Hosts Dave and Len sit down with veteran audio engineer and radio visionary Bobby Keys to trace his career from Record Plant sessions with Aerosmith and Kiss to touring with Rick James and crafting iconic studio mixes.
Bobby shares behind-the-scenes anecdotes (including Mick Jagger and Eddie Murphy stories), introduces his character-driven project 986 The Boulevard, and talks about his radio work with stations like 98.6 and 101.5 The Fever.
The hosts also discuss current hot topics — the National Park Service fee-free date changes and the Sean "Diddy" Combs documentary "The Reckoning" — before closing the episode with listener-minded reflections.
00:00:00 --> 00:00:08 All right, y'all. Get ready for another edition of News and Trends with your host, Dane and Lynn.
00:00:18 --> 00:00:21 Welcome, welcome, welcome to News and Trends with Dave and Len.
00:00:22 --> 00:00:25 Sorry, we're having a little bit of technical difficulty in the beginning there.
00:00:25 --> 00:00:28 It's all Len's fault. I'm just letting y'all know.
00:00:28 --> 00:00:32 I mean, you know, gotta keep it real. Gotta keep it real. It's all Len's fault.
00:00:32 --> 00:00:36 But anyway, thank you for joining us tonight. This is Dave Coker,
00:00:36 --> 00:00:39 one of your hosts, promoter, event planner, all-around good guy.
00:00:41 --> 00:00:48 You can always catch us on the MBG Podcast Network. along with a lot of great
00:00:48 --> 00:00:52 podcast shows. So you can always go on there and listen to us and some of the
00:00:52 --> 00:00:54 other shows on that channel.
00:00:54 --> 00:00:59 And then if you happen to miss us on our regularly scheduled nights on Tuesday nights at 8 o'clock,
00:00:59 --> 00:01:08 you can always catch us on the replay on Saturdays at 10 o'clock on 101.5 The
00:01:08 --> 00:01:12 Fever with DJ Rives and his partner, Mr.
00:01:12 --> 00:01:17 Bobby Keys. You can always check us on that station on Saturdays,
00:01:17 --> 00:01:20 like I said, at 10 o'clock. Casey missed us on Tuesday.
00:01:21 --> 00:01:24 What's going on, my partner, Mr. Leonard Young? What's going on, guy?
00:01:25 --> 00:01:29 Hey, Dave. Everything is good. This is Leonard Young, CEO of National Black
00:01:29 --> 00:01:35 Guide, DelawareBlack.com, Black Media Specialist, all-around good guy. How goes it, Dave?
00:01:36 --> 00:01:39 Man, everything is everything. Can't complain. you know
00:01:39 --> 00:01:42 the temperature out here and then dropped a
00:01:42 --> 00:01:46 few you know and everybody's walking
00:01:46 --> 00:01:50 around talking about how cold it is outside you know it did get it did get a
00:01:50 --> 00:01:55 little cool out there it definitely yeah yeah definitely the the frost is here
00:01:55 --> 00:01:59 for sure yeah definitely definitely make sure you're warming up those cars in
00:01:59 --> 00:02:04 the morning because uh it is definitely i think this morning when I woke up,
00:02:04 --> 00:02:09 they said it was like below 20 when I woke up this morning. So.
00:02:10 --> 00:02:15 So, I don't mind the cold. I don't mind the cold if the snow's not behind it.
00:02:15 --> 00:02:19 I'm good, you know. So, I can deal with the cold, you know.
00:02:21 --> 00:02:25 But how's everything been? Everything been good? You have a good weekend and everything?
00:02:26 --> 00:02:31 Yeah, I mean, everything was decent. You know, just busy. I mean, busy as usual.
00:02:31 --> 00:02:35 But we are finally in the month of December.
00:02:35 --> 00:02:38 So, you know, I think now I'm just counting down the end of the year and trying
00:02:38 --> 00:02:43 to see what things I want to accomplish by the end of the year and what things
00:02:43 --> 00:02:46 I need to be working on in the new year, really.
00:02:47 --> 00:02:53 What about you? Well, I mean, you know, the year, it's funny how quickly the
00:02:53 --> 00:02:55 year kind of goes by anymore.
00:02:55 --> 00:02:58 You know, we're at the end of the year. We've got a couple more weeks.
00:02:59 --> 00:03:03 December is flying by. I mean, you know. No, it is.
00:03:04 --> 00:03:07 Tomorrow's the 10th. We're one third of the way through December.
00:03:07 --> 00:03:12 Yeah, so, you know, next week, well, two weeks, Christmas is in two weeks,
00:03:12 --> 00:03:17 and then we'll be going into the New Year's Eve. Yeah, yeah, I know.
00:03:17 --> 00:03:20 Are you doing anything on New Year's Eve, by the way?
00:03:23 --> 00:03:26 To be honest, I do not know.
00:03:26 --> 00:03:28 I mean, you know, to be honest, everything's coming so quick,
00:03:29 --> 00:03:32 because you actually startled me when you said Christmas two weeks away,
00:03:32 --> 00:03:33 and I had to think about it. Yeah, there's two weeks away.
00:03:33 --> 00:03:36 Yeah, yeah. Yeah, so I do not.
00:03:36 --> 00:03:40 But right now, I don't know which direction is front and which direction is back.
00:03:41 --> 00:03:44 You know, everything is coming so quick. I think you might want to know that,
00:03:44 --> 00:03:48 Leonard. I think you might want to know that. Don't put me on the safe side, okay? All right.
00:03:50 --> 00:03:55 But, yeah, everything is happening so fast. And I know you guys don't have anything
00:03:55 --> 00:03:57 going on at the campground for New Year's?
00:03:57 --> 00:04:01 No, I mean, there were some people who inquired about wanting to do something,
00:04:01 --> 00:04:04 but, you know, no, nobody locked anything in.
00:04:04 --> 00:04:09 And, you know, since we are only two to three weeks away, I doubt that happening
00:04:09 --> 00:04:10 now. Yeah, yeah, yeah, definitely.
00:04:11 --> 00:04:17 Okay, well, hey, you know, we know our buddy, Mr.
00:04:17 --> 00:04:20 Bailey, you know, he has this big New Year thing. So this is pretty new year.
00:04:21 --> 00:04:25 Yeah, yeah. So he always got something going on. So, but, okay.
00:04:26 --> 00:04:29 All right. Well, all right. Well, we...
00:04:29 --> 00:04:34 We're going to go ahead and get into our show. We have a wonderful guest with us today.
00:04:35 --> 00:04:38 And Leonard, why don't you tell everybody a little bit about who we got going
00:04:38 --> 00:04:39 on the show with us today?
00:04:41 --> 00:04:44 Sure. So today our guest is Bobby Keys.
00:04:45 --> 00:04:51 And Bobby is more than an audio engineer. He's a visionary who carves his name
00:04:51 --> 00:04:54 into the fabric of the music and radio history.
00:04:54 --> 00:05:01 At just 18, he entered the Navy, where his discipline and services became the
00:05:01 --> 00:05:05 foundation for a career defined by innovation and authenticity.
00:05:05 --> 00:05:12 His pioneering role as a black audio technician on Aerosmith's 1977 album,
00:05:12 --> 00:05:17 Broke Barriers, setting the stage for a dynasty that blends technical mastery
00:05:17 --> 00:05:19 and cultural storytelling.
00:05:19 --> 00:05:26 From Armed Forces Radio DJ Broadcast to directing, branding,
00:05:26 --> 00:05:30 and production for his own creative empire,
00:05:31 --> 00:05:35 Bobby has built a legacy that honors both heritage and future.
00:05:35 --> 00:05:44 His dynasty thrives on mythic characters, Supreme OG, Supreme Queen,
00:05:44 --> 00:05:48 One Time, Mima, Pepe Cojones,
00:05:49 --> 00:05:56 Maury Kramer, and T-Rone, each brought to life with vibrant audio identities.
00:05:57 --> 00:06:00 Banners, and animated tributes.
00:06:01 --> 00:06:06 Together, they form a living mythology that celebrates Black creativity,
00:06:07 --> 00:06:09 justice, and co-authenticity.
00:06:10 --> 00:06:13 Bobby's artistry is meticulous,
00:06:14 --> 00:06:20 Every voice tag, every banner, every loop is crafted to resonate across generations.
00:06:20 --> 00:06:24 His work is not just about sound, it's about legacy.
00:06:25 --> 00:06:30 Ensuring his contributions as a Navy veteran, radio architect,
00:06:30 --> 00:06:34 and cultural advocate are presented, preserved, and celebrated.
00:06:34 --> 00:06:42 Today, Bobby stands as radio royalty, a master of sound, a keeper of history,
00:06:42 --> 00:06:47 and a creative director whose vision continues to shine,
00:06:48 --> 00:06:50 illuminating the path for those who follow.
00:06:50 --> 00:06:59 As an engineer, Phyllis Hyman, Rick James, The OJs, GQ, Al Jarreau,
00:07:00 --> 00:07:05 The Jacksons, Pepsi Tour, The Gap Band, Ashford and Simpson.
00:07:06 --> 00:07:10 For Rock and Roll, Aerosmith, Kiss, Bob Seger,
00:07:11 --> 00:07:16 Steve Miller Band, Mick Jagger, The Machine, Cheap Trick, Radio,
00:07:17 --> 00:07:23 Chaka Khan, The Delphonics, Harold Melvin and the Blue Notes, Trisco,
00:07:24 --> 00:07:27 Force MDs, just to name a few.
00:07:28 --> 00:07:32 Without further ado, we'd like to welcome Bobby Keys to the show.
00:07:32 --> 00:07:33 Welcome, Bobby. How are you?
00:07:34 --> 00:07:37 Hey, good evening, everybody. And I'm always good.
00:07:37 --> 00:07:43 And thank you guys so much for having me so that we can just share the love.
00:07:43 --> 00:07:49 Okay, great, great, great. First of all, I want to say that is a hell of a bio right there.
00:07:49 --> 00:07:53 You know, when I read it first, you know, the first thing that stood out to
00:07:53 --> 00:07:55 me that, of course, may be different than,
00:07:56 --> 00:08:02 you know, I think what a lot of people would have expected is your role as a
00:08:02 --> 00:08:05 black audio technician on the Aerosmith album.
00:08:06 --> 00:08:08 Can you kind of say that?
00:08:09 --> 00:08:13 And you only tell, you know, I laugh because when I was growing up and,
00:08:13 --> 00:08:16 you know, I'm much younger than Dave, like much, much, much younger.
00:08:17 --> 00:08:21 But when I was growing up and, you know, I grew up with a lot of,
00:08:21 --> 00:08:24 you know, there are a lot of white kids when I grew up.
00:08:25 --> 00:08:30 But when I grew up. He was privileged. That's what he's trying to say. Yeah, man.
00:08:31 --> 00:08:33 We all were. We just didn't know.
00:08:34 --> 00:08:40 Yep. When I grew up, you know, there were a lot of Aerosmith albums that I listened to.
00:08:40 --> 00:08:46 So, you know, it was definitely very interesting. And I remember Back in Black.
00:08:46 --> 00:08:48 I feel like that was one of their albums.
00:08:49 --> 00:08:52 And they had another album, too. I can't remember the name. But can you kind
00:08:52 --> 00:08:55 of tell us how you got linked up with Aerosmith?
00:08:56 --> 00:09:02 Part of the training for being an audio engineer, the first year,
00:09:02 --> 00:09:04 they gave me a band to take care of.
00:09:05 --> 00:09:10 I had to learn everything, sound lights, backline gear, micing techniques.
00:09:10 --> 00:09:13 I was the roadie, sound man, everything.
00:09:13 --> 00:09:19 So that was the first year. The second year, I'm attached to a remote recording truck.
00:09:19 --> 00:09:22 So that's how I got in on the Aerosmith deal.
00:09:22 --> 00:09:28 I'm attached to the remote recording truck. In order to record the way we did
00:09:28 --> 00:09:36 in making history, we were in a 125-room mansion in Armok, New York, up on the hilltop.
00:09:37 --> 00:09:42 And what it looked like to me was an abbey or a place where they were making
00:09:42 --> 00:09:45 nuns or something, manufacturing nuns.
00:09:45 --> 00:09:48 And so that's how big this mansion was.
00:09:48 --> 00:09:52 So what they did is they moved the group up there to the mansion with their
00:09:52 --> 00:09:54 family, their dogs, their toys.
00:09:54 --> 00:10:00 And we brought the remote truck and stripped it down and built a studio inside that mansion.
00:10:01 --> 00:10:07 And so right there, because I'm attached to the truck, automatically,
00:10:07 --> 00:10:09 I was already in on the project.
00:10:10 --> 00:10:14 And I got to tell you, you don't know what to expect.
00:10:16 --> 00:10:20 Yeah, come on, man. I mean, I'm the kid from the Bronx. Yes.
00:10:22 --> 00:10:27 I've been in the studio for like the last two years. So I don't really know
00:10:27 --> 00:10:29 what this, I know who Aerosmith is.
00:10:30 --> 00:10:31 They've been in record plant quite
00:10:31 --> 00:10:34 a few times. And that's the name of the studio record plant, New York.
00:10:35 --> 00:10:39 And they've been in it quite a time. So I knew who they were.
00:10:39 --> 00:10:44 So to be on this project with them, I could hear one ear going, uh-oh.
00:10:44 --> 00:10:49 And the other ear going, something wrong with your nose, man? You know?
00:10:52 --> 00:10:57 Are you kidding me? So there was no glitter at that point.
