Up next in 10
Step into the room with a true living legend as we welcome Suzanne de Passe to Sway in the Morning. From her historic days at Motown Records to launching a billion-dollar production studio, she shares the wisdom and stories that shaped entertainment history. This conversation is a masterclass in creativity, tenacity, and the power of a winning attitude.
In this exclusive interview, Suzanne breaks down her incredible journey of facilitating the rise of the Jackson 5 and her Academy Award nominated work on Lady Sings the Blues. She dives deep into her new venture, Immortal Studios, which is set to revolutionize the industry with a focus on content ownership and diverse storytelling across film, television, and gaming. Suzanne also shares rare behind the scenes insights into Michael Jackson’s iconic Motown 25 performance and what it really takes to manage legendary talent.
Beyond the accolades, Suzanne offers invaluable advice on maintaining a work ethic that outshines the politics of the business. She discusses the importance of sisterhood, the necessity of being a finisher rather than just a starter, and why staying curious is the key to a long and successful career. Whether you are an aspiring creator or a fan of music history, this episode is packed with gems you cannot afford to miss.
Chapters
0:00 Honoring a legend Suzanne de Passe
3:15 Reflections on the Culture Creators Awards
6:00 The importance of attitude and early lessons
9:30 How Suzanne met Barry Gordy in a limo
13:15 Creating space for women in the industry
17:00 Identifying talent beyond just skill
21:00 Cultivating your professional garden
24:30 Introducing Immortal Studios and major financing
28:45 Ryan Coogler and the shift in content ownership
32:15 The vision for diverse entertainment mediums
36:00 Taking calls and childhood equestrian dreams
40:30 Ambition and staying curious at every stage
Show More Show Less View Video Transcript
0:00
Wow. These golden words and gems
0:04
came from the mind and the spirit of our
0:06
guest today who deserves a standing
0:08
ovation. I don't care if you in your
0:10
trucks or you in your car.
0:12
>> You better stand up for this one. Man,
0:14
>> I don't even have enough time to run
0:16
down the list of her accolades, but I'll
0:18
start with this. Heather B.
0:19
>> Let's do it.
0:20
>> All right. That speech was from the
0:21
Culture Creators last week where she was
0:23
just honored as an icon.
0:25
>> Absolutely. She received its television
0:27
and film award from the cultural
0:29
creators 2026. And man, the room opened
0:32
her, welcomed her with open arms.
0:34
>> Right. Keep the applause going towards
0:36
because in our presence, we have a 2024
0:38
rock and roll hall of fame inductee. We
0:41
have the former president of Mottown
0:43
Records.
0:44
>> All right. She brought the Jackson 5 to
0:46
Mottown and champion, the signing of the
0:48
Commodores, one of my favorite groups of
0:50
all time. She's Academy Award nominated
0:53
coowriter of Lady SINGS THE BRUISE.
0:55
EXECUTIVE producers of the Jackson and
0:57
American dream which set the bar for the
0:59
Jackson story. The executive producer of
1:02
Sister Sister in Smart Guys, producer of
1:05
the Emmy, Golden Globe and Peabody
1:07
Award-winning Lo Dub miniseries, founder
1:11
of the Past Entertainment and co-chair
1:13
of the past Jones Entertainment. And
1:17
>> you want to do the honors for the big
1:19
studio we
1:20
>> man before I do that I believe and she
1:22
can correct us if we are wrong. the
1:24
first black woman nominated, I believe,
1:28
for a screenplay with Lady Sings the
1:29
Blues. I'm thinking that's true as well
1:32
as a note from Devon. And of course, now
1:35
she is spearheading, co-spearheading the
1:38
opening of an amazing facility and
1:40
entertainment and production company
1:42
that we are so proud to announce here in
1:44
the Sway in the morning. The one, the
1:46
only immortal studios. We have her here
1:49
live in the studio with us. Way, who is
1:51
it? Suzanne the Pass is [screaming] in
1:54
the building.
1:56
[cheering]
1:59
>> Come on, man. Come on, man.
2:02
>> Come on, man. And
2:03
>> shout out to Madison Jones.
2:04
>> Shout out to our guy Madison Jones as
2:06
well. Pimp
2:08
>> who is your brilliant partner.
2:09
>> Yes.
2:10
>> Who is an exceptional beyond this world
2:13
writer, producer, visionary,
2:16
businessman. Yeah. And it's just a
2:18
wonder to talk to him anytime because he
2:21
drops gyms after gyms after gyms. But
2:24
Suzanne to pass, thank you. Thank you
2:26
for joining us today.
2:28
>> Well, I wish it was called sway in the
2:30
afternoon, but I'm here. [laughter]
2:34
>> Too early, Suzanne. Too early.
2:37
>> I have to give priest that's that was
2:38
his line coming down here.
2:40
>> Screw [laughter] you after priest is
2:41
here too.
2:42
>> That's Madison's son.
2:43
>> That's Madison's son. But
2:45
>> and my godson
2:45
>> and he's your godson. and he's a
2:47
visionary, which I find really amazing.
2:50
Um, there's so much we could start with,
2:52
but I I got a chance to be at Culture
2:54
Creators last week
2:56
>> and watch you be honored u with the
2:58
likes of Missy Elliot. Yes.
3:01
>> You know, Jermaine Depri,
3:03
>> Bethanne Hardison, Janelle James. Yeah,
3:06
it was beautiful.
3:07
>> Drew Ski even got a got award, right?
3:09
[laughter]
3:09
>> And he and he did excellent job at that.
3:12
What is that like for you though to to
3:14
to be honored for all the things you've
3:16
done and all the things you continue to
3:17
do and and people recognize it?
3:20
>> Well, you know, it never gets old I have
3:21
to say and the um I never take it for
3:26
granted. I am blessed and grateful to
3:29
have had the career and the
3:30
opportunities that I've had
3:32
>> and I feel as though um you know at
3:36
first I used to cry a lot when I got an
3:39
award
3:40
>> and then
3:42
I said well you know I don't know why
3:44
I'm crying because this should be joyous
3:47
[laughter]
3:48
and I guess it's because I'm a triple
3:50
water sign you know we are cancer
3:51
>> yeah we are canc [laughter] my my
3:53
cancerian that's right and Happy almost
3:56
birthday to you.
3:57
>> Thank you. Same to you.
