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From YouTube: Black Music in Minneapolis
Description
Listen to panelists Gary Hines, Harry Spike Moss, and DeSha Russell talk about the history of Black music in Minneapolis.
A
A
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D
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A
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A
B
Good
evening,
everyone
and
welcome
my
name
is
Antonio
Wilcox
I'm
consultant
with
Equity
strategies-
and
this
is
I
would
like
to
thank
everyone
for
being
here
tonight.
This
is
the
first
of
a
series
of
Minneapolis
African-American
Community
engagement,
city-wide
Community
engagement
for
Minneapolis,
African-American,
historic
and
cultural
context
study.
This
project
is
funded
by
the
City
of
Minneapolis
Mr
Roberts
Galecki
from
the
City
of
Minneapolis
city,
planner
and
historic
preservation.
Would
you
like
to
speak
a
little
bit
about
this
project?
Thank
you.
E
B
E
You
so
much
introduction,
I'm
Rob,
scalecki
city
planner
in
the
historic
preservation
section
of
the
community
planning
Economic
Development
Department
with
the
City
of
Minneapolis.
This
meeting
tonight
is
being
made
possible
through
a
grant
from
The
National
Trust
for
historic
preservation,
African-American
cultural
heritage
action
fund,
which
the
city
received
the
grant
actually
last
year.
This
is
our
inaugural
meeting
it's
great
to
be
here
and
get
this
kicked
off
and
great
to
be
here
and
see
everyone
and
really
excited
for
tonight.
E
G
Well,
good
evening,
everyone
we
are
so
happy
to
launch
this
session
with
our
community
engagement.
This
project,
looking
at
the
African-American
community
in
Minneapolis
from
1860
to
2020,
is
the
first
of
its
kind
to
gather
data.
We
have
institutions
that
have
been
in
place
in
Minneapolis
since
1860.
B
H
You
Antonio
to
Antonia
my
apologies,
it's
so
great
to
be
with
you
all
this
evening.
As
Antonio
said,
I
am
an
architectural
historian,
so
I'm
here
to
help
the
project
team
navigate
the
historic
preservation
process
of
this
project.
So,
as
Rob
mentioned,
the
project
is
being
funded
by
The
National
Trust
for
historic
preservation,
which
typically
looks
at
saving
places.
H
Construction
of
interstates
urban
renewal
initiatives,
among
other
factors
which
have
created
further
obstacles
to
giving
those
places
the
acknowledgment
they
deserve
in
the
official
record.
So
through
this
process,
we
are
going
to
have
these
sessions
focused
on
different
themes,
and
we
look
forward
to
providing
the
city
with
your
input
about
how
you'd,
like
African-American
richest
places
to
be
preserved.
H
We're
also
going
to
generate
a
list
and
a
map
of
places
within
the
city
that
are
associated
with
African-American
contributions
to
history
and
then
we're
going
to
prepare
an
outline
for
the
context
study
that
Antonia
mentioned
that
will
really
provide
a
framework
for
future
historic
preservation
efforts
in
the
city.
So
these
are
all
really
important
steps
to
really
expanding
the
narrative
and
honoring
the
African-American
story
in
Minneapolis.
So
thank
you
all
for
being
here
and
I.
Look
forward
to
your
conversation.
D
Yeah
hi
thank
you.
Antonia,
as
Antonio
mentioned,
I've
been
working
for
Lane
Johnson.
For
over
a
year
now,
I've
been
working
closely
with
judgling
as
your
intern.
You
know
it's
been
a
real
privilege
to
work
on
such
a
unique
project
such
as
this
one
I'm
growing
up
in
Minnesota.
You
know,
I
still
have
I
learned
so
much
just
through
working
with
her
and
and
through
this
project.
So
I'm
really
looking
forward
to
you,
know
the
audience
point
of
view
and
learning
more
about
the
culture
of
African-Americans,
specifically
in
Minnesota.
D
B
B
I'm
going
to
try
to
share
a
screen
so
that
we
can
have
an
opportunity
to
see
some
of
these
slides.
We
prepared
for
this
session
tonight
and
I'm
very
pleased
to
introduce
to
you
tonight's
panelists,
for
this
theme,
contributions
of
African
Americans
to
the
music
venues
of
performances
and
the
early
Founders
in
the
City
of
Minneapolis.
Thank
you
all
for
your
presence
tonight,
I'm
going
to
go
Name
by
name
and
say
a
little
bit
about
each
one
of
our
panel
members
and
then
we'll
open
up
for
them
to
make
their
comments.
B
Mr
Gary
Hines
is
the
director
of
Sounds
of
Blackness,
Chad,
jazz,
blues,
spirituals,
rock
and
roll
r
b
gospel
hip,
hop
and
soul.
They
have
performed
for
kings,
queens
presidents,
investigators
at
monster,
Halls
colleges,
schools,
corporations
and
festivals
all
over
the
world.
Their
lives
changed
in
top
10
single
and
video
royalty
was
also
nominated
for
two
NAACP
image
Awards
and
two
Stellar
Awards
Sounds
of
Blackness
latest
single,
sick
and
tired
and
now
time
for
reparations,
are
the
anthems
of
today's
movement
for
justice
and
equality.
B
B
He
is
a
former
director
of
the
way
and
City
Inc
he
trained
and
performed
with
minneapolis-based
musical
groups
locally
and
nationally.
One
of
the
groups
he
helped
create
was
called
the
family.
Spike
also
provided
a
structured
environment
at
the
way
and
mentors
and
mentors
for
Prince
Jimmy,
Jam
and
Terry
Lewis
in
their
early
teen
years.
B
Finally,
Miss
disha
Russell
Hodges
graduated
with
high
honors
from
Meridian
High
School
Mississippi
in
1998..
She
decided
psychology
at
the
University
of
Southern
Mississippi
from
1998
to
2002
after
receiving
her
Bachelor
of
Science
degree
in
Psychology.
She
completed
her
message
of
Science
degree
in
Christian
Counseling
from
William
Carey
University
in
2006.,
Miss,
Russell,
Rogers
journey
of
lifelong
learning
and
serving
others
began
early
being
born
into
the
ministry,
which
is
a
prominent
member
of
the
greater
Friendship
Missionary
Baptist
Church
Choir
group.
B
Our
thanks
for
the
presence
of
this
panel
members
this
evening
to
comment
on
the
following,
and
we
have
prepared
a
focus
question
in
which
we
ask
each
of
the
panel
members
tonight.
The
comment
for
20
minutes
and
the
question
which
we
will
also
have
on
the
chat
box,
is
what
the
most
residents
know
about
the
contributions
of
African
Americans
to
the
music
vendors
of
performances
and
the
early
Founders
in
the
City
of
Minneapolis.
B
B
F
Well,
I
think
the
the
broader
question
my
sister
is
what
they
don't
know:
many
people,
starting
with
one
of
our
distinguished
panelists,
most
distinguished
my
brother
and
Mentor
brother
Spike
Moss,
who,
without
his
efforts,
guidance
and
mentorship
the
princes,
the
Jimmy,
Jam
and
Terry
Lewis
of
the
world
The
Sounds
of
Blackness
of
the
world,
would
not
be
or
certain
it
would
not
be.
What
and
who
we've
been
blessed
to
be.
Spike
has
been
a
warrior
in
our
community
on
many
fronts.
F
Excuse
me
politically,
educationally
I
mean
just
culturally
all
the
way
around
and
one
of
those
fronts
on
the
music
end
has
been
to
create
opportunities
to
rehearse
record
and
perform
when
they
didn't
exist.
I'm
a
native
of
Yonkers,
New,
York
and
I
say
that
to
say,
I
was
blessed.
Our
family,
the
Heinz
Family
one
of
the
first
human
beings
that
we
met
when
we
moved
to
Minnesota,
was
Spike
moss
and
so
there's
a
long
history
there.
F
But
he
introduced
us
to
wealth
of
an
amazing
National
level
of
black
Trump
and
bugle
Corps
at
the
time,
Ames
else
Lodge
Drum
Corps
and
they
brought
us
there
and
we
became
a
part
of
that
because
we
were
already
part
of
a
drum
corps,
tradition
coming
from
New
York
and
he
was
already
aware
of
that.
