March 3, 2025 • 37 mins
Angie Stone
(Dec 18, 1961 - Mar 1, 2025)
Cari pays tribute to the late Angie Stone, reflecting on her legacy and contributions to music. Angie discusses her latest album, the rapid creation process, and her pioneering role in the hip-hop and R&B genres with her group Sequence. She shares insights into her songwriting process, collaborations with artists like D'Angelo, and the challenges of transitioning from a writer to a performer. The discussion also touches on her experiences in acting, memorable roles, and future aspirations, including her desire to create opportunities for upcoming artists.
Angie Stone has consistently created art that aligns with her soul, black love, and culture and will certainly be missed.
Connect: @carichampion @theangiestone
Learn More: TheAngieStone.com
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
Welcome to Naked Sports, the podcast where we live at
the intersection of sports, politics, and culture. Our purpose reveal
the common threads that bind them all.
Speaker 2 (00:12):
So what's happening in women's basketball right now is what
we've been trying to get to for almost thirty years.
Speaker 1 (00:19):
From the stadiums where athletes break barriers and set records.
Kami part broke the all time single game assist record.
Speaker 3 (00:26):
This is crazy for rookies to be doing.
Speaker 1 (00:28):
Our discussions will uncover the vital connections between these realms
and the community we create. In each episode, we'll sit
down with athletes, political analysts, and culture critics because at
the core of it all, how we see one issue
shines the light on all others. Welcome to Naked Sports.
I'm your host, Carrie Champion. Hey, family, thank you so
(00:55):
much for tuning in to Naked Sports. I want to
get a little housekeeping out of the way. You all
know that we were nominated for an NAACP Award. Let
me get that out, an n DOUBACP Award for Best Podcast, Sports,
Arts and Entertainment. That's a big category as opposed to
(01:16):
just best Sports Podcast. But we did not win. Oh
it's so disappointed, but I was really, really, and I
mean this from the bottom of my heart, truly honored
to be nominated and thought of. And on top of that,
I had a beautiful weekend, Awards weekend with the NAACP family.
(01:37):
There were so many different beautiful events and it just
felt good to be around the culture and honoring the culture.
Everybody was moisturized, the melanin was popping. It was a very,
very beautiful week. We then did the Essence Awards. No,
well that's not true. We went to the Essence Black
Women in Hollywood Brunch. I call it awards because you know,
(01:59):
the sisters showing up. It wasn't a war though. We
were honoring luminaries within the culture and it was just
a wonderful week. And then as we wrap up the
week of awards and special dresses and gowns, there was
this crazy news that came across for everyone. I know
you may have heard, and if you haven't, I'm here
(02:20):
to tell you about Angie Stone. She was killed in
a wreck. Apparently she was returning from a performance and
she was heading to Atlanta, that's home for her, and
the sprinter that she was in flipped over and was
hit by a big rig. I don't know the particulars.
(02:40):
It was just a few statements being released. Not much
information was available, and you can't trust everything you read
on the web, and so I really truly was shocked
to hear it. I woke up and I thought, Wow,
just another reminder of how precious life is. But it
also made me think about the last time we were
(03:01):
in conversation with Angie right here on this podcast, and
for me, this is a way to honor her memory
and really truly appreciate what she gave us in the culture.
Some great music, some great stories, some good love songs,
you know, some good love songs. And I wanted to
say thank you, Angie. I know I am sending nothing
(03:22):
but love and healing to your family, and may you
please rest in peace. Naked family join me and honoring
her memory by listening to this edition of Naked Sports.
We appreciate you so much, Andie, so thank you so
much for joining Naked I really appreciate this. It is
(03:45):
a podcast where I get to interview people that I admire,
I enjoy, that are doing amazing things. And it just
so happens that you have most recently released I believe
it's your tenth solo album. I'm making sure it's the tenth.
I'm wanting it great. Tell us about your latest project,
(04:05):
and more importantly, congratulations.
Speaker 4 (04:08):
Thank you, Thank you first of all guys for having
this project is one that I really was not anticipating. However,
we did it, turned it around in a two week span,
worked very hard, very quick, very hard, and really you
(04:29):
know when we were. When I work under that kind
of pressure, that's kind of when the best stuff comes
out because you have no time to screw it up.
You got to get it right or you know. So,
I'll say, along with Candice Bathe, more Teak Underdo, Walter
Reel Sap, and quite a few other producers, we turned
(04:50):
out some really dope songs that make for a very
consistent album. So I'm in a good place with this project.
Oh good for you, But I want to make sure
I heard you correctly. You turned it around in two weeks.
How does that happen?
Speaker 5 (05:04):
Turn it?
Speaker 1 (05:04):
And I could imagine you have a bevy of songs,
or you've written so much. I know that it might
just come now.
Speaker 5 (05:10):
The sound that you hear is what we worked on.
Speaker 4 (05:12):
Maybe two didn't make the project because we just ran
out of time and couldn't finish something. But we had
exactly two weeks my manager Fleu in town. We were
in the studio for upteen hours during one two songs
a night sometimes just to finish the album two weeks,
so it was a flat two weeks.
Speaker 1 (05:35):
Wow, that's impressive. But you have very much created a
name for yourself in terms of who you've worked with
in this industry. You've written, you've you've been an actor,
You've had your solo projects that you were a part of.
From my understanding, the very first hip hop R and
(05:56):
B group in Sequence signed to sugar Hill. Tell me,
if you don't mind, just go back to the genesis
of it all. Tell me about Sequence and how that
all came about.
Speaker 4 (06:06):
My Sequence is myself, my partner, Blondie, and Charlott cearl
who were all high school friends in neighborhood, sisters that
hung out together, ended up going the club's part cheerleaders
did a lot of things together and as a result
of hanging out with you besties on a regular basis,
(06:29):
we started to create this stuff because as cheerleaders, we
were constantly writing rhymes and you know what was effectually
known as cheers back then turned into rap music. I
guess New York called it rap. We call it cheers
and competition. We won quite a few contests in South Carolina.
Speaker 5 (06:49):
For having the best hiers. Our cheers were rhyme and
madic pretty much.
Speaker 4 (06:54):
Yo was a song that we created that had a hook,
which was a melodic of chorus, and we add individual
raps to it, which coined the phrase. You know, y'all
could say R and B hip hop or how you
want to call it, but we added singing to hip
hop and as a result, it changed the narrative overall.
Speaker 5 (07:17):
So as a result, I.
Speaker 4 (07:18):
Believe that hip hop grew wings and I went to
the next generation as something that was getting stronger, growing bigger,
and spreading broader, and as a result, you know, it's
what you have today. So it's all often a lot
of controversy on who was the first to do what,
(07:39):
but I think that everybody had a first moment in
their life and their career. We just happened to be
the only felale hip hop that had an original rap
record at the time that came out and set the
tolls of the R and B ladies that followed.
Speaker 1 (07:57):
You said, It was a cheer, and any black girl
knows like you've been like when you cheer. I never
ever thought, because I was a cheerleader, especially for Pop Warner,
I would have never considered a rap. But that's exactly
what it was. It was right cheer.
Speaker 4 (08:12):
Punk you up was a cheer that we're gonna blow
you right on out. We're gonna blow you right on up.
Get up, get up, get up, get up back now.
Speaker 5 (08:20):
It was a cheer. And then we said funk you
right on Upunk.
Speaker 4 (08:25):
That channeled to a song calling a delic what's happened
to be the hottest group in time? And the word
falk was wiggie and phone those were the words back.
Speaker 5 (08:34):
In the day. So we used to follock you up.
Speaker 1 (08:37):
I love it, I love it all. And then outside
of that, that's establishing yourself in a world where you
are a pioneer. People are respecting your voice, your sound.
I I'd like to know more about the writing of it,
because I've read in my research that you felt like
writing and acting in poetry was your first love and
(09:00):
singing was.
