Female DJ, Rapper, and Glamour Icon
In celebration of Women’s History Month, we have the privilege of
speaking with the one and only Wanda Dee – the Goddess of hip hop and
the Empress of EDM. Born in Harlem and raised in the Bronx during the
birth of hip hop, Wanda made history as the first female inductee into
the Universal Zulu Nation, the first female hip hop DJ, and the first
female rapper to go platinum. She has worked with legends like Harry
Belafonte, The KLF, and many others, selling over 3 million records in
the rap game and achieving multi-platinum success as a solo artist. With
a 10-month-a-year intercontinental concert schedule and a new album on
the horizon, Wanda Dee remains a force to be reckoned with in the music
industry. Today, we have the opportunity to dive into her incredible
journey and learn from her experiences and insights.
What inspired you to become a DJ and rapper in the early days of hip hop, and how did you get your start in the industry?
WHAT INSPIRED ME WAS MORE LIKE, “WHO” INSPIRED ME… BEING FROM THE
BRONX, I WAS BLOWN AWAY BY THE EARLY INROADS MADE BY THE FATHER &
GODFATHER OF HIP HOP, KOOL HERC & AFRIKA BAMBAATAA (WHO WOULD LATER
BECOME MY DJ MENTORS & PROTECTORS), BUT IT WAS GRAND MASTER FLASH
WHO MADE ME SAY “I CAN DO THAT & BE THE ‘FEMALE FLASH'”. LOL!
GOD BLESS EM ALL, FOR THEY OPENED THE DOORS FOR ALL OF US. IN FACT,
THERE’S A VERY FAMOUS MURAL VOTED ON AND PAINTED BY THE STUDENTS OF
JAMES MONROE HIGH SCHOOL IN THE BRONX. IT’S A BREATHTAKING PAINTING OF
WHO THE STUDENTS CONSIDER TO BE THE FOUNDATIONAL (5) FIVE FOUNDERS OF
HIP HOP… IT’S FATHERS & MOTHERS… AND I AM HUMBLED & HONORED TO
BE DEPICTED AMONG THOSE (5) FIVE & GRATEFUL WE’RE ALL STILL ALIVE
& KICKING.
WE ARE ON THIS WALL HANGING IN THIS HIP HOP ‘MOUNT RUSHMORE’ TOGETHER IN THIS ORDER
1 KOOL HERC – ‘The Father Of Hip Hop
2 GRANDMASTER FLASH
3 AFRIKA BAMBAATAA – ‘The Godfather of Hip Hop’
4 MC SHA-ROCK – ‘Hip Hop’s 1st Female MC’
5 WANDA DEE – ‘Hip Hop’s 1st Female DJ’
I
WAS SO HUMBLED & HONORED BY THIS MOVING TRIBUTE THAT ERIC & I
ORGANIZED A GROUP OF HIP HOP PIONEERS TO VISIT JAMES MONROE HIGH SCHOOL,
INCLUDING AFRIKA BAMBAATAA, MY FORMER PARTNER, THE LATE RICHARD SISCO,
FULL FORCE’S BOW LEGGED LOU & PAUL ANTHONY; JUST TO SAY “THANK YOU”
FOR THE ILLUSTRIOUS HONOR. I’D ACTUALLY LOVE TO RETURN THIS YEAR WITH
ALL (5) FIVE OF US DURING THIS 50th ANNIVERSARY OF HIP HOP CELEBRATION,
ALTHOUGH TRUTH BE TOLD, IT’S REALLY ONLY THE 49th YEAR OF HIP HOP… JUST
AS THE DAY YOU’RE BORN INTO THE WORLD IS NOT CONSIDERED YOUR 1st
BIRTHDAY, THE FOLLOWING YEAR WOULD ACTUALLY BE YOUR 1st BIRTHDAY!!!
AND I WOULD KNOW BECAUSE I WAS THERE WHEN HIP HOP WAS BORN, AS I WAS,
ALONG WITH MC SHA-ROCK, ONE OF IT’S MIDWIVES DURING ITS BIRTHING
PROCESS!
WAS SO HUMBLED & HONORED BY THIS MOVING TRIBUTE THAT ERIC & I
ORGANIZED A GROUP OF HIP HOP PIONEERS TO VISIT JAMES MONROE HIGH SCHOOL,
INCLUDING AFRIKA BAMBAATAA, MY FORMER PARTNER, THE LATE RICHARD SISCO,
FULL FORCE’S BOW LEGGED LOU & PAUL ANTHONY; JUST TO SAY “THANK YOU”
FOR THE ILLUSTRIOUS HONOR. I’D ACTUALLY LOVE TO RETURN THIS YEAR WITH
ALL (5) FIVE OF US DURING THIS 50th ANNIVERSARY OF HIP HOP CELEBRATION,
ALTHOUGH TRUTH BE TOLD, IT’S REALLY ONLY THE 49th YEAR OF HIP HOP… JUST
AS THE DAY YOU’RE BORN INTO THE WORLD IS NOT CONSIDERED YOUR 1st
BIRTHDAY, THE FOLLOWING YEAR WOULD ACTUALLY BE YOUR 1st BIRTHDAY!!!
AND I WOULD KNOW BECAUSE I WAS THERE WHEN HIP HOP WAS BORN, AS I WAS,
ALONG WITH MC SHA-ROCK, ONE OF IT’S MIDWIVES DURING ITS BIRTHING
PROCESS!
You’re often credited as the first female DJ and rapper to bring
glamour and sex appeal to hip hop. How did you approach creating a
unique style and persona in a male-dominated genre?
glamour and sex appeal to hip hop. How did you approach creating a
unique style and persona in a male-dominated genre?
BEING HIP HOP’S 1st FEMALE DJ WAS JUST SIMPLY A TIMING
ISSUE… I DIDN’T SEE ANYONE WITH A VAGINA DOING IT WHEN I STARTED IN
1977. I’M SURE THERE WERE OTHERS, BUT I QUICKLY ROSE TO THE TOP OF THE
FOOD CHAIN 1st IN BOTH PROMINANCE, DOMINANCE AND NOTERIETY. HARRY
BELAFONTE’ CAST ME IN “BEAT STREET”, WHICH WAS ANOTHER FIRST, AS I WAS
THE 1st FEMALE DJ (OF ANY COLOR, BLACK OR WHITE) DEPICTED IN A MOTION
PICTURE, AND UNDER MY REAL NAME (DJ WANDA DEE) TO BOOT. SALT-N-PEPA
EVEN ASKED ME TO BE THE DJ FOR THEIR FLEDGLING GROUP AND I TURNED THEM
DOWN, WHICH MADE WAY FOR BOTH THE ORIGINAL SPINDERELLA AND THE 2nd
SPINDERELLA THAT EVENTUALLY REPLACED HER.
ISSUE… I DIDN’T SEE ANYONE WITH A VAGINA DOING IT WHEN I STARTED IN
1977. I’M SURE THERE WERE OTHERS, BUT I QUICKLY ROSE TO THE TOP OF THE
FOOD CHAIN 1st IN BOTH PROMINANCE, DOMINANCE AND NOTERIETY. HARRY
BELAFONTE’ CAST ME IN “BEAT STREET”, WHICH WAS ANOTHER FIRST, AS I WAS
THE 1st FEMALE DJ (OF ANY COLOR, BLACK OR WHITE) DEPICTED IN A MOTION
PICTURE, AND UNDER MY REAL NAME (DJ WANDA DEE) TO BOOT. SALT-N-PEPA
EVEN ASKED ME TO BE THE DJ FOR THEIR FLEDGLING GROUP AND I TURNED THEM
DOWN, WHICH MADE WAY FOR BOTH THE ORIGINAL SPINDERELLA AND THE 2nd
SPINDERELLA THAT EVENTUALLY REPLACED HER.
You made history as the first female rapper to go platinum with your
single “To The Bone.” How did you feel about that achievement, and what
impact did it have on your career?
ACTUALLY I WAS 1st HIP HOP FEMALE ARTIST TO GO PLATINUM GLOBALLY WITH “BLUE EYES” (https://youtu.be/ZT1fplC3L_w) IN 1986 ON PWL / CRITIQUE AND THEN AGAIN I WAS THE 1st FEMALE IN HIP HOP TO GO PLATINUM IN 1989 WITH “TO THE BONE” ( https://youtu.be/_6m65MD-nYo ) ON TUFF
CITY RECORDS. SO WHEN I READ THAT DA BRAT WAS THE 1st FEMALE IN HIP
HOP TO GO PLATINUM SOMETIME IN THE 90’s, I’M LIKE “EXECUSE ME, THAT IS
NOT AT ALL HERSTORICALLY ACCURATE”!
CITY RECORDS. SO WHEN I READ THAT DA BRAT WAS THE 1st FEMALE IN HIP
HOP TO GO PLATINUM SOMETIME IN THE 90’s, I’M LIKE “EXECUSE ME, THAT IS
NOT AT ALL HERSTORICALLY ACCURATE”!
IN FACT, IT WAS WITH MY HIT; “TO THE BONE” THAT I MADE
HERSTORY WHEN TV PRODUCER / PROMOTER, VAN SILK INVITED ME TO BE ONE OF
THE 40 BIGGEST ARTISTS IN HIP HOP HISTORY AT THAT TIME (1990) TO BE ONE
OF THE HEADLINING PERFORMERS AT THE PAY-PER-VIEW TELECAST; “RAPMANIA”
TAPED @ THE LEGENDARY APOLLO THEATER. MY HUSBAND / MANAGER, ERIC FLOYD,
IS ALSO MY CHOREOGRAPHER, AND HE PUT TOGETHER SUCH AN ELABORATE EXOTIC,
EROTIC & HYPNOTIC NUMBER FOR ME COMPLETE WITH 2 HIP HOP / JAZZ
DANCERS, 6 AFRICAN DRUMMERS & DANCERS, OUR LATE, GREAT AFRICAN
SPIRITUALIST & SHAMAN & 10 G-MEN (who brought me in atop their
naked shoulders and hot bodies, clad in only g-strings & coconut
oil). THIS ACT WAS SO HUGE, THAT WE HAD TO RESPECTFULLY ASK OUR
NEIGHBORS @ OUR RIVERSIDE DRIVE APARTMENT IF THEY WOULD ALLOW US TO HAVE
THE FINAL DRESS REHEARSAL IN OUR MASSIVE LOBBY BEFORE LOADING UP INTO
THE TOUR BUS TO HEAD TO THE WORLD FAMOUS APOLLO. THEY AGREED AND ERIC
WENT TO DO THAT VOODOO THAT HE DO… SO WELL. LOL!