But
so
spike
is
no
is
no
stranger
to
that
and
I'm
giving
him
those
props
for
you.
F
Black
Festival
tens
of
thousands
of
people
coming
together
in
a
night
Prince
with
headline
always
wherever
he
was
in
the
world
out
of
respect
love
for
this
community.
Respect
for
Spike
Moss
Prince
would
be
make
sure
that
his
management
had
him
in
Minneapolis
tonight,
on
the
North
side,
black
festival
and
as
I
say,
our
own
black
Patrol,
which
which
fight
was
instrumental
informing
I,
know
because
I
was
there
and
at
the
way,
which
should
have
been
designated
as
a
formal
site.
F
C
I
The
winner
gets
a
new
ten
thousand
dollar
organ
a
record
deal.
We
said,
congratulations,
Bobby,
but
there'll
never
be
no
little
Bobby's.
Unless
you
help
us
build
this
music
school
and
when
Bobby
agreed,
he
said
why
me
we
said
well,
because
Jazz
musicians
play
music
at
different
levels
than
any
other
musicians.
Jazz
musicians
read
and
write
music.
Most
of
them
play
six
to
seven
instruments.
So
we
want
you,
he
went
and
got
the
best
jazz.
Guitar
player
at
the
time
was
Jerry
Hubbard.
I
I
Craig
came
out
of
one
of
the
first
groups
called
the
young
players.
We
named
them.
The
young
players.
Motown
came
here
about
three
times
to
sign
them.
They
should
have
went
Atlantic
Records
come
here
to
sign
the
family,
they
should
have
went,
they
didn't
go,
but
we
kept
producing
these
bands
year
after
year.
Matter
of
fact,
when,
when
Prince
was
coming
through,
Sunny
was
the
lead
teacher
on
guitar
and
bass.
So
he
had
the
Good
Fortune
to
play
between
the
two
best
guitar
players
in
the
state,
Craig
Peterson
and
Sonny
Thompson.
I
So
he
had
to
be
the
best
and
anytime
you
played
Jazz
you're,
going
to
be
the
best,
no
matter
what
music
John
and
you
get
into
the
other
thing
we
had
to
do
different
than
other
cities.
Our
musicians
had
to
be
musicians
because
you
had
to
play
the
song
exactly
where
it
was
on
wax
because
we
had
no
radio
station.
So
you
need
to
be
able
to
play
the
song
and
play
it
as
well.
I
As
you
hear
it
on
the
record
at
the
end
of
the
song,
you
could
wood
shed
a
little
bit,
but
you
had
to
play
the
song.
So
our
people
could
hear
the
music
that
blacks
could
hear
all
over
the
country,
but
was
denied
us
here
and
when
we
finally
got
a
radio
station,
KU
Excel
it
came
on
sometime,
but
it
went
off,
and
so
we
didn't
get
enough
of
radio
and
the
white
radio
stations
we
had.
I
They
might
pick
one
or
two
black
songs
to
play
once
or
twice
a
year,
and
that's
all
we
had
so
our
musicians
went
to
the
Head
of
the
Class
because
they
learned
Jazz
first
to
read
and
write
first,
and
then
they
had
to
learn
music.
The
way
it
really
was
on
wax
because
we
had
no
radio
station
and
people
need
to
know
that
I
believe
that
and
Gary
can
attest
to
it
with
all
of
the
music
companies
we
had
in
this
state.
At
the
time
we
should
have
been
the
second
Motown.
I
B
J
J
But
we
we
interact
with
different
cultures
with
music
in
the
church
we
interact
with
different
communities,
we
learn
and
grow
from
each
other.
We
interact
with
different
call
and
response
that
translates
to
spirituals
and
quartets
singing
and
from
that
you
go
to
choirs
and
the
actors,
and
the
dancers
is,
is
a
real
life
expression.
I
Y'all,
don't
be
quiet
on
us
I
just
I
mean
it's
just
reminiscing
I
mean
think
about
kids
that
young
on
the
stage
with
some
of
the
biggest
stars
in
America.
Yes
right
with
them
and
holding
their
own
every
year,
every
show,
and
then
we
went
up
in
the
thousands
down
there
in
that
Park,
where
black
people
were
inviting
their
relatives
in
from
all
over.
I
We
had
to
leave
and
go
to
those
places
just
so
our
bands
could
make
money
because
you
could
go
when
Gary
was
a
young
man
getting
started
in
his
music.
You
could
go
downtown,
you
could
go
over
Nicollet
Avenue.
You
could
hear
our
music
coming
all
out
the
doorway
in
the
window.
You
look
inside
it'd,
be
a
white
band.
It
wouldn't.
I
I
F
Yes,
sir
I
remember
specifically
and
and
clearly
Spike
and
I'm,
so
glad
that
you
brought
that
up
and
Prince
rest.
His
soul
would
be
the
first
to
verify
that
and
and
to
show
that
love
back
to
you
spike.
The
media,
I've
noticed
I'm.
Sure
you've
noticed
this.
Two
Spike
tends
to
downplay
how
Afrocentric
Prince
was.
Yes,
he
loved
Minnesota.
Yes,
he
loved
Minneapolis.
F
Yes,
he
loved
all
people,
but
he
had
an
Unapologetic
Special
Love
for
black
people
would
say
that
a
heartbeat
and
like
I
say
you,
you
won't
hear
that
nearly
as
much
but
he
he
wrote
and
recorded
the
song
and
went
and
had
the
rally
in
Baltimore
when
the
brother
was
murdered
there
for
a
reason.
That
was
not
an
aberration
for
him.
You
know
had
he
lived,
he
would
have
done
the
same
thing.
F
F
As
Spike
alluded
to
a
little
bit
earlier,
Prince
for
all
of
his
genius
and
and
Jimmy
Jam
and
Terry
Lewis
for
all
of
their
Brilliance,
they
did
not
emerge
or
evolve
out
of
a
vacuum.
They
came
from
a
wealth,
a
very
thriving,
culturally,
a
garden
of
of
African-American,
music
and
and
again
with
the
Heinz
Family
coming
from
New
York.
We
saw
that
the
first
thing
we
saw
especially
coming
from
New
York
is
that
we
didn't
see
a
whole
lot
of
black
folks.
F
But
the
second
thing
right
behind
behind
that
is
that
the
black
folks
who
we
did
see
and
experience
were
very
culturally
astute
active.
They
were,
as
spike
said,
there
were
bands
here
that
would
rival
any
Motown
group
and
that's
saying
a
whole
lot.
There
I
mean
names
of
people.
Unfortunately,
probably
don't
know
nearly
as
well
as
they
should,
and
some
of
the
bands
are
Showtime
part
one
and
two
Midwest
express
Philadelphia,
Story,
Maurice
McGinnis
and
the
Blazers
it
goes
on
and
that's
just
the
tip
of
the
iceberg.
F
They
rivaled
any
Motown
groups
at
the
time
and
but
for
those
opportunities
would
would
the
world
would
have
known
in
the
way
that
they
should
have
known,
but
but
Prince
again
and
I.
Think
the
movie
brought
it
out
to
some
degree
of
Purple,
Rain
father,
an
amazing
jazz,
musician
and
composer
himself
and
and
the
same
Jimmy
Jam,
cornbread,
Harris,
Jimmy,
Chan's,
mother,
mama,
mama
jamas.
F
We
would
call
her
restaurant
years
old,
a
piano
teacher
and
an
educator,
so
it
came
from
and
and
Prince
you
know
we
we
all
many
of
us,
went
to
Bryan
junior
high
school
and
then
and
then
Central
High,
School
Minneapolis
standing
outside
the
nakariba
yeah,
because
we
were
too
young
to
get
in
when
we
were
kids
in
the
alley
at
the
Cozy
over
North.
Listening
to
this
man.