Speaker 4 (09:01):
Yeah, that was coming that well. You know, as an
English major, I loved the English anciently write pins and rhymes.
I think we all did part of what we became
as hip hop that you had to be able to
write your rhymes and all of that. That was something
that we did at sugar Hill Records. We as a
group where we went there, we started to form songs
(09:23):
for the sugar Hill Gang, for the sequence for the
West Street Mob.
Speaker 5 (09:27):
A lot of what you hear from that early days.
Speaker 4 (09:31):
Of hip hop, a lot of it was written by
the sequence Apache Eighth Wonder and West East Mob Less Stands.
All those songs were coined by Blondie shrilling myself.
Speaker 1 (09:45):
Wow, Wow, that's powerful. And you say it so matter
of factly, like you like, yeah, just tomorrow, But that
is powerful. If you look at the industry today, do
you see your influence still?
Speaker 4 (09:59):
Well, I want to look at the NGSC definitely see
our influence. When Lauren Hill came about, that was the
greatest compliment that we could have got it because she
took roberta flax sol Is, she fused it with hip hop,
and she took the actual body of hip hop and
singing and married them together to make one of the
(10:21):
greatest rat records.
Speaker 5 (10:22):
Ever made about female ever. And that was following the
trend that we had already said now.
Speaker 1 (10:28):
And shout out to Lauryn Hill, who performed most recently
at the Roots Picnic. It was a beautiful reunion. I'm
one of the legends of our time in a voice
that narrates many of our lifestyles. You yeah, like, let
me tell you about Brown Sugar.
Speaker 3 (10:44):
I want to know.
Speaker 1 (10:45):
I want to know all that you wrote with DiAngelo,
because Brown Sugar I remember it changing by game, you
know what I mean, Like for everybody, I was like, well,
what is this we're listening to? I remember a bunch
of me and my friends jumped into a car and
tried to go down to the local radio station just
to meet DiAngelo because this music was so soulful. It
(11:09):
spoke to our spirit and I'm like, oh, my girl
wrote as if we're best friends songs here.
Speaker 4 (11:14):
It's folk funder because d' angelo, uh, just just a
credit to himself, his brother Luther Archer, and the Angelo
was primarily responsible for writing a lot of Brown Sugar.
As a matter of fact, when I met D'Angelo, I
was infused with that whole vibe because we were excited
(11:36):
to work with each other. I ended up writing Jones
and my bones on that first out, So you know,
every Day was a song that I wrote. Die was
a song that I wrote with him. More accordingly, I
got to work very closely with him in the studio
when he was cruising. When we get by song that
(12:00):
would embody a presence, energy, a vibe. We went on
to do the next hour and I did a Spanish joint.
I did a Great Day in the Morning. I did Africa,
I did send it on. You know, these are the
songs that I were writing with him when he started
(12:21):
to evolve and people started to look for what was next.
We grew up Great Day in the Morning. Like I said,
We went on to do play for the cartoon soundtrack
with Michael Jordan, with Bugs, Buddy and all of them.
It was just a plethora of opportunities to do stuff,
(12:44):
and it was hard to do Vertical Hole, which was
my D'Angelo and and whatever else they had for me
slate to do.
Speaker 5 (12:53):
I was spreading myself for then.
Speaker 4 (12:55):
I had worked on Canther, I had worked with Usher
and Monica on this reading it out of me the soundtrack,
so I was kind of being pulled to and fro
at a time when you know, music was evolving in
a whole nother way, and we're just grateful that I
was factored into that whole neo soul by But I
(13:17):
have to give credit where credit and do Luther Archer
and D'Angelo, who are brothers. They did the soundtrack of
Jason's lyric. You will know we came right behind that
and did a Freedom for the Joy with girls all
the women, So you know I was part that whole movement.
(13:40):
And Raphaelsa did you know there was a handful of
us that kind of played in that playground together. So
but it's safe to say the Angelo was pretty pretty
formed and well shaped by the time I met him.
I would only enhance when he was already do.
Speaker 1 (14:00):
Let me ask you a question when you write, and
we'll get into obviously your solo career, But when you write,
what do you Where do you go to write? What
is the mood? What is the occasion? How do you
do it?
Speaker 4 (14:15):
When I write, I go to the core of my
only emotion, because anything that you do is attached to
an emotion. Be a good, better, Indifferent in emotion, nonetheless,
is what fuse the fire. If you're angry, you can
write some for my angry stance because you pull from
(14:37):
that end. And just like being an active in order
to get great, you have to cry at will.
Speaker 5 (14:42):
If you can cuiet wills because.
Speaker 4 (14:44):
You're able to internalize pain to the point that you
can tap in on what it is you're trying to
get to. It is the same process with the writing,
and you can tap into what it is you're trying to.
Speaker 1 (15:00):
So wait, So does do they come to you and say,
and I'll use the angel as an example, Hi, I
need some dope neo soul music and only you can
do it. Or is it like I need a love
song to tell the ladies how I feel? Or what?
What is the directive? I'm curious.
Speaker 4 (15:18):
Okay, there is no real direction on what you need.
More than likely people think when they hear one hit
song ninety nine its songs from that same person because
the one whenever you open and matter be touched in paper,
it's gonna come out break. That is not the case. Okay,
sometimes it does and sometimes it doesn't. But normally when
(15:40):
they say and I need you to write a song, okay,
it all depends on who the groundworkers lay. You get
in a track that it moves me in a certain way.
I can write something in a certain way. But if
you if you got one element working and then the
other element not working, it's gonna be a sale marriage.
Speaker 5 (15:57):
If that makes it assist, it has to be a
work up of marriage.
Speaker 4 (16:02):
It's almost virtually impossible to take a good track and
make it dope. Oh wow, now you got a really
dope track. It's easy. But if you don't have a
dope track, you can't make something dood dope.
Speaker 1 (16:15):
Yeah, you're like, I don't think it can't work that
kind of magic. So then you are a solo artist
and you have a career and you are your own.
And I always find it interesting I think of artists
like even a Missy Elliott for that matter, who was like,
I never really wanted to be in front of the camera.
(16:36):
I only wanted to write. And Sylvia Ron said to me, right,
I mean be in front of the camera. When you
become an artist and everything is about you, what is different?
What is different than being the writer when you're performing.
Speaker 4 (16:52):
Well, when you become the artist, you become an anime,
become a character. You put yourself in a position that okay,
I'm stepping out of being who I was born to
be like a regular first. Now I've got to put
on this persona that I am greater than life. And
the reason I say that is because you know, when
(17:12):
you dream of being a superstar, you have an envision
in your mind that superstar sways her arms out. If
you're a dancer, you kick your legs out and you
do that. You know, well, it's all in the interpretation
of what you feel that a star is. Then there's
some people you know who is social is like Beyonce.
(17:32):
When she wants to go there, she has to go
into this whole you know. Animated characterisic characterization that allows
you to believe that she's somebody different. So you know,
for an artist, that's just somebody that is feeling good
about themselves.
Speaker 5 (17:50):
You lose yourself and your gift.
Speaker 4 (17:52):
And when you do that, you kind of just explode
because now you're able to act alive, able to act out,
you're able to personifide this thing it says, this is
how I want you to sing. If I want to
be down down ross the balls, I want to give
you that energy that I am in charge God to
(18:13):
the yard. So I love it's all a part of
your persona. I love it you act out the persona
that you are. I love that.
Speaker 1 (18:19):
That is so true for anybody who's performing, whether you're
a singer or not. Okay, you know what time it is,
pay bills. That is what we have to do. What
you can do is fast forward past the commercials because
I know there are plenty hit that that fifteen or
thirty second forward button and we'll be right back with
Angie Stone.
Speaker 2 (18:38):
Every champion and Kerry champions to be a champion, a champion,
and carry champion and carry chappy out a champion and
carry champion and carry champion.
Speaker 3 (18:46):
Greats and entertainment can make it work.
