Questlove Supreme: Lisa Cortés Part 2

Quest Love Supreme is a production of iHeartRadio. Yeo Yo Yo, What up y'all?

This is Fonte Fonte Delo and we are back with part two of our New York City in Studio interview with filmmaker, music executive and all around wonderful human being Lisa Cortes. In this episode, we're gonna talk about her new documentary Little Richard I Am Everything, which you should definitely check out because this is a great film and it is available on YouTube, Amazon Prime, wherever you rent,

I always wanted to know since you were there around like eighty nine to ninety post Terodom, post Griff interview, there is like a really scary period where like some of us thart, like Deaf Jam was about to shut down during the entire you know, Griff interview Public Enemy. Things I remember, like seeing Chuck on Entertainment tonight. I think with tape over his mouth or had a like he sat for an interview but then like I'm not giving any comment or whatever.

How weird was that period?

Like, were you guys the type to embrace a controversy. Was it sort of like Dan the JDL might shut us down or that sort of thing, or did le or have to sort of get in front of the bullet did his thing?

Okay?

I think the Ladler has always been an important strategist in telling the true story of the artists and where they were coming from. Bill was a great interpreter. Who could call a guy trembay, who could you know, talk to all these different people to really give them the broader context of who this person is and what they're talking about, why they're talking about it.

We got to get Bill ed on the show. Oh my gosh, it too.

We got Lisa now.

So yeah, are you doing contact with your Oh my gosh.

Yes, Bill Ladler.

I imagine y'all have Jamsey Williams, seasonal.

Faith Smith, you know, even the deaf jam Soul songs artists. We had a little reunion, so.

That's occasionally talked to. Did not know he was Puerto Rican.

Orn Tay Shawn, Chuck Stanley and Alison Williams. Alison Williams and we went to Europe and I was the tour manager. It was one of those if it's Tuesday, it must be Belgium. Okay, if it's Wednesday, we got to get in the bus and get the Frankfurt. And that was Actually we had a reunion like two months ago, and even the band members, you know, we're all there.

That's so full circle too, you said, Alison Williams. Then I thought about you with the Luther concert. Then I thought about Ramote, Harvey and.

The whole I am. It's just it's a beautiful, circular kind of connection between all of y'all. That's beautiful.

Why did we the ghost room my life?

We would have been bffsed to, I believe. So, I mean, look, what made the deal irresistible was that, you know, most artists will the label will have options to instantly drop if they see the bands not fit. And we didn't even learn how to craft the song until our fourth album. So in this situation, the thing that brought us there was the fact that if you our contract was hooked up so that if you did album number one, they had to do two and three. If we did four,

Well, x Stein offered me a gig and then everybody did because people were afraid of Leora and Russell. But they were like, yo, ed off is talking to her. And then you know, I remember I met with Tommy Mottola and you know, and just like the whole gamut.

I think seems in love all day. She's talking about Darkness spixteen.

Yeah, because there's a darkness on the edge of town. And so and Ed. You know, as the son of Billy x Stein growing up in California. He is a diverse He's a good one to talk.

Talk to him. He's ready to go. Yeah.

Yeah.

And he said to me, Lisa, I said, and I don't know if I just want to do black music. He said, you can do whatever you want. And I knew that I would want to produce the cast recording of Jelly's Last cham which I did when I was there working with George Wolf. I did records with John Lucienne. You I just had loved so much, you know. And then on the flip side, I'm working with hip hop, I'm working with reggae. I worked with all kinds of music.

You know.

I was the person when Talking Loud came to the States because I was the person in Incognito Omar Young Disciples.

So wait, were you the one that introduced.

Might have wowse hip hop? Zeleig is now acid jazz.

Literally, when Giles got the word that he lost us, he didn't take that line. He flew to Wendy was like, I still want and she let him do it because I used.

To go to London and I was looped in with all those folks and I when they brought the Talking Loud label because of you know, it came to Mercury, and I was a person like, yes, I want to work with them, you know. I love what he was doing. And when even when I had my label, I was going to sign je Lisa Anderson and.

Bobby birds stepdaughter or daughter.

I think she's a cousin because Carleen is there is a daughter and she's a cousin Olisa.

Oh shit, I worked on our record pressure.

I was going to sign.

This happens like once a week. Do you like?

Oh?

I played on her record.

This is Do you have a lot of demos?

I've worked on like five songs where her when we were living in London and never got to Me and the bass player of Jamaica Stewart, we worked on her record and it never came out.

