Latest / The Baller Alert Show / Episode 330 "Marsha Ambrosius"

Transcript

Episode 330 "Marsha Ambrosius" · The Baller Alert Show

0:04
Speaker 1: Did you go to the club.
0:06
Speaker 2: They know me, But many of my ones are still circulating,
0:10
Speaker 2: many of my tents, many of my twenties, many of
0:13
Speaker 2: my hunters are still circulating.
0:15
Speaker 1: Okay, okay, how do you know about the sex shop?
0:18
Speaker 3: Friends me?
0:20
Speaker 4: How I know you indulge in the toys and stuff?
0:23
Speaker 4: With that, I mean your music states So do you
0:27
Speaker 4: hear my music?
0:28
Speaker 2: Yeah?
0:28
Speaker 1: Yeah, yeah, yeah.
0:30
Speaker 2: Imagine the baddest of all baddies at the end of
0:34
Speaker 2: not even the end of the night, the main dance night,
0:38
Speaker 2: and it's say yes, oh you gotta do sha and
0:42
Speaker 2: it's just cheeks and seductions.
0:48
Speaker 4: Borrow with me here, you know, bt no, how goes
0:50
Speaker 4: shout at oct no real color?
0:52
Speaker 5: What we see?
0:53
Speaker 3: How game d about something?
0:54
Speaker 5: Oh?
0:55
Speaker 6: You can't stand on my owns?
0:56
Speaker 4: See, I already know you Caca with the squad and me,
1:00
Speaker 4: they get a little.
1:08
Speaker 6: We're brought alive from ACM. We are the brother Alert Show.
1:12
Speaker 7: And we got the one the only Marcia Ambrosious.
1:18
Speaker 3: Did she say it right?
1:19
Speaker 2: I like the way you said it and you said
1:22
Speaker 2: I'm brocious. Yeah that's cute, sir, I'm bro don't apologize.
1:26
Speaker 2: I Ambrosius and Ambrosius Yeah, to say, the s ambrosious.
1:32
Speaker 5: So now you want to turn your accent, which I
1:34
Speaker 5: don't know what you at home watching is when I
1:37
Speaker 5: walked in, before the cameras got started, she was talking
1:40
Speaker 5: in a normal accent.
1:41
Speaker 2: What's normal?
1:42
Speaker 3: Okay, not normal accent.
1:43
Speaker 5: She was talking in the English accent, American accent, Philly
1:46
Speaker 5: accent to be directed, and then she started talking.
1:50
Speaker 2: In well English, what a British British British accents. Well, no,
1:56
Speaker 2: it can come on and off. It just depends how
2:00
Speaker 2: it's being in America for twenty four years. That's what happens.
2:03
Speaker 6: It's kind of a lot of TV.
2:05
Speaker 2: Yeah, and I don't have so many No, you've got
2:08
Speaker 2: so many movies that you just make stuff up. And
2:10
Speaker 2: I don't know. I've adopted the THEEA, yeah, the accent.
2:14
Speaker 6: What's some of your favorite movies?
2:16
Speaker 2: Oh, there's too many. We can't go into all of that.
2:18
Speaker 2: It's random stuff from ET to Friday.
2:21
Speaker 6: Like it is random.
2:23
Speaker 2: It's the spectrum. Like think about that. It's random Jaws, clothes,
2:28
Speaker 2: Encounters of the Third kind, Willy Wonka in the Chuck Factory.
2:31
Speaker 2: It's ridiculous.
2:33
Speaker 6: That's ridiculous.
2:34
Speaker 2: It is. I just watched too much TV.
2:36
Speaker 7: I mean, speaking of accent, Let's go back to Liverpool, UK.
2:39
Speaker 7: That's where you're.
2:40
Speaker 2: From, right, born and raised. So if I have my
2:43
Speaker 2: Liverpool accent, You're not really going to understand the word
2:45
Speaker 2: I'm saying, is it? I du was like, I don't
2:48
Speaker 2: know what accent this is, but it's like you're ordering
2:51
Speaker 2: from a Chinese restaurant. That's exactly what they sounded like Liverpool.
2:56
Speaker 2: If I talk about Liverpool, accident, I'm talking really really fashion.
2:59
Speaker 2: I can't understand the way I'm saying. I just said
3:01
Speaker 2: the same thing in my Liverpool accents. If I'm talking
3:03
Speaker 2: like this all the time. But if I call my
3:04
Speaker 2: mom and I say, Mom, I want to talk to
3:06
Speaker 2: you now and put you on the phone, I'm going
3:08
Speaker 2: to talk to me mom on the phone just like this,
3:10
Speaker 2: like now.
3:11
Speaker 5: Wow, yeah, it'll probably take me like I'll probably have
3:14
Speaker 5: a brain delay, like oh okay, that's what she said, Like.
3:17
Speaker 2: Yeah, so I just said I was going to call
3:19
Speaker 2: my mom and I would speak in that accent, and
3:21
Speaker 2: if I didn't, she wouldn't understand the word I'm.
3:23
Speaker 6: Saying because it's so fairst, you know, in your saying.
3:26
Speaker 2: And my uncle he's worse Uncle George. He's no one
3:29
Speaker 2: understands that guy. I mean we do because it's Uncle
3:32
Speaker 2: George where he talks really really quickly.
3:34
Speaker 3: Do you mask your accent when you're recording, It's.
3:37
Speaker 2: Not a mask, it's like an immediate go to. It's
3:40
Speaker 2: the inflections you use in your voice. So I think
3:43
Speaker 2: everyone universally has a song singing dialect that they use
3:50
Speaker 2: to singing and it's always with that. Yeah.
3:53
Speaker 6: So what was the music like in your house growing up?
3:55
Speaker 2: Oh? It's everything for me. My main go tos were
3:59
Speaker 2: prints my called Stevie No Order, but my dad very
4:03
Speaker 2: into Funkadelic, George Clinton, Stanley Clark, George Duke, Steely Dan.
4:10
Speaker 2: But then it's also Queen Talking Heads, Duran, Duran, all
4:15
Speaker 2: that pop stuff. So it's I had an eclectic amount
4:19
Speaker 2: of music to listen to. So it was pretty much everything.
4:23
Speaker 6: Were your daddy's girl growing up both both.
4:25
Speaker 2: My dad was a bass player, lead guitarist and singer
4:30
Speaker 2: in a funk band in the seventies. I thro out
4:32
Speaker 2: to hear sets out Taco beat Ooh, just hilarious. My
4:38
Speaker 2: mom had all the vinyl that you could ever want.
4:42
Speaker 2: Any DJ would like cry going into the crib, like,
4:46
Speaker 2: let me just dig through the crazy and find stuff
4:48
Speaker 2: they'd never seen, and you know the couzins. Growing up,
4:52
Speaker 2: she would sing do harmonies. So I kind of had
4:56
Speaker 2: all the things in the household for the makings of
4:58
Speaker 2: a musician without wanting to be a musician, without being
5:01
Speaker 2: pressured into being a musician.
5:03
Speaker 3: So nobody told you you should do music.
5:05
Speaker 2: No, it was do what you want, but don't touch that.
