March 18, 2025 • 30 mins
The band members get settled back in Virginia and eagerly await the finished new album.
Cupcake, however, isn’t feeling great about how things turned out and asks for another shot in the studio But a week before her scheduled recording, shesuffers another momentous loss. Can Cupcake push through more heartbreak to find her voice at this pivotal moment? And will Edge of Daybreak finally fulfill that elusive thing they’ve been singing about since they were first incarcerated - their destiny?
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Episode Transcript
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Speaker 1 (00:00):
In A and E original podcast, Everything is nice, real
good man. We hadn't been together for all those years, man,
and we still could do things together.
Speaker 2 (00:17):
After four to five years. Here you get another shot
at it. You can't tell me this ain't heaven sent, man,
this is meant to be. You know.
Speaker 3 (00:24):
You can't complain and say, well, which has been done earlier?
Speaker 4 (00:27):
Whatever?
Speaker 3 (00:29):
Nobody knew us really and now they gone on no
big time.
Speaker 4 (00:35):
The Edge of Daybreak second album recording wrapped up in
September of twenty twenty two. After two whirlwind weeks in
La Neil, Jamal and Cupcake headed back to Virginia. Meanwhile,
the production team was working on finalizing the album. For
Neil and Jamal, the next few months were a waiting game.
Speaker 2 (00:53):
I'm really looking to afford to hear something at this
time with this Mardel samp with good quality to sound.
You know, just think about now you put it here.
They quantity is sound.
Speaker 5 (01:03):
It comes through that.
Speaker 4 (01:05):
But for Cupcake, things hadn't gone exactly to plan. She
hadn't sung any of the lead vocals and she was
kicking herself over it when I flew down to see
her a month after the recording sessions wrapped, she told
me she wanted another shot at singing lead. She felt
like she hadn't delivered what she was capable of. It
just didn't come out right that first time.
Speaker 6 (01:28):
Now she was determined, I'm gonna polish my clothes, my
nails stayed theude. I'm gonna stick my nails in something
as simple as that. I didn't come all this way
just to be known as, oh, the other one. I
don't want to be the other one. I want a
legacy too.
Speaker 4 (01:46):
The album's producer, Steve Lindsay, agreed he'd wanted to hear
more of Cupcake too.
Speaker 5 (01:53):
Cupcake is is kind of the coolest. I would do
an album with Cupcake.
Speaker 7 (01:59):
That mean, like, dude, like we got a super funky
George Clinton record.
Speaker 5 (02:03):
She was, to me the funkiest.
Speaker 4 (02:07):
So it was decided it just wasn't an Edge of
Daybreak album without Cupcake singing lead. The plan was simple.
Steve suggested that Cupcake re record the lead vocals for
the song that she was initially supposed to take lead on,
Still in Love, plus a few verses on Your Destiny.
We booked a studio again, this time in Virginia. We
(02:30):
brought in another vocal coach, just for Cupcake, and in
June of twenty twenty three, I flew down to Richmond
to help her take another swing at it. But when
I got to Cupcake's apartment complex a few days before
her scheduled studio time, she looked downright exhausted. Did you
have a late one last night?
Speaker 8 (02:50):
No?
Speaker 5 (02:51):
I couldn't sleep. I'm sorry he'd have a slip.
Speaker 9 (02:57):
I had a quick little nappy and a few minute
us ago. Man, I woke up with a nitch.
Speaker 5 (03:02):
Get up.
Speaker 9 (03:02):
You got to catch up with this man to day.
Speaker 5 (03:07):
You had a long week.
Speaker 9 (03:09):
I had a rough week on a lone.
Speaker 4 (03:16):
Rough is an understatement. A week earlier, Cupcake had gotten
an unexpected phone call about her partner, T T, the
one she'd split up with right before the LA sessions.
Speaker 10 (03:28):
The police called me and asked me, did I know
anybody in his family? I gave him the numbers that
I had to the family that he hated, or.
Speaker 5 (03:37):
That I knew of it.
Speaker 4 (03:38):
Did they tell you what had happened?
Speaker 10 (03:40):
They told me he had passed away, And tell me
what had happened? He just told me he had passed
away in his sleep.
Speaker 4 (03:47):
Cupcake and T. T. Had been together more than thirty years.
I talked to Cupcake about a lot of things, but
we'd never really talked about him until this trip to Richmond.
I just knew that they'd met a few years after
she got out of Powhatan in nineteen eighty nine at
the city jail.
Speaker 10 (04:06):
First I met him. He was in jail, but to
first I seen him. After that we went straight to
mop Harby.
Speaker 5 (04:12):
See. No, we didn't do nothing. We just talked and
had a good time. What did you like about him?
Speaker 10 (04:22):
Everything? He was cute then he had all his teeth
and everything. He had a smile that was award winning.
Speaker 4 (04:36):
Cupcake had been understandably thrown in LA when they'd broken up,
but this was an inconceivable loss. I wouldn't have blamed
her if she'd wanted to cancel, but she told me
she still wanted to sing. She'd been preparing and she
wasn't going to let this opportunity pass her by. Before
(05:10):
Cupcake got into the studio, we'd set up a few
prep sessions with a Richmond vocal coach at least tanyag do.
Speaker 11 (05:17):
You want to spend today? Maybe just still working on
getting some of that false.
Speaker 5 (05:21):
Settle back, or I'd rather just I'm having a bad day.
Just put it like that, I'm having a bad day.
Speaker 11 (05:29):
You have to drink any water today?
Speaker 5 (05:31):
The only thing I'd grind it?
Speaker 9 (05:33):
Oh yeah.
Speaker 4 (05:34):
In La Cupcake's vocal coaching was centered on harmonies with
her bandmates, but for her upcoming sessions, she'd be singing
lead and lead alone. At Last wanted to help Cupcake
make sure her voice was ready, and more importantly, maybe
the Cupcake believed her voice was ready. Her methods were
fun to watch. One involved Cupcake blowing into a straw.
Speaker 11 (05:58):
They're gonna put them in just a little bit like that,
and then we're going to blow into it. Make your
little bubbles.
Speaker 5 (06:06):
Yep.
Speaker 11 (06:06):
And then can I have also make sounds in there too? O?
More zan really good?
Speaker 3 (06:22):
Live there you go?
Speaker 11 (06:29):
Yes.
Speaker 4 (06:32):
At least this's tool kit also included twelve pound kettlebells.
She told Cupcake to hold them to the side while
she sang.
Speaker 5 (06:39):
It brings my shoulders now from over the next position
to me.