3:58
>> Thank you. And um you know I think as
4:02
time has gone on I've kind of grown into
4:08
um not only appreciating being
4:10
recognized but feeling that because I am
4:14
it is a way to inspire other people
4:18
>> and to um let them know that if you do
4:22
work hard and you place the work before
4:27
the politics
4:28
the relationships, you know, where you
4:31
just concentrate on the work.
4:33
>> Things will happen for you or not
4:37
guaranteed, but certainly
4:39
>> guaranteed that they won't happen if you
4:42
don't.
4:42
>> There you go. Right. I love that. Um,
4:45
when I listened to this speech, you
4:46
talked about attitude, and Heather
4:48
>> came back and told me, "Yo, you know
4:50
what you said about attitude? It's not
4:52
the fact that you're going to get the
4:54
coffee, it's how you get that coffee."
4:57
And what's the attitude you carry when
4:58
you do it with that mindset? How did
5:01
that benefit you early on when you met
5:04
Barry Gordy and you start getting into
5:05
the music business?
5:06
>> Well, I have to say that Barry Gordy and
5:09
he was my boss. I call him my mentor and
5:12
my tour mentor.
5:13
>> He was tough. He was a perfectionist.
5:17
And growing up in that environment
5:20
um made me aware of how to attach a
5:27
value to behavior
5:30
>> and the things that he taught me and
5:34
that he exemplified.
5:37
It was being in that environment that I
5:40
was able to not only learn but to be
5:43
able to form um my own set of
5:49
inner guidance
5:51
>> and you know with all of the blessings
5:54
that have come with being given
5:56
opportunity
5:58
I feel as though um my obligation is to
6:03
try to set an example and to open doors
6:06
that I can.
6:07
>> Mhm.
6:08
>> But I'm also tough about who can come
6:10
through those doors.
6:13
>> I love this man.
6:14
>> Wow. [laughter]
6:15
>> Wow. And and you know you and I I sit
6:17
here and look at you and when I see you
6:20
know the how you always been portrayed
6:21
and I and I look at you know I I really
6:24
did stud Barry Gordy was my first hero
6:27
in the out of the music business. Right.
6:30
M
6:30
>> um and uh when I was young, cuz my
6:32
mother played so much Mottown music, you
6:35
know, in our house growing up in the 70s
6:36
that I, you know,
6:37
>> Barry Gordy was fascinating to me. But
6:40
the way you met him,
6:42
>> the way that you [laughter]
6:44
the way that you got under Barry Gordy
6:46
of Wings, you know, the the the founder
6:48
of Mottown Records, you had the
6:50
audacity,
6:51
right, in the way that you met him.
6:54
Let's talk about Audacity and how did
6:56
you meet him and how does audacity can
6:58
work in your favor?
7:00
>> Well, you know, I think that
7:03
very often we are
7:06
um intimidated by circumstances and
7:11
feelings of insecurity or unworthiness
7:14
and and stuff like that. And I had the
7:17
benefit of growing up in a family that
7:21
basically was very positive in terms of
7:26
I came away believing I could do
7:27
anything.
7:28
>> Yeah.
7:29
>> And that is rare.
7:32
>> That is rare. And especially in those
7:34
days, you know, as a woman, as a black
7:36
woman, and um I am ever grateful for the
7:44
environment that I grew up in. And I
7:48
think I became pretty resourceful. So
7:50
when I met Barry Gordy,
7:52
I had rented a limousine because I was
7:56
taking Cindy Birdong out to celebrate
7:59
her joining the Supremes. Mhm.
8:02
>> She was a friend. And because in those
8:04
days
8:06
it was hard to predict if you could get
8:08
a taxi if you were black.
8:10
>> Yeah.
8:11
>> And so I rented a limousine because I
8:14
didn't want to be messing around with,
8:16
you know, holding my hand up and the cab
8:19
goes by cuz they think you're going to
8:20
Harlem. Now they can't wait to get to
8:21
Harlem, [laughter] right?
8:23
>> So I mean just if you hang around long
8:25
enough, you see the change, right?
8:26
[laughter]
8:28
So, I'm sitting outside the Ed Sullivan
8:31
Theater, uh, which in those days was
8:34
called the 52nd Street Theater,
8:37
>> dying to go inside.
8:39
>> And yet, I hear my mother's voice in my
8:42
ear going, "You weren't invited. You
8:46
know, sit your butt right where it is."
8:48
And Cindy came out and said the words
8:50
that changed my life forever. She leaned
8:53
in the car and she said, "Suzanne, Mr.
8:56
Gord's car has gone on an errand. He has
9:00
an appointment and needs a ride. Can we
9:02
take him?
9:04
So, the very first time I met Barry
9:06
Gordy,
9:09
I gave him a ride in a limo I could not
9:11
afford.
9:12
[laughter]
9:15
>> And look what it led to.
9:18
>> Wow.
9:19
>> That is the truth.
9:20
>> That's the truth. And that's how it all
9:22
happened. Hey, speak.
9:24
>> Well, Suzanne, thank you again uh for
9:27
being here. We're so happy. Sway, you're
9:29
welcome for my birthday gift.
9:30
>> Thank you. She didn't [laughter] tell me
9:32
what it was, but this is this is it.
9:34
>> But but what I want to say, you spoke
9:36
about being invited. You spoke about um
9:40
who you are. And I just personally have
9:42
to say thank you to you for inviting me
9:47
and and and to your table,
9:50
>> inviting me to your space. When you call
9:53
my phone, my husband can attest. I I get
9:56
excited just if it's even a hello. And I
9:59
watched you at Culture Creators and how
10:03
you intentionally had a table full of
10:07
women.
10:07
>> Mhm.
10:08
>> And you mentioned that you specifically
10:11
wanted a table full of women there. Can
10:14
you speak to that and why you you wanted
10:17
that? And and thank you for allowing me
10:19
to be one of those women to sit with
10:21
>> you. I wanted you there. Of course.
10:23
>> Wow. Thank you.
10:24
>> You know, I think that at events like
10:27
that a a lunchon that is uh about
10:32
culture and recognizing the people. It
10:36
just seemed obvious to me that, you
10:38
know, I didn't need any Y chromosomes at
10:41
the table. I just [laughter]
10:44
>> damn we got minimized
10:46
letters of the alphabet, man. [laughter]
10:49
>> You know, the why.
10:53
No. Um, you know, not for anything other
10:56
than the fact that I think that the
10:59
sisterhood that as an only child, I
11:03
recognize how important it is to have
11:08
robust female friends that are
11:12
for you.
11:13
>> Yes.