HERSTORY WHEN TV PRODUCER / PROMOTER, VAN SILK INVITED ME TO BE ONE OF
THE 40 BIGGEST ARTISTS IN HIP HOP HISTORY AT THAT TIME (1990) TO BE ONE
OF THE HEADLINING PERFORMERS AT THE PAY-PER-VIEW TELECAST; “RAPMANIA”
TAPED @ THE LEGENDARY APOLLO THEATER. MY HUSBAND / MANAGER, ERIC FLOYD,
IS ALSO MY CHOREOGRAPHER, AND HE PUT TOGETHER SUCH AN ELABORATE EXOTIC,
EROTIC & HYPNOTIC NUMBER FOR ME COMPLETE WITH 2 HIP HOP / JAZZ
DANCERS, 6 AFRICAN DRUMMERS & DANCERS, OUR LATE, GREAT AFRICAN
SPIRITUALIST & SHAMAN & 10 G-MEN (who brought me in atop their
naked shoulders and hot bodies, clad in only g-strings & coconut
oil). THIS ACT WAS SO HUGE, THAT WE HAD TO RESPECTFULLY ASK OUR
NEIGHBORS @ OUR RIVERSIDE DRIVE APARTMENT IF THEY WOULD ALLOW US TO HAVE
THE FINAL DRESS REHEARSAL IN OUR MASSIVE LOBBY BEFORE LOADING UP INTO
THE TOUR BUS TO HEAD TO THE WORLD FAMOUS APOLLO. THEY AGREED AND ERIC
WENT TO DO THAT VOODOO THAT HE DO… SO WELL. LOL!
WHEN I TELL YOU THAT I COULDN’T EVEN HEAR MY OWN MUSIC
WHEN I TOOK TO THE STAGE @ THE APOLLO, IT’D BE AN UNDERSTATEMENT. THE
CROWD LEAPED TO THEIR FEET AND SCREAMED, HOOPED & HOLLOERED THROUGH
MY ENTIRE PERFORMANCE. I MEAN, JUST THINK ABOUT IT… THIS WAS 1990 AND
NOBODY IN THIS VERY NEW YOUNG MEDIUM CALLED ‘HIP HOP’ HAD EVER SEEN A
ELABORATE PRESENTATION LIKE THIS BY A MALE OR FEMALE… AFRICAN DRUMMERS /
AFRICAN DANCERS / HIP HOP DANCERS / G-STRING CLAD MUSCLE MEN WITH THEIR
ENTIRE MUSLCE BUTTS ENTIRELY OUT AS THEY BOUGHT ME IN, SAT ME DOWN AND
BOWED TO ME ON ONE KNEE / AN AFRICAN SHAMAN w/A LIVE BOA CONSTRICTOR
(whose head he actually put into his mouth before dragging him
offstage). IT WAS A SPECTACLE IN ANY GENRE OF MUSIC, BUT DEFINETELY A
1st IN HIP HOP AND THE CROWD WENT ABSOLUTELY BONKERS… NUTS… STARK RAVING
MAD. ONE OF THE STAFF LATER TOLD ME THAT HE HAD NEVER SEEN OR HEARD
THAT KIND OF AUDIENCE RESPONSE IN HIS ENTIRE 20+ YEAR TENURE @ THE
APOLLO THEATER. AND WHEN I FINISHED, I GOT A 3 MINUTE STANDING OVATION
(something of course, that was edited out of the final edit of the
telecast), BUT MARCH 9, 1990, USA TODAY PUT ME ON THEIR COVER LABELED AS
SUCH; “WANDA DEE WAS THE HIGHLIGHT BREAKOUT PERFORMANCE OF THE ENTIRE
RAPMANIA TELECAST”! ERIC & I READ IT TOGETHER WHILE GOING THROUGH
THE McDONALD’S DRIVE THU THE NEXT MORNING DOWN THE STREET ON 125th
STREET IN THE CAR AND WE SCREAMED, LAUGHED & CRIED TEARS OF JOY AND
PRIDE BECAUSE WE KNEW HOW HARD WE WORKED TO PULL OFF A 4 MINUTE
PERFORMANCE THAT WE BOTH KNEW WOULD CHANGE MY LIFE FOREVER… AND IT DID.
WHEN I TOOK TO THE STAGE @ THE APOLLO, IT’D BE AN UNDERSTATEMENT. THE
CROWD LEAPED TO THEIR FEET AND SCREAMED, HOOPED & HOLLOERED THROUGH
MY ENTIRE PERFORMANCE. I MEAN, JUST THINK ABOUT IT… THIS WAS 1990 AND
NOBODY IN THIS VERY NEW YOUNG MEDIUM CALLED ‘HIP HOP’ HAD EVER SEEN A
ELABORATE PRESENTATION LIKE THIS BY A MALE OR FEMALE… AFRICAN DRUMMERS /
AFRICAN DANCERS / HIP HOP DANCERS / G-STRING CLAD MUSCLE MEN WITH THEIR
ENTIRE MUSLCE BUTTS ENTIRELY OUT AS THEY BOUGHT ME IN, SAT ME DOWN AND
BOWED TO ME ON ONE KNEE / AN AFRICAN SHAMAN w/A LIVE BOA CONSTRICTOR
(whose head he actually put into his mouth before dragging him
offstage). IT WAS A SPECTACLE IN ANY GENRE OF MUSIC, BUT DEFINETELY A
1st IN HIP HOP AND THE CROWD WENT ABSOLUTELY BONKERS… NUTS… STARK RAVING
MAD. ONE OF THE STAFF LATER TOLD ME THAT HE HAD NEVER SEEN OR HEARD
THAT KIND OF AUDIENCE RESPONSE IN HIS ENTIRE 20+ YEAR TENURE @ THE
APOLLO THEATER. AND WHEN I FINISHED, I GOT A 3 MINUTE STANDING OVATION
(something of course, that was edited out of the final edit of the
telecast), BUT MARCH 9, 1990, USA TODAY PUT ME ON THEIR COVER LABELED AS
SUCH; “WANDA DEE WAS THE HIGHLIGHT BREAKOUT PERFORMANCE OF THE ENTIRE
RAPMANIA TELECAST”! ERIC & I READ IT TOGETHER WHILE GOING THROUGH
THE McDONALD’S DRIVE THU THE NEXT MORNING DOWN THE STREET ON 125th
STREET IN THE CAR AND WE SCREAMED, LAUGHED & CRIED TEARS OF JOY AND
PRIDE BECAUSE WE KNEW HOW HARD WE WORKED TO PULL OFF A 4 MINUTE
PERFORMANCE THAT WE BOTH KNEW WOULD CHANGE MY LIFE FOREVER… AND IT DID.
IT INSPIRED OTHER RAP PERFORMERS TO DO BETTER… REACH
HIGHER… TAKE CHANCES… GIVE MUCH MORE CREATIVE THOUGHT WHEN IT CAME TO
THEIR LIVE PERFORMANCE PRESENTATIONS. OH YEAH, THERE WAS A NEW SHERRIFF
IN TOWN LADIES & GENTLEMEN AND THAT WOULD BE ME… AND MY NAME IS
WANDA DEE. LOL!
HIGHER… TAKE CHANCES… GIVE MUCH MORE CREATIVE THOUGHT WHEN IT CAME TO
THEIR LIVE PERFORMANCE PRESENTATIONS. OH YEAH, THERE WAS A NEW SHERRIFF
IN TOWN LADIES & GENTLEMEN AND THAT WOULD BE ME… AND MY NAME IS
WANDA DEE. LOL!
You’ve transitioned from DJ and rapper to international pop/dance
diva and singer. What inspired you to make that shift, and what have
been some of the biggest challenges and rewards of that transition?
TO DATE, I AM STILL THE FIRST AND ONLY ARTIST IN
RECORDED MUSIC HISTORY TO HAVE MULTI-PLATINUM SUCCESS AS A DJ (I did my
own scratching on my 1st recording / platinum single; “BLUE EYES” &
my groundbreaking appearance in “BEAT STREET”
RECORDED MUSIC HISTORY TO HAVE MULTI-PLATINUM SUCCESS AS A DJ (I did my
own scratching on my 1st recording / platinum single; “BLUE EYES” &
my groundbreaking appearance in “BEAT STREET”
Your husband Eric Floyd has been your manager, choreographer, and
producer for 40 years. How has your working and personal relationship
evolved over the years, and what have been some of the keys to your
success as a team?
producer for 40 years. How has your working and personal relationship
evolved over the years, and what have been some of the keys to your
success as a team?
OMG, I DON’T HAVE ENOUGH TIME OR SPACE TO EVEN
REMOTELY EXPRESS HOW MUCH I LOVE, ADORE & CHERISH THIS AMAZING MAN
IN MY LIFE! I’LL SIMPLY SAY THIS, “TRUST” IS THE BIGGEST COMPONENT OF
ANY RELATIONSHIP, IN PERSONAL OR BUSINESS… AND WE TRUST ONE ANOTHER.
PERIOD. WITH MY LIFE… MY LOVE… MY CAREER… MY SPIRIT… MY HEART…! WHEN I
THINK OF ALL OF THE AMAZING GREAT LADIES OF THE STAGE THAT I KNOW
AND/OR HAVE KNOWN THROUGH THE YEARS AND HOW MUCH EASIER THEIR LIVES
WOULD HAV BEEN IF THEY HAD THE TRUE LOVE & “TRUST” OF THEIR CHOSEN
SPOUSE (albeit male or female partners) OR LIFE PARTNER.
REMOTELY EXPRESS HOW MUCH I LOVE, ADORE & CHERISH THIS AMAZING MAN
IN MY LIFE! I’LL SIMPLY SAY THIS, “TRUST” IS THE BIGGEST COMPONENT OF
ANY RELATIONSHIP, IN PERSONAL OR BUSINESS… AND WE TRUST ONE ANOTHER.
PERIOD. WITH MY LIFE… MY LOVE… MY CAREER… MY SPIRIT… MY HEART…! WHEN I
THINK OF ALL OF THE AMAZING GREAT LADIES OF THE STAGE THAT I KNOW
AND/OR HAVE KNOWN THROUGH THE YEARS AND HOW MUCH EASIER THEIR LIVES
WOULD HAV BEEN IF THEY HAD THE TRUE LOVE & “TRUST” OF THEIR CHOSEN
SPOUSE (albeit male or female partners) OR LIFE PARTNER.