Speaker 11 (06:43):
So that's a better posture for singing or cuppatu is supertense,
super supertense, and so we're trying to disperse the tension.
Speaker 4 (06:54):
Cupcake was here for all of it, blowing bubbles, lifting kettlebells,
but her mind was under standably preoccupied with Tit's death
and it was affecting her delivery.
Speaker 10 (07:05):
Everything is rushing to the front of my head instead
up to my throat like it's supposed to be. Everything
is just rushing to my head. I said, thirty four years.
That's a long time. It's almost thirty five. That's close enough.
Because all the shit that we've been through is hard
to get a focus.
Speaker 12 (07:24):
Grief's tough.
Speaker 5 (07:27):
I just keep telling that. My family calls me every day.
You all right, you are go the hell and leave
me alone. Let me grieve in my own way.
Speaker 4 (07:35):
But they kept at it for two days, and by
the end of their prep sessions, Cupcake was hitting the
notes she wanted, reading your a Peck, I like that one,
But there was still an open question. Would she feel
comfortable when she got into the studio. There was a
lot writing on this next recording session. The pressure, the grief,
(07:59):
the sleepless all of that was weighing on her. It's Monday,
June twelfth, and I'm outside cupcakes apartment complex about to
pick her up for her vocal recording session. The night
(08:19):
before she told me she was going to try to
get some sleep with one of the weed gummies she
bought when we were out in La. How you feeling,
I guess I might.
Speaker 9 (08:31):
Did she get any sleep?
Speaker 8 (08:33):
No?
Speaker 9 (08:34):
I even tried the gummy thing that didn't work. Hey, No,
I guess was a weak gummy.
Speaker 4 (08:41):
Oh man, should I do the Google mapper?
Speaker 5 (08:45):
I don't know how to get done?
Speaker 13 (08:46):
I did.
Speaker 5 (08:48):
I'm just.
Speaker 9 (08:50):
Go ahead, doesn't way.
Speaker 4 (08:52):
We headed toward the studio in historic Shacko Bottom. On
the drive, our conversation gravitated towards.
Speaker 9 (09:01):
The only thing I got to do now is getting
myself together to pack his clothes up and get a
bit up.
Speaker 11 (09:09):
That's gonna be hard.
Speaker 9 (09:10):
Yeah, that's the rough part. It's not fun at all.
Speaker 13 (09:15):
I don't think it's And it's definitely not gonna be
fun because I don't seen all them clothes on it.
Speaker 5 (09:21):
Yeah, when you get to this, stop saying make or right?
Speaker 4 (09:26):
Do you have anyone helping you with that?
Speaker 5 (09:28):
Or are you doing that by myself?
Speaker 9 (09:32):
I don't want nobody else touching and stuff.
Speaker 4 (09:36):
We pulled into a studio that was hidden away behind
a block of row houses, and as we headed to
the door. I could feel Cupcakes starting to perk up.
Speaker 5 (09:45):
Here we go.
Speaker 4 (09:50):
Recording engineer Paul Bruski greeted us, Hey, how's it going.
Speaker 5 (09:55):
How are you Copcake? What's going on?
Speaker 4 (09:59):
The first thing that's druck me was the studio size.
It was gigantic, eighteen thousand square feet with multiple spaces
for recording. I think it impressed Cupcake too. When she
stepped into the studio, there was no hint of that
heartache we'd been talking about in the car. She had
her game face on. Paul got to work setting up
(10:20):
connecting with Steve over a video chat. He'd be directing
the session remotely from La and at least the vocal
coach was there too, along with her tool kit of straws,
weights and some balls.
Speaker 9 (10:32):
Do you want to do some exercises before you jump in?
I won't to jump right on it.
Speaker 4 (10:37):
The first song they'd record was Still in Love, the
song that was supposed to be hers in the first place.
She stepped into the recording booth, slapped on her oversized headphones,
and Paul gave her.
Speaker 5 (10:48):
The cue, Okay, you got it, Here we go.
Speaker 4 (10:58):
Just a couple of days before, Cake was fighting off
doubts about her ability to perform, but as the song rolled,
she looked relaxed. She took a breath and.
Speaker 14 (11:12):
To give.
Speaker 5 (11:17):
Up till the brink of dome. She was here, ain't
gonna cry about it.
Speaker 4 (11:26):
With all those tales are gone with Cupcake was all business.
Then Steve jumped in, Hey, can I say something to Cupcake?
Speaker 7 (11:37):
Yes, Cupcake, Yes, that was incredible.
Speaker 5 (11:44):
Thank you Steven.
Speaker 4 (11:49):
This was the side of Cupcake we hadn't seen in la.
Speaker 7 (11:54):
I can't tell you how to sing like this.
Speaker 5 (11:56):
I wish I could, but suggest.
Speaker 4 (12:01):
Suggestions.
Speaker 5 (12:02):
Yeah, okay, I'll teach me how to do that.
Speaker 4 (12:04):
They breezed through that first one, all the way down
to Cupcakes ad libs. We stealed, ain't going no way,
you and me, Me and you.
Speaker 13 (12:24):
Were stealing.
Speaker 4 (12:28):
Take Where did that coche?
Speaker 11 (12:37):
Did you get that wood?
Speaker 4 (12:40):
During a short break, Cupcake told me she was having fun.
Speaker 5 (12:43):
I feel looser in here.
Speaker 4 (12:45):
Yeah it sounded amazing, and yeah, you get some meltest.
Speaker 5 (12:50):
That was. I don't know where he came from.
Speaker 4 (12:54):
I just came out. You didn't even have your your
weight with you up your destiny. Cupcake had written a
new verse, and Steve was giving her some pointers to
help her get in the zone before she sang it.
But Cupcake was already there, and so was her sense
of humor.
Speaker 7 (13:12):
Try to answer the question, you know, who are you
singing to? Where, when?
Speaker 5 (13:16):
And why?
Speaker 7 (13:17):
You know, generally we get our best performances for the
most part when we think about that stuff and the
and the notes don't have to be perfect then just
the intention that makes sense? Or was that sound some
la bullshit?
Speaker 9 (13:35):
I didn't put up with too much of it.
Speaker 5 (13:37):
When that was.
Speaker 14 (13:41):
All right?
Speaker 4 (13:42):
Okay, So here we go from the top coming to
you once again. She nailed it, rej.
Speaker 3 (13:55):
Where to go?
Speaker 8 (13:58):
You know, when you get the.
Speaker 12 (14:02):
Star of your show, where your part is, don't give
it in jil give me remember that ever, trya believe
you to your dream, captain of your.
