November 17, 2025 • 59 mins
When it comes to the heartbeat of New Orleans, Trey Payadue knows how to keep the rhythm going. On this episode of Queue Points, Trey sits down with Sir Daniel and Jay Ray for a thoughtful, down-to-earth conversation about music, culture, and what it means to be part of a rich Black musical tradition. If you’re curious about how community and sound come together, this episode is a solid listen.
Key takeaways from the conversation:
- Trey shares how growing up in New Orleans shaped his music taste and appreciation for Black musical roots.
- The crew explores the power of Bounce, R&B, and the ways local artists uplift the scene.
- Trey talks about being a supporter from day one—and why sharing stories matters for the next generation.
- Listeners get insight into how friendships and community keep the music alive, on and off the stage.
- Jay Ray and Sir Daniel reflect on what it means to celebrate Black culture through real, everyday moments.
Whether you’re new to the New Orleans sound or it’s already part of your playlist, this episode brings a fresh perspective on music, connection, and legacy.
Listen To Trey’s Queue Points 1-On-1 Playlist: https://qpnt.net/trey-1on1-playlist
Chapter Markers
00:00 Intro Theme
00:16 Welcome to Queue Points
02:01 Guest Introduction: Trey Payadue's Background
04:24 Trey's Musical Journey and Influences
11:35 New Orleans Culture and Music Scene
32:38 The Vibrant Music Scene of New Orleans
34:52 The Evolution of Radio and Local Music
36:59 Current Trends in Hip Hop and R&B
40:08 Podcasting, Pop Culture, and Nostalgia
59:27 Outro Theme
Support Queue Points By Becoming An Insider: https://link.queuepoints.com/membership
#QueuePoints, #TreyPayadue, #NewOrleansMusic, #BlackMusic, #BounceMusic, #MusicPodcast, #BlackCulture, #MusicHistory, #JanetJackson, #TankAndTheBangas, #RNB, #HipHop, #PodcastInterview, #MusicCommunity, #Diaspora, #EssenceFest, #LouisianaMusic, #BlackArtists, #MusicDiscussion, #CulturalHeritage
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Sir Daniel (00:16):
Greetings and welcome to another episode of podcast.
I'm DJ Sir Daniel.
Jay Ray (00:21):
And my name is Jay Ray, sometimes known by my governments as
Johnnie Ray Kornegay III and Sir Daniel,we are back with our QP one-on-one,
and I'm super excited for the brotherthat is joining us this evening.
Sir Daniel (00:38):
One on one.
We're having some fun on Queue Points
Jay Ray (00:43):
Hey.
Sir Daniel (00:46):
I, I just had to do it.
It was, it was just right there, butyes, yes, I am excited about that.
You know, it's, he is one of, he's beena day one supporter and, um, it's just
exciting to touch, you know, to makethese touches with people that have been
with riding with us for the longest time.
And just to get to know them and findout what's going on in their lives and in
(01:09):
their particular city, their part of thecountry, because that's what is all about.
Jay Ray (01:15):
Yes.
Um, before we jump into the conversation,sir Daniel Summer is winding down.
You have a birthday coming up.
How you feeling?
Sir Daniel (01:28):
You know what I am, I'm, I don't know.
I don't, I think about it every nowand then, but I'm, um, but I'm happy.
I'm very thankful becausethis is a milestone.
Um, especially when I think aboutall the people that haven't have left
(01:49):
beyond, have gone beyond to the beyondbefore they can even get to, to my age.
And so I feel, I feel blessedabout it and very thankful.
So yes, I am excited about it.
Jay Ray (02:00):
Awesome.
Um, one of the things that's reallyimportant to us, uh, as DJ Sir
Daniel indicated, is that we have anopportunity to chop it up with folks.
And tonight, y'all, um, joiningus on the show, we got his bio and
everything, so it's really, really dope.
But, um, as Sir Danielmentioned, Trey Payadue is, uh,
(02:22):
one of our day one listeners.
And, um, Trey was raised on the WestBank of New Orleans, uh, the New Orleans
metro area in a small town called.
Marrero.
Marrero.
Oh,
Sir Daniel (02:39):
that's what
Jay Ray (02:39):
Marro, I think.
Okay.
Yay.
Ha ha.
Alright, we're doing good.
Louisiana brought up inthe black Catholic Church.
Trey was completely immersed in NewOrleans music and black culture through
local fairs and famous celebrationslike Mardi Gras, new Orleans Jazz and
Heritage Festival, and the Essence Fest.
He was also exposed to various stylesof music, such as gospel, pop, rock,
(03:01):
funk, hip hop, bounce, and his firstlove rhythm and blues at a young age.
inherent love and appreciationpaired with his exposure to New
Orleans culture and events, ignitedan infectious passion for music.
Trey quickly became known asthe music man, uh, amateur
house, party, DJ and mixtape.
Go-to guy for new music.
(03:22):
We gotta talk about that when he comes up.
Um, currently Trey Juggles a nine tofive while moonlighting as a curator
of good music, a patron of popularmusic and black culture, and a
student of where all three intersect.
You can follow him onInstagram at something severe.
That's S-U-M-T-H-I-N, just so y'all know.
(03:45):
Um, but Queue Points family.
We are so excited to welcome oneof our favorite folks to the show.
Trey, welcome to Queue Points.
Trey Payadue (03:55):
Hello.
Hi.
How y'all doing?
Sir Daniel (03:57):
welcome.
Fantastic.
So happy to have you.
We're here with us and to just, youknow, finally get to chop it up with you.
So when Jay Ray was reading off yourbio, I just kept thinking to myself,
Trey is like the quintessentialQueue Points, uh, listener.
You are the person that when weconceive this, um, this podcast, you
(04:22):
are the person that we had in mind.
So when Queue Points came around, likewhat did, was it like, was it a easy sell?
Was it a hard sell?
Were you on board immediately?
Uh, tell, tell us what, what did you thinkwhen you first ran into Queue Points?
Trey Payadue (04:38):
Was not a hard tell at all for me.
Uh, 'cause like these are thetypes of conversations that I have.
So, like my friend Lance these arethe conversations that like we've
been having since 2000 when I met him.
Right?
So, like, you know, I think Ionce once wrote a review for
you guys where I said it was myconversational fantasies fulfilled.
(04:59):
That's exactly what it is.
'cause it is just really just choppingit up about music, talking about history.
I like doing my fan theories.
The what could have been, what shouldhave been, and all of those things.
And so, yeah, so easy sell.
Jay Ray (05:15):
Thank you so much.
So Trey, uh, we wanna take a momentand just like love on you a little bit.
So I feel like the people need tounderstand how important Trey is to.
What we do here, Queue Points.
So I looked up some stuff andI think this is really dope.
So Queue Points was started in 2021.
(05:36):
Um, you were the very first person.
Well, okay, we went througha period of time, right?
We were growing Queue Points, right.
We were trying to figureout what we were gonna do.
So we had like membership tiers.
You were the first person to buy one.
And not only did you buy one,you bought a year, right?
(05:56):
So that's you also, I was like,oh, Trey, you were literally the
second customer in our store.
And not only were you the second customerin the store, you bought almost everything
that we had like the, out the gate.
So.
And everything that we've done.
(06:17):
So you were, you've been partof, of focus groups that we've
had, you've been part of.
Like, we did our, we tested out oursidebar show like earlier in the year.
You are of course part of that.
You show up on these Thursdayswhen you can show up.
You listen to the show,when you can listen.
We just appreciate you, man.
So just thank you,
Trey Payadue (06:38):
I appreciate it.
You know, again, I enjoy it.
So that's why, you know, Isupport if, you know, whatever
I can to do, can do to support.
That's what I do.
So.
Jay Ray (06:49):
man.
Sir Daniel (06:51):
that this is when people say support is a verb,
this is what they mean by that.
So yes, we absolutely appreciateyou and just love you day one.
Love you down.
And if you haven't noticed, and we did sayin the, in the intro that our brother is
from New Orleans, specifically the West.
(07:13):
The West Bank.
Correct.
Trey Payadue (07:15):
Correct.
Sir Daniel (07:16):
So let's just hop into it.
When people, when people find outthat you are from New Orleans,
they make, I'm pretty certain theymake assumptions about what kind of
music you like and what you're into.
So just give us a little insightinto the breath of what it, of what
you're in, what you appreciate.
We heard a little bit in the bio, but tellus a little bit about your music taste.
Trey Payadue (07:41):
So again, my first love is just r and d. I
was raised on r and b. Right.
That, that was my first love.
But of course I grew up in thechurch, so I mean, of course
there's the gospel influence there.
Um, I'm in New Orleans, so there'sjazz, there's funk, like there's
origination of hip hop, right?
(08:02):
Like bounce started in NewOrleans, it's the home, right?
So that was our version of hip hopthat later led to like juvenile
and all these other folks.
Um, you know, so of course I wasa part of that culture coming up.
Um, but also like I have influencefrom both my mom and my dad.
(08:22):
Like my dad was into like rock.
Like I would go steal and listento some of his, like rock albums,
like Pink Floyd and stuff like that.
Um, so like.
Of like everything, which is honestlykind of the culture of New Orleans.
On any random night, you can go somewherein New Orleans and you're gonna find at
least five bands playing in differentpockets of the city, and they're all
(08:45):
playing different music, different things.
And so, yes, so growing up in NewOrleans, I, it was a combination
of a lot of things, right?
All at.
Jay Ray (08:56):
Um, to that point, uh, who was the first artist that you remember
just like absolutely falling in lovewith, and that was like your artist.
Who was that?
And why did you fall in love with them?
Trey Payadue (09:12):
So that is an easy one for me.
I'm gonna be honest.
Janet Jackson.
All, all the way.
A hundred percent.
So I, I was, so, I was a kid.
I was born in 1981, right?
So I wasn't here for the first album,but I made it for the second album.
Right?
And, so like, just seeing, like,of course, videos were thing,
(09:37):
I'm a, I, I tell people all thetime, I'm an MTV baby, right?
I was born when MTV was created.
I had big cousins who I grew up.
That's what we watched.
You sitting on my left, we gonna watchMTV, we gonna watch these videos, right?
And so one of the first artists thatI just absolutely fell in love with
the music was Jayna Jackson, right?
(09:58):
I was a kid who loved to dance, right?
There was always so muchenergy in her music.
Um, like the, the subject matter of themusic was always to me, just like fun.
And it just kind of capturedmy imagination as a kid.
And for me, it's justone of those artists.
'cause like I really feel like Janetcame into her own on that control album.
(10:21):
So like, I think that's when Igained consciousness or awareness.
And so for me, all of my life,Janet has been one of those artists
that have been a part of my life,like from the very beginning.
Sure.
Jay Ray (10:33):
Oh, okay.
So now we have to ask the question.
It's funny that you mentioned that youcame in on Dream Street 'cause as dj, sir
Daniel knows, and you probably know bynow, Trey, that's like not my favorite.
So that's really interesting.
So here's the question.
What's your favorite Janet album?
I'm curious.
Trey Payadue (10:49):
Velvet Rope.
Hands down, level rope.
It is, for me, it is I guess her mostintrospective, most personal album
for me that that was my teenage years.
So like also I'm at that point,I, you know, I feel like most
people love the album, honestly.
(11:10):
Usually when you're about that age,'cause you're feeling in all the fields.
Right.
So they were, they were justthings that I identified with.
It was actually probably my first,I guess you could say, major concert
that I had ever been to, like wasJanet Jackson, velvet Rope tour.
So like for so manyreasons, that's my favorite.
But just music alone, liketo me, that's my favorite.
Sir Daniel (11:34):
that makes a lot of sense.
And you know, Janet, um, has done theEssence Fest numerous times, and I kind
of want to go back to New Orleans fora second because prior to us coming
on, we were talking about New Orleansbeing in the zeitgeist right now, a
lot of conversation around New Orleans.
(11:54):
You know, we are in the 20thanniversary of Hurricane Katrina,
so that's bringing up a lot ofdifferent conversations as well.
I saw recently a viral clip going on.
There was a, a second line band going downthe street, um, like they usually do, and.
Apparently they went past the barand um, this bar, of course, was
(12:20):
full of clear people that, and theywere incensed that the second line
band was playing outside of the bar.
I don't know, maybe because theyhad a concert going on or something
inside, but, and they came out andthey literally attacked the ban.
So I guess my question, not reallya question, but an observation is
(12:44):
around the country we see instancesof, um, of interlopers coming
into the culture, coming intosituations where, where we have set
a tone, we have created a culture,we have created this atmosphere.
But then there are interlopers thatcome into the, um, come into the,
(13:06):
into the spaces that we've created.
But then they want tocome in and, you know.
Push us out or, you know, or,or be belligerent or whatever.
There's a whole lot of differentfeelings that go on sometimes.
But as somebody, as a native and somebodywho is there, what is your experience
(13:26):
with that when you see, you know, peoplethat don't necessarily, I don't know
if they don't have the respect for thespace, but they're, they're trying to
commandeer it, they're trying to, youknow, turn it into their own or, and,
and not be respectful of the peoplewho are the essence of the culture.
