Exploring Fashion and Identity Through Black Music's Most Dandy Figures

DJ Sir Daniel: 00:00:00

Greetings and welcome to another episode of Queue Points Podcast. I'm DJ Sir Daniel, and my name.

Jay Ray: 00:00:22

Is J. Ray, sometimes known by my government as Johnnie Ray Kornegay III. And Sir Daniel, we. The Met Gala has taken over the world.

DJ Sir Daniel: 00:00:35

Absolutely. The conversation has been nonstop. It's been a hot 24 hours. Lots of fashion takes. Hot fashion takes.

Jay Ray: 00:00:44

Not so hot fashion takes.

DJ Sir Daniel: 00:00:46

Not so hot fashion takes. Lots of hits, quite a few misses on the Runway. Yes. But just.

Just, you know, this evening in May that comes around every year, just grabs everybody's attention. And so this theme was super fine tailoring black style. And they were just. They were. Everybody was invested in the idea of black dandyism.

What black dandyism is, was. And how it just really set black people apart. Well, we've always been set apart, always. And, you know, with everything.

And so, of course, Queue Points of. We're not going to shy away from the conversation. You know how we do. You know how we give it up. We about. We're about to have a.

A discussion regarding what we saw. But strictly J. Ray, you have a colleague that checked it out and gave a. Gave you a great suggestion for. For this topic, actually.

Jay Ray: 00:01:46

Absolutely. So was having a conversation with Charles Stephens. Shout out to Charles.

So by day, y' all, I work with CNP, so I was having a conversation with Charles, and Charles was like, there was one group that I don't feel like was channeled on the red carpet, and I feel like they are the most dandy music group. And I was like. And I was waiting with bated breath to see who he was gonna say. And he said the time. And I said, yes, very interesting.

And so I brought that to Sir Daniel to be like one. When we think of dandyism, right. As a aesthetic, there are some groups that really leaned into that aesthetic.

Of course, the time being like one of them, but wanted to have this conversation about groups that just kind of had that aesthetic.

DJ Sir Daniel: 00:02:54

So we. So you know how we do. On Queue Points, J.

Ray and I selected some groups, some individuals that we want to bring to the table of who we claim to be the most dandy of them all. Dandy music artists. So, J. Ray, do you want to go first? You want to hit me off of one of your artists or groups?

Jay Ray: 00:03:15

1 Prince Rogers Nelson, who is one of the most dandy artists to ever kind of walk the face of the earth.

, but coming out of the early: 1980

DJ Sir Daniel: 00:03:47

A trench coat, all right.

Jay Ray: 00:03:48

You know what I mean? He knew that wasn't going to be like a thing that he could do and end up.

DJ Sir Daniel: 00:03:53

It's not sustainable, you know what I'm saying?

Jay Ray: 00:03:55

It's not sustainable. You can't end up on the like pop charts and like doing this bigger superstar thing if that's your image. Right.

So what Prince did was took the idea of the dandy and then just kind of did like a real funk, funky Minneapolis version of whatever that looked like, purpled it up. But you talk about the tail, the long coats, the high waisted pants, the zoot suits.

And when we get into the 90s, he even got the hair, you know what I'm saying? The high hair and the, the pompadour and all of that stuff. So really that for me is like the pinnacle of like a dandy aesthetic.

And he would dress the women in his groups in that way as well as some of the other men in the groups that way as well. So you would have the blazers with the, with the shoulder pads and the big brooches and stuff.

So yeah, Prince, absolutely dandy artist in terms of his aesthetic.

DJ Sir Daniel: 00:05:01

Completely agree. Especially because Prince is an echo of Little Richard.

Jay Ray: 00:05:07

Absolutely.

DJ Sir Daniel: 00:05:09

All of those gentlemen that came before him, but specifically Little Richard, who pushed the envelope very early. It's like, we can't stop giving that man credit. Yep, we cannot stop giving Little Richard credit.

So when I started thinking about music artists that pushed the dandy envelope or pushed the dandy agenda, I had such an epiphany. And when I saw this person, when I saw her and she flashed in my brain, I was like, of course she was a dandy.

J Rey, I'm talking about none other than the incomparable Phyllis Hyman.

Jay Ray: 00:05:52

Oh, hell yeah.