Speaker 2 (18:55):
Kerry Champion and carry champion is to be a champion,
a champion and carry nigger chion, the carey SHEPPI and
the kerried.
Speaker 3 (19:03):
She working on.
Speaker 1 (19:07):
Angie Stone's still here with us talking to me about
the difference. Very few, I think, but the difference between
being a singer performer and an actress performer. I hope
you all enjoy. Angie Stone. I read and you can
tell me if this is true or not. Clive Davis,
(19:27):
when you guys work together, Clive had what is now
a hit, a hit record or a hit single, uh,
he wanted to put this hit single on one of
on your album and you didn't like it. What tell
me how that goes? How do we collaborate and decide?
All right, fine, all right, Clive, I'm going to listen
to you, and I don't really like this though, Well
(19:48):
that's kind of me.
Speaker 4 (19:49):
If I don't like it, I'm gonna be painfully honest.
I didn't like the song, one of the songs on
this album. And you know what's almost like for me
when I say I don't like something, everybody gassed up
because when they know it's a hit. I would like
the song because I was finished my album. This was
(20:10):
I was getting ready to wrap and mix and master
the album in five oth and you know I found
the song that you have to I'm like, I don't
want to give a more song.
Speaker 5 (20:19):
I done my album. I'm done.
Speaker 4 (20:21):
So when he played, I said, I don't even like
the song. It was a wish I didn't miss you,
And he was like, and you have to do the song,
and I just said not, I want to do the song,
not so much because I didn't like it.
Speaker 5 (20:33):
I wasn't that fond of it.
Speaker 4 (20:34):
But I was done with my album, like why are
you making me go and do another song. I just
wanted it to be done already. Yeah, say any thing
with this album. I didn't want to do kiss You,
kiss You, and they like. I said, my manager, Walter,
really don't want to do the song, and he said,
edgic all the reason more.
Speaker 5 (20:53):
Now you gotta do the song.
Speaker 4 (20:55):
I said, please, I'm going to tell you. I had
a long sit down with it Ben and I feeling
the song. And he said, okay, just Julia favor, just
finish the song for me. And I'm like, but I don't.
I really don't like the song. And I mean I
was dead serious. Uh, and he told me. He says, okay,
I get it. If you don't like it, why it's over.
(21:17):
I'll take it off a junior paper, go in there
and nil let it record.
Speaker 5 (21:21):
Just do that. And I said, all right. It was
like pulling teeth.
Speaker 4 (21:25):
I finally got that uh ooh boy it and see
I was so outdone with that part.
Speaker 5 (21:32):
Who way you ooh boy ye?
Speaker 4 (21:34):
And he says, why don't you like? I said, I
just hate that ooh boy yuh, because that's not what
I will say. And uh, they laughed at me and
laughed at me. So when they dropped a single, and
when I first played Girls in the back of the car,
It's like, oh, ITCHI that's my favorite, that's my favorite.
And I looked around like you got it.
Speaker 5 (21:58):
I was like, you a guy to be kidding.
Speaker 4 (22:01):
So I called up my man and I said this
and that this, and he just bust out laugh He said,
you waited to see what happened and.
Speaker 5 (22:08):
Lowering the hold.
Speaker 4 (22:10):
Everybody was going bananas over kiss you, kiss you, kish you?
Speaker 1 (22:14):
What does that say?
Speaker 5 (22:15):
It moves that when I say it's a bad record,
it just a hit record.
Speaker 1 (22:21):
I don't know how I feel about that.
Speaker 5 (22:23):
I have it.
Speaker 1 (22:23):
I can't process that because I would think as an artist,
you would know what's going to work.
Speaker 4 (22:31):
I think I know, but I did. I absolutely love
good Man and I had I was like, okay, y'all
can pick all of this, but I love and this
is what I wouldn't do. And they're looking at him like,
oh hell, now it's proven that. Wait a man, she
might be right. Okay, wait a minute, what the man
just went for a million this and that and no other.
(22:53):
I'm like, but I know what I'm doing.
Speaker 5 (22:56):
Sometimes, yes, I probably didn't. I don't like a record
doesn't mean it's a bad record.
Speaker 4 (23:02):
It just means that you might want to give it
a second thought because she said she don't like it.
Speaker 1 (23:08):
Probably, Oh that is That really is funny. The irony
of what it's the truth?
Speaker 5 (23:13):
And you ask anybody and I can't. They will tell.
Speaker 1 (23:15):
You it's something to being maybe I don't even know
what it is. I want to say, maybe being a
little too critical on yourself. I couldn't quite describe it.
Speaker 3 (23:26):
I do.
Speaker 5 (23:26):
Oh yeah, yeah, I am that.
Speaker 1 (23:28):
You're hard on yourself, right.
Speaker 5 (23:31):
I hate it every vocal on this album.
Speaker 4 (23:36):
I knit it was about the cry didn't want to
put a record out because I thought I sounded like
crab And I'm like, I'm just not there anymore?
Speaker 5 (23:44):
Why do I? And now I can't.
Speaker 4 (23:48):
I'm laying it over and over because I'm like, you know,
my song was even looking at me crazy and I'm like,
I can't like this vocal now he said, I know
me too, So they kind of grew on us.
Speaker 1 (24:01):
Yeah, it takes a while, but I will say that
speaking of your son, he is a rapper and is
that correct me? If I'm wrong, this is the son
you have with D'Angelo and he is on the current album.
Speaker 4 (24:12):
Correct, Yeah, he's dope though he got it all stuff
and he's bananas what okay?
Speaker 1 (24:19):
So how does that work? Does he come in into
a feature? Is he sitting in studio with you? Or
he already writes it.
Speaker 5 (24:25):
In the studio?
Speaker 4 (24:26):
See, he was in the studio, took wing over there
and my manner and Mike can he put a verse
on this for me? And he wrote it and did
it and wanted to take didn't he ask me? And
one that made it up for me? He was already
on it out like okay.
Speaker 1 (24:47):
I love that. Well, congratulations for your artists. That is special.
That is really special. And it's always nice to see
that it's in the DNA, right and it finds in
different ways. That is an accomplished I know you must
be proud.
Speaker 3 (25:02):
Are you?
Speaker 1 (25:03):
Can I talk to you about acting because you spend
some time on Broadway, which I feel is and I
go back and forth between New York and LA and
every time I go to Broadway or I watch a play,
I'm like, that is so difficult. I could not imagine.
Is there anything difference between acting and singing? For you?
Which one is more difficult.
Speaker 5 (25:25):
Well, it all depends on the script. The role.
Speaker 4 (25:30):
Singing is obviously easier because I've had a whole lot
more experience with that, and each time where you add
a melody to a lyric, the memory is lot and loaded. Acting,
on the other hand, is all memory. You have got
to really put your mind to work. I did uh
(25:54):
the uh what's the play women of Color?
Speaker 5 (25:59):
Oh?
Speaker 4 (25:59):
God, I can't think of the Oprah Winfrey colored wind Color. Yeah,
I did that now, it was Missus Purple. And it
was written so difficult. I honestly didn't think.
Speaker 5 (26:13):
I could pull it off.
Speaker 4 (26:14):
And when I pulled that off, I knew I was
ready for the same. It was so intricate and difficult.
It was almost like something I never seen, like Shakespeare,
and I had to actually memorize like these all these lines.
(26:36):
I just finished a series called Whole Things H T
A U X that's on True TV. That's actually good.
And of course you've seen me on in the cut.
Speaker 5 (26:47):
Of Girl Friends. I've done quite a few movies.
Speaker 4 (26:51):
So it's kind of fun when you have to create
a new character that is not you. Most of the
characters lady, if people want me to add my sense
of humor.
Speaker 5 (27:05):
To it, which is easy.
Speaker 4 (27:07):
But you know, uh, try getting a character that does
not embody your sense of humor and you've got to
really create a role for this person.
Speaker 1 (27:17):
It's difficult, Yeah.
Speaker 5 (27:18):
But it's because if you can master that that.