00:10:57 --> 00:11:01 I had learned in the first two years that I'm not Aerosmith,
00:11:01 --> 00:11:02 so they're not talking to me.
00:11:03 --> 00:11:10 Right. Yeah, I never spoke much, so they didn't, you know, I was the only brother.
00:11:10 --> 00:11:16 And so, really, not only on this project, but at Record Plant Studios.
00:11:17 --> 00:11:23 Right. And what year was this? What year was this? I went into Record Plant in 1975.
00:11:24 --> 00:11:31 75. Okay, 75. Okay. And, yeah, and I think, and I can't really,
00:11:31 --> 00:11:33 you know, I don't have the receipt.
00:11:34 --> 00:11:40 But I believe the topic of the conversation was, can you take a young black
00:11:40 --> 00:11:45 brother off the street and turn him into an audio engineer? Oh, wow.
00:11:46 --> 00:11:51 Yeah. And the rest of them said, no, no, not possible. He's to this.
00:11:51 --> 00:11:55 He's to that. He can't follow directions. He's going to get upset.
00:11:55 --> 00:11:56 He's going to tear the place up.
00:11:57 --> 00:12:03 They had no knowledge. Many of them may not have ever kept a conversation with a black person.
00:12:04 --> 00:12:08 So they only knew how to react sure
00:12:08 --> 00:12:11 that i yeah that's all they knew so many of
00:12:11 --> 00:12:14 them stayed away from me many didn't want to be
00:12:14 --> 00:12:17 a part of training me they would just say no no we're good we're good we're
00:12:17 --> 00:12:22 good and i know they're not good but yeah i'm not i'm not gonna say anything
00:12:22 --> 00:12:27 so on this aerosmith project we stayed in this mansion from april until june
00:12:27 --> 00:12:32 and you know in the beginning we're working We're doing the work.
00:12:32 --> 00:12:36 You can only understand that there are occasional snowstorms.
00:12:37 --> 00:12:40 In the area and so that that
00:12:40 --> 00:12:45 may have delayed work from time to time another thing we did to break the monotony
00:12:45 --> 00:12:51 up there is at a certain time when it got dark we would pull the main switch
00:12:51 --> 00:12:58 on the power and everybody had a water gun and a candle and it's up to you to get back home.
00:13:00 --> 00:13:05 To the control room without your candle going out or anything like that so it
00:13:05 --> 00:13:11 became a a main event where people would hide grown men playing this game half
00:13:11 --> 00:13:13 the night when we're supposed to be working.
00:13:14 --> 00:13:20 But it was a great time for me because I learned a lot on that.
00:13:20 --> 00:13:25 I learned not only how to break down the truck and rebuild the truck in this.
00:13:26 --> 00:13:31 You know, in this mansion. If you could do that, you could do it anywhere at
00:13:31 --> 00:13:32 that point, you could do it anywhere.
00:13:32 --> 00:13:35 And so record plant was on fire with their remote truck.
00:13:35 --> 00:13:38 They didn't need me and the debut was
00:13:38 --> 00:13:42 the guy who was running the truck and they had done so many things
00:13:42 --> 00:13:45 a live aid and bangladesh concerts
00:13:45 --> 00:13:48 back in the late 60s early 70s so
00:13:48 --> 00:13:51 they were the tops in what they were doing so
00:13:51 --> 00:13:54 yeah we spent four months there working on
00:13:54 --> 00:13:57 an album called draw the line and it
00:13:57 --> 00:14:00 had kings and queens on it draw the
00:14:00 --> 00:14:03 line was on it and yeah jack
00:14:03 --> 00:14:06 douglas the producer and that was the team
00:14:06 --> 00:14:09 that allowed me to work with them and they allowed you
00:14:09 --> 00:14:15 know to train me uh it was jack douglas it was jay messina and it was sam ginsburg
00:14:15 --> 00:14:20 and that team that record plant worked more than anybody else because jack didn't
00:14:20 --> 00:14:25 yeah he didn't just do harrow smith he did he did a lot of rock and roll so
00:14:25 --> 00:14:28 to be a part of that team was what kept me working.
00:14:29 --> 00:14:36 Gotcha. Okay. Now to backtrack a little bit, what first sparked your love for
00:14:36 --> 00:14:42 sound or, you know, when did you kind of realize that audio engineering would
00:14:42 --> 00:14:43 kind of become your life's calling?
00:14:44 --> 00:14:47 Like, were you in, you know, middle school, maybe high school,
00:14:47 --> 00:14:51 and you just, you knew music was your thing, sound was your thing,
00:14:51 --> 00:14:52 or did that kind of come afterwards?
00:14:53 --> 00:14:59 I think the performance part came first i remember as a kid being in some kind of assembly,
00:15:00 --> 00:15:05 and there was a band on stage and those days they were playing a lot of james
00:15:05 --> 00:15:11 brown a lot of motown and i remember well i don't remember well but i remember getting.
00:15:13 --> 00:15:22 How old was i i had to be uh 11 years old and i got up and i i just casually walked up.
00:15:23 --> 00:15:26 They never thought I would be going up on the stage, so they didn't pay me no
00:15:26 --> 00:15:28 mind. And I went right up on the stage.
00:15:28 --> 00:15:32 And I was able to talk to the band and feel comfortable in a way that I never
00:15:32 --> 00:15:35 did with anybody else. So I knew one thing for sure.
00:15:36 --> 00:15:42 I was halfway home. This is the right place. I just got to figure out how I fit in here.
00:15:43 --> 00:15:49 And so I was 11 years old, that first performance. I think the audio engineering
00:15:49 --> 00:15:53 thing, I really wasn't sure about, but I had a family member.
00:15:54 --> 00:15:58 What I used to do is I would voice over commercials as a kid.
00:15:58 --> 00:16:04 I would sit in the room with my cousin and watch TV, and I knew the commercials verbatim.
00:16:04 --> 00:16:07 And so I would repeat them and repeat them.
00:16:08 --> 00:16:11 She was the first one to tell me at this point, and I got to be seven years
00:16:11 --> 00:16:14 old. She says, you're going to be in radio.
00:16:14 --> 00:16:18 So that was the second signal and somebody told something, yeah,
00:16:18 --> 00:16:20 and that might help me get to where I need to go.
00:16:22 --> 00:16:28 So 7-Eleven, in and around. I had no idea what an audio engineer did.
00:16:29 --> 00:16:32 I don't think anybody did because they don't look at the credits on the back
00:16:32 --> 00:16:35 of the albums or anything like that.
00:16:36 --> 00:16:39 I mean, how many times can you tell me who the audio engineer was?
00:16:40 --> 00:16:42 You might be able to read it. Yeah, that's true.
00:16:42 --> 00:16:48 And it's funny you say it because I remember growing up when we had cassette tapes.
00:16:49 --> 00:16:54 And Dave may be the same, but, you know, I would open those covers and I'd look at everything there.
00:16:54 --> 00:16:57 Now, I didn't know who the people were, but I would, you know,
00:16:57 --> 00:17:00 if it was a tape I really liked, I would look at every name,
00:17:00 --> 00:17:04 every position, especially, you know, especially if they had the lyrics in there.
00:17:05 --> 00:17:08 So it's interesting that you mentioned that.
00:17:09 --> 00:17:13 And I was that kind of kid. We read those magazines, you know,
00:17:13 --> 00:17:16 that told you what all the black stars were doing right on magazine.
00:17:17 --> 00:17:19 It was a good poem. to be coming up,
00:17:20 --> 00:17:24 And again, to get into record playing, I can't tell you how it happened.
00:17:24 --> 00:17:28 You see, that's just another crossroad where somebody was there to meet me and
00:17:28 --> 00:17:30 pushed me in that direction.
00:17:30 --> 00:17:36 Because in the Navy, everybody was doing some military things.
00:17:36 --> 00:17:40 I was a disc jockey for the Armed Forces Radio and Television Service,
00:17:40 --> 00:17:41 the same thing I'm doing now.
00:17:43 --> 00:17:49 Same songs and the programming that I'm using on Fever is some of the same programs we use.
00:17:49 --> 00:17:52 See armed forces radio is big it's all
00:17:52 --> 00:17:55 over the world wherever there's a place there's um
00:17:55 --> 00:17:58 so if anybody knows your name those guys do
00:17:58 --> 00:18:01 you know and and they tell stories about
00:18:01 --> 00:18:04 you so armed force radio was the first
00:18:04 --> 00:18:08 you know thing where i knew oh my god somebody said
00:18:08 --> 00:18:11 i'd be radio here i am you know i'm in
00:18:11 --> 00:18:14 radio my thing was radio was
00:18:14 --> 00:18:17 over i wanted to go to the next level and that's
00:18:17 --> 00:18:22 how i found audio engineering because i said all right look i played the records
00:18:22 --> 00:18:27 now i want to go where they're made i want to see them i want to be a part of
00:18:27 --> 00:18:31 making the record i got you yeah i don't think i'm that good an artist that
00:18:31 --> 00:18:35 i'm gonna get a record deal or whatever so let's let's go,
00:18:36 --> 00:18:40 where we might be able to you know blow up as they said.
00:18:42 --> 00:18:43 Got you.
00:18:43 --> 00:18:49 So now jumping forward a little bit. So after the, the Aerosmith project was over,
00:18:50 --> 00:18:54 did that kind of open up some doors to you? So like, what was the next thing
00:18:54 --> 00:18:55 that you worked on after that?
00:18:56 --> 00:19:01 And I'm sure after that, your confidence was probably on a high note that kind
00:19:01 --> 00:19:02 of, you know, propelled you as well.
00:19:03 --> 00:19:09 But can you speak about what that transition looked like after the Aerosmith project?
00:19:10 --> 00:19:15 Yeah, I actually always think that the Aerosmith project was the test to see
00:19:15 --> 00:19:19 if this brother was going to act right, if he was going to do his job,
00:19:19 --> 00:19:22 but wasn't even going to get caught up in that craziness.
00:19:22 --> 00:19:28 Right. So that I believe was a test. But what happened was it was four bands
00:19:28 --> 00:19:33 or groups that were tops in their field at that time.
00:19:33 --> 00:19:40 So Aerosmith came first behind, right behind Aerosmith, instead of a mansion,
00:19:40 --> 00:19:45 we went into a theater go round and we worked on Kiss. Oh, wow. Wow.
00:19:46 --> 00:19:53 Then from Kiss, with the truck, we went to Bob Seger, Silver Bullet Band, five babies in. Yeah.
00:19:53 --> 00:19:57 And then with the truck, we did Steve Miller Band, Book and Dream.
00:19:59 --> 00:20:04 Man, that's four nice ones in a row, man. You're talking about four home runs. Yeah.
00:20:06 --> 00:20:09 My only concern is what are they expecting me next, you know?
00:20:09 --> 00:20:14 I mean, if I come up and I don't see the ball, they're going to get mad, you know?
00:20:14 --> 00:20:18 But, yeah, that's what did. those four there and then
00:20:18 --> 00:20:21 he took me off the truck his name
00:20:21 --> 00:20:25 is roy saccala c-i-c-a-l-a and
00:20:25 --> 00:20:28 roy was the owner of record playing an italian
00:20:28 --> 00:20:32 guy so when i tell you you know this place was yeah
00:20:32 --> 00:20:35 yeah and so for
00:20:35 --> 00:20:38 him to bring me and he puts i work with him in the
00:20:38 --> 00:20:41 last year alone just him and we're
00:20:41 --> 00:20:44 doing mostly mixing he's not
00:20:44 --> 00:20:47 doing a lot of recording and i think that part of it i already
00:20:47 --> 00:20:50 got between the truck and the studio work i know where
00:20:50 --> 00:20:53 the mics go what they're supposed to do you know
00:20:53 --> 00:20:56 take care of the acoustics working machines etc
00:20:56 --> 00:20:59 etc follow instructions pretty much but
00:20:59 --> 00:21:02 last year i spent working directly with roy and
00:21:02 --> 00:21:05 it was a group called machine out of
00:21:05 --> 00:21:08 new york they had a track called therefore the
00:21:08 --> 00:21:15 grace of god go i sounded a lot like dr some dr buzzard savannah band right
00:21:15 --> 00:21:21 i remember dr buzzard yeah right very much on that same thing tommy matola yeah
00:21:21 --> 00:21:28 it kind of made me feel like that's what they should have been saying but we're mixing this track.
00:21:29 --> 00:21:34 And I know when I don't, I'm not supposed to talk to Roy, but we're buddies, you know?
00:21:35 --> 00:21:39 So at some point I remember saying, Hey man, we got to break this thing down,
00:21:39 --> 00:21:42 man. We got to put some, some funk in there too. We got to break it down.
00:21:42 --> 00:21:45 They have disco now. They need a breakdown.
00:21:45 --> 00:21:48 They love to break it back up. Let's do that. Let's do that.
00:21:48 --> 00:21:51 But he act like he don't hear a sound.
00:21:51 --> 00:21:54 I say it again. He act like he don't hear a sound.
00:21:55 --> 00:21:58 He gets up and he says, uh, listen, I'm going to lunch for two hours.
00:21:59 --> 00:22:02 You hear the breakdown? I said, yeah, man. He goes, you do it.
00:22:02 --> 00:22:06 And I'm like, uh-oh. Part of me was like, uh-oh. Are you ready?
00:22:06 --> 00:22:08 The other part was, you must be crazy.
00:22:09 --> 00:22:14 Wait for what you do, I'll do with this. He came back about two hours later.