5:08
Speaker 2: But it, mister Miyagi, you know what I mean. You're like,
5:11
Speaker 2: don't hey, get off my keys, get off the piano,
5:13
Speaker 2: get off that guitar, get off them drums, like okay,
5:16
Speaker 2: And I'm just playing, trying to sneak play, but then
5:19
Speaker 2: getting better and bety each time. But my dad was
5:21
Speaker 2: also a hooper, a basketball player, and then he went
5:25
Speaker 2: into coaching and basketball was my passion. So then I'm
5:29
Speaker 2: just playing hoop.
5:31
Speaker 3: You was playing ball.
5:32
Speaker 2: What I played for England. I was playing for Brickston
5:35
Speaker 2: Top Cats fourteens and the women's team and still playing
5:39
Speaker 2: for England. Then I tore ligaments. That's how I dreams,
5:45
Speaker 2: and I was ready too. I was ready to come
5:48
Speaker 2: to high school over here, and eventually wanted to come
5:50
Speaker 2: to Georgia Tech. I had all of these things on
5:53
Speaker 2: the table, specifically Georgia Tech. Specifically because the high school
5:57
Speaker 2: coach that I was going to see in New Jersey
6:01
Speaker 2: that was to connect any players that were going through
6:03
Speaker 2: that school. We're getting recruited to Georgia Tech or somehow
6:07
Speaker 2: getting an opportunity to you know, audition or play if
6:11
Speaker 2: you will, to get the opportunity to come. So I'm like, okay,
6:13
Speaker 2: I'm gonna go that route. And that summer I got hurt.
6:16
Speaker 2: Then I had to figure it out. And then I
6:18
Speaker 2: just started writing my thoughts and my feelings and my
6:21
Speaker 2: pain and agony. And I wrote this song called If
6:23
Speaker 2: I Was a Bird and that was about basketball wow,
6:27
Speaker 2: about it breaking my heart and not being able to
6:29
Speaker 2: fly like Michael Jordan from the Foul Line like I
6:32
Speaker 2: wanted to. So you had no hubs none, So you
6:35
Speaker 2: had a brother as well, right, Yeah, I haven't brother yet.
6:37
Speaker 2: Younger brother did.
6:38
Speaker 6: He play sports? And her? Yeah?
6:40
Speaker 5: He was.
6:40
Speaker 2: We were both borling. So me and my brother kind
6:42
Speaker 2: of had this where three years apart, were kind of
6:45
Speaker 2: like twins. So if I was balling, he was balling.
6:47
Speaker 2: If I was playing music, he's playing music. So When
6:50
Speaker 2: I told my dad I wanted to quit hooping, he
6:53
Speaker 2: broke down and cry like it was over it, like
6:56
Speaker 2: the world ended, my dad. I just don't want to
6:59
Speaker 2: take you for serious, like what I said. No, I'm
7:03
Speaker 2: gonna take music seriously. So him being a musician and
7:07
Speaker 2: him seeing the ups and downs of a very hostile industry,
7:11
Speaker 2: especially where it can be for women. I knew it
7:13
Speaker 2: was coming from a place of love, but at the
7:16
Speaker 2: same time a place from the experiences that only he had.
7:19
Speaker 2: But I'm like, Dad, if I do this, I'm gonna
7:21
Speaker 2: do it's for real. So imagine me. I get a
7:24
Speaker 2: free ticket to come to atl in the year two
7:27
Speaker 2: thousand to do a patchy cafe. I'm like, all right, bet,
7:30
Speaker 2: I'm coming. So I do a patchy cafe in that land.
7:33
Speaker 3: What's a patch cafe?
7:34
Speaker 2: It was like a poetry spot over my jam session
7:38
Speaker 2: in the early two thousands. So two thousand April, I'm
7:41
Speaker 2: doing that and I'm like, yo, Dad, it looks like
7:43
Speaker 2: it's gonna work out. Then I get to Philly do
7:45
Speaker 2: the same thing, Dad. I feel like this is really
7:47
Speaker 2: gonna work out, yo, Dad. Michael Jackson just heard my
7:50
Speaker 2: song Butterflies on the demo. Yo, Dad, I'm in the
7:53
Speaker 2: studio with It's never enough.
7:55
Speaker 6: It was his response, you don't believe nothing.
7:57
Speaker 2: But like I said, I'm not a at that time,
8:01
Speaker 2: so I'm not understanding. His responses are just all protection.
8:04
Speaker 2: I'm just like hater, not hater, but like you're just
8:08
Speaker 2: gonna shut down my dreams. But it was just to
8:11
Speaker 2: protect me. Like maybe Michael Jackson takes this song, maybe
8:13
Speaker 2: he doesn't, and he did, and the rest is history.
8:16
Speaker 2: And I'm still like, your dad, See I told you
8:18
Speaker 2: music was gonna work.
8:19
Speaker 7: Wow, it is mind change? Did his mind change when
8:22
Speaker 7: he sell you on TV?
8:24
Speaker 5: No?
8:25
Speaker 2: Mind change? It's like, oh she was for serious.
8:30
Speaker 3: I was just like, oh yeah, yeah.
8:32
Speaker 2: I never met my dad so yeah, no, No, my
8:35
Speaker 2: dad is as proud as you can be, h you know,
8:38
Speaker 2: as a father for a door, like he really is.
8:40
Speaker 2: But back then it was just I'm uphill climbing to
8:45
Speaker 2: try and match.
8:45
Speaker 3: Were you struggling though you? Was he struggling?
8:48
Speaker 2: No, I'm gone. I left home and told my mother
8:54
Speaker 2: I was going for two weeks and just didn't. I'm
8:56
Speaker 2: just twenty four years later, you had.
9:00
Speaker 7: Been blessed man, and we're so happy to have you
9:01
Speaker 7: right here. On The Barler La Show, we got Marsha Ambrosius.
9:05
Speaker 3: Did she get right?
9:06
Speaker 7: Yes, it's getting well right.
9:12
Speaker 6: We'll be right back for more.
9:14
Speaker 2: Alert So can we get the background music for coming
9:17
Speaker 2: to a record? That's one of my favorite movies?
9:19
Speaker 3: To yo?
9:28
Speaker 5: I feel like you moved to America and just watched Yo.
9:32
Speaker 5: What is American movies that we have to watch? No?
9:35
Speaker 2: I grew up with all of that. Like my grandfathers
9:40
Speaker 2: are both American, so my cousins were over here and
9:44
Speaker 2: sending me, you know, different, Well, so.
9:46
Speaker 3: You already knew what it was like.
9:48
Speaker 2: I just never had the us A experience that I
9:52
Speaker 2: wanted to have.
9:55
Speaker 6: Back with more The Butler Lah Show, we got Marcia
9:57
Speaker 6: and Brosius.
9:59
Speaker 4: Yeah, yeah, yeah, camera for the hadlug.
10:07
Speaker 1: She ain't given it to me?
10:08
Speaker 2: What don't blame me?
10:10
Speaker 3: Okay, we.
10:12
Speaker 2: Allow this off air bringing this up. I got you.
10:18
Speaker 4: We were talking, we were talking about the experience of America.
10:22
Speaker 4: Did you get the full Atlanta experience? Because you were
10:25
Speaker 4: here for how long?
10:27
Speaker 2: I was here? Initially just a couple of weeks, went
10:29
Speaker 2: to Philly, came back, but I was always going back
10:32
Speaker 2: and forth between listen, Oh.
