THE RETRO MOVEMENT with Omar Tyree | Episode 1 | Special Guest: Tawatha Agee

June 11, 2026

Episode Transcript

THE RETRO MOVEMENT with Omar Tyree | Episode 1 | 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. Built on the principle of "REspecting The ROots," the show celebrates the journeys of writers, musicians, filmmakers, activists, educators, entrepreneurs, and media professionals whose work has left a lasting impact on culture and community.

In Episode 1, Omar welcomes legendary vocalist and songwriter Tawatha Agee for an intimate conversation about her remarkable career, creative evolution, and the experiences that shaped her success. Known for her powerful voice and enduring influence in music, Tawatha shares personal stories, career insights, and wisdom for the next generation of artists and creators.

Produced by Valerie Denise Jones, The Retro Movement is a weekly Zoom-based series featuring candid conversations with celebrities, industry leaders, authors, entertainers, and changemakers from around the world.

More than an interview show, it is a platform dedicated to preserving history, celebrating achievement, and inspiring future generations through authentic storytelling.As Omar Tyree says, "Every one of us has roots. None of us started from thin air. We all built our careers from the ground up. And our younger generations need to know."

Follow Omar Tyree: @Only1OmarTyree (HotLavaEntertainment.com)
Produced by Valerie Denise Jones: @valeriedenisejones (valeriedenisejones.com)

Learn more at: valeriedenisejones.comJoin us weekly on Zoom and listen wherever podcasts are heard, including Spotify, Apple Podcasts, Amazon Music, iHeartRadio, YouTube, and more.

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

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The Retro Movement

Valerie Denise Jones

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