Well, it probably was for the UK label because I was going to sign her before my tragic again but we'll get to that.

Oh yeah.

So I was the point person for all the Talking Loud folks, so of course I knew, you know Moreen Spernstein and Jonathan doing Giant step and blah blah blah blah blah. And that was that, you know, I was so I love that Ed allowed me that space to connect with and try things out and really be able to broaden the scope of expression within black music, you know. And I worked with Angela Windbush Angela. Angela's not Angela, she's Angela. I thought it was Angelo, Okay, who is incredible.

You're in the studio with her or are you in?

But she was married to Yeah. I went to their their Spaceship studio in California.

Okay, I wanted to ask Lisa. You mentioned Larry Smith. He's just someone that we always just you know, very rare we get people that actually work with him. So like, what was he like in the studio? What was that relationship like working with him? Because he's just an unsung so it's.

Me DEENI and you know, he had this whole connection to other UK artists because of Zomba multi instrumentalists and just and a peacemaker. Because you have to remember a lot of these artists are very young. This is all new that they had a way and a pace and Larry had come from where they had started, but he had traveled and he had had the hits, and he was really great talking to the artists and talking them down and cooling them out. And you know, it's funny.

When My Radio is on.

And Larry Smith produce that song he produced they know the album that has Will. Yeah, that's Larry didn't I didn't write songs. Might put that deal together, so you know.

The world famous My first show was that Radio City Music Hall thing. So Dion of Dionna and the Belmont is also on the show and brings Paul Schafer out, who I guess obviously just released the single, and I remember like because Will and Jeff.

Weren't there or whatever, and they wanted to do that song.

And for half a second it's like they looked at my direction like, oh, do you know a rap like you know that sort of thing, and it was like, nah.

I'm not doing that, but you orchestrated that song.

Well that because it's a whole album with that Larry produces. Yeah, that let me just went out there.

Let me be clear.

Yes, it's a dou wop.

It's like Dion of Dionna and the Bellmont's run around soon it's it's Deon is in Paul's mind. He's doing what boys the Men successfully did. He wanted to do a dou wop joint with hip hop modern, you know, and he's New York and you know, Paul was like a nerdy hip New Yorker type whatever, so he wanted to just a moogamate all that. And there was like a few performances where Jeff and Will and Dion and Paul Schafer.

Yeah, well this was no. It's eighty nine, so it's like you don't say no to Paul Schafer.

Yeah, the check was.

Good, the opportunity, right, But you.

Know it's also how they then get invited to go on David Letterman. The opportunity to tell us, yeah, that was that was like how it didn't just happen there. You know, all these people were resistant, you know, the way now that they want to have push a t on it whoever on the show. They didn't want to have these artists. They did not, you know, want that children, just like with Little Richard to be exposed.

He produced that song, So like, how do you you became president of what was your highest position of mercury?

I was Vpvynar.

So for you in music, what do you deem like your three crowning achievements? Yeah, like I seedd this and blah blah blah happened? I like that song.

When my radio? How do you all know this, Steve? Because I have taste?

It wasn't look because we should look up?

Wait because dad am I allowed to play this song talking about.

Yeah, he gave you the things until he cuts things. Her answers, all, right, here we go.

Ten seconds said yeah, ten seconds? Whose ten seconds?

I got it? So that's ten seconds. That's ten seconds in the NFL. Well, this ship made mt V. Oh, this is definitely Larry Smith drum track.

Straight from the Whodini's open Sesame sessions.

But what is Paul Shaffer doing?

Paul do you not know?

In the song he's the DJ college Oh.

I didn't even know that. Who DENI was a part of this.

But you gotta understand, like in like Johnny Carson was just the standard of Late Night.

I get it, and the lerman was like he was hip him and Paul are as nerdy as they were.

They were like the cool guys that like not stuffy suit like Carson. So you know this, I mean, no one brought this ship and only nerd me. I'm the one person that knows this song, all right, So okay, I brought it. I'm sorry, go ahead, thank you.

For giving me time.

You see, how do so wait?

Three achievements?

Achievements or three magic moments that you got the witness because I'm very impressed about you being in the room with the Bomb Squad.

Okay, so Bomb Squad and Ice Cube singing back up on the Lesson Zero soundtrack, the Danzig song and the Roy Orbison song who Fades Away a Danzig Lonely and Lesson Zero and Rick Rubin producers. Yeah, because you know, I had thoughts that I was going to be a singer. That's how I thought I could get a job in

Yeah.

Really, So when did you, in your mind leave the music industry?