10:39
Speaker 5: They know me that.
10:43
Speaker 2: Many of my ones are still circulating, many of my tens,
10:46
Speaker 2: many of my twenties, many of my hunters are still circulating. Okay, okay,
10:52
Speaker 2: so you're saying you have some time.
10:54
Speaker 1: Wow, time was at time and.
10:56
Speaker 4: The headlights working with and the red lights working at
10:59
Speaker 4: the headline, I.
11:06
Speaker 1: Mean your music states So.
11:09
Speaker 2: Do you hear my music?
11:11
Speaker 4: Yeah?
11:11
Speaker 1: Yeah, the baddest.
11:13
Speaker 2: Of all baddies at the end of not even the
11:17
Speaker 2: end of the night, the main dance night, and it's
11:20
Speaker 2: say yes and it's just cheeks and seductions.
11:25
Speaker 1: Whoa now, did you mean yours?
11:28
Speaker 2: And the best chicken? Why do just why does strip
11:32
Speaker 2: clubs have the best food.
11:37
Speaker 1: The extra miles.
11:38
Speaker 2: It's like, the fries be good, like what in the seasoning?
11:42
Speaker 2: Not everyone just gives a basic fry. There's no basic
11:45
Speaker 2: fries in strip club in Atlanta and Houston have good food.
11:50
Speaker 2: I think at L may have done the very first
11:53
Speaker 2: lemon pepper ketchup. I was like, why does your ketch
11:56
Speaker 2: up season?
11:57
Speaker 3: Like everybody like one time?
12:04
Speaker 6: Yeah, what about the first time you tasted waffle house? First?
12:08
Speaker 2: I was wasted. I had to I had to have
12:11
Speaker 2: been drunk to be in there, Like I'm trying to
12:14
Speaker 2: remember which one is, remember where j D's old spot was,
12:17
Speaker 2: and you go further down, it's like a sex toy shirt.
12:20
Speaker 2: It's the one that's in between the two.
12:23
Speaker 3: Talking about the waffle house on the wait.
12:27
Speaker 2: Baked see the landmarks.
12:30
Speaker 1: How do you know about the sex shot friend?
12:33
Speaker 5: For me?
12:33
Speaker 1: How I know you indulging the toys and stuff.
12:36
Speaker 2: With that because used to pass it if you go
12:38
Speaker 2: under that bridge, right, Yeah, being single during I.
12:45
Speaker 1: Wanted a couple of times you walked in. Yeah, I definitely.
12:48
Speaker 2: Worded well, I made purchases, I wasn't here and basic stuff,
12:53
Speaker 2: like the basic stuff. What's basic for you? Elaborate what
12:59
Speaker 2: you mean, like a magazine, Like there's like a toy.
13:07
Speaker 4: I got skin things, so I have to get something
13:08
Speaker 4: that was sensitive to my skin.
13:11
Speaker 1: So I had to, you know, get some condoms that were.
13:14
Speaker 2: Thank you for all of that information, clarity, you know,
13:21
Speaker 2: And it was only there about that we got there.
13:30
Speaker 2: That's how I knew where waffle house was. So I
13:32
Speaker 2: used to work at Droppless Studios. So I'll be into
13:35
Speaker 2: room writing some songs and then we would leave. Oh,
13:39
Speaker 2: there's a sex story show right there on the right
13:41
Speaker 2: hand side. So we will hop out getting my waffle
13:44
Speaker 2: house in gloriousness, the dang cheese eggs greasy and if
13:51
Speaker 2: no one's firing, it didn't really happen.
13:53
Speaker 4: Did you find inspiration when you were in Atlanta a
13:55
Speaker 4: lot for writing music?
13:56
Speaker 2: It was it was very, I want to say, the
14:01
Speaker 2: southern hospitalities unmatched, so you felt at home and comfortable.
14:06
Speaker 2: So even in that approach, I had foundation here. I
14:11
Speaker 2: had friends that really became family, so really made me
14:14
Speaker 2: feel comfortable, so I could really stretch my pen and
14:18
Speaker 2: say things that I wouldn't ordinarily say or things that
14:21
Speaker 2: I'd want to experience. So you leave Magic City, you're
14:25
Speaker 2: gonna riot a different type song. And I was here
14:28
Speaker 2: during a different time like this is when I mean,
14:31
Speaker 2: Atlanta's always been here and trend setted as what the
14:35
Speaker 2: world would know Atlanta to be. So I'm there when
14:38
Speaker 2: Sierra is in the studio. I'm there when you know
14:41
Speaker 2: Andrea and Vidal from Philly had given her oh, and
14:44
Speaker 2: I'm like, oh my god, what's happened? At atl was
14:47
Speaker 2: doing something and ludicrous happens and it's all these things
14:50
Speaker 2: that are happening. But the foundation of it all is
14:53
Speaker 2: when I get to a patchy cafe and it's outcast.
14:58
Speaker 5: So did you start it out a songwriter? Were you
15:00
Speaker 5: like writing for other people in the studio?
15:02
Speaker 2: Yeah, and like that's always been my passion. I've always
15:05
Speaker 2: wanted to be behind the scenes getting my Quincy Jones
15:08
Speaker 2: on and then I'd just been offered deals and things
15:13
Speaker 2: to do outside of that, so it just kind of happened.
15:15
Speaker 2: As far as the whole solo thing.
15:17
Speaker 3: Do you remember getting your first deal?
15:20
Speaker 2: I do. I remember seeing the thick ears paper, like
15:23
Speaker 2: do I have to read all that shit? And I
15:25
Speaker 2: should have? No, I did not.
15:27
Speaker 6: Absolutely, this is for your group for yeah, okay.
15:30
Speaker 2: So initially with that deal in two thousand, that was
15:36
Speaker 2: like big. So that was my first US deal. I
15:39
Speaker 2: had a deal in the UK and that was strictly
15:42
Speaker 2: for a song that I wanted to license. That was
15:45
Speaker 2: a single that my manager at the time, I was
15:48
Speaker 2: sixteen seventeen, and it got pushed to radio and then
15:52
Speaker 2: it ended up being number two. No deal, no nothing.
15:55
Speaker 2: It was like Drew Hill Overseas. Yeah, it was like
15:58
Speaker 2: Drew Hill something. Even in my bed remix, JD's Jeds
16:03
Speaker 2: remix and my song were one and two on the charts.
16:07
Speaker 2: On the urban stations over there. So I was offered
16:09
Speaker 2: a deal because of that and just didn't see the
16:13
Speaker 2: rest of it through because young black R and B
16:16
Speaker 2: artists in the UK didn't really exist like that. So
16:19
Speaker 2: it was like Craig David and then.
16:23
Speaker 6: See my friend exactly.
16:25
Speaker 2: So at the time, there wasn't there wasn't a Missy yet,
16:28
Speaker 2: there wasn't a Lauren Hill to be compared to. It
16:30
Speaker 2: was just and I was like, Ah, you don't get it,
16:33
Speaker 2: You don't get me. I'm just gonna go back to
16:35
Speaker 2: my shell and just right produce.
16:40
Speaker 3: What are you trying to make? You change your style up?
16:43
Speaker 2: No, not even change my style because no one's doing that.
16:47
Speaker 2: I don't know if anyone could make me do that.