DJ Sir Daniel: 00:05:53

Phyllis Hyman was a statuesque woman. And when we got to, of course, when we got to 80s, Phyllis Hyman, she was a statuesque woman and she was a curvy woman. Right?

And so, you know, the 80s came around. Women in the early 90s, women adorned a lot of suits, pantsuits, to kind of put them on the same playing field as men.

And the shoulders got really broad. The shoulder PA pads, I should say got broad and. But Phyllis Hyman would do that.

But maybe she would give you a plunging neckline so you can see, so you can see those two perfectly shaped breasts sitting Right there in the middle. So you have no, no confusion that this is a woman. And then we would get a hat. We would get a say something hat. And so for that, fill the time.

And when you're a woman and you lean into your height like that and wear heels with, with you're a tall woman already and you wear heels with that. But then you come through with the shoulder pads and everything, you. That's dandy. That's pushing against what people think you should look like.

Jay Ray: 00:07:11

Yep.

DJ Sir Daniel: 00:07:12

And. And now that I'm talking about Phyllis Hyman, I also got a picture in my brain of another person and I'd like to give her a quick shout out as well.

Allison Williams, because they had, had, they had very similar styles. Very, you know, the same prototype. Curvy, statuesque women. Draped, tailored but draped and flowy. Tall, big hats, the whole nine.

So Phyllis Hyman for sure is my first pick.

Jay Ray: 00:07:40

Yeah. Yo, so we might as well stick with the women because this is probably. We talked about this as we were kind of getting ready for this.

But Janet the Jackson totally, you know, so certainly there was the influence from Jimmy Jam and Terry Lewis. So of course they come out of the time, right?

DJ Sir Daniel: 00:08:00

Yes.

Jay Ray: 00:08:00

So and Jimmy Jam and Terry Lewis are still rocking their signature style today. It is 50 years later.

DJ Sir Daniel: 00:08:10

And they still rocking suits and fedoras.

Jay Ray: 00:08:11

Yep, suits and fedoras. They still rocking it. And they got Janet in that dark, those dark, really tailored suits that she was rocking.

So when we look at those first two videos from the Control era, Janet was rocking the sports jackets, the high waisted pants, but they were these tailored suits and she was performing in that look.

And I had this vision as we were thinking about this particular show, when Jimmy Jam and Terry Lewis were inducted into the Rock and Roll hall of Fame. Right. Janet updated her control look. Big high hair, big shoulder pads, but this really sleek suit. Right.

And Janet Jackson was just kind of the pinnacle of like woman dandy look in the 80s. And then of course, and you mentioned this, she continued it into the rhythm nation because we absolutely saw it in the all right. Video.

We saw it kind of throughout that run too.

DJ Sir Daniel: 00:09:15

Absolutely. And shout out to the embellishments of those of those, those blazers. You know, people don't.

Accessories really do take an outfit up, give it another dimension. So shout out to the accessories. You know, Janet famously got known for the single key earring and there was a lot of brooches and whatnot.

But anyway, yeah, so shout out to the embellishments and you know, we Talked about the time, we talked about Jimmy Jam and Terry Lewis. So Prince, consummate band geek, right? Consummate band guy, I'm sure. Had to have been influenced by my next pick. And my next pick, J.

Ray, is the Motown records class of 65.

Jay Ray: 00:10:05

Okay.

DJ Sir Daniel: 00:10:06

Because I'm talking about the Supremes, the Miracles, the Temptations, Stevie Wonder, Martha and the Vandellas. J Ray, there's a picture floating around and we probably could input it into this clip of them.

I guess they were on one of their well known tours lined up. So thanks to Ms. Maxine Powell.

There's this picture of them, I guess on a Motown review where everybody is standing poised, you know, the ladies have their, their feet pointed. Everybody is quaffed and, and everybody is, you know, fresh pressed. There isn't a hair out of place.

All of them are wearing suits, but everybody's outfits are different. Each group looks, you know, is uniform. I picked them for that, met for that reason. Because there's something to be said for uniformity.

There's something to be said when you see a group, a singing group moving in syncopation, singing in complete harmony and then their look is pulled together. That is so powerful and all. And I believe that is part of the sauce of Motown Records. The early Motown Records years.

That had to have been part of that sauce because it gave them prestige, it got them indoors, even though they were back doors. It got them in places to perform where a lot of. If you didn't look a certain way, you couldn't perform. And so there has to be something to.