So I started this label after several years at Mercury, I was going to go to another label. So my label was called Loose Cannon. Yeah, And it was very challenging to have a small boutique label, struggling to have the promotion. People take your records out because you know, you become second and third. And I had like my little team and we're doing our own you know, street team and blah dah blah, and I just hit the glass ceiling. I hit the ceiling and I ultimately left.

You established this label and established I.

Did the Till Shiloh record with Boujeoux, but and you know, I'm I like all different shit. I put out a folk group of Aboriginal women from Australia called Tittus. I put out.

Titties titt I want to buy that record that on Spotify was that.

I would actually play your own song if you had a song, you gotta make yourself a song.

Do you have to make a titty record? And I'll say background made, I'll come out, I'll come out of retirement.

I gotta have titties.

The musicales the musical.

He t I D d y Okay Australian Aboriginal now.

Okay, just so that I not feel like I'm not crazy, Like there is definitely a discussion on like, guys, are you sure this is the name that you want to go by?

Aboriginal nipples?

They changed from nipple that was, and then they.

Tried but that didn't.

This is why you're you're so quick? Okay. I love it.

I love till Shiloh. It's a record I'm incredibly proud of. But I also did the I reissued Red Fox and Richard Pryor all those early comedy.

Records records they had been on. Laugh that's you, yes, the reason for this.

Yeah, and so I got that catalog. I got people like Walter Moseley to write the liner notes.

Come on, people don't even know about they he.

And so yeah, so boom, chapter close. I'm not listening to music. What do you do?

You go to India?

So I went.

In India.

Well, I just I wanted to get away from everything, to figure out what was gonna being next, and why not go to a place where I was going to be challenged?

And what year was this for you, Lisen?

This is nineteen ninety seven.

Okay, after the movie, before the movie.

This was before the movie. Yes, And I didn't really eat that much.

I was I was afraid to eat.

I'm like, I don't know, I'm just gonna be a vegetarian for three mouths. But I was traveling and just like reading books by local, you know, Indian authors like Mystery and Salomon Rushdie, and hanging out with tabola players and Varanasi and just like doing yoga and going to the beach and you know whatever. And I went to a movie theater. When I was in the middle of watching this film, I realized, like, I want to make movies.

Oh you said go to New Orleans. I immediately thought. My first thought was about it by Master F I was. I was so hoping whatever you worked on about it?

But Lee Davis school too, you know, in the metaverse, maybe.

I did you know what I'm saying, I could totally see you fitting in with Master V and I so would.

I mean like I would just I would love to be there because I love these these people who are entrepreneurs who are and are pulling, you know, from a space and at the same time moving culture forward.

But that was the Oscar winner. What were you experiences like?

So it was.

Really fantastic because Lee, so I'm insisting him. I'm assisting Mark Forrester the director, and I would do the famous drive to take our talent up to the place where we shot all the andla.

So he's most was three hours.

Oh well, because I had worked with Most in the interim years and I had done with Danny Hasten's a video for Most. I had done Most and Tali Quali ePK, you know, And I said to I told Lee about Most. I was like, I love him and he's great and he can act. Also Banam Badah part one then part two. I would have to take the talent to Angola. So we were all in New Orleans and we knew we were going to go there at one point to shoot

Can I ask what was the budget for it?

It's like around three three point five million.

Oh, y'all had to really cut corners and so nothing.

And you know, it's it's interesting because originally Wes Bentley was supposed to play the lead and then Wes Bentley kind of went off the rails, disappeared and Heath Ledger was huge, but like we had, Yeah, so we had to convince them that that Heath Ledger could do this because he didn't have a Southern accent, and we got him this. I did like I had my own little mixing a dialogue coach, and then I had to splice.

Keep it light on the set because it was so heavy, like, you know, a lot of love.

A lot of care, a lot of taking care of people, you know, mama, but but also you know Mark Fordster. It is his second film, and he just is a brilliant director, very loving and caring, you know, creating that safe space have the right people, like you know, when you're doing certain scenes, you don't have everybody standing around, you do last looks and then everybody's out and you have to give them that privacy to go to some

Day girl all day.

Yeah, yeah, that Cuba Good and Junior Joint that was my shadow box was Joint.

That's the best I.

Ever I really liked, and most stuff you know, He's in that also and Dave all and Greer and Eve. So that was the other thing we always wanted to be mixed up. Yeah, the music and and making it interesting with the casting. And with those films, we found the scripts, we developed them, we found the internet, you know, our our investors, we did our pre sales, we did the production, all the deals, and then the you know post and then bringing it to a festival and delivery.