(13:49):
What, what is your experience withthat and talk to us about, you know,
do you feel like essence, not essencethat New Orleans as a culture is being
protected, or is it being exploited?
Trey Payadue (14:04):
I think so to agree.
I think both are trueand both can be true.
Right?
So this is a city that's deep in likeblack culture, black heritage, right?
Music is a central partof the city, right?
And you always have, this is one ofthose cities where people of all shapes
(14:25):
and sizes, they move to the city becauseof the culture, because of the vibe.
But there are also those peoplewho move here but then want to
change aspects of the city, right?
So like it is not unusual for.
A, a band to be playing in the street.
It is not unusual for you to go downBourbon Street or some other street
(14:48):
and there's teenagers, sometimes kidsplaying the bucket drums on the street.
Like it is not unusualto see those things.
Right.
And so you do have people of allcultures who come down and respect it.
That's what they came here for, right?
New Orleans is literally a city ofwe all outside, we outside that,
(15:09):
that's what New Orleans is about.
Right?
Um, and, but you always havethose, those folks who come in
and we, we know how it happens.
They come in and then theywant to change things, right?
It's like you move into the FrenchQuarter, you pay a a million, $2 million
to get this property in the FrenchQuarter, but then you get mad when
somebody is playing in, in the band tilltwo in the morning outside your doorstep.
(15:32):
Like
Jay Ray (15:33):
you.
Trey Payadue (15:34):
they were here before you, they were way before you.
Right.
So I mean, that's a thing.
Um, and it also like culturally,like, I'm probably gonna say something
that, you know, might be a littlecontroversial, but like there are
styles of music that have started hereor things that have started here that.
(15:57):
Other folks have kind of taken andkind of taken a piece of that culture
here, a piece of that culture there.
Like there's so many people in New Orleansthat influenced the music industry period.
And this has been forever, right?
For years, right.
Um, and so there are things, andthe latest thing that I can just
point to is for instance, right?
(16:18):
So bounce music, bounce culture, right?
Started.
Here in New Orleans, it was based off,like, one of the original Bounce songs
was actually based off a track, um,drag rap that was a rapper or somebody
from, uh, from New York City, but tookthat one thing and then turned it and
flipped it to something else, right?
(16:40):
And so bounce music hasgrown over the years.
Then you had a period in the 2010swhere, you know, I'm gonna call out
some black people too, who they,they latch on to this culture,
this black music, and then all of asudden you see it in popular music.
Drake is doing it.
Um, what's GEV is doing Like all,all of these people are drawing
(17:03):
from that culture because that'sthe sound they wanted at the time.
But then when they're done,they leave it right there and
then we on to the next thing.
Right.
Um, and don't get me wrong,there are artists who pay
respect and they do it right.
Right.
So, like for instance, uh,Beyonce, people gonna say Beyonce.
Beyonce has borrowed from.
Louisiana culture, newOrleans culture for years.
(17:24):
Right.
But I've always felt like Beyoncehas kind of been, if we, it, like
she grew up in Houston, a lot ofus Louisiana's New Orleans folk.
We have a synergy with Houston.
That music traveled back and forth.
We got screw music, they got bounce music.
Right.
And so, but there wasalways like a respect there.
And like, she's borrowed things of course.
(17:47):
But at the same time, uh, Beyonce alsoone of those folks who have given props or
recognized the folks who like created it.
Like, you know, I've been in a concertand she, on stage, she was at the
Essence Fest, Josephine, Johnny.
And then she said, I got this from y'all.
Y'all better get hyped.
right.
Like, so, like, acknowledge what you, whatyou take or what you recognize, you know.
Jay Ray (18:11):
You know what Tre, I'm, I'm curious, 'cause you mentioned,
um, second line, um, or we were justkind of having this conversation.
If you can describe, for those whodon't know, I don't wanna assume that
the people that are tuning into QueuePoints know what that experience is like.
(18:31):
How would you describe thesecond line experience?
feeling, all of it.
Trey Payadue (18:42):
I, I, I don't know if there's a good way to describe
it 'cause it's really so manythings, but really it's just
literally the, the power of culture.
Everybody being on the same page, right?
And just experiencing,right, this music, this joy.
Sometimes it's for purpose, right?
Sometimes new.
(19:03):
We are notorious forcelebrating somebody's death
with a second line, right?
So it might be somebody famous who thecity has embraced and we gonna have
a second line to celebrate, right?
It's a celebration of life, right?
And it's a celebration ofthe life we have, celebration
of life we're remembering.
And so it's really just one, I don'twanna say big love, love fest, but
(19:25):
you know, it's really just the spirit.
It's really one of those cities, or it'sone of those things where you just feel
the culture and the spirit of the city.
I, it can't, best way to describe it.
Sir Daniel (19:36):
That's a great point because I think with a lot of, um, black, uh,
diaspora, oh, is this the right word?
Jay Ray (19:47):
diasporic?
Dias.
Sir Daniel (19:50):
Cult
Jay Ray (19:50):
that's right.
Trey Payadue (19:51):
That sounds right.
Sir Daniel (19:51):
people, right.
Y'all know what I'm trying to say?
Black folks, we, wherever weare spiritually, we, we have
an outlook on life and death.
And we, the, I think across the board,you see, when somebody transitions, we
sell, it's a celebration because we are,we, we, that has been passed down is that
(20:17):
we understand that there's something onthe other side and in, and in order to
usher that person into the other side,there has to be some type of celebratory,
um, uh, uh, uh, a celebration.
And, and the music is with that.
And I love, and, and it's so funny when I,I hear people, and I've said this before
(20:38):
on the show, I hear people talk about ortry to, to create lines between, um, who
we are as people, whether we can, what.
What, where we, the shipdropped us off and trying to
say that we're not connected.
No, we all are connected.
Like when you listen to bouncemusic, to me, calling and response is
(21:01):
something that see across the diaspora.
Calling and response is inevery last one of our cultures.
And so that's why when, when, you know,when I got introduced to bounce music, it
was, it just, it just felt natural, like anatural extension of how we all celebrate.
I'm from, I'm from the, um, from the WestIndies, uh, carnival is the same thing.
(21:27):
We are all out in the streets inplumage, colorful, you know, winding
our waistlines to to, to no end.
And so I, I just, I don't knowwhen you hear things like that,
when you hear people try to.
Separate us by countries and by, uh, and,and, you know, especially black people.
(21:49):
Trey, like, how do you feel when youhear that, knowing what you know about
music and knowing about the history of,of black people as a, as this world is
concerned, how does that make you feel?
Trey Payadue (22:05):
Look, music is like powerful and especially in the diaspora, right?
Music is one of thosethings that connects us.
It's like food, music, right?
And draw, we all drawinspiration, and there are.
Overlaps are things that, youknow, that are a baseline, right?
(22:25):
And so we've just beeninfluenced by other cultures.
And so as we spread those things justtranslated differently in different
areas of the country, differentareas, you know, of the world, right?
Like there are similarities, right?
To, um, Haiti for New Orleans.
Haiti is our sister city, right?
(22:46):
There are similaritiesdown in Brazil, right?
So like some of music, whenyou listen to some of these
music, some of the music, right?
There are so many similarities.
Like there's a baseline there.
And I think we're all connectedin more ways than like people
realize or people think.
Um, and especially when you justtalk about black music, like
there's a baseline there, right?
(23:07):
Especially in America that, youknow, you just can't deny that.
Jay Ray (23:11):
Yeah.
You know that this is bringing upfor me, um, Trey is the fact that,
um, I'll use me for, for example, um,music for me is about the feeling.
And when you start talking about thatbaseline or those feelings that kind of
translate across, um, uh, uh, culturesor across, you know, wherever we are,
(23:38):
we know there's a feeling that we getwhere we can all look at one another
and be like, oh yeah, that's it.
Like that thing They in that thing.
Um, I'm curious for you as a, as amusic listener, what hits you first?
Is it like melody or is it like lyrics?
Like where do you go first as kind oflike your barometer as a listener to
(24:01):
know if you are really feeling a song?
Trey Payadue (24:03):
For me, the first thing is always melody, right?
It's, it's always melody.
Um, as my good friend Latricewould say, is that beat right?
Jay Ray (24:14):
beat,
Trey Payadue (24:15):
That's, that's what it is, is that beat, um, you know, it, it's,
it's the sound, it's the feeling, right?
It's feeling the bassin your chest, right?
It's feeling the, themusic and the spirit of it.
And to me, that's what carries.
So it's the first thing for me.
But then of course, likelyrics matter, right?
(24:35):
Lyrics matter and, you know,lyrics gives, um, I guess.
The beat direction, right?
It tells us where we going,what we feeling, right?
It's a narrative to the story, right?
Um, and so it's equally as important,but the first thing for me is
it, it has to move me, right?
And whatever I'm feeling,or take me somewhere, right?
(24:58):
There's some music thattakes you, this place.
There's some music thattakes you another place.
So.
Jay Ray (25:03):
Mm. Real quick.
So th this is perfect.
So a couple things.
Who, who, what you reallyinto like right now?
Like what is.
Your thing that you like really intoright now, and also we want to know, is
there somebody from Louisiana that weneed to be paying attention to that people
are not paying as much attention to?
(25:24):
So who you listening to and whoshould we be paying attention to?
That's from where you from?
Trey Payadue (25:30):
Okay, so I'll start with who I'm listening to, right?
So first of all, I, I have to preface,I'm coming off of Beyonce summer, so
like Beyonce is still in rotation for me.
It is, it's still in rotationfor me, but Beyonce aside.
Okay, so like I listen to, likethings I listen to on a daily basis.
(25:53):
Like I listen to VictoriaMonet, I listened to India,
Sean, Janelle, Monet, Kate.
Um, one of my favorites, like honestlyfor the past few years since he
came out was kli, uh, lucky Day.
Lucky Day is like one of my go-tolike r and b. Things, um, I've been
(26:13):
feeling on the hip hop side, uh,Megan thee stallion all day, right?
We got, we got a Houston connection.
Uh, Doce has been like dope for me.
Um, I listen to a little bit ofeverything, so like, you know,
I'm on that clips album, like,
Jay Ray (26:30):
That
Trey Payadue (26:30):
like, uh, that's, it's really, really, really,
really, really good, right?
Um, and even like, you know, artists thatdon't necessarily get their shine right?
But like, um, Duran Bernard, I went tothis concert like a couple months ago.
Amazing concert.
Um, Dustin Conrad.
There's another artist I'vebeen kind of listening to.
(26:52):
I, I think it, it's spelledKWN, I think it's K one.
Jay Ray (26:57):
Oh, yeah.
Yeah.
Yeah.
I like, I like their work.
Yeah.
Trey Payadue (27:00):
I listened to that album and I'm like, okay, going into rotation.
All right.
Um, as far as like Louisiana.
Artists base, Louisiana.
I mean, we really have so many, butI can tell you right now, my absolute
favorite band is Tank and The Bangers.
Right.
Um, I've seen them several timesand every time they come down I,
(27:22):
I try to go see 'em at some point.
Right.
Um, there's a new artist, I, Ithink he just dropped a project
with PJ Martin couple weeks ago.
Zi, so young kid doing hiphop out of New Orleans.
And it is just, it's young,it's fresh, it's different.
Right.
Um, and so I've, past coupleweeks I've been giving him a spin.
(27:44):
Um, you mentioned Dawn Rash earlier.
So like she has always like, obviouslynational fame, um, you know, dirty money.
The, you know, to be fair, I didn't carefor her when she was with that pop group,
Jay Ray (28:00):
right.
Trey Payadue (28:01):
but
Jay Ray (28:01):
Her is so
Trey Payadue (28:03):
Her solo stuff, you know, even like the, the dirty money stuff
and then everything forward from that.
Like, she's just been like super creativeand I love how she honors her roots.
Like she did a, a album acouple years ago that I love.
Um, let's see, local folks.
Um, there's a artist, jelly Joseph,I don't think she's ever put out
(28:25):
any projects, but she used to,she occasionally or used to sing
background in Tank and a banger.
She was on that tiny desk.
She was the, the background singer.
But like she does show locally around,uh, new Orleans area and she did a song
with a bounce rapper, hot Sizzle thatlike has always, it's on summer rotation
(28:47):
every summer, like, um, and then, youknow, that's kinda like the local folks
that I listen to out Wil throw out there.
I love Lucky Day.
He is from New Orleans.
Um, and
Jay Ray (28:59):
un because, uh, Kari mentioned in the chat didn't know that.
Yeah.
Lucky Day was from New
Trey Payadue (29:03):
Lucky it is from New Orleans.
And then also, um, there.
And see the name is gonna escapeme just 'cause I, um, he's,
he's not singing right now.
He's been in his acting bag.
What is this guy's name?
It's gonna come to me.
I, I gotta remember who I'm, I'm thinkingof his name escapes me right now.
Um, but yeah, so that'swhat I've been listening to.
(29:24):
Local people.