16:49
Speaker 2: You either want to do that made No, That's why
16:52
Speaker 2: it didn't work out. It works I want it's supposed
16:54
Speaker 2: to work out, and it worked out because of how
16:57
Speaker 2: I wanted things to sound. So by the time I've
16:59
Speaker 2: reached out to a high school friend like yo put
17:02
Speaker 2: some poetry to my music, it's because I'm in the
17:04
Speaker 2: studio writing, producing, and I had the record call Fantasize,
17:08
Speaker 2: and that's how Flowatry happens. So It's like things that
17:10
Speaker 2: I want to do have happened, the Doctor Drake thing
17:14
Speaker 2: and Casablanca right now, because I've laid all of this
17:17
Speaker 2: foundation and groundwork for something that I wanted to do,
17:21
Speaker 2: and if it was time that I had to wait
17:23
Speaker 2: to do it, then that's time.
17:26
Speaker 6: Well it's time for a break.
17:27
Speaker 2: Man.
17:27
Speaker 7: We'll be right back with more Marsha Ambrosius right here,
17:30
Speaker 7: all revolt Ambrosius.
17:32
Speaker 3: We'll be right back with more of the Bailer Alert show.
17:38
Speaker 2: So after commercial break, what else do you have for me?
17:42
Speaker 2: Bring it?
17:43
Speaker 7: Okay, bring it mile Meg?
17:47
Speaker 6: Oh no, you did it? What well? You know club?
17:52
Speaker 3: Oh?
17:52
Speaker 2: Oh, well, what happened?
17:55
Speaker 8: I was asked to join Flower Tree after Natalie to
18:00
Speaker 8: I was told that Natalie left, and then we prepared
18:03
Speaker 8: to go on tour and they did not tell the
18:06
Speaker 8: fans that Natalie would not be joining Marsha on the tour. Okay,
18:11
Speaker 8: Marcia never made it any easier.
18:15
Speaker 1: Why Natalie is burning me up?
18:20
Speaker 9: She's like, I'm on the Seals is not real, She's fake.
18:23
Speaker 9: This is all fake, fake, fake, fake. So now Marcia
18:29
Speaker 9: caused me like did you listen? I say, yeah, what
18:32
Speaker 9: you gonna do about it? Nothing said oh, okay.
18:37
Speaker 8: And this is this is a trend of me not
18:39
Speaker 8: being protected.
18:40
Speaker 2: That's really sad and unfortunate that she felt that way,
18:44
Speaker 2: you know. And as far as a response, it really
18:47
Speaker 2: was seventeen years ago. And what you can't do is
18:54
Speaker 2: I can't change how an existing fan base feel about
18:58
Speaker 2: a situation.
19:00
Speaker 6: The original members.
19:01
Speaker 2: Yeah, so really, she could have really been anybody and
19:04
Speaker 2: it wouldn't have happened. It wouldn't have worked. Everyone was like, yeah, March,
19:08
Speaker 2: who's this? So she happened to be catching that flag.
19:11
Speaker 2: As far as being protected, I could only do what
19:14
Speaker 2: I could have done at that time where I was
19:18
Speaker 2: at in my life. And however her experience of it
19:21
Speaker 2: was what it was for her. I know what happened
19:24
Speaker 2: for me, and I don't have to go into that.
19:25
Speaker 2: We're seventeen years later. I've done so much healing time
19:28
Speaker 2: between then and now, and you know, seventeen years ago,
19:32
Speaker 2: that's Harry Potter, deathly Hallos and it's a long time ago,
19:37
Speaker 2: you know, seventeen years ago. It's ow sort, it's not
19:41
Speaker 2: letting go. I've taken my ls, like the ls that
19:45
Speaker 2: I've taken, I've just been like, oh, that didn't work.
19:48
Speaker 2: I moved on and moved past that, you know, and
19:51
Speaker 2: I'm all about moving on and moving past things. It
19:54
Speaker 2: didn't work out. There's not a record label that could
19:56
Speaker 2: have fixed that. There's not me that could have an
19:58
Speaker 2: existing member of a group that could fixed that. There's
20:01
Speaker 2: not a management that can go this is not working.
20:04
Speaker 2: And it just didn't work. And we moved on. And
20:06
Speaker 2: I've had nothing but positive interactions with her after the fact.
20:10
Speaker 2: So then there's that, you know.
20:14
Speaker 6: So yeah, yeah, I mean she did say that. I
20:17
Speaker 6: think you've seen her after that or before twenty thirteen.
20:21
Speaker 2: We did a what was it a hair thing in
20:25
Speaker 2: New York and there's all hugs and smiles and we
20:27
Speaker 2: kicked it up. Oh so she did hug you and yeah,
20:30
Speaker 2: like we shed text me, like we'd go back and
20:33
Speaker 2: forth like up and through the years, like after the reunion.
20:36
Speaker 8: I actually saw her at Usher show recently and she
20:40
Speaker 8: went to hug me and I was like, no, I'm good.
20:42
Speaker 5: Yeah.
20:42
Speaker 2: Then she saw me again and it was like, none
20:44
Speaker 2: of those things happened. So I can't be accountable for
20:46
Speaker 2: who she is now. I didn't deal with Amanda Seals.
20:49
Speaker 2: I dealt with Amanda Diva in two thousand and seven,
20:52
Speaker 2: So I can't get mad at the two thousand and
20:54
Speaker 2: seven version of her, not the two thousand and seven
20:57
Speaker 2: version of myself. So, like I said, all the healing
21:00
Speaker 2: time in between and the seventeen years later, I'm a
21:04
Speaker 2: wife and a mother and them in a different place,
21:06
Speaker 2: and there will be no coming at another black woman
21:10
Speaker 2: in her healing and her time.
21:13
Speaker 6: Who picked her for their role.
21:16
Speaker 2: Label or management. I didn't know who she was, and
21:18
Speaker 2: it really could have been anybody. So we had time
21:21
Speaker 2: to rehearse and you know, do all the things. But
21:23
Speaker 2: then you put it into play and it works or
21:25
Speaker 2: it doesn't work. And it didn't work.
21:27
Speaker 5: So what's some advice that you would give her, just
21:30
Speaker 5: based on that interview give her?
21:33
Speaker 2: I'm trying to figure out what There's nothing I can give, Like,
21:36
Speaker 2: what's the advice?
21:37
Speaker 5: I feel like sometimes people say things like that because
21:40
Speaker 5: they want closure, they feel like they didn't have closure.
21:44
Speaker 2: I feel like whatever that meant for her, clearly she's
21:48
Speaker 2: gone on to do other things as her eye, and
21:52
Speaker 2: I'm not sure what else they could. What's there to say?
21:57
Speaker 2: What do you want to do? Be a group? You
21:59
Speaker 2: want to put out me music? I don't know what
22:01
Speaker 2: the endgame is for, like what is the result? What
22:04
Speaker 2: changes that? Why did nothing in the first place with me?
22:08
Speaker 2: And that, Oh that's that's an even longer story. Some
22:12
Speaker 2: things just don't work out and time is time, and
22:15
Speaker 2: we really made music when we made music. And the
22:18
Speaker 2: fact that we can still reconnect over the years and
22:22
Speaker 2: people can still press play on the Floetic album and
22:25
Speaker 2: still call it a classic.
22:27
Speaker 1: We did our job.