00:22:15 --> 00:22:19 I had the 12-inch mix. I had the radio edit and the regular track.
00:22:19 --> 00:22:23 So he comes in and he says, you got it done, right? I said, yeah, man.
00:22:23 --> 00:22:27 You want to hear it? He goes, no, man, because the group is going to be here in five minutes.
00:22:28 --> 00:22:31 And he said I just want to get one thing straight whose mix is this,
00:22:32 --> 00:22:38 it's your mix he says okay the group comes in they play the track the breakdown
00:22:38 --> 00:22:46 part comes I see their heads spinning like the girl in that movie whatever it was oh yeah yeah.
00:22:48 --> 00:22:52 I see heads spinning I see Roy he don't want to look back I'm looking at the
00:22:52 --> 00:22:55 back of his head from the machine he don't want to look back,
00:22:56 --> 00:23:00 It's over. They're starting to drop all kinds of accolades on Roy.
00:23:00 --> 00:23:03 That's why we came here to record play. Everybody said you were the man.
00:23:03 --> 00:23:05 Everybody said you were the man.
00:23:05 --> 00:23:09 Oh, you knocked this out the park. And I'm standing there. I'm cool. I know the game.
00:23:10 --> 00:23:15 They leave. And then he says, all right, that was really good, man, really good.
00:23:15 --> 00:23:20 Listen, clean up the room, get everything set, and go find your own clients.
00:23:21 --> 00:23:24 By the way, I get 10%. man.
00:23:24 --> 00:23:27 Now I'm 22 years old. I live in New York.
00:23:28 --> 00:23:32 I'm from uptown. I don't know what you're talking about. Go find my own clients.
00:23:32 --> 00:23:33 I know they ain't uptown to show.
00:23:34 --> 00:23:42 So I pounded the pavement between seventh and Broadway from 50th street to 57th street.
00:23:42 --> 00:23:46 I went into every building looking for management companies, that type of thing.
00:23:47 --> 00:23:50 I was in one guy's office. He had a, he had groups back
00:23:50 --> 00:23:53 in the day called uh brett's construction bt express
00:23:53 --> 00:23:56 right and yeah jeff lane
00:23:56 --> 00:23:59 was his name so i'm in there and i'm trying to sell myself to him because if
00:23:59 --> 00:24:04 i can and he's got multiple groups i'm going to be able to work year round so
00:24:04 --> 00:24:10 as i'm talking to him in comes a gentleman he introduces me to the guy he says
00:24:10 --> 00:24:16 his name is larry alexander he knows jeff so they know each other he introduces me.
00:24:16 --> 00:24:19 And so Jeff says, what's going on, Larry? And he says, well,
00:24:19 --> 00:24:25 listen, I just got a deal for my client on Buddha Records, and I'm looking for a studio to record that.
00:24:25 --> 00:24:28 And here I am standing right there.
00:24:28 --> 00:24:34 So as they say, let's read piece, proper preparation, prohibit poor performance.
00:24:34 --> 00:24:38 I was able to say, hey, listen, man, let me, I'm from record playing.
00:24:38 --> 00:24:42 And then he looks at Jeff and he goes, what does he do at record playing?
00:24:42 --> 00:24:44 And he said, oh, he's an engineer.
00:24:44 --> 00:24:48 And he says, but they don't have no black engineers at record playing.
00:24:48 --> 00:24:49 He goes, yeah, that's the guy.
00:24:51 --> 00:24:54 So I says, listen, I'll go down to record playing. I'll see what we got.
00:24:54 --> 00:24:56 And I'll give you a call in a couple hours.
00:24:57 --> 00:25:01 I called him up well I went back to record playing and I plopped myself down
00:25:01 --> 00:25:05 in the seat because I don't remember my feet ever touching the ground as far
00:25:05 --> 00:25:10 as going from his office back to record playing I was so excited I just I forgot,
00:25:11 --> 00:25:15 I get up to the 10th floor. I plop down in the seat, and this is the boss's
00:25:15 --> 00:25:17 office, and I'm in his seat. He comes in.
00:25:18 --> 00:25:23 You know an Italian guy from New York, he's got a lot of drama with his conversation.
00:25:23 --> 00:25:27 So he's like, hey, what are you doing?
00:25:27 --> 00:25:31 Hey, I'm taking it easy. Look, we're buddies.
00:25:31 --> 00:25:36 I can talk to you like this. He says, listen, man, you either got a client or you're out of your mind.
00:25:37 --> 00:25:42 And I says, hey, man, I'm both. I got a client, and I'm out of my mind.
00:25:43 --> 00:25:47 He says, well, who is it going to be? He says, well, who's the client?
00:25:47 --> 00:25:51 I said, her name is Phyllis Hyman. Wow. Oh, wow.
00:25:52 --> 00:25:57 Yeah, he paused, and he goes, bet you by golly, wow, Phyllis Hyman.
00:25:58 --> 00:26:01 And I was in shock. Here's this Italian guy from where?
00:26:02 --> 00:26:06 What do you know about Phyllis Hyman? But I'm thinking he knows his.
00:26:06 --> 00:26:09 So somebody must pass the word in the industry.
00:26:09 --> 00:26:12 Hey, Bobby, he probably also knew money, too.
00:26:13 --> 00:26:16 Yeah, yeah, yeah. I'm sure it was. Yeah, yeah.
00:26:17 --> 00:26:22 So I say, listen, if we could make it, you know, some room for him,
00:26:22 --> 00:26:26 we'd like to work at nighttime, maybe 6 o'clock at night to 2 in the morning
00:26:26 --> 00:26:28 or whatever, because we're night birds, all of us.
00:26:29 --> 00:26:32 And he said, well, go into bookkeeping and see what happens.
00:26:32 --> 00:26:34 I go into bookkeeping, they give me the time.
00:26:34 --> 00:26:38 I go back to him. I said, okay, we got it all squared away. He says, what's the budget?
00:26:39 --> 00:26:43 In rock and roll in those days, we were getting a quarter of a million dollars
00:26:43 --> 00:26:44 to do a rock and roll album.
00:26:45 --> 00:26:50 In those days, Phyllis Hyman got $68 to do a rock album. Oh, that's crazy. Wow.
00:26:51 --> 00:26:55 So my first question as an engineer is, how am I going to give you the quality
00:26:55 --> 00:27:00 product that you get for $250 for $68?
00:27:00 --> 00:27:04 And Roy just looked at me as he walked out the room, and he goes, you'll know what to do.
00:27:05 --> 00:27:07 And I'm like, boy, this may not be working.
00:27:09 --> 00:27:14 Hey Bobby can I ask a quick question and for those of us who don't know including
00:27:14 --> 00:27:21 myself so if there was a budget for about $250 how does that get allocated
00:27:21 --> 00:27:27 so like so that is some of that money for the artist or is that all for production,
00:27:28 --> 00:27:33 that's all production money oh wow they're willing to spend on the album gotcha
00:27:33 --> 00:27:40 okay yeah and then you have what is your video It could cost you another $250, $300.
00:27:40 --> 00:27:46 Then you have you're promoting the record, so you're traveling all over the country.
00:27:46 --> 00:27:49 That's their dime, too. That's another $200.
00:27:50 --> 00:27:54 And then last but not least, they're going to give you some tour support because
00:27:54 --> 00:27:57 they understand that when you start out, you don't have that kind of money to
00:27:57 --> 00:27:59 support a tour for a month or two.
00:28:00 --> 00:28:05 So they're going to give you tour support. So by the time you even think about
00:28:05 --> 00:28:10 money, you already owe them at least 1.8 million dollars. At least a million
00:28:10 --> 00:28:13 dollars, right? Oh, 1.8 today.
00:28:14 --> 00:28:18 And they want every bit of that 1.8.
00:28:18 --> 00:28:23 So what they're going to do is they're going to put you on a salary and give
00:28:23 --> 00:28:26 you a certain amount of money every week, and that's going to be your salary
00:28:26 --> 00:28:30 until you supposedly pull some kind of royalty money.
00:28:30 --> 00:28:35 But everybody knows after they get theirs, there's nothing left for you, especially. Thank you.
00:28:36 --> 00:28:41 Yeah, we've seen too many movies and too many stories all about that, you know?
00:28:41 --> 00:28:46 Yeah, that's crazy. People talk about the window for that kind of foolishness,
00:28:46 --> 00:28:47 you know? What do you mean?
00:28:48 --> 00:28:54 How did that make it happen? Normally, we run the tape at about 30 IPSs,
00:28:54 --> 00:28:58 and with Phyllis, I went down to seven and a half.
00:28:59 --> 00:29:03 So I slowed the tape down, and that allowed me not to have to bill them for
00:29:03 --> 00:29:05 maximum amounts of tape.
00:29:05 --> 00:29:09 We were strategic at bringing band in at one point without Phyllis,
00:29:09 --> 00:29:11 just the band. Let's get the tracks done.
00:29:11 --> 00:29:16 And then we bring Phyllis in, then we bring the background, and then we mix
00:29:16 --> 00:29:18 it. So we had the plan in effect.
00:29:18 --> 00:29:21 And it came out better than I thought.
00:29:21 --> 00:29:26 Because when you're living with it for 40 days at a time, it just gets overwhelming.
00:29:26 --> 00:29:34 You've heard every song 30 times. So, you know, nevermind overdubs and fill this in and fill that in.
00:29:34 --> 00:29:37 So by the time it hits the market, you're exhausted, man.
00:29:39 --> 00:29:45 Yeah. I knew right then and there that I didn't want to be a studio engineer.
00:29:45 --> 00:29:49 If I was going to be an engineer, I wanted to be the guy who makes the concerts.
00:29:50 --> 00:29:55 Right, right. But, you know, it's funny you say that because I've seen a lot
00:29:55 --> 00:29:56 of music documentaries.
00:29:56 --> 00:30:03 Stories and uh we'll talk about one a little later but it always looks like
00:30:03 --> 00:30:07 they're in the studio like all times like you always hear about artists being
00:30:07 --> 00:30:13 in the studio all night pulling 24 hour sessions so i'm assuming then that's
00:30:13 --> 00:30:15 the truth and that's pretty common in the industry,
00:30:16 --> 00:30:19 it can if if the
00:30:19 --> 00:30:21 money's not right and you got to stay there and just keep
00:30:21 --> 00:30:24 doing as much as you can before the money runs
00:30:24 --> 00:30:27 out if you got a good budget and you
00:30:27 --> 00:30:31 got guys who've done this before then the work ethic everybody
00:30:31 --> 00:30:36 knows the plan the blueprint but if you got him like in hip-hop music when these
00:30:36 --> 00:30:41 guys came in i had a group out in new york and it was three groups in in the
00:30:41 --> 00:30:47 project and work ethic was the biggest problem you know you can't say nothing
00:30:47 --> 00:30:50 about being on time, but everything's costing you money.
00:30:50 --> 00:30:54 See, although I'm spending the money, it's coming out of your pocket.
00:30:54 --> 00:30:59 So when you don't get paid, your royalty money is because you are late.
00:30:59 --> 00:31:02 We have to spend it on waiting for you to come.
00:31:04 --> 00:31:09 It's not everybody's going to survive it. It's not for everybody.
00:31:09 --> 00:31:12 I think I wouldn't recommend it for everybody.
00:31:12 --> 00:31:17 I think education, no matter what you do, it doesn't matter what you do,
00:31:18 --> 00:31:22 but education in that field is how you're going to be the best.
00:31:22 --> 00:31:27 Whether you go to the university or you, you, you pal around with the musicians
00:31:27 --> 00:31:31 and learn their ways of talking and playing, et cetera,
00:31:31 --> 00:31:36 whatever it is that you desire to be, you need to surround yourself with those
00:31:36 --> 00:31:40 people because they're the ones that are going to teach you.
00:31:40 --> 00:31:45 So for me to waste any time, any place else was just that, a waste of time.
00:31:47 --> 00:31:51 Gotcha. All right. So my last question before.
00:31:55 --> 00:32:03 Who was the favorite who was your favorite person to work with and why rich
00:32:03 --> 00:32:15 eggs rich yeah yeah rich james because you know they say what they see record game recognized games,
00:32:16 --> 00:32:20 And so when I saw him, I first met him. I first met him at record player.
00:32:20 --> 00:32:25 Then I met him again with Phyllis Hyman. And then I met him on his tour when
00:32:25 --> 00:32:26 I went out on tour with him.
00:32:27 --> 00:32:30 So that was three times that I had met him. I knew what to expect.
00:32:31 --> 00:32:37 But the experience of being able to watch him work night after night and create
00:32:37 --> 00:32:41 that excitement night after night was magic.
00:32:42 --> 00:32:47 You know, and they understood. They were like athletes. They had to train to do this.
00:32:47 --> 00:32:50 You can't stay up on the stage, you know, hour and 20 minutes,
00:32:50 --> 00:32:54 full energy, and think you're not going to pass out, you know?
00:32:55 --> 00:33:00 In Michael's case, we used to just have some oxygen available in the back,
00:33:00 --> 00:33:06 so when he would step off stage, and the band would play a long song or something, everybody gets a solo.
00:33:06 --> 00:33:10 He's sucking oxygen in the back as much as he possibly can.