11:13
>> And that you are for.
11:16
And that in that environment, I felt all
11:20
of the women that I invited are
11:24
professional, are about their business,
11:27
>> and I wanted to I wanted to be able to
11:31
share not just my situation with them,
11:34
but the event
11:36
>> I felt was something that would really
11:38
be beneficial for the girlfriends.
11:42
>> Thank you. Thank you so much.
11:44
>> Just for the record, I was I'm just
11:46
saying I was sitting right behind y'all.
11:48
[laughter]
11:50
>> He was sneaking his way into
11:51
>> And by the way, I was glad to see you
11:53
there, [laughter]
11:55
>> but you weren't in my table.
11:58
>> Yeah, you you look you looked behind you
12:00
to see me. [laughter]
12:01
Wait, can you go give me some water,
12:03
please?
12:05
>> I was a servant. Tracy,
12:06
>> we're at the table with Jermaine Dri.
12:08
>> No, I had Jimmy Jam, Jermaine Dri, Erica
12:10
Campbell, you know, I did my thing. You
12:13
did good,
12:13
>> right? [laughter]
12:15
Uh Tracy is in New York. I want to allow
12:17
her to dive.
12:18
>> Hello, Queen. It is so good to have you.
12:20
Sincerely, thank you for making the
12:22
time, especially early in the morning,
12:24
to be with us and to speak about your
12:26
legacy. There's nothing better than
12:28
hearing it from the royalty themselves.
12:31
So, thank you, Miss Suzanne, for being
12:33
with us. Um, on the subject of
12:35
invitations, what you shared, what
12:37
Heather shared, and how we all I think
12:41
when we immediately think of Suzanne
12:42
Deash, we just think of someone who has
12:45
incredible intuition. You know,
12:47
throughout so many decades, you have
12:50
been able to spot and nurture and
12:53
preserve greatness. You've spent a
12:55
lifetime recognizing something in people
12:58
that the public, the rest of the world
13:01
finds out much later. Um I wanted to
13:05
know from you Suzanne is there a quality
13:07
that you have come to trust more than
13:11
talent itself because there's there's so
13:14
much talent but talent doesn't mean
13:17
success is inevitable and there's other
13:20
factors as well. Speak on that if you
13:23
don't mind.
13:25
Well, that's a great question and I'm
13:27
happy to meet you even across the um
13:31
sort of technological advances that are
13:33
possible. Yes.
13:34
>> Uh Tracy, but um I would say this that
13:39
you're right, it is more than talent.
13:42
And very often I think
13:46
talent plus a work ethic,
13:50
talent plus a
13:53
character
13:55
presentation. You know that there are
13:59
there are people who and again attitude.
14:02
You know, there are people that have
14:04
ingredients in their makeup that make
14:08
you or at least inspire me to want to
14:12
work with them. And you know, it's not
14:16
intellectual at all. It's just that
14:20
feeling you get from a person or a
14:24
project. And I think if I have a talent,
14:28
it is recognizing the talent of others
14:31
and having
14:33
very decent ideas about what to do with
14:35
it. And
14:39
I for a long time didn't sort of
14:41
acknowledge that. But in [clears throat]
14:43
looking back, I said, well, you know
14:44
what? I think I did pick pretty right.
14:47
you know, [laughter]
14:52
[laughter]
14:54
>> and so, um, it's a very inexact science
14:59
and our business is a very subjective
15:02
business and we don't really know until
15:08
we do our best and the audience votes.
15:12
And all you can do is I think
15:18
try to translate your belief about the
15:21
person, the project, the thing
15:24
to what you believe
15:27
has affected you in a way that will
15:30
similarly affect other people,
15:33
>> you know, and it's again not very
15:35
intellectual in it's like it's it's not
15:39
like if you do if you think about about
15:41
it long enough and you try to analyze it
15:43
long enough. It's not that. It's the
15:47
sort of,
15:49
you know, energetic feeling that you get
15:53
from
15:54
that person's talent, that person's
15:58
essence
16:00
>> that in my case makes me want to work
16:02
with them.
16:04
>> Wow. Man, what does that say for me? Cuz
16:07
I've been working with Suzanne. I feel
16:08
great [laughter] about myself. was at
16:10
the other table though.
16:13
[laughter]
16:14
>> Thank you, Suzanne. I appreciate your
16:16
response.
16:17
>> No, it's true. It's true. you know,
16:21
>> um I I call it,
16:23
>> you know, we're responsible as though we
16:26
have a garden
16:27
>> and the people in our lives and the
16:29
things that we're interested in
16:32
are our responsibility to cultivate the
16:35
flowers and pull out the weeds.
16:38
>> And
16:40
when you kind of recognize that
16:43
it's on you, you know, it's on us. We
16:47
are responsible for our garden. And if
16:51
your garden is overgrown with weeds,
16:53
that says a lot about you.
16:56
>> I'm writing this down, by the way.
16:58
>> Write it. Yeah. [laughter]
16:58
>> Because Suzanne looked at me like with a
17:00
nod. You know what I'm saying?
17:02
>> You little weer. [laughter]
17:03
>> You little weer.
17:04
>> I love this. There's so much we could
17:06
talk about. I just want to say for the
17:08
record,
17:09
>> we're going to have to do a part two. I
17:10
just Is that okay?
17:12
>> That's okay.
17:13
>> Because then I could kind of mess this
17:14
out a little. I can map this out a
17:16
little different
17:16
>> and we could do it in the afternoon in
17:18
the garage and invite. [laughter]
17:20
>> Yeah, we can invite citizens to the next
17:21
one. But I I think it's very important
17:24
to talk about and like we could talk
17:26
about the Jacksons and the movie and the
17:29
Commodores and Lady Sings the Blues and
17:31
The Whiz and Diana and all and I want to
17:34
talk about all of those things and for
17:37
with good reason. But all of those
17:39
things help lead to this moment today
17:42
>> 2026. 2026 when we talk about Immortal
17:46
Studio,
17:47
>> right? Let's give that a big round of
17:49
applause because
17:50
>> what [applause] Suzanne and Madison has
17:52
done has, in my opinion, never been done
17:55
before. No.
17:56
>> And Immortal Studio has launching with
17:58
access to a billion dollars in
18:00
financing.
18:01
>> Crazy.
18:02
>> We don't hear about that in this day and
18:05
era any longer. And definitely not with
18:08
a black woman at the helm of it. Right.