22:28
Speaker 2: We don't have to keep doing our job, like people
22:31
Speaker 2: want to stay flipping burgers or you know at waffle
22:34
Speaker 2: house pressing the waffle forever that was like my waffle
22:38
Speaker 2: house years and it just happens.
22:40
Speaker 4: The question happened happens to come up because you guys
22:43
Speaker 4: have this fan base that never leaves you.
22:45
Speaker 1: Guys, wherever you.
22:46
Speaker 6: Go, you're gonna r be classic. Say yes, right, classic?
22:49
Speaker 2: And that is what that I can't do anything about
22:52
Speaker 2: that time tells that. I think someone was asking me,
22:55
Speaker 2: you know what makes the timeless classic? Time? You know,
22:58
Speaker 2: I don't know what it's going to be played twenty
23:00
Speaker 2: four years from now. Where people get to be on
23:03
Speaker 2: a podcast and talk about things that they've done over
23:06
Speaker 2: years that people really care about, like you cared about
23:09
Speaker 2: this thing so much. That's seventeen years later, it was
23:12
Speaker 2: still on it.
23:13
Speaker 7: Like dang, I was like that, how did y'all how
23:17
Speaker 7: did you meet Natalie do?
23:18
Speaker 6: Or did y'all grow up together? We grew up together?
23:20
Speaker 2: Okay, we play basketball, Yeah, we played balls. She was
23:23
Speaker 2: playing for another club, but we would see each other
23:25
Speaker 2: with tournaments. We went to the same performing art school together,
23:28
Speaker 2: so we known each other in South London.
23:30
Speaker 6: Like, did you was it your idea to start the
23:32
Speaker 6: group or.
23:33
Speaker 2: It wasn't even a group thing. I had a song
23:36
Speaker 2: that I wrote called Fantasized, and I was like, yo, Nap,
23:40
Speaker 2: put some poetry to my music, and she did and
23:44
Speaker 2: the song was fire and I was like, oh, we
23:47
Speaker 2: performed it. Rest is history.
23:50
Speaker 6: So both of you were writers.
23:51
Speaker 2: She wrote her poetry, I was music.
23:53
Speaker 7: Okay, just for clarity, because I know some people, especially
23:56
Speaker 7: like the younger millennials or gen Z or even the
23:59
Speaker 7: Beta people, they don't really know who Floor Tree was
24:03
Speaker 7: or is, so I just kind of want to break
24:05
Speaker 7: it down for them.
24:05
Speaker 2: The talk changed that no, I'm joking, but like it's
24:08
Speaker 2: like TikTok will bring a song back.
24:10
Speaker 6: It just brings these things.
24:12
Speaker 2: Like samples like her sample did, and there's like all
24:15
Speaker 2: of these nuds to like Drake Sampling say yes, I
24:18
Speaker 2: mean getting late. So it's just like all of these
24:20
Speaker 2: nuds to like I said, somebody did twenty four years ago.
24:25
Speaker 2: So yeah, it's a lot of things. And here we
24:29
Speaker 2: are twenty four years later, and I'm still still passionate
24:33
Speaker 2: about just creating.
24:35
Speaker 6: Where does that.
24:36
Speaker 2: Come from the air? Like the hum of the ac
24:43
Speaker 2: Like I'm gonna write a song to anything, to this
24:45
Speaker 2: clicking like this has a tone to it, like rhythm,
24:49
Speaker 2: just anything. I'm gonna think of a song or a
24:52
Speaker 2: concept for it, Like it's just how my mind works.
24:54
Speaker 7: I really appreciate the fact that you never stop and
24:57
Speaker 7: then you still a fine time to create.
25:00
Speaker 2: It's very inspiring.
25:01
Speaker 3: Twenty four years it's a long time. It's long to
25:03
Speaker 3: be in this industry.
25:05
Speaker 2: It is longer than that. Like that's just the visible years,
25:09
Speaker 2: you know what I mean, that's just the Oh I'm
25:11
Speaker 2: signed now and my name is kind of floating around.
25:14
Speaker 2: But before that's all the grind. It's the sleepless nights
25:17
Speaker 2: you don't see. It's the downtime, it's the l's it's
25:20
Speaker 2: the oh that record, wasn't that well received publicly, but
25:24
Speaker 2: I'm on tour for those five years. Like it's there's
25:28
Speaker 2: so much to this thing that people don't see that
25:30
Speaker 2: you think you want it. You have to really want
25:33
Speaker 2: to do this, like really want to do it. It's
25:37
Speaker 2: even sitting here and talking to you guys. You actually
25:40
Speaker 2: want to do it.
25:41
Speaker 7: And one thing we really don't want to do is
25:42
Speaker 7: go to commercial. But we can't have to. So you'll
25:46
Speaker 7: be right back with more Marsha Ambrosius.
25:48
Speaker 3: We'll be right back. Stay tuned with more of the
25:51
Speaker 3: Baller Alert Show. You're listening to a special edition of
25:56
Speaker 3: The Baller Alert Show.
25:57
Speaker 2: Hey, this is Marshall. I'mbrosius. You're watching the Billa a
26:00
Speaker 2: Lad Show on Revolt back.
26:03
Speaker 6: But more of the brother in Luve Show.
26:04
Speaker 7: We got Marsha and Brostius lovely.
26:09
Speaker 3: H twenty four years in a game.
26:10
Speaker 7: But we were talking about, you know, the downtime and
26:12
Speaker 7: the pandemic happened, and then you got with doctor Dre.
26:16
Speaker 7: You guys created a masterpiece that is about to finally
26:19
Speaker 7: hit us. What was the can you break down that
26:23
Speaker 7: process from twenty twenty one?
26:25
Speaker 6: I believe when you guys started it yeap until.
26:28
Speaker 2: June twenty eighth, when it's finally about to drop in
26:30
Speaker 2: twenty twenty four, twenty two, let's go the end of
26:33
Speaker 2: that year. Well, the type of twenty twenty one is
26:39
Speaker 2: when I finally get to La Dre had that brain aneurysm.
26:47
Speaker 2: Prior to that, I was already in communication with Dra
26:51
Speaker 2: so we're going back and forth shooting ideas. It happens
26:55
Speaker 2: two days after his aneurysm. He was like, Yo, I'm
26:58
Speaker 2: getting back to work when the fly you out here,
27:01
Speaker 2: and you know, let's just get to create it. So
27:03
Speaker 2: we end up doing GTA, the video game he was
27:08
Speaker 2: doing the music for, So I was in the studio
27:11
Speaker 2: really doing that from February March Grand Theft Auto, Grand
27:15
Speaker 2: Theft Auto. So Dree had the San Andreas. Yeah, I
27:18
Speaker 2: had the San Andreas episode where it's him in the
27:22
Speaker 2: car and you had to steal the car so you
27:24
Speaker 2: would get the demos of the songs. So it was
27:27
Speaker 2: like six songs for that demo. So it's like me
27:29
Speaker 2: Eminem Rick Ross, who else is on there? Snoop's on there,
27:33
Speaker 2: Anderson is on there. And we did all of these
27:36
Speaker 2: songs for the video game. Video game drops and April
27:41
Speaker 2: Dre was like, I just want to keep you inspired,
27:45
Speaker 2: because I told Dre, I'm calling this artist stuff, I'm
27:48
Speaker 2: calling this industry. I love what we're doing in the
27:51
Speaker 2: studio and working with your team. I just want to
27:53
Speaker 2: write and produce and that's it. Over this being an
27:57
Speaker 2: artist being I'm hustling, bustle, I have to go on tour,
28:01
Speaker 2: like all the things me saying, I want to sit
28:04
Speaker 2: and talk to you. I'm over talking about anything, like
28:07
Speaker 2: I'm done, Like I feel like I'm not in a
28:10
Speaker 2: bad way.