F
F
It
was
all
here,
it
still
is
all
here,
but
but
all
everybody
needs
to
know
that
the
the
current
manifestation
of
the
Minneapolis
sound
and
and
even
going
back
again
with
with
Prince
jam
and
Lewis
Sounds
of
Blackness,
all
the
different
groups,
men
condition
I
mean
you
name
it
down.
The
line
emerge
from
a
wealth
of
culture
and
and
musical
Heritage.
That
was
already
here
that
they
don't
know
about.
I
J
I
You
know
a
lot
of
people,
don't
know
that
it.
It
took
me
a
year
just
to
get
Prince
to
turn
around
face
the
audience.
Yes,
he
was
so
shy.
He
wouldn't
turn
around
took
me
another
year
to
get
him
to
sing.
He
said
he
couldn't
sing,
but
when
you
determine
you
just
keep
pushing
you
just
keep
pushing
see,
you
were
ready
for
the
world.
I
was
getting
Prince
to
just
face
the
world
that
took
a
while.
He
went
up
put
him
on
the
road.
He
was
still
shy.
I
He
would
run
to
his
hotel
room,
wouldn't
mix
with
the
people
it
took.
It
took
a
while
man.
Yes,
this
is
getting
to
sit
down
and
have
lunch
with
the
other
fellas.
It
took
him
a
while,
but
I
could
see
the
greatness.
You
know
for
him
to
come.
Spike.
We
got
practice
today
be
the
first
one
there
every
day,
I
could
just
see
it
that
he
was
gonna,
be
all
right.
I
C
I
I
just
think
we
had
so
much
talent.
We
should
have
been
the
second
Motown
had
we
received
some
help
to
know
that
the
monkeys,
the
Beach
Boys,
and,
what's
that
boy
up
north,
that's
saying
Bob
Dylan
they
made
it.
We
could
not
make
it.
We
had
to
leave
I
seen
you
showed
a
picture
of
Rocky
Robbins.
He
had
to
leave
to
get
a
contract.
That's
right,
Chris
had
to
even
get
a
contract
and
before
both
of
them
left
D
Clark
left
in
the
50s.
I
Yes,
Steve
Clark
was
in
rock
and
roll
time,
hey
little
girl
with
the
high
school
stockings,
but
he
had
to
leave,
but
all
that
we
had
here,
we
shouldn't
have
to
go
nowhere
because
we
had
everything
we
needed
right
here,
but
we
were
black
other
than
that.
The
whole
world
would
have
knew
we
could
have
hung
with
any
City
at
any
time
and,
like
I
said,
the
way
alone
was
cranking
out
eight
to
nine
bands
a
year.
You
know
I
looked
at
I,
don't
know.
If
you
remember
this.
F
I
About
the
way
he
said
he
was
about
15
years
old,
Spike
I
know
you
got
the
school
I
want
to
join
us.
What
you
gonna
do
in
here.
He
said:
I
like
black
music,
Let,
Me
Right
like
music,
and
he
came
to
that
way.
Every
day
and
Gypsy
was
a
really
big
group
when
Bill
made
it
and
Bill
made
it
before
everybody
else,
because
Gypsy
took
him,
but
when
Sly
saw
him
just
when
slob
was
getting
ready
to
get
started,
he
took
billboard
right
up
out
of
here,
so
it
didn't
matter
about
nationality.
I
C
I
B
I
F
I
F
Yes,
it
was
I,
remember
one
of
the
stories
about
Sonny,
another
name
that
again
the
general
audience
may
not
be
as
familiar
with
as
they
certainly
should
be.
But
this
is
a
true
story
and
I
know
you
know
I'm
sure
you're,
probably
there
James
Brown
The
Godfather
soul,
my
favorite
artist
of
all
time
was
here
and
he
was
frequently
here.
Of
course,
he
wouldn't
come
to
Minneapolis
without
seeing
a
spike
without
going
to
the
way
I
know
because
I.
F
I
F
Sonny,
those
guys
would
show
up
and
and
they
they
were
great
players
too.
You
know
with
their
fancy
faces,
and
you
know
case
a
professional
Sonny
Thompson
showed
up.
He
did
not.
He
could
not
afford
a
case.
His
bet
carrying
his
base
in
a
blanket
I'll,
never
forget
that
you
know
and
and
some
people
were
laughing
at,
but
you
know
what,
when
the
audition
was
over
and
he
got
selected,
they
wasn't
laughing
no
more.
I
But
you
know
when
James
was
the
largest
star
in
the
country,
yeah
I
called
him
up
long
distance.
One
day,
I
said
James
I
got
a
kid
to
beat
your
whole
band.
Of
course
he
custody
said,
stop
so-and-so
Spike
I
said
no
James.
Tell
me
when
you're
coming
back
to
Minneapolis
I
got
a
kid
to
run
your
own
band
out
of
town
stadium.
So
he
called
me.
He
got
him
a
suite
out
there
and
he
said
bring
that
kid
out
here
and
I
brought
sonny
out
there.
I
Sonny
was
every
bit
of
15
at
that
time
and
everybody
James
hooked
up,
sonny
just
wore
them
out
yep,
but
James
was
so
sneaky.
He
had
picked
up
a
new
kid
that
he
had
here
in
the
other
room
named
Boosie,
Collins,
right
and
Boosie
came
out
of
the
room.
He
just
wore
that
base
out.
I
looked
at
Sonny
I
said
get
him
son,
Sonny
Sonny
got
him
so
bad
James
said
Spike
I
needed
to
record
with
him
in
Nashville
this
week.
I
I
F
I
To
make
money,
but
we
lost
most
of
our
clubs
and
the
generation
behind
that
generation
didn't
produce
any.
So
even
if
you
had
the
bands
now,
the
question
would
be
unless
white
folks
are
willing
to.
Finally,
let
us
be
in
their
their
venues
where
we
played
when
I
met
Frank
Jackson,
he
was
an
All-American,
they
sent
him
to
go
to
school
in
Augsburg
and
his
brother
Suge
and
his
brother
Joe,
and
they
were
producing,
shows
they
taught
us.
The
way
we
could
do.
I
The
big
shows
is
go
to
the
Holiday
Inn
and
the
Holiday
Inn
would
rent
those
big
rooms
to
black
people,
and
we
finally
had
a
way
to
do
big
shows
when
we
got
in
the
Holiday
Inn,
because
most
of
them
would
just
discriminate
even
our
right
to
rent
venues.
So
the
Holiday
Inn
kept
going
kept
going
and
we
finally
had
some
places
we
could
rent
but
most
places
where
we
should
have
been
able
to
go.
We
weren't
able
to
go
because
even
Gary,
then
when
they
met
their
their
music.
I
I
It
had
to
take
off
in
America,
just
like
Prince's
music
did
for
Minnesota
to
give
it
a
chance,
because
they
were
arguing
about
well
I,
don't
know
if
it's
gospel,
I,
don't
know
if
it's
Jazz
I
don't
know
what
it
is.
We
can't
play
it
as,
though
you
can
play
in
this
Hometown,
and
we
were
going
through
that
back
and
forth.
Their
refusal
to
play
some
music
that
took
off
in
America
like
a
jet
like
a
jet
and
every
year
that
I
did
a
festival.
I
F
God
bless
you
and
thank
you
for
that.
Spike,
you
know
by
the
grace
of
God
and
by
the
support
of
people
like
you.
This
is
sound
to
Blackness
50th
anniversary
and,
like
I
said,
it
only
happens
by
the
grace
of
God
by
the
dedication
of
the
members
and
by
the
support
of
the
community
and
those
in
the
Vanguard
of
the
movement
of
the
community,
which
you
know
you
are
in
the
front
of
that
Vanguard,
and
you
know
we
say
that
to
anybody.
F
We're
not
just
saying
that,
because
you're
on
this
program
right
now,
I've
said
that
in
a
million
interviews
and
will
continue
to
say
it
because
it's
the
truth.
So
as
we
celebrate
50
years
Spike,
you
know
we
we,
you
know
even
the
Bible
says,
to
give
honor
to
whom
honor
is
due,
so
we
honor
you
my
brother
as
I'm
speaking
on
behalf
of
Sounds
of
Blackness.