18:11
Well, it's it it's three founding
18:13
partners, you know, Corey Martin,
18:15
>> Cory,
18:16
>> and of course, Madison is uh the Jones
18:19
of Depass Jones
18:21
>> uh entertainment. And I think that the
18:25
um
18:27
the opportunity to be able to do this is
18:30
in large part based on the fact that we
18:33
have been able to
18:36
develop
18:38
really spectacular projects. Mhm.
18:40
>> Not just a pilot, but a full season of
18:44
several projects.
18:45
>> Identify
18:47
terrific screenplays
18:49
>> and
18:51
have an arsenal of really robust content
18:55
that attracted the financing in the
18:57
first place. Mhm.
18:58
>> How we deploy the funds is very, you
19:00
know, it's it's restricted in a way
19:02
because it's really for
19:07
building the library and being able to
19:09
own content which historically creative
19:13
people of any stripe
19:15
>> are prohibited from doing. Mhm.
19:17
>> Uh it's not so in the music business
19:19
where people can own their masters and
19:21
where the the um the capital
19:25
requirements are so much less
19:27
>> than premium television or movies
19:31
>> um or other verticals, gaming for
19:33
example, or uh animation, which we're
19:36
doing all of those things along with a
19:39
kids division.
19:41
>> And we're building it slowly and we're
19:42
building it solidly. But the the fact
19:46
that we were able to
19:49
attract
19:51
a resource of financing
19:54
makes it possible for us to build a
19:58
library that one day priest will be in
20:01
charge of.
20:02
>> Okay, priest. So, I'm got to send you my
20:04
application.
20:05
>> Wow. [laughter]
20:07
>> You know what this is? Um, we've seen a
20:10
lot of like outli I call them outlier
20:13
projects that have done extremely well
20:16
uh like Obsession or or like Sinners,
20:19
you know, and even the deal uh that was
20:22
cut for sinners with Ryan Cougler was
20:25
something it was
20:26
>> people lost their minds over that deal.
20:27
>> Can you tell us why that deal is
20:29
important and what it is? Well, because
20:32
I think Warner Brothers recognized that
20:37
in order to um first of all have the
20:41
project
20:42
>> which they wisely saw was
20:47
a gamecher.
20:50
They had to bend themselves into a bit
20:52
of a pretzel
20:53
>> to get the deal. And that involved the
20:57
movie reverting to Ryan Cougler over
21:00
time.
21:01
>> And that's a big deal.
21:03
>> Yeah.
21:04
>> And other studios and other
21:07
suits basically lost their minds over
21:10
setting that precedent. M and you know I
21:14
think it it speaks to how in today's
21:19
world the business is a bit disrupted
21:22
and there are opportunities that are
21:24
presenting themselves for now Ryan and
21:30
you know he had proven himself to be
21:33
worthy of this deal. This was not
21:35
something that somebody was just smoking
21:37
a cigarette and said well give it to him
21:39
you know he earned it. Yeah.
21:41
>> And that I think is also uh
21:45
it bears noting that he has not had a
21:50
flop.
21:51
>> Mhm.
21:51
>> You know, and what are you going to do
21:54
with someone like that if you want them,
21:56
[clears throat] pardon me, to be loyal
21:57
to you or to be at least bringing you
22:01
first what they're thinking about doing
22:04
>> is that you make a a deal that is
22:06
spectacular and is precedent setting.
22:09
>> Absolutely. Shout out to his wife as
22:10
well.
22:11
>> Yeah, Zizzy.
22:12
>> Absolutely.
22:13
>> With immortal um can Immortal plans to
22:17
produce television, films, animation,
22:21
games
22:22
um in in other things, other genres,
22:25
right? Why is it important to have such
22:27
a diverse medium?
22:29
>> Well, first of all, we're not doing
22:31
everything all at once, okay? and we're
22:32
we're building each vertical in its own
22:36
um you know sort of time frame. So the
22:39
first thing we have to do is get out the
22:42
gate with the things that we think are
22:44
going to
22:46
be impactful and establish credibility
22:49
for the studio.
22:52
But in today's world, I think so many
22:56
projects overlap anyway in terms of
22:59
disciplines
23:00
>> and that um being able to control your
23:05
creative destiny and your marketing and
23:08
how you want projects to be received. to
23:12
have a have several seats at the table,
23:15
so to speak,
23:16
>> makes a difference because
23:19
>> uh no great project ever came from a bad
23:23
idea, but a lot of great ideas have been
23:26
mangled on their way
23:28
>> to the audience. Mhm.
23:30
>> And so
23:32
I think
23:35
I'm very happy to
23:38
say at this particular time that because
23:43
there's a disturbance in the force, if
23:45
you will,
23:46
>> that it creates the opportunity for not
23:50
just our creative teams, but to be able
23:53
to eventually open the doors to many
23:56
others to come because we recognize the
23:59
value of creativity and artistry.
24:04
That's what I've been dealing with all
24:05
my life.
24:05
>> Yeah.
24:06
>> And so to be able to give, you know,
24:10
opportunities to younger creative
24:13
talents coming up is part of the DNA
24:17
that I've had all my life. And now we're
24:19
just doing it not in the music business
24:22
per se, but music is a big part of
24:24
everything we do. Um,
24:27
you know, I I'm very happy to be able to
24:31
look at Immortal as being, you know,
24:34
sort of a u a destination.
24:37
>> Oh,
24:37
>> for people to bring their stuff
24:40
eventually.
24:40
>> Idris Ela,
24:43
>> come on down.
24:44
>> Yeah. [laughter]
24:45
>> Come on down, Idris.
24:46
>> That's right.
24:47
>> You need a place to go.
24:48
>> Yeah, that's right.
24:50
>> Idris Ela needs a place to go. He don't
24:52
need anything, but he would be he's a
24:54
creative on just like on many levels.
24:57
>> I can see synergy between Immortal and
25:01
Idris.
25:01
>> Yeah.
25:02
>> You'll be looking for people like him
25:04
who have great ideas.
25:06
>> Absolutely. And and the thing is that I
25:09
think creating a space and an
25:12
environment that is serving
25:17
creative
25:20
excellence as opposed to business
25:23
>> potential. You know, if you start with
25:26
the creative,
25:28
the rest of it, if if if you do that
25:30
work, the rest of it can be
25:35
in service to that as opposed to the
25:37
tail wagging the dog and it being, well,
25:40
obsession only cost $750,000
25:44
and that means we got to run out and
25:45
find everybody who's got an obsession
25:47
movie,
25:48
>> right? without saying, you know, I'm
25:52
inspired by that, but let me think about
25:54
how I would do that as opposed to just
25:57
trying to jam it in a mold, you know.