28:10
Speaker 6: I just felt like you've done what you set out
28:13
Speaker 6: to do and you're okay with it.
28:18
Speaker 2: So I'm like, I clubbed the video game. I'm at
28:21
Speaker 2: the final level, Like what do I Where do I
28:24
Speaker 2: go from here? Like there's nothing else with my bucket
28:27
Speaker 2: list that I could check off that's gonna satisfy me.
28:30
Speaker 2: So jer wasn't having that though, Drace again, I just
28:36
Speaker 2: want to do something to keep you inspired. So we
28:40
Speaker 2: recorded one song that was intentional, like with the first time,
28:46
Speaker 2: first time we'd ever actually created with intention to go,
28:50
Speaker 2: we're doing something. So him and I producing this piece
28:54
Speaker 2: of music together and it was, if I must say so, myself,
29:00
Speaker 2: so incredible, Like outside of it being me. It was
29:04
Speaker 2: like it wasn't even coming from me. God said, oh y,
29:08
Speaker 2: you're gonna do this, this, this things, this happened, Okay,
29:11
Speaker 2: watch this and it was like having an out of
29:14
Speaker 2: buddy experience and watching this thing happen. So we record
29:18
Speaker 2: one song and it was like, we know what this is.
29:22
Speaker 2: Now we have to back this up. Let's do another one.
29:25
Speaker 2: See I see where it goes. So we do two,
29:28
Speaker 2: and we do three. This is in the space of
29:30
Speaker 2: two weeks. We do four, we do five, we do six,
29:34
Speaker 2: we do seven, eight and nine. We kind of sit
29:37
Speaker 2: there like we two. Work is away from this being
29:40
Speaker 2: the buddy of work, not a body of work, the
29:43
Speaker 2: buddy of work, the greatest, the greatest. So by May
29:52
Speaker 2: we already named the album. By June it was we
29:58
Speaker 2: need a twenty seven piece orchestra. Let's set up the
30:01
Speaker 2: time when we can get in and do that. So
30:03
Speaker 2: we're getting the conductor in the string arranger did that
30:10
Speaker 2: and it was just so meticulously done. I didn't think
30:17
Speaker 2: it was ever going to see the light of day
30:18
Speaker 2: because of what we did. I'll explain. If you think
30:22
Speaker 2: about how you sample in hip hop, and you can
30:25
Speaker 2: just take a piece of you know you break up
30:27
Speaker 2: when it comes to beats, we're talking about breaking up
30:30
Speaker 2: not only the beat but the melody, but the instrumentation
30:35
Speaker 2: of just a horn piece from Duke Ellington and just
30:39
Speaker 2: the keys from Smooth Criminal, just the strings from George Benson.
30:45
Speaker 2: I'm putting it on one song. How do you even
30:49
Speaker 2: begin to clear that? So by the time we've recorded it,
30:54
Speaker 2: it's done. I'm like, we're never gonna get the permission,
31:00
Speaker 2: get clear, never get permission to do like saying it
31:03
Speaker 2: out loud. There's no way, but there is. There's a
31:06
Speaker 2: dog de Dre and his budget and he would go
31:10
Speaker 2: to whatever lence to make sure that we could. But
31:13
Speaker 2: it was also going to take time. It's if we
31:16
Speaker 2: use something for Michael Jackson, now we have to go
31:18
Speaker 2: through to the estate, if we use something from certain things.
31:21
Speaker 2: But there are so many different avenues that we have
31:23
Speaker 2: to take to get it done. So it took twenty
31:27
Speaker 2: twenty two to clear a year eleventh Clear because there's
31:33
Speaker 2: eleven songs on the record, but within each song sen
31:39
Speaker 2: everything the credits. I don't know. I've always been by
31:44
Speaker 2: the album. Look at the credits and see who did worse. No,
31:48
Speaker 2: look at these credits just to understand the work put in,
31:51
Speaker 2: and I feel like the effort put into this is
31:55
Speaker 2: one for the record books. I don't think anyone on
31:57
Speaker 2: planet Earth has credits that even look for remotely close
32:00
Speaker 2: to what these things look like.
32:02
Speaker 7: I think, just to get Doctor Dre to do anything,
32:05
Speaker 7: because how long we've been waiting on the Detox album.
32:08
Speaker 10: The one album it doesn't exist, only he's listening to it,
32:13
Speaker 10: but just for and for you to pop out with
32:16
Speaker 10: not only a Marsh and Brosius record, but with Doctor.
32:20
Speaker 1: Dre executively produced together as a right team.
32:24
Speaker 2: It's one of one. So it was truly an even
32:28
Speaker 2: plan field to a degree. But it's me trusting his
32:31
Speaker 2: word as Doctor Dre, but him absolutely trusting me on
32:35
Speaker 2: my pen and what I could contribute to what it
32:39
Speaker 2: is that we were doing.
32:40
Speaker 1: Supantly, give me your flowers too, though, because for sure.
32:44
Speaker 2: And I have to receive that, because he's, like you said,
32:47
Speaker 2: he's not doing that with anyone anybody.
32:50
Speaker 4: We've interviewed all the greats, right including yourself, and I
32:54
Speaker 4: always asked trying to make sure I asked this question.
32:56
Speaker 4: I'm gonna ask you this one because you had your
32:58
Speaker 4: your list of accolades. It very long, it's superior. Do
33:02
Speaker 4: you take the time to indulge in the moment of
33:06
Speaker 4: what's actually happening to you, you know, because I know
33:09
Speaker 4: sometimes you guys work and we all do it the
33:11
Speaker 4: same thing. We've done all these big interviews and I
33:14
Speaker 4: even had to sit back a couple of days with like, wow,
33:17
Speaker 4: we literally just kicked ass all last year for you
33:20
Speaker 4: as an artist and all these amazing things that you've done.
33:23
Speaker 4: Do you take the moment because I know sometimes you
33:25
Speaker 4: gotta unplugged, be more. You got to unplugg and be
33:27
Speaker 4: wife exactly. That is the family part of it. It's
33:31
Speaker 4: really taking time to just when you unplug, like I
33:35
Speaker 4: don't sit here and become mash, Like the cameras will
33:38
Speaker 4: be off and you're still gonna get me maybe with
33:40
Speaker 4: a Philly accent, but other than.
33:43
Speaker 6: That, it's still me.
33:45
Speaker 2: So the reality is my phone rigging or me getting
33:49
Speaker 2: a text, or it's you know, my door, like mommy,
33:51
Speaker 2: can you call me? You're like I need it. Then
33:54
Speaker 2: it's snap, that's my priority, or it's hey, we have
33:59
Speaker 2: to go back to this and do such and such,
34:01
Speaker 2: and it's they're the same person. There's no switch off,
34:05
Speaker 2: there's no disconnect. I can just micromanage the type of
34:09
Speaker 2: person and type of human. I have to be each
34:12
Speaker 2: and every time and just show up whoever that is.