Yeah.
Sir Daniel (29:27):
You know, hearing you talk about them and describe them.
I know that there are so manypeople, especially on the local
level that are beloved and, butthey don't necessarily have, um.
They don't, they don't have a label.
They don't necessarily have projects,but like that whole, um, like the,
(29:53):
the culture of the bounce artist, likeyour, um, your, like your Katy Reds,
like your, um, oh, like your highsizzle, uh, what is my guy's name?
He, people are always comparing him toFrida because he came out before Frida.
And people are always like, well,why aren't you as big as Frida?
(30:15):
You know who I'm talking about?
Sissy Nubby, sissy you know, people,um, people in that, in that bag.
I've noticed that the city embraces them.
Um, they, they make a living.
Clearly because they get, they do showson a regular basis, but I find that
(30:36):
such a fascinating ecosystem that youdon't even necessarily need to venture
outside of New Orleans to be, to beconsidered a star in New Orleans.
And so, I don't know, talk to usabout the, the mc, um, factor.
The, the, yeah.
The mc factor of, or of beinga bounce artist in New Orleans,
(30:59):
and like, what makes somebodyspecial in that, in that respect?
Because like you said, somebody theydon't, don't necessarily have a album, but
they rock the hell out of these partiesand to us about the chanting and, and
what is it, what makes a good chance?
Trey Payadue (31:18):
You know, uh, so I can say as a kid who grew up with Bounce right?
The chanting, it's a thing, but atthe, at the end of the day, right,
this person was the mc and they wereall about bringing like the energy.
I can't tell you what makes a good chant.
(31:40):
'cause it could be something so simple.
Like she went to the store like that.
Like they, they literally, literallywill make a chant out of anything.
Right.
But like I've had the experience of beingin a club before in New Orleans, right?
In my late teens, early twenties.
(32:01):
Right.
And we in a club and they just handsomebody a mic and say, hit do something.
Right.
And, and it will literally be,anything can come out they mouth.
Right.
A lot of bounce songs that, you know.
Became big songs wereliterally like club recording.
Somebody was in the club and justhappened to be recording what
(32:25):
was happening in, in the club.
Right.
And so, you know, honestly,a, a part of the call response
is just having good energy.
Right?
It is knowing who youraudience is, I'm sure.
And speaking to that audience, right.
It's, um, you know, keeping the energy,keeping the, the party going because a lot
(32:45):
of it is based on keeping the party goingand the energy that the folks wanna feel.
Right?
And so, I don't know, it is just been fun.
I'm gonna just say, you know, itwas a time to be alive in the late
nineties, early two thousands.
From the 99 to the two thousands.
It, was rare.
Sir Daniel (33:00):
Right.
Jay Ray, what I find so interestingabout that, it's that, um, new Orleans
literally with that scene is literallylike the last example, living example
of what New York used to be when MCswould just fall through the club.
(33:20):
Um, they didn't have, theydidn't have their own records.
They literally are justrhyming off of instrumentals.
Like you wrote your rap basedon the instrumental that you
memorized, and if you heard it thatnight, you would start flowing.
Today, the kids down in NewOrleans do the same thing.
You know, they, they, they come upwith a chant right off the top of their
head or they've written something.
(33:41):
And I think it's just so funny to me that,that, or I'm not even gonna say that.
It may have started, it could havebeen a simultaneous combustion
our artistry from both up in, bothup top and, and, and the bottom.
You know, like, but I justfind that so fascinating.
But there's that line, there's thatthrough line that, that connection still.
Jay Ray (34:05):
You know what?
This is also bringing up too.
I'm wondering.
I don't know.
I, I've been to NewOrleans now a few times.
Trey, thank you so much because like oneof the first times I came to New Orleans,
you like scoop me up in the car and wewent around, I had the best time, right?
So I'm curious to know in the, uh,na I guess I'll use nationalization.
(34:30):
I don't know if that's really the word Iwant to use, but as things have become,
oh, hello mom, I'm my mom's here.
I'm like, live on
Trey Payadue (34:39):
Hi.
Jay Ray (34:41):
But, um, I'm like, what?
Um.
One second y'all.
She's very committed.
Um, I'm curious to know in kindof the, the standardization of
like radio, the, the way that, um,things just kind of, everybody plays
(35:03):
a little bit of the same things.
Has New Orleans been able to maintain,um, that that thing that makes
New Orleans, new Orleans like dois, are there still stations where
you can hear like local artistsbeing played and all of that stuff?
Has some of that been ableto be maintained there?
(35:24):
I'm curious.
Trey Payadue (35:26):
I think so.
I mean, clearly there is like,uh, there is a nationalization,
especially like local radios.
Like, so one of the localradio stations was Q 93, right?
And so it's kind of gone theway in some ways where now the
syndicated shows have taken over.
So now we're playing Breakfast Clubin the morning Angelique d midday
(35:47):
when, like when I was growing up,there was a morning show, right?
It was a local morning show.
There was somebody who did the lunch,there was somebody who did the rush
hour, and then, uh, while Wayne wouldcome on after six or seven, right?
Take us home, and then there'sthat late night person, right?
And that late night is like, obviouslythroughout the day they, you know, we
(36:09):
would play the r and b and, you know, Q 93was a kind of a hip hop station as well.
So they would play those things.
But like at night.
Right.
It was like a lot of local stufflike being played, like there
we were playing local stuff.
I forget, and I, it escapes me rightnow, but there, there used to be
like an hour where they would playall the bounce music on the radio.
(36:32):
Like,
Jay Ray (36:33):
I love that.
Trey Payadue (36:34):
you know, and like that, that's what it was.
And so, you know, in someaspects, yes, they still do that.
Like usually on a Friday night, aSaturday night or something like that,
you still get that, I don't think as much.
But you still do get that,you know, with the invention.
Everybody's streaming now and everybody'sdoing their own thing, but locally, like
(36:54):
people are still playing that music.
Jay Ray (36:58):
That's awesome, man.
Um, so in terms of music at thismoment, um, what are you noticing?
Like, what are you picking up on in termsof like, stuff that you like, like trends
that you like or, and what things thatyou're like, eh, I'm not as into that.
(37:18):
I'm not really into this.
Um, so trends that you, like,trends that you don't like.
Trey Payadue (37:23):
Okay, I'm gonna stay on the positive side right now.
I really like.
I feel like we are finally turning thetide on this depression that has happened
in hip hop and r and b music 2010s.
Like, so I feel like we're finallyturning the tide into like,
music that is more like joyful.
(37:46):
And it's different.
It's not all of this slow, youknow, everybody is not on syrup.
Like I, I feel like we'refinally turning that tide.
Um, the other thing is that I'menjoying seeing artists bring
like, musicianship back, right?
And like, especially in likethe r and b space, like there
are artists like her, right?
(38:07):
Who you know is, isplaying the music, right?
There's artists like Victoria Monet, wholike you listen to her album and it's
not just like, you know, sample tracks.
Not gonna say she doesn't have anythingmixed in there, but there's like.
Musicianship in it, right?
Like it can easily translate to alive band playing this on stage.
(38:29):
You got, um, you know,r and b is not dead.
Like there are people out here who aredoing the thing, it's a modern r and
b, but still r and b, like nonetheless.
And then you got people who are doingthe traditional r and b as well.
So I like that we're kind ofseeing that turn, especially
in r and b, also in hip hop.
I, I'm happy that some of usare rapping again, some of
Jay Ray (38:50):
Yo.
They rapping now.
I'm excited.
Trey Payadue (38:53):
right?
Yes.
They, they are rapping again.
And so like, you know, Iam, I'm loving that trend.
I'm loving that trend.
Um, I think, you know, a lot of folks aregetting back to like, lyricism, right?
And like words, meaning thingslike, you know, like all of that.
So like I am excited tokind of see that, um.
(39:17):
I guess things that grindmy gears a little bit.
I know we're in streaming cultureright now, so like everybody is making
short tracks to like, I guess, appeasethe streamers to get the streams up.
And so those types of thingskind of grind my gears sometimes.
So when I see artists who like actuallythink about a full length something,
(39:39):
um, I appreciate when the artist doesa full cohesive album, like bring back
albums, bring 'em back, like, you know,give me a concept, give me a rollout.
Like, you know, give me something.
Right?
So, you know, that that's the thingsthat I, I'm still looking for.
(40:00):
And there are artists who are outthere doing it, but you know, you know
that, that that's what I wanna see.
Sir Daniel (40:08):
love that you know what the time has come.
Jay Ray,
Jay Ray (40:13):
it has.
Sir Daniel (40:13):
that we are going to turn the tables and Trey, we want to give
you the opportunity to ask us anythingthat you've always wanted to ask.
Jay Ray or myself in regards to QueuePoints, podcasting, whatever it is
that's on your mind, this is youropportunity to just, you know, get inside
(40:38):
our heads and just ask any questionthat you've ever want, wanted to know.
Trey Payadue (40:44):
Uh, before, before I do that, I'm just gonna take a second, right?
And so I'm gonna, you gave me yourflowers earlier, so I, I am gonna
give Jay Ray his flowers right now,because, like, I've been, I, I mean,
we've been knowing each other, I guess.
For like 20 years maybe at thispoint, but you may not even know or
(41:08):
remember this, but we're coming up onthe 20th year anniversary of Katrina.
Right.
So I'm, I'm bringing this up 'cause Iwas reminded of this, but when Katrina
was happening, I was not in New Orleanstime, I was living in Baton Rouge.
And so I was not, quote unquote directlyimpacted, but I had lots of family
(41:28):
and friends and everybody who, youknow, people who were impacted by it.
And what I remember, one ofthe things that I remember is.
Jay Ray called me on the phone, heprobably doesn't even remember, but
he called me on the phone, uh, noteven a few days later and just called
(41:49):
to say, Hey, how are you doing?
How is your family?
What is going on?
What is happening?
Like, you know, and for that,I will forever be grateful.
So I'm gonna give you your flowers.
And that is a part of the reason whyI support everything that you do.
Right?
It's 'cause just that little bitof kindness, you know, just goes a,
(42:11):
a long way and goes the distance.
Right.
So I'm gonna give you your flowers first.
Okay.
Um,
Sir Daniel (42:17):
me one bit.
That doesn't surprise me one bit.
That's who Jay Ray is.
Jay Ray (42:21):
you.
Trey Payadue (42:23):
Steve.
Very special, very special.
Um, so I guess question thatI have, what is your favorite
part about podcasting and spec?
Uh, specifically, what's yourfavorite part about Queue Points?
Jay Ray (42:37):
Ooh, I, this is easy for me.
This is my favorite part actually.
Like the, the, the well one, you know,this is OG Queue Points for those of
you that are new to Queue I know wedo a lot of stuff now, but this of the
purest version of what Queue Points was.
(42:58):
We started like this, it was conversationslive between, uh, sir Daniel and
I, and I love the opportunity everyThursday to hop on and, and talk.
So this is my absolutefavorite part of what we do.
Sir Daniel (43:14):
Hmm.
Trey Payadue (43:16):
awesome.
Sir Daniel (43:16):
am going to say I,
I really love, I like, I likethe, um, the cooking stage.
I like the moment beforeyou guys get to see us.
Before we come on, beforewe come before you.
I love when Jay Ray and I get to.
And it's hilarious.
(43:36):
When we get on these sprees, we get onthese tangents and we just have one idea
will spark, another idea, will sparkanother idea, and it's just limitless.
And yeah, I, that's oneof my favorite parts.
And I think what I enjoy aboutthis podcasting journey is the
(43:57):
fact that I, I've partnered up withsomeone like a j Ray that makes
it easy, that makes it enjoyable.
And knowing the fact that we reallydo have a love for what we're
talking about makes it, it's soseamless and so easy for us to do.
So I think that's the best part, isthat when you, if you're gonna do this
(44:20):
thing, if you're gonna do it solo, orif you're gonna do it paired up or in
a group, just knowing that you are, Iguess, equally yoked with the person
that you're working with, really, reallymakes a difference in your journey.
Jay Ray (44:35):
Mm. Love that.
Trey Payadue (44:36):
Awesome.
Jay Ray (44:37):
And ditto to everything
Trey Payadue (44:39):
Good answer.
Good answer.
Good answer.
Jay Ray (44:45):
Uh, anything else, Trey, um, that you want to ask us?
Trey Payadue (44:51):
Take.
Okay.
There's a clip going around ofthis argument between has Beyonce,
Jay Ray (45:02):
Oh,
Trey Payadue (45:02):
superseded Michael
Jay Ray (45:03):
Oh, I mean, throw
Trey Payadue (45:05):
Hot, hot Take.
Jay Ray (45:05):
let me, throw this keyboard.
Sir Daniel (45:12):
Huh.
Jay Ray (45:12):
gonna let Sir Daniel do it.
Like
Sir Daniel (45:15):
I don't know.
See, I'm gonna be honest with you.
Conversations like that exasperateme because I'm, it's just one
of those things when you try tothrow Beyonce or Chris Brown those
Jay Ray (45:27):
if they,
Trey Payadue (45:29):
Mm-hmm.