26:00
>> Wow. Suzanne Deass is joining us right
26:02
here. Big round of applause. Um,
26:06
now, what's your title at Immortal?
26:08
>> Well, right now I'm co-founder.
26:10
>> Co-founder of Immortal Studio. We're
26:12
going to go to your phone calls. 888742
26:15
3345. I got Carolyn on the line.
26:18
Carolyn, welcome to the show.
26:19
>> Hi Carolyn. Carolyn.
26:22
>> Hey my love. This is Car. This is
26:24
Carlin.
26:24
>> Oh Carlin. Oh, I blew it this time.
26:26
Carlin, my bad.
26:27
>> I know. [clears throat]
26:29
>> Yeah, we gonna let that go. But anyway,
26:31
born says on advance. Yes. Yes. This is
26:36
such a joy and I'm going to keep it
26:38
quick. I know you have a million. You've
26:39
given us so many nuggets. The one I love
26:42
is attaching value to your behavior. I
26:45
need everybody to just write that down,
26:48
put it somewhere and hear it all over
26:50
and over again. But my question, because
26:53
you've answered so many already, as an
26:55
only child, which you stated, what did
26:58
young Suzanne want to do when she's
27:02
playing with her dolls in the bedroom or
27:04
playing on the patio or playing in the
27:06
backyard? What was one of the first
27:08
things as a young girl that you said you
27:10
wanted to do? And I'll hang up and
27:11
listen. And I thank you for everything.
27:13
And happy early vers
27:16
of you guys.
27:16
>> Thank you. Thank you.
27:18
>> Actually, as a as a kid, I was obsessed
27:21
with horses.
27:23
>> Okay.
27:24
>> I I became an equestrian, [laughter] you
27:26
know, I showed horses um in New York
27:30
City at and um at a small riding academy
27:34
there called Claremont. I showed horses
27:37
in Martha's Vineyard at the uh
27:40
agricultural fair when I was a kid. I
27:42
was
27:43
>> wow
27:43
>> I thought well you know had I think um
27:48
we had been more affluent I might have
27:51
tried out for the Olympics but
27:53
>> Oh wow wow
27:55
>> but
27:56
>> that wasn't
27:57
>> Yeah y'all weren't that affluent
27:58
>> but I I was an athlete I I I play I was
28:01
captain of the girls basketball team at
28:02
my high school and played volleyball and
28:05
soccer and all kinds of yeah
28:08
>> softball sports stuff like that I
28:10
learned to sail and swim and scuba dive
28:15
and all of that wow stuff.
28:17
>> Wow, Carlin, great question.
28:19
>> And we'll take more. 8887423345.
28:23
>> Suzanne, I want to um you know, I think
28:26
a lot of people listening and and who
28:28
feel like they know your story and even
28:30
listening to you speak today would say,
28:33
"You're blessed. You're good. You got
28:34
everything. Why, you know, why this or
28:37
why that? Why do you need a studio? Why
28:38
do you need to do this?" And then you
28:40
spoke about watching young talent and
28:43
giving people opportunity. And I
28:45
personally watched you um when we were
28:47
at the event for cultural creatives when
28:49
she was being honored. Um Suzanne got up
28:52
and I thought she may have needed
28:53
something. So I walked over said,
28:54
"Suzanne, do you need anything?" She
28:56
said, "No, I'm going to meet Duski." And
28:58
I thought to myself, [laughter]
29:00
she said, "I want to go say hi to Duski.
29:02
I WANT I was like, "Shit, wait a minute.
29:05
Susanna is so much COOLER THAN ME. LIKE
29:07
I GOT TO GO [laughter] FIGURE IT OUT.
29:09
after the BET Awards and my phone rings.
29:11
It's Suzanne. Hey, did you see Cardi? I
29:14
was like, yo, I need to get my whole
29:16
life together and be Suzanne.
29:18
>> Yeah, you're a librarian.
29:19
>> It's shut up. [laughter]
29:20
It is pretty, you know. Yeah, it's
29:22
pretty dry. But I love the fact that you
29:25
have not allowed yourself to become
29:28
complicit and lazy and out of touch. And
29:32
can you speak to people about how
29:34
dangerous that can be no matter how you
29:36
view quote unquote success?
29:39
[clears throat]
29:40
>> First of all, you know, everybody's
29:42
different.
29:43
>> And I just know I'm endlessly curious.
29:48
>> I love a good story.
29:50
I love a great personality.
29:52
>> Yeah.
29:53
>> Barry Gordy taught me very early on, he
29:55
said, you know, Suzanne, personalities
29:57
change lifestyles.
29:59
And what does that mean? It means that
30:01
you see someone doing something and then
30:04
you emulate it because they reached you
30:06
in a certain way.
30:09
>> And it's part of what I think Tracy was
30:12
asking me about some people um what it
30:17
is about them, you know, and sometimes
30:19
it's just their personality is just that
30:23
attractive and that magnetic that you
30:26
want to know more. Mhm.
30:28
>> And um I also think I've been blessed to
30:34
be, you know, I I don't want it to sound
30:36
like it was easy peasy. It was hard,
30:40
really hard.
30:42
>> And I don't know that anybody's ever
30:44
learned anything the easy way,
30:46
>> right?
30:46
>> So my lessons came the hard way. But
30:50
it's also fun,
30:53
you know, and that's a certain kind of
30:56
fuel for me.
30:58
I really love what I do and don't intend
31:01
to stop. So, you know,
31:04
>> I think it's it's not one thing, it's
31:06
many things.
31:07
>> Many things.
31:07
>> But I am curious. I am interested.
31:11
>> And I think that when you are interested
31:14
in other people and other things,
31:18
you become interesting yourself.
31:22
>> Hold on, let me write that down.
31:23
[laughter]
31:25
>> What's going on right here?
31:27
YOU GOT A HYENA UP IN THERE.
31:28
>> HYENA.
31:29
>> WOW. My gosh. [laughter]
31:33
Way right in everything though. He said
31:35
he's going to have a book after the time
31:36
this interview is [laughter] over.
31:38
>> My book is going to be called Suzanne S.