34:15
Speaker 2: You know. But no, I don't take enough time to
34:19
Speaker 2: go wow. I think I'm only wowing over things I
34:23
Speaker 2: did in seven, Wow, at oh five, Wow, at twenty eleven.
34:28
Speaker 2: Like I'm forgetting stuff people are. You know it's the Internet,
34:32
Speaker 2: Like I forgot I even did that. I have to
34:34
Speaker 2: remind myself, like.
34:36
Speaker 6: Yo, Google, you know what I mean?
34:39
Speaker 2: Like it it's wild. I've done some crazy things.
34:42
Speaker 6: Speaking of Accolade, you work with Michael Jackson.
34:44
Speaker 7: Can you tell us what that was like Michael jacks v.
34:49
Speaker 2: King.
34:50
Speaker 3: I don't even know what his clone.
34:52
Speaker 2: Was, like he smells so good. That thing was custom
35:00
Speaker 2: or like Mike just come a little bit closer, like
35:04
Speaker 2: he would wear this burgundy shirt and this black I
35:07
Speaker 2: think it was like a I can't remember what brand
35:09
Speaker 2: it was, this black leather jacket. I'm like, you so fled.
35:13
Speaker 7: And not only did you write for Mike, you wrote
35:17
Speaker 7: a classic like Butterflies.
35:20
Speaker 6: That is a classic. Ye, he didn't even know.
35:28
Speaker 3: Yeah, I know you wrote butterflies. Michael Jackson.
35:32
Speaker 6: I did that was there. That was her song first,
35:36
Speaker 6: and then Mike, No.
35:37
Speaker 2: No, okay, that was my demobo any song. It wasn't
35:43
Speaker 2: even a I didn't know who I was writing that
35:45
Speaker 2: for as an artist I wrote. I wrote it about
35:49
Speaker 2: a boy that worked the McDonald's in Cambowell when I
35:52
Speaker 2: was like sixteen. But get to Philly, it's on a demo.
35:56
Speaker 2: So yeah, it wasn't even for Mike. He just heard
35:58
Speaker 2: it as a part of a demo. I need that
36:02
Speaker 2: one there. And I was like, yeah, that's crazy.
36:07
Speaker 7: And then not only did you write it and he
36:09
Speaker 7: sang it, but you had to produce him. You had
36:11
Speaker 7: to tell him how the song went.
36:13
Speaker 4: Yes, you were there with him. No, I'm like away
36:16
Speaker 4: in the song with him. Yeah, and not too many
36:19
Speaker 4: people can say that.
36:21
Speaker 5: So you were telling Michael Jackson sing it like this,
36:24
Speaker 5: singing this kid.
36:26
Speaker 2: See where she's standing with this kind of right again,
36:29
Speaker 2: Mike can see Yeah, Okay, so there's a person behind
36:33
Speaker 2: the glass. I'm behind the soundboard. I'm like, all right, Mike,
36:37
Speaker 2: one more time, so I'm clicking button. It's like, okay, cool.
36:40
Speaker 2: And the first thing he said was butterflies, like he
36:44
Speaker 2: whispered it, and I just remember me and Dre just
36:46
Speaker 2: looked up like Andre Harris to produced it with me
36:49
Speaker 2: start crying. Wow, I was crying. I had to get
36:53
Speaker 2: it out like it's like, and then shook it off,
36:57
Speaker 2: told him what to do. One more time, I what's
36:59
Speaker 2: your breathing? My little pitchy? All right, one more time?
37:02
Speaker 3: You're telling Michael Jackson is I.
37:04
Speaker 2: Was twenty three years old.
37:06
Speaker 7: Twenty three years old started your career working with Michael Jackson.
37:10
Speaker 2: So there's really nothing that could intimidate, noing make me
37:13
Speaker 2: feel some type of way about anybody in twenty two
37:17
Speaker 2: thousand and one. That was my life.
37:19
Speaker 3: Like y'all, I ain't worked with Mike.
37:22
Speaker 1: Yeah, I ain't gonna lie if that was me. You
37:25
Speaker 1: really can't tell me nothing.
37:26
Speaker 4: You couldn't tell me nothing to like, Bro. I just
37:28
Speaker 4: I told was telling Michael Jackson, will do a student.
37:30
Speaker 4: I'm talking to me, Bro, But you.
37:31
Speaker 2: Gotta stay you have to stay humble, though watery, do
37:35
Speaker 2: the math. Over the course of years, anyone testing my
37:41
Speaker 2: ability to be able to write or produce, or feel
37:44
Speaker 2: intimidated or I'd done that so early. There was nothing
37:49
Speaker 2: that was gonna phase me in this thing. I don't
37:52
Speaker 2: like your music? Cool? That name for you?
37:56
Speaker 3: You should have said, do you like Michael Jackson?
37:59
Speaker 2: You like?
37:59
Speaker 4: Not that.
38:01
Speaker 2: Anyone anything to say. It's like, okay, because somewhere in
38:06
Speaker 2: your library of music or whatever you did, I touched
38:09
Speaker 2: something that you're banging with right now.
38:16
Speaker 1: These are what's talk about.
38:18
Speaker 7: Costa Blanco, Casa blanco, w Costa blanco or not.
38:24
Speaker 2: Initially I called it Casta Blanco, and that's because of
38:27
Speaker 2: how it felt. So you have to understand. I'm at
38:30
Speaker 2: Dunctor Dre's crib in l A, and I'm going back
38:34
Speaker 2: and forth in these hills, Beverly Hills. It's palm trees,
38:38
Speaker 2: it's red carpets. It's like the treatment was laid out,
38:42
Speaker 2: and I was like, what else was I gonna write?
38:44
Speaker 2: This is giving vintage Hollywood, this is giving diamonds, pearls,
38:48
Speaker 2: just furs, like ridiculous cars and private jets. So I
38:52
Speaker 2: was like, this is what the music sounds like. So
38:56
Speaker 2: I was spoiled in that regard, like like Casta Blanco
39:01
Speaker 2: felt like a place. So Casa Blanca the movie. I'm saying,
39:05
Speaker 2: you know, Drea feels like this, and he was like, nah,
39:08
Speaker 2: Casa Blanco making more gangster like Blanco Grizelda. I was like,
39:14
Speaker 2: this is why your doctor Dre and I. So we
39:18
Speaker 2: combine forces. I'm giving you the vintage Hollywood Phil with Dre's.
39:23
Speaker 1: Gangster and we met Casa Blanco.
39:26
Speaker 4: Even one night stand is out right now and talking
39:29
Speaker 4: real spicy on there, hanging off the chandelier.
39:32
Speaker 1: You might break, You might fall and break your wrist?
39:34
Speaker 1: Was what you talking about? You talking about your husband
39:36
Speaker 1: over there? Haul in your Is this this this?
39:38
Speaker 4: He'll be right over.
39:41
Speaker 2: Yeah, it's before I met you. Baby. He knows I
39:48
Speaker 2: pulled from many experiences and had.
39:52
Speaker 1: To that's dope that he supports that he's cool. That
39:54
Speaker 1: ain't tripping on.
39:55
Speaker 2: That, because where else the inspiration gonna come from? I lived.