You
know
we
love
you.
We
thank
you
so
that
that's
on
the
record.
F
I
I
You
know
back,
then
those
were
our
celebrities.
There,
weren't
black
people
on
TV.
He
wouldn't
go.
No
movies,
see
no
black
people.
The
Elks
Drum
Corps
was
the
celebrity
of
celebrities
in
Minnesota.
That's
right.
They
carried
a
good
30
40
kids.
Every
year
the
girls
could
step
not
just
carry
the
Baton
the
boys
could
play
like
you
never
heard
nobody
play.
You
can
hear
their
horns
and
drums
for
blocks.
Yes,
they
went
on
for
years
and
then
the
Shriners
I
got
introduced
to
the
Shriners
at
11
years.
I
Old,
Gary
and
I
was
sitting
in
front
of
my
mother's
house.
Imitating
the
Elks
beats
on
a
cardboard
box
with
sticks
and
two
Cato
men
came
by
it's
a
little
boy
where
you
learn
them
beats
I
said
going
down
the
markets
watching
the
Elks
says
your
mother
home,
and
they
went
in
there
and
talked
to
my
mother
and
said
we
want
that
kid
to
be
a
mascot.
I
F
I
F
I
I
You
know
we
had
self-esteem
like
no
other
people
matter
of
fact.
We
would
holler
out
loud
aims
out
loud
as
we
coming
down
the
street.
But
when
we
come
down
the
street
and
Gary
knows
this
too.
The
black
community,
from
both
sides
of
the
River,
North
and
South,
would
follow
us
down
the
street
and
every
parade
wherever
black
people
was
at.
They
latched
to
us
like
gold
and
we
would
perform
for
them
like
gold.
F
Grow
up,
that's
a
true
story
and
to
those
that
don't
know
since
we're
talking
about
history
and
that
we
didn't
have
the
cell
phones
back
then
to
capture
it.
But
Spike
can
verify
this
and
I
know
a
lot
of
other
people
can
verify
this.
They
had.
They
literally
had
to
put
us
at
the
end
of
the
parade,
wherever
we
were,
because
when
we
came
through
the
parade
was
over.
Now
that
may
sound,
egotistical
and
inflated,
but
that's
the
God's.
F
I
B
It
has
some
comments
coming
from
the
audience
as
well:
Julius
States,
thanks
for
sharing
the
great
educational
platform
about
the
segment
of
the
musical
Geniuses
of
Minnesota.
How
and
Shirley
asked
how
can
we
re-establish?
Yesterday
years
with
today's
children
and
I've
asked
miss
Diesel
Russell
Hodges?
If
she
would
like
to
offer
her
comments
about
the
meals
in
the
faith
community,
which
have
been
also
a
strong
presence.
J
C
J
Like
amazed,
right
now
of
learning
about
the
history
and
being
a
part
of
what
you
made
an
established
like
gateways
for
what
we
see
right
now,
it's
like
so
and
I
agree
with
what
Mr
Hines
with
Gary
High
said.
He
said
it's
a
wealth
of
of
musical
Geniuses
and
just
in
the
Twin
Cities
and
I've
been
able
to
meet
them,
but
something
that
it
has
been
constant
in
our
community
is
the
church
and
like
I
was
saying
earlier.
J
J
J
They
were
also
in
music
in
the
church
and
they
became
friends
and
that
young
lady
was
Miss,
Teresa
who's,
my
mom
and
they
and
they
were
nine
years.
She
was
nine
years
old
when
she
started
coming
around
my
grandfather's
on
my
dad's
side,
family
that
was
so
and
that
everybody
could
sing
on
that
side
of
the
family.
So
she
started
coming
around
playing
the
piano
in
the
church
and
then
Here
Comes
Billy,
G
Russell.
J
Who
is
my
father
and
that's
why
I
said?
That's
the
reason
why
I'm
here,
because
music
brought
them
together
in
the
church,
and
that
is
the
reason
why
I'm
here,
music
bro
my
husband
and
I
together
in
the
church
and
we
even
had
opportunity
to
have
Billy
steal
another
musical
genius
in
the
area
who
made
our
wonderful
day.
He
made
it
magical
and
I
I'm.
Just
so
thankful
to
be
a
part
of
that.
F
I
I've
got
a
response
to
that.
My
sister,
if
I
may,
keep
in
mind
that
the
people
that
many
all
the
names
that
we
focused
on
from
Prince
went
to
Bryant
Junior
High
School
was
in
the
band,
was
at
Minneapolis.
Central
was
in
the
band
Jimmy
Jam
at
dead,
Washburn
and
and
Terry
Lewis
at
North.
They
were
all
part
of
music
and
athletic
programs,
but
what
nowadays,
what's
the
first
thing
that
gets
cut
from
academic
budgets,
music
physically
the
two
things
the
kids
actually
need
and
crave
the
most
so
so.
F
The
specific
answer
to
your
question
are
these:
from
from
from
this,
from
my
perspective,
is
that
those
programs
need
to
be
reinstituted
and
funded
those
pro
music
programs,
specifically
it
every
there's,
just
countless
studies
that
show
that
that
music
students
do
better
academically
just
crying
in
all
the
other
subjects,
I
mean
and
I
don't
mean
by
one
or
two
points:
I
mean
substantially
better,
so
music
has
to
be
prioritized,
it
was
prioritized
them.
Music
was
our
life.
F
F
You'll
just
have
them
sing
or
say
so
and
so
and
I
say.
Oh,
you
got
a
great
voice
sister.
You
must
be
in
the
choir,
then
you
know
what
they
say:
we
don't
have
a
choir
or
somebody
will
play
something
on
the
instrument.
I
say:
oh,
you
got
to
be
in
the
band.
We
don't
have
a
band,
you
know
and
even
at
our
our
underfunded
inner
city
schools
back
in
the
day,
Minneapolis
Central
we
had
four
or
five
minutes.
F
We
had
marching
band
Orchestra
stage,
man,
jazz
band,
pep
band
and
all
of
those
different
outlets
and
so
long
story
short.
The
first
thing
that
has
to
happen
is
that
the
music
programs
and
music
education
has
to
be
prioritized
not
only
in
our
community
centers
in
our
charter,
schools,
which
it
already
is
in
many
of
them
thank
God
for
for
seed,
Academy
and
friendship
and
so
forth,
but
but
in
the
public
schools
as
well.
I
I
C
I
I
Kept
seeing
that
little
boy
with
those
big
eyes
looking
right,
we
got
practice
today,
Spike
we
got
school
today,
I
mean
it
just
it
devastated
me,
because
if
that
was
his
last
request,
then
I
should
have.
Did
it
and
I
didn't
know
it
was
his
last
request.
I
was
just
dealing
with,
can
I
do
it
I
I
didn't
know.
I
I
And
it's
ironic
because
Russell's
daughter's
on
here
I
said
I
find
people
all
the
time
that
I
would
take
and
run
with,
and
I
mentioned
her
because
I
was
sitting
in
Greater
friendship
in
the
front
row
on
the
left
and
she
was
up
there.
Singing
and
I
could
see
that
talent
and
I
told
Chaka
Khan
I
seen
a
young
lady
and
create
a
friendship,
Church
I
said
if
I
got
back
out
here,
I'd
take
her
to
the
top
yeah
come.
C
I
I
That's
when
the
soul
comes
from
the
inside
and
moves
up,
and
only
people
like
myself,
I
did
music
for
18
and
a
half
years
so
I'm
sitting
there
listening
and
I
wanted
to
go.
Tell
her
Daddy.
You
know
you
know.
Let
me
have
her
work
with
her
and
the
reason
I
was
gonna
say
it
and
a
lot
of
people
don't
know
this,
but
Jimmy
Jam
and
Terry
Lewis
told
me
day
one
when
flight
time
was
open.
I
Spike
you
make
this
your
home
always
and
I
know
that
if
I
wanted
to
come
out,
I
can
go
out.
I
can
produce
because
that's
what
they
made
clear
you
know
make
this
show
home
and
they've
always
was
like
that
with
me.