Sir Daniel (45:31):
it's, mm. It's like when we were growing up, nobody ever said, or at
least I didn't hear anybody ever say, oh,that's the name, that's the next Sam Cook.
Jay Ray (45:41):
you know what?
That's the Prince next little,you know, he better Little Richard
wouldn't even sayPrince, look at you crazy
Sir Daniel (45:49):
Never say that.
Yeah.
Trey Payadue (45:50):
Yes, yes.
Sir Daniel (45:52):
so I think, I, I think whenever we hear those things based
on the times that we're in, I justthink it's rage baiting, it's click
Trey Payadue (46:01):
Mm-hmm.
Yes.
Sir Daniel (46:03):
to get people to start these fake, um.
Intense conversations about peoplethat you don't even, I don't even think
that you're really into them like that.
A lot of the, the people thatwant to have those conversations
probably know a handful of MichaelJackson songs and that's it,
Trey Payadue (46:24):
and, that's it.
Sir Daniel (46:25):
make and want to make those comparisons.
Uh, I don't even think Beyoncewould make those comparisons.
Trey Payadue (46:32):
not.
Jay Ray (46:32):
would not.
Trey Payadue (46:33):
She would not.
Sir Daniel (46:35):
Michael Jackson and we've, we've done this show about one of ones.
Michael is one of one.
It's a comet in human form.
You will never, ever see that again.
Beyonce is exactly the same thingfor completely different reasons.
You will never see anyonelike her ever again.
(46:57):
So.
I just as someone, and I, I don't, Idon't mean to sound elitist, you know,
even though Queue Points podcast is elitepodcasting and music conversation, um, we
Jay Ray (47:10):
Right.
Sir Daniel (47:11):
we don't, I don't, we don't in indulge in those conversations
because we just, we just know better.
I'm sorry.
We just know better.
We just don't think it's, you know,it's, we just don't, we, look, we we're
down.
Jay Ray (47:26):
Hold on.
We're like blue ivy.
Look it down from the balcony.
Trey Payadue (47:29):
right.
Sir Daniel (47:31):
can't be.
Jay Ray (47:32):
Right.
So, no, I absolutely agree witheverything that Sir Daniel said.
I think it is weird.
I think it's part of staying culture too.
Trey Payadue (47:45):
Yes.
Jay Ray (47:46):
think where this really stems from is that
people, it's to have your faves.
Listen, I grew up and had myfaves, also clear that my fla, my
faves have dropped plenty of duds.
Like, I'm like, I love them.
That album sucked really bad.
Like it's, and okay.
It doesn't take away anything from them.
It's just like everything canbe, everything can be a bop.
(48:08):
So.
You, you're able to have, um, uh,uh, uh, oh not even context, but
it's just like the ability to be ableto, uh, have multiple feelings about
Trey Payadue (48:23):
Mm-hmm.
Jay Ray (48:24):
And so I really feel like culture invite people be like, if you like this
person, you can't like that person.
No.
Folks, we were running around hereliking Prince Michael Jackson,
Madonna, Tina Turner, Janet.
We was liking 'em.
All the people who liked DianaRoss also liked Gladys Knight.
(48:46):
Also liked Patti LaBelle.
Like, it's okay.
have to be so tied to it, and itis a weird conversation to be like,
has surpassed Michael Jackson.
What is the measurement of surpassingMichael that people are using in 2025?
Like
Trey Payadue (49:06):
In 2025, what is it?
Yeah.
Jay Ray (49:09):
is, so,
Sir Daniel (49:11):
And what I, and I like the fact that we didn't, we didn't even know,
I like the fact that we didn't have asmuch access as we as these, as today have.
Like, I like the fact that we, we didn'tknow until recently that none of the girls
really rocked with Diana Ross like that.
Or, or you know, or, you know, we didn'tknow that Michael and Prince seek secret.
(49:35):
Michael Prince and Rick Jamessecretly had like little, um,
competitive beefs amongst each other.
We didn't know any of that stuff,but we, and we didn't care.
did care.
We just, we cared about the end result.
Are they gonna make me shake my ass?
Yes.
Trey Payadue (49:52):
Yeah.
Sir Daniel (49:53):
I'm, that's all I need to know.
Trey Payadue (49:56):
Right.
Jay Ray (49:58):
Um.
This is like so dope.
Trey, thank you so much forjust everything that you do.
Um, and, and being part of this.
Is there, um, anything else?
So we have a few minutes.
anything else random happeningin pop culture that's been kind
of like, that you've been payingattention to that uh, you wanna
(50:18):
just kind of bring up on the show?
It could be anything.
It don't even have to be music
Trey Payadue (50:22):
I know.
It's been a quiet week,which is a good thing.
It's, you know's, been a
Jay Ray (50:28):
a rough 2025.
Trey Payadue (50:29):
it's, it's been a rough 2025, I feel like the past six months.
I done age so much,
Sir Daniel (50:37):
Yes.
Trey Payadue (50:39):
so, so much.
You know, but you know, rightnow, I mean, I, I would like
to go into this fall, right?
Like.
I know it's not gonna happen,but you know, I need everything
to calm down just a little bit,just everywhere in everything.
I just need everything.
(51:00):
Just, let's just take it down a notch.
So that's what I need right now.
That's, that's what I need.
Um, I do wanna jump into, so justpiggybacking on what you said earlier,
uh, one of my, I thought about one of mypet peeves is the comparison of the folks.
(51:22):
I actually.
Hey, I, you Lance in the chat.
I, I hate when people compare,like artists, I'm like,
that artist is that artist.
They're doing their thing.
You can say all the things thatyou love about them, but it doesn't
have to dim somebody else's lightthat there's no comparison that.
(51:43):
So just to piggyback on that, yes.
And I also long for the days where wedidn't know as much about these people.
I need some people to just log
Jay Ray (51:50):
I want,
Trey Payadue (51:51):
I
Jay Ray (51:52):
I wish we had some more mystery about the artists.
didn't We didn't know what StevieWonder was doing in his off-cycle child.
We, we he was, he was in thestudio somewhere making a thousand
songs and he was gonna pickthe best 20 foot the record.
That's all we knew
Trey Payadue (52:06):
That's all we could.
Sir Daniel (52:08):
blind.
Trey Payadue (52:09):
yeah,
Sir Daniel (52:10):
There was no,
Jay Ray (52:11):
that, right.
Trey Payadue (52:12):
yeah.
Jay Ray (52:14):
That is a weird speculation.
They'd be like, Stevie Wonder can see.
I'm like, but that's not true.
So
Trey Payadue (52:22):
Right.
Sir Daniel (52:23):
that so
Trey Payadue (52:23):
But in 25, everything's up for debate, like,
Sir Daniel (52:29):
Everything, everything.
I do wanna say, I do want to give a quick,um, rest in peace to Danielle sp Spencer.
Jay Ray (52:36):
my goodness.
Yes, yes, yes, yes.
Oh
Sir Daniel (52:40):
another piece of our childhood.
Just, you know, gone offinto the, into the ethos.
But, you know, God bless her,you know, she definitely, you
know, she was the archetype for
Jay Ray (52:52):
The, the sassy black sister.
Trey Payadue (52:54):
Mm-hmm.
Yeah.
Sir Daniel (52:56):
sister, you know,
Jay Ray (52:58):
I, I,
Sir Daniel (53:00):
tell even though a white man was writing all of that stuff, it's
still, it was still, it was still kind.
It was still very much, um.
Um, not unique, but, uh, it wasvery, there was a realness to it.
It was something that, it was relatable.
It was still something relatable.
I, I'm an only child, but I, you know,I saw people with Little sisters and
(53:22):
how they carried on and that she,that was definitely something that
we witnessed and, you know, in, inblack families across the country.
So she definitely added to that,you know, to the, to the tapestry
Jay Ray (53:36):
Yeah.
Sir Daniel (53:36):
of, uh, black artistry.
So, shout big shoutsout to Danielle Spencer.
I did not know that she appearedon a episode of Soul Train and that
allegedly, she said, excuse me, shesaid this in her interview with Don
Cornelius, that her, um, Haywood Nelsonand, um, what is Roger's real name?
(54:00):
Uh,
Jay Ray (54:00):
know his real name.
Sir Daniel (54:02):
uh, but the, the actor that played Roger.
Put an album together or a song together.
Yes.
I, I'm pretty certain I, I don't knowif that ever has seen the light of day.
I think somebody has, you know, probablyhas a reel to reel of it somewhere.
But I can only imagine it wasprobably given, like self-destruction.
(54:25):
Um, we're all in the same game.
No, because it, she said it was songabout, was an anti gang violence
Jay Ray (54:31):
Oh, okay.
Sir Daniel (54:32):
So and course this was in the eighties.
I think this might've been aroundthe same time that they were doing
what's happening now, which I'm sorry.
I, I love, you know, I love camp.
I'm a eighties
Jay Ray (54:46):
that was a fun show.
Trey Payadue (54:47):
that's a good show.
Sir Daniel (54:48):
foolishness of the, the reboot and how they were always
doing the Cabbage Patch and earnestly
Jay Ray (54:54):
earnestly Thomas.
Thanks, mark.
Sir Daniel (54:55):
Thank mark.
But yes, I, I love that Anna.
And, um, what's her name?
Annamarie.
Jay Ray (55:02):
Oh, and Anna Marie, who played on In the Heat of the Night too.
She's a, a legend black Hollywood.
Sir Daniel (55:08):
Underrated, underrated actress.
So funny, so hilarious.
So I didn't mean to go down this, this,these are the kinds of y'all, this is
how we get into these rabbit holes.
Jay Ray (55:20):
Oh, can I ask question?
I, I didn't know we was gonna go here, butsince we here now, we just talked about
what's happening now, is there, what'syour favorite eighties sitcom, Trey?
Just Black sitcom or thatfeature Black people?
'cause none of 'em were really black.
Trey Payadue (55:38):
2, 2 7.
Jay Ray (55:39):
Oh, good choice.
Yes, yes, yes.
That
Sir Daniel (55:41):
I no Place
Jay Ray (55:42):
and a great.
Show.
you, Marla Gibbs, Marla Gibbssang the heck Outta that
song.
Trey Payadue (55:49):
Mm-hmm.
Sir Daniel (55:50):
I,
Trey Payadue (55:50):
Yeah.
Jay Ray (55:52):
Oh, yes.
What was it?
Ooh,
yes.
Sir Daniel (56:00):
yes.
Jay Ray (56:00):
Legendary.
Sir Daniel (56:02):
of that.
Wait a minute, Jay Ray,have we talked about this?
What is yours?
Jay Ray (56:07):
Oh, eighties black sitcom, I think it is.
Amen.
Sir Daniel (56:17):
Mm.
Jay Ray (56:17):
I think it's Amen.
Sir Daniel (56:19):
awesome
Jay Ray (56:20):
yeah, yeah, yeah.
Another awesome thing, baby, the blackshows is gonna give you a theme song.
Listen, uh,
Trey Payadue (56:24):
Yes.
Mm-hmm.
Jay Ray (56:26):
what about you, sir? Daniel?
Sir Daniel (56:28):
Ooh, that's, ah, I don't know.
'cause those are some heavy hitters.
2, 2, 7. Amen.
Um
hmm.
I'm trying to think if there'sanything that I'm, I don't know.
2, 2, 7 might have been itbecause Jackie Harry was a,
Jay Ray (56:52):
Legend.
She earned every bit ofher legend on that show.
She sure did.
Sir Daniel (56:59):
earned that and I
Jay Ray (57:01):
Sandra Clark, was it
Trey Payadue (57:03):
Everything, yes.
Sir Daniel (57:04):
yes, absolutely.
So I don't know.
There, there's definitely, see there werea lot of shows that had black people in
it, but they weren't the focal point.
You know?
Of course had our, we had our Websters,we had our different strokes, and all of
those shows meant something to, to me.
So, but yeah, 2, 2, 7, we talkingabout theme songs and whatnot um,
Jay Ray (57:27):
you know what,
now I changed my show.
It's actually the Cosby Show.
Trey Payadue (57:32):
Yeah.
Jay Ray (57:33):
It's so for whatever reason I situate the Cosby Show
in like this whole other realm,
I'm like, oh wait, no.
Your sitcom was the Cosby Show.
Sir Daniel (57:45):
It really was Thursday
Jay Ray (57:47):
much bigger.
Yeah,
Sir Daniel (57:49):
definitely Thursday nights were, they had Thursdays on lock.
That was a, that was BlackAmerica appointment television.
Jay Ray (57:59):
Absolutely.
Sir Daniel (58:00):
you all had to be the NBC.
What was the NBC be there?
That was the, the slogan
Trey Payadue (58:06):
Oh yeah.
Jay Ray (58:07):
'cause they did the, um, they did the whole, remember
they did the, uh, the commercial,they had Jack k and Marla Gibbs
Sir Daniel (58:13):
All the networks.
Trey Payadue (58:13):
And everybody, yeah.