00:33:11 --> 00:33:14 The trip is impossible. there's no
00:33:14 --> 00:33:17 possible way that you can maintain what these
00:33:17 --> 00:33:20 record companies and everybody needs from you
00:33:20 --> 00:33:23 without going crazy it's not possible
00:33:23 --> 00:33:31 and then the pools that have around you can even make it worse because now you
00:33:31 --> 00:33:35 have to be responsible for them it's like a daycare center you know so with
00:33:35 --> 00:33:40 rick it was he had this he had it down the crew had it down the band had it
00:33:40 --> 00:33:43 down Mary Jane Girls, Stone City.
00:33:43 --> 00:33:46 They all knew what their job was. They'd done it a dozen times,
00:33:46 --> 00:33:53 so it was easier to work with them knowing what they knew and to see all those people.
00:33:53 --> 00:33:59 Because you go from Phyllis Hyman, which is a 2-seater, to a Rick James,
00:33:59 --> 00:34:02 which can get 100 people in a festival.
00:34:03 --> 00:34:07 And that's your paycheck growing. Right. Yeah.
00:34:07 --> 00:34:12 So, yeah, Rick was the best. The most fun was the group Chief Trick.
00:34:12 --> 00:34:18 The most learning experience was Aerosmith. And the worst was Mick Jagger.
00:34:18 --> 00:34:19 Wow.
00:34:21 --> 00:34:26 Now, real quick, why was Mick Jagger the worst? He didn't understand who I was.
00:34:26 --> 00:34:30 I think he came into the room about a half an hour late.
00:34:30 --> 00:34:34 He hired me based on somebody's recommendation. He didn't even know my name.
00:34:34 --> 00:34:38 He just thought it was somebody's nickname called the black guy.
00:34:39 --> 00:34:46 So he comes into the session. He's got Truman Capote with him and Bette Midler. Wow.
00:34:47 --> 00:34:52 Yeah, they've been out to dinner, so they're tipsy. British people don't just go to work.
00:34:52 --> 00:34:56 They take 30 minutes to hobnob and say hello before they start doing business.
00:34:57 --> 00:34:59 So he's hobnobbing around. He gets to me.
00:35:00 --> 00:35:04 He's reaching out to shake everybody's hand. When I reach out to shake his hand,
00:35:04 --> 00:35:07 he pulls it back like that old 70s thing. Oh, wow.
00:35:08 --> 00:35:12 Yeah. So at that point, everybody laughs. And I figure, hey,
00:35:13 --> 00:35:20 okay, as long as I'm making $250 an hour, I don't care what.
00:35:20 --> 00:35:23 You know, you're doing that, just don't touch me, man. You know,
00:35:23 --> 00:35:24 I'm still from hometown.
00:35:26 --> 00:35:31 But after he finishes the hobnob, he's starting to whine about his engineer not being there on time.
00:35:32 --> 00:35:35 So he's starting to express that to everybody in the room. And,
00:35:36 --> 00:35:38 you know, he's like EF Hutton. Everybody's listening.
00:35:38 --> 00:35:42 So he's saying, hey, man, I don't need a mark. Where's my engineer?
00:35:42 --> 00:35:46 I don't know where Corey is. He's about to be here. They called him the black guy.
00:35:47 --> 00:35:51 And right about the time he said that, it was like E.F. Hutton in the room. Nobody moved.
00:35:52 --> 00:35:55 Everybody else seemed to know except for him.
00:35:55 --> 00:35:58 I'm the black guy. Right, right.
00:35:59 --> 00:36:04 So he kept saying, and I have to whisper in there. I said, listen, Mick, I'm the black guy.
00:36:04 --> 00:36:08 And he goes, he stands back. Now he's embarrassed. so he stands back and he
00:36:08 --> 00:36:16 goes oh my god my god i'm a big bloke a bloke or something like that yeah yeah he says uh.
00:36:17 --> 00:36:22 Why don't you step outside? And at this point, I say to myself,
00:36:22 --> 00:36:27 I'm the New York Golden Glove champion at 140 pounds.
00:36:27 --> 00:36:32 This guy looks like he weighs about 138. It's going to take two shots. He'll be out cold.
00:36:32 --> 00:36:36 That's what I'm thinking. I'm from my town. Me outside is not something you're saying.
00:36:37 --> 00:36:41 So I go out in the hallway, and he says, all right, man, put your hand out.
00:36:41 --> 00:36:46 So I put my hand out, and he pulls out a wad of $100 bills, and he says,
00:36:48 --> 00:36:49 Just tell me when to stop.
00:36:50 --> 00:36:53 And he counts off. And so I wait until he gets to 5.
00:36:53 --> 00:36:58 And I stop him. I say, that's it, man. He says, oh, you got five grand, have you?
00:36:58 --> 00:37:03 I said, yeah, man, I got five grand. He says, well, that's more a way of apologizing.
00:37:03 --> 00:37:06 I had no idea. By the way, what is your name?
00:37:06 --> 00:37:11 And that kind of nonsense. And I said, listen, we're going to go in here and
00:37:11 --> 00:37:13 we're going to be able to work together on the one condition.
00:37:13 --> 00:37:14 He was like, what's that?
00:37:14 --> 00:37:19 I said, well, basically, the reason why you gave me the $5 is because I
00:37:19 --> 00:37:23 can go in the room and mess your tape up to the $260.
00:37:24 --> 00:37:27 And so this is like a little insurance payment to make sure I'm not mad at you, right?
00:37:28 --> 00:37:31 He was like, yeah, that's my apologies. I said, you call it what you want.
00:37:34 --> 00:37:39 But at that point, I knew that I didn't need this experience.
00:37:39 --> 00:37:44 I worked too hard over the years to have to run into this little snot-nosed
00:37:44 --> 00:37:47 clown over here, man. You're lucky, you know, there was people in the room.
00:37:47 --> 00:37:51 I don't know why they'd have found you in a garbage can. Can't get no satisfaction.
00:37:52 --> 00:37:55 Yeah, yeah, there you go. Can't get no satisfaction, right?
00:37:56 --> 00:38:04 Oh, man. Oh, man. The worst was the thing. But the hero of the whole thing is Roy Ciccala.
00:38:06 --> 00:38:14 Is he still living? No, he passed. He passed, I'd say, about seven years ago in Brazil. Okay.
00:38:15 --> 00:38:19 Beloyed was responsible for everybody. That's how those guys worked at record
00:38:19 --> 00:38:21 point. He would tell you to go out and get your own clients.
00:38:23 --> 00:38:26 They never came back with a client. Years later, he told me,
00:38:26 --> 00:38:29 I'm the only one who ever came back with a client.
00:38:30 --> 00:38:36 Okay. All right. Okay. All right. Well, let me ask this.
00:38:36 --> 00:38:42 When Leonard was reading your bio, he was talking about these mythic characters
00:38:42 --> 00:38:50 that Supreme OG, Supreme Queen, One Time, Mima, Pepe Cajones,
00:38:51 --> 00:38:55 Maury Kramer, and T-Rome. Tell us about those guys.
00:38:56 --> 00:39:02 They're a little bit of all of us okay maurie kramer is the jew that didn't
00:39:02 --> 00:39:05 leave the neighborhood when the jews left so he got stuck with the minorities
00:39:05 --> 00:39:15 now they love this old guy very protective of him but he don't take no crap man he likes dashikis uh.
00:39:17 --> 00:39:20 Everything that yeah it don't make sense when you say jews,
00:39:21 --> 00:39:27 Pepe Cojones is a metrosexual hairdresser. He owns a saloon or a hair salon.
00:39:27 --> 00:39:33 And his stories come from what he hears in that salon, hearsay.
00:39:33 --> 00:39:35 So that's where his stories come from.
00:39:36 --> 00:39:41 T. Rome is a young brother who's realizing that if he don't pull up his pants,
00:39:42 --> 00:39:43 things are not going to go well in life.
00:39:44 --> 00:39:46 You know, these are just one of the things you might have to do.
00:39:47 --> 00:39:48 You might have to pull up your pants.
00:39:48 --> 00:39:52 And he buffed. You know, he's about 360 pounds.
00:39:52 --> 00:39:58 He's football playing looking, but he has a helium voice like he sucked a balloon.
00:39:58 --> 00:40:00 So he never gets no girls.
00:40:01 --> 00:40:05 That's where his story comes from. Yeah. Me and Ma is everybody's grandmother.
00:40:06 --> 00:40:08 She likes to ride around in the ride around.
00:40:08 --> 00:40:13 She's got nine millimeter and a bottle of Jim Bean in the bag.
00:40:15 --> 00:40:19 Okay. Yeah. So these are a little bit of everybody.
00:40:20 --> 00:40:26 And so in doing this, these are also the voices that I voice over.
00:40:26 --> 00:40:32 So at some point, you may not realize that they're all in the booth with me.
00:40:32 --> 00:40:37 We're doing a live show and I'm doing all the voices, but people actually believe
00:40:37 --> 00:40:42 that these people exist to the point where we had to build pages for them.
00:40:43 --> 00:40:49 Okay. All right. Cool, cool, cool. I know sometimes when, especially being in
00:40:49 --> 00:40:53 media and radio and those types of things, I mean,
00:40:53 --> 00:40:58 you know, we all have heard, you know, people like Steve Harvey and other people
00:40:58 --> 00:41:02 use these kind of characters to enhance their show.
00:41:02 --> 00:41:06 And, yeah, a lot of times people don't know that they're not real people because
00:41:06 --> 00:41:12 they're too tuned into what the foolishness and all the craziness that go around with the characters.
00:41:12 --> 00:41:16 So and that helps to enhance the show as well.
00:41:16 --> 00:41:22 One thing I can say, you know, when you as far as radio and then listening to radio.
00:41:24 --> 00:41:29 Background and everything that's done the documentaries that are coming out
00:41:29 --> 00:41:33 now we're seeing a lot of the stuff that went on behind the scenes on a lot
00:41:33 --> 00:41:38 of these documentaries now when it comes to the music one of the one of my favorite
00:41:38 --> 00:41:42 uh docuseries is uh unsung that's on,
00:41:42 --> 00:41:49 what is that tv one and they um you know they go into the background and they talk about,
00:41:50 --> 00:41:53 the music and a lot of the performers when it
00:41:53 --> 00:41:56 came up and you know how the songs came
00:41:56 --> 00:41:59 about and everything and you know i know recently
00:41:59 --> 00:42:02 they had the documentary on eddie murphy had his
00:42:02 --> 00:42:05 documentary on and he talked about rick james it's funny
00:42:05 --> 00:42:10 you mentioned rick james and he talked about rick james when
00:42:10 --> 00:42:15 he was supposed to be going to uh rick james for a weekend to do party all the
00:42:15 --> 00:42:20 time and they ended up being snowed in for two weeks there and he talked about
00:42:20 --> 00:42:24 he said he was talking about you know he knew a lot of stuff was going on in
00:42:24 --> 00:42:27 that house he said certain rooms he wouldn't go in because rick was being.
00:42:28 --> 00:42:33 As he put a creative in those rooms. So, you know, and then they said Rick would
00:42:33 --> 00:42:38 come out of those rooms and just go to work. You know, it's insane.
00:42:38 --> 00:42:43 He, Eddie, when he hit doing some of the Saturday Night Live and getting ready
00:42:43 --> 00:42:46 to do the first movie, he would always be around.
00:42:46 --> 00:42:49 And of course, Charlie was his shadow.
00:42:50 --> 00:42:55 Always his shadow. So if anybody was going to mess up, you would pick Charlie.
00:42:55 --> 00:42:58 All right anybody's gonna mess up tonight it's gonna
00:42:58 --> 00:43:01 be Charlie keep your eye on Charlie so you don't cause us no
00:43:01 --> 00:43:04 problems you know but yeah
00:43:04 --> 00:43:07 Eddie Eddie was a wild one Eddie Eddie
00:43:07 --> 00:43:10 thought he was Rick James for a second and so
00:43:10 --> 00:43:13 party all the time although that is true that
00:43:13 --> 00:43:16 he was they were stuck in a snowstorm I believe
00:43:16 --> 00:43:19 that I was going to be the one to do party all the
00:43:19 --> 00:43:23 time because we had worked on it rick and i long before
00:43:23 --> 00:43:26 eddie yeah yeah long before
00:43:26 --> 00:43:29 eddie even knew about it wasn't until they got stuck up
00:43:29 --> 00:43:31 there and i i wasn't up there and
00:43:31 --> 00:43:35 so he said listen man i think we can put this out and you
00:43:35 --> 00:43:39 want to try it you want to try that it was a joke that
00:43:39 --> 00:43:42 turned into a hit song it it didn't
00:43:42 --> 00:43:45 matter who sang it it didn't matter who
00:43:45 --> 00:43:47 sang it it was a hit song man so yeah he was in
00:43:47 --> 00:43:50 the right place but he thought he
00:43:50 --> 00:43:53 was rick for a second man that's when he came out in that
00:43:53 --> 00:43:58 concert with all the letter gear on he was very influenced by it yeah he thought
00:43:58 --> 00:44:04 listen he thought he thought he'd take anybody's woman until one day and you
00:44:04 --> 00:44:11 ain't heard this from me because i ain't one for gossip yeah he's sitting in a new york restaurant.
00:44:12 --> 00:44:16 Eddie, you know the deal, man. If you out there listening, you know the deal.
00:44:16 --> 00:44:17 I'm going to tell the story.
00:44:17 --> 00:44:21 He's sitting in the New York restaurant. He's got his crew with him.
00:44:21 --> 00:44:26 And there's another brother, a white guy. He looked like a football player that
00:44:26 --> 00:44:28 was in the restaurant at the same time with his girl.