You
know
what
I'm
saying
they
were
the
first
ones
to
honor
me
and
when
I
did
the
gang
summons,
they're,
the
ones
that
financially
saved
the
summit,
because
they
give
back
all
the
money
because
I
was
bringing
Minister
Farrakhan
in
and
it
was
Jimmy
and
Terry
that
paid
it
all
off.
I
You
know
so
I
could
do
the
gang
summons
and
that's
the
story
in
itself
too,
because
we
were
killing
that
such
a
pitch
that
I
wanted
to
save
some
of
those
lives.
So
I
started
doing
these
gang
Summers,
All,
Over
America
and
the
McKnight
Foundation
General,
Mills
and
Minneapolis
Foundation
put
the
money
on
the
table,
so
I
had
to
go
to
breakfast
to
pick
it
up.
We
understand
you
bringing
Farrakhan
and
I
said
yes,
I
am
all
young
people
listen
to
him?
We
don't
money,
we
don't
want
our
money
associated
with
him.
I
I
said
it's
not
he's
bringing
his
own
people
40
of
them
paying
for
itself.
We
don't
want
nothing
to
do
it.
They
took
the
money.
I
got
16
hours
and
I
was
sleeping
that
night
and
God
said.
Call
your
sons
and
that's
an
adult
son
with
that
kind
of
money.
It's
a
Jimmy
Jam
Terry,
Lewis
Prince,
so
I
called
Prince.
He
was
in
south
of
France,
so
I
turned
and
called
Jimmy
interior.
How
quick
can
you
get
out
here
and
I
told
him?
I
I
walked
out
there
Gary
all
the
money
was
on
the
table
to
do
the
gang
summon
move
forward.
I
gave
him
both
a
hug
got
ready
to
leave
and
and
Terry
said,
Jimmy
got
something
to
ask.
You
I
said:
what's
that
he
said,
can
we
come
to
the
gang
Summit
I
said?
Oh,
you,
boys
are
still
remembering
the
lessons.
I
gave
you
about
giving
back
with
your
people
and
so
had
I
done
that
and
I
never
told
her
to
the
day
that
that
ear
is
still
there.
C
I
I
said
I
said:
I
told
soccer
yeah
I
already
saw
a
young
lady
that
I
could
see
gold
right
now
because
it
wouldn't
take
long
to
culture
to
coach
her
and
get
her
where
she's
going
and
I
never
told
her,
but
I
left
there
with
that
understanding
and
I
shared
it
with
Chaka
Khan
when
I
was
in
L.A
I
said
it's
in
Greater
Friendship
Church.
So
when
you
come
and
visit
I'm
gonna
take
you
to
that
church.
You're
gonna
be
shocked.
The
one
that
can
sing
I
said
when
I
see
a
young
lady
can.
I
C
I
And
the
first
was
the
Minnesota
sound.
The
next
was
Prince
in
the
north
side,
there's
another
one
on
the
sound
there's,
two
of
them
on
my
life
yeah.
Now
that
brother,
that
did
black
skin
in
L.A.
She
wants
to
do
the
one
on
my
life
and
then
the
Spike
Lee's
friend
up
in
New
York
wants
to
do
one
on
my
life.
But
if
this
keep
going
the
way
it
is
I
might
ease
back
in
the
music
and
just
produce
brothers
and
sisters.
I
I
already
saw
you
I
ain't,
making
it
up
I'm.
Looking
you
right
into
the
camera
right
now,
I
told
Chaka
Khan
that
in
L.A
and
I
told
her
in
this
great
big
Studio
out
there
will
you
ever
go
back
and
do
anything
like
yeah
I,
see
black
people
all
the
time
that
I
be
proud
to
deal
with
and
I
think
they
got
it.
They
could
go
forward.
You
know,
and-
and
sometimes
that
might
be-
my
fault
not
going
on,
but
one
of
the
reasons
I
didn't
go
on.
I
I
got
so
heavily
involved
in
civil
rights,
human
rights
and
police
brutality.
I
was
getting
fallen
behind
in
something
I
was
born
in
love,
Gary
was
born
to
look,
you
know,
I
mean
even
Gary's
mother
when
she
came
to
the
way
anything,
including
performances,
to
help
us
get
money
to
help
those
kids
with
instruments.
Uniforms
she's
the
same
way,
and
sometimes
it
might
be
a
conversation
between
me
and
Gary
that
we
go
on
our
own
Talent
search
and
produce
Minnesota
again
period.
I
And
I
trust
Gary
because
he's
a
master
of
Music
he's
not
just
a
musician
he's
a
master
of
Music
he's
a
genius
when
he
writes
he's
a
genius
when
he
thinks
and
he
got
a
heart
that
most
people
don't
have.
He
got
it
and
he's
been
successful
because
he
stays
where
he's
supposed
to
be
in
his
Lane
and
he
gives
his
best
and
I
would
say
that
to
you
too
Miss
Russell.
I
B
Comes
the
difficult
part
of
my
role
here,
which
is
to
interrupt
this
beautiful
story,
Italian
and
recollection
of
Minnesota,
with
much
appreciation
for
all
of
you:
Mrs
Spike,
Moss,
Miss,
disha,
Russell,
Hodges
and
Mr
Gary
Hines
for
Lending,
your
knowledge,
your
wisdom
and
all
this
Rich
history
to
this
evening's
panel.
Thank
you
so
very
much.
B
We
much
appreciate
that
is
a
recording
of
this,
and
this
is
only
the
first
of
several
in
a
series
and
we
are
going
to
move
briefly
now
to
ask
the
audience
to
participate
in
a
survey
in
which
we
have
three
questions
related
to
what
we
have
heard
just
now.
What
should
we
do
about
this?
Some
of
you
post
questions
on
the
chat
box
and
I'm
going
to
ask
Emery
if
you
would
taken-
and
this
is
the
Paul
and
if
you
have
you,
have
the
ability
to
answer
and
then
hit
submit.
Thank
you.
K
A
A
A
B
B
B
B
Second,
through
music
history,
tour,
62
percent
of
you
said
that
and
then
third
African-American
registry,
52
percent
and
finally,
statues
or
monuments
33.
Thank
you
so
very
much
for
participating
in
this
short
poll.
Your
voice
and
your
opinion
are
valuable
and
we
appreciate
you
participating
in
this
evening's
event.
G
Thank
you
very
much.
Antonia
first
of
all,
I
would
like
to
say
thank
you
very
much
to
disha
Russell
Hodges,
who
comes
from
a
musical
family
and
with
greater
friendship
and
all
the
Outreach
that
she
has
done
has
been
exceptional.
So
thank
you
for
participating
and
I'd
like
to
thank
Spike
Moss
for
participating,
and
one
of
the
things
I
wanted
to
share
with
you
is
that
I
share
your
excitement
about
disha
Russell's
voice.
G
I
I
concocted
a
scheme
to
get
her
to
raise
and
let
that
potential
out
I
took
her
to
South
Africa,
where
the
singers
really
let
go,
and
so
she
got
on
the
stage
in
South,
Africa
and
let
loose
she
was.
You
know
like
she
was
at
the
men,
so
it
was
just
incredible
to
get
inspired
by
the
South
African
artists
and
let
her
really
have
her
wings
and
and
her
Talent
show
through.
G
So
we
share
with
you
that
that
recognition
and
my
friend
Gary
from
the
block
from
South
Minneapolis,
so
much
has
happened
between
38th
Street
and
35th
Street
in
South
Minneapolis,
as
well
as
42nd
Street.
We
have
our
own
Black
Wall
Street,
our
own
music
incubator,
with
Bryant
Junior,
High
and
Central
High,
and
we
are
so
honored
that
Oliver
Lyle
and
Bobby
Lyle
and
Elise
Lyle,
and
your
mother,
Doris
Hines
and
Solomon
Hughes
and
Percy
Hughes
and
all
the
generations.
Rufus
Webster
all
participated
to
make
the
music
that
we
recognize.
G
So
thank
you
all
for
participating
and
thank
you.
Antonio
for
hosting
I
know.