Jay Ray (58:16):
But listen y'all, thank you so much, Trey, once again,
thank you so much for being hereand being part of this conversation.
So if y'all are new to Queue Points, belike Trey, subscribe wherever you are.
Tell your friends, um, you know, sharethe show 'cause if you like Queue Points,
chances are they will like cuepoint.
Visit our website@queuepoints.com.
(58:37):
You can watch our entirearchive of episodes and there
are lots of episodes to see.
Visit Pointsmagazine@magazine.queuepoints.com get
some other content and show by shoppingour store@store.queuepoints.com.
We appreciate y'all, we love y'all.
Sir Daniel (58:54):
Well, we certainly do.
So without any further ado, what do I say?
Every week in this life,you have an opportunity.
You can either pick up the needleor you could let the record play.
I'm DJ Sir Daniel,
Jay Ray (59:06):
My name is Jay Ray.
That's Payadue.
Sir Daniel (59:10):
Yes.
you go.
this is Two Points Podcast, droppingthe needle on black music history.
We will see you all on the next go round.
And I mean no place child.
Greetings and welcome to another episode of podcast.
I'm DJ Sir Daniel.
Jay Ray (00:21):
And my name is Jay Ray, sometimes known by my governments as
Johnnie Ray Kornegay III and Sir Daniel,we are back with our QP one-on-one,
and I'm super excited for the brotherthat is joining us this evening.
Sir Daniel (00:38):
One on one.
We're having some fun on Queue Points
Jay Ray (00:43):
Hey.
Sir Daniel (00:46):
I, I just had to do it.
It was, it was just right there, butyes, yes, I am excited about that.
You know, it's, he is one of, he's beena day one supporter and, um, it's just
exciting to touch, you know, to makethese touches with people that have been
with riding with us for the longest time.
And just to get to know them and findout what's going on in their lives and in
(01:09):
their particular city, their part of thecountry, because that's what is all about.
Jay Ray (01:15):
Yes.
Um, before we jump into the conversation,sir Daniel Summer is winding down.
You have a birthday coming up.
How you feeling?
Sir Daniel (01:28):
You know what I am, I'm, I don't know.
I don't, I think about it every nowand then, but I'm, um, but I'm happy.
I'm very thankful becausethis is a milestone.
Um, especially when I think aboutall the people that haven't have left
(01:49):
beyond, have gone beyond to the beyondbefore they can even get to, to my age.
And so I feel, I feel blessedabout it and very thankful.
So yes, I am excited about it.
Jay Ray (02:00):
Awesome.
Um, one of the things that's reallyimportant to us, uh, as DJ Sir
Daniel indicated, is that we have anopportunity to chop it up with folks.
And tonight, y'all, um, joiningus on the show, we got his bio and
everything, so it's really, really dope.
But, um, as Sir Danielmentioned, Trey Payadue is, uh,
(02:22):
one of our day one listeners.
And, um, Trey was raised on the WestBank of New Orleans, uh, the New Orleans
metro area in a small town called.
Marrero.
Marrero.
Oh,
Sir Daniel (02:39):
that's what
Jay Ray (02:39):
Marro, I think.
Okay.
Yay.
Ha ha.
Alright, we're doing good.
Louisiana brought up inthe black Catholic Church.
Trey was completely immersed in NewOrleans music and black culture through
local fairs and famous celebrationslike Mardi Gras, new Orleans Jazz and
Heritage Festival, and the Essence Fest.
He was also exposed to various stylesof music, such as gospel, pop, rock,
(03:01):
funk, hip hop, bounce, and his firstlove rhythm and blues at a young age.
inherent love and appreciationpaired with his exposure to New
Orleans culture and events, ignitedan infectious passion for music.
Trey quickly became known asthe music man, uh, amateur
house, party, DJ and mixtape.
Go-to guy for new music.
(03:22):
We gotta talk about that when he comes up.
Um, currently Trey Juggles a nine tofive while moonlighting as a curator
of good music, a patron of popularmusic and black culture, and a
student of where all three intersect.
You can follow him onInstagram at something severe.
That's S-U-M-T-H-I-N, just so y'all know.
(03:45):
Um, but Queue Points family.
We are so excited to welcome oneof our favorite folks to the show.
Trey, welcome to Queue Points.
Trey Payadue (03:55):
Hello.
Hi.
How y'all doing?
Sir Daniel (03:57):
welcome.
Fantastic.
So happy to have you.
We're here with us and to just, youknow, finally get to chop it up with you.
So when Jay Ray was reading off yourbio, I just kept thinking to myself,
Trey is like the quintessentialQueue Points, uh, listener.
You are the person that when weconceive this, um, this podcast, you
(04:22):
are the person that we had in mind.
So when Queue Points came around, likewhat did, was it like, was it a easy sell?
Was it a hard sell?
Were you on board immediately?
Uh, tell, tell us what, what did you thinkwhen you first ran into Queue Points?
Trey Payadue (04:38):
Was not a hard tell at all for me.
Uh, 'cause like these are thetypes of conversations that I have.
So, like my friend Lance these arethe conversations that like we've
been having since 2000 when I met him.
Right?
So, like, you know, I think Ionce once wrote a review for
you guys where I said it was myconversational fantasies fulfilled.
(04:59):
That's exactly what it is.
'cause it is just really just choppingit up about music, talking about history.
I like doing my fan theories.
The what could have been, what shouldhave been, and all of those things.
And so, yeah, so easy sell.
Jay Ray (05:15):
Thank you so much.
So Trey, uh, we wanna take a momentand just like love on you a little bit.
So I feel like the people need tounderstand how important Trey is to.
What we do here, Queue Points.
So I looked up some stuff andI think this is really dope.
So Queue Points was started in 2021.
(05:36):
Um, you were the very first person.
Well, okay, we went througha period of time, right?
We were growing Queue Points, right.
We were trying to figureout what we were gonna do.
So we had like membership tiers.
You were the first person to buy one.
And not only did you buy one,you bought a year, right?
(05:56):
So that's you also, I was like,oh, Trey, you were literally the
second customer in our store.
And not only were you the second customerin the store, you bought almost everything
that we had like the, out the gate.
So.
And everything that we've done.
(06:17):
So you were, you've been partof, of focus groups that we've
had, you've been part of.
Like, we did our, we tested out oursidebar show like earlier in the year.
You are of course part of that.
You show up on these Thursdayswhen you can show up.
You listen to the show,when you can listen.
We just appreciate you, man.
So just thank you,
Trey Payadue (06:38):
I appreciate it.
You know, again, I enjoy it.
So that's why, you know, Isupport if, you know, whatever
I can to do, can do to support.
That's what I do.
So.
Jay Ray (06:49):
man.
Sir Daniel (06:51):
that this is when people say support is a verb,
this is what they mean by that.
So yes, we absolutely appreciateyou and just love you day one.
Love you down.
And if you haven't noticed, and we did sayin the, in the intro that our brother is
from New Orleans, specifically the West.
(07:13):
The West Bank.
Correct.
Trey Payadue (07:15):
Correct.
Sir Daniel (07:16):
So let's just hop into it.
When people, when people find outthat you are from New Orleans,
they make, I'm pretty certain theymake assumptions about what kind of
music you like and what you're into.
So just give us a little insightinto the breath of what it, of what
you're in, what you appreciate.
We heard a little bit in the bio, but tellus a little bit about your music taste.
Trey Payadue (07:41):
So again, my first love is just r and d. I
was raised on r and b. Right.
That, that was my first love.
But of course I grew up in thechurch, so I mean, of course
there's the gospel influence there.
Um, I'm in New Orleans, so there'sjazz, there's funk, like there's
origination of hip hop, right?
(08:02):
Like bounce started in NewOrleans, it's the home, right?
So that was our version of hip hopthat later led to like juvenile
and all these other folks.
Um, you know, so of course I wasa part of that culture coming up.
Um, but also like I have influencefrom both my mom and my dad.
(08:22):
Like my dad was into like rock.
Like I would go steal and listento some of his, like rock albums,
like Pink Floyd and stuff like that.
Um, so like.
Of like everything, which is honestlykind of the culture of New Orleans.
On any random night, you can go somewherein New Orleans and you're gonna find at
least five bands playing in differentpockets of the city, and they're all
(08:45):
playing different music, different things.
And so, yes, so growing up in NewOrleans, I, it was a combination
of a lot of things, right?
All at.
Jay Ray (08:56):
Um, to that point, uh, who was the first artist that you remember
just like absolutely falling in lovewith, and that was like your artist.
Who was that?
And why did you fall in love with them?
Trey Payadue (09:12):
So that is an easy one for me.
I'm gonna be honest.
Janet Jackson.
All, all the way.
A hundred percent.
So I, I was, so, I was a kid.
I was born in 1981, right?
So I wasn't here for the first album,but I made it for the second album.
Right?
And, so like, just seeing, like,of course, videos were thing,
(09:37):
I'm a, I, I tell people all thetime, I'm an MTV baby, right?
I was born when MTV was created.
I had big cousins who I grew up.
That's what we watched.
You sitting on my left, we gonna watchMTV, we gonna watch these videos, right?
And so one of the first artists thatI just absolutely fell in love with
the music was Jayna Jackson, right?
(09:58):
I was a kid who loved to dance, right?
There was always so muchenergy in her music.
Um, like the, the subject matter of themusic was always to me, just like fun.
And it just kind of capturedmy imagination as a kid.
And for me, it's justone of those artists.
'cause like I really feel like Janetcame into her own on that control album.
(10:21):
So like, I think that's when Igained consciousness or awareness.
And so for me, all of my life,Janet has been one of those artists
that have been a part of my life,like from the very beginning.
Sure.
Jay Ray (10:33):
Oh, okay.
So now we have to ask the question.
It's funny that you mentioned that youcame in on Dream Street 'cause as dj, sir
Daniel knows, and you probably know bynow, Trey, that's like not my favorite.
So that's really interesting.
So here's the question.
What's your favorite Janet album?
I'm curious.
Trey Payadue (10:49):
Velvet Rope.
Hands down, level rope.
It is, for me, it is I guess her mostintrospective, most personal album
for me that that was my teenage years.
So like also I'm at that point,I, you know, I feel like most
people love the album, honestly.
(11:10):
Usually when you're about that age,'cause you're feeling in all the fields.
Right.
So they were, they were justthings that I identified with.
It was actually probably my first,I guess you could say, major concert
that I had ever been to, like wasJanet Jackson, velvet Rope tour.
So like for so manyreasons, that's my favorite.
But just music alone, liketo me, that's my favorite.
Sir Daniel (11:34):
that makes a lot of sense.
And you know, Janet, um, has done theEssence Fest numerous times, and I kind
of want to go back to New Orleans fora second because prior to us coming
on, we were talking about New Orleansbeing in the zeitgeist right now, a
lot of conversation around New Orleans.
(11:54):
You know, we are in the 20thanniversary of Hurricane Katrina,
so that's bringing up a lot ofdifferent conversations as well.
I saw recently a viral clip going on.
There was a, a second line band going downthe street, um, like they usually do, and.
Apparently they went past the barand um, this bar, of course, was
(12:20):
full of clear people that, and theywere incensed that the second line
band was playing outside of the bar.
I don't know, maybe because theyhad a concert going on or something
inside, but, and they came out andthey literally attacked the ban.
So I guess my question, not reallya question, but an observation is
(12:44):
around the country we see instancesof, um, of interlopers coming
into the culture, coming intosituations where, where we have set
a tone, we have created a culture,we have created this atmosphere.
But then there are interlopers thatcome into the, um, come into the,
(13:06):
into the spaces that we've created.
But then they want tocome in and, you know.
Push us out or, you know, or,or be belligerent or whatever.
There's a whole lot of differentfeelings that go on sometimes.
But as somebody, as a native and somebodywho is there, what is your experience
(13:26):
with that when you see, you know, peoplethat don't necessarily, I don't know
if they don't have the respect for thespace, but they're, they're trying to
commandeer it, they're trying to, youknow, turn it into their own or, and,
and not be respectful of the peoplewho are the essence of the culture.
(13:49):
What, what is your experience withthat and talk to us about, you know,
do you feel like essence, not essencethat New Orleans as a culture is being
protected, or is it being exploited?
Trey Payadue (14:04):
I think so to agree.
I think both are trueand both can be true.
Right?
So this is a city that's deep in likeblack culture, black heritage, right?
Music is a central partof the city, right?
And you always have, this is one ofthose cities where people of all shapes
(14:25):
and sizes, they move to the city becauseof the culture, because of the vibe.
But there are also those peoplewho move here but then want to
change aspects of the city, right?
So like it is not unusual for.
A, a band to be playing in the street.
It is not unusual for you to go downBourbon Street or some other street
(14:48):
and there's teenagers, sometimes kidsplaying the bucket drums on the street.
Like it is not unusualto see those things.
Right.
And so you do have people of allcultures who come down and respect it.
That's what they came here for, right?
New Orleans is literally a city ofwe all outside, we outside that,
(15:09):
that's what New Orleans is about.