OUR RELATIONSHIP HAS NOT “EVOLVED”, IT WAS STEADFAST
& STRONG FROM DAY 1 AND REMAINED SUCH FOR 4 DECADES. I KNOW THAT WE
WERE DIVINE DESIGNED MUTUALLY FOR EACH OTHER BY GOD’S PERFECT HANDS
HERSELF… AND I AM ETERNALLY GRATEFUL. ALL OF THE ICONIC PERFORMANCES,
FASHIONS, DANCERS, CHOREOGRAPHY, SUPERSTAR CELEBRITY COLLABORATIONS AND
RELATIONSHIPS, MARKETING, PROMOTION, PUBLIC RELATIONS, POWER, PRESTIGE
& A LIFETIME OF PROFITABLE INTERNATIONAL ENDEAVORS; ARE ALL
ATTRIBUTED TO ONE TALENTED, LOVING, GENEROUS & (might i add) GOOD
LOOKING INDIVIDUAL AND HIS NAME IS ERIC FLOYD!
& STRONG FROM DAY 1 AND REMAINED SUCH FOR 4 DECADES. I KNOW THAT WE
WERE DIVINE DESIGNED MUTUALLY FOR EACH OTHER BY GOD’S PERFECT HANDS
HERSELF… AND I AM ETERNALLY GRATEFUL. ALL OF THE ICONIC PERFORMANCES,
FASHIONS, DANCERS, CHOREOGRAPHY, SUPERSTAR CELEBRITY COLLABORATIONS AND
RELATIONSHIPS, MARKETING, PROMOTION, PUBLIC RELATIONS, POWER, PRESTIGE
& A LIFETIME OF PROFITABLE INTERNATIONAL ENDEAVORS; ARE ALL
ATTRIBUTED TO ONE TALENTED, LOVING, GENEROUS & (might i add) GOOD
LOOKING INDIVIDUAL AND HIS NAME IS ERIC FLOYD!
PEOPLE OFTEN MISCONSTRUE MY DEVOTION TO MY HUSBAND AS A
SIGN OF WEAKNESS, BUT THEY’RE WRONG… DEAD WRONG! EVERY ACTRESS KNOWS
WHEN YOU KNOW YOUR ROLE, THERE’S NO NEED TO OVERPLAY YOUR PART. MY ROLE
IN OUR MARRIAGE IS DIFFERENT THAN HIS. WE’RE BOTH LIFELONG
NON-DRINKERS, NON-SMOKERS & NON-DRUG USERS WHO MUTUALLY AGREED THAT
‘HOW YOU TREAT YOUR BODY UP TO AGE 40 IS HOW YOUR BODY WILL TREAT YOU
AFTER 40″, SO THAT IS THE REASON NOW AT 60 & 57 YEARS OLD TODAY, WE
ARE NOT ON ANY MEDICATIONS (hyper tension / high blood pressure /
diabetes, etc.) AT THIS AGE & STAGE OF OUR LIVES. BERRY GORDY ONCE
SAID OF HE AND DIANA ROSS; “WHATEVER I THINK OF, SHE HAS THE TALENT
& TENACITY TO PULL IT OFF”; AND THAT SEEMS TO BE @ THE CORE OF OUR
RELATIONSHIP. ERIC THINKS IT UP AND PULL IT OFF! LOL, SOMETIMES
LITERALLY! WE’RE BOTH FEARLESS & PEERLESS BECAUSE WE’RE BOTH
COGNIZANT THAT ‘TRUE ARTISTS NEVER COMPETE WITH EACH OTHER, THEY
INSTEAD, INSPIRE ONE ANOTHER… AND THE ONLY ONE WE EVER COMPETE WITH IS
OURSELVES. NOTHING IS MORE POWERFUL IN LIFE THAN A POWER COUPLE FULLY
IN TUNE AND IN SYNC WITH ONE ANOTHER.
SIGN OF WEAKNESS, BUT THEY’RE WRONG… DEAD WRONG! EVERY ACTRESS KNOWS
WHEN YOU KNOW YOUR ROLE, THERE’S NO NEED TO OVERPLAY YOUR PART. MY ROLE
IN OUR MARRIAGE IS DIFFERENT THAN HIS. WE’RE BOTH LIFELONG
NON-DRINKERS, NON-SMOKERS & NON-DRUG USERS WHO MUTUALLY AGREED THAT
‘HOW YOU TREAT YOUR BODY UP TO AGE 40 IS HOW YOUR BODY WILL TREAT YOU
AFTER 40″, SO THAT IS THE REASON NOW AT 60 & 57 YEARS OLD TODAY, WE
ARE NOT ON ANY MEDICATIONS (hyper tension / high blood pressure /
diabetes, etc.) AT THIS AGE & STAGE OF OUR LIVES. BERRY GORDY ONCE
SAID OF HE AND DIANA ROSS; “WHATEVER I THINK OF, SHE HAS THE TALENT
& TENACITY TO PULL IT OFF”; AND THAT SEEMS TO BE @ THE CORE OF OUR
RELATIONSHIP. ERIC THINKS IT UP AND PULL IT OFF! LOL, SOMETIMES
LITERALLY! WE’RE BOTH FEARLESS & PEERLESS BECAUSE WE’RE BOTH
COGNIZANT THAT ‘TRUE ARTISTS NEVER COMPETE WITH EACH OTHER, THEY
INSTEAD, INSPIRE ONE ANOTHER… AND THE ONLY ONE WE EVER COMPETE WITH IS
OURSELVES. NOTHING IS MORE POWERFUL IN LIFE THAN A POWER COUPLE FULLY
IN TUNE AND IN SYNC WITH ONE ANOTHER.
You’veperformed all over the world to sold-out crowds, including in Europe,
Asia, and beyond. What have been some of your most memorable experiences
and performances, and how have those experiences influenced your music
and artistry?
I AM ALWAYS HUMBLED AND HONORED WHEN I THINK OF MY
HUMBLE BEGINNINGS FROM THE SOUTH BRONX WHEN I STEP ONTO AN ARENA,
STADIUM AND/OR HEADLINING FESTIVAL STAGE. MY SPIRIT SOARS AND MY HEART
BURSTS WITH SHEER JOY WHEN I SEE THE TENS OF THOUSANDS AND EVEN HUNDREDS
OF THOUSANDS OF PEOLPLE WHO SPENT THEIR HARD EARNED MONEY (and often
waited years) TO SEE ME. SOME OF THE HIGHLIGHTS THAT STAND OUT ARE:
HUMBLE BEGINNINGS FROM THE SOUTH BRONX WHEN I STEP ONTO AN ARENA,
STADIUM AND/OR HEADLINING FESTIVAL STAGE. MY SPIRIT SOARS AND MY HEART
BURSTS WITH SHEER JOY WHEN I SEE THE TENS OF THOUSANDS AND EVEN HUNDREDS
OF THOUSANDS OF PEOLPLE WHO SPENT THEIR HARD EARNED MONEY (and often
waited years) TO SEE ME. SOME OF THE HIGHLIGHTS THAT STAND OUT ARE:
I RECENTLY HEADLINED FOR A RECORD BREAKING 200,000 PEOPLE IN TALLINN, ESTONIA https://youtu.be/3d2IzK-olIg AND
WHAT MADE IT ALL THE MORE MAGICAL WAS THAT THE OLDEST DANCER (36 years
old) OF MY 8 DANCERS HAD ACTUALLY MET ME 25 YEARS AGO (also) IN
TALLINN, WHEN HE WAS JUST 11 YEARS OLD AND A GUEST AT MY FIRST CONCERT
THERE IN A5,000 SEAT THEATER BACK IN THE EARLY 90’s, AND NOW HERE HE WAS
PERFORMING WITH ME IN FRONT OF 200,000 PEOPLE.
WHAT MADE IT ALL THE MORE MAGICAL WAS THAT THE OLDEST DANCER (36 years
old) OF MY 8 DANCERS HAD ACTUALLY MET ME 25 YEARS AGO (also) IN
TALLINN, WHEN HE WAS JUST 11 YEARS OLD AND A GUEST AT MY FIRST CONCERT
THERE IN A5,000 SEAT THEATER BACK IN THE EARLY 90’s, AND NOW HERE HE WAS
PERFORMING WITH ME IN FRONT OF 200,000 PEOPLE.
IT WAS IN RIGA, LATVIA THAT “THE HEAD OF THE RUSSIAN
MAFIA” (which was how he introduced himself to me) ASKED TO DANCE WITH
ME AFTER MY HEADLINING ENGAGEMENT IN THIS LUXURIOUS CASINO (where he and
his henchmen held court in the center front row booths while i
performed). WHILE WE WERE SLOW DANCING CLOSE TO ONE ANOTHER, HE BEGINS
WHISPERING IN MY EAR ABOUT HOW HE “WANTED TO TAKE MY BACK TO MOSCOW AND
WOULD TREAT ME LIKE A QUEEN, GIVE ME AN ALLOWANCE OF $100,000 A MONTH
(and I’m thinking to myself amidst his death breath; “shit, that ain’t
no money, I make more than that for one nights work), DIAMONDS, FURS
& BLAH, BLAH, BLAH. SO WHILE ERIC & MY DANCERS ARE SITTING WITH
THE OWNER OF THE CASINO AT HIS TABLE, I GIVE ERIC THE DISTRESS HAND
SIGNAL WE HAVE AMONGST US. HE SEES IT AND ENLISTS THE HELP OF “DEATH
WISH” MOVIE FRANCHISE STAR AND LEGENDARY ACTOR, CHARLES BRONSON; WHOM
ERIC GOT TO WALK OVER TO US AND BUT IN TO HAVE THE REST OF THE DANCE
WITH ME. BECAUSE CHARLES HAD THE MEDIA CAMERAS WITH HIM, THE ‘RUSSIAN
MOB BOSS’ RELENTED AND RELEASED ME. AS SOON AS HE TURNED ME LOOSE, ERIC
& MY DANCERS HIGH TAILED IT BACK TO MY DRESSING ROOM (which he had
filled with 2 dozen bouquets of red roses) PACKED ME UP AND WE GOT IN
OUR STRETCH LIMO AND RACED BACK TO THE SAFETY OF OUR HOTEL & THEN
OFF TO THE AIRPORT WITH OUR SECURITY TO LEAVE THE COUNTRY WITH A
QUICKNESS.