Speaker 4 (14:24):
Ship, wherever you Cupcake hand delivered a confident, powerful performance,
and she did it in just about two hours. I
asked her how she felt it went.
Speaker 5 (14:36):
I was just trying to catch up because I hadn't.
Speaker 10 (14:39):
Just like I said, the last time I sang anything
like that was in California last year, and I, just
like I said, I didn't get a chance to sing
because when I went to California, I didn't have a voice.
Speaker 5 (14:49):
I don't know why. You know for yourself. You hear
me trying. I didn't have a voice, and then I
didn't have any music that I took with me.
Speaker 4 (14:59):
So your voice did something this week that I mean
it even said, it even shocked you.
Speaker 5 (15:05):
I got a few notes in there that I never
thought I would ever hit again.
Speaker 4 (15:11):
And here's a funny coincidence. The guy who owned the
studio used to work for Alpha Audio in the seventies.
They're the ones who did the first Edge of Daybreak recording.
His name's Carlos Chaffin. He introduced himself to Cupcake after
we wrapped up, and then Cupcake explained just why Edge
of Daybreak didn't travel to a real studio the first time.
Speaker 10 (15:33):
If they had too many openness in the building and
some really try to escape.
Speaker 5 (15:37):
That's why that was the reason. That was the reason
they gave us.
Speaker 4 (15:42):
Well, we just did two amazing songs today and it
is great.
Speaker 5 (15:47):
Well that what was it that happened with that that album?
And then.
Speaker 13 (15:53):
On the album made it to the soundtrack of the
movie Moonlight, Right, that's what all this rolled in.
Speaker 5 (16:00):
Who would have thought that this would happen to me,
you little culture boy.
Speaker 4 (16:03):
From now it was up to Steve and his team.
He finally had Cupcakes lead vocal tracks and a more
complete sampling of the group's talent. The new album was
going to be four new songs, plus a new version
of Your Destiny. After all those years of waiting, Edge
(16:25):
of Daybreak had a second album and the band was
about to weigh in.
Speaker 2 (16:53):
I can't gonna say that I got a favorite. All
them nights out ain't good with no lass. Each one
of them got their own different flavor, they different style.
(17:13):
They're good in their own way.
Speaker 14 (17:26):
F Classic. I'll listen to him three times so far.
Everything is nice, real good man, love.
Speaker 10 (17:41):
God, fum classic, beautyful.
Speaker 3 (17:47):
Crowd from.
Speaker 4 (18:10):
Neil, Jamal and Cupcake had heard a few early mixes
of the songs before we added Cupcake's vocals. They'd given
some notes on lyrics in the mix, and then in
July twenty twenty three, they finally got the new tracks.
I'd been sitting with the music as well. When i'd
heard it the first time, it was apparent just how
(18:30):
different studio production was from well what was essentially a
field recording on the first record. Their new music was
really crisp and polished. Gone was the raw lo fi
sound and the imperfections that had made it to that
first record, Jamal's hiccups, to name one example, this album
(18:50):
had a new sound. Here's how Cupcake characterized it.
Speaker 10 (18:56):
This more age appropriate. It's our age appropriate. It's not
knocked there on drag. I was like you see did
the new groups and stuff.
Speaker 5 (19:04):
It's not like that. I could never be a du
naws X. No, I'm not an industry baby. I'm an
old fashioned baby.
Speaker 4 (19:14):
And you think Steve and Dylan were able to capture
that more classic sound.
Speaker 5 (19:18):
They captured the how would you say this? The senior
soul in us.
Speaker 4 (19:24):
Despite all the challenges in the studio, the song rewrites
and some differences over how the music might sound, Neil,
Jamal and Cupcake are mostly happy with how the album
came out. Jamal really loved the horns. The band didn't
have a horn section in the prison bandroom. Now they
were backed by a trumpet and a sax.
Speaker 2 (19:46):
See that whole sound is classic. Thing about it, It's
a classical sound. Between the two songs brown Eyes in
that you know, it's just it's classic, you know. But
like I said it in Bella. This strict for a
nightclub or supper club. You can't be to listen if
you can sit back, have done a talk. You know
(20:07):
it's not real now, you know, no whooping and holler.
Speaker 4 (20:11):
Neil always has the mixes cute up at.
Speaker 3 (20:14):
Home, listen to it every night and all miss the
night listen to these songs.
Speaker 4 (20:19):
He'd been so eager to record his music out in La.
Now that he has, Here's what he had to say
about his track Classic, the one he and his producers
had gone back and forth on over lyrics.
Speaker 3 (20:32):
My voice on this song.
Speaker 1 (20:34):
That ain't gonna say it's perfect, but it's just what
I wanted, you know, the way I wanted the song
to flow. And then Dylan said I had a real
salt voice. It wasn't like a real managed voice like Jamal.
Speaker 4 (20:48):
You know, Neil's more than just happy with the track.
Speaker 3 (20:52):
I think it's gonna be my number one hit.
Speaker 5 (20:54):
That's what I think.
Speaker 3 (20:55):
That's just how good it is.
Speaker 14 (20:57):
You know, it's just my opinion.
Speaker 3 (20:58):
I ain't greg and nothing like that, just my opinion.
Speaker 4 (21:11):
For Jamal. One of the new tracks gave him a
chance to sing in a style he'd never done before, though,
he'd grown up around blues musicians and rowing uk he'd
never actually sung a blues style song.
Speaker 2 (21:23):
Now still in Love. Like I said, that's a that's
a different flavor. I kind of liked it because I
was surprised the way it came home. Like I said,
I had never did a song in that flavored before.
Speaker 4 (21:34):
No need to talk about.
Speaker 2 (21:40):
Babe. We've been up all night. But when you playing
music there, since you're a kid man, you know you
you know the scale. The scale is in your body,
you know what I mean. So when it started to playet,
I just went with the flow because.
Speaker 10 (21:54):
We're we're still.
Speaker 11 (22:04):
Still love.
Speaker 9 (22:08):
We're still in love.
Speaker 2 (22:11):
I ain't feel right then, o they But like you know,
we've been singing together for years and over forty years
we having a song together at all, but still the
chemistry that and that's the good thing, the chemistry is.
Speaker 3 (22:22):
Then get to dream about it.
Speaker 8 (22:27):
Because I was a brecom gon shut the I'm gonna
cry about it here because when I must team here
about gold.
Speaker 5 (22:42):
We're still singing. Leader is the easiest thing in the world.
Speaker 9 (22:46):
Just listening and hearing other parts in the song for
your backup.
