14,719 --> 00:57:15,320 Speaker 4: So's y'all. 1323 00:57:15,400 --> 00:57:18,119 Speaker 3: So came up as a bottom chid West Philly. 1324 00:57:18,360 --> 00:57:19,199 Speaker 4: Look what he did? 1325 00:57:19,360 --> 00:57:22,039 Speaker 3: No crims, no big, no time. 1326 00:57:21,880 --> 00:57:22,599 Speaker 4: To spending there. 1327 00:57:22,760 --> 00:57:26,280 Speaker 3: My cousin's dead, serving years, the grandmom's dead droppings here, 1328 00:57:26,480 --> 00:57:27,840 spill the wine, drink the. 1329 00:57:27,880 --> 00:57:29,079 Speaker 4: Big footy high. 1330 00:57:29,360 --> 00:57:32,760 Speaker 3: Ask why why guy, why he's down running streets like 1331 00:57:32,880 --> 00:57:35,360 super fly sky high, sky High. 1332 00:57:35,639 --> 00:57:36,360 Speaker 4: Let him know with. 1333 00:57:36,480 --> 00:57:44,960 Speaker 3: Stress, ruck, spresuck, sweat right stretch Yeah, Cousin's retro like DC, 1334 00:57:45,199 --> 00:57:48,840 You're on a metro Hey Shawty Yo Joe Chicken Wings 1335 00:57:48,920 --> 00:57:51,039 with mambo back to Howard. 1336 00:57:50,880 --> 00:57:53,239 Speaker 4: University, flow house music, go go. 1337 00:57:53,679 --> 00:57:56,840 Speaker 3: Ronde Berry and sell Mo parties jumping like jem Loo 1338 00:57:57,280 --> 00:58:00,320 booking Hoigh. He's like hello back in Philly Street feet 1339 00:58:00,360 --> 00:58:03,559 of Snow beat capped one bottom, Moe, let go of 1340 00:58:03,719 --> 00:58:07,800 my age, go batman, lay go drug addictions, Just say 1341 00:58:07,920 --> 00:58:11,480 no dost effects, back that flow, no doe, no show, 1342 00:58:11,840 --> 00:58:15,119 no pain, no game, take it all like Nosey can 1343 00:58:15,400 --> 00:58:18,800 find a beat and make sure thanks Shylynn new change, 1344 00:58:18,960 --> 00:58:22,440 shriek gas up to sell slan, no bus, take the train, 1345 00:58:22,679 --> 00:58:26,519 high speed, left lane stayed the same, never changed. Kill 1346 00:58:26,639 --> 00:58:30,920 Bill Dang Bang Clint Eastwood steady Dang high noon, let 1347 00:58:31,000 --> 00:58:32,159 him hang and let them know. 1348 00:58:32,320 --> 00:58:38,800 Speaker 4: It's retro sweet, it's retrow rest. 1349 00:58:40,719 --> 00:58:43,880 Speaker 3: Yeah man, it's retro beat bang from the get go. 1350 00:58:44,320 --> 00:58:46,920 Speaker 4: Feel it all in your gut, so stop the music. 1351 00:58:47,119 --> 00:58:49,480 Hell no, what the hell you come in here for? 1352 00:58:49,679 --> 00:58:52,519 Speaker 3: It's murder on a dance flow Harbor Bow like his 1353 00:58:52,679 --> 00:58:54,400 cool show, sharmon Stone. 1354 00:58:54,159 --> 00:58:56,000 Speaker 4: And casinos based againstint. 1355 00:58:56,039 --> 00:58:59,119 Speaker 3: What's crazy though, Good fellas with the nail row Yanka 1356 00:58:59,239 --> 00:59:01,639 Vicious are weird. You know I didn't say it, he 1357 00:59:01,840 --> 00:59:04,599 said so as somebody. He made no back of the 1358 00:59:04,599 --> 00:59:08,840 Philly Yaginos playing football of areno thirty eighth Street is 1359 00:59:08,960 --> 00:59:11,639 nine and no bottom board. Now watch him blow my 1360 00:59:11,880 --> 00:59:15,199 ambition at the show, people blaving. I'm serious though, so 1361 00:59:15,400 --> 00:59:19,079 with silent studios in the atl with Ropael in the 1362 00:59:19,159 --> 00:59:21,920 booth that lay it down, Rabael got the line of this. 1363 00:59:22,079 --> 00:59:25,199 Now master technician hides sound Fisher to the people in 1364 00:59:25,239 --> 00:59:28,280 every town of fastball from the mountain. Let him know 1365 00:59:28,559 --> 00:59:29,199 it's retro. 1366 00:59:29,719 --> 00:59:32,760 Speaker 4: Let him know what's stretch row. Let him know what's retro. 1367 00:59:33,079 --> 00:59:35,559 I let him know. I let him know. 1368 00:59:37,559 --> 00:59:42,599 Speaker 3: It's retro. It's red show, It's sweat Show, It's sweat 1369 00:59:42,679 --> 01:00:03,719 stretch Show. The DA

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The Retro Movement

Valerie Denise Jones

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