MAFIA” (which was how he introduced himself to me) ASKED TO DANCE WITH
ME AFTER MY HEADLINING ENGAGEMENT IN THIS LUXURIOUS CASINO (where he and
his henchmen held court in the center front row booths while i
performed). WHILE WE WERE SLOW DANCING CLOSE TO ONE ANOTHER, HE BEGINS
WHISPERING IN MY EAR ABOUT HOW HE “WANTED TO TAKE MY BACK TO MOSCOW AND
WOULD TREAT ME LIKE A QUEEN, GIVE ME AN ALLOWANCE OF $100,000 A MONTH
(and I’m thinking to myself amidst his death breath; “shit, that ain’t
no money, I make more than that for one nights work), DIAMONDS, FURS
& BLAH, BLAH, BLAH. SO WHILE ERIC & MY DANCERS ARE SITTING WITH
THE OWNER OF THE CASINO AT HIS TABLE, I GIVE ERIC THE DISTRESS HAND
SIGNAL WE HAVE AMONGST US. HE SEES IT AND ENLISTS THE HELP OF “DEATH
WISH” MOVIE FRANCHISE STAR AND LEGENDARY ACTOR, CHARLES BRONSON; WHOM
ERIC GOT TO WALK OVER TO US AND BUT IN TO HAVE THE REST OF THE DANCE
WITH ME. BECAUSE CHARLES HAD THE MEDIA CAMERAS WITH HIM, THE ‘RUSSIAN
MOB BOSS’ RELENTED AND RELEASED ME. AS SOON AS HE TURNED ME LOOSE, ERIC
& MY DANCERS HIGH TAILED IT BACK TO MY DRESSING ROOM (which he had
filled with 2 dozen bouquets of red roses) PACKED ME UP AND WE GOT IN
OUR STRETCH LIMO AND RACED BACK TO THE SAFETY OF OUR HOTEL & THEN
OFF TO THE AIRPORT WITH OUR SECURITY TO LEAVE THE COUNTRY WITH A
QUICKNESS.
IN PERTH, AUSTRALIA WE SWAM WITH DOLPHINS
IN SYDNEY, AUSTRALIA THEY CLOSED DOWN A NATIONAL PARK
SO ME AND MY CREW COULD HAVE PRIVATE TIME WITH THE KANGEROOS, WOMBATS,
WALLABEES AND TASMANIAN DEVILS… THE KANGEROOS WERE HILARIOUS, FOR ONCE
THEY ATE ALL OF THE FOOD FROM OUR BROWN PAPER BAGS, THEY THEN TURNED
AROUND AND ATE THE BAG AND THEN BEGAN TO PAT OUR POCKETS DOWN SEEKING
MORE FOOD.
SO ME AND MY CREW COULD HAVE PRIVATE TIME WITH THE KANGEROOS, WOMBATS,
WALLABEES AND TASMANIAN DEVILS… THE KANGEROOS WERE HILARIOUS, FOR ONCE
THEY ATE ALL OF THE FOOD FROM OUR BROWN PAPER BAGS, THEY THEN TURNED
AROUND AND ATE THE BAG AND THEN BEGAN TO PAT OUR POCKETS DOWN SEEKING
MORE FOOD.
IN DORF MUNSTERLAND, THE ROOMS WERE SO HAUNTED THAT ALL OF MY HUGE MUSCLE-BOUND MALE
DANCERS ONE BY ONE, CAME RUNNING TO ME AND ERIC’S PRESIDENTIAL SUITE TO
CLIMB IN BED & SURROUNDING AREAS TO OUR BED WITH US TO SLEEP
THORUGH THE NIGHT… IT WAS HILAROUS.
DANCERS ONE BY ONE, CAME RUNNING TO ME AND ERIC’S PRESIDENTIAL SUITE TO
CLIMB IN BED & SURROUNDING AREAS TO OUR BED WITH US TO SLEEP
THORUGH THE NIGHT… IT WAS HILAROUS.
IN L.A. WHERE I HEADLINED A RAVE IN THE BALLROOM OF
THE LAX HILTON, STAN LEE OWNER OF MARVEL COMICS CONTACTED ERIC & HAD
ME SCREEN TEST FOR THE PART OF ‘STORM’ IN THE VERY FIRST X-MEN MOVIE,
AND MEETING HIM IN HIS OFFICES WAS ABSOLUTELY MAGICAL. EVENTUALLY OF
COURSE, HALLE BERRY WAS CAST BY DIRECTOR BRYAN SINGER (who was later
accused & charged with multiple sexual harrassment cases against
young actors & actresses, I’m just saying).
THE LAX HILTON, STAN LEE OWNER OF MARVEL COMICS CONTACTED ERIC & HAD
ME SCREEN TEST FOR THE PART OF ‘STORM’ IN THE VERY FIRST X-MEN MOVIE,
AND MEETING HIM IN HIS OFFICES WAS ABSOLUTELY MAGICAL. EVENTUALLY OF
COURSE, HALLE BERRY WAS CAST BY DIRECTOR BRYAN SINGER (who was later
accused & charged with multiple sexual harrassment cases against
young actors & actresses, I’m just saying).
IN SAN FRANCISCO AT THE COW PALACE ON NEW YEARS EVE
2005, WE WERE HEADLINING FOR A CROWD OF 40,000 PEOPLE… NOT ONLY DID I
TRIP AND FALL ONSTAGE & BOUNCE BACK UP (when I got up I comically
said into the mic; “had a nice trip, see you next fall” & the crowd
collectively laughed), BUT THE CROWD WAS SO FREAKY AND HIGH THAT NYE,
THAT TO OUR SHOCK, HORROR & AMAZEMENT, 75% OF THE CROWD WERE HAVING
FREAKY CIRCUS SEX IN THE AUDIENCE… SO WHILE WE WERE PERFORMING FOR THEM,
THEY WERE TRULY “PERFORMING” FOR US! LMAO
2005, WE WERE HEADLINING FOR A CROWD OF 40,000 PEOPLE… NOT ONLY DID I
TRIP AND FALL ONSTAGE & BOUNCE BACK UP (when I got up I comically
said into the mic; “had a nice trip, see you next fall” & the crowd
collectively laughed), BUT THE CROWD WAS SO FREAKY AND HIGH THAT NYE,
THAT TO OUR SHOCK, HORROR & AMAZEMENT, 75% OF THE CROWD WERE HAVING
FREAKY CIRCUS SEX IN THE AUDIENCE… SO WHILE WE WERE PERFORMING FOR THEM,
THEY WERE TRULY “PERFORMING” FOR US! LMAO
IN MY TOKO, JAPAN TV SPECIAL (seen by an estimated
100,000 people throughout Japan, China & Southeast Asia), I JUST SO
HAPPEN TO COINCIDENTALLY PICK 2 DIFFERENT BEAUTIFUL YOUNG JAPANESE MEN
(in their early 20’s) OUT OF THE AUDIENCE TO COME UP AND DANCE WITH ME
AND AS IT TURNED OUT, THEY WERE IDENTICAL TWIN BROTHERS AND BOTH WERE
MAJOR JAPANESE SOAP OPERA STARS. WHEN I PLANTED A KISS ON ONE OF THEM
AFTER THEIR ONSTAGE INTERACTION WITH ME, HE BLUSHED AND CRUSHED SO HARD,
MY RATINGS WENT THROUGH THE ROOF, AS EVERYONE CALLED THEIR FRIENDS AND
FAMILY TO TUNE IN. IT WAS ONLY AFTER MY CONCERT WHEN IN MY DRESSING
ROOM, I WAS TOLD BY MY SHOWS PROMOTER / SPONSOR, WHAT I HAD DONE AND HOW
IT POSITIVELY IMPACTED MY RATINGS TO THE #1 SPOT. https://youtu.be/lDtDXO9r3aE
100,000 people throughout Japan, China & Southeast Asia), I JUST SO
HAPPEN TO COINCIDENTALLY PICK 2 DIFFERENT BEAUTIFUL YOUNG JAPANESE MEN
(in their early 20’s) OUT OF THE AUDIENCE TO COME UP AND DANCE WITH ME
AND AS IT TURNED OUT, THEY WERE IDENTICAL TWIN BROTHERS AND BOTH WERE
MAJOR JAPANESE SOAP OPERA STARS. WHEN I PLANTED A KISS ON ONE OF THEM
AFTER THEIR ONSTAGE INTERACTION WITH ME, HE BLUSHED AND CRUSHED SO HARD,
MY RATINGS WENT THROUGH THE ROOF, AS EVERYONE CALLED THEIR FRIENDS AND
FAMILY TO TUNE IN. IT WAS ONLY AFTER MY CONCERT WHEN IN MY DRESSING
ROOM, I WAS TOLD BY MY SHOWS PROMOTER / SPONSOR, WHAT I HAD DONE AND HOW
IT POSITIVELY IMPACTED MY RATINGS TO THE #1 SPOT. https://youtu.be/lDtDXO9r3aE
WHILE PLAYING MY HOMETOWN OF NEW YORK CITY & DINING AT
SYLVIA’S SOUL FOOD RESTAURANT, MY HUSBAND ERIC’S GOOD FRIEND TONY
BENNETT (someone he met working with the late great LENA HORNE in the
early 80’s) CAME OVER TO MY TABLE TO SAY “HELLO” AND TOLD ME AND MY
PARTY WHAT A DYNAMIC PERFORMER & RECORDING ARTIST I AM AND AFTER
INSISTING ON MY AUTOGRAPHING MY NEW ALBUM TO HIM, WE EXCHANGED HUGS /
KISSES & TOOK AN AMAZING PHOTO TOGETHER.
SYLVIA’S SOUL FOOD RESTAURANT, MY HUSBAND ERIC’S GOOD FRIEND TONY
BENNETT (someone he met working with the late great LENA HORNE in the
early 80’s) CAME OVER TO MY TABLE TO SAY “HELLO” AND TOLD ME AND MY
PARTY WHAT A DYNAMIC PERFORMER & RECORDING ARTIST I AM AND AFTER
INSISTING ON MY AUTOGRAPHING MY NEW ALBUM TO HIM, WE EXCHANGED HUGS /
KISSES & TOOK AN AMAZING PHOTO TOGETHER.
IN LONDON, MY FRIEND & FEMTOR CHITA RIVERA CAME TO
MY SHOW AND I, TURN, WENT TO THE WEST END WHERE SHE WAS STARRING IN
“KISS OF THE SPIDER WOMAN”.
MY SHOW AND I, TURN, WENT TO THE WEST END WHERE SHE WAS STARRING IN
“KISS OF THE SPIDER WOMAN”.
You’ve been recognized by MTV and other global media outlets as a
trailblazer and living legend in hip hop and dance music. What does that
recognition mean to you, and how do you hope to inspire future
generations of artists and performers?
trailblazer and living legend in hip hop and dance music. What does that
recognition mean to you, and how do you hope to inspire future
generations of artists and performers?