Speaker 13 (22:51):
That's the hard part and a lot of people that
sing lead can't hear, can't hear the rest up. I
can hear the rest up. I can tell you the
part I want you to sing. I could tell a
slatter part.
Speaker 5 (23:01):
I wore him the same.
Speaker 13 (23:03):
I could tell that boe okay, he could sing. That's
what I used to do when I was in the bank.
I used to give out parts.
Speaker 4 (23:15):
I'm still kind of amazed that this happened, that the
surviving members of Edged Daybreak came together to record another album.
Their story is so unusual, and it's part of the
reason their original record had such mystique. Just part though,
because their music was incredible. They're still incredible, and you
can really hear how they've evolved. This is what I
(23:36):
wanted to talk about with Dorian.
Speaker 15 (23:39):
The first album feels way more intimate and there was
an urgency there. You know that the first album was
much grittier and I had a hunger about it, where
this feels a lot more settled in and groovy, you know,
like like like you would want some old cats to
sound like they ain't a rush to throw nothing in
(23:59):
your face. You know, that's the that's for them twenty
year olds. Let them young bucks. Do that, you know,
beautiful brown Eyes in New Orleans. It's like such a
nostalgic song. It sounds like your grandfather telling you about
a woman he saw once. You know, we all got that,
or if we're lucky, we have at least one where
we just saw a woman and she really touched you.
Speaker 4 (24:19):
Oh yeah, So what do you think about you know,
their future? Like, do you want to hear them make
some more stuff after this?
Speaker 15 (24:27):
I definitely want to hear more music from them, even
if it's a bunch of solo projects. They still have
something to say. You know, a lot of artists they
kind of fade out, they become parodies of themselves. But
for those who stick around and hit that next stride
of like I don't give a fuck what y'all think
about me, that's when the good stuff starts to happen again.
(24:50):
And we're experiencing that right now. Whether it's a daybreak,
I just kind of want to see them put their
foot on the pedal and take this thing out a
little bit further.
Speaker 4 (24:59):
Jamal tells the experience still feels a little surreal.
Speaker 2 (25:03):
It's this whole thing is still making the dream state.
You know, it's dead, but it's not tangible yet. I mean,
you know, I can't would have touched it. I see it,
but you know, it's just still in the dream state.
Speaker 4 (25:16):
Cupcakes just excited to see what happens.
Speaker 13 (25:18):
Oh hell yeah, I can't wait. All my friends are
waiting for him, and I got about a million fillibles.
It seemed like all of a sudden, All of a sudden,
everybody knows Cupcake out. Yeah, I can't go get my
nails though. No more people wear me to deal.
Speaker 4 (25:37):
The whole experience of traveling to LA to record new
music was exciting and different. I can tell in my
conversations with them they're still wrapping their heads around it.
Just think about it. Edge of Daybreak recorded its first
album in prison under the watch of corrections officers. Now
it's three surviving members. We're collaborating with new producers and musicians.
(26:01):
That first album was tangible, only a thousand copies press
to vinyl available in a handful of local stores. Now
the final product was an album for the digital world.
Anyone on the planet can hear their music in a
matter of seconds.
Speaker 5 (26:17):
That was the purpose of doing this, to wake it up, to.
Speaker 13 (26:22):
Shake up our careers. If anybody wanted us and ain't
going right. That's what I'm gonna do. I'm gonna sing
my way to on.
Speaker 4 (26:30):
Jamal thinks the band has proven itself that it can
keep going.
Speaker 2 (26:34):
I think that's exactly what they called us out there
for to see what we were about, what we could do,
and where we worked the investment, you know. So I
looked at that as an audition. You know, that's the
first job I ever had that I had to take
a plane to audition, you know what I mean.
Speaker 4 (26:56):
For now, they're back to life as it was before
Los Angeles, cupcakes and Richmond cooking, hanging out with friends
and keeping up with TV. Jamal is still add it
every day at the gym and posting inspirational content on
social media. And Kneel's back at home with his family,
playing guitar and getting over back surgery. And just like
(27:18):
when I met them in twenty nineteen, they're still looking
forward toward the future.
Speaker 1 (27:25):
My biggest wish is that they put this all over
the world and all the countries. You know me, I'm
thinking awards and everything.
Speaker 5 (27:35):
That's one thing about it.
Speaker 2 (27:37):
This good story is still continuing.
Speaker 5 (27:39):
It's ongoing, you know what I mean.
Speaker 2 (27:41):
Kind of like a never ending story.
Speaker 5 (27:43):
This is just a threshold.
Speaker 4 (27:47):
Whether they'll continue as a group or solo remains to
be seen. I don't know that their future success as
a band can be dictated by their past. The stakes
are so much different now. But I keep coming back
to something Cupcake told me about artistic freedom, about realizing
her potential as a singer in prison.
Speaker 10 (28:11):
Because it gave me freedom. I didn't have to think
about where I was. I knew where I was, but
I was free in my mind. In my head, I
was just a free as hell. I was singing and
laughing and giggling like I wanted to be in the street.
I'm loose and wild. I'm ready to sing.
Speaker 11 (28:33):
So that's notss.
Speaker 4 (28:38):
To see God a true man.
Speaker 14 (28:42):
No week, you have probably.
Speaker 9 (28:53):
Consider it.
Speaker 4 (28:55):
You can't do no revel.
Speaker 5 (28:58):
That's no way to say.
Speaker 15 (29:10):
If you want to hear more of Edged day Breaks music.
Speaker 4 (29:12):
Their new EP, New Horizon, is available on all digital platforms.
Sole Incarcerated was written and hosted by me Jamie Petrice,
co hosted and produced by Dorian Missik, story edited by
Jasmine Kahan, and sound designed by Bill Moss and Isaac Lee.
(29:32):
Executive producers are Mcamie, Lynn, Jesse Katz, and Warren Ostergard.
Special thanks to everyone who helped us research this story.
To Marv Hyman, Bill Crawley, and Sanethia Lewis. To the author,
Dale Broomfield, Attorneys David Baugh and Mara Meltzer Cohen. To
doctor Heather Thompson and Lisha McCarney for lending insights on
(29:53):
American carceral history. Thanks to the entire staff of the
Library of Virginia and to Ben Himofar from the Henrico
County Public Library. To the vocal coaches kJ Rose and
Elise tunyak A and Eves Jennifer and Sonia, Michael Greenwald,
and Elaine Fontaine Bryant. Thanks to the team at silver
(30:14):
Lining Entertainment, One Story Up Productions, the Numeral Group, the
crew at Sunset Sound and In Your Ear Studios Alex
Lambert Lucas, Benkin, Will Bethelm, and Marty Keith. Thanks to
all of the band's friends, family members, and associates who
took the time to talk to me for this story,
and most of all, to the Edge of Daybreak Harry Coleman,
(30:35):
Jamal Newby and Neil Cade for sharing it with me.