31:41
>> Suzanne said. [laughter]
31:44
No, I love Suzanne that um I feel like
31:46
that also is you sharing your
31:49
relationship with ambition over the
31:51
years because I was kind of thinking in
31:53
the same way that Heather was too
31:56
because there are so many people with
31:59
half of half your accomplishments who
32:02
are daydreaming about retirement and
32:04
you're doing the complete opposite
32:07
especially when you think about
32:08
Immortal.
32:08
>> Total [snorts] opposite. You just you
32:10
just mentioned um you know lessons that
32:13
come the hard way but still lessons
32:15
nonetheless at this stage in your
32:18
career. So many of us myself included
32:21
see you as an oracle as a woman who has
32:23
all the answers but you're still human
32:26
right so lessons are still arriving. Are
32:28
you comfortable sharing a lesson in
32:32
recent days that has arrived via the
32:34
work with Immortal?
32:37
>> Oh boy. Um
32:40
yeah, I I you know it's hard for me to
32:43
um
32:45
identify one thing because there's
32:47
almost like a lesson every day that is
32:50
um
32:53
you know um
32:56
I think for me recently it's having to
33:01
have the discipline to
33:05
not try to do everything
33:09
all at once, you know, and there is kind
33:12
of that that pull to uh go to every
33:17
meeting, have every dinner, have every
33:19
lunch, go on this trip, you know, that
33:23
and I think recently a lesson for me has
33:26
been to be quiet to, you know, to just
33:33
not try to do too much because in doing
33:36
too much you don't get anything done
33:39
really you know in terms to a conclusion
33:43
you just get a lot of things started but
33:45
nothing finished and I think I have had
33:48
to discipline myself to to think about
33:50
completion as opposed to just starting
33:54
>> you know something
33:55
>> thank you too write that down that
33:58
should be your first chapter actually
33:59
>> what [laughter] don't do too much
34:00
>> don't do too much
34:01
>> cuz I'm that person
34:02
>> yeah you start a lot
34:05
you've witnessed
34:06
I start a lot. I do start a lot.
34:08
>> Heather, can you finish? Heather, can
34:10
you find? Heather, can you get Heather,
34:12
can you call?
34:12
>> You going to do that right now in front
34:14
of Suzanne?
34:15
>> Oh, sorry. Dang. [laughter]
34:17
Crazy right now.
34:18
>> It's great partnership though, like
34:19
recognizing that you're a starter and
34:22
then getting someone whose um strength
34:24
is being the finisher.
34:26
>> Thank you, Tracy. So, there's value in
34:29
me starting things is what Tracy is
34:30
saying.
34:31
>> Yeah, but the series is called the
34:32
finisher. Nobody wants to see the
34:33
starter. Okay. So, let's talk [laughter]
34:35
about the film Michael real quick.
34:37
>> We got to go to Michael.
34:38
>> Congratulations first and foremost. The
34:40
film Michael, it's almost a billion
34:43
dollars now.
34:43
>> Over a billion.
34:44
>> It's over a billion now.
34:45
>> It's over a billion.
34:45
>> And I know that you consulted on that
34:47
project, right? But uh I think the bar
34:50
uh was set with the Jacksons and
34:52
American Dream. Like that's that's
34:54
that's where the bar
34:56
>> was set, right? Uh was it Jason Weaver?
35:00
Jason Weaver played Remember Jason
35:02
Weaver did that? Jason Weaver. I love
35:05
him.
35:05
>> Right. But I want to say how
35:09
it it must be because you're beyond
35:11
making movies about Michael. You watch
35:13
that young man from an early age. Him,
35:16
his family, you know, all the where all
35:18
the skeletons truly are,
35:20
>> even the ones that didn't make the big
35:22
screen. Um um but it it must be
35:26
gratifying to know that the world still
35:28
receives this man posumously.
35:31
>> Yeah.
35:31
>> At the tune that it does. This is the
35:33
highest ever grossing biopic
35:35
>> biopic
35:36
>> ever, right? And this is a family that
35:40
you are credited for discovering.
35:42
>> Well, you know, I make the distinction,
35:44
you know, I don't feel that I discovered
35:46
them. Okay.
35:47
>> I think that what I was able to do was
35:51
facilitate them coming to Mottown.
35:53
>> Uhhuh.
35:54
>> And there there is a difference. And I
35:57
think that the um the work that Joseph
36:02
who was difficult but the work that he
36:05
had done with them by the time I saw
36:08
them in 1968
36:11
>> wow
36:12
>> was
36:14
the discovery
36:16
he discovered his sons
36:18
>> and what I think I was able to do was
36:22
convince Barry Gordy who said he didn't
36:25
want any kid acts after I told him I had
36:27
seen this wonderful kid act and he said,
36:30
"Kids, I don't want any kid acts. Do you
36:32
know how much trouble Stevie Wonder is?"
36:35
>> Wow.
36:35
>> And I said, "No, I just got here."
36:37
[laughter]
36:39
>> Wow.
36:40
>> That's great.
36:41
>> And that was true because I was a New
36:42
Yorker. Come to Detroit, you know,
36:46
>> and um I think my sort of relentless
36:52
pursuit to get Mr. Gordy to see them is
36:57
what made the difference because he
36:59
resisted in the first place.
37:02
>> And so by once he saw them,
37:06
he went and put the entire resources of
37:09
the company behind them and we had four
37:12
number one records in a row. Suzanne at
37:14
[screaming] Well, congratulations. Let
37:16
me clap to that. [applause] time.
37:17
>> But Suzanne, at the time, what other
37:19
females were in the music industry in on
37:22
that side, like label side, doing what
37:24
you were doing?
37:26
>> Um,
37:27
I think there um there weren't a lot for
37:31
sure. There there was um
37:36
what was her name? Anyway, uh
37:41
there was a woman who had a label in New
37:44
York City, Jewish woman, and I don't I
37:47
very sad that I I used to know her name.
37:52
>> You know the name of the label?
37:54
>> Um
37:56
>> look it up.
37:56
>> Well, we could probably
37:58
>> look that up. See if you can find Jewish
38:00
woman on the record label.
38:01
>> No, you No, no, no. Not
38:03
>> because
38:04
>> she was somebody that I looked at and
38:07
thought,
38:07
>> "Oh, you
38:08
>> wow." Okay.
38:10
>> You were familiar with any black women
38:11
at the time?
38:13
>> I wasn't aware of them. I mean, when I
38:15
got to Mottown, Barry Gordy, who had
38:18
four sisters and a great mother,
38:21
>> there were a lot of women in responsible
38:23
positions at the company.