00:44:29 --> 00:44:31 So the football player gets up to go to the bathroom.
00:44:32 --> 00:44:35 Eddie sends one of his flunkies over there to get the girl.
00:44:36 --> 00:44:41 Now, the rules are you can't say anything to her. You just have to be able to
00:44:41 --> 00:44:44 put your hand out and move her without talking to her.
00:44:44 --> 00:44:48 So that's the talent. So he goes over there. He puts his hand out.
00:44:48 --> 00:44:52 She knows Rick's in the room. She's curious. So she gets up and comes over.
00:44:53 --> 00:44:56 She's sitting at the table. Now, the cat comes out in the bathroom.
00:44:57 --> 00:45:01 He realizes she ain't sitting there at his table anymore. And he sees her over
00:45:01 --> 00:45:02 there at Eddie Murphy's table.
00:45:03 --> 00:45:09 So he goes over to Eddie's table. And he says, hey, Eddie, funny man. And this cat is big, man.
00:45:10 --> 00:45:14 He's big. He's so big, I didn't even think about myself.
00:45:15 --> 00:45:19 I just thought if I started taking steps that I'd be in the right direction. But he was big.
00:45:20 --> 00:45:24 And so he leans over the table and he goes, listen, Eddie, that's my girl, man.
00:45:24 --> 00:45:27 And Eddie says, yeah, yeah, well, she over here with us now.
00:45:28 --> 00:45:33 But right about the time he said, now, that's when the best hit him in his face.
00:45:33 --> 00:45:38 Wow. Yeah, he fell back out of the chair, hit the back of his head.
00:45:38 --> 00:45:46 And the guy who hit him was another, at the time, New York Jet Mark Gastineau.
00:45:47 --> 00:45:55 No, no. Did I say Mark? Look, you don't get this kind of tea from any other show.
00:45:56 --> 00:45:59 That's the first time I've ever heard that story. Here's the deal.
00:45:59 --> 00:46:01 Eddie disappears from the table for a second.
00:46:03 --> 00:46:07 And I'm like, you know, Rick want to know where he is, so I got to go look for him. So I go look.
00:46:07 --> 00:46:11 He don't see me coming. He's on the phone with his back turned.
00:46:11 --> 00:46:15 He's talking to his mother at home. And he's saying, Ma, Ma, I got to come home.
00:46:15 --> 00:46:21 I got to come home I got to blow a fly I can't let anybody see me Mom I got
00:46:21 --> 00:46:30 to come home and he turns around he sees me and goes yeah cause I ain't no homo man laughter laughter,
00:46:32 --> 00:46:38 laughter oh man that's a great story Charlie was the pain Charlie was always the pain.
00:46:40 --> 00:46:44 So you got Eddie running around wanting to be Rick and you got Charlie running
00:46:44 --> 00:46:51 around wanting to be yeah yeah boy i'll tell you well folks i mean you can't
00:46:51 --> 00:46:54 get these stories you know unless you listen to this show so that's a great
00:46:54 --> 00:46:58 story so forth so we really appreciate you sharing that story with us,
00:46:59 --> 00:47:03 For those who may want to know more about you or know more about your career
00:47:03 --> 00:47:08 or want to reach out to you and so forth, how would people get in touch with you?
00:47:09 --> 00:47:13 What would be your contact information? And do you have any big projects going on at the moment?
00:47:15 --> 00:47:19 Yeah, the project we're working on next would be with all the characters.
00:47:19 --> 00:47:24 And we all live in the same building. It's called 986 on the Boulevard.
00:47:24 --> 00:47:28 And basically, yeah, the humor is
00:47:28 --> 00:47:32 going to be each one of the characters interacting daily with each other.
00:47:32 --> 00:47:35 The first episode, I think Paramount will pick it up.
00:47:36 --> 00:47:41 There's a lot of movement going on in Paramount right now with some kind of takeover.
00:47:41 --> 00:47:44 So I don't think they're going to raise their hand right now until they figure
00:47:44 --> 00:47:46 out what they're going to do.
00:47:46 --> 00:47:49 But they're the ones interested. And it's going to be hilarious.
00:47:49 --> 00:47:51 It's going to be a cartoon, too.
00:47:53 --> 00:47:57 Yeah, and you're right about the Paramount thing. I've read something about that today.
00:47:57 --> 00:47:59 They're going through, they're throwing all this money around,
00:47:59 --> 00:48:03 seeing who's going to purchase and all of this kind of stuff. I did see that.
00:48:03 --> 00:48:06 They got the Kushner boy in there.
00:48:07 --> 00:48:11 And the Kushner boy is playing one side and making it very clear that if you
00:48:11 --> 00:48:15 guys, you know, we get this deal done, you know, my dad-in-law will take care
00:48:15 --> 00:48:17 of everything else for us.
00:48:17 --> 00:48:22 So that's what's hedging on the deal. I believe it's Paramount and Warner Brothers.
00:48:23 --> 00:48:27 That are going to be in this tussle and so yeah that's why I read that today
00:48:27 --> 00:48:31 it is Warner Brothers and yeah I did see that yes yes,
00:48:31 --> 00:48:39 but to find me it's hard to find me because what I get from people I have Bobby Key's page on Facebook,
00:48:40 --> 00:48:45 and what was happening there is everybody was sending me their music everybody
00:48:45 --> 00:48:50 was begging me to play their record like we were doing some kind of payola festival or something.
00:48:52 --> 00:48:56 Look you don't need if you got a hit bring me the hit,
00:48:57 --> 00:49:01 don't bring me something and want me to make it a hit that's what your record
00:49:01 --> 00:49:10 company is for right oh okay it don't need bobby keys so instead of hiding on
00:49:10 --> 00:49:14 bobby keys's page i hide on maury claimer's page,
00:49:15 --> 00:49:15 Okay.
00:49:17 --> 00:49:21 Yeah, one of your characters there. Okay, I got it. Okay. Yeah, yeah.
00:49:22 --> 00:49:28 In fact, I hide with Maury, I hide with Earlene, Mima, and I hide with T-Rone.
00:49:28 --> 00:49:32 Okay, all right. So, yeah, I move around because everybody's got a new record
00:49:32 --> 00:49:35 out. Everybody's got a new song they want you to hear.
00:49:36 --> 00:49:42 And after 50 years of this, man, I'm not, look, I can get some young kids to
00:49:42 --> 00:49:43 listen to it. I ain't listening to it. Mm-hmm.
00:49:44 --> 00:49:46 Right. You got to look up for Frankie Crocker.
00:49:49 --> 00:49:49 Oh,
00:49:51 --> 00:49:55 well, and let me ask this last thing, and then we're going to go ahead and get
00:49:55 --> 00:49:57 into the other part of the show.
00:49:57 --> 00:50:01 Tell us about 101.5, the fever.
00:50:01 --> 00:50:09 Fever. Fever. Well, we'll start with the top. 9.86 is your body temperature.
00:50:11 --> 00:50:15 Okay. That's true. Yeah, that's going back to school right there. There you go.
00:50:16 --> 00:50:23 W-D-I-P stands for waist deep in, and then the P's on you. You put whatever you want that P.
00:50:28 --> 00:50:36 Right power yeah yeah yeah yeah yeah and so that's what that's what i was i was,
00:50:37 --> 00:50:45 power yeah hey hey hey hey bobby just so you know dave would be waist deep in
00:50:45 --> 00:50:49 preaching because he loves the lord just just let you know.
00:50:56 --> 00:50:59 Fever fever 101.5 is
00:50:59 --> 00:51:02 what you have well 98.6 is
00:51:02 --> 00:51:07 today's r&b and hip-hop fever 101.5
00:51:07 --> 00:51:10 is classic soul and when
00:51:10 --> 00:51:15 you have a fever your temperature is 101.5 yes
00:51:15 --> 00:51:24 so yeah now you're going up from 98.6 then we have fuego 105 that's for the
00:51:24 --> 00:51:28 fastest growing population in america and that's the latin american population
00:51:28 --> 00:51:32 and so i i want a little bit of heaven from that so,
00:51:33 --> 00:51:40 I'm in that. And then the fourth station is WRJR 714, and that's Rick James
00:51:40 --> 00:51:42 Station. So I'm going to tell you stories.
00:51:43 --> 00:51:48 In fact, we do this tomorrow. All day tomorrow is Rick James. It's six hours.
00:51:48 --> 00:51:52 It'll be Stone City, Mary Jane, Tina Marie, Rick James.
00:51:53 --> 00:51:57 And I spent a few hours telling you stories in prime time about what we did
00:51:57 --> 00:51:59 on the tour and how we did.
00:51:59 --> 00:52:04 So those are the four stations right there. And what is that number?
00:52:04 --> 00:52:08 What is that call number again? Radio station number for Rick James?
00:52:08 --> 00:52:21 W-R-J-R Rick James Radio 714 714 714 I'll Be Waiting or whatever it was.
00:52:22 --> 00:52:33 714 was that's what 714 was okay anybody out there And he knew what a Quaalude was.
00:52:36 --> 00:52:41 Yeah, we know about, well, Leonard don't know nothing about Quaaludes,
00:52:41 --> 00:52:48 but we're from the same era, so I know all about it.
00:52:48 --> 00:52:52 Yeah. Yeah. I didn't do it, but I know, I know people that did.
00:52:53 --> 00:52:56 So yeah, definitely. So, but.
00:52:58 --> 00:53:02 All right. Well, what we're going to do now, we appreciate that,
00:53:02 --> 00:53:06 but what we're going to do now is we're going to actually go into our little
00:53:06 --> 00:53:09 topics. We got a couple of stories that we want to talk about,
00:53:09 --> 00:53:10 you know, to finish up the show.
00:53:11 --> 00:53:16 So I wanted to bring your attention to this first story and get your opinion,
00:53:17 --> 00:53:20 get Ewan Leonard's opinion of the story.
00:53:20 --> 00:53:24 Maybe you two have already heard about this, but for those of you that have
00:53:24 --> 00:53:32 not heard about it, that are listening, so National Park's fee-free calendar dropped,
00:53:33 --> 00:53:37 in the OK day.
00:53:39 --> 00:53:45 June TV fan and as Trump's birthday.
00:53:45 --> 00:53:51 Read a little bit of the move, Mark King's birthday and his count of entrance
00:53:51 --> 00:53:54 free President Trump's birthday to the list.
00:53:55 --> 00:53:59 According to the National Park Service, as the administration continues to push
00:53:59 --> 00:54:05 back against a reckoning of the country's racist history on federal lands,
00:54:05 --> 00:54:10 in addition to Trump's birthday, which coincides with Flag Day on June 14th,
00:54:10 --> 00:54:21 The updated calendar of fee-free dates include the 110th anniversary of the National Park Service.
00:54:21 --> 00:54:24 That's on August the 25th.
00:54:24 --> 00:54:27 Constitution Day, September the 17th.
00:54:27 --> 00:54:32 President Teddy Roosevelt's birthday, October the 27th.
00:54:33 --> 00:54:37 The changes will take...
00:54:38 --> 00:54:44 So, January 1st, non-U.S.
00:54:44 --> 00:54:50 Residents will still pay the Zerica's first pricing policy.
00:54:51 --> 00:54:59 At 11 of some, international visitors will be charged an extra $100 on top of
00:54:59 --> 00:55:05 the standard interest fee, and the annual pass for non-residents will go up to $250.
00:55:06 --> 00:55:12 The annual pass for residents will be $80. The move follows a July executive
00:55:12 --> 00:55:15 order from the White House that called to increase fees,
00:55:15 --> 00:55:20 apply non-American visitors to national parks, and grant citizens and residents
00:55:20 --> 00:55:26 preferential treatment with respect to any remaining recreational access rules.
00:55:27 --> 00:55:32 The Department of the Interior, which oversees NPS, called the new fee-exempted
00:55:32 --> 00:55:34 dates patriotic fee-free days.
00:55:34 --> 00:55:40 In an announcement that lauded the changes as Trump's commitment to making national
00:55:40 --> 00:55:46 parks more accessible, more affordable, and more efficient for American people.
00:55:47 --> 00:55:52 The new calendar follows the Trump administration's previous move to reshape U.S.
00:55:52 --> 00:56:00 History by asking patrons of national parks to flag any signs at any sites deemed
00:56:00 --> 00:56:04 to cast a negative light on past or living Americans.
00:56:05 --> 00:56:11 Wow. So, this came out yesterday. A lot of people were very upset about it.
00:56:11 --> 00:56:15 Well, it came out basically over the weekend. A lot of people were upset about it.
00:56:15 --> 00:56:18 And again, here we go.
00:56:19 --> 00:56:23 Sounds like there's a lot of whitewashing going on here again.
00:56:24 --> 00:56:28 And they're pointing their fingers at certain people. What do you think about
00:56:28 --> 00:56:31 what I just put out there? And did you hear about this, Bobby?
00:56:32 --> 00:56:40 Yeah, yeah, and the joke of it is transparency is what they're riding on because
00:56:40 --> 00:56:43 they're doing everything right in your face.
00:56:43 --> 00:56:47 You can't say that you didn't see the pitch coming, so that's the first part.
00:56:47 --> 00:56:53 This is just another episode in his wonderful soap opera or whatever he's going
00:56:53 --> 00:56:57 to sell when he's no longer the president because something's going on with
00:56:57 --> 00:57:00 all this filming and breaking things.
00:57:00 --> 00:57:03 And there's a lot more to it.