You
have
some
other
slides
to
prompt
the
audience
to
learn
or
remember
about
others
in
black
history
and
then
our
next
session
will
be
about
black
homes
and
black
Leisure.
So
we're
going
to
talk
about
the
only
golf
course
in
South
Minneapolis
that
black
have
gone
to
Hiawatha
Golf
course.
G
We'll
talk
about
that
with
Harry
Davis
and
we'll
talk
about
the
Willard
Homewood
neighborhood
with
Vivian
Jenkins
Nelson,
who
was
a
founder
of
her
husband,
was
a
founder
of
the
Willard
Homewood
neighborhood
association
in
North
Minneapolis.
So
we'll
talk
about
the
single
family
home
lifestyle
that
historically
has
been
part
of
the
black
community
experience.
G
G
F
Yes
gladly
we
have
some
Sounds
of
Blackness
is
blessed
with
some
amazing
alumni,
certainly
Cynthia
Johnson
and
the
people
who
may
not
know
that
name
will
certainly
know
her
name
if
I
say
funky
town.
She
is
the
voice
of
funky
town
and
many
others
as
well,
but
she
began
with
Sounds
of
Blackness,
as
did
Alexander
O'neal,
when
he
moved
to
Minneapolis
from
Natchez
Mississippi
before
he
joined
the
flight
time
band,
he
joined
he
came
and
auditioned
for
sounds
of
black
knock,
my
socks
off
at
the
auditions
Spike.
F
Oh,
my
god,
really
Bloom
I
mean
in
fact
I
could
count
on
one
one
hand,
Spike
the
the
number
of
times
over
50
years
of
doing
auditions.
I
can
count
on
one
hand
the
times
I've
stopped
and
auditioned
his
was
one
of
them.
You
know
what
am
I
doing
here.
The
other
one
of
the
other
ones
was
another
of
our
fabulous
alumni.
The
great
Ann
nesby,
who
has
gone
on
to
solo
stardom
as
well
so
blessed
with
some
great
alums
and
nesby
Alexander
O'neal
Cynthia
Johnson.
I
G
F
F
I
I
G
I
I
I
Would
do
stars
that
they
would
bring
in
too,
but
we
guaranteed
them
a
show
every
year
or
two
or
three,
and
it
was
kind
of
like
a
Las
Vegas
style.
The
way
you
could
perform
and
there
was
a
nice
place
dinner.
Everything
was
right
for
a
concert
and
we
put
Group
after
group
in
there
every
year
and
they
also
helped
us
to
raise
money
for
our
festivals
by
getting
on
that
stage
in
there.
That
was
a
big
help
to
us
too.
I
You
know
I,
don't
know
if
you
noticed
the
June,
but
you
you
know
where
the
Walker
Art
Institute
is
yeah.
There's
a
white
lady.
There
Walker's
daughter
named
Louise
McKenna
the
minute
that
I
got
those
kids
ready
to
be
a
band.
She
would
give
me
the
money
for
the
instruments
on
the
spot
to
make
him
a
band,
so
we
not
only
just
taught
him.
We
had
him
ready
for
the
street
once
we
got
done
because
Louise
McAllen
would
pay
that
money
or
have
that
stuff
shipped
over
to
us
brand
new.
I
I
We
had
music
musicians
all
over
the
Twin
Cities.
That
was
ready
for
the
big
time.
They
were
ready
and
I'm.
Sorry,
they
missed
the
too
many
other
opportunities.
You
know
Sonny's
got
to
go
play
for
the
biggest
star
in
Europe,
but
Queen
Wilson.
They
got
to
go
over
and
open
shows
for
her,
for
maybe
three
or
four
months,
yeah
and
and
when
you
you're
playing
for
popcorn
right.
She
paid
them
boys
two
thousand
dollars
a
week,
put
him
in
a
mansion
and
gave
him
a
limo
at
their
disposal.
I
Wow
I
thought
he
was
doing
it
up
big
and
they
were
number
kids
right,
yeah,
but
them
in
the
good
old
days.
I
think
you
should
bring
an
anniversary
where
we
bring
anybody
who
is
still
alive
and
do
a
Show
A
Reunion
Show.
If
we
can
get
past
this
pandemic,
but
I
also
believe
because
of
social
media,
we
could
grab
a
building
and
rebuild
a
music
school
and
we
have
enough
Professionals
in
our
community
to
make
it
even
greater
than
it
was
the
first
time.
I
F
I
I
I
A
I
We
created
the
north
side,
Festival
side.
People
would
no
longer
have
to
run
that
risk
downtown
and
getting
hurt
or
going
to
jail,
trying
to
watch
a
parade
and
a
matter
of
fact,
Minnesota
had
never
had
a
rebellion
in
its
history
until
1966,
when
the
police
beat
up
a
14
year
old
black
girl
down
there
watching
The
Aquatic.
I
I
I
I
Every
time
I
turn
around
it's
calling
to
drive
all
the
way
from
New
York
to
Minnesota
and
then
Charlie
Wilson.
Then
I
had
a
friend
down
there
in
Tulsa.
He
said
Spike
when
you're
coming
through.
To
do
another
show
I
said
it'd
be
a
couple
of
weeks
or
whatever
he
said.
Well,
I
got
some
kids,
you
got
to
see
and
he
took
me
over
Charlie,
Wilson's,
mom
and
them
house,
and
his
daddy
was
a
preacher.
Mama.
I
The
mother
of
the
church
and
I
said,
go
ahead
and
play
for
me,
so
they
started
playing
church,
music
and
I
said
Charlie.
I
can't
use
church
music
I'm
getting
ready
to
do
a
show
down
in
Oklahoma
City,
but
I
can't
use
church
music.
He
said:
well,
listen
mama,
going
to
Bible
School
in
a
few
minutes.
Can
you
just
wait?
A
few
minutes
when
she
turned
the
corner,
you
should
have
heard
Charlie
Wilson
in
the
cafe.
I
That's
why
I
brought
him
to
Minnesota
man,
that's
how
it
happened,
but
when
y'all
saw
him
on
the
stage
before
the
world
knew
him
I
brought
him
here
and
put
them
on
that
stage,
because
they
tore
that
porch
up
I
said
I'm
gonna,
take
you
down!
Oklahoma
City!
Let
me
tell
your
mama
you
going
to
talk
to
me
or
whatever
I'll
put
him
on
that
show
down.
There.
Then
I
brought
him
straight
to
Minnesota
Charlie
Wilson
in
The
Gap
Band,
and
there
was
a
joke
between
this
man.
I
I
It's
plastic
yeah
boy
used
to
have
some
fun
with
these
young
people,
man,
it's
all
fun,
that's
a
book
in
itself
to
judge
that's
a
book.
Yes,
all
musicians,
all
the
fun
we
had.
All
of
that
you
know,
and-
and
it
was
a
safe
thing
where
you
could
help
them
find
their
way
and
not
be
in
jail,
not
be
in
the
hills
of
the
street
and
make
somebody
out
of
yourself
I.
I
Think
that's
our
biggest
reward,
I,
don't
even
know
if
Gary
understands
I
have
a
group
that
big
that
many
years
have
been
a
lot
of
people's
lives
were
safe
and
a
lot
of
people
had
self-esteem
and
pride.
It
was
motivated
just
from
that
group,
but
the
pride
that
Gary
had
because
everybody
knew
him.
We
were
in
love
with
them
before
the
world
even
knew
they
had.
A
record
ing
sounds.
C
I
The
pride
of
the
black
community
in
the
state
of
Minnesota
way
before
Prince,
there
was
our
pride
and
they
hadn't
even
had
a
record
deal,
but
we
love
the
sound.
We
never
did
nothing
without
inviting
Gary,
Indiana
I,
don't
care
if
it's
on
Plymouth
or
down
there
in
that
Park
Gary
and
I'm
gonna
be
there
and
one
thing:
I
did
right
same
way:
I
wrote
them
contracts
for
them.
Professionals,
I
wrote
them
for
them
children,
so
they
could
learn
the
business
yeah
I
gave
them
contracts.