Something said about that polish. Yeah, that standard that they created for the, for the look, for the presentation of those groups of that time.

And then you see, you see record mobiles and shout out to. And rest in peace to Andre Harrell. It's the anniversary of his passing.

And Andre Harrell echoed that with Uptown Records by having stylists on staff to give people a certain. But we're not going to mention what the early stylists that they had because he was styled in a jumpsuit, what if and sweater for his trial.

But that's another story.

Jay Ray: 00:12:20

We'll talk about it.

DJ Sir Daniel: 00:12:21

We'll talk about it. But, but yes. So to know that has been echoed and passed down. I kind of miss that. I do wish we would see more uniformity with groups today.

Because nowadays, you know, are y' all a group or not?

Jay Ray: 00:12:36

Well, well, that's the thing. Like there, there aren't as many groups right now. I have gotten turned on. And this probably will turn into a show.

I've gotten turned on to like three duos this week. They're all like LA based, new school, like rap duos. Very interesting stuff.

I do see them doing a little bit more of the I'm wearing something a little different, but it's coordinated sort of thing.

But you're right in that uniformity and it doesn't even have to be like the same look, but that uniformity and style where it's like a little bit the same and a little bit different, makes a huge difference, right?

DJ Sir Daniel: 00:13:19

Absolutely.

Jay Ray: 00:13:21

So I love that pic, by the way. You know who else came up for me?

And this is actually more contemporary, but I really do think he leans into this in his look and in the clothes he designs and what he wears. It's Tyler, the creator. Yeah, Tyler the creator. Because when we're talking about like this idea of dandyism, right, it's also pushing.

It's pushing back, right. Against what people think we should be. And Tyler does that in his music, but he also does it in his look.

Because even when you're pairing his flow and his rhymes with the look that he's presenting, it's always polished, it's always uniquely him. There's always a pop of color. That tailoring is real together and it's always purposeful in what he wears.

And I just really like that dude and the way he kind of styles himself as a new school rapper. He has like a. And not new school. Right. He's been around for almost 20 years now.

DJ Sir Daniel: 00:14:28

Oh, yeah.

Jay Ray: 00:14:29

You know what I mean? But he has like an old. A soul. Much older than him. You could tell that he's pulling from references from many years before he was born.

DJ Sir Daniel: 00:14:40

Absolutely. I dig Tyler a lot as well. And he. Because he's relatively young, he's younger than us.

And it kind of brings up this question to me, J Ray, and I want to ask you, why do you think there is a segment of black men that kind of push back on symbols of excellence and elegance?

Like, you know, there's people that push back on, quote unquote, black exceptionalism, that black men aren't interested in going to college or pushing back against that. You know, there's the pushing back when it comes to younger men of wearing.

There's a way that they're dressing now very similar to each other, you know, with the very tight jeans and the, you know, the Pooh Shiesty masks. And they, you know, of course they're being lumped into a category. And that's another question I have about what they're being called.

But what is this? Why do you think that there is just a segment of black men that are like, nah, I ain't finna do that. I don't want to be the.

Like this questioning of masculinity. Is it a questioning of masculinity of why people don't want to engage or, you know, be a part of this looking and appreciation of dandyism?

And it's not saying that because that's not. It's not a criticism. It's just a question. Because nobody dresses like that every day.

If you were, you know, if you were walking around with bowler hats and canes and, you know, somebody would think, crazy. But it's just a question. I have. It seems like this, and it's just not just about the clothes, but there's this pushback against thinking critically.

There's this pushback of thought of anything outside of what they can't. You can't see is just too abstract for some men to just capture and grab onto.

Jay Ray: 00:16:55

Ooh, that's such a heavy and big.

DJ Sir Daniel: 00:17:01

Sorry, guys. Not trying to bring down.

Jay Ray: 00:17:03

I'm so glad you asked that question. But. So here's how I'm thinking about this. So I'm thinking about this in a couple of different ways.

So what's been interesting around this dialogue or this conversation around, like, black men in college is. And I don't have all the numbers on this, but. But I've read articles that said, well, actually, in general, just college is down for all men.

So it's not just black men. It's like all men. So black men obviously fall into that category.

I've also been reading conversations, and I think this gets to your question where it's like, young men are finding it challenging to find themselves in some of these spaces. Right, right.