I’M NOT A NARCISSIST NOR DO I OPERATE FROM EGO, WHICH I
FEEL MEANS, Easiing God Out… SO ALHTOUGH I MAINTAIN A PERPETUAL
ATTITUDE OF GRATITUDE FOR ALL OF THE PAST & CURRENT RECOGNITIONS AND
TO FINALLY SET THE RECORD STRAIGHT THAT MY GIRL LIL KIM WAS NOT “THE
BLUEPRINT” WHEN IT CAME TO RAPPING, BRINGING OR SINGING SEX &
GLAMOUR TO THE HIP HOP GENRE. IT WAS ME, MYSELF & I ALONE WHO DID
THAT. AND TRUST & BELIEVE, CERTAIN OTHER FEMALE RAPPERS BACK IN THE
DAY (like Harmony & a host of others) WERE NOT AT ALL HAPPY ABOUT
IT, CITING THAT “YOU’RE MAKING US LOOK LIKE SLUTS WHO SELL RECORDS WITH
OUR BUTTS”! LMAO! BUT LIKE MY LEGENDARY FEMTORS BEFORE ME, SUCH AS
JOSEPHINE BAKER / LENA HORNE / DAME SHIRLEY BASSEY / CHITA RIVERA /
EARTHA KITT / TINA TURNER / DIONNE WARWICK / MY LEGENDARY ‘SHOWBIZ’ MOM,
FREDA PAYNE / ERNESTINE JACKSON / DIANA ROSS / VIVIAN REED / IRIS
CHACON / GRACE JONES, ETC.; I UNAPOLOGETICALLY DARED TO BE DIFFERENT.
IT HAS WORKED OUT FOR ME, GLOBALLY; BECAUSE CAN’T NOBODY BE ME BUT ME!
FEEL MEANS, Easiing God Out… SO ALHTOUGH I MAINTAIN A PERPETUAL
ATTITUDE OF GRATITUDE FOR ALL OF THE PAST & CURRENT RECOGNITIONS AND
TO FINALLY SET THE RECORD STRAIGHT THAT MY GIRL LIL KIM WAS NOT “THE
BLUEPRINT” WHEN IT CAME TO RAPPING, BRINGING OR SINGING SEX &
GLAMOUR TO THE HIP HOP GENRE. IT WAS ME, MYSELF & I ALONE WHO DID
THAT. AND TRUST & BELIEVE, CERTAIN OTHER FEMALE RAPPERS BACK IN THE
DAY (like Harmony & a host of others) WERE NOT AT ALL HAPPY ABOUT
IT, CITING THAT “YOU’RE MAKING US LOOK LIKE SLUTS WHO SELL RECORDS WITH
OUR BUTTS”! LMAO! BUT LIKE MY LEGENDARY FEMTORS BEFORE ME, SUCH AS
JOSEPHINE BAKER / LENA HORNE / DAME SHIRLEY BASSEY / CHITA RIVERA /
EARTHA KITT / TINA TURNER / DIONNE WARWICK / MY LEGENDARY ‘SHOWBIZ’ MOM,
FREDA PAYNE / ERNESTINE JACKSON / DIANA ROSS / VIVIAN REED / IRIS
CHACON / GRACE JONES, ETC.; I UNAPOLOGETICALLY DARED TO BE DIFFERENT.
IT HAS WORKED OUT FOR ME, GLOBALLY; BECAUSE CAN’T NOBODY BE ME BUT ME!
You’ve worked with many legendary performers and icons, from Harry
Belafonte to Lena Horne to Eartha Kitt. Who have been some of your
biggest influences and mentors over the years, and how have they
impacted your artistry and career?
Belafonte to Lena Horne to Eartha Kitt. Who have been some of your
biggest influences and mentors over the years, and how have they
impacted your artistry and career?
HARRY BELAFONTE’ HAD HEARD FROM SEVERAL SOURCES (Kool Herc / Afrika Bambaataa / Whiz Kid / etc.) WHEN PRODUCING “BEAT STREET” THAT HE NEEDED TO GET A HOLD OF “HIP HOP’s 1st FEMALE DJ”,
WANDA DEE; AND SO HE SOUGHT ME OUT AND SET UP A PERSONAL AUDITION FOR
ME AT A REC CENTER IN THE BRONX ONE FATEFUL AFTERNOON. HE CAME IN, I
CUT, MIXED, SCRATCHED ON MY TURNTABLES AND WHEN I FINISHED I SHEEPISHLY
ASKED; “IS THERE A PART FOR A FEMALE DJ IN YOUR MOVIE, MY BELAFONTE'”
& HE REPLIED; “THERE IS NOW”! I SCREAMED WITH EXCITEMENT!
WANDA DEE; AND SO HE SOUGHT ME OUT AND SET UP A PERSONAL AUDITION FOR
ME AT A REC CENTER IN THE BRONX ONE FATEFUL AFTERNOON. HE CAME IN, I
CUT, MIXED, SCRATCHED ON MY TURNTABLES AND WHEN I FINISHED I SHEEPISHLY
ASKED; “IS THERE A PART FOR A FEMALE DJ IN YOUR MOVIE, MY BELAFONTE'”
& HE REPLIED; “THERE IS NOW”! I SCREAMED WITH EXCITEMENT!
EARTHA
KITT WAS SOMEONE THAT MY HUSBAND, ERIC HAS TOURED WITH SINCE AGE 16 AND
HE LATER PRODUCED IN CONCERT IN NYC AT THE TUNNEL & THE BALLROOM
NIGHTCLUBS, SO HE’S KNOWN HER LONGER THAN HE’S KNOWN ME. SO WHEN HE
INTRODUCED HER TO ME, SHE IMMEDIATELY FELL IN LOVE WITH ME AND TOOK ME
UNDER HER WING AND TAUGHT ME TO SING IN 7 LANGUAGES. WE USED TO ALSO
WATCH HER 2 BLACK POODLES, MATTIE & NEWMIE (who understood commands
in 5 languages) WHEN SHE’D GO OVERSEAS AT OUR RIVERSIDE DRIVE APARTMENT.
KITT WAS SOMEONE THAT MY HUSBAND, ERIC HAS TOURED WITH SINCE AGE 16 AND
HE LATER PRODUCED IN CONCERT IN NYC AT THE TUNNEL & THE BALLROOM
NIGHTCLUBS, SO HE’S KNOWN HER LONGER THAN HE’S KNOWN ME. SO WHEN HE
INTRODUCED HER TO ME, SHE IMMEDIATELY FELL IN LOVE WITH ME AND TOOK ME
UNDER HER WING AND TAUGHT ME TO SING IN 7 LANGUAGES. WE USED TO ALSO
WATCH HER 2 BLACK POODLES, MATTIE & NEWMIE (who understood commands
in 5 languages) WHEN SHE’D GO OVERSEAS AT OUR RIVERSIDE DRIVE APARTMENT.
EACH
OF MY MENTORS & FEMTORS HAVE POWERFULLY IMPACTED MY LIFE IN
PROFOUND AND PASSIONATE WAYS THAT HAVE LED TO ME BEING A BETTER PERSON /
PERFORMER / WIFE / MOTHER. I AM TRULY GRATEFUL FOR THEIR PRESENCE IN
MY PAST, PRESENT & HOPEFUL FUTURE.
OF MY MENTORS & FEMTORS HAVE POWERFULLY IMPACTED MY LIFE IN
PROFOUND AND PASSIONATE WAYS THAT HAVE LED TO ME BEING A BETTER PERSON /
PERFORMER / WIFE / MOTHER. I AM TRULY GRATEFUL FOR THEIR PRESENCE IN
MY PAST, PRESENT & HOPEFUL FUTURE.
You own and operate a multimedia production company, Goddess Empire Entertainment, and Goddess Empire Record Label.
YES, ERIC & I CO-OWN THESE ENTITIES AND HAVING
OWNERSHIP OF OUR FOOTAGE, OUR MUSIC, OUR CONTENT, OUR PUBLISHING &
OUR WORLD TOURS IS 75% OF OUR WEALTH, INDEED!
OWNERSHIP OF OUR FOOTAGE, OUR MUSIC, OUR CONTENT, OUR PUBLISHING &
OUR WORLD TOURS IS 75% OF OUR WEALTH, INDEED!
What inspired you to start your own company, and what
are your goals and aspirations for the future of the company and, your
music?
are your goals and aspirations for the future of the company and, your
music?
WHAT INSPIRED ME WAS FREEDOM. MY TALENT IS A GIFT
FROM GOD HERSELF TO ME, SO NOBODY GETS TO SHAPE, HONE, FORM, PACKAGE
AND/OR PACKAGE IT FOR PUBLIC CONSUMPTION BUT ME AND ERIC.
FROM GOD HERSELF TO ME, SO NOBODY GETS TO SHAPE, HONE, FORM, PACKAGE
AND/OR PACKAGE IT FOR PUBLIC CONSUMPTION BUT ME AND ERIC.
What advice would you give to aspiring artists and performers,
especially young women and people of color who are looking to break into
the industry and make their mark?
especially young women and people of color who are looking to break into
the industry and make their mark?
STOP WASTING TIME TRYING TO BE LIKE SOMEONE ELSE, THAT
JOB & POSITION HAS ALREADY BEEN FILLED & TAKEN. BE YOURSELF
BECAUSE GOD ONLY MADE ONE. I’D RATHER BE HATED FOR WHO I TRULY AM THAN
BELOVED FOR SOMEONE I’M PRETENDING TO BE!
JOB & POSITION HAS ALREADY BEEN FILLED & TAKEN. BE YOURSELF
BECAUSE GOD ONLY MADE ONE. I’D RATHER BE HATED FOR WHO I TRULY AM THAN
BELOVED FOR SOMEONE I’M PRETENDING TO BE!
What inspired you to become the first female DJ in the hip-hop industry?
I DIDN’T SEE ANYONE ON THE DJ SCENE WITH A VAGINA & I WAS DETERMINED TO BE A FEMALE GRANDMASTER FLASH.
How did it feel to be the first female inductee into The Universal Zulu Nation?
AFRIKA BAMBAATAA BESTOWED THAT BLESSING UPON ME BY
ALWAYS MAKING A WAY FOR ME. WITHOUT BAM, I WOULDN’T HAVE EVER PLAYED
THE T-CONNECTION AS A SOLO DJ NOR RETURNED WITH MY OLD HIP HOP
PARTNER, DEBBIE-D WITHOUT HIM. I JUST SPOKE TO HIM THIS MORNING WHEN HE
CALLED ME AND ERIC AND WE CHATTED FOR OVER AN HOUR. HE IS A FREQUENT
OVERNIGHT GUEST AT OUR VEGAS HOME AND HE WILL FOREVER BE A POSITIVE PART
OF MY LIFE!
ALWAYS MAKING A WAY FOR ME. WITHOUT BAM, I WOULDN’T HAVE EVER PLAYED
THE T-CONNECTION AS A SOLO DJ NOR RETURNED WITH MY OLD HIP HOP
PARTNER, DEBBIE-D WITHOUT HIM. I JUST SPOKE TO HIM THIS MORNING WHEN HE
CALLED ME AND ERIC AND WE CHATTED FOR OVER AN HOUR. HE IS A FREQUENT
OVERNIGHT GUEST AT OUR VEGAS HOME AND HE WILL FOREVER BE A POSITIVE PART
OF MY LIFE!