Right?
Um, and, but you always havethose, those folks who come in
and we, we know how it happens.
They come in and then theywant to change things, right?
It's like you move into the FrenchQuarter, you pay a a million, $2 million
to get this property in the FrenchQuarter, but then you get mad when
somebody is playing in, in the band tilltwo in the morning outside your doorstep.
(15:32):
Like
Jay Ray (15:33):
you.
Trey Payadue (15:34):
they were here before you, they were way before you.
Right.
So I mean, that's a thing.
Um, and it also like culturally,like, I'm probably gonna say something
that, you know, might be a littlecontroversial, but like there are
styles of music that have started hereor things that have started here that.
(15:57):
Other folks have kind of taken andkind of taken a piece of that culture
here, a piece of that culture there.
Like there's so many people in New Orleansthat influenced the music industry period.
And this has been forever, right?
For years, right.
Um, and so there are things, andthe latest thing that I can just
point to is for instance, right?
(16:18):
So bounce music, bounce culture, right?
Started.
Here in New Orleans, it was based off,like, one of the original Bounce songs
was actually based off a track, um,drag rap that was a rapper or somebody
from, uh, from New York City, but tookthat one thing and then turned it and
flipped it to something else, right?
(16:40):
And so bounce music hasgrown over the years.
Then you had a period in the 2010swhere, you know, I'm gonna call out
some black people too, who they,they latch on to this culture,
this black music, and then all of asudden you see it in popular music.
Drake is doing it.
Um, what's GEV is doing Like all,all of these people are drawing
(17:03):
from that culture because that'sthe sound they wanted at the time.
But then when they're done,they leave it right there and
then we on to the next thing.
Right.
Um, and don't get me wrong,there are artists who pay
respect and they do it right.
Right.
So, like for instance, uh,Beyonce, people gonna say Beyonce.
Beyonce has borrowed from.
Louisiana culture, newOrleans culture for years.
(17:24):
Right.
But I've always felt like Beyoncehas kind of been, if we, it, like
she grew up in Houston, a lot ofus Louisiana's New Orleans folk.
We have a synergy with Houston.
That music traveled back and forth.
We got screw music, they got bounce music.
Right.
And so, but there wasalways like a respect there.
And like, she's borrowed things of course.
(17:47):
But at the same time, uh, Beyonce alsoone of those folks who have given props or
recognized the folks who like created it.
Like, you know, I've been in a concertand she, on stage, she was at the
Essence Fest, Josephine, Johnny.
And then she said, I got this from y'all.
Y'all better get hyped.
right.
Like, so, like, acknowledge what you, whatyou take or what you recognize, you know.
Jay Ray (18:11):
You know what Tre, I'm, I'm curious, 'cause you mentioned,
um, second line, um, or we were justkind of having this conversation.
If you can describe, for those whodon't know, I don't wanna assume that
the people that are tuning into QueuePoints know what that experience is like.
(18:31):
How would you describe thesecond line experience?
feeling, all of it.
Trey Payadue (18:42):
I, I, I don't know if there's a good way to describe
it 'cause it's really so manythings, but really it's just
literally the, the power of culture.
Everybody being on the same page, right?
And just experiencing,right, this music, this joy.
Sometimes it's for purpose, right?
Sometimes new.
(19:03):
We are notorious forcelebrating somebody's death
with a second line, right?
So it might be somebody famous who thecity has embraced and we gonna have
a second line to celebrate, right?
It's a celebration of life, right?
And it's a celebration ofthe life we have, celebration
of life we're remembering.
And so it's really just one, I don'twanna say big love, love fest, but
(19:25):
you know, it's really just the spirit.
It's really one of those cities, or it'sone of those things where you just feel
the culture and the spirit of the city.
I, it can't, best way to describe it.
Sir Daniel (19:36):
That's a great point because I think with a lot of, um, black, uh,
diaspora, oh, is this the right word?
Jay Ray (19:47):
diasporic?
Dias.
Sir Daniel (19:50):
Cult
Jay Ray (19:50):
that's right.
Trey Payadue (19:51):
That sounds right.
Sir Daniel (19:51):
people, right.
Y'all know what I'm trying to say?
Black folks, we, wherever weare spiritually, we, we have
an outlook on life and death.
And we, the, I think across the board,you see, when somebody transitions, we
sell, it's a celebration because we are,we, we, that has been passed down is that
(20:17):
we understand that there's something onthe other side and in, and in order to
usher that person into the other side,there has to be some type of celebratory,
um, uh, uh, uh, a celebration.
And, and the music is with that.
And I love, and, and it's so funny when I,I hear people, and I've said this before
(20:38):
on the show, I hear people talk about ortry to, to create lines between, um, who
we are as people, whether we can, what.
What, where we, the shipdropped us off and trying to
say that we're not connected.
No, we all are connected.
Like when you listen to bouncemusic, to me, calling and response is
(21:01):
something that see across the diaspora.
Calling and response is inevery last one of our cultures.
And so that's why when, when, you know,when I got introduced to bounce music, it
was, it just, it just felt natural, like anatural extension of how we all celebrate.
I'm from, I'm from the, um, from the WestIndies, uh, carnival is the same thing.
(21:27):
We are all out in the streets inplumage, colorful, you know, winding
our waistlines to to, to no end.
And so I, I just, I don't knowwhen you hear things like that,
when you hear people try to.
Separate us by countries and by, uh, and,and, you know, especially black people.
(21:49):
Trey, like, how do you feel when youhear that, knowing what you know about
music and knowing about the history of,of black people as a, as this world is
concerned, how does that make you feel?
Trey Payadue (22:05):
Look, music is like powerful and especially in the diaspora, right?
Music is one of thosethings that connects us.
It's like food, music, right?
And draw, we all drawinspiration, and there are.
Overlaps are things that, youknow, that are a baseline, right?
(22:25):
And so we've just beeninfluenced by other cultures.
And so as we spread those things justtranslated differently in different
areas of the country, differentareas, you know, of the world, right?
Like there are similarities, right?
To, um, Haiti for New Orleans.
Haiti is our sister city, right?
(22:46):
There are similaritiesdown in Brazil, right?
So like some of music, whenyou listen to some of these
music, some of the music, right?
There are so many similarities.
Like there's a baseline there.
And I think we're all connectedin more ways than like people
realize or people think.
Um, and especially when you justtalk about black music, like
there's a baseline there, right?
(23:07):
Especially in America that, youknow, you just can't deny that.
Jay Ray (23:11):
Yeah.
You know that this is bringing upfor me, um, Trey is the fact that,
um, I'll use me for, for example, um,music for me is about the feeling.
And when you start talking about thatbaseline or those feelings that kind of
translate across, um, uh, uh, culturesor across, you know, wherever we are,
(23:38):
we know there's a feeling that we getwhere we can all look at one another
and be like, oh yeah, that's it.
Like that thing They in that thing.
Um, I'm curious for you as a, as amusic listener, what hits you first?
Is it like melody or is it like lyrics?
Like where do you go first as kind oflike your barometer as a listener to
(24:01):
know if you are really feeling a song?
Trey Payadue (24:03):
For me, the first thing is always melody, right?
It's, it's always melody.
Um, as my good friend Latricewould say, is that beat right?
Jay Ray (24:14):
beat,
Trey Payadue (24:15):
That's, that's what it is, is that beat, um, you know, it, it's,
it's the sound, it's the feeling, right?
It's feeling the bassin your chest, right?
It's feeling the, themusic and the spirit of it.
And to me, that's what carries.
So it's the first thing for me.
But then of course, likelyrics matter, right?
(24:35):
Lyrics matter and, you know,lyrics gives, um, I guess.
The beat direction, right?
It tells us where we going,what we feeling, right?
It's a narrative to the story, right?
Um, and so it's equally as important,but the first thing for me is
it, it has to move me, right?
And whatever I'm feeling,or take me somewhere, right?
(24:58):
There's some music thattakes you, this place.
There's some music thattakes you another place.
So.
Jay Ray (25:03):
Mm. Real quick.
So th this is perfect.
So a couple things.
Who, who, what you reallyinto like right now?
Like what is.
Your thing that you like really intoright now, and also we want to know, is
there somebody from Louisiana that weneed to be paying attention to that people
are not paying as much attention to?
(25:24):
So who you listening to and whoshould we be paying attention to?
That's from where you from?
Trey Payadue (25:30):
Okay, so I'll start with who I'm listening to, right?
So first of all, I, I have to preface,I'm coming off of Beyonce summer, so
like Beyonce is still in rotation for me.
It is, it's still in rotationfor me, but Beyonce aside.
Okay, so like I listen to, likethings I listen to on a daily basis.
(25:53):
Like I listen to VictoriaMonet, I listened to India,
Sean, Janelle, Monet, Kate.
Um, one of my favorites, like honestlyfor the past few years since he
came out was kli, uh, lucky Day.
Lucky Day is like one of my go-tolike r and b. Things, um, I've been
(26:13):
feeling on the hip hop side, uh,Megan thee stallion all day, right?
We got, we got a Houston connection.
Uh, Doce has been like dope for me.
Um, I listen to a little bit ofeverything, so like, you know,
I'm on that clips album, like,
Jay Ray (26:30):
That
Trey Payadue (26:30):
like, uh, that's, it's really, really, really,
really, really good, right?
Um, and even like, you know, artists thatdon't necessarily get their shine right?
But like, um, Duran Bernard, I went tothis concert like a couple months ago.
Amazing concert.
Um, Dustin Conrad.
There's another artist I'vebeen kind of listening to.
(26:52):
I, I think it, it's spelledKWN, I think it's K one.
Jay Ray (26:57):
Oh, yeah.
Yeah.
Yeah.
I like, I like their work.
Yeah.
Trey Payadue (27:00):
I listened to that album and I'm like, okay, going into rotation.
All right.
Um, as far as like Louisiana.
Artists base, Louisiana.
I mean, we really have so many, butI can tell you right now, my absolute
favorite band is Tank and The Bangers.
Right.
Um, I've seen them several timesand every time they come down I,
(27:22):
I try to go see 'em at some point.
Right.
Um, there's a new artist, I, Ithink he just dropped a project
with PJ Martin couple weeks ago.
Zi, so young kid doing hiphop out of New Orleans.
And it is just, it's young,it's fresh, it's different.
Right.
Um, and so I've, past coupleweeks I've been giving him a spin.
(27:44):
Um, you mentioned Dawn Rash earlier.
So like she has always like, obviouslynational fame, um, you know, dirty money.
The, you know, to be fair, I didn't carefor her when she was with that pop group,
Jay Ray (28:00):
right.
Trey Payadue (28:01):
but
Jay Ray (28:01):
Her is so
Trey Payadue (28:03):
Her solo stuff, you know, even like the, the dirty money stuff
and then everything forward from that.
Like, she's just been like super creativeand I love how she honors her roots.
Like she did a, a album acouple years ago that I love.
Um, let's see, local folks.
Um, there's a artist, jelly Joseph,I don't think she's ever put out
(28:25):
any projects, but she used to,she occasionally or used to sing
background in Tank and a banger.
She was on that tiny desk.
She was the, the background singer.
But like she does show locally around,uh, new Orleans area and she did a song
with a bounce rapper, hot Sizzle thatlike has always, it's on summer rotation
(28:47):
every summer, like, um, and then, youknow, that's kinda like the local folks
that I listen to out Wil throw out there.
I love Lucky Day.
He is from New Orleans.
Um, and
Jay Ray (28:59):
un because, uh, Kari mentioned in the chat didn't know that.
Yeah.
Lucky Day was from New
Trey Payadue (29:03):
Lucky it is from New Orleans.
And then also, um, there.
And see the name is gonna escapeme just 'cause I, um, he's,
he's not singing right now.
He's been in his acting bag.
What is this guy's name?
It's gonna come to me.
I, I gotta remember who I'm, I'm thinkingof his name escapes me right now.
Um, but yeah, so that'swhat I've been listening to.
(29:24):
Local people.
Yeah.
Sir Daniel (29:27):
You know, hearing you talk about them and describe them.
I know that there are so manypeople, especially on the local
level that are beloved and, butthey don't necessarily have, um.
They don't, they don't have a label.
They don't necessarily have projects,but like that whole, um, like the,
(29:53):
the culture of the bounce artist, likeyour, um, your, like your Katy Reds,
like your, um, oh, like your highsizzle, uh, what is my guy's name?
He, people are always comparing him toFrida because he came out before Frida.
And people are always like, well,why aren't you as big as Frida?
(30:15):
You know who I'm talking about?
Sissy Nubby, sissy you know, people,um, people in that, in that bag.
I've noticed that the city embraces them.
Um, they, they make a living.
Clearly because they get, they do showson a regular basis, but I find that
(30:36):
such a fascinating ecosystem that youdon't even necessarily need to venture
outside of New Orleans to be, to beconsidered a star in New Orleans.
And so, I don't know, talk to usabout the, the mc, um, factor.
The, the, yeah.