And where I think this gets to the question that you're asking is I feel like we have boxed masculinity into such rigid boxes that it's hard for brothers to be able to be understand that they can have feelings and experiences and emotions that look nothing like what the world shows them. They have to be. And I think for black men in particular, it's even more narrow. Right. And so you're not just getting it from outside the community.

You're also getting it from inside the community, because there are folks that are saying, this is who you must be in order to be a man. Right, right. So I think it's not necessarily the pushing back. It is. These brothers don't even realize that it's okay to be different than.

Than this dude that lives next door to you. You don't have to dress like him. You don't have to like what he like. You can like what you like. So if you want to run around and like, have yo.

You want to do more of a suit situation, like you smooth like that, that's the way you want to show up. Cool. Do that, right?

DJ Sir Daniel: 00:19:28

Yeah.

Jay Ray: 00:19:29

But if you don't feel like that's something that would be accepted and you already are kind of like, I don't know that I'm completely comfortable in the skin that I'm in anyway. So you gonna try and fit in any way that you're trying to fit in?

You know, for me personally, I didn't know that it was okay for me to be different until I got to college and realized, like, oh, it's totally okay for me to, like, not be like everybody else. You know what I mean?

DJ Sir Daniel: 00:19:59

Exactly.

Jay Ray: 00:20:00

And it probably took me another 15 years to realize that. That not being like anybody else was my superpower.

DJ Sir Daniel: 00:20:07

Say that, you know, and it's funny you bring that up. That was a great answer, by the way, because there's also a pushback against. There's this whole rise of anti intellectualism.

That is a whole nother story. And. But it seems it falls in line with the. With that. With the whole conversation, even when we talking about clothes.

But like you said there, you found. You found a place where you could express yourself and feel free to do so. Well, my next pick, and I might.

I'm gonna catch you by surprise with this one, but an exercise in dandyism. You have to talk about Fishbone.

Jay Ray: 00:20:55

Oh, yay. Good choice.

DJ Sir Daniel: 00:20:58

I knew you would like Jack. You have to talk about Fishbone and the brothers and these brothers that have their rightful place in the punk scene.

But that punk scene is squarely a branch of the ska scene.

Jay Ray: 00:21:16

Yeah.

DJ Sir Daniel: 00:21:16

Ska music. In another conversation that we've had, we talk about how ska, of course, is born out of the Windrush generation in England. Right.

And that's where, you know, a bunch of immigrants from the West Indies come to England and they integrate with the British population. And then you come out with sky. It's reggae, it's punk, it's all the things. And that had a look to it.

Jay Ray: 00:21:40

Yeah.

DJ Sir Daniel: 00:21:40

That had a uniform to it. There was the punk influence. But if you look at pictures of Fishbone. Fishbone a lot. Especially the lead singer. Yeah.

Would have his tail, his tailored suit, but. But it would. It would be like a. He Would be wearing knickerbockers.

Jay Ray: 00:21:56

Yeah.

DJ Sir Daniel: 00:21:56

You know, not short pants for. For those who.

Jay Ray: 00:22:00

For those who don't know. Yeah. Short diggers. I've also heard Right.

DJ Sir Daniel: 00:22:05

With a good Doc Martin boot. And, you know, the whole look is tied together. And those brothers weren't afraid of doing what we were talking about.

They weren't afraid of pushing the envelope, especially when you are at that time a black person playing what is considered non traditional black music. But we all. We all know it's black. It was black. That is black music. Okay. Just want to be sure. Just want to make sure everybody knows that's our music.

But yes. Fishbone. That's my pick.

Jay Ray: 00:22:35

Good choice. Okay, so this is my last choice. I'm so. That's so cool that you chose Fishbone.

One of the folks who I feel like always, especially in the early 80s, embodied this idea of dandyism. Actually, I do have two. I have two more. So this one. Colonel Abrams. Colonel. Do you. Colonel Abrams. With the big. With the shoulder pads and.

DJ Sir Daniel: 00:23:01

Colonel Abrams.

Jay Ray: 00:23:03

Listen, Colonel Abrah. First of all, okay, Colonel Abrams was going to sing you down. First of all, his name was Colonel, Okay. He was gonna. You know what I mean?

He was gonna sing you down. He had the suits, the shoulder pads. He was also statuesque, and he was gonna, like, shimmy them shoulders, you know what I'm saying?