In A and E original podcast, Everything is nice, real
good man. We hadn't been together for all those years, man,
and we still could do things together.
Speaker 2 (00:17):
After four to five years. Here you get another shot
at it. You can't tell me this ain't heaven sent, man,
this is meant to be. You know.
Speaker 3 (00:24):
You can't complain and say, well, which has been done earlier?
Speaker 4 (00:27):
Whatever?
Speaker 3 (00:29):
Nobody knew us really and now they gone on no
big time.
Speaker 4 (00:35):
The Edge of Daybreak second album recording wrapped up in
September of twenty twenty two. After two whirlwind weeks in
La Neil, Jamal and Cupcake headed back to Virginia. Meanwhile,
the production team was working on finalizing the album. For
Neil and Jamal, the next few months were a waiting game.
Speaker 2 (00:53):
I'm really looking to afford to hear something at this
time with this Mardel samp with good quality to sound.
You know, just think about now you put it here.
They quantity is sound.
Speaker 5 (01:03):
It comes through that.
Speaker 4 (01:05):
But for Cupcake, things hadn't gone exactly to plan. She
hadn't sung any of the lead vocals and she was
kicking herself over it when I flew down to see
her a month after the recording sessions wrapped, she told
me she wanted another shot at singing lead. She felt
like she hadn't delivered what she was capable of. It
just didn't come out right that first time.
Speaker 6 (01:28):
Now she was determined, I'm gonna polish my clothes, my
nails stayed theude. I'm gonna stick my nails in something
as simple as that. I didn't come all this way
just to be known as, oh, the other one. I
don't want to be the other one. I want a
legacy too.
Speaker 4 (01:46):
The album's producer, Steve Lindsay, agreed he'd wanted to hear
more of Cupcake too.
Speaker 5 (01:53):
Cupcake is is kind of the coolest. I would do
an album with Cupcake.
Speaker 7 (01:59):
That mean, like, dude, like we got a super funky
George Clinton record.
Speaker 5 (02:03):
She was, to me the funkiest.
Speaker 4 (02:07):
So it was decided it just wasn't an Edge of
Daybreak album without Cupcake singing lead. The plan was simple.
Steve suggested that Cupcake re record the lead vocals for
the song that she was initially supposed to take lead on,
Still in Love, plus a few verses on Your Destiny.
We booked a studio again, this time in Virginia. We
(02:30):
brought in another vocal coach, just for Cupcake, and in
June of twenty twenty three, I flew down to Richmond
to help her take another swing at it. But when
I got to Cupcake's apartment complex a few days before
her scheduled studio time, she looked downright exhausted. Did you
have a late one last night?
Speaker 8 (02:50):
No?
Speaker 5 (02:51):
I couldn't sleep. I'm sorry he'd have a slip.
Speaker 9 (02:57):
I had a quick little nappy and a few minute
us ago. Man, I woke up with a nitch.
Speaker 5 (03:02):
Get up.
Speaker 9 (03:02):
You got to catch up with this man to day.
Speaker 5 (03:07):
You had a long week.
Speaker 9 (03:09):
I had a rough week on a lone.
Speaker 4 (03:16):
Rough is an understatement. A week earlier, Cupcake had gotten
an unexpected phone call about her partner, T T, the
one she'd split up with right before the LA sessions.
Speaker 10 (03:28):
The police called me and asked me, did I know
anybody in his family? I gave him the numbers that
I had to the family that he hated, or.
Speaker 5 (03:37):
That I knew of it.
Speaker 4 (03:38):
Did they tell you what had happened?
Speaker 10 (03:40):
They told me he had passed away, And tell me
what had happened? He just told me he had passed
away in his sleep.
Speaker 4 (03:47):
Cupcake and T. T. Had been together more than thirty years.
I talked to Cupcake about a lot of things, but
we'd never really talked about him until this trip to Richmond.
I just knew that they'd met a few years after
she got out of Powhatan in nineteen eighty nine at
the city jail.
Speaker 10 (04:06):
First I met him. He was in jail, but to
first I seen him. After that we went straight to
mop Harby.
Speaker 5 (04:12):
See. No, we didn't do nothing. We just talked and
had a good time. What did you like about him?
Speaker 10 (04:22):
Everything? He was cute then he had all his teeth
and everything. He had a smile that was award winning.
Speaker 4 (04:36):
Cupcake had been understandably thrown in LA when they'd broken up,
but this was an inconceivable loss. I wouldn't have blamed
her if she'd wanted to cancel, but she told me
she still wanted to sing. She'd been preparing and she
wasn't going to let this opportunity pass her by. Before
(05:10):
Cupcake got into the studio, we'd set up a few
prep sessions with a Richmond vocal coach at least tanyag do.
Speaker 11 (05:17):
You want to spend today? Maybe just still working on
getting some of that false.
Speaker 5 (05:21):
Settle back, or I'd rather just I'm having a bad day.
Just put it like that, I'm having a bad day.
Speaker 11 (05:29):
You have to drink any water today?
Speaker 5 (05:31):
The only thing I'd grind it?
Speaker 9 (05:33):
Oh yeah.
Speaker 4 (05:34):
In La Cupcake's vocal coaching was centered on harmonies with
her bandmates, but for her upcoming sessions, she'd be singing
lead and lead alone. At Last wanted to help Cupcake
make sure her voice was ready, and more importantly, maybe
the Cupcake believed her voice was ready. Her methods were
fun to watch. One involved Cupcake blowing into a straw.
Speaker 11 (05:58):
They're gonna put them in just a little bit like that,
and then we're going to blow into it. Make your
little bubbles.
Speaker 5 (06:06):
Yep.
Speaker 11 (06:06):
And then can I have also make sounds in there too? O?
More zan really good?
Speaker 3 (06:22):
Live there you go?
Speaker 11 (06:29):
Yes.
Speaker 4 (06:32):
At least this's tool kit also included twelve pound kettlebells.
She told Cupcake to hold them to the side while
she sang.
Speaker 5 (06:39):
It brings my shoulders now from over the next position
to me.
Speaker 11 (06:43):
So that's a better posture for singing or cuppatu is supertense,
super supertense, and so we're trying to disperse the tension.
Speaker 4 (06:54):
Cupcake was here for all of it, blowing bubbles, lifting kettlebells,
but her mind was under standably preoccupied with Tit's death
and it was affecting her delivery.