00:57:03 --> 00:57:08 Personally, this guy's got to be out of his mind to think that anybody's going
00:57:08 --> 00:57:10 to remember his birthday.
00:57:12 --> 00:57:17 There ain't too many people that remember it right now, so it's not going to make a difference.
00:57:17 --> 00:57:23 The fact that you put your name in there and erase true heroes, true heroes, man.
00:57:24 --> 00:57:27 This whole administration don't got no heroes.
00:57:27 --> 00:57:31 Every administration got one or two heroes, at least
00:57:31 --> 00:57:34 yes yeah oh yeah there's nobody here
00:57:34 --> 00:57:37 and so he's running amok personally i think
00:57:37 --> 00:57:42 they just dress him up and push him out there on stage that's what they do somebody
00:57:42 --> 00:57:47 else is writing the script the guy has no idea what he's doing my question to
00:57:47 --> 00:57:53 america is how much more of this are you going to take because soon it's going
00:57:53 --> 00:57:57 to reflect on you you know and it's going to take a cleanup.
00:57:58 --> 00:58:03 The saddest part of this whole thing is they teach us to strive to be.
00:58:04 --> 00:58:10 So I couldn't be a garbage man. I couldn't be a corrections officer, police officer.
00:58:10 --> 00:58:15 Hell, I couldn't even be a security guard as a convicted felon.
00:58:16 --> 00:58:21 How did you let this man walk into the White House? It's the craziest thing.
00:58:21 --> 00:58:28 Craziest thing. And it's because we have to amend some of this stuff that's got to be fixed.
00:58:29 --> 00:58:35 We can't live based on what you saw in the 1700s and the 1800s.
00:58:35 --> 00:58:38 Things have changed drastically.
00:58:38 --> 00:58:43 And we're not keeping up. We're living like our grandparents and their grandparents.
00:58:43 --> 00:58:46 And we're not changing anything and
00:58:46 --> 00:58:49 everything must change but they're holding the change
00:58:49 --> 00:58:53 back because it won't involve them they
00:58:53 --> 00:58:57 are aware that they are going to become America's
00:58:57 --> 00:59:03 newest minority and that's what this is all about everything else they're talking
00:59:03 --> 00:59:11 about is sidetracked they're afraid of being the new minority again so for this
00:59:11 --> 00:59:14 man to do this, I expect him to be an idiot.
00:59:14 --> 00:59:17 I expect him to be a criminal because look at his record.
00:59:18 --> 00:59:22 Anywhere else, you couldn't work. You wouldn't even be able to work now, Donald.
00:59:22 --> 00:59:26 You can't have nothing to do with nothing, 34 convicted felon.
00:59:26 --> 00:59:28 Your son's got to run everything now.
00:59:29 --> 00:59:33 You're out of the game. This is the only game you've got, but I promise everybody.
00:59:34 --> 00:59:41 Seven months or less, the party's over. Okay. See, and here's the hint.
00:59:41 --> 00:59:45 Many Republicans are resigning, okay?
00:59:45 --> 00:59:52 And that's going to change the way the numbers are in Washington, D.C., and expedite.
00:59:52 --> 00:59:57 I use the word again, expedite this man being put out.
00:59:57 --> 01:00:02 And when they put him out, if they do it right, his whole name goes.
01:00:02 --> 01:00:06 That's the goal right now. So when you hear him saying Republicans dropping
01:00:06 --> 01:00:12 out here, Republicans dropping out, MAGA is dropping out, those seats are minus
01:00:12 --> 01:00:15 seats that you're never going to get back.
01:00:15 --> 01:00:20 And so they're going to start the process a little earlier than expected because
01:00:20 --> 01:00:22 we can't afford to go another day.
01:00:23 --> 01:00:25 You can't just start a war.
01:00:26 --> 01:00:29 Everybody's talking about two shots that this boat took.
01:00:30 --> 01:00:36 And it wasn't two shots. It was four. They hit that boat four times.
01:00:36 --> 01:00:39 The first time they hit the boat. The second time they killed the two guys.
01:00:40 --> 01:00:43 The third and the fourth time they used the excuse that they just wanted to
01:00:43 --> 01:00:45 turn it over so it couldn't be operational.
01:00:45 --> 01:00:50 How much did those four missiles that you hit that boat with cost us?
01:00:51 --> 01:00:55 Because if you can't sink little boat with one missile, then you're in the wrong
01:00:55 --> 01:00:57 business. Yeah, that's right.
01:00:58 --> 01:01:05 Don't feel bad if you think something in your head that you shouldn't think because life isn't.
01:01:05 --> 01:01:09 Look, it's clear as day these people are crazy.
01:01:09 --> 01:01:14 They don't mean you no good. They don't mean me no good. So the only way we're
01:01:14 --> 01:01:17 going to fix this is as a unit.
01:01:17 --> 01:01:21 Right. Okay. Brothers and sisters that Mr. Keyes ever said.
01:01:22 --> 01:01:25 And that's where the Supreme OG comes in.
01:01:25 --> 01:01:34 If we just stop being in competition with one another and fighting one another,
01:01:34 --> 01:01:37 you already know what we can do.
01:01:37 --> 01:01:40 You've seen evidence of what we can do.
01:01:40 --> 01:01:45 You want to sell your product? You're not going to be able to sell it in that competitive market.
01:01:46 --> 01:01:51 You've got to do major companies, the big package company that sells everything.
01:01:51 --> 01:01:54 What is their name? I don't know. It starts with an A. I don't know. Anyway.
01:01:55 --> 01:01:59 But those big companies, we have to act like that. The only place you can buy
01:01:59 --> 01:02:03 our products is through our exchanges that we own.
01:02:04 --> 01:02:07 You can't buy it in the store. You got to come to us.
01:02:08 --> 01:02:14 Okay? And if we all have our products in one of these world fair type environments,
01:02:14 --> 01:02:16 then that's where the power comes in.
01:02:17 --> 01:02:20 Yeah. Because at the end of the day, it's all about the money.
01:02:21 --> 01:02:22 There you go. There you go.
01:02:23 --> 01:02:28 Hey, Leonard, you got any comments? Yeah, I mean, I think Bobby pretty much said it all.
01:02:28 --> 01:02:31 But I mean, I do agree. It's just very weird.
01:02:32 --> 01:02:37 And, you know, anybody who can't see that he has something out for minorities
01:02:37 --> 01:02:41 is just sleeping under a rock. So when I first heard about it,
01:02:42 --> 01:02:44 you know, it just sounded like the craziest thing.
01:02:45 --> 01:02:52 And, you know, again, I just think, you know, he is with the whitewashing of America.
01:02:52 --> 01:02:59 So, you know, just trying to get rid of all the minorities, the brown, the black and positive.
01:03:00 --> 01:03:04 About half the stuff in his administration, when they have the next president
01:03:04 --> 01:03:09 come in who is opposite of him, they're going to flip everything on back.
01:03:09 --> 01:03:12 So, you know, I think it's just, it is what it is.
01:03:13 --> 01:03:19 All right. All right. Well, we have a job for sure. Yeah. Yeah.
01:03:19 --> 01:03:28 Yeah. We have to fix is never, ever allow anybody with a convicted felon to
01:03:28 --> 01:03:32 come into this job because you can't be a congressman with a convicted felon.
01:03:32 --> 01:03:38 You can't be a guy standing there flagging cars going across the street.
01:03:38 --> 01:03:41 You can't do anything as a convicted felon in America.
01:03:41 --> 01:03:47 The only three requirements was being an American citizen, being in the country
01:03:47 --> 01:03:49 a set amount of time, and I think there was one more.
01:03:50 --> 01:03:52 I think it was age, right? It was age, right?
01:03:53 --> 01:03:56 Yeah, I believe age had something to do with it, but the
01:03:56 --> 01:03:59 bottom line was this doesn't have anything to
01:03:59 --> 01:04:05 do with us in 2025 we have to fix that otherwise open the jail cells if felons
01:04:05 --> 01:04:10 could get a job they'd rather work yeah that's true fix something donnie fix
01:04:10 --> 01:04:15 that yeah yeah that's right that's right not that they're going to be working
01:04:15 --> 01:04:18 your farms now and here's here's when you know you got a problem,
01:04:19 --> 01:04:22 He gave $12 billion to the farmers, right?
01:04:23 --> 01:04:27 Because he messed up with these tariffs. And he did the same thing in his first
01:04:27 --> 01:04:32 administration. So between this $12 billion and what he gave him the last time.
01:04:34 --> 01:04:39 This is the guy for the job, man. That's why you don't have a company anymore.
01:04:39 --> 01:04:41 That's why you can't do business anymore.
01:04:41 --> 01:04:44 That's why you're homeless and you live in Mar-a-Lago.
01:04:45 --> 01:04:48 All this money. And you ain't heard it from me.
01:04:49 --> 01:04:53 And there's a test tube baby rolling around. I can't mention his name.
01:04:54 --> 01:05:00 But he's a test tube baby. And somebody got paid $5 million to carry the seed.
01:05:01 --> 01:05:05 Wow. And so if you might have seen them pregnant, that's why they might have
01:05:05 --> 01:05:07 been pregnant. Because they were carrying the seed.
01:05:08 --> 01:05:10 But the child don't belong in either one of them.
01:05:11 --> 01:05:14 Bobby coming on here and dropping down, man.
01:05:16 --> 01:05:20 Come on, my man, the comedian, he got paid.
01:05:21 --> 01:05:26 Maybe me and that football player get together on one of them sets, huh? Yeah, there you go.
01:05:27 --> 01:05:31 That's where the Supreme OG comes in. Yeah, I see it.
01:05:32 --> 01:05:35 You do whatever you want, but I can't convince you what to believe.
01:05:36 --> 01:05:40 I can just tell you what's real and the rest is up to you, but,
01:05:41 --> 01:05:44 i ain't saying we made a mistake but it
01:05:44 --> 01:05:47 as a veteran as somebody's been on
01:05:47 --> 01:05:51 this rock as long as i have this is the worst condition
01:05:51 --> 01:05:56 i ever seen america in in my life yeah right right i don't see how they're gonna
01:05:56 --> 01:06:00 get no military boys to sign up their numbers are so far down now that yeah
01:06:00 --> 01:06:05 they're not open prisons and offices especially that's what they're gonna have
01:06:05 --> 01:06:08 to do They're going to have to go to the prisons to get those guys. Yeah.
01:06:08 --> 01:06:14 The other countries. Yeah. Stop trying to make a deal with the Africans.
01:06:14 --> 01:06:18 The Africans don't want none of your immigrants in their country.
01:06:18 --> 01:06:20 They got enough problems with immigrants.
01:06:20 --> 01:06:26 So I recognize that you're doing the tour, talking to various presidents in
01:06:26 --> 01:06:31 Africa about using their country as the place to dump our immigrants.
01:06:31 --> 01:06:37 And their message is very, very strong, Donnie. it ain't gonna happen here okay
01:06:37 --> 01:06:42 all right and i don't know where you can send them nobody wants them bro you
01:06:42 --> 01:06:46 can't pull them back to their country then they're just men without a country.
01:06:50 --> 01:06:57 Okay all right all right we're gonna move on to our next story leonard what you got for us,
01:06:58 --> 01:07:02 Yeah, so, you know, I thought it was very interesting. I'm sure it's been all
01:07:02 --> 01:07:04 the buzz the last couple of weeks.
01:07:05 --> 01:07:08 The Sean Combs documentary, The Reckoning.
01:07:08 --> 01:07:15 And I think it was last Thursday, Wednesday or Thursday, I sat down and watched however many episodes.
01:07:15 --> 01:07:17 It might have been three or four episodes or something like that.
01:07:17 --> 01:07:23 And for anybody who has not seen it, the Netflix docuseries,
01:07:24 --> 01:07:29 executive produced by 50 Cent, provides a deep dive into Sean Combs' empire, career,
01:07:30 --> 01:07:36 allegations, using a lot of his own video, video where he's speaking directly
01:07:36 --> 01:07:38 to the camera and all that.
01:07:38 --> 01:07:42 A lot of controversy, a lot of rumors, a lot of accusations,
01:07:43 --> 01:07:44 you know, all that stuff.
01:07:45 --> 01:07:51 Bobby, by chance, and, you know, without telling everybody the details who may
01:07:51 --> 01:07:55 be looking to watch it, Bobby, have you gotten a chance to see that documentary
01:07:55 --> 01:07:57 or is it even something you care to see?
01:07:58 --> 01:07:59 Yeah, I saw it. I definitely did.
01:08:03 --> 01:08:07 What were your overall thoughts on it? Now, and I guess maybe just starting
01:08:07 --> 01:08:11 from a documentary side, did you think it was a well-produced documentary?
01:08:11 --> 01:08:16 And then what were your thoughts as far as the content, the allegations,
01:08:16 --> 01:08:19 the interviews and, you know, all that?
01:08:21 --> 01:08:27 First, Pete Diddy, my brother, you're just a victim in all of this because all
01:08:27 --> 01:08:32 over Hollywood, all over the music industry, whether it's his house or her house,
01:08:33 --> 01:08:35 this has been going on forever. Gotcha.
01:08:37 --> 01:08:39 Broke my heart that you thought you could use it
01:08:39 --> 01:08:42 against people and it broke my heart
01:08:42 --> 01:08:46 that you didn't learn better business practices right
01:08:46 --> 01:08:51 i never i never held you in high esteem because what you were doing was already
01:08:51 --> 01:08:56 done yeah i it's obvious the record you're playing is already done and you guys
01:08:56 --> 01:08:58 are doing whatever you do over
01:08:58 --> 01:09:04 the top and and money money's what made pd combs and And, of course, Mr.