38:25
>> Okay.
38:25
>> Okay. But they weren't necessarily in
38:27
the creative part of the Well, when by
38:29
by creative I mean that's not really
38:32
true.
38:33
A lot of the divisions that they ran
38:35
were things like um uh manufacturing and
38:40
stuff like that. But there was another
38:42
woman, Billy Jean Brown, who was very
38:44
powerful because she handled what was
38:47
called quality control. And she was like
38:51
really
38:52
in charge much more. So I was um
38:58
you know Mr. Gord's creative assistant
39:00
but Billy Jean had a actual division
39:04
quality control and she was the one that
39:07
would orchestrate which records would be
39:10
presented at the creative meetings every
39:12
week.
39:13
>> Who'd you find?
39:14
>> Florence Greenberg. [laughter]
39:17
>> All you needed was the first
39:20
records, right?
39:21
>> That's why it has to be sway in the
39:22
afternoon. [laughter]
39:26
I was just too early for me to Florence
39:28
Greenberg. Absolutely. And um she was
39:32
very glamorous and she had a record
39:34
label and um
39:37
>> she was from like New Jersey or
39:39
something. I mean it wasn't in any big
39:41
corporate environment.
39:42
>> But the other thing that I think people
39:44
don't really recognize about Mottown was
39:47
that
39:49
Barry Gordy was using his own money. M
39:53
>> oh
39:54
>> for the company company was never public
39:57
like Colombia RCA and all those other
39:59
companies. So
40:01
>> when you think about it all of the
40:04
choices that he made
40:08
if I spend this dollar or if I don't
40:10
spend this dollar it can go in my
40:12
pocket. [snorts]
40:13
So he really, you know, was,
40:19
you know, betting on himself
40:21
>> all the time and then betting on the
40:23
rest of us to do the right thing.
40:26
>> Harry Gordy, man, give that man a round
40:27
of applause.
40:28
>> Yeah.
40:29
>> Suzanne, I got to ask you this, man. I
40:31
watched this on TV. Mottown 25.
40:34
>> Yeah.
40:35
>> You were in the house. Were you in the
40:37
house that night?
40:38
>> Was I in the house?
40:39
>> Were you in the venue?
40:41
>> Of course. Okay. So, you know, that was
40:43
the ridiculous look you gave me. I was
40:45
[laughter]
40:45
crazy. That was my first show.
40:47
>> That was your first show,
40:48
>> right?
40:50
>> As head of Mottown Productions.
40:52
>> As as a Mottown Productions, right? What
40:55
was rehearsals like?
40:57
>> Crazy.
40:58
>> Was it
41:00
>> crazy? In fact,
41:02
what most people don't know is um we
41:05
were rehearsing the Jackson 5 reunion,
41:08
you know, with the brothers and stuff
41:09
and Randy came out and all that
41:11
>> and Michael [clears throat]
41:13
did Billy Jean,
41:14
>> right?
41:15
>> And I get a letter, a messenger,
41:17
because, you know, in those days there's
41:19
no texting or emailing, a messenger, a
41:23
human person comes up and hands me an
41:25
envelope. And in that envelope is a
41:27
letter from Michael's attorney saying
41:29
that Michael Jackson
41:32
does not will not permit any of the
41:34
cameras to be on when he's doing Billy
41:37
Jean.
41:39
You're not permitted to record it.
41:40
>> What?
41:43
And this is where relationships really
41:45
do matter. And I I couldn't believe it
41:48
because we had just seen it, right? And
41:50
so, um, Don Misher, who was, uh, our
41:57
director and another executive producer,
42:00
he and I went to Michael,
42:03
but it was because of my relationship
42:05
with him. And I said, basically,
42:08
look, let us tape it. You come to the
42:12
editing room, and if you don't like it,
42:16
we won't use it.
42:19
and he came to the editing room
42:23
and he obviously liked it.
42:27
But that was a moment that changed his
42:29
career because that was the first time
42:33
many people discovered Michael Jackson.
42:35
And while Thriller had already peaked in
42:38
sales, the week after his manager told
42:40
me Thriller sold four million copies
42:44
right after.
42:47
And his manager was Frank De Leo at the
42:50
time.
42:52
And what that taught me was that artists
42:58
don't necessarily always know what's
42:59
best for themselves.
43:02
and they make decisions that are not
43:05
necessarily
43:09
objectively for their highest good
43:11
>> and benefit.
43:13
And that's why I think it's important
43:15
for every artist to have a team around
43:17
them that will tell them the truth and
43:19
will figure out ways to keep them from
43:23
hurting themselves. Basically,
43:26
>> when Michael um Thank you for sharing
43:28
this because I I'm so curious about
43:30
Michael. Mhm.
43:31
>> Um because obviously he was a brilliant
43:34
person, right? Um smart, talented, and
43:38
well balanced on both sides of that.
43:41
>> What when he did that moonwalk?
43:43
[laughter]
43:45
>> Yeah, cuz why did he want that tape?
43:47
>> Yeah. Like what what what did it feel
43:50
like in the room?
43:51
>> It was unbelievable.
43:52
>> Really? It was really because what's so
43:57
interesting is that
44:00
together that he does it twice.
44:03
>> I saw that.
44:03
>> Six seconds. It's just six seconds.
44:08
Both. So three, three and three or four
44:10
and two. I don't remember. But
44:14
when you think about in the greater
44:16
scheme of things that six seconds can
44:18
change your life.
44:20
>> Six seconds.
44:22
>> Mhm. And um
44:25
you know he
44:29
was
44:30
I think the reason that he didn't want
44:32
it taped was he was concerned about um
44:37
the wrong stuff.
44:39
>> And didn't recognize that
44:42
well he recognized it afterwards. Let's
44:44
just say that. [laughter]
44:47
>> Do we wait for part two?
44:48
>> We got to wait for part two.
44:49
>> We got to wait for part two.
44:50
>> We got to wait for part two. This is
44:52
>> We got to set something up. I want the
44:54
citizens. I want people to be in a You
44:56
all right with doing that? We did this
44:57
>> one day. We set it up.
44:58
>> We'll have people You seen our You seen
45:00
We'll have people come in the room and
45:02
>> Yeah.
45:03
>> I like people.
45:04
>> I know. We like you.
45:06
>> Thank you. And thank you. Thank you for
45:09
I'm going to give you my thank you
45:11
because I don't take it lightly,
45:12
Suzanne. I really appreciate being
45:15
invited to the room and just Thank you.