Speaker 10 (07:05):
Everything is rushing to the front of my head instead
up to my throat like it's supposed to be. Everything
is just rushing to my head. I said, thirty four years.
That's a long time. It's almost thirty five. That's close enough.
Because all the shit that we've been through is hard
to get a focus.
Speaker 12 (07:24):
Grief's tough.
Speaker 5 (07:27):
I just keep telling that. My family calls me every day.
You all right, you are go the hell and leave
me alone. Let me grieve in my own way.
Speaker 4 (07:35):
But they kept at it for two days, and by
the end of their prep sessions, Cupcake was hitting the
notes she wanted, reading your a Peck, I like that one,
But there was still an open question. Would she feel
comfortable when she got into the studio. There was a
lot writing on this next recording session. The pressure, the grief,
(07:59):
the sleepless all of that was weighing on her. It's Monday,
June twelfth, and I'm outside cupcakes apartment complex about to
pick her up for her vocal recording session. The night
(08:19):
before she told me she was going to try to
get some sleep with one of the weed gummies she
bought when we were out in La. How you feeling,
I guess I might.
Speaker 9 (08:31):
Did she get any sleep?
Speaker 8 (08:33):
No?
Speaker 9 (08:34):
I even tried the gummy thing that didn't work. Hey, No,
I guess was a weak gummy.
Speaker 4 (08:41):
Oh man, should I do the Google mapper?
Speaker 5 (08:45):
I don't know how to get done?
Speaker 13 (08:46):
I did.
Speaker 5 (08:48):
I'm just.
Speaker 9 (08:50):
Go ahead, doesn't way.
Speaker 4 (08:52):
We headed toward the studio in historic Shacko Bottom. On
the drive, our conversation gravitated towards.
Speaker 9 (09:01):
The only thing I got to do now is getting
myself together to pack his clothes up and get a
bit up.
Speaker 11 (09:09):
That's gonna be hard.
Speaker 9 (09:10):
Yeah, that's the rough part. It's not fun at all.
Speaker 13 (09:15):
I don't think it's And it's definitely not gonna be
fun because I don't seen all them clothes on it.
Speaker 5 (09:21):
Yeah, when you get to this, stop saying make or right?
Speaker 4 (09:26):
Do you have anyone helping you with that?
Speaker 5 (09:28):
Or are you doing that by myself?
Speaker 9 (09:32):
I don't want nobody else touching and stuff.
Speaker 4 (09:36):
We pulled into a studio that was hidden away behind
a block of row houses, and as we headed to
the door. I could feel Cupcakes starting to perk up.
Speaker 5 (09:45):
Here we go.
Speaker 4 (09:50):
Recording engineer Paul Bruski greeted us, Hey, how's it going.
Speaker 5 (09:55):
How are you Copcake? What's going on?
Speaker 4 (09:59):
The first thing that's druck me was the studio size.
It was gigantic, eighteen thousand square feet with multiple spaces
for recording. I think it impressed Cupcake too. When she
stepped into the studio, there was no hint of that
heartache we'd been talking about in the car. She had
her game face on. Paul got to work setting up
(10:20):
connecting with Steve over a video chat. He'd be directing
the session remotely from La and at least the vocal
coach was there too, along with her tool kit of straws,
weights and some balls.
Speaker 9 (10:32):
Do you want to do some exercises before you jump in?
I won't to jump right on it.
Speaker 4 (10:37):
The first song they'd record was Still in Love, the
song that was supposed to be hers in the first place.
She stepped into the recording booth, slapped on her oversized headphones,
and Paul gave her.
Speaker 5 (10:48):
The cue, Okay, you got it, Here we go.
Speaker 4 (10:58):
Just a couple of days before, Cake was fighting off
doubts about her ability to perform, but as the song rolled,
she looked relaxed. She took a breath and.
Speaker 14 (11:12):
To give.
Speaker 5 (11:17):
Up till the brink of dome. She was here, ain't
gonna cry about it.
Speaker 4 (11:26):
With all those tales are gone with Cupcake was all business.
Then Steve jumped in, Hey, can I say something to Cupcake?
Speaker 7 (11:37):
Yes, Cupcake, Yes, that was incredible.
Speaker 5 (11:44):
Thank you Steven.
Speaker 4 (11:49):
This was the side of Cupcake we hadn't seen in la.
Speaker 7 (11:54):
I can't tell you how to sing like this.
Speaker 5 (11:56):
I wish I could, but suggest.
Speaker 4 (12:01):
Suggestions.
Speaker 5 (12:02):
Yeah, okay, I'll teach me how to do that.
Speaker 4 (12:04):
They breezed through that first one, all the way down
to Cupcakes ad libs. We stealed, ain't going no way,
you and me, Me and you.
Speaker 13 (12:24):
Were stealing.
Speaker 4 (12:28):
Take Where did that coche?
Speaker 11 (12:37):
Did you get that wood?
Speaker 4 (12:40):
During a short break, Cupcake told me she was having fun.
Speaker 5 (12:43):
I feel looser in here.
Speaker 4 (12:45):
Yeah it sounded amazing, and yeah, you get some meltest.
Speaker 5 (12:50):
That was. I don't know where he came from.
Speaker 4 (12:54):
I just came out. You didn't even have your your
weight with you up your destiny. Cupcake had written a
new verse, and Steve was giving her some pointers to
help her get in the zone before she sang it.
But Cupcake was already there, and so was her sense
of humor.
Speaker 7 (13:12):
Try to answer the question, you know, who are you
singing to? Where, when?
Speaker 5 (13:16):
And why?
Speaker 7 (13:17):
You know, generally we get our best performances for the
most part when we think about that stuff and the
and the notes don't have to be perfect then just
the intention that makes sense? Or was that sound some
la bullshit?
Speaker 9 (13:35):
I didn't put up with too much of it.
Speaker 5 (13:37):
When that was.
Speaker 14 (13:41):
All right?
Speaker 4 (13:42):
Okay, So here we go from the top coming to
you once again. She nailed it, rej.
Speaker 3 (13:55):
Where to go?
Speaker 8 (13:58):
You know, when you get the.
Speaker 12 (14:02):
Star of your show, where your part is, don't give
it in jil give me remember that ever, trya believe
you to your dream, captain of your.
Speaker 4 (14:24):
Ship, wherever you Cupcake hand delivered a confident, powerful performance,
and she did it in just about two hours. I
asked her how she felt it went.
Speaker 5 (14:36):
I was just trying to catch up because I hadn't.