What took it so long that it was a struggle to nail that deal down.

She just was protective of who to give her work to. I know she had been chased when the book first came out by Madonna, who had wanted to tell it right.

She directly called her and was like, all I know.

Is that she wanted to option the material. Yeah, and we showed a shadow Boxer and she said, Yo, you guys are afraid to go there because she remember in the film there's Helen Maren who was an assassin and she carries off hits with her step son K Gooding Jr. Who's also her lover.

I read the script and I was blown away.

So when I saw the vision when it got done, I was like, Yo, it's really one of my favorite films. I'm sorry, I'm so hype about it, but it was just a mind blower.

In doing the Apollo Theater documentary, where is the Apollos their footage of I would have thought they would have had more footage at least between their early years in the forties and up until the mid seventies. They never recorded or documented those shows at all.

There's very few shows that were that were captured, and I mean, I've become like a you know, a big archival person. And luckily on that show, there was a Jerry I forgot Jerry's name, who had worked with Percy when Percy took over and did the remodeling, and Jerry lives in Yonkers, and I went to his house and we crawled through the basement and he had those beautiful tapes of the renovation and the reveal because Percy tried to have a multimedia center, so he had he started taping.

Or we're just not sentimental. Well maybe that's a lot I get.

Doctor willi Is literally blew up the Soul Trained stage and everything the science because he didn't he didn't want to pay for storage.

So he was like get rid of it all.

So they had to like crush it and like literally his entire history.

He didn't care.

Yeah, and the value of black cultural product and black cultural archival is is really important to me because as I tell these stories, as you tell the stories you're doing, we want to bring people back to that moment. We just don't want a bunch of contemporary people saying it was like this, It was like that. No, we wanted to be immersive and we want you to see and feel and get a sense of the journey that we're on.

We were talking outside before we started taping.

You said this documentary, the Little Richard doc about two years working on what was the hardest part. Like what was I guess the biggest kind of the bottleneck that took the most time.

Well, you know, we have this great partner, CNN Films, and when you do a film from them, it's ninety eight minutes, ninety seven and one hundred and one. Because I kind of go like, we can it be one hundred and one? No, So you know, like when you got to back into that time, there's things that have to fall out. For me, I wanted to talk a little bit more in the film about the Shenanigans of the music business, how it is that you can sign

This because they for broadcast purposes, you had to fit.

Yeah, that's their broadcast standard.

I was under the impression, and I believe that he said this, that Michael Jackson at V gave him his rights back.

So that's why John Branca is in the film. That's why I interviewed him. Because John Branco, of course had the relationship with Richard when Richard officiated at his marriage that Michael Jackson was and Bubbles were best men at for John Branca. There are pictures.

I just got maritate that.

Google.

Yes, it's the craziest picture.

Really. Yes.

And so Bronca, who you know, was Michael Jackson's attorney and is still involved in the estate. I interviewed him not only about that moment, but because when Richard protested at ATV Music for his royalties and then Michael Jackson bought the catalog. So in his books, in his autobiography, Richard goes, oh, yeah, Michael gave me money. But I learned very early on making this film that a lot of things that Richard said, you know, were not completely true.

In your opinion, like, what was your mission statement in doing Little Richard's story, Because there's so much to uncover as an artist, as a human being, as a pop culture figure, Like, what was your mission statement at like before day one? I'm going to when people watch this, they are going to blank.

The thesis mission was Little Richard's an icon? Why is he an icon? Why is it that when he passed away, this wide range of people from Bob Dylan to Harry Allen to you know, Dave Grohl are talking to Bruce Bingston talking about how important he is. He's so, why is he an icon? Why does he matter? And if he is the innovator, the architect, what did it take to get there? Who is his fore mother, forefather? And how does blackness and queerness factor into a conversation about rock and roll?

Oh my god, the black queer conversation that you start very early on in the movie. That was the initial thing that blew me away seeing black queer people, beautiful black queer people of that time because we don't see black and white photos of like trans people and what that meant. So after I saw the movie, I had a physical reaction, Like, I had so much of a reaction I had to like, I had to reach out

I was mad at times. Towards the end.

I got mad seeing like Mick Jacker and you know, the Paul McCartneys of it. I don't know, I got mad because I was like, I got mad when Little Richard said, you know, Elvis told me that it was if it wasn't for me, there would be no him. Basically, did you know that that was?