The mc factor of, or of beinga bounce artist in New Orleans,
(30:59):
and like, what makes somebodyspecial in that, in that respect?
Because like you said, somebody theydon't, don't necessarily have a album, but
they rock the hell out of these partiesand to us about the chanting and, and
what is it, what makes a good chance?
Trey Payadue (31:18):
You know, uh, so I can say as a kid who grew up with Bounce right?
The chanting, it's a thing, but atthe, at the end of the day, right,
this person was the mc and they wereall about bringing like the energy.
I can't tell you what makes a good chant.
(31:40):
'cause it could be something so simple.
Like she went to the store like that.
Like they, they literally, literallywill make a chant out of anything.
Right.
But like I've had the experience of beingin a club before in New Orleans, right?
In my late teens, early twenties.
(32:01):
Right.
And we in a club and they just handsomebody a mic and say, hit do something.
Right.
And, and it will literally be,anything can come out they mouth.
Right.
A lot of bounce songs that, you know.
Became big songs wereliterally like club recording.
Somebody was in the club and justhappened to be recording what
(32:25):
was happening in, in the club.
Right.
And so, you know, honestly,a, a part of the call response
is just having good energy.
Right?
It is knowing who youraudience is, I'm sure.
And speaking to that audience, right.
It's, um, you know, keeping the energy,keeping the, the party going because a lot
(32:45):
of it is based on keeping the party goingand the energy that the folks wanna feel.
Right?
And so, I don't know, it is just been fun.
I'm gonna just say, you know, itwas a time to be alive in the late
nineties, early two thousands.
From the 99 to the two thousands.
It, was rare.
Sir Daniel (33:00):
Right.
Jay Ray, what I find so interestingabout that, it's that, um, new Orleans
literally with that scene is literallylike the last example, living example
of what New York used to be when MCswould just fall through the club.
(33:20):
Um, they didn't have, theydidn't have their own records.
They literally are justrhyming off of instrumentals.
Like you wrote your rap basedon the instrumental that you
memorized, and if you heard it thatnight, you would start flowing.
Today, the kids down in NewOrleans do the same thing.
You know, they, they, they come upwith a chant right off the top of their
head or they've written something.
(33:41):
And I think it's just so funny to me that,that, or I'm not even gonna say that.
It may have started, it could havebeen a simultaneous combustion
our artistry from both up in, bothup top and, and, and the bottom.
You know, like, but I justfind that so fascinating.
But there's that line, there's thatthrough line that, that connection still.
Jay Ray (34:05):
You know what?
This is also bringing up too.
I'm wondering.
I don't know.
I, I've been to NewOrleans now a few times.
Trey, thank you so much because like oneof the first times I came to New Orleans,
you like scoop me up in the car and wewent around, I had the best time, right?
So I'm curious to know in the, uh,na I guess I'll use nationalization.
(34:30):
I don't know if that's really the word Iwant to use, but as things have become,
oh, hello mom, I'm my mom's here.
I'm like, live on
Trey Payadue (34:39):
Hi.
Jay Ray (34:41):
But, um, I'm like, what?
Um.
One second y'all.
She's very committed.
Um, I'm curious to know in kindof the, the standardization of
like radio, the, the way that, um,things just kind of, everybody plays
(35:03):
a little bit of the same things.
Has New Orleans been able to maintain,um, that that thing that makes
New Orleans, new Orleans like dois, are there still stations where
you can hear like local artistsbeing played and all of that stuff?
Has some of that been ableto be maintained there?
(35:24):
I'm curious.
Trey Payadue (35:26):
I think so.
I mean, clearly there is like,uh, there is a nationalization,
especially like local radios.
Like, so one of the localradio stations was Q 93, right?
And so it's kind of gone theway in some ways where now the
syndicated shows have taken over.
So now we're playing Breakfast Clubin the morning Angelique d midday
(35:47):
when, like when I was growing up,there was a morning show, right?
It was a local morning show.
There was somebody who did the lunch,there was somebody who did the rush
hour, and then, uh, while Wayne wouldcome on after six or seven, right?
Take us home, and then there'sthat late night person, right?
And that late night is like, obviouslythroughout the day they, you know, we
(36:09):
would play the r and b and, you know, Q 93was a kind of a hip hop station as well.
So they would play those things.
But like at night.
Right.
It was like a lot of local stufflike being played, like there
we were playing local stuff.
I forget, and I, it escapes me rightnow, but there, there used to be
like an hour where they would playall the bounce music on the radio.
(36:32):
Like,
Jay Ray (36:33):
I love that.
Trey Payadue (36:34):
you know, and like that, that's what it was.
And so, you know, in someaspects, yes, they still do that.
Like usually on a Friday night, aSaturday night or something like that,
you still get that, I don't think as much.
But you still do get that,you know, with the invention.
Everybody's streaming now and everybody'sdoing their own thing, but locally, like
(36:54):
people are still playing that music.
Jay Ray (36:58):
That's awesome, man.
Um, so in terms of music at thismoment, um, what are you noticing?
Like, what are you picking up on in termsof like, stuff that you like, like trends
that you like or, and what things thatyou're like, eh, I'm not as into that.
(37:18):
I'm not really into this.
Um, so trends that you, like,trends that you don't like.
Trey Payadue (37:23):
Okay, I'm gonna stay on the positive side right now.
I really like.
I feel like we are finally turning thetide on this depression that has happened
in hip hop and r and b music 2010s.
Like, so I feel like we're finallyturning the tide into like,
music that is more like joyful.
(37:46):
And it's different.
It's not all of this slow, youknow, everybody is not on syrup.
Like I, I feel like we'refinally turning that tide.
Um, the other thing is that I'menjoying seeing artists bring
like, musicianship back, right?
And like, especially in likethe r and b space, like there
are artists like her, right?
(38:07):
Who you know is, isplaying the music, right?
There's artists like Victoria Monet, wholike you listen to her album and it's
not just like, you know, sample tracks.
Not gonna say she doesn't have anythingmixed in there, but there's like.
Musicianship in it, right?
Like it can easily translate to alive band playing this on stage.
(38:29):
You got, um, you know,r and b is not dead.
Like there are people out here who aredoing the thing, it's a modern r and
b, but still r and b, like nonetheless.
And then you got people who are doingthe traditional r and b as well.
So I like that we're kind ofseeing that turn, especially
in r and b, also in hip hop.
I, I'm happy that some of usare rapping again, some of
Jay Ray (38:50):
Yo.
They rapping now.
I'm excited.
Trey Payadue (38:53):
right?
Yes.
They, they are rapping again.
And so like, you know, Iam, I'm loving that trend.
I'm loving that trend.
Um, I think, you know, a lot of folks aregetting back to like, lyricism, right?
And like words, meaning thingslike, you know, like all of that.
So like I am excited tokind of see that, um.
(39:17):
I guess things that grindmy gears a little bit.
I know we're in streaming cultureright now, so like everybody is making
short tracks to like, I guess, appeasethe streamers to get the streams up.
And so those types of thingskind of grind my gears sometimes.
So when I see artists who like actuallythink about a full length something,
(39:39):
um, I appreciate when the artist doesa full cohesive album, like bring back
albums, bring 'em back, like, you know,give me a concept, give me a rollout.
Like, you know, give me something.
Right?
So, you know, that that's the thingsthat I, I'm still looking for.
(40:00):
And there are artists who are outthere doing it, but you know, you know
that, that that's what I wanna see.
Sir Daniel (40:08):
love that you know what the time has come.
Jay Ray,
Jay Ray (40:13):
it has.
Sir Daniel (40:13):
that we are going to turn the tables and Trey, we want to give
you the opportunity to ask us anythingthat you've always wanted to ask.
Jay Ray or myself in regards to QueuePoints, podcasting, whatever it is
that's on your mind, this is youropportunity to just, you know, get inside
(40:38):
our heads and just ask any questionthat you've ever want, wanted to know.
Trey Payadue (40:44):
Uh, before, before I do that, I'm just gonna take a second, right?
And so I'm gonna, you gave me yourflowers earlier, so I, I am gonna
give Jay Ray his flowers right now,because, like, I've been, I, I mean,
we've been knowing each other, I guess.
For like 20 years maybe at thispoint, but you may not even know or
(41:08):
remember this, but we're coming up onthe 20th year anniversary of Katrina.
Right.
So I'm, I'm bringing this up 'cause Iwas reminded of this, but when Katrina
was happening, I was not in New Orleanstime, I was living in Baton Rouge.
And so I was not, quote unquote directlyimpacted, but I had lots of family
(41:28):
and friends and everybody who, youknow, people who were impacted by it.
And what I remember, one ofthe things that I remember is.
Jay Ray called me on the phone, heprobably doesn't even remember, but
he called me on the phone, uh, noteven a few days later and just called
(41:49):
to say, Hey, how are you doing?
How is your family?
What is going on?
What is happening?
Like, you know, and for that,I will forever be grateful.
So I'm gonna give you your flowers.
And that is a part of the reason whyI support everything that you do.
Right?
It's 'cause just that little bitof kindness, you know, just goes a,
(42:11):
a long way and goes the distance.
Right.
So I'm gonna give you your flowers first.
Okay.
Um,
Sir Daniel (42:17):
me one bit.
That doesn't surprise me one bit.
That's who Jay Ray is.
Jay Ray (42:21):
you.
Trey Payadue (42:23):
Steve.
Very special, very special.
Um, so I guess question thatI have, what is your favorite
part about podcasting and spec?
Uh, specifically, what's yourfavorite part about Queue Points?
Jay Ray (42:37):
Ooh, I, this is easy for me.
This is my favorite part actually.
Like the, the, the well one, you know,this is OG Queue Points for those of
you that are new to Queue I know wedo a lot of stuff now, but this of the
purest version of what Queue Points was.
(42:58):
We started like this, it was conversationslive between, uh, sir Daniel and
I, and I love the opportunity everyThursday to hop on and, and talk.
So this is my absolutefavorite part of what we do.
Sir Daniel (43:14):
Hmm.
Trey Payadue (43:16):
awesome.
Sir Daniel (43:16):
am going to say I,
I really love, I like, I likethe, um, the cooking stage.
I like the moment beforeyou guys get to see us.
Before we come on, beforewe come before you.
I love when Jay Ray and I get to.
And it's hilarious.
(43:36):
When we get on these sprees, we get onthese tangents and we just have one idea
will spark, another idea, will sparkanother idea, and it's just limitless.
And yeah, I, that's oneof my favorite parts.
And I think what I enjoy aboutthis podcasting journey is the
(43:57):
fact that I, I've partnered up withsomeone like a j Ray that makes
it easy, that makes it enjoyable.
And knowing the fact that we reallydo have a love for what we're
talking about makes it, it's soseamless and so easy for us to do.
So I think that's the best part, isthat when you, if you're gonna do this
(44:20):
thing, if you're gonna do it solo, orif you're gonna do it paired up or in
a group, just knowing that you are, Iguess, equally yoked with the person
that you're working with, really, reallymakes a difference in your journey.
Jay Ray (44:35):
Mm. Love that.
Trey Payadue (44:36):
Awesome.
Jay Ray (44:37):
And ditto to everything
Trey Payadue (44:39):
Good answer.
Good answer.
Good answer.
Jay Ray (44:45):
Uh, anything else, Trey, um, that you want to ask us?
Trey Payadue (44:51):
Take.
Okay.
There's a clip going around ofthis argument between has Beyonce,
Jay Ray (45:02):
Oh,
Trey Payadue (45:02):
superseded Michael
Jay Ray (45:03):
Oh, I mean, throw
Trey Payadue (45:05):
Hot, hot Take.
Jay Ray (45:05):
let me, throw this keyboard.
Sir Daniel (45:12):
Huh.
Jay Ray (45:12):
gonna let Sir Daniel do it.
Like
Sir Daniel (45:15):
I don't know.
See, I'm gonna be honest with you.
Conversations like that exasperateme because I'm, it's just one
of those things when you try tothrow Beyonce or Chris Brown those
Jay Ray (45:27):
if they,
Trey Payadue (45:29):
Mm-hmm.
Sir Daniel (45:31):
it's, mm. It's like when we were growing up, nobody ever said, or at
least I didn't hear anybody ever say, oh,that's the name, that's the next Sam Cook.
Jay Ray (45:41):
you know what?
That's the Prince next little,you know, he better Little Richard
wouldn't even sayPrince, look at you crazy
Sir Daniel (45:49):
Never say that.
Yeah.
Trey Payadue (45:50):
Yes, yes.
Sir Daniel (45:52):
so I think, I, I think whenever we hear those things based
on the times that we're in, I justthink it's rage baiting, it's click
Trey Payadue (46:01):
Mm-hmm.
Yes.
Sir Daniel (46:03):
to get people to start these fake, um.
Intense conversations about peoplethat you don't even, I don't even think
that you're really into them like that.
A lot of the, the people thatwant to have those conversations
probably know a handful of MichaelJackson songs and that's it,
Trey Payadue (46:24):
and, that's it.
Sir Daniel (46:25):
make and want to make those comparisons.