Speaker 2 (27:22):
Every champion and Kerry champions to be a champion, a
champion and Kerry Champion and carry chat be out a
champion and carry Champion and carry.
Speaker 3 (27:30):
Champion entertainment and naked weirder.
Speaker 2 (27:38):
Kerry Champion and carry champions to be a champion, a
champion and carry champion Champion and carry Champion and carry Champion.
Speaker 3 (27:48):
Entertainment, get naked word.
Speaker 1 (27:50):
Have you ever done a project you talk about Shakespeare?
I listen in college, I too was an English major,
and they used to try to make us recite Shakespeare.
I was like, I don't have it. I didn't do
well in that class barely c C class linus whatever
it was I had. But have you ever done something
in terms of your acting career and said this is
(28:12):
this is excellent because it's hard for people who are
very creative and very talented and ambitious to step outside
of what they did and said that I did that.
Is there a project that you worked on and was like,
I did that.
Speaker 5 (28:27):
Yeah, I mean I thought I did.
Speaker 4 (28:33):
When I did Show Girlfriends, I was I played a
character called Dalla Mason. I think that I nailed it
right on the edge. I thought it was brilliant. I
think the one that I did for Color Girls Is
was phenomenal.
Speaker 1 (28:52):
Yeah.
Speaker 5 (28:55):
It was just.
Speaker 4 (28:58):
And a very art see piece of work that you know,
everybody had to be on the point. I worked with
Robin Gibbons, and you know it was just an intense
script and you really had to be focused to pull
it off. And I studied real hard and maybe it
(29:19):
happen so good for you? I mean first person though,
if I feel like a script demanding thing that unable
to give out, yeah, yeah, like I'm anna say I
don't like something I really want to do, but like
a blue dropped the ball, I want audition for it.
Speaker 1 (29:37):
Good for you?
Speaker 4 (29:38):
Now, what Tavia Spencer used to read for when I
lived in California, She and I used to be neck
and neck at all of our auditions. It was myself,
Olivia and it was someone else's. So the minute I
left California uh and moved back South O, Niviya got
(30:02):
the best role of her life, and that was the
one she played with. She had the pie uh huh,
and she had arrived her her or break came and
I'm like.
Speaker 5 (30:16):
That point role, you know.
Speaker 4 (30:18):
But I mean it was good to see her get
there because every time I went to audition, I was like,
oh wow, I gotta go up against Octavia Spencer. Oh
god again again again. It was that kind of thing,
you know. So it was one of those tactics where
I was in great company and I used to get
called to read for stuff like that.
Speaker 1 (30:39):
How amazing is that? And by the way, that is true,
they bring the same person out. You're like, now you again?
Do I have to keep seeing you everywhere?
Speaker 5 (30:46):
Yeah? Was it like that? Well, I I'm sorry.
Speaker 1 (30:50):
No, I was gonna say, was it like that when
you ran into her an audition room?
Speaker 3 (30:54):
Yeah?
Speaker 4 (30:54):
Because I knew anything that she was anytime she was there,
we were both reading for.
Speaker 5 (30:58):
The same part.
Speaker 1 (31:00):
I hate Hollywood, so I'd be.
Speaker 4 (31:01):
Like, but it makes me that if I staying, I
probably would have wound up with her luck. I probably
eventually got a role that she no longer had an
audition for that they would have needed a new face
for and they were to see it. Let's try Andy
Ston that far. I was actually supposed to get a.
Speaker 3 (31:23):
Role that.
Speaker 4 (31:27):
Played a woman from Ghana that Iris Elba was in.
Jill Scott ended up getting the role, and I remember
it was coming to me and saying, you need to
check your team because Anthony, the guy that ended up
passing away the producer, uh, he let me know that
(31:47):
the role was yours. He had told him he really
wanted me to have the role. And Jill ended up
getting it because her team was just a little bit
more aggressive than mine and they fought. Whereas I had
very limited team players, she had a bunch of people
that were red in her corner. Shout out in Jill Scott. Yeah, yeah,
(32:08):
a lot of people that were in her corner and
they just charity that great is it?
Speaker 5 (32:12):
So as a result, she ended up getting that role.
Do you think that.
Speaker 1 (32:19):
I don't know what else there is in terms of
for you to do, But when you get to a
point of your career where you've had success and you
maintain and you have established yourself, what would it be
a next I'd like to try that? Or what would
be the next get that you want? Would you want
(32:39):
to come back to La and really go hard at acting.
Is there something that's out there in the ether that
you're waiting to grab?
Speaker 4 (32:48):
Well, my next is you know, if I had my way,
I would want to be like Harol Burnett because I
think that fascinating. She's probably one of the most creative
women in the game. I love the fact that she
ran her own ship, she had her own show, she
(33:10):
trusted her own jokes, and I just feel like I'm
a leader like that. I want to be in a
position where I can drive the car. I think being
a visionary is key. Of course, I would love to
come back to LA, but I would love to push
my own show, and I'd like to see other people
when I don't necessarily have to be in it for
(33:31):
a part of it, but I really would like to see,
you know, other people come up because I know it's
a lot of child with people just don't sure.
Speaker 5 (33:42):
They don't get the break.
Speaker 1 (33:44):
It's a tough it's a tough game. It's a tough
game out here in LA. It's a tough game. Okay.
So for everyone who wants to go out and support
your latest project, how do they find it? You can
get it on Apple.
Speaker 4 (33:56):
One, Yeah, all platform b and the right one is
me with the black hat, you know. And then I
got one with my hands like this on my face.
That is the Instagram poster. That is the real angistone.
All the old ones connected to old labels of people
(34:16):
that won't give up the hamph so they're confusing the issue.
Speaker 5 (34:20):
But the latest ones up one.
Speaker 1 (34:25):
Yes, okay, with your hand.
Speaker 5 (34:26):
B A N G, I E.
Speaker 4 (34:29):
S C O and the the Angie stone all platforsts
hands are your face let me know, okay, got it?
I want to make sure because my producer, Jacqueses will
make sure that we put all that out there. Is
there anything else we should be promoting. I want to
thank you for your time. I know you have had
a day, so I wanted to.
Speaker 5 (34:46):
Get you in Ho's okay, I got I got a
few more to go.
Speaker 4 (34:49):
But all I just want to make sure that everybody
knows is that I'm working on my foundation which is
called Angel Stripes.
Speaker 5 (34:57):
And what I do is I.
Speaker 4 (34:59):
Help cultiveately people, infants, homeless families and infants. I make
a gift care packages. Our team of people be going
around to the senior citizens, volunteering our time, making sure
that they're okay. Entertaining them and just loving on them.
(35:19):
I also have a hot sauce that's coming out for
brother Man Tacos that I'm doing with young man by
the name of Randy.
Speaker 5 (35:29):
I'm excited about it. The hot sauce.
Speaker 4 (35:31):
It's called four hundred degrees and that's how four hundred
years we've been over Africa. So the hot sauce is
a blekay. And now the last thing that I'm working
on is a television show or a streaming network called
House of Flay that I'm co hosting with a music
(35:52):
soul Child, where we gicking young and upcoming artists the
opportunity to get out there and be seen and uh,
you know, hopefully get their gifts acknowledge by the world
and correct me.
Speaker 1 (36:05):
If I'm wrong. Give music so Chi'll work on this latest.
Speaker 5 (36:08):
Album with you. Music so Child worked on the single
The Gem with me.
Speaker 1 (36:13):
Okay, I love him. I saw him performed in my
friend's wedding.
Speaker 5 (36:17):
All incredible, incredible, incredible.
Speaker 1 (36:21):
I love this Andree Stone, You're a legend. You are
a trailblazer and you are soul so I appreciate you.
Thank you so much, and you look amazing, don't you
ever forget that either.
Speaker 5 (36:32):
Oh wow, thank you so much.
Speaker 1 (36:34):
Yeah, it's a pleasure. Thank you.