45:17
>> Oh, look at you.
45:18
>> Look at that. Heather got a big
45:20
beautiful bouquet of flowers. Oh my god.
45:23
Stunning. This is huge.
45:25
>> Worthy of the recipient.
45:26
>> Are there any flowers left in LA?
45:29
>> Oh my god.
45:31
>> Heather Rob the Flores.
45:33
>> No, thank you. And this is also for me.
45:36
Wink wink. You know how we do.
45:38
>> I know how [laughter] we do.
45:39
>> That we doing later.
45:41
>> That we'll be doing later. You can't
45:42
come sway.
45:43
>> Oh, that's crazy.
45:45
>> Suzan Suzanne has to say that though.
45:47
>> Thank you. All right. Suzanne has to say
45:49
I can't come. So it doesn't matter if
45:51
you say
45:51
>> you didn't say that.
45:52
>> I know. That's what I'm saying. Heather
45:53
did, Suzanne.
45:54
>> Cuz I didn't want to put Suzanne in that
45:56
position. You can't come.
45:57
>> Okay.
45:58
>> So Heather is the boss of you.
45:59
[laughter]
46:00
>> Wow.
46:02
>> Thank you, Suzanne.
46:04
>> Um I want to say that let's do a part
46:06
two cuz
46:07
>> all you know I definitely want to talk
46:09
more about the music. Um
46:11
>> uh some of the transitions you've made
46:13
in your career, you know. Um
46:15
>> Lady Sings the blues. Ladies, the blues,
46:18
it's all the whiz, you know, all of
46:20
these
46:21
>> different monumental milestone moments
46:23
that you've had and continue to have in
46:26
your career. But we're going to do part
46:27
two in front of an audience.
46:29
>> But it's really important that we
46:31
understand the significance of Immortal
46:33
Studio. Yes. Especially as we put in
46:35
context [applause] to the history of
46:37
Hollywood, right? And how a lot of the
46:40
stories we want to tell um have been
46:42
suppressed or not even acknowledged or
46:45
even not valued.
46:46
>> They're not valued, right?
46:48
>> They're not valued.
46:49
>> Speak to that if you don't mind.
46:50
>> Well, you know, I think that
46:53
the um the aspect of commerce and
46:58
business
47:00
where the perception for the longest
47:02
time was that black projects wouldn't
47:05
sell um
47:07
>> overseas. And by the way, Immortal is
47:09
doing projects of every stripe. We're
47:11
not just doing black projects. We love
47:15
projects that are great
47:18
>> and we don't take it because it's black
47:20
and we don't reject it because it's
47:21
black. We take it because it's great,
47:23
>> whatever it is. And as a result,
47:27
going back to the point about the value
47:30
placed on certain projects,
47:34
um, you know, it's it's a longer
47:37
discussion, but I think the the
47:40
perception has been that our stories for
47:46
the most part wouldn't travel.
47:48
There's a perception that comedy,
47:51
black, white, blue, or green, doesn't
47:53
travel because what's funny in America
47:57
may not be funny in France or wherever.
48:00
And so, you know, all of these sort of
48:04
pronouncements are
48:07
to be examined on individual cases. You
48:11
can't just say that um a particular
48:16
genre or particular you can say a
48:18
particular project you think won't sell
48:21
around the world but to paint everything
48:24
with the same brush is insane.
48:27
>> And so I think for um for us the
48:34
mantra is do great work. do great work
48:38
that you think is great for the audience
48:42
at large
48:43
>> and that you know try not to get sucked
48:48
into the trap of trying to you know
48:52
outmaneuver the perception
48:55
>> but make the project be the door opener.
48:58
Jesus hold
48:59
>> another chapter way [laughter]
49:04
out maneuver
49:06
>> out maneuver the perception
49:08
maneuver. [laughter]
49:10
>> She going to get you for plagiarism bro
49:12
like what are you doing
49:14
ain't going to sue me. What she going to
49:16
get? [laughter]
49:18
Wasting her time suing me. Go for it by
49:23
Callaway.
49:24
>> Callaway. Listen priest. Thank you young
49:26
man. Another member of Immortal Studios.
49:29
Brilliant young man.
49:30
>> Yes, we start him young.
49:32
>> Yeah, we start him young.
49:33
>> Been working for 10 years and he's only
49:35
26.
49:36
>> Oh, [laughter] child labor laws. Talk to
49:37
me. All right. Shout out to Corey.
49:40
>> Yes.
49:41
>> Shout out to Madison Jones.
49:43
>> Shout out to Madison.
49:44
>> Look up this man, Madison Jones.
49:46
>> I'm trying to tell y'all
49:46
>> this man is brilliant.
49:48
>> Brilliant.
49:49
>> Uh he's a visionary. He's a writer. He's
49:52
a producer. He does it all.
49:54
>> He does it all. and sitting talking with
49:56
him, I learned about his past life as
49:58
well.
49:59
>> He does it all.
50:01
>> All right.
50:02
>> Swiss Army knife. He does it all.
50:04
>> He does it all. Right. And thank you. I
50:05
want to say I keep saying thank you.
50:07
>> Uh because I don't think you might have
50:09
heard it enough along your roads.
50:12
[laughter] But thank you. You know, you
50:14
guys were very kind and invited and me.
50:16
>> Yes.
50:17
>> At our one of our first sitdown outings,
50:19
we went to the Soho House and you guys
50:22
paid for the meal. [laughter] That goes
50:24
far. Sway.
50:26
>> Anybody willing to feed me [laughter]
50:28
got a special place in my heart. All
50:31
right, Suzanne, thank you. This was
50:33
amazing. Not enough time. Part two
50:35
coming.
50:35
>> Okay.
50:36
>> You committed?
50:37
>> Absolutely.
50:38
>> All right, we got her. All right,
50:39
Suzanne, the pass. If people want to
50:41
find more about Immortal Studio and what
50:43
is going on at Immortal, please citizens
50:46
look this up. How can they go to the
50:48
platform?
50:49
>> Well, you know, the platform isn't
50:51
public facing yet.
50:52
>> Okay. And when we launch, I will let you
50:55
know. Yes,
50:55
>> please do. All right. Absolutely. Susan
50:57
the Pass, man.
50:58
>> Thank you. She's on IG at Susan the Pass
51:01
as well.
51:01
>> All right. And happy birthday in
51:03
advance. Um and um thank you to the
51:06
citizens for tuning in.
#Arts & Entertainment