Speaker 10 (14:39):
Just like I said, the last time I sang anything
like that was in California last year, and I, just
like I said, I didn't get a chance to sing
because when I went to California, I didn't have a voice.
Speaker 5 (14:49):
I don't know why. You know for yourself. You hear
me trying. I didn't have a voice, and then I
didn't have any music that I took with me.
Speaker 4 (14:59):
So your voice did something this week that I mean
it even said, it even shocked you.
Speaker 5 (15:05):
I got a few notes in there that I never
thought I would ever hit again.
Speaker 4 (15:11):
And here's a funny coincidence. The guy who owned the
studio used to work for Alpha Audio in the seventies.
They're the ones who did the first Edge of Daybreak recording.
His name's Carlos Chaffin. He introduced himself to Cupcake after
we wrapped up, and then Cupcake explained just why Edge
of Daybreak didn't travel to a real studio the first time.
Speaker 10 (15:33):
If they had too many openness in the building and
some really try to escape.
Speaker 5 (15:37):
That's why that was the reason. That was the reason
they gave us.
Speaker 4 (15:42):
Well, we just did two amazing songs today and it
is great.
Speaker 5 (15:47):
Well that what was it that happened with that that album?
And then.
Speaker 13 (15:53):
On the album made it to the soundtrack of the
movie Moonlight, Right, that's what all this rolled in.
Speaker 5 (16:00):
Who would have thought that this would happen to me,
you little culture boy.
Speaker 4 (16:03):
From now it was up to Steve and his team.
He finally had Cupcakes lead vocal tracks and a more
complete sampling of the group's talent. The new album was
going to be four new songs, plus a new version
of Your Destiny. After all those years of waiting, Edge
(16:25):
of Daybreak had a second album and the band was
about to weigh in.
Speaker 2 (16:53):
I can't gonna say that I got a favorite. All
them nights out ain't good with no lass. Each one
of them got their own different flavor, they different style.
(17:13):
They're good in their own way.
Speaker 14 (17:26):
F Classic. I'll listen to him three times so far.
Everything is nice, real good man, love.
Speaker 10 (17:41):
God, fum classic, beautyful.
Speaker 3 (17:47):
Crowd from.
Speaker 4 (18:10):
Neil, Jamal and Cupcake had heard a few early mixes
of the songs before we added Cupcake's vocals. They'd given
some notes on lyrics in the mix, and then in
July twenty twenty three, they finally got the new tracks.
I'd been sitting with the music as well. When i'd
heard it the first time, it was apparent just how
(18:30):
different studio production was from well what was essentially a
field recording on the first record. Their new music was
really crisp and polished. Gone was the raw lo fi
sound and the imperfections that had made it to that
first record, Jamal's hiccups, to name one example, this album
(18:50):
had a new sound. Here's how Cupcake characterized it.
Speaker 10 (18:56):
This more age appropriate. It's our age appropriate. It's not
knocked there on drag. I was like you see did
the new groups and stuff.
Speaker 5 (19:04):
It's not like that. I could never be a du
naws X. No, I'm not an industry baby. I'm an
old fashioned baby.
Speaker 4 (19:14):
And you think Steve and Dylan were able to capture
that more classic sound.
Speaker 5 (19:18):
They captured the how would you say this? The senior
soul in us.
Speaker 4 (19:24):
Despite all the challenges in the studio, the song rewrites
and some differences over how the music might sound, Neil,
Jamal and Cupcake are mostly happy with how the album
came out. Jamal really loved the horns. The band didn't
have a horn section in the prison bandroom. Now they
were backed by a trumpet and a sax.
Speaker 2 (19:46):
See that whole sound is classic. Thing about it, It's
a classical sound. Between the two songs brown Eyes in
that you know, it's just it's classic, you know. But
like I said it in Bella. This strict for a
nightclub or supper club. You can't be to listen if
you can sit back, have done a talk. You know
(20:07):
it's not real now, you know, no whooping and holler.
Speaker 4 (20:11):
Neil always has the mixes cute up at.
Speaker 3 (20:14):
Home, listen to it every night and all miss the
night listen to these songs.
Speaker 4 (20:19):
He'd been so eager to record his music out in La.
Now that he has, Here's what he had to say
about his track Classic, the one he and his producers
had gone back and forth on over lyrics.
Speaker 3 (20:32):
My voice on this song.
Speaker 1 (20:34):
That ain't gonna say it's perfect, but it's just what
I wanted, you know, the way I wanted the song
to flow. And then Dylan said I had a real
salt voice. It wasn't like a real managed voice like Jamal.
Speaker 4 (20:48):
You know, Neil's more than just happy with the track.
Speaker 3 (20:52):
I think it's gonna be my number one hit.
Speaker 5 (20:54):
That's what I think.
Speaker 3 (20:55):
That's just how good it is.
Speaker 14 (20:57):
You know, it's just my opinion.
Speaker 3 (20:58):
I ain't greg and nothing like that, just my opinion.
Speaker 4 (21:11):
For Jamal. One of the new tracks gave him a
chance to sing in a style he'd never done before, though,
he'd grown up around blues musicians and rowing uk he'd
never actually sung a blues style song.
Speaker 2 (21:23):
Now still in Love. Like I said, that's a that's
a different flavor. I kind of liked it because I
was surprised the way it came home. Like I said,
I had never did a song in that flavored before.
Speaker 4 (21:34):
No need to talk about.
Speaker 2 (21:40):
Babe. We've been up all night. But when you playing
music there, since you're a kid man, you know you
you know the scale. The scale is in your body,
you know what I mean. So when it started to playet,
I just went with the flow because.
Speaker 10 (21:54):
We're we're still.
Speaker 11 (22:04):
Still love.
Speaker 9 (22:08):
We're still in love.
Speaker 2 (22:11):
I ain't feel right then, o they But like you know,
we've been singing together for years and over forty years
we having a song together at all, but still the
chemistry that and that's the good thing, the chemistry is.
Speaker 3 (22:22):
Then get to dream about it.
Speaker 8 (22:27):
Because I was a brecom gon shut the I'm gonna
cry about it here because when I must team here
about gold.
Speaker 5 (22:42):
We're still singing. Leader is the easiest thing in the world.
Speaker 9 (22:46):
Just listening and hearing other parts in the song for
your backup.
Speaker 13 (22:51):
That's the hard part and a lot of people that
sing lead can't hear, can't hear the rest up. I
can hear the rest up. I can tell you the
part I want you to sing. I could tell a
slatter part.
Speaker 5 (23:01):
I wore him the same.
Speaker 13 (23:03):
I could tell that boe okay, he could sing. That's
what I used to do when I was in the bank.