Speaker 5 (36:37):
I appreciate you guys so much. You're welcome, so pretty.
I appreciate you.
Speaker 1 (36:43):
Naked Sports written and executive produced by me Carrie Champion,
produced by Jock Pece Thomas, sound designed and mastered by
Dwayne Crawford. Naked Sports is a part of the Black
Effect podcast network in iHeartMedia
Welcome to Naked Sports, the podcast where we live at
the intersection of sports, politics, and culture. Our purpose reveal
the common threads that bind them all.
Speaker 2 (00:12):
So what's happening in women's basketball right now is what
we've been trying to get to for almost thirty years.
Speaker 1 (00:19):
From the stadiums where athletes break barriers and set records.
Kami part broke the all time single game assist record.
Speaker 3 (00:26):
This is crazy for rookies to be doing.
Speaker 1 (00:28):
Our discussions will uncover the vital connections between these realms
and the community we create. In each episode, we'll sit
down with athletes, political analysts, and culture critics because at
the core of it all, how we see one issue
shines the light on all others. Welcome to Naked Sports.
I'm your host, Carrie Champion. Hey, family, thank you so
(00:55):
much for tuning in to Naked Sports. I want to
get a little housekeeping out of the way. You all
know that we were nominated for an NAACP Award. Let
me get that out, an n DOUBACP Award for Best Podcast, Sports,
Arts and Entertainment. That's a big category as opposed to
(01:16):
just best Sports Podcast. But we did not win. Oh
it's so disappointed, but I was really, really, and I
mean this from the bottom of my heart, truly honored
to be nominated and thought of. And on top of that,
I had a beautiful weekend, Awards weekend with the NAACP family.
(01:37):
There were so many different beautiful events and it just
felt good to be around the culture and honoring the culture.
Everybody was moisturized, the melanin was popping. It was a very,
very beautiful week. We then did the Essence Awards. No,
well that's not true. We went to the Essence Black
Women in Hollywood Brunch. I call it awards because you know,
(01:59):
the sisters showing up. It wasn't a war though. We
were honoring luminaries within the culture and it was just
a wonderful week. And then as we wrap up the
week of awards and special dresses and gowns, there was
this crazy news that came across for everyone. I know
you may have heard, and if you haven't, I'm here
(02:20):
to tell you about Angie Stone. She was killed in
a wreck. Apparently she was returning from a performance and
she was heading to Atlanta, that's home for her, and
the sprinter that she was in flipped over and was
hit by a big rig. I don't know the particulars.
(02:40):
It was just a few statements being released. Not much
information was available, and you can't trust everything you read
on the web, and so I really truly was shocked
to hear it. I woke up and I thought, Wow,
just another reminder of how precious life is. But it
also made me think about the last time we were
(03:01):
in conversation with Angie right here on this podcast, and
for me, this is a way to honor her memory
and really truly appreciate what she gave us in the culture.
Some great music, some great stories, some good love songs,
you know, some good love songs. And I wanted to
say thank you, Angie. I know I am sending nothing
(03:22):
but love and healing to your family, and may you
please rest in peace. Naked family join me and honoring
her memory by listening to this edition of Naked Sports.
We appreciate you so much, Andie, so thank you so
much for joining Naked I really appreciate this. It is
(03:45):
a podcast where I get to interview people that I admire,
I enjoy, that are doing amazing things. And it just
so happens that you have most recently released I believe
it's your tenth solo album. I'm making sure it's the tenth.
I'm wanting it great. Tell us about your latest project,
(04:05):
and more importantly, congratulations.
Speaker 4 (04:08):
Thank you, Thank you first of all guys for having
this project is one that I really was not anticipating. However,
we did it, turned it around in a two week span,
worked very hard, very quick, very hard, and really you
(04:29):
know when we were. When I work under that kind
of pressure, that's kind of when the best stuff comes
out because you have no time to screw it up.
You got to get it right or you know. So,
I'll say, along with Candice Bathe, more Teak Underdo, Walter
Reel Sap, and quite a few other producers, we turned
(04:50):
out some really dope songs that make for a very
consistent album. So I'm in a good place with this project.
Oh good for you, But I want to make sure
I heard you correctly. You turned it around in two weeks.
How does that happen?
Speaker 5 (05:04):
Turn it?
Speaker 1 (05:04):
And I could imagine you have a bevy of songs,
or you've written so much. I know that it might
just come now.
Speaker 5 (05:10):
The sound that you hear is what we worked on.
Speaker 4 (05:12):
Maybe two didn't make the project because we just ran
out of time and couldn't finish something. But we had
exactly two weeks my manager Fleu in town. We were
in the studio for upteen hours during one two songs
a night sometimes just to finish the album two weeks,
so it was a flat two weeks.
Speaker 1 (05:35):
Wow, that's impressive. But you have very much created a
name for yourself in terms of who you've worked with
in this industry. You've written, you've you've been an actor,
You've had your solo projects that you were a part of.
From my understanding, the very first hip hop R and
(05:56):
B group in Sequence signed to sugar Hill. Tell me,
if you don't mind, just go back to the genesis
of it all. Tell me about Sequence and how that
all came about.
Speaker 4 (06:06):
My Sequence is myself, my partner, Blondie, and Charlott cearl
who were all high school friends in neighborhood, sisters that
hung out together, ended up going the club's part cheerleaders
did a lot of things together and as a result
of hanging out with you besties on a regular basis,
(06:29):
we started to create this stuff because as cheerleaders, we
were constantly writing rhymes and you know what was effectually
known as cheers back then turned into rap music. I
guess New York called it rap. We call it cheers
and competition. We won quite a few contests in South Carolina.
Speaker 5 (06:49):
For having the best hiers. Our cheers were rhyme and
madic pretty much.
Speaker 4 (06:54):
Yo was a song that we created that had a hook,
which was a melodic of chorus, and we add individual
raps to it, which coined the phrase. You know, y'all
could say R and B hip hop or how you
want to call it, but we added singing to hip
hop and as a result, it changed the narrative overall.
Speaker 5 (07:17):
So as a result, I.
Speaker 4 (07:18):
Believe that hip hop grew wings and I went to
the next generation as something that was getting stronger, growing bigger,
and spreading broader, and as a result, you know, it's
what you have today. So it's all often a lot
of controversy on who was the first to do what,
(07:39):
but I think that everybody had a first moment in
their life and their career. We just happened to be
the only felale hip hop that had an original rap
record at the time that came out and set the
tolls of the R and B ladies that followed.
Speaker 1 (07:57):
You said, It was a cheer, and any black girl
knows like you've been like when you cheer. I never
ever thought, because I was a cheerleader, especially for Pop Warner,
I would have never considered a rap. But that's exactly
what it was. It was right cheer.
Speaker 4 (08:12):
Punk you up was a cheer that we're gonna blow
you right on out. We're gonna blow you right on up.
Get up, get up, get up, get up back now.
Speaker 5 (08:20):
It was a cheer. And then we said funk you
right on Upunk.
Speaker 4 (08:25):
That channeled to a song calling a delic what's happened
to be the hottest group in time? And the word
falk was wiggie and phone those were the words back.
Speaker 5 (08:34):
In the day. So we used to follock you up.
Speaker 1 (08:37):
I love it, I love it all. And then outside
of that, that's establishing yourself in a world where you
are a pioneer. People are respecting your voice, your sound.
I I'd like to know more about the writing of it,
because I've read in my research that you felt like
writing and acting in poetry was your first love and
(09:00):
singing was.
Speaker 4 (09:01):
Yeah, that was coming that well. You know, as an
English major, I loved the English anciently write pins and rhymes.
I think we all did part of what we became
as hip hop that you had to be able to
write your rhymes and all of that. That was something
that we did at sugar Hill Records. We as a
group where we went there, we started to form songs
(09:23):
for the sugar Hill Gang, for the sequence for the
West Street Mob.