I knew. I wanted it to be immersive, you know, because you can't just do Little Richard at shut up. You know, he's more than the one note comedic foil that he had it become on these talk shows. He is so deeply nuanced. And also he's this connector to the Beatles, to the Rolling Stones, to Jimmy Hendricks, James Brown. He brings him to making and that's where James cuts

What is your hope, because I think this is probably the most compelling argument that one can happen again. I know that there's a big sort of divide between and really I'm not just saying conservative people. I'm being real like with conservative blacks, like would turn a blind eye to them or whatever.

Like.

It's very interesting even in watching like Soul Train a place where literally like you know that you know the LGBTQIA culture is, especially in the mid seventies and disco period and all that stuff. There's an artist from DC,

There, like yeah, he got it.

Yeah, it wasn't even it wasn't even like hostility, and it wasn't it was I've never even seen indifference, Like most people will just be like ignoring, like okay, like you're not there. But it's it's a level of conservatism that I can't even describe that Don does to him.

Whereas like I'm clearly not going to acknowledge the.

What I see here is what I feel I don't understand, so let me just act like it's not there. But I feel like this film could actually sort of open that door, Like is that for you?

Like yeah, I think people learning this history, learning that you know the complexities of someone that most people really love little Richard, Like you know, you say little Richard like oh tooty fruity Lontel Sally, you people start shouting.

Literally, I didn't know about that.

I don't know what but you do.

Now I have no doubt.

And I went to Florida to screen it. I was like, God, I don't want to go to Florida. We know it's going on in.

Florida, an even as we'll go to America's.

It was the best thing. First of all, there's like all these older people who you know, they've got this memory of the routines and they saw him and they love this story and they embraced this story. They didn't go, oh, I like this part, but I don't like the queer part. And then I talked to the young people who were like, yeah, they want to take African American, you know, ap history out.

Do you think that he I mean, we accepted all of him. Do you think he accepted all of himself.

I don't think so. I mean he's on such a roller coaster.

And that part where you really go into the eighties version of him where we deny it, like that made me inherently sad. Yeah, yeah, like nothing sadder than a person that has to suffer as themselves or whatever.

So have you screened it for anyone with the two on the far left digit of their birth year, like a millennials gen z. What is their reaction to it?

They actually are like, oh, this isn't some old fogy stuff. They're all I think, I get a lot of where can I get a mirrored suit? I have that great fashion moment. But I think that you know, they like the music and they're they're really captivated by how his DNA went forth to artists like and how he paved away. You don't have saucy Santana, you don't have next, you don't have.

Right, yes, a little. I was like, I wanted all of them in it. Actually at the end, towards the end, you start talking about.

That, did they not want to?

I called the people I always do charts when I'm directing films of you know, who's the family, who are the friends, who's the artists, and in this case, who are the incredible black and queer scholars who are not the usual history of rock and roll. I was very intentional in the academic voices who are narrating.

I was really happy to see Sandre in it like she.

I mean when she says, you know, it's not appropriation, it's obliteration. I was like, okay, everybody could go okay, you know what it's about, and like it tore him asunder. And I love that in this film we have that level of commentary because that's who we are. You know, we can we can be talking about we can deconstructuty fruity and you know Richard on the as Princess Levone as a drag queen, but we can also talk about a harm to our community because those are all apart.

Right.

And so to know little Richard, you know, you need to know the joy, but you also need to know the intense pain of him feeling invisible, feeling that all of his contributions and all these people he helped out are not there. Like when he's at the Otis Redding, he goes, I still sing, you can record with me, you know, call me, And and that is the part of the complexity of his journey that is more than oh I'm the bronze lie Barachi.

You made us get to know him a little more.

And I actually also kind of answered the conflict with it, I think all of us because it was like was he wasn't he Now I understand even his own personal conflict and why I felt that way because he was unsure.

Yeah, yeah, yeah, I wish you would have known that. We would have loved him regardless, but thank you all.

I definitely feel like it will help people now you really it's a beautiful film, like we we've.

Super enjoyed it.

The black dust, that's what I wanted to ask about. I'm sorry, what was the black dust in your mind throughout the movie?

It's beautiful black dust sis energy. I believe he is elemental. He came from another planet. He's a super nova, and he arrived and unleashed this energy that we established in the beginning of the film, and it continues and it grows in specific places of innovation, of expansion, of creation and how the energy is him. And that was a great motif, you know, working with the editors, because I was like, how do we do it? How do we show this?

You know?

And sequences to the music, Yeah, how did you choose them?

The reinterpreters of the song.