I
I
wrote
the
money
for
them
the
same
way,
so
you
can
learn
the
business
they're
going
in,
but
I
love
them
all
dearly.
When
Gary
went
over
there
on
38
to
play,
I
made
it
to
the
back
just
to
let
him
know
I
was
there
still
support
me
and
I
gave
him
a
hug
and
I
was
fine
after
that,
because
when
you
put
your
hand
prints
on
somebody,
you
never
forget
who
that
somebody
is
and
I
have
hand
prints
all
over
Gary.
So
I
wasn't
gonna,
forget
I'm
the
reason
Gary
even
came
over
North.
F
F
I
I
sure,
can
you
know.
Sounds
of
Blackness
have
been
blessed
to
win
three
one
in
1992
for
our
first
record,
with
Jimmy
Jam
and
Terry
Lewis
called
the
evolution
of
gospel
and
jam
and
Lewis.
You
know
again
or
even
before
jam
and
Lewis's
International
Fame
as
producers
as
as
you've
heard
countless
times
tonight
we
were
already
a
family
and
and
working
together.
F
You
know
a
plan
practicing
sharing
instruments,
musicians,
singers,
all
the
experiences,
so
we
knew
each
other,
and
so
when
jam
and
Lewis
sign
Sounds
of
Blackness,
they
were
already
familiar
with
not
only
what
we
were
about,
but
our
Productions,
and
so
that
a
lot
of
people
ask
where
did
that
title
come
from
the
evolution
of
gospel?
Well,
that
was
when
it
sounds
a
theatrical
Concert
Productions
that
jam
and
Lewis
were
already
familiar
with,
and
they
said
Doc
and
that's
their
to
this
day.
That's
their
nickname.
For
me,
they
said
doc.
F
Any
Fame
kind
of
thing
so
that
that
was
the
first
Grammy
for
evolution
of
gospel
and
and
I'll,
never
forget
we're
at
Madison
Square
Garden
in
New,
York
1992.,
the
second
one
fast
forward
to
1994
for
our
our
Christmas
album
the
night
before
Christmas,
which
again
based
on
our
play,
the
Night
Before
Christmas,
a
musical
fantasy
with
the
wrapping
Reindeer
and
the
dancing
chitlins
all
that
stuff.
On
the
black
side.
You
know
Jammin,
Lewis
and
Prince.
You
know
rest.
F
His
soul
still
sounds
funny
to
say
that,
but
they
would
all
come
to
the
Christmas
show
each
year,
so
they
were
familiar
with
that
repertoire,
and
that
was
what
the
second
Grammy
was
for,
and
then
the
third
one
was
a
shared
Grammy
for
the
soundtrack
of
a
movie
that
starred
the
actor
Robert
Duvall
called
the
Apostle,
and
there
were
multiple
artists
on
it.
Our
country,
artists,
Lyle,
Lovett,
who's,
a
great
artist
by
the
way
him
and
his
band
we've
done
some
things
with
them.
F
There
were
eight
or
nine
artists
on
there
and
so
that
one
in
the
soundtrack
category
that
year,
so
those
are
the
three
Grammys.
And
so
you
know
it's
when
they
say
three
times:
Grammy
Award
when
he
sounds
with
Blackness
and
all
of
that,
but
and
it's
a
great
blessing.
But
let
me
let
me
hurry
up
and
say
this:
while
those
are
blessings
and
we
treasure
them-
and
we
be
less
and
honest
if
we
said
we
didn't,
the
main
thing
is,
you
know
we
are
more
than
just
just
a
music.
F
Just
radio
just
records
Sounds
of
Blackness
is
is
a
movement.
This
is
we
can.
We
are
about
the
movement
we
we
attribute
that
not
only
to
our
parents
but
to
our
our
extended
parents,
brother,
Professor,
Madrid,
al-khati
and
busy
Zulu,
who
taught
us
at
the
way.
You
know
it
all
comes
back.
You
know
and
of
course,
our
mentor
and
and
guided
Spike
Mars,
so
the
Grammys
are
great
but
being
in
the
in
the
Vanguard
of
the
movement
with
with
now
with
time
for
reparations.
G
J
That
is
happening.
October
29th
is
going
to
be
at
the
Omni,
be
installing
the
new
president
for
the
state
Baptist
convention,
Reverend
Ronnie
D
Patterson
of
New
Hope
Baptist
Church.
He
cert.
He
has
served
the
community
for
many
many
years.
I
just
went
and
celebrated
his
17th
year
at
New
Hope,
and
he
served
the
Baptist
convention
for
many
years.
He
served
eight
years,
as
vice
president
under
past
president
Pastor
Billy,
G
Russell,
and
so
we
will
be
celebrating
his
installation
October
29th
at
the
Omni.
F
Yes,
absolutely
she's
a
corporate
attorney
and
her
her
professional
life
now
for
Wells
Fargo
way
up
the
food
chain
there
we're
so
proud
of
her,
but
she
is
the
third
voice
that
you
hear,
because
there's
actually
five
different
voices
that
you
hear
on
on
optimistic
and
she
is
the
third
voice
that
you
hear
when
things
around
you
crumble.
No,
you
don't
have
to
stumble
and
fall
and
does
some
signature,
career,
cotton
runs
and
and
I
didn't
know
that
she
was
coming
that
I'm
just
elated
to
hear
that.
F
G
So
I
think
there's
a
a
theme
that
both
you,
spike
and
disha
are
talking
about.
It's
there's,
music
and
also
life
and
having
your
whole
self
together,
you're,
just
not
a
musician
who
goes
and
crashes
and
burns
like
so
many
musicians,
we've
seen
or
so
many
artists.
You
are
teaching
how
to
survive
life
in
the
work
that
you
do
through
the
church
through
the
way
through
Sounds
of
Blackness
you're,
helping
the
youth
to
navigate
so
that
when
they
become
a
success,
they're
able
to
navigate
the
challenges
of
the
industry.
G
I
A
true
story,
too:
you
know
you
learn
what
people
didn't
understand
that
wanted
to
be
in
this
back
when
I
first
started,
our
biggest
stars
would
make
albums
I,
don't
know,
Gary
might
remember
this,
but
the
album
would
be
12,
90,
11
90
all
right,
but
you
got
eight
to
nine
songs
on
the
album
mm-hmm,
but
what
they
offered
the
greatest
and
biggest
black
stars
we
had
for
that.
Album
was
one
and
a
half
cent
per
album.
F
I
It
was
important
to
teach
our
young
people,
the
madness
and
the
viciousness
of
of
the
music.
Not
just
you
want
to
sing
these
people
will
exploit
you
in
every
way
possible.
So
that
was
another
one
of
my
missions.
When
I
did
the
rap
summits,
I
was
invited
by
Minister
Farrakhan
and
what
he
wanted
to
do
was
get
the
young
people
to
stop
sinning
threats
in
their
music
and
stop
calling
our
women
out
of
their
name
and
calling
our
people
the
n-word.
I
I
Let
me
got
a
black
agent,
none
how
many
you
got
a
black
entertainment
lawyer,
none
how
many
got
black
Roadies
following
you
around.
All
the
hands
went
up.
The
second
part
is
most
did
not,
and
you
understand
this
Gary
most
children
did
not
have
a
record
contract,
they
had
a
record
deal
was
produced
one
or
two
units,
yes
and
the
first
one,
gold,
gold
or
platinum.
You
got
your
hand
out,
and
the
record
company
tell
you.
I
No,
we
said
we're
gonna
see
our
goal,
you
got
one
or
you
got
two
more
to
go,
but
the
second
one
goes
gold
or
platinum.
You
got
your
hand
out.
No,
we
got
one
more
to
go.
Yep
we
get
that
third,
one
judge
and
you
get
it
done
at
that.
Go:
go
to
platinum,
you're,
looking
to
really
get
your
hands
greased.
No!
This
one
pays
for
the
two
records
we
produced
already,
so
you
have
to
teach
our
kids
about
this
industry.
You
know
they
love
to
do
the
music.
I
B
I
I
Then
the
biggest
mistake
you
make
in
the
industry
judge
is
you
produce
one
record?