Speaker 5 (09:27):
A lot of what you hear from that early days.
Speaker 4 (09:31):
Of hip hop, a lot of it was written by
the sequence Apache Eighth Wonder and West East Mob Less Stands.
All those songs were coined by Blondie shrilling myself.
Speaker 1 (09:45):
Wow, Wow, that's powerful. And you say it so matter
of factly, like you like, yeah, just tomorrow, But that
is powerful. If you look at the industry today, do
you see your influence still?
Speaker 4 (09:59):
Well, I want to look at the NGSC definitely see
our influence. When Lauren Hill came about, that was the
greatest compliment that we could have got it because she
took roberta flax sol Is, she fused it with hip hop,
and she took the actual body of hip hop and
singing and married them together to make one of the
(10:21):
greatest rat records.
Speaker 5 (10:22):
Ever made about female ever. And that was following the
trend that we had already said now.
Speaker 1 (10:28):
And shout out to Lauryn Hill, who performed most recently
at the Roots Picnic. It was a beautiful reunion. I'm
one of the legends of our time in a voice
that narrates many of our lifestyles. You yeah, like, let
me tell you about Brown Sugar.
Speaker 3 (10:44):
I want to know.
Speaker 1 (10:45):
I want to know all that you wrote with DiAngelo,
because Brown Sugar I remember it changing by game, you
know what I mean, Like for everybody, I was like, well,
what is this we're listening to? I remember a bunch
of me and my friends jumped into a car and
tried to go down to the local radio station just
to meet DiAngelo because this music was so soulful. It
(11:09):
spoke to our spirit and I'm like, oh, my girl
wrote as if we're best friends songs here.
Speaker 4 (11:14):
It's folk funder because d' angelo, uh, just just a
credit to himself, his brother Luther Archer, and the Angelo
was primarily responsible for writing a lot of Brown Sugar.
As a matter of fact, when I met D'Angelo, I
was infused with that whole vibe because we were excited
(11:36):
to work with each other. I ended up writing Jones
and my bones on that first out, So you know,
every Day was a song that I wrote. Die was
a song that I wrote with him. More accordingly, I
got to work very closely with him in the studio
when he was cruising. When we get by song that
(12:00):
would embody a presence, energy, a vibe. We went on
to do the next hour and I did a Spanish joint.
I did a Great Day in the Morning. I did Africa,
I did send it on. You know, these are the
songs that I were writing with him when he started
(12:21):
to evolve and people started to look for what was next.
We grew up Great Day in the Morning. Like I said,
We went on to do play for the cartoon soundtrack
with Michael Jordan, with Bugs, Buddy and all of them.
It was just a plethora of opportunities to do stuff,
(12:44):
and it was hard to do Vertical Hole, which was
my D'Angelo and and whatever else they had for me
slate to do.
Speaker 5 (12:53):
I was spreading myself for then.
Speaker 4 (12:55):
I had worked on Canther, I had worked with Usher
and Monica on this reading it out of me the soundtrack,
so I was kind of being pulled to and fro
at a time when you know, music was evolving in
a whole nother way, and we're just grateful that I
was factored into that whole neo soul by But I
(13:17):
have to give credit where credit and do Luther Archer
and D'Angelo, who are brothers. They did the soundtrack of
Jason's lyric. You will know we came right behind that
and did a Freedom for the Joy with girls all
the women, So you know I was part that whole movement.
(13:40):
And Raphaelsa did you know there was a handful of
us that kind of played in that playground together. So
but it's safe to say the Angelo was pretty pretty
formed and well shaped by the time I met him.
I would only enhance when he was already do.
Speaker 1 (14:00):
Let me ask you a question when you write, and
we'll get into obviously your solo career, But when you write,
what do you Where do you go to write? What
is the mood? What is the occasion? How do you
do it?
Speaker 4 (14:15):
When I write, I go to the core of my
only emotion, because anything that you do is attached to
an emotion. Be a good, better, Indifferent in emotion, nonetheless,
is what fuse the fire. If you're angry, you can
write some for my angry stance because you pull from
(14:37):
that end. And just like being an active in order
to get great, you have to cry at will.
Speaker 5 (14:42):
If you can cuiet wills because.
Speaker 4 (14:44):
You're able to internalize pain to the point that you
can tap in on what it is you're trying to
get to. It is the same process with the writing,
and you can tap into what it is you're trying to.
Speaker 1 (15:00):
So wait, So does do they come to you and say,
and I'll use the angel as an example, Hi, I
need some dope neo soul music and only you can
do it. Or is it like I need a love
song to tell the ladies how I feel? Or what?
What is the directive? I'm curious.
Speaker 4 (15:18):
Okay, there is no real direction on what you need.
More than likely people think when they hear one hit
song ninety nine its songs from that same person because
the one whenever you open and matter be touched in paper,
it's gonna come out break. That is not the case. Okay,
sometimes it does and sometimes it doesn't. But normally when
(15:40):
they say and I need you to write a song, okay,
it all depends on who the groundworkers lay. You get
in a track that it moves me in a certain way.
I can write something in a certain way. But if
you if you got one element working and then the
other element not working, it's gonna be a sale marriage.
Speaker 5 (15:57):
If that makes it assist, it has to be a
work up of marriage.
Speaker 4 (16:02):
It's almost virtually impossible to take a good track and
make it dope. Oh wow, now you got a really
dope track. It's easy. But if you don't have a
dope track, you can't make something dood dope.
Speaker 1 (16:15):
Yeah, you're like, I don't think it can't work that
kind of magic. So then you are a solo artist
and you have a career and you are your own.
And I always find it interesting I think of artists
like even a Missy Elliott for that matter, who was like,
I never really wanted to be in front of the camera.
(16:36):
I only wanted to write. And Sylvia Ron said to me, right,
I mean be in front of the camera. When you
become an artist and everything is about you, what is different?
What is different than being the writer when you're performing.
Speaker 4 (16:52):
Well, when you become the artist, you become an anime,
become a character. You put yourself in a position that okay,
I'm stepping out of being who I was born to
be like a regular first. Now I've got to put
on this persona that I am greater than life. And
the reason I say that is because you know, when
(17:12):
you dream of being a superstar, you have an envision
in your mind that superstar sways her arms out. If
you're a dancer, you kick your legs out and you
do that. You know, well, it's all in the interpretation
of what you feel that a star is. Then there's
some people you know who is social is like Beyonce.
(17:32):
When she wants to go there, she has to go
into this whole you know. Animated characterisic characterization that allows
you to believe that she's somebody different. So you know,
for an artist, that's just somebody that is feeling good
about themselves.
Speaker 5 (17:50):
You lose yourself and your gift.
Speaker 4 (17:52):
And when you do that, you kind of just explode
because now you're able to act alive, able to act out,
you're able to personifide this thing it says, this is
how I want you to sing. If I want to
be down down ross the balls, I want to give
you that energy that I am in charge God to
(18:13):
the yard. So I love it's all a part of
your persona. I love it you act out the persona
that you are. I love that.
Speaker 1 (18:19):
That is so true for anybody who's performing, whether you're
a singer or not. Okay, you know what time it is,
pay bills. That is what we have to do. What
you can do is fast forward past the commercials because
I know there are plenty hit that that fifteen or
thirty second forward button and we'll be right back with
Angie Stone.
Speaker 2 (18:38):
Every champion and Kerry champions to be a champion, a champion,
and carry champion and carry chappy out a champion and
carry champion and carry champion.
Speaker 3 (18:46):
Greats and entertainment can make it work.
Speaker 2 (18:55):
Kerry Champion and carry champion is to be a champion,
a champion and carry nigger chion, the carey SHEPPI and
the kerried.
Speaker 3 (19:03):
She working on.