Can you tell us about your experience as a rapper, and what led you to transition to singing?
AS A KID, SINGING & DANCING FOR MY FAMILY
(imitating James Brown & Tina Turner @ 4 & 5 years old) WAS HOW
IT ALL STARTED AND THAT WAS LONG BEFORE I EVER DJ’D OR RAPPED. IT’S
ALWAYS BEEN IN MY BLOOD, AFTERALL, THE LEGENDARY LATE, GREAT PEARL
BAILEY IS MY 3rd COUSIN. THE TRANSITION TO SINGING CAME DIRECTLY FROM
MY MANAGER / HUSBAND, ERIC FLOYD, WHO TOLD ME “IT’S TIME”! SO TODAY, I
SING IN 7 DIFFERENT LANGUAGES & IT HAS REALLY OPENED THE WORLD UP TO
ME.
(imitating James Brown & Tina Turner @ 4 & 5 years old) WAS HOW
IT ALL STARTED AND THAT WAS LONG BEFORE I EVER DJ’D OR RAPPED. IT’S
ALWAYS BEEN IN MY BLOOD, AFTERALL, THE LEGENDARY LATE, GREAT PEARL
BAILEY IS MY 3rd COUSIN. THE TRANSITION TO SINGING CAME DIRECTLY FROM
MY MANAGER / HUSBAND, ERIC FLOYD, WHO TOLD ME “IT’S TIME”! SO TODAY, I
SING IN 7 DIFFERENT LANGUAGES & IT HAS REALLY OPENED THE WORLD UP TO
ME.
How did it feel to go platinum as a female rapper in the 80s, a time when there were few female rappers in the industry?
I AM SO USED TO BEING THE 1st IN SO VERY MANY
CATEGORIES, I JUST KEEP IT HUMBLE AND PUSHING. I DON’T PERFORM TO WIN
AWARDS AND ACCOLADES, I PERFORM BECAUSE IT IS WHAT I WAS PUT HERE TO
DO. BEING AN ENTERTAINER IS A GIFT THAT I WISELY USE TO IMPROVE THE
LIVES OF OTHERS & DELIVER MILES OF SMILES IN AND AROUND THE WORLD.
CATEGORIES, I JUST KEEP IT HUMBLE AND PUSHING. I DON’T PERFORM TO WIN
AWARDS AND ACCOLADES, I PERFORM BECAUSE IT IS WHAT I WAS PUT HERE TO
DO. BEING AN ENTERTAINER IS A GIFT THAT I WISELY USE TO IMPROVE THE
LIVES OF OTHERS & DELIVER MILES OF SMILES IN AND AROUND THE WORLD.
Could you walk us through your experience with the controversy
surrounding your performance at Eastside High School in Patterson, NJ,
and how it impacted your career?
surrounding your performance at Eastside High School in Patterson, NJ,
and how it impacted your career?
MY HUSBAND AND MANAGER, ERIC FLOYD, HAS BEEN PUTTING
ON ANNUAL FREE CONCERTS AND HIGH SCHOOLS SINCE THE 80’s AND MANY OF
TODAY’S BIGGEST STARS HAVE BEEN A PART OF HIS ERIC FLOYD’S ALL-STAR
CAVALCADE EXPRESS SHOWS, SUCH AS; MC LYTE, CHRIS ROCK, BEVERLY JOHNSON,
MARC ANTHONY (who my husband also discovered, theatrically trained &
cast in the film he wrote, “East Side Story” – https://youtu.be/5VGPQCa34Hg), FULL
FORCE, SAPHIRE, CYRE’, IRIS CHACON, etc. WELL, FAMED PRINCIPLE OF EAST
SIDE HIGH SCHOOL, JOE CLARK, WAS A LONGTIME FRIEND OF OURS AND WE HAD
BEEN TO SCHOOL SOME 3 YEARS IN A ROW, WELL ON THIS PARTICULAR YEAR, MY
NEW SINGLE; “THE GODDESS” HAD JUST COME OUT AND ERIC PUT ME ON 6th IN
THE LINE UP OF STARS (in fact, Marc Anthony had just performed) & I
DID THE NUMBER AS I ALWAYS DO IT. 4 HOT BODIED SHIRTLESS & SHOELESS
MUSCULAR ‘G-MEN’ CARRIED ME OUT ONTO THE STAGE AND I SAT ME DOWN TO
START RAPPING. I WAS WEARING A FLOOR LENGTH WHITE CHINCHILLA CAPE THAT
ERIC HAD JUST GOTTEN FOR FROM ALEXANDROS FURS OF NYC AND I QUICKLY
WHIPPED OFF MY COAT TO REVEAL MY BLUE & SILVER LAS VEGAS STYLE DRESS
WITH BOTH MY BACK & LEGS OUT. HALFWAY THROUGH MY NUMBER, I TURN MY
BACK TO THE AUDIENCE AND PROCEED TO GO TO EACH DANCER (who has their
backs to the audience) AND I RIP OFF THEIR VELCRO ATTACHED BLACK SATIN
FRINGE PANTS ONE BY ONE TO REVEAL EACH DANCER IN SILVER LAME’ G-STRINGS
WITH THE MOST INCREDIBLE FIRM MUSCLE BUTTS ON THE PLANET!
ON ANNUAL FREE CONCERTS AND HIGH SCHOOLS SINCE THE 80’s AND MANY OF
TODAY’S BIGGEST STARS HAVE BEEN A PART OF HIS ERIC FLOYD’S ALL-STAR
CAVALCADE EXPRESS SHOWS, SUCH AS; MC LYTE, CHRIS ROCK, BEVERLY JOHNSON,
MARC ANTHONY (who my husband also discovered, theatrically trained &
cast in the film he wrote, “East Side Story” – https://youtu.be/5VGPQCa34Hg), FULL
FORCE, SAPHIRE, CYRE’, IRIS CHACON, etc. WELL, FAMED PRINCIPLE OF EAST
SIDE HIGH SCHOOL, JOE CLARK, WAS A LONGTIME FRIEND OF OURS AND WE HAD
BEEN TO SCHOOL SOME 3 YEARS IN A ROW, WELL ON THIS PARTICULAR YEAR, MY
NEW SINGLE; “THE GODDESS” HAD JUST COME OUT AND ERIC PUT ME ON 6th IN
THE LINE UP OF STARS (in fact, Marc Anthony had just performed) & I
DID THE NUMBER AS I ALWAYS DO IT. 4 HOT BODIED SHIRTLESS & SHOELESS
MUSCULAR ‘G-MEN’ CARRIED ME OUT ONTO THE STAGE AND I SAT ME DOWN TO
START RAPPING. I WAS WEARING A FLOOR LENGTH WHITE CHINCHILLA CAPE THAT
ERIC HAD JUST GOTTEN FOR FROM ALEXANDROS FURS OF NYC AND I QUICKLY
WHIPPED OFF MY COAT TO REVEAL MY BLUE & SILVER LAS VEGAS STYLE DRESS
WITH BOTH MY BACK & LEGS OUT. HALFWAY THROUGH MY NUMBER, I TURN MY
BACK TO THE AUDIENCE AND PROCEED TO GO TO EACH DANCER (who has their
backs to the audience) AND I RIP OFF THEIR VELCRO ATTACHED BLACK SATIN
FRINGE PANTS ONE BY ONE TO REVEAL EACH DANCER IN SILVER LAME’ G-STRINGS
WITH THE MOST INCREDIBLE FIRM MUSCLE BUTTS ON THE PLANET!
THE CROWD OF UPPER CLASSMAN (juniors & seniors)
WENT BANANAS, JOE CLARK WAS AWAY ON A SPEAKING ENGAGEMENT THAT DAY &
SO HIS VICE PRINCIPAL, JULIAN JENKINS TOOK IT UPON HIMSELF TO RUN DOWN
THE AISLE FROM THE BACK OF THE HOUSE, FLIP UP ONTO THE STAGE AND PULL
THE HEAVY RED VELVET CURTAIN CLOSED IN MY FACE. I WAS ANNOYED AND
EMBARASSED AND ERIC WAS ECSTATIC STATING THAT “WE’RE GONNA SELL MILLIONS
OF RECORDS AND MAKE MILLIONS OF DOLLARS”, AND IT TURNS OUT THAT HE WAS
RIGHT ABOUT BOTH!
WENT BANANAS, JOE CLARK WAS AWAY ON A SPEAKING ENGAGEMENT THAT DAY &
SO HIS VICE PRINCIPAL, JULIAN JENKINS TOOK IT UPON HIMSELF TO RUN DOWN
THE AISLE FROM THE BACK OF THE HOUSE, FLIP UP ONTO THE STAGE AND PULL
THE HEAVY RED VELVET CURTAIN CLOSED IN MY FACE. I WAS ANNOYED AND
EMBARASSED AND ERIC WAS ECSTATIC STATING THAT “WE’RE GONNA SELL MILLIONS
OF RECORDS AND MAKE MILLIONS OF DOLLARS”, AND IT TURNS OUT THAT HE WAS
RIGHT ABOUT BOTH!
THE REST OF THE SHOW WAS CANCELED AND ERIC & GOT
ABOUT $40 MILLION DOLLARS WORK OF MULTI, AND MEDIA PUBLICITY ON THE
LIKES OF CNN, LARRY KING, GOOD MORNING AMERICA, PEOPLE ARE TALKING,
MORTON DOWNEY JR., A CURRENT AFFAIR (where I was the 1st & only rap
artist to play Grand Central Station @ rush hour), ETC. & WE INDEED
SOLD, MILLIONS OF RECORDS “THE GODDESS” b/w “TO THE BONE”, WHICH IS WHY I
WAS THE 1st FEMALE RAPPER TO GO PLATINUM, BACK IN 1989 – https://youtu.be/eQG9kooddfk https://youtu.be/VBbKAkpWlBQ
ABOUT $40 MILLION DOLLARS WORK OF MULTI, AND MEDIA PUBLICITY ON THE
LIKES OF CNN, LARRY KING, GOOD MORNING AMERICA, PEOPLE ARE TALKING,
MORTON DOWNEY JR., A CURRENT AFFAIR (where I was the 1st & only rap
artist to play Grand Central Station @ rush hour), ETC. & WE INDEED
SOLD, MILLIONS OF RECORDS “THE GODDESS” b/w “TO THE BONE”, WHICH IS WHY I
WAS THE 1st FEMALE RAPPER TO GO PLATINUM, BACK IN 1989 – https://youtu.be/eQG9kooddfk https://youtu.be/VBbKAkpWlBQ
Can you tell us about your experience working with KLF producers and
your time touring with them as “The KLF featuring The Goddess, Wanda
Dee”?