So when I pitched this film, I always said I wanted to have dreamscapes. I love magic realism, and I wanted to have contemporary artists who are part of his legacy. You know, when I spoke to Valerie June, who does the Sister Rosetta tharp uh scene, I said sister and she said Rosetta. I mean, she just like completed good and she understood why Sister Rosetta is important to this. Corey Henry I adore, and Corey started in the church.

Was there convincing him to do it?

No?

Oh really, Okay.

We've been talking for years about a project I want to do with him, Okay, And when I called and I told him what was about, he said yes, and he knew Richard and he was really helpful for us

I hate to admit this, Fonte, but my actual introduction to John p Key.

Crash, John Peakey, Oh wow.

Well you know what, at least as we wrap up, I'm actually sitting here like in some sort of Paltrow esque sliding doors.

I'm expansive.

You are the expansivest.

Just a forty eight hour decision changed the entire course of my life, of which I am extremely happy of my journey, especially in light of Okay, so.

Yeah, I would have got seventeen albums on Death Jam Doug.

Right, But even if that, I'm like, Okay, this is a tourist in the hair journey and was it better for me on my second album to sell seventeen million copies? And now you know, twenty twenty three, I'm going to jail for Sbiona.

Wow or to be on this path. But now I'm like, damn.

If I just signed in Mercury, I think I would have had an amazing ass relationship with Lisa Kurtez.

Like it's never too late.

I never had regrets, but I'm now trying to figure out what would have happened in my life if we just went through it and we had Lisa at the.

Top of the pyraid could have been on Brian McKnight albums. Yeah you know what I mean.

You would have met ralph raphaelsa earlier.

Wow?

Right? Oh oh yeah? Do you have a Latin quarter story?

I survived a story?

Oh so she?

I mean she had to she had to go.

No, I've had many hit the ground, hit the ground.

Before we rap.

I just want to say Lisa, because I said to Lisa after I watched this movie, Okay, so.

Lisa, this was amazing. I don't know what you're going to do next.

Can you just tell the folks the two projects that you got cooking that's going to be blowing their minds away too.

So premiering at Rebecca, I have something called The Space Race. It is the story of Ed Dwight who almost became an astronaut black Man. But and it focuses on the shuttlemen, the black astronauts who in nineteen eighty three, Guy Blueford, Fred Gregory, Ron McNee, you go to space. But it's really about this community because it's also Victor Glover and Leland Melvin. It's about afrofuturism and black astronauts and moving things forward. So that's the space you're doing this. Yep, it's all done.

I've got to get thunder Cat to do the score.

Tomp is on it, so it's a good. Next one is The Empire of Ebony. It's a three part series on Eunice Johnson and I know somebody here as a collection of these maxaxines.

I do I do? You know?

At one point I was part of the board, so you know the moment. So they're doing the food version of the moment. And at one point we owned the Ebony Kitchen.

We had to dismantle the.

Board and you know, raise more money, so we had to sell our Ebony Kitchen.

But literally they move it to me from the building when.

We dismantled it, and very meticulous and we moved it to New York and set it up back in its original seventies sixties.

Sort of like but yeah, man, I was, Yeah, it's you know, how do you build a media empire where in a space that did not exist? And how can you be a race man and a capitalists doing this? And then finally I'm eating a rate film coming out. The milk goes on forever, the art of David Hammond's and I produced The Invisible Beauty, which is the story of Beth and the model music activists.

All right, so closing, can you give us a tale from the Latin quarter.

The fucking Timbola ships so good every time.

Well, it's like Mexican Colombia.

Every there's some Kombea in it. I'm just saying.

Anyway, moving, I remember going and having to hide in the bathroom and and that's all I'll say.

I take the shift, ladies and gentlemen. That was tilt. I can't stop doing it. Thank you very much. I appreciate it. I apologize.

And it took three decades for our BFF courtship to start, but no time like the president.

Well, and congratulations to you, thank you. I feel like every Academy Awards we need to go back and give you guys, your award again properly. But the art, the work is there. So many people talk about the glorious summer soul. But thank you and you know, like and all the projects you. I want to come and interview and to hear you talk about all your films that you're doing like you're doing.

The risk of talk about myself all the time.

Yes, we don't.

On the next Quest Love Supreme, Quest.

Love, we don't do that. We are going to do that.

Oh no, thank you.

And Sugar Steve and I'm Big Bill and the Great Polsa Cortez Quest Love out cousin Jake and Brittany and also thank you again live live at cd M Studios in Manhattan.

Thank you very much for hosting us. Count that money, that money, count that money.

That's what that's that's go around.

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