Speaker 1 (19:07):
Angie Stone's still here with us talking to me about
the difference. Very few, I think, but the difference between
being a singer performer and an actress performer. I hope
you all enjoy. Angie Stone. I read and you can
tell me if this is true or not. Clive Davis,
(19:27):
when you guys work together, Clive had what is now
a hit, a hit record or a hit single, uh,
he wanted to put this hit single on one of
on your album and you didn't like it. What tell
me how that goes? How do we collaborate and decide?
All right, fine, all right, Clive, I'm going to listen
to you, and I don't really like this though, Well
(19:48):
that's kind of me.
Speaker 4 (19:49):
If I don't like it, I'm gonna be painfully honest.
I didn't like the song, one of the songs on
this album. And you know what's almost like for me
when I say I don't like something, everybody gassed up
because when they know it's a hit. I would like
the song because I was finished my album. This was
(20:10):
I was getting ready to wrap and mix and master
the album in five oth and you know I found
the song that you have to I'm like, I don't
want to give a more song.
Speaker 5 (20:19):
I done my album. I'm done.
Speaker 4 (20:21):
So when he played, I said, I don't even like
the song. It was a wish I didn't miss you,
And he was like, and you have to do the song,
and I just said not, I want to do the song,
not so much because I didn't like it.
Speaker 5 (20:33):
I wasn't that fond of it.
Speaker 4 (20:34):
But I was done with my album, like why are
you making me go and do another song. I just
wanted it to be done already. Yeah, say any thing
with this album. I didn't want to do kiss You,
kiss You, and they like. I said, my manager, Walter,
really don't want to do the song, and he said,
edgic all the reason more.
Speaker 5 (20:53):
Now you gotta do the song.
Speaker 4 (20:55):
I said, please, I'm going to tell you. I had
a long sit down with it Ben and I feeling
the song. And he said, okay, just Julia favor, just
finish the song for me. And I'm like, but I don't.
I really don't like the song. And I mean I
was dead serious. Uh, and he told me. He says, okay,
I get it. If you don't like it, why it's over.
(21:17):
I'll take it off a junior paper, go in there
and nil let it record.
Speaker 5 (21:21):
Just do that. And I said, all right. It was
like pulling teeth.
Speaker 4 (21:25):
I finally got that uh ooh boy it and see
I was so outdone with that part.
Speaker 5 (21:32):
Who way you ooh boy ye?
Speaker 4 (21:34):
And he says, why don't you like? I said, I
just hate that ooh boy yuh, because that's not what
I will say. And uh, they laughed at me and
laughed at me. So when they dropped a single, and
when I first played Girls in the back of the car,
It's like, oh, ITCHI that's my favorite, that's my favorite.
And I looked around like you got it.
Speaker 5 (21:58):
I was like, you a guy to be kidding.
Speaker 4 (22:01):
So I called up my man and I said this
and that this, and he just bust out laugh He said,
you waited to see what happened and.
Speaker 5 (22:08):
Lowering the hold.
Speaker 4 (22:10):
Everybody was going bananas over kiss you, kiss you, kish you?
Speaker 1 (22:14):
What does that say?
Speaker 5 (22:15):
It moves that when I say it's a bad record,
it just a hit record.
Speaker 1 (22:21):
I don't know how I feel about that.
Speaker 5 (22:23):
I have it.
Speaker 1 (22:23):
I can't process that because I would think as an artist,
you would know what's going to work.
Speaker 4 (22:31):
I think I know, but I did. I absolutely love
good Man and I had I was like, okay, y'all
can pick all of this, but I love and this
is what I wouldn't do. And they're looking at him like,
oh hell, now it's proven that. Wait a man, she
might be right. Okay, wait a minute, what the man
just went for a million this and that and no other.
(22:53):
I'm like, but I know what I'm doing.
Speaker 5 (22:56):
Sometimes, yes, I probably didn't. I don't like a record
doesn't mean it's a bad record.
Speaker 4 (23:02):
It just means that you might want to give it
a second thought because she said she don't like it.
Speaker 1 (23:08):
Probably, Oh that is That really is funny. The irony
of what it's the truth?
Speaker 5 (23:13):
And you ask anybody and I can't. They will tell.
Speaker 1 (23:15):
You it's something to being maybe I don't even know
what it is. I want to say, maybe being a
little too critical on yourself. I couldn't quite describe it.
Speaker 3 (23:26):
I do.
Speaker 5 (23:26):
Oh yeah, yeah, I am that.
Speaker 1 (23:28):
You're hard on yourself, right.
Speaker 5 (23:31):
I hate it every vocal on this album.
Speaker 4 (23:36):
I knit it was about the cry didn't want to
put a record out because I thought I sounded like
crab And I'm like, I'm just not there anymore?
Speaker 5 (23:44):
Why do I? And now I can't.
Speaker 4 (23:48):
I'm laying it over and over because I'm like, you know,
my song was even looking at me crazy and I'm like,
I can't like this vocal now he said, I know
me too, So they kind of grew on us.
Speaker 1 (24:01):
Yeah, it takes a while, but I will say that
speaking of your son, he is a rapper and is
that correct me? If I'm wrong, this is the son
you have with D'Angelo and he is on the current album.
Speaker 4 (24:12):
Correct, Yeah, he's dope though he got it all stuff
and he's bananas what okay?
Speaker 1 (24:19):
So how does that work? Does he come in into
a feature? Is he sitting in studio with you? Or
he already writes it.
Speaker 5 (24:25):
In the studio?
Speaker 4 (24:26):
See, he was in the studio, took wing over there
and my manner and Mike can he put a verse
on this for me? And he wrote it and did
it and wanted to take didn't he ask me? And
one that made it up for me? He was already
on it out like okay.
Speaker 1 (24:47):
I love that. Well, congratulations for your artists. That is special.
That is really special. And it's always nice to see
that it's in the DNA, right and it finds in
different ways. That is an accomplished I know you must
be proud.
Speaker 3 (25:02):
Are you?
Speaker 1 (25:03):
Can I talk to you about acting because you spend
some time on Broadway, which I feel is and I
go back and forth between New York and LA and
every time I go to Broadway or I watch a play,
I'm like, that is so difficult. I could not imagine.
Is there anything difference between acting and singing? For you?
Which one is more difficult.
Speaker 5 (25:25):
Well, it all depends on the script. The role.
Speaker 4 (25:30):
Singing is obviously easier because I've had a whole lot
more experience with that, and each time where you add
a melody to a lyric, the memory is lot and loaded. Acting,
on the other hand, is all memory. You have got
to really put your mind to work. I did uh
(25:54):
the uh what's the play women of Color?
Speaker 5 (25:59):
Oh?
Speaker 4 (25:59):
God, I can't think of the Oprah Winfrey colored wind Color. Yeah,
I did that now, it was Missus Purple. And it
was written so difficult. I honestly didn't think.
Speaker 5 (26:13):
I could pull it off.
Speaker 4 (26:14):
And when I pulled that off, I knew I was
ready for the same. It was so intricate and difficult.
It was almost like something I never seen, like Shakespeare,
and I had to actually memorize like these all these lines.
(26:36):
I just finished a series called Whole Things H T
A U X that's on True TV. That's actually good.
And of course you've seen me on in the cut.
Speaker 5 (26:47):
Of Girl Friends. I've done quite a few movies.
Speaker 4 (26:51):
So it's kind of fun when you have to create
a new character that is not you. Most of the
characters lady, if people want me to add my sense
of humor.
Speaker 5 (27:05):
To it, which is easy.
Speaker 4 (27:07):
But you know, uh, try getting a character that does
not embody your sense of humor and you've got to
really create a role for this person.
Speaker 1 (27:17):
It's difficult, Yeah.
Speaker 5 (27:18):
But it's because if you can master that that.
Speaker 2 (27:22):
Every champion and Kerry champions to be a champion, a
champion and Kerry Champion and carry chat be out a
champion and carry Champion and carry.
Speaker 3 (27:30):
Champion entertainment and naked weirder.
Speaker 2 (27:38):
Kerry Champion and carry champions to be a champion, a
champion and carry champion Champion and carry Champion and carry Champion.