THE 2 KLF PRODUCERS, JIM CAUTY & BILL DRUMMOND ARE
MUSICAL GENIUSES BUT WE’VE NEVER TOURED TOGETHER, NOT EVEN ONCE! THE
KLF PRODUCERS & THE KLF PERFORMERS ARE 2 DIFFERENT ENTITIES, AS BILL
& JIMMY DO NOT SING, DANCE NOR RAP. UNLIKE OTHER 90’s EDM GROUPS,
THE KLF & ONLY HAD ONE SHOW REPRESENTING IT AROUND THE WORLD AND
THAT HAS BEEN ME. C & C MUSIC FACTORY HAS SEVERAL DIFFERENT SHOWS,
REPRESENTED BY EITHER FREEDOM WILLIAMS OR MARTHA WASH OR ZELMA DAVIS,
AND SNAP IS THE SAME THING WITH EITHER SHOWS BY PENNY FORD OR TURBO B.
MUSICAL GENIUSES BUT WE’VE NEVER TOURED TOGETHER, NOT EVEN ONCE! THE
KLF PRODUCERS & THE KLF PERFORMERS ARE 2 DIFFERENT ENTITIES, AS BILL
& JIMMY DO NOT SING, DANCE NOR RAP. UNLIKE OTHER 90’s EDM GROUPS,
THE KLF & ONLY HAD ONE SHOW REPRESENTING IT AROUND THE WORLD AND
THAT HAS BEEN ME. C & C MUSIC FACTORY HAS SEVERAL DIFFERENT SHOWS,
REPRESENTED BY EITHER FREEDOM WILLIAMS OR MARTHA WASH OR ZELMA DAVIS,
AND SNAP IS THE SAME THING WITH EITHER SHOWS BY PENNY FORD OR TURBO B.
AS I CO-WROTE THE BIGGEST SONGS ON “THE WHITE ROOM”
ALBUM, I HAD A VESTED INTEREST IN MAKING SURE THAT THOSE SINGLES /
ALBUMS SOLD, SO CLIVE DAVIS AND I MADE A PACT (since KLF was distributed
by Arista/BMG) TO MAKE SURE THAT I’D HIT THE ROAD & STAY OUT THERE
MIXING MY KLF MATERIAL WITH MY OWN SOLO MATERIAL., AND IT’S BEEN WORTH
IT! WE ALL EAT QUITE NICELY EACH QUARTER DUE TO OUR COMBINED TEAMWORK
TO KEEP THE KLF LEGACY, MAJESTY & MUSIC ALIVE. I AM, QUITE SIMPLY,
THE ONLY KLF SHOW THE WORLD HAS EVER KNOWN.
ALBUM, I HAD A VESTED INTEREST IN MAKING SURE THAT THOSE SINGLES /
ALBUMS SOLD, SO CLIVE DAVIS AND I MADE A PACT (since KLF was distributed
by Arista/BMG) TO MAKE SURE THAT I’D HIT THE ROAD & STAY OUT THERE
MIXING MY KLF MATERIAL WITH MY OWN SOLO MATERIAL., AND IT’S BEEN WORTH
IT! WE ALL EAT QUITE NICELY EACH QUARTER DUE TO OUR COMBINED TEAMWORK
TO KEEP THE KLF LEGACY, MAJESTY & MUSIC ALIVE. I AM, QUITE SIMPLY,
THE ONLY KLF SHOW THE WORLD HAS EVER KNOWN.
How have you managed to stay relevant in the music industry for so
long, and what have been some of the biggest challenges you’ve faced
along the way?
long, and what have been some of the biggest challenges you’ve faced
along the way?
RELEVANT TO WHO? I’M ALWAYS RELEVANT TO MY FAMILY.
LOL! AS LONG AS I’M PUTTING ASSES IN STADIUM, FESTIVAL & ARENA
SEATS AROUND THE WORLD, I GUESS I’LL ALWAYS BE “RELEVANT”. MY BIGGEST
CHALLENGES ALONG THE WAY HAVE OFTEN BEEN JUST TIME, TRAVEL & ENERGY
TO BE SO MANY THINGS FOR SO MANY PEOPLE… BALANCING THAT IS STILL MY
GREATEST CHALLENGE. BALANCE.
LOL! AS LONG AS I’M PUTTING ASSES IN STADIUM, FESTIVAL & ARENA
SEATS AROUND THE WORLD, I GUESS I’LL ALWAYS BE “RELEVANT”. MY BIGGEST
CHALLENGES ALONG THE WAY HAVE OFTEN BEEN JUST TIME, TRAVEL & ENERGY
TO BE SO MANY THINGS FOR SO MANY PEOPLE… BALANCING THAT IS STILL MY
GREATEST CHALLENGE. BALANCE.
Can you tell us about your creative process when it comes to writing and producing your music?
MY CREATIVE PROCESS IS SIMPLE… WHEN WRITING, IT’S JUST
ME AND THE MUSIC AND MY PAD & PEN, UNLESS I’M CO-WRITING WITH ERIC,
LIKE WE DID ON “I LIKE IT HARD” https://youtu.be/Bp8BdLoTUD8 PRODUCING
IS ALWAYS A COLLABORATIVE PROCESS ONCE WE’RE IN THE STUDIO WORKING ON
MUSIC TOGETHER WITH ERIC AND/OR ANY OTHER PRODUCERS I FIND MYSELF IN
‘THE LAB’ WITH.
ME AND THE MUSIC AND MY PAD & PEN, UNLESS I’M CO-WRITING WITH ERIC,
LIKE WE DID ON “I LIKE IT HARD” https://youtu.be/Bp8BdLoTUD8 PRODUCING
IS ALWAYS A COLLABORATIVE PROCESS ONCE WE’RE IN THE STUDIO WORKING ON
MUSIC TOGETHER WITH ERIC AND/OR ANY OTHER PRODUCERS I FIND MYSELF IN
‘THE LAB’ WITH.
What advice would you give to aspiring female artists in the music industry today?
FORTUNE FAVORS THE BOLD, SO BE BAD ASS… BY BODACIOUS… BE UNAPOLOGETIC… BE BOLD… !!!!!
Can you share any upcoming projects or collaborations that you’re currently working on?
I HAVE UPCOMING WORLD TOUR DATES & NEW RELEASES WITH FREDA PAYNE “I ANI’T BEEN LICKED” – https://youtu.be/fuhJottd40k THE
LATE GREAT LOLEATTA HOLLOWAY & I HAVE A SEARING REMAKE OF “DON’T
LEAVE ME THIS WAY” w/BACKGROUND VOCALS BY ERIC’S DIVA FEVER ALL-STARS
THAT CONSISTS OF LEGENDS LIKE SHARON BROWN, PEGGI BLU, LINDA CLIFFORD,
WANDA DEE, CAROL DOUGLAS, TAANA GARDNER, THE EMOTIONS, LOLEATTA
HOLLOWAY, FONDA RAE, VALERIE SIMPSON (who also played the piano), YVONNE
TURNER, ALYSON WILLIAMS & CAROL WILLIAMS… & THEN I’VE GOT A
HUGE GAY PRIDE SONG I WROTE WITH ERIC CALLED; “PRIDE IN YOUR STRIDE”
FEATURING ADDITIONAL LEGENDS LIKE PEGGI BLU, CAROL DOUGLAS, TAANA
GARDNER, FONDA RAE, ALYSON WILLIAMS & CAROL WILLIAMS. https://youtu.be/eQG9kooddfk
LATE GREAT LOLEATTA HOLLOWAY & I HAVE A SEARING REMAKE OF “DON’T
LEAVE ME THIS WAY” w/BACKGROUND VOCALS BY ERIC’S DIVA FEVER ALL-STARS
THAT CONSISTS OF LEGENDS LIKE SHARON BROWN, PEGGI BLU, LINDA CLIFFORD,
WANDA DEE, CAROL DOUGLAS, TAANA GARDNER, THE EMOTIONS, LOLEATTA
HOLLOWAY, FONDA RAE, VALERIE SIMPSON (who also played the piano), YVONNE
TURNER, ALYSON WILLIAMS & CAROL WILLIAMS… & THEN I’VE GOT A
HUGE GAY PRIDE SONG I WROTE WITH ERIC CALLED; “PRIDE IN YOUR STRIDE”
FEATURING ADDITIONAL LEGENDS LIKE PEGGI BLU, CAROL DOUGLAS, TAANA
GARDNER, FONDA RAE, ALYSON WILLIAMS & CAROL WILLIAMS. https://youtu.be/eQG9kooddfk
How
did you end up working with The KLF, and what was your experience like
collaborating with them on “What Time Is Love?” and “Last Train to
Trancentral”?
did you end up working with The KLF, and what was your experience like
collaborating with them on “What Time Is Love?” and “Last Train to
Trancentral”?
ERIC!