Uh, I don't even think Beyoncewould make those comparisons.
Trey Payadue (46:32):
not.
Jay Ray (46:32):
would not.
Trey Payadue (46:33):
She would not.
Sir Daniel (46:35):
Michael Jackson and we've, we've done this show about one of ones.
Michael is one of one.
It's a comet in human form.
You will never, ever see that again.
Beyonce is exactly the same thingfor completely different reasons.
You will never see anyonelike her ever again.
(46:57):
So.
I just as someone, and I, I don't, Idon't mean to sound elitist, you know,
even though Queue Points podcast is elitepodcasting and music conversation, um, we
Jay Ray (47:10):
Right.
Sir Daniel (47:11):
we don't, I don't, we don't in indulge in those conversations
because we just, we just know better.
I'm sorry.
We just know better.
We just don't think it's, you know,it's, we just don't, we, look, we we're
down.
Jay Ray (47:26):
Hold on.
We're like blue ivy.
Look it down from the balcony.
Trey Payadue (47:29):
right.
Sir Daniel (47:31):
can't be.
Jay Ray (47:32):
Right.
So, no, I absolutely agree witheverything that Sir Daniel said.
I think it is weird.
I think it's part of staying culture too.
Trey Payadue (47:45):
Yes.
Jay Ray (47:46):
think where this really stems from is that
people, it's to have your faves.
Listen, I grew up and had myfaves, also clear that my fla, my
faves have dropped plenty of duds.
Like, I'm like, I love them.
That album sucked really bad.
Like it's, and okay.
It doesn't take away anything from them.
It's just like everything canbe, everything can be a bop.
(48:08):
So.
You, you're able to have, um, uh,uh, uh, oh not even context, but
it's just like the ability to be ableto, uh, have multiple feelings about
Trey Payadue (48:23):
Mm-hmm.
Jay Ray (48:24):
And so I really feel like culture invite people be like, if you like this
person, you can't like that person.
No.
Folks, we were running around hereliking Prince Michael Jackson,
Madonna, Tina Turner, Janet.
We was liking 'em.
All the people who liked DianaRoss also liked Gladys Knight.
(48:46):
Also liked Patti LaBelle.
Like, it's okay.
have to be so tied to it, and itis a weird conversation to be like,
has surpassed Michael Jackson.
What is the measurement of surpassingMichael that people are using in 2025?
Like
Trey Payadue (49:06):
In 2025, what is it?
Yeah.
Jay Ray (49:09):
is, so,
Sir Daniel (49:11):
And what I, and I like the fact that we didn't, we didn't even know,
I like the fact that we didn't have asmuch access as we as these, as today have.
Like, I like the fact that we, we didn'tknow until recently that none of the girls
really rocked with Diana Ross like that.
Or, or you know, or, you know, we didn'tknow that Michael and Prince seek secret.
(49:35):
Michael Prince and Rick Jamessecretly had like little, um,
competitive beefs amongst each other.
We didn't know any of that stuff,but we, and we didn't care.
did care.
We just, we cared about the end result.
Are they gonna make me shake my ass?
Yes.
Trey Payadue (49:52):
Yeah.
Sir Daniel (49:53):
I'm, that's all I need to know.
Trey Payadue (49:56):
Right.
Jay Ray (49:58):
Um.
This is like so dope.
Trey, thank you so much forjust everything that you do.
Um, and, and being part of this.
Is there, um, anything else?
So we have a few minutes.
anything else random happeningin pop culture that's been kind
of like, that you've been payingattention to that uh, you wanna
(50:18):
just kind of bring up on the show?
It could be anything.
It don't even have to be music
Trey Payadue (50:22):
I know.
It's been a quiet week,which is a good thing.
It's, you know's, been a
Jay Ray (50:28):
a rough 2025.
Trey Payadue (50:29):
it's, it's been a rough 2025, I feel like the past six months.
I done age so much,
Sir Daniel (50:37):
Yes.
Trey Payadue (50:39):
so, so much.
You know, but you know, rightnow, I mean, I, I would like
to go into this fall, right?
Like.
I know it's not gonna happen,but you know, I need everything
to calm down just a little bit,just everywhere in everything.
I just need everything.
(51:00):
Just, let's just take it down a notch.
So that's what I need right now.
That's, that's what I need.
Um, I do wanna jump into, so justpiggybacking on what you said earlier,
uh, one of my, I thought about one of mypet peeves is the comparison of the folks.
(51:22):
I actually.
Hey, I, you Lance in the chat.
I, I hate when people compare,like artists, I'm like,
that artist is that artist.
They're doing their thing.
You can say all the things thatyou love about them, but it doesn't
have to dim somebody else's lightthat there's no comparison that.
(51:43):
So just to piggyback on that, yes.
And I also long for the days where wedidn't know as much about these people.
I need some people to just log
Jay Ray (51:50):
I want,
Trey Payadue (51:51):
I
Jay Ray (51:52):
I wish we had some more mystery about the artists.
didn't We didn't know what StevieWonder was doing in his off-cycle child.
We, we he was, he was in thestudio somewhere making a thousand
songs and he was gonna pickthe best 20 foot the record.
That's all we knew
Trey Payadue (52:06):
That's all we could.
Sir Daniel (52:08):
blind.
Trey Payadue (52:09):
yeah,
Sir Daniel (52:10):
There was no,
Jay Ray (52:11):
that, right.
Trey Payadue (52:12):
yeah.
Jay Ray (52:14):
That is a weird speculation.
They'd be like, Stevie Wonder can see.
I'm like, but that's not true.
So
Trey Payadue (52:22):
Right.
Sir Daniel (52:23):
that so
Trey Payadue (52:23):
But in 25, everything's up for debate, like,
Sir Daniel (52:29):
Everything, everything.
I do wanna say, I do want to give a quick,um, rest in peace to Danielle sp Spencer.
Jay Ray (52:36):
my goodness.
Yes, yes, yes, yes.
Oh
Sir Daniel (52:40):
another piece of our childhood.
Just, you know, gone offinto the, into the ethos.
But, you know, God bless her,you know, she definitely, you
know, she was the archetype for
Jay Ray (52:52):
The, the sassy black sister.
Trey Payadue (52:54):
Mm-hmm.
Yeah.
Sir Daniel (52:56):
sister, you know,
Jay Ray (52:58):
I, I,
Sir Daniel (53:00):
tell even though a white man was writing all of that stuff, it's
still, it was still, it was still kind.
It was still very much, um.
Um, not unique, but, uh, it wasvery, there was a realness to it.
It was something that, it was relatable.
It was still something relatable.
I, I'm an only child, but I, you know,I saw people with Little sisters and
(53:22):
how they carried on and that she,that was definitely something that
we witnessed and, you know, in, inblack families across the country.
So she definitely added to that,you know, to the, to the tapestry
Jay Ray (53:36):
Yeah.
Sir Daniel (53:36):
of, uh, black artistry.
So, shout big shoutsout to Danielle Spencer.
I did not know that she appearedon a episode of Soul Train and that
allegedly, she said, excuse me, shesaid this in her interview with Don
Cornelius, that her, um, Haywood Nelsonand, um, what is Roger's real name?
(54:00):
Uh,
Jay Ray (54:00):
know his real name.
Sir Daniel (54:02):
uh, but the, the actor that played Roger.
Put an album together or a song together.
Yes.
I, I'm pretty certain I, I don't knowif that ever has seen the light of day.
I think somebody has, you know, probablyhas a reel to reel of it somewhere.
But I can only imagine it wasprobably given, like self-destruction.
(54:25):
Um, we're all in the same game.
No, because it, she said it was songabout, was an anti gang violence
Jay Ray (54:31):
Oh, okay.
Sir Daniel (54:32):
So and course this was in the eighties.
I think this might've been aroundthe same time that they were doing
what's happening now, which I'm sorry.
I, I love, you know, I love camp.
I'm a eighties
Jay Ray (54:46):
that was a fun show.
Trey Payadue (54:47):
that's a good show.
Sir Daniel (54:48):
foolishness of the, the reboot and how they were always
doing the Cabbage Patch and earnestly
Jay Ray (54:54):
earnestly Thomas.
Thanks, mark.
Sir Daniel (54:55):
Thank mark.
But yes, I, I love that Anna.
And, um, what's her name?
Annamarie.
Jay Ray (55:02):
Oh, and Anna Marie, who played on In the Heat of the Night too.
She's a, a legend black Hollywood.
Sir Daniel (55:08):
Underrated, underrated actress.
So funny, so hilarious.
So I didn't mean to go down this, this,these are the kinds of y'all, this is
how we get into these rabbit holes.
Jay Ray (55:20):
Oh, can I ask question?
I, I didn't know we was gonna go here, butsince we here now, we just talked about
what's happening now, is there, what'syour favorite eighties sitcom, Trey?
Just Black sitcom or thatfeature Black people?
'cause none of 'em were really black.
Trey Payadue (55:38):
2, 2 7.
Jay Ray (55:39):
Oh, good choice.
Yes, yes, yes.
That
Sir Daniel (55:41):
I no Place
Jay Ray (55:42):
and a great.
Show.
you, Marla Gibbs, Marla Gibbssang the heck Outta that
song.
Trey Payadue (55:49):
Mm-hmm.
Sir Daniel (55:50):
I,
Trey Payadue (55:50):
Yeah.
Jay Ray (55:52):
Oh, yes.
What was it?
Ooh,
yes.
Sir Daniel (56:00):
yes.
Jay Ray (56:00):
Legendary.
Sir Daniel (56:02):
of that.
Wait a minute, Jay Ray,have we talked about this?
What is yours?
Jay Ray (56:07):
Oh, eighties black sitcom, I think it is.
Amen.
Sir Daniel (56:17):
Mm.
Jay Ray (56:17):
I think it's Amen.
Sir Daniel (56:19):
awesome
Jay Ray (56:20):
yeah, yeah, yeah.
Another awesome thing, baby, the blackshows is gonna give you a theme song.
Listen, uh,
Trey Payadue (56:24):
Yes.
Mm-hmm.
Jay Ray (56:26):
what about you, sir? Daniel?
Sir Daniel (56:28):
Ooh, that's, ah, I don't know.
'cause those are some heavy hitters.
2, 2, 7. Amen.
Um
hmm.
I'm trying to think if there'sanything that I'm, I don't know.
2, 2, 7 might have been itbecause Jackie Harry was a,
Jay Ray (56:52):
Legend.
She earned every bit ofher legend on that show.
She sure did.
Sir Daniel (56:59):
earned that and I
Jay Ray (57:01):
Sandra Clark, was it
Trey Payadue (57:03):
Everything, yes.
Sir Daniel (57:04):
yes, absolutely.
So I don't know.
There, there's definitely, see there werea lot of shows that had black people in
it, but they weren't the focal point.
You know?
Of course had our, we had our Websters,we had our different strokes, and all of
those shows meant something to, to me.
So, but yeah, 2, 2, 7, we talkingabout theme songs and whatnot um,
Jay Ray (57:27):
you know what,
now I changed my show.
It's actually the Cosby Show.
Trey Payadue (57:32):
Yeah.
Jay Ray (57:33):
It's so for whatever reason I situate the Cosby Show
in like this whole other realm,
I'm like, oh wait, no.
Your sitcom was the Cosby Show.
Sir Daniel (57:45):
It really was Thursday
Jay Ray (57:47):
much bigger.
Yeah,
Sir Daniel (57:49):
definitely Thursday nights were, they had Thursdays on lock.
That was a, that was BlackAmerica appointment television.
Jay Ray (57:59):
Absolutely.
Sir Daniel (58:00):
you all had to be the NBC.
What was the NBC be there?
That was the, the slogan
Trey Payadue (58:06):
Oh yeah.
Jay Ray (58:07):
'cause they did the, um, they did the whole, remember
they did the, uh, the commercial,they had Jack k and Marla Gibbs
Sir Daniel (58:13):
All the networks.
Trey Payadue (58:13):
And everybody, yeah.
Jay Ray (58:16):
But listen y'all, thank you so much, Trey, once again,
thank you so much for being hereand being part of this conversation.
So if y'all are new to Queue Points, belike Trey, subscribe wherever you are.
Tell your friends, um, you know, sharethe show 'cause if you like Queue Points,
chances are they will like cuepoint.
Visit our website@queuepoints.com.
(58:37):
You can watch our entirearchive of episodes and there
are lots of episodes to see.
Visit Pointsmagazine@magazine.queuepoints.com get
some other content and show by shoppingour store@store.queuepoints.com.
We appreciate y'all, we love y'all.
Sir Daniel (58:54):
Well, we certainly do.
So without any further ado, what do I say?
Every week in this life,you have an opportunity.
You can either pick up the needleor you could let the record play.
I'm DJ Sir Daniel,
Jay Ray (59:06):
My name is Jay Ray.
That's Payadue.
Sir Daniel (59:10):
Yes.
you go.
this is Two Points Podcast, droppingthe needle on black music history.
We will see you all on the next go round.
And I mean no place child.
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