Speaker 3 (27:48):
Entertainment, get naked word.
Speaker 1 (27:50):
Have you ever done a project you talk about Shakespeare?
I listen in college, I too was an English major,
and they used to try to make us recite Shakespeare.
I was like, I don't have it. I didn't do
well in that class barely c C class linus whatever
it was I had. But have you ever done something
in terms of your acting career and said this is
(28:12):
this is excellent because it's hard for people who are
very creative and very talented and ambitious to step outside
of what they did and said that I did that.
Is there a project that you worked on and was like,
I did that.
Speaker 5 (28:27):
Yeah, I mean I thought I did.
Speaker 4 (28:33):
When I did Show Girlfriends, I was I played a
character called Dalla Mason. I think that I nailed it
right on the edge. I thought it was brilliant. I
think the one that I did for Color Girls Is
was phenomenal.
Speaker 1 (28:52):
Yeah.
Speaker 5 (28:55):
It was just.
Speaker 4 (28:58):
And a very art see piece of work that you know,
everybody had to be on the point. I worked with
Robin Gibbons, and you know it was just an intense
script and you really had to be focused to pull
it off. And I studied real hard and maybe it
(29:19):
happen so good for you? I mean first person though,
if I feel like a script demanding thing that unable
to give out, yeah, yeah, like I'm anna say I
don't like something I really want to do, but like
a blue dropped the ball, I want audition for it.
Speaker 1 (29:37):
Good for you?
Speaker 4 (29:38):
Now, what Tavia Spencer used to read for when I
lived in California, She and I used to be neck
and neck at all of our auditions. It was myself,
Olivia and it was someone else's. So the minute I
left California uh and moved back South O, Niviya got
(30:02):
the best role of her life, and that was the
one she played with. She had the pie uh huh,
and she had arrived her her or break came and
I'm like.
Speaker 5 (30:16):
That point role, you know.
Speaker 4 (30:18):
But I mean it was good to see her get
there because every time I went to audition, I was like,
oh wow, I gotta go up against Octavia Spencer. Oh
god again again again. It was that kind of thing,
you know. So it was one of those tactics where
I was in great company and I used to get
called to read for stuff like that.
Speaker 1 (30:39):
How amazing is that? And by the way, that is true,
they bring the same person out. You're like, now you again?
Do I have to keep seeing you everywhere?
Speaker 5 (30:46):
Yeah? Was it like that? Well, I I'm sorry.
Speaker 1 (30:50):
No, I was gonna say, was it like that when
you ran into her an audition room?
Speaker 3 (30:54):
Yeah?
Speaker 4 (30:54):
Because I knew anything that she was anytime she was there,
we were both reading for.
Speaker 5 (30:58):
The same part.
Speaker 1 (31:00):
I hate Hollywood, so I'd be.
Speaker 4 (31:01):
Like, but it makes me that if I staying, I
probably would have wound up with her luck. I probably
eventually got a role that she no longer had an
audition for that they would have needed a new face
for and they were to see it. Let's try Andy
Ston that far. I was actually supposed to get a.
Speaker 3 (31:23):
Role that.
Speaker 4 (31:27):
Played a woman from Ghana that Iris Elba was in.
Jill Scott ended up getting the role, and I remember
it was coming to me and saying, you need to
check your team because Anthony, the guy that ended up
passing away the producer, uh, he let me know that
(31:47):
the role was yours. He had told him he really
wanted me to have the role. And Jill ended up
getting it because her team was just a little bit
more aggressive than mine and they fought. Whereas I had
very limited team players, she had a bunch of people
that were red in her corner. Shout out in Jill Scott. Yeah, yeah,
(32:08):
a lot of people that were in her corner and
they just charity that great is it?
Speaker 5 (32:12):
So as a result, she ended up getting that role.
Do you think that.
Speaker 1 (32:19):
I don't know what else there is in terms of
for you to do, But when you get to a
point of your career where you've had success and you
maintain and you have established yourself, what would it be
a next I'd like to try that? Or what would
be the next get that you want? Would you want
(32:39):
to come back to La and really go hard at acting.
Is there something that's out there in the ether that
you're waiting to grab?
Speaker 4 (32:48):
Well, my next is you know, if I had my way,
I would want to be like Harol Burnett because I
think that fascinating. She's probably one of the most creative
women in the game. I love the fact that she
ran her own ship, she had her own show, she
(33:10):
trusted her own jokes, and I just feel like I'm
a leader like that. I want to be in a
position where I can drive the car. I think being
a visionary is key. Of course, I would love to
come back to LA, but I would love to push
my own show, and I'd like to see other people
when I don't necessarily have to be in it for
(33:31):
a part of it, but I really would like to see,
you know, other people come up because I know it's
a lot of child with people just don't sure.
Speaker 5 (33:42):
They don't get the break.
Speaker 1 (33:44):
It's a tough it's a tough game. It's a tough
game out here in LA. It's a tough game. Okay.
So for everyone who wants to go out and support
your latest project, how do they find it? You can
get it on Apple.
Speaker 4 (33:56):
One, Yeah, all platform b and the right one is
me with the black hat, you know. And then I
got one with my hands like this on my face.
That is the Instagram poster. That is the real angistone.
All the old ones connected to old labels of people
(34:16):
that won't give up the hamph so they're confusing the issue.
Speaker 5 (34:20):
But the latest ones up one.
Speaker 1 (34:25):
Yes, okay, with your hand.
Speaker 5 (34:26):
B A N G, I E.
Speaker 4 (34:29):
S C O and the the Angie stone all platforsts
hands are your face let me know, okay, got it?
I want to make sure because my producer, Jacqueses will
make sure that we put all that out there. Is
there anything else we should be promoting. I want to
thank you for your time. I know you have had
a day, so I wanted to.
Speaker 5 (34:46):
Get you in Ho's okay, I got I got a
few more to go.
Speaker 4 (34:49):
But all I just want to make sure that everybody
knows is that I'm working on my foundation which is
called Angel Stripes.
Speaker 5 (34:57):
And what I do is I.
Speaker 4 (34:59):
Help cultiveately people, infants, homeless families and infants. I make
a gift care packages. Our team of people be going
around to the senior citizens, volunteering our time, making sure
that they're okay. Entertaining them and just loving on them.
(35:19):
I also have a hot sauce that's coming out for
brother Man Tacos that I'm doing with young man by
the name of Randy.
Speaker 5 (35:29):
I'm excited about it. The hot sauce.
Speaker 4 (35:31):
It's called four hundred degrees and that's how four hundred
years we've been over Africa. So the hot sauce is
a blekay. And now the last thing that I'm working
on is a television show or a streaming network called
House of Flay that I'm co hosting with a music
(35:52):
soul Child, where we gicking young and upcoming artists the
opportunity to get out there and be seen and uh,
you know, hopefully get their gifts acknowledge by the world
and correct me.
Speaker 1 (36:05):
If I'm wrong. Give music so Chi'll work on this latest.
Speaker 5 (36:08):
Album with you. Music so Child worked on the single
The Gem with me.
Speaker 1 (36:13):
Okay, I love him. I saw him performed in my
friend's wedding.
Speaker 5 (36:17):
All incredible, incredible, incredible.
Speaker 1 (36:21):
I love this Andree Stone, You're a legend. You are
a trailblazer and you are soul so I appreciate you.
Thank you so much, and you look amazing, don't you
ever forget that either.
Speaker 5 (36:32):
Oh wow, thank you so much.
Speaker 1 (36:34):
Yeah, it's a pleasure. Thank you.
Speaker 5 (36:37):
I appreciate you guys so much. You're welcome, so pretty.
I appreciate you.
Speaker 1 (36:43):
Naked Sports written and executive produced by me Carrie Champion,
produced by Jock Pece Thomas, sound designed and mastered by
Dwayne Crawford. Naked Sports is a part of the Black
Effect podcast network in iHeartMedia
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