ERIC! ERIC! HE DID IT ALL! STARTING WITH HIM ASKING ME TO GO BACK
INTO THE STUDIO BACK IN 1988 WHEN I RECORDED “TO THE BONE” &
INSISTED THAT WE FIRE UP THE ANALOG MIX @ 2AM IN THE MORNING, MUCH TO
THE CHAGRIN OF POOR ENGINEER JOHN AND ADD A TAG LINE / CALL TO THE DANCE
FLOOR; “I WANNA SEE YOU SWEAT”! PERSONALLY, I THOUGHT IT WAS CORNY AND
LACKLUSTER, BUT BECAUSE I “TRUST” ERIC FOR THE VISIONARY HE IS AND HAS
ALWAYS BEEN. AND THEN HE WENT ONE STEP FURTHER AND TOLD TUFF CITY
RECORDS CEO / OWNER, AARON FUCHS TO RELEASE A FULL ACCAPELLA MIX BEHIND
THE VOCAL & INSTRUMENTAL, AND IT WAS THAT SHEER ACT OF BRILLIANCE
THAT ALLOWED KLF PRODUCERS (years later) TO DERIVE CLEAN SAMPLES OF MY
VOICE ONTO THEIR FIRST 2 SINGLES FROM THE WHITE ROOM LP AS THE HOOKS ON
“WHAT TIME IS LOVE”? AND “LAST TRAIN TO TRANCENTRAL”
ERIC! ERIC! HE DID IT ALL! STARTING WITH HIM ASKING ME TO GO BACK
INTO THE STUDIO BACK IN 1988 WHEN I RECORDED “TO THE BONE” &
INSISTED THAT WE FIRE UP THE ANALOG MIX @ 2AM IN THE MORNING, MUCH TO
THE CHAGRIN OF POOR ENGINEER JOHN AND ADD A TAG LINE / CALL TO THE DANCE
FLOOR; “I WANNA SEE YOU SWEAT”! PERSONALLY, I THOUGHT IT WAS CORNY AND
LACKLUSTER, BUT BECAUSE I “TRUST” ERIC FOR THE VISIONARY HE IS AND HAS
ALWAYS BEEN. AND THEN HE WENT ONE STEP FURTHER AND TOLD TUFF CITY
RECORDS CEO / OWNER, AARON FUCHS TO RELEASE A FULL ACCAPELLA MIX BEHIND
THE VOCAL & INSTRUMENTAL, AND IT WAS THAT SHEER ACT OF BRILLIANCE
THAT ALLOWED KLF PRODUCERS (years later) TO DERIVE CLEAN SAMPLES OF MY
VOICE ONTO THEIR FIRST 2 SINGLES FROM THE WHITE ROOM LP AS THE HOOKS ON
“WHAT TIME IS LOVE”? AND “LAST TRAIN TO TRANCENTRAL”
ERIC
DISCOVERED THESE INITIAL 2 ILLEGAL SAMPLES OF BOTH MY ORIGINAL VOICE
AND PUBLISHING (since Eric & I co-wrote “To The Bone”), WHEN ON A
COLD DARK STORMY NIGHT WHILE AT HIS MOTHERS HOUSE IN McLEAN, VA, HE
HOPPED UP AT MIDNIGHT AND SAID; “I’M GONNA DRIVE INTO D.C. TO TRACKS
(the worlds largest gay club at the time, with a capacity of 10,000
people) AND GET YOU A GIG THERE. ONCE AGAIN, “TRUSTING” HIS AMAZING
INSTINCTS, HE DRIVES 45 MINUTES THROUGH THE RAIN & WIND, PARKS IN
THE TRACKS PARKING LOT AND HE HEADS TO THE DOOR, HE HEARS MY VOICE
BLARING OVER THIS KICK ASS EDM BEAT AS I’M WAILING “I WANNA SEE YOU
SWEAT”. HE GOES TO THE DJ BOOTH TO THANK THE DJ FOR THIS AMAZING MIX
AND THE DJ TELLS HIM; “I’M NOT MIXING ANYTHING… IT’S ALL HERE ON THIS
BLAZING NEW SINGLE OUT OF KLF COMMUNICATIONS LONDON AND WAX TRACK
RECORDS IN CHICAGO. ERIC READ THE SINGLES JACKET COVER THAT SAID “WANNA
SEE YOU SWEAT” COURTESY OF WANDA DEE. ERIC WAS HEATED BUT HOPEFUL!
DISCOVERED THESE INITIAL 2 ILLEGAL SAMPLES OF BOTH MY ORIGINAL VOICE
AND PUBLISHING (since Eric & I co-wrote “To The Bone”), WHEN ON A
COLD DARK STORMY NIGHT WHILE AT HIS MOTHERS HOUSE IN McLEAN, VA, HE
HOPPED UP AT MIDNIGHT AND SAID; “I’M GONNA DRIVE INTO D.C. TO TRACKS
(the worlds largest gay club at the time, with a capacity of 10,000
people) AND GET YOU A GIG THERE. ONCE AGAIN, “TRUSTING” HIS AMAZING
INSTINCTS, HE DRIVES 45 MINUTES THROUGH THE RAIN & WIND, PARKS IN
THE TRACKS PARKING LOT AND HE HEADS TO THE DOOR, HE HEARS MY VOICE
BLARING OVER THIS KICK ASS EDM BEAT AS I’M WAILING “I WANNA SEE YOU
SWEAT”. HE GOES TO THE DJ BOOTH TO THANK THE DJ FOR THIS AMAZING MIX
AND THE DJ TELLS HIM; “I’M NOT MIXING ANYTHING… IT’S ALL HERE ON THIS
BLAZING NEW SINGLE OUT OF KLF COMMUNICATIONS LONDON AND WAX TRACK
RECORDS IN CHICAGO. ERIC READ THE SINGLES JACKET COVER THAT SAID “WANNA
SEE YOU SWEAT” COURTESY OF WANDA DEE. ERIC WAS HEATED BUT HOPEFUL!
HE
CAME HOME @ 3AM, WOKE ME UP AND SAID; “WANDA THIS GROUP ILLEGALLY
SAMPLED YOUR VOICE ONTO THIS HOT NEW TRACK AND I’M ABOUT TO SUE THE
LIVING SHIT OUT OF THEM”. SO HE SHOWED ME THE FAX NUMBER HE COPIED FROM
THE SINGLE JACKET THAT THE DJ SHOWED HIM BACK AT THAT CLUB & HE
TYPED THEM A SEARING LETTER AND FAXED IT TO THEM (IT WAS 1990 & YES,
WE WERE STILL “FAXING” BACK THEN). BY THE TIME WE WOKE UP THE NEXT
DAY, THEY WERE CALLING HIM AND HE GOT ON THE PHONE WITH THEM AND LET
BILL & JIMMY (the producers) HAVE IT, ESPECIALLY AFTER HE FOUND OUT
MY VOICE WAS THE HOOK ON (2) TWO OF THEIR SONGS INITIALLY (“Last Train
To Trancentral”); SO BY THE TIME ERIC FINISHED WITH THEM HE HAD THEM
AGREE TO THE FOLLOWING RIGHT OFF THE BAT: (1) $100,000 PER TRACK (2)
1/3 OF ALL PUBLISHING (3) MUST STAR IN ALL THE MUSIC VIDEOS (4) ALL
EXPENSES PAID FIRST CLASS FLIGHTS / GROUND / HOTEL ACCOMMODATONS TO
LONDON TO FILM THE MUSIC VIDEOS @ PINEWOOD STUDIOS (5) ALL VIDEO CARDS
MUST READ ‘THE KLF featuring WANDA DEE’ (6) THEY MUST PRODUCE MY NEXT
SINGLE ENTITLED; “I DO AS I DAMN WELL PLEASE” (of which we paid to have
the 2 inch master reel sent over to them). THEY AGREED TO EVERYTHING
SO FAST, ERIC WISHED HE HAS ASKED FOR MORE. LOL!
CAME HOME @ 3AM, WOKE ME UP AND SAID; “WANDA THIS GROUP ILLEGALLY
SAMPLED YOUR VOICE ONTO THIS HOT NEW TRACK AND I’M ABOUT TO SUE THE
LIVING SHIT OUT OF THEM”. SO HE SHOWED ME THE FAX NUMBER HE COPIED FROM
THE SINGLE JACKET THAT THE DJ SHOWED HIM BACK AT THAT CLUB & HE
TYPED THEM A SEARING LETTER AND FAXED IT TO THEM (IT WAS 1990 & YES,
WE WERE STILL “FAXING” BACK THEN). BY THE TIME WE WOKE UP THE NEXT
DAY, THEY WERE CALLING HIM AND HE GOT ON THE PHONE WITH THEM AND LET
BILL & JIMMY (the producers) HAVE IT, ESPECIALLY AFTER HE FOUND OUT
MY VOICE WAS THE HOOK ON (2) TWO OF THEIR SONGS INITIALLY (“Last Train
To Trancentral”); SO BY THE TIME ERIC FINISHED WITH THEM HE HAD THEM
AGREE TO THE FOLLOWING RIGHT OFF THE BAT: (1) $100,000 PER TRACK (2)
1/3 OF ALL PUBLISHING (3) MUST STAR IN ALL THE MUSIC VIDEOS (4) ALL
EXPENSES PAID FIRST CLASS FLIGHTS / GROUND / HOTEL ACCOMMODATONS TO
LONDON TO FILM THE MUSIC VIDEOS @ PINEWOOD STUDIOS (5) ALL VIDEO CARDS
MUST READ ‘THE KLF featuring WANDA DEE’ (6) THEY MUST PRODUCE MY NEXT
SINGLE ENTITLED; “I DO AS I DAMN WELL PLEASE” (of which we paid to have
the 2 inch master reel sent over to them). THEY AGREED TO EVERYTHING
SO FAST, ERIC WISHED HE HAS ASKED FOR MORE. LOL!
NOTE:
CLIVE DAVIS REFUSED TO SIGN KLF TO ARISTA / BMG UNTIL THEY “FIND WANDA
DEE & SETTLE WITH HER”; SO IT TURNS OUT THAT THEY WERE LOOKING FOR
ME JUST AS MUCH AS WE WERE LOOKING FOR THEM. IT WAS AT THIS TIME THAT
ME, ERIC & OUR HAIR / MAKE UP PERSON, THE LATE GREAT GERARD DURE’
WERE FLOWN OVER FIRST CLASS TO LONDON TO RECORD THE VIDEOS AT THE
LEGENDARY PINEWOOD STUDIOS (JAMES BOND / ROBIN HOOD / MISSION IMPOSSIBLE
/ BATMAN / ALIEN). IN FACT, WHEN I WAS ATOP THE GIANT PYRAMID, I
NOTICED WAY ACROSS THE SOUNDSTAGE, A BALD HEADED SIGOURNEY WEAVER CLAD
IN A METALLIC SILVER SUIT, OTHER BALD HEADED ACTORS DRESSED IN THE SAME
ATTIRE BRANDISHING FLAME SHOOTERS & THREE 7 FOOT ALIEN CREATURES
CAME RUNNING ONTO OUR SET OF “WHAT TIME IS LOVE”? BECAUSE THEY HAD
ACCIDENTALLY SET THEIR SET ON FIRE. https://youtu.be/sCBZBzuxVd0
CLIVE DAVIS REFUSED TO SIGN KLF TO ARISTA / BMG UNTIL THEY “FIND WANDA
DEE & SETTLE WITH HER”; SO IT TURNS OUT THAT THEY WERE LOOKING FOR
ME JUST AS MUCH AS WE WERE LOOKING FOR THEM. IT WAS AT THIS TIME THAT
ME, ERIC & OUR HAIR / MAKE UP PERSON, THE LATE GREAT GERARD DURE’
WERE FLOWN OVER FIRST CLASS TO LONDON TO RECORD THE VIDEOS AT THE
LEGENDARY PINEWOOD STUDIOS (JAMES BOND / ROBIN HOOD / MISSION IMPOSSIBLE
/ BATMAN / ALIEN). IN FACT, WHEN I WAS ATOP THE GIANT PYRAMID, I
NOTICED WAY ACROSS THE SOUNDSTAGE, A BALD HEADED SIGOURNEY WEAVER CLAD
IN A METALLIC SILVER SUIT, OTHER BALD HEADED ACTORS DRESSED IN THE SAME
ATTIRE BRANDISHING FLAME SHOOTERS & THREE 7 FOOT ALIEN CREATURES
CAME RUNNING ONTO OUR SET OF “WHAT TIME IS LOVE”? BECAUSE THEY HAD
ACCIDENTALLY SET THEIR SET ON FIRE. https://youtu.be/sCBZBzuxVd0