I used to give out parts.
Speaker 4 (23:15):
I'm still kind of amazed that this happened, that the
surviving members of Edged Daybreak came together to record another album.
Their story is so unusual, and it's part of the
reason their original record had such mystique. Just part though,
because their music was incredible. They're still incredible, and you
can really hear how they've evolved. This is what I
(23:36):
wanted to talk about with Dorian.
Speaker 15 (23:39):
The first album feels way more intimate and there was
an urgency there. You know that the first album was
much grittier and I had a hunger about it, where
this feels a lot more settled in and groovy, you know,
like like like you would want some old cats to
sound like they ain't a rush to throw nothing in
(23:59):
your face. You know, that's the that's for them twenty
year olds. Let them young bucks. Do that, you know,
beautiful brown Eyes in New Orleans. It's like such a
nostalgic song. It sounds like your grandfather telling you about
a woman he saw once. You know, we all got that,
or if we're lucky, we have at least one where
we just saw a woman and she really touched you.
Speaker 4 (24:19):
Oh yeah, So what do you think about you know,
their future? Like, do you want to hear them make
some more stuff after this?
Speaker 15 (24:27):
I definitely want to hear more music from them, even
if it's a bunch of solo projects. They still have
something to say. You know, a lot of artists they
kind of fade out, they become parodies of themselves. But
for those who stick around and hit that next stride
of like I don't give a fuck what y'all think
about me, that's when the good stuff starts to happen again.
(24:50):
And we're experiencing that right now. Whether it's a daybreak,
I just kind of want to see them put their
foot on the pedal and take this thing out a
little bit further.
Speaker 4 (24:59):
Jamal tells the experience still feels a little surreal.
Speaker 2 (25:03):
It's this whole thing is still making the dream state.
You know, it's dead, but it's not tangible yet. I mean,
you know, I can't would have touched it. I see it,
but you know, it's just still in the dream state.
Speaker 4 (25:16):
Cupcakes just excited to see what happens.
Speaker 13 (25:18):
Oh hell yeah, I can't wait. All my friends are
waiting for him, and I got about a million fillibles.
It seemed like all of a sudden, All of a sudden,
everybody knows Cupcake out. Yeah, I can't go get my
nails though. No more people wear me to deal.
Speaker 4 (25:37):
The whole experience of traveling to LA to record new
music was exciting and different. I can tell in my
conversations with them they're still wrapping their heads around it.
Just think about it. Edge of Daybreak recorded its first
album in prison under the watch of corrections officers. Now
it's three surviving members. We're collaborating with new producers and musicians.
(26:01):
That first album was tangible, only a thousand copies press
to vinyl available in a handful of local stores. Now
the final product was an album for the digital world.
Anyone on the planet can hear their music in a
matter of seconds.
Speaker 5 (26:17):
That was the purpose of doing this, to wake it up, to.
Speaker 13 (26:22):
Shake up our careers. If anybody wanted us and ain't
going right. That's what I'm gonna do. I'm gonna sing
my way to on.
Speaker 4 (26:30):
Jamal thinks the band has proven itself that it can
keep going.
Speaker 2 (26:34):
I think that's exactly what they called us out there
for to see what we were about, what we could do,
and where we worked the investment, you know. So I
looked at that as an audition. You know, that's the
first job I ever had that I had to take
a plane to audition, you know what I mean.
Speaker 4 (26:56):
For now, they're back to life as it was before
Los Angeles, cupcakes and Richmond cooking, hanging out with friends
and keeping up with TV. Jamal is still add it
every day at the gym and posting inspirational content on
social media. And Kneel's back at home with his family,
playing guitar and getting over back surgery. And just like
(27:18):
when I met them in twenty nineteen, they're still looking
forward toward the future.
Speaker 1 (27:25):
My biggest wish is that they put this all over
the world and all the countries. You know me, I'm
thinking awards and everything.
Speaker 5 (27:35):
That's one thing about it.
Speaker 2 (27:37):
This good story is still continuing.
Speaker 5 (27:39):
It's ongoing, you know what I mean.
Speaker 2 (27:41):
Kind of like a never ending story.
Speaker 5 (27:43):
This is just a threshold.
Speaker 4 (27:47):
Whether they'll continue as a group or solo remains to
be seen. I don't know that their future success as
a band can be dictated by their past. The stakes
are so much different now. But I keep coming back
to something Cupcake told me about artistic freedom, about realizing
her potential as a singer in prison.
Speaker 10 (28:11):
Because it gave me freedom. I didn't have to think
about where I was. I knew where I was, but
I was free in my mind. In my head, I
was just a free as hell. I was singing and
laughing and giggling like I wanted to be in the street.
I'm loose and wild. I'm ready to sing.
Speaker 11 (28:33):
So that's notss.
Speaker 4 (28:38):
To see God a true man.
Speaker 14 (28:42):
No week, you have probably.
Speaker 9 (28:53):
Consider it.
Speaker 4 (28:55):
You can't do no revel.
Speaker 5 (28:58):
That's no way to say.
Speaker 15 (29:10):
If you want to hear more of Edged day Breaks music.
Speaker 4 (29:12):
Their new EP, New Horizon, is available on all digital platforms.
Sole Incarcerated was written and hosted by me Jamie Petrice,
co hosted and produced by Dorian Missik, story edited by
Jasmine Kahan, and sound designed by Bill Moss and Isaac Lee.
(29:32):
Executive producers are Mcamie, Lynn, Jesse Katz, and Warren Ostergard.
Special thanks to everyone who helped us research this story.
To Marv Hyman, Bill Crawley, and Sanethia Lewis. To the author,
Dale Broomfield, Attorneys David Baugh and Mara Meltzer Cohen. To
doctor Heather Thompson and Lisha McCarney for lending insights on
(29:53):
American carceral history. Thanks to the entire staff of the
Library of Virginia and to Ben Himofar from the Henrico
County Public Library. To the vocal coaches kJ Rose and
Elise tunyak A and Eves Jennifer and Sonia, Michael Greenwald,
and Elaine Fontaine Bryant. Thanks to the team at silver
(30:14):
Lining Entertainment, One Story Up Productions, the Numeral Group, the
crew at Sunset Sound and In Your Ear Studios Alex
Lambert Lucas, Benkin, Will Bethelm, and Marty Keith. Thanks to
all of the band's friends, family members, and associates who
took the time to talk to me for this story,
and most of all, to the Edge of Daybreak Harry Coleman,
(30:35):
Jamal Newby and Neil Cade for sharing it with me.
Host
Jamie Pietras
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