01:09:05 --> 01:09:08 Davis, Clyde Davis, putting all that money and power in his hand.
01:09:09 --> 01:09:12 Clyde knew he was going to wreck. He just didn't know how long it was going to take.
01:09:13 --> 01:09:17 So, yeah, I saw it. And I saw him put his hands on people.
01:09:17 --> 01:09:22 And I don't know this guy. And I don't know anybody like him.
01:09:23 --> 01:09:26 He drank his own Kool-Aid without sugar, bro.
01:09:27 --> 01:09:32 To think that he was a gangster and he can get all this done. He's not done paying.
01:09:32 --> 01:09:37 I think he's going to be better off in there than he is out here on the street
01:09:37 --> 01:09:38 now that everybody knows the deal.
01:09:38 --> 01:09:44 Because everybody got a sister, a cousin, a friend that you may have done this to.
01:09:45 --> 01:09:48 And so some people are leaving town. Others are coming in to town.
01:09:49 --> 01:09:54 So it breaks my heart because he's not the only one. Okay. Right.
01:09:54 --> 01:10:02 They just made an example of him. They went looking because they had Weinstein and Bill Cosby.
01:10:03 --> 01:10:06 They wanted something from this generation. They wanted to think that they could
01:10:06 --> 01:10:10 put them in their place and remind them that you think you can freak off like
01:10:10 --> 01:10:11 this. We got a place for you, too.
01:10:13 --> 01:10:19 Everybody's been freaking off forever, all the way back to the speakeasies in Harlem.
01:10:20 --> 01:10:24 So, PJD, look, nobody's going to touch you when you come out because we don't
01:10:24 --> 01:10:28 believe that you can complete anything. and we don't believe you're going to be out here long enough.
01:10:28 --> 01:10:30 There are people looking for you, and that's the sad part.
01:10:32 --> 01:10:35 And the documentary didn't help. Yeah.
01:10:36 --> 01:10:40 So, Bobby, let me ask you this question, too, since you're involved in the music
01:10:40 --> 01:10:42 industry and you're in the New York area.
01:10:43 --> 01:10:47 Did you see, and I mean, it's kind of hard. Dave, I'm sorry.
01:10:47 --> 01:10:50 We're just going to have to probably ruin some punchlines for you.
01:10:50 --> 01:10:52 You probably just waited too long.
01:10:52 --> 01:10:57 Go ahead. Did you see anything in the documentary that you felt was false?
01:10:57 --> 01:11:01 Because, you know, a lot of, I was looking at something the other day and they
01:11:01 --> 01:11:06 said, we're kind of looking at the documentary from, and I'll just say one person,
01:11:06 --> 01:11:09 even though it's not one person, but one person's point of view.
01:11:09 --> 01:11:13 So, of course, you know, they can piece together things to kind of,
01:11:13 --> 01:11:17 you know, portray the documentary how they want it to be portrayed.
01:11:17 --> 01:11:20 But did you happen to see anything in the documentary where,
01:11:20 --> 01:11:25 you know, in your mind or in your heart, you're like, I mean, I hear what they said.
01:11:25 --> 01:11:29 I hear what happened, but I don't think that's true about any piece of it.
01:11:30 --> 01:11:36 There is. It's like talk, not talk shows, but those shows like Tempest Bledsoe
01:11:36 --> 01:11:42 shows and Martin. I mean, they always have in the producer, they're the ones who create the chaos.
01:11:43 --> 01:11:49 Right. You know? And so in this case, that's what it was. They needed somebody
01:11:49 --> 01:11:51 to come out here and create the chaos.
01:11:51 --> 01:11:57 They created the chaos. This guy, he didn't panic until too late.
01:11:57 --> 01:12:00 You understand? He thought it was a joke. He thought he was untouchable.
01:12:01 --> 01:12:05 Until you see him in the documentary crying to his lawyer about how they could
01:12:05 --> 01:12:08 fix it. They had some good ideas, too. I got to give it to them.
01:12:09 --> 01:12:13 This is standard practice in the business.
01:12:13 --> 01:12:17 If you think you got Pete Diddy, then wait until you go after the hip-hop crew.
01:12:18 --> 01:12:21 Wait until you go after the athletes, okay?
01:12:21 --> 01:12:26 Because this is going on. This is just the way it is in this industry,
01:12:26 --> 01:12:28 in this entertainment industry.
01:12:29 --> 01:12:34 Everybody thinks you're hot stuff, and yeah, we're hot today, but gone tomorrow.
01:12:34 --> 01:12:41 If you don't stay in your game. So, and yeah, this, the behavior,
01:12:41 --> 01:12:44 I saw a lot of women screaming all of a sudden.
01:12:45 --> 01:12:49 Once one or two came out, then a whole bunch of them jumped out the woodwork.
01:12:49 --> 01:12:55 Somebody is taking care of that. There's somebody in the negative media relations
01:12:55 --> 01:12:59 department that's going and making sure now that these people come out.
01:13:00 --> 01:13:04 Right. It causes confusion. And that's what they did. They caused confusion.
01:13:05 --> 01:13:08 And then nobody knew what to believe. Cassie, you got your ass kicked.
01:13:09 --> 01:13:12 The bottom line is, how your family let you keep getting your butt kicked?
01:13:12 --> 01:13:15 Why didn't somebody, your brother, your sister, your cousin,
01:13:16 --> 01:13:18 get up and say, yo, this is enough.
01:13:18 --> 01:13:21 This is enough. We're going to be beaten on no more.
01:13:22 --> 01:13:28 Kim Porter, you were Al's girl. Everybody in New York knew you were Al's girl,
01:13:28 --> 01:13:30 but now you end up with PD?
01:13:32 --> 01:13:36 And what is it with this PD guy other than a few dollars? Because back in the
01:13:36 --> 01:13:38 day, he couldn't catch nothing.
01:13:39 --> 01:13:43 Right. He didn't tell you about the health department. Nobody was giving him nothing.
01:13:44 --> 01:13:50 It wasn't until he hit that promotion thing where he threw this promotion. That's true.
01:13:50 --> 01:13:55 That was in the video. He threw a big promotion at City College in New York.
01:13:55 --> 01:13:57 It was a basketball game.
01:13:57 --> 01:13:59 And they oversold the tickets.
01:13:59 --> 01:14:07 And somehow he got off on that, not responsible. Then the shooting shined in the club.
01:14:08 --> 01:14:15 Right. that's true right so but it's it's the it's the.
01:14:17 --> 01:14:23 The big guy. Oh, God. His star. What was his name? Biggie Small.
01:14:25 --> 01:14:30 Biggie was how he survived. If Biggie didn't come along, his stable would have
01:14:30 --> 01:14:33 crashed a long time ago. Gotcha.
01:14:33 --> 01:14:39 Biggie saved him. Clive was about to dump him like he was a dead pamper. Okay?
01:14:40 --> 01:14:43 And then Biggie's what saved him. He had to go out and find something.
01:14:43 --> 01:14:46 Same way he went out and got Mary J. Blythe. They were like,
01:14:47 --> 01:14:49 yeah, we're bringing some groups, but we need something.
01:14:49 --> 01:14:55 And he went and found Mary J. So until you push him, he ain't really going to get nothing done.
01:14:55 --> 01:15:00 He should have never been on TV, down at a cane, paying and saying,
01:15:00 --> 01:15:02 this is not your specialty.
01:15:02 --> 01:15:08 Your specialty is copying people's music and doing rap over the top, staying in lane.
01:15:10 --> 01:15:18 Look, Steve, I love music, Steve. Paul. I never thought that he was that funny
01:15:18 --> 01:15:20 because he came with a southern style.
01:15:21 --> 01:15:25 So a lot of us city boys couldn't identify. We were like, what's he talking about?
01:15:27 --> 01:15:31 I'm not trying to be a comedian. I'm not going to get up on Steve's stage and
01:15:31 --> 01:15:33 tell jokes. That's not where I belong.
01:15:33 --> 01:15:37 But at the same time, Steve, don't come down here and play with me.
01:15:38 --> 01:15:41 I've been here too long. right you know
01:15:41 --> 01:15:45 everybody's staying in a respected area
01:15:45 --> 01:15:50 man and and he doesn't do too much and he opened up a bunch of doors everybody
01:15:50 --> 01:15:56 so if there's anything that i saw that i couldn't verify was all of these people
01:15:56 --> 01:16:04 coming out of the woodwork once uh pandora box opened right right right penchant was,
01:16:06 --> 01:16:12 He got off. He had a good lawyer, so he did get off on some major issues, but he was a pawn, man.
01:16:13 --> 01:16:18 Every couple of years, they take a brother and they just strip him down just
01:16:18 --> 01:16:23 to remind us that just because it don't look like cotton in the fields don't
01:16:23 --> 01:16:26 mean that we ain't still on the plantation. Right.
01:16:27 --> 01:16:33 I will say let me say this real quick because what you just said Bobby,
01:16:34 --> 01:16:43 saying that you look at him as a pawn I think there's a key figure to all of this and more with.
01:16:44 --> 01:16:50 Some of the other things that have happened over the years I think it all goes
01:16:50 --> 01:16:54 back to Clive Davis personally do and I think Clive is,
01:16:55 --> 01:17:04 definitely the one who has been pulling the strings all of this time and he's
01:17:04 --> 01:17:12 the one that has been walking away clean each time because he's had other people to fall for him.
01:17:13 --> 01:17:18 And that's just my opinion. I think Clive has,
01:17:18 --> 01:17:22 been able to keep his hands, so to speak,
01:17:22 --> 01:17:25 clean but everybody knows
01:17:25 --> 01:17:29 that yeah he realized women uh
01:17:29 --> 01:17:32 clive clive loved women and so when he put table
01:17:32 --> 01:17:38 together aristide buddha whatever it was it was all women i want to tell you
01:17:38 --> 01:17:43 that each one said i hate that song clive i hate that song i don't want to sing
01:17:43 --> 01:17:48 it but yeah what clive needed was a hit record phyllis hyman should have never
01:17:48 --> 01:17:50 sang the song somewhere in my lifetime,
01:17:51 --> 01:17:56 although it didn't even hit it was produced by Barry Manilow that's why it was
01:17:56 --> 01:17:59 a hit Barry Manilow was doing everything commercials,
01:17:59 --> 01:18:05 it was nothing but a Barry Manilow sound all over America Copacabana and Copacabana,
01:18:06 --> 01:18:12 So, but if you ask Whitney, she'll tell you the same thing. Maybe you would say, I hate that song.
01:18:12 --> 01:18:15 You know, don't. Oh, yeah. It was in her. It was in her movies that how many
01:18:15 --> 01:18:18 times he said that about a couple of songs that she didn't like.
01:18:18 --> 01:18:20 But they went on to be big hits.
01:18:20 --> 01:18:24 Yeah. Yeah. The one he got from Dolly Parton. Dolly got over on that.
01:18:25 --> 01:18:29 Because Elvis Presley was supposed to do that song first.
01:18:30 --> 01:18:35 But his managers didn't want to touch it. Elvis wanted more publishing from
01:18:35 --> 01:18:37 Dolly Parton, and she refused.
01:18:38 --> 01:18:43 So here she comes years later, here comes Whitney Houston, and he pulls that trap.
01:18:43 --> 01:18:47 And yeah, Dolly made more money than, you know, you could. Yeah,
01:18:47 --> 01:18:48 right. She didn't need no Elvis.
01:18:49 --> 01:18:51 A black woman made all that money. Wasn't Elvis?
01:18:53 --> 01:18:58 So this whole thing, it can be scary to a lot of people.
01:18:58 --> 01:19:05 And like I said, like anything else it's not for everybody the people you still
01:19:05 --> 01:19:09 call yourself with are going to be the ones that get you through,
01:19:10 --> 01:19:15 that and family family and friends so I don't care how big you think you are
01:19:15 --> 01:19:17 today at the end of the road,
01:19:18 --> 01:19:23 you're only going to end up with family and friends so be nice be nice.
01:19:25 --> 01:19:34 Well okay Well, with that being said, that's going to bring us to Leonard's
01:19:34 --> 01:19:37 favorite part of the show, which is Dave's Corner.
01:19:37 --> 01:19:40 He loves Dave's Corner. I can't imagine why.
01:19:41 --> 01:19:46 This is where we ask the philosophical question or scenario,
01:19:46 --> 01:19:53 talk about a scenario where you get a chance to answer your favorite.
01:19:54 --> 01:19:59 Or answer in answering the question. So today, since we have you on, Mr.
01:19:59 --> 01:20:09 Giza, I want to ask the following question to both of you.
01:20:09 --> 01:20:12 And I'm going to start with Leonard first, because I think, Bobby,
01:20:13 --> 01:20:15 I know you're going to get a little deep to this.
01:20:16 --> 01:20:19 Speaking of all the music that we were just talking about in the course of your
01:20:19 --> 01:20:21 career and everything. Is there...
01:20:26 --> 01:20:34 Okay. If there was a music score to your life, like they do for movies, a soundtrack,
01:20:35 --> 01:20:40 and if you could pick three songs to be played in that soundtrack of your life
01:20:40 --> 01:20:46 based on how you lived your life, what songs would be a part of your soundtrack to your life?
01:20:47 --> 01:20:50 Now, I'm going to start with Leonard first, and then I'll come back to you, Bobby.