And just always kind of represented to me this very kind of sleek. Like, he. He just looked like this sleek man, masculine dude. You know what I mean?

DJ Sir Daniel: 00:23:42

Absolutely.

Jay Ray: 00:23:42

Which is leading me to a question, Sir Daniel, actually, because now that I say that, I am wondering. So it's more of a statement, and then I'm gonna get you to let me know what you think.

I am also wondering if the idea of adopting the dandy aesthetic.

DJ Sir Daniel: 00:24:05

Mm.

Jay Ray: 00:24:05

Was also a way for brothers to be able to play with gender because it was easy to soften those looks, but still not be. Still not be considered, like, queer. You know what I mean? Like, I could soften it up but still not be considered queer. And I'm wondering.

It's almost like a subversive way of being, like, I know that I need to play with this. I'm not so rigid in my masculinity. But if I adopt this Persona, I could soften this Persona and still accomplish my goals.

So I'm wondering about that now.

DJ Sir Daniel: 00:24:53

Oh, I swear, it's like you had a camera in my brain. I really do believe that we were having a mind meld, because I was clearly about to go into this Direction with you.

Okay, so yes to what you just said. And I think it's so ironic and it was so funny to me because my next pick is two picks and they both kind of.

They're related because both is Caribbean influence. But Grace Jones, yes, it was a clear gen. There's no other way to put it but calling her a gender. She pushed beyond androgyny.

She wore a suit like nobody else and did it to perfection. Right. So she's on my list of like super dandies from back in the day. Right. But then we also talk.

We also get this question about queer expression because dandyism, we can't get away around it. Dandies. There is, there's a touch, there's a bit of queerness in there.

Jay Ray: 00:26:01

Absolutely.

DJ Sir Daniel: 00:26:02

There's a lot of queerness in there. And so my final pick for dandy music artists are all the 90s dance hall artists that came out. All of them, Every last one. And I'll tell you why.

As somebody that grew up in Brooklyn, New York, it was always so fun and just nonsense at the same time to see how specifically Jamaican men and Jamaican dance hall artists would present themselves in these very ornate, very flowy, blousy cut up.

There was always a chiffon moment for these dancehall artists, for these male dancehall artists, these very sheer and opaque looks where they would be. It would be so colorful and so ornate and so flowy and feminine at the same time.

But in the same breath, J Ray, they are spewing some, at times, some of the most homophobic lyrics you ever want to hear. And it. And they drove. And the culture itself was a hotbed for that, for this underlying bubbling cauldron of homophobia and. And anything anti queer.

Yes, but you look queer as fuck you.

I mean, if you look at some of the outfits that Shabba had on Ninja man be all of these early, especially in the late 80s and the early 90s, they were good for wearing. There was. They were good for wearing a see through something. Yeah, something see through. Even the netted. And if you're.

If you're a West Indian person, you know exactly what I'm talking about. You had a brother, son, uncle, dad that wore those mesh tank tops.

Jay Ray: 00:28:04

Yep.

DJ Sir Daniel: 00:28:05

And then we had these yellow, green, all of that. And then we had these mesh cut up that diamond cut up shirts and the shred. Oh, Jay Ray. There was this.

I don't know if it came over to Pennsylvania, but I know in New York you could spot a Jamaican a mile away. A Jamaican man, because he's going to have on the shredded shirt.

Jay Ray: 00:28:28

Yes.

DJ Sir Daniel: 00:28:29

And it looked like a little. It was. It looked like a little skirt. A little. A flapper skirt.

Yeah, it was a long shirt and it was cut up, it shredded and it allowed for them to, when they were dancing, to have this very peacock looking, peacock way of dressing and showing off. And it was just so funny to me. And that's why I'm so glad that we had this conversation.

Because when I was thinking of it, I was like those dancehall artists, dandy as hell, queer looking as hell.

Jay Ray: 00:29:00

Yep.

DJ Sir Daniel: 00:29:01

But got the nerve to be homophobic or to be doing that back in the day. And it was hot. It was accepted. It was just something that we just accepted from them.

But my God, they were gonna have an exposed shoulder, they were gonna have a puffy shoulder shoulder moment. And it was see through. I mean, it was just the most. And they were complete dandies.

Jay Ray: 00:29:25

So it's interesting that you talk about the homophobia and the misogyny. Cause this actually leads me. I do wanna end. I know we kind of started with the time. I do wanna end with the time. Right.