You
need
two
or
three
before
you
go
on
tour
right,
but
because
we're
so
broke
and
we
started
with
nothing.
We
go
on
tour
with
that.
First
piece
of
music.
So
if
you
leave
New
York
with
a
tour
called
The,
Love
Tour
and
you
work
your
way
to
La,
you
ain't
got
a
piece
of
music
to
work.
Your
way
back
right.
I
So
when
you
call
the
company
to
help
you
get
home
now,
you're
getting
ready
to
dig
a
hole
where
we
can't
help
them
right.
Gary,
yeah,
you'll,
be
holding
to
the
company
and
they're
gonna
bleed
you
for
the
next
five
years,
so
you
either
gotta
walk
away
or
just
give
up.
So
you
have
to
also
teach
them
about
the
industry,
not
just
the
music,
because
if
this,
what
you
want
to
do,
if
you
happen
to
make
it,
you
better
know
how
these
sharks
rotate
with
black
entertainers
and
90.
I
So
you
want
your
children
to
know
not
just
the
music
but
that
industry
and
how
you
survive
that
industry,
because
once
you
go
in
you're
on
your
own
and
the
and
the
dumbest
thing
I've
seen
in
the
industry,
the
contract
might
be
six
seven.
Eight
pages,
there's
also
a
rider
in
the
back.
You
better
read,
but
instead
of
saying
I
gotta
go
see
my
lawyer,
entertainment
lawyer,
when
he
pushes
it
across
the
table.
You
dumb
enough
to
sign
it.
I
Now
he
took
everything
you
got
coming
everything
you
got
to
come,
so
we
had
to
teach
that
too,
not
just
the
music,
so
they
could
survive
if
they
made
it.
The
gentleman
made
it
I
wouldn't
sign
the
contract,
that's
why
they
didn't
make
it
young
players
made.
It
said:
well,
we're
gonna
leave
the
block.
We
don't
want
to
leave
our
friends.
They
destroyed
themselves,
not
wanting
to
leave.
Please.
C
I
Right,
starting
them
chose
to
go
overseas
with
Queen
Wilson
When
Atlantic
Records
was
trying
to
sign
them,
but
you
got
to
have
your
head
right
in
case
you
do
like
Gary
and
you
make
it.
You
got
to
make
sure
that
they
can't
just
totally
use
you
and
abuse
you
that
you
getting
out
of
it.
What
you
want?
It's
not
just
a
success.
You
need
what
you
earn.
You
need
that
to
come
in
your
pocket.
I
They
down
there
eating
a
little
breakfast
of
a
donut
and
some
coffee,
because
they
didn't
have
no
money
to
get
breakfast
yeah,
but
on
TV
they
portrayed
them
like
they
made
it
like
they
made
it
so
it
you
know
they
they
need
what
we
offered.
Then
they
need
it
right
now,
because
they
still
don't
know
the
business
and
you
got
to
know
both.
You
got
to
know
what
you're
going
to
do
and
you
got
to
know
what
they're
going
to
do.
You
gotta
know
both.
G
Well,
I
think
one
of
the
questions
that
was
asked
earlier
was
about
whether
or
not
any
of
the
venues
still
exist
and
we
know
the
way
was
demolished
but
and
the
Riverview
was
demolished.
The
park
board
took
the
land
for
the
Riverview.
The
police
station
took
the
land
for
the
way,
I,
don't
know
what
happened
to
the
Cozy,
but
the
building
for
the
nakarima
still
stands
is
the
nakarima
operating
or
is
it
just
the
building.
I
But
I
just
know
we
could
find
a
building.
You
know
social
media
could
bring
us
all
the
money
we
need
and
we
could
find
a
building
and
rebuild
like
I
said
I.
Just
regret,
I
didn't
do
what
he
asked
me
to
do
when
he
was
alive,
but
we
could
find
a
building
and
and
rebuild
as
a
matter
of
fact,
I'll
tell
you
something
personal.
You
didn't
know.
This
Gary
I
talked
to
Jimmy
and
Terry
and
I
said
you
should
get
a
branch
that
does
rap.
I
So
we
don't
have
nothing
but
negative
rap
out
there
I
said
I
know,
that's
not
your
journey,
but
you
can
do
it
a
branch.
Oh
I
said
you
should
get
another
one.
That's
country
western,
that's
not
you
either,
but
you
should
do
it.
This
is
how
you
really
grow
in
the
industry
and
I
said
in
Jingles.
You
should
do
Jingles.
Let
me
tell
you
this
man
Stevie
Wonder.
When
he
comes
to
town
he
would
stay
at
the
Crown
Plaza
out
there
in
Brooklyn
Center,
and
he
would
come
in
here.
I
We
I
take
him
to
eat
over
there
on
Glenwood
Avenue,
where
Sonny
had
his
restaurant.
Over
there-
and
he
said
this
to
me
one
day-
he
said
brother
Spike-
there's
not
a
day
that
I
get
up
and
go
to
my
mailbox
and
there's
not
a
million
or
three
million
dollars
in
my
mailbox
I
said:
well,
you
ain't
working
that
hard.
He
said
no
I
make
that
money
off
of
jingles
and
that's
why
I
told
Jerry
and
Jimmy
it's
something
that
deals
with
jingle
something
to
deal
with
country
western,
something
to
deal
with
positive
rap.
G
B
I
would
like
to
thank
you
for
coming
and
telling
us
all
these
fascinating
stories
about
the
state
of
Minnesota
and
the
history
that
it
still
has
so
now
it's
an
opportunity
for
us
to
bring
it
out
to
life.
Thank
you,
Mr
Gary
Heinz.
Thank
you,
Mrs
fight,
moss
and
thank
you.
Miss
disha,
Russell
Hodges.
It's
been
a
real
honor
to
be
here
with
all
of
you
to
be
able
to
facilitate
this
meeting
and
to
learn
so
much.
Thank
you
very
much.
We
are
inviting
you
to
join
us
again.
B
Next
Tuesday
October
19th
at
the
same
time,
and
we
are
going
to
open
the
registration
on
Eventbrite,
just
like
we
did
for
this
session
today.
I
hope
you'll
be
there.
Thank
you
so
very
much
for
your
attention
and
for
your
attending
this
event
tonight
hope
you
follow
us
on
this
series
of
conversations
in
which
we
have
so
much
to
learn.
Thank
you.
B
K
Is
Julie
I
just
want
to
say,
I
have
my
two
daughters:
they
love
the
movie.
The
Temptation
and
they'll
be
teasing
each
other
ones
that
I'm
David
Ruffin
I'm
I'm
the
Temptation
I
just
wanted
to
share
the
way
you
talked
about
David
from
the
Temptation.
They
just
remind
me
of
those
two
I'm
David
Ruffin.
You
are
the
Temptation,
so
I
just
wanted
to
share
that
thanks.
Thank
you.
Julia
thank.
C
I
I
I
G
G
A
G
A
G
G
Yes,
the
series
of
the
living
room
sessions
where
we're
going
to
be
listening
to
Great
people,
yes
and
Vivian,
Jenkins
Nelson,
her
husband
founded
the
Willard
Homewood
neighborhood
organization,
and
so
she
knows
all
about
the
north
side
about
the
importance
of
preserving
single-family
homes,
about
the
actual
value
of
preserving
an
older
home
versus
tearing
down
and
building
cheap
apartments.
So
it's
going
to
be
a
really
good
discussion
and
Harry
Davis.
G
His
father
had
a
childhood
home
in
South
Minneapolis
on
36th
in
Portland,
and
he
was
the
first
major
black
candidate
to
run
for
mayor
and
he
will
talk
a
lot
about
the
only
major
golf
course
that
the
park
board
has
built
at
Hiawatha,
Golf,
Course
and
how
important
it
is
to
the
black
community.
So
it's
going
to
be
a
really
good
session.
I
look
forward
to
a
short
meeting
tomorrow
to
just
go
over
some
details
and
Shanice.
If
you
send
the
meeting
link
out,
then
we'll
be
good
to
go,
saw
Cinda.