01:20:51 --> 01:20:59 Okay Bobby Dave always has these questions oh my goodness I know he hates it
01:20:59 --> 01:21:03 I like putting him on the spot by the way okay come on,
01:21:05 --> 01:21:13 don't say party all the time yeah no I'm gonna say party all the time that's one.
01:21:16 --> 01:21:23 And to be honest I don't remember who sings it but it goes I got a feeling that
01:21:23 --> 01:21:25 tonight's going to be a good one. Okay.
01:21:27 --> 01:21:31 I'm not sure who sings that. I remember who sang that song.
01:21:32 --> 01:21:39 I know the song you're talking about. I can't remember if it's Black Eyed Peas or like L-A-M-F-O.
01:21:39 --> 01:21:41 I feel like it's one of them, but I'm not sure.
01:21:41 --> 01:21:44 I don't think it was Black Eyed Peas. I don't think it was them.
01:21:44 --> 01:21:45 But anyway, I know the song.
01:21:47 --> 01:21:55 Another one is going to be the song power the rap song power by kanye west okay
01:21:55 --> 01:22:02 all right yeah and then man let me think that that last one may be a,
01:22:04 --> 01:22:10 Oh, the next one is going to be the song called Let's Go by rapper Key Glock.
01:22:12 --> 01:22:16 Oh, you thought, oh, you, oh, okay. You thought, you thought, you thought something.
01:22:16 --> 01:22:21 You thought something from the hit in there. Okay. All right. Yeah.
01:22:22 --> 01:22:26 Okay. All right. Okay. So those are your three. Okay. All right.
01:22:27 --> 01:22:30 Those are my three. Dave, how many of those three are you familiar with?
01:22:31 --> 01:22:33 Well, I'm sorry. How many of the other two are you familiar with?
01:22:36 --> 01:22:40 Well the key lock i'm not sure i have to hear that yeah key lock.
01:22:42 --> 01:22:46 I'll definitely stunt you. I think I'll stunt you on my three.
01:22:47 --> 01:22:50 Okay. The first one from... Okay, all right.
01:22:51 --> 01:22:57 Okay, let's go. The first one's from the play Man of La Mancha.
01:22:58 --> 01:23:03 Oh. And there's a song about Don Quixote being the man of La Mancha.
01:23:04 --> 01:23:09 Forever to conquer or die became my motto when I first heard that.
01:23:10 --> 01:23:15 Oh, wow. And I lived with it every day, forever to conquer or die.
01:23:15 --> 01:23:19 It was nothing short of that. Everything was based just on that.
01:23:19 --> 01:23:23 The second one, from the same Broadway play, man, La Mancha,
01:23:23 --> 01:23:24 it was The Impossible Dream.
01:23:25 --> 01:23:29 Okay, that's a good one. Yeah, that's a good one. And the last one,
01:23:30 --> 01:23:35 where I'm at now with the peace in my life and being satisfied with the work
01:23:35 --> 01:23:38 that I've done, but yet looking to still do more,
01:23:38 --> 01:23:40 is Stephanie Mills' Home.
01:23:41 --> 01:23:51 Wow that's a nice way to end it though yeah Stephanie sang that song she did yeah okay,
01:23:51 --> 01:23:57 alright I ain't talking no story about Stephanie though what you got a story you got a story,
01:23:58 --> 01:24:02 I ain't doing no Stephanie,
01:24:03 --> 01:24:09 alright I thought we could get some more tea I thought we could get some more tea.
01:24:10 --> 01:24:13 Hey, Dave, I wasn't sure if it was going to be a waist-deep story.
01:24:13 --> 01:24:15 I was like, well, we got to hear this one.
01:24:15 --> 01:24:18 I don't know, honestly, I don't know nothing about that now.
01:24:18 --> 01:24:26 Oh, okay. Look, look, we're at to catch you when we see you on that story.
01:24:26 --> 01:24:28 I see. Okay, all right, I see it. All right, okay.
01:24:29 --> 01:24:34 The book is coming. It's called Just Living Life. It should be out in the spray.
01:24:35 --> 01:24:38 And I was going to be right to get that. To write it down.
01:24:39 --> 01:24:43 I was able to write a song with the same title. So that's, yeah,
01:24:43 --> 01:24:47 Man of La Mancha, Man of La Mancha, and Home, Stephanie Mills.
01:24:48 --> 01:24:56 Gotcha. Dave, so what you got next for yours? Uh-oh. I think Dave may have froze.
01:24:58 --> 01:25:04 Good. I like that. I do. That's really good. All right.
01:25:05 --> 01:25:10 All right. All right, David. It's on you. We good? Yep. Okay.
01:25:12 --> 01:25:17 Here we go. My first one, Practice What You Preach.
01:25:18 --> 01:25:21 That's always been one of my favorite songs.
01:25:22 --> 01:25:27 And, you know, you're just stepping out there doing your thing.
01:25:27 --> 01:25:32 You know what I mean? So that's my first one there, Practice What You Preach.
01:25:33 --> 01:25:36 My second one is kind of my theme
01:25:36 --> 01:25:39 song because you know i got a music background and
01:25:39 --> 01:25:44 i'm a promoter and do all of these other things and so anybody that knows me
01:25:44 --> 01:25:51 knows when this song matter of fact it's in it's in the opening our our intro
01:25:51 --> 01:25:58 music is is this song clo greens i'll be around because I try to be around everybody,
01:25:58 --> 01:26:00 try to be there, everybody.
01:26:01 --> 01:26:05 You call me, I'm there. So I'll be around. That's my second song.
01:26:07 --> 01:26:10 Last one you know if we're talking about my career
01:26:10 --> 01:26:14 and finishing up my my last act and you
01:26:14 --> 01:26:17 know when i'm about to sit it
01:26:17 --> 01:26:20 down and call it a career i'm just
01:26:20 --> 01:26:23 gonna say one more thing before i shut
01:26:23 --> 01:26:26 it all down and because i'm
01:26:26 --> 01:26:29 gonna say one more thing i'm gonna have to choose before i
01:26:29 --> 01:26:32 let go gotta give frankie and maize
01:26:32 --> 01:26:35 that last little bit you know
01:26:35 --> 01:26:38 so so before i let go it's gonna be my
01:26:38 --> 01:26:42 my finishing act you know that's where
01:26:42 --> 01:26:46 i'm going with that so practice what you preach i'll
01:26:46 --> 01:26:49 be around and before i let go that's my
01:26:49 --> 01:26:52 three now y'all out there i know
01:26:52 --> 01:26:55 everybody thinks oh i probably chose
01:26:55 --> 01:26:58 this i would have chose that whatever we you can
01:26:58 --> 01:27:01 always let us know what you would choose you know because we
01:27:01 --> 01:27:04 always interested in seeing what you got you know or if
01:27:04 --> 01:27:07 you want to comment on who had the best list that's up to
01:27:07 --> 01:27:10 y'all i like bobby's list i like what he did there leonard
01:27:10 --> 01:27:13 leonard always comes from the you know he's coming from
01:27:13 --> 01:27:16 left field all the time but i ain't mad at him though
01:27:16 --> 01:27:20 i ain't mad at him you know but no no.
01:27:20 --> 01:27:26 No that's my guy so but there you have it guys there there's our list we want
01:27:26 --> 01:27:32 to take the time to thank mr bobby keys for coming and allowing us to to pick
01:27:32 --> 01:27:36 his brand and hanging with us and everything so we really appreciate it.
01:27:38 --> 01:27:42 Hold on, Dave. Hold on, Dave. Shout out one more time about your project.
01:27:43 --> 01:27:47 Hold on, Dave. Can I ask Bobby one question real quick? Just for a minute.
01:27:48 --> 01:27:56 Bobby, have you ever seen a movie called Imitation of Life? Here we go. Here we go.
01:27:57 --> 01:28:02 Okay. Tell him, Bobby. Tell him about Bobby. Because he's never seen it.
01:28:02 --> 01:28:05 He don't know nothing about it. Jimmy Stewart or something like that?
01:28:06 --> 01:28:11 Is that Jimmy Stewart in there? who was that yeah that was the uh that was the
01:28:11 --> 01:28:17 movie about with alana turner back in the day about the the black mother had
01:28:17 --> 01:28:21 the daughter that was passing for white remember mihalia jackson was,
01:28:24 --> 01:28:25 yeah yeah.
01:28:28 --> 01:28:31 Dave he don't sound too impressed he
01:28:31 --> 01:28:34 don't sound too impressed was it oh i want
01:28:34 --> 01:28:37 to i i would stay off i never sure it
01:28:37 --> 01:28:40 was a tear i remember some
01:28:40 --> 01:28:47 of it and uh yeah i imitation alive good generation they do yeah they passed
01:28:47 --> 01:28:52 no no no you're thinking about you think about a one it's a wonderful life that's
01:28:52 --> 01:28:56 what you're thinking about oh okay okay yeah yeah yeah yeah that's what you're
01:28:56 --> 01:29:00 thinking about it's a wonderful life that's what jimmy's doing yeah So,
01:29:00 --> 01:29:02 that sounds like a no.
01:29:04 --> 01:29:11 Oh, yeah. I missed that. He probably, of course, yeah. I was learning how to play. But anyway.
01:29:15 --> 01:29:22 Anyway tell everybody one more time about your project coming up as far as your,
01:29:23 --> 01:29:28 this project that you have with all of your characters and everything,
01:29:28 --> 01:29:33 be on the lookout for that if you go to Maury Kramer's page you're going to
01:29:33 --> 01:29:39 see what is a holiday banner and you'll also see some of the characters and
01:29:39 --> 01:29:41 what they actually look like,
01:29:42 --> 01:29:44 we're doing 986 The Boulevard.
01:29:45 --> 01:29:49 So the banner, the Christmas banner kind of gives you an idea of what it's going
01:29:49 --> 01:29:51 to be like. But Maury is the doorman.
01:29:52 --> 01:29:57 So the program's called 986 The Boulevard and my characters and myself and all
01:29:57 --> 01:30:01 the pets, we all live in the same building. Maury's the doorman.
01:30:02 --> 01:30:07 T-Rone's the janitor. Pepe Gojones owns the shop downstairs.
01:30:07 --> 01:30:13 He has that name part of the building. you know so come hang out with us because
01:30:13 --> 01:30:16 the most important part about each of these characters,
01:30:17 --> 01:30:22 is we all have a little bit of them in all of us and that's why people love
01:30:22 --> 01:30:27 them so much because they can identify when they see me they say hey man if
01:30:27 --> 01:30:31 you see maury man you tell him he's my man that's my that's my only jewish friend
01:30:31 --> 01:30:35 man you know and i gotta deal with that i gotta stand in there and go, wow, I can't tell.
01:30:36 --> 01:30:41 I can't tell them that I'm T-Rome. I'm T-Rome. I can't tell them that I'm early in Neymar.
01:30:42 --> 01:30:47 So you get the adulation, but at the same time, it brings you back to earth,
01:30:47 --> 01:30:48 you know, really quickly.
01:30:49 --> 01:30:56 So 986th Boulevard. Now that's what you sent me, so I can go ahead.
01:30:56 --> 01:31:00 We can share that on the page as well. All right, right?
01:31:01 --> 01:31:05 Yeah, yeah. It's going to take me probably another four months.
01:31:05 --> 01:31:08 What they wanted me to do was to show them what the characters look like.
01:31:09 --> 01:31:10 So that's what we just completed.
01:31:10 --> 01:31:14 We completed showing them what the characters look like. They were blown away.
01:31:14 --> 01:31:16 I don't know where they thought my head was at.
01:31:18 --> 01:31:23 Okay. Yeah, I came to it. So it's 986th Boulevard.
01:31:23 --> 01:31:27 Okay. You can always find me on Maury Kramer's page on Facebook.
01:31:27 --> 01:31:30 We got 17 pages, so a lot of them you may not know is me.
01:31:31 --> 01:31:36 Anything that says 98.6 WDIP on it's going to pop up with these eight, 10 times.
01:31:37 --> 01:31:41 So there's different clubs, but nine, six, the Boulevard join us.
01:31:41 --> 01:31:43 Okay. Be part of the family.
01:31:44 --> 01:31:49 Okay. Definitely will. And again, we want to thank you for taking the time and
01:31:49 --> 01:31:50 hanging with us tonight.
01:31:51 --> 01:31:54 And Leonard, you got anything you want to add before we sign off?
01:31:54 --> 01:31:56 We're going to come back and do a part two or something.
01:31:57 --> 01:32:02 Yeah, definitely. No, Dave, you know, I just want to thank Bobby Keys for coming
01:32:02 --> 01:32:06 on and sharing the information with us. We definitely will. We definitely will.
01:32:07 --> 01:32:12 Yeah, and I thank you guys, man. You know, and like I said, fair exchange could never be over.
01:32:12 --> 01:32:15 This is what we're supposed to do.
01:32:15 --> 01:32:20 Right. There's nothing else to do when it doesn't support you. This is what you do.
01:32:22 --> 01:32:26 So let's just get it done. Have some fun. But most important,
01:32:27 --> 01:32:29 make it shine. Make it shine.
01:32:31 --> 01:32:38 There you go there you go alright well folks there you have it that's us in
01:32:38 --> 01:32:44 News and Trends with Dave and Len for this week make sure you join us next,
01:32:46 --> 01:32:51 Tuesday and we'll be looking forward to you then,
01:32:52 --> 01:32:59 ladies and gentlemen for another edition of News and Trends with your host See you in the morning.