39:58
Speaker 2: I mean, we've known each other for ten years, married
40:01
Speaker 2: for almost seven of those, have a seven year old. Amazing, Like,
40:04
Speaker 2: where'd y'all meet on tour? Okay?
40:07
Speaker 6: A musician?
40:08
Speaker 2: Wait?
40:08
Speaker 1: Wait wait? How did he did he approached you? You approaching?
40:12
Speaker 2: I approached him met by ways of management that we
40:16
Speaker 2: were doing a tour and my road manager invited him
40:19
Speaker 2: to work as a part of the tour.
40:21
Speaker 1: And I'm like, and now he's your manager?
40:23
Speaker 2: Who is that? What was he doing? Was he sitting
40:29
Speaker 2: there in a red hat? That's what he was doing.
40:30
Speaker 3: I don't care what he was.
40:34
Speaker 6: We didn't care.
40:35
Speaker 2: He didn't care who I was. It wasn't even about that.
40:39
Speaker 1: Did he know you were Marsha?
40:41
Speaker 6: No, he had to know this way.
40:45
Speaker 2: You have to understand. This is what he said.
40:47
Speaker 1: No clue.
40:49
Speaker 2: He may have known my songs. He doesn't know me.
40:53
Speaker 4: You know what I'm saying.
40:54
Speaker 2: And even if it was that, he's getting the word like, yo,
40:57
Speaker 2: does a paycheck in it? You want me to be
40:58
Speaker 2: on the road as a tour like, oh, yeah, I'm on.
41:02
Speaker 2: I had nothing to do with who it was. Why
41:04
Speaker 2: it was who I am? So when we met, we're
41:08
Speaker 2: meeting on an even playing field, because if you aren't
41:11
Speaker 2: tour with me, my musicians will tell it's family. So
41:15
Speaker 2: we're working. But he was fine. So we're working and
41:19
Speaker 2: I'm distracted, like who's this? So I'm trying to get
41:22
Speaker 2: to know I'm like yo, so, and I'm also mad
41:25
Speaker 2: at Mitch, like why you ain't introduced me before? Like
41:28
Speaker 2: he's just been around this whole time, and how we
41:32
Speaker 2: never come across.
41:33
Speaker 6: So was he in a bodyguard or like.
41:38
Speaker 3: All the above.
41:39
Speaker 2: So initially it was Flowatry Reunion and we were traveling separately.
41:45
Speaker 2: So I'm traveling with my road manager a couple of
41:48
Speaker 2: band members, and he's des Is driving the other team,
41:54
Speaker 2: so we're basically micro managing two separate sections of the tour,
42:00
Speaker 2: a day to day management. So I'm meeting him under
42:04
Speaker 2: those circumstances, and it's like, what's up with him in
42:09
Speaker 2: the red hat? Then I seen him. I seen him
42:13
Speaker 2: hoop in Virginia, and I feel like that's what's stilled
42:15
Speaker 2: the day. He looked like he could hoop a little
42:18
Speaker 2: bit basketball. I'm saying what it looked like to me
42:20
Speaker 2: back then. So I'm like, what if he's trash.
42:24
Speaker 5: Like.
42:26
Speaker 2: It's a bit of a turn off if you have
42:29
Speaker 2: no not even a jay or at least like it
42:33
Speaker 2: just looked awkward. I'm like, oh no, any whop? I
42:38
Speaker 2: feel like that was it?
42:39
Speaker 6: Like did y'all play?
42:41
Speaker 2: I don't even think we played. It was like there's
42:43
Speaker 2: a venue in Virginia, the Nova, and right up top
42:46
Speaker 2: they have like a full core up there, like a
42:48
Speaker 2: half core or something, so they were just you know,
42:51
Speaker 2: playing around, shooting around. After the show.
42:53
Speaker 7: It's giving basketball let's play for your heart following a little.
42:57
Speaker 2: Bit, and I was like, hmm, So by the end
43:00
Speaker 2: of the tour we went together. Okay, So it took
43:05
Speaker 2: three then we was in a relationship, a tour relationship.
43:08
Speaker 2: I thought it wasn't not saying it wasn't gonna lost.
43:11
Speaker 2: I'd never done anything like that before, so I'm like, oh,
43:15
Speaker 2: this is naughty. These are all the songs that I've
43:19
Speaker 2: created and I'm making them a reality. This is nasty.
43:23
Speaker 2: I like it. So at the end of the tour
43:26
Speaker 2: we get back to l A. I'm like, I'm going
43:30
Speaker 2: back to l A. You going back to la not
43:32
Speaker 2: like you're gonna call me. It's like one of those
43:34
Speaker 2: like what's happening? I think we lived together a month
43:39
Speaker 2: after that. That's great. We are insane.
43:44
Speaker 6: Now you have a daughter.
43:46
Speaker 2: We're insane. Once it was it, it was it.
43:49
Speaker 6: I love that.
43:50
Speaker 2: Yeah, wow, wow, I really so.
43:58
Speaker 6: Yeah.
43:58
Speaker 2: It was a one nderstand. It's now lost it for
44:01
Speaker 2: ten years.
44:03
Speaker 6: And man, what I gave from this interview is that,
44:06
Speaker 6: Marsha cool cool.
44:08
Speaker 4: Did you ever think about like media, because like I
44:12
Speaker 4: was saying my previous interview the same thing, like you're
44:14
Speaker 4: actually really good?
44:15
Speaker 1: Would you think consider doing like a possibly media.
44:22
Speaker 2: Well, if you see you need to see me live.
44:24
Speaker 2: You've never been to one of my shows? Are you
44:33
Speaker 2: going on tour soon?
44:36
Speaker 5: Oh?
44:37
Speaker 2: Yeah, I mean yeah. Say let's it's stand up comedy,
44:42
Speaker 2: it's music, it's sexy, it's it's all the things, all
44:46
Speaker 2: the thing. It really is all the things.
44:48
Speaker 7: Masha and Bro. She is right here on the blog show.
44:50
Speaker 7: We appreciate you for coming through.
44:52
Speaker 3: Man listeners even get to hear all the talking. She
44:57
Speaker 3: was talking.
44:59
Speaker 6: This is me.
45:00
Speaker 2: Yeah, oh yeah, Hey, okay, you want to hear Okay,
45:03
Speaker 2: till the next time. Hey, before we.
45:08
Speaker 6: Get out of here, we gotta hit you with a
45:10
Speaker 6: pep talk.
45:11
Speaker 2: Hey, this is Marcia Ambrosius and I've been sitting here
45:15
Speaker 2: with bailer alert balling, and my last words would be
45:21
Speaker 2: for anyone out there that needs to hear this, do you?
45:26
Speaker 2: It sounds real simple, but in order for you to
45:29
Speaker 2: do you you need to understand who it is that
45:32
Speaker 2: you are. Okay, look in the mirror and really figure
45:37
Speaker 2: out who that is. Be for serious, take time to reflect.
45:44
Speaker 2: Just close your eyes even imagine who that is that
45:48
Speaker 2: you want to be, and you open them eyes be that.
45:53
Speaker 2: Do you
45:56
Speaker 10: Be you can't get enough of baller Alert, Follow us
46:00
Speaker 10: on all social media platforms at baller Alerts Blog, on
46:03
Speaker 10: to baller alert dot com