And I actually wanna pull something from this book. So there is a book, it's called Feel My Big Guitar, which is about Prince. Right, of course.

But they have a chapter, chapter three in it is titled Zoot Suits and New Jack Morris Day's Dandyism. And it's by Karen Turman. I want to pull a specific section of this particular chapter because it speaks to this very thing.

So I wanna bring this kind of into it.

DJ Sir Daniel: 00:30:16

Yes.

Jay Ray: 00:30:16

So I wanna start. This is page 43. As Day mentions in his memoirs, Prince manifests in Day's character.

This is a character from Graffiti Bridge as an extension of himself.

We see Prince play with the cartoonish exaggerations and hyper masculine stereotypes in the context of Day as Prince's alter ego while distancing himself from the behaviors of the film's villain. Despite the deconstruction of gender expression exhibited in the dandy figure, Morris D.

Day's character exemplifies the inherent complexity in the dandy's ostensible appropriation of aspects of traditional feminine appearance while exhibiting hyper masculine behavior. This caricature of the.

This caricature of the dandified figure ultimately allowed Day to steal the spotlight as the outrageously entertaining, yet misogynist villain in both films. So he's talking about Purple Rain and in Graffiti Bridge, right? Absolutely. So once again, it was very clear and it.

Later on in the book, it talks about the fact The Times general uniform is mostly aligned with the zoot suit aesthetic.

The zoot suit exemplifies radical dandyism, especially in its origins wearer's sociocultural implications and the various interplication and interpretations of its semiotics. So it's talking about the fact that, listen, Morris Day as a character. Not Morris Day the man, but Morris Day as a character.

And this dandy aesthetic that Morris exhibited was also coupled with hyper masculinity, misogyny, which we've talked about in Purple Rain. We talk about that scene in Purple Rain all the time. Y' all know what scene we talking about?

DJ Sir Daniel: 00:32:28

The dumpster.

Jay Ray: 00:32:29

Yes, the dumpster scene. Right. So it's always the interplay of the masculine and the feminine that's happening with. So you're right. With these aesthetics. It's in there.

I don't know if them brothers knew it, but we saw it. We saw what was happening. You know what I mean? It was like. We see what y' all doing, though.

DJ Sir Daniel: 00:32:55

You know, as we wrap up. First of all, this was a dope conversation as usual. But as we wrap up, I want to give a honorable mention and a shout out to one.

To another figure that fits into this black dandyism. But just a figure of, you know, of manhood and style. Right. We gotta give it up to Arsenio Hall.

Jay Ray: 00:33:18

Yo, it's so funny that you mention him. I thought about him and I was.

DJ Sir Daniel: 00:33:22

Like, ooh, yes, not a musician, but completely musician adjacent.

That man opened his earwaves, his stage to so many black performers, especially hip hop performers, and gave them a platform and all while making the double breasted suit popular. I mean, the colors, the, the, the. The shoulders. We can't get away from the shoulders. But yes, he was. He did not mind. I would love.

I want somebody should put together a picture book of Arsenio Hall's looks.

Jay Ray: 00:33:59

Yeah.

DJ Sir Daniel: 00:34:00

During the duration of that show. Because he was well outfitted in the run of the Arsenio hall show.

And I don't think anybody's ever given it up to him for his sense of style and for his. For being suited and booted on primetime television and network television at that.

So, yes, I just wanted to give a shout out to Arsenio hall and to all these symbols of, you know, black manhood on a spectrum. Jay Ray, I think we just can't. There's nothing black and white about who we are and then who we are as men or and, you know, male identifying people.

It's just not black and white. We. There is just a spectrum of everything. And you know it's cool to play with the colors as we saw at the Met Gala.

Jay Ray: 00:34:51

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DJ Sir Daniel: 00:35:59

Absolutely. Thank you so much, J. Ray. But listen, what do I always say? In this life, you have a choice.

You can either pick up the needle or you can let the record play. I am DJ Sir Daniel.

Jay Ray: 00:36:10

My name is Jay Ray, y' all.

DJ Sir Daniel: 00:36:12

And this is Queue Points podcast. Dropping the needle on Black Music History. We will see you on the next go round. Too sexy. Peace.

Jay Ray: 00:36:20

Peace, y' all.