June 24, 2024 • 46 mins
Episode 330 - "The Baller Alert Show" Feat: Ferrari Simmons & You Know BT Produced by: Octavia March
Topics include: Marsha Ambrosius Responds To Amanda Seals, Michael Jackson Story Time, Atlanta Strip Clubs & More.
The Baller Alert Show
Featuring @FerrariSimmons @Youknowbt @iHandlebars
":The Culture Deserves It"
IG: @balleralert
Twitter: @balleralert
Facebook: balleralertcom
See omnystudio.com/listener for privacy information.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:04):
Did you go to the club.
Speaker 2 (00:06):
They know me, But many of my ones are still circulating,
many of my tents, many of my twenties, many of
my hunters are still circulating.
Speaker 1 (00:15):
Okay, okay, how do you know about the sex shop?
Speaker 3 (00:18):
Friends me?
Speaker 4 (00:20):
How I know you indulge in the toys and stuff?
With that, I mean your music states So do you
hear my music?
Speaker 2 (00:28):
Yeah?
Speaker 1 (00:28):
Yeah, yeah, yeah.
Speaker 2 (00:30):
Imagine the baddest of all baddies at the end of
not even the end of the night, the main dance night,
and it's say yes, oh you gotta do sha and
it's just cheeks and seductions.
Speaker 4 (00:48):
Borrow with me here, you know, bt no, how goes
shout at oct no real color?
Speaker 5 (00:52):
What we see?
Speaker 3 (00:53):
How game d about something?
Speaker 5 (00:54):
Oh?
Speaker 6 (00:55):
You can't stand on my owns?
Speaker 4 (00:56):
See, I already know you Caca with the squad and me,
they get a little.
Speaker 6 (01:08):
We're brought alive from ACM. We are the brother Alert Show.
Speaker 7 (01:12):
And we got the one the only Marcia Ambrosious.
Speaker 3 (01:18):
Did she say it right?
Speaker 2 (01:19):
I like the way you said it and you said
I'm brocious. Yeah that's cute, sir, I'm bro don't apologize.
I Ambrosius and Ambrosius Yeah, to say, the s ambrosious.
Speaker 5 (01:32):
So now you want to turn your accent, which I
don't know what you at home watching is when I
walked in, before the cameras got started, she was talking
in a normal accent.
Speaker 2 (01:41):
What's normal?
Speaker 3 (01:42):
Okay, not normal accent.
Speaker 5 (01:43):
She was talking in the English accent, American accent, Philly
accent to be directed, and then she started talking.
Speaker 2 (01:50):
In well English, what a British British British accents. Well, no,
it can come on and off. It just depends how
it's being in America for twenty four years. That's what happens.
Speaker 6 (02:03):
It's kind of a lot of TV.
Speaker 2 (02:05):
Yeah, and I don't have so many No, you've got
so many movies that you just make stuff up. And
I don't know. I've adopted the THEEA, yeah, the accent.
Speaker 6 (02:14):
What's some of your favorite movies?
Speaker 2 (02:16):
Oh, there's too many. We can't go into all of that.
It's random stuff from ET to Friday.
Speaker 6 (02:21):
Like it is random.
Speaker 2 (02:23):
It's the spectrum. Like think about that. It's random Jaws, clothes,
Encounters of the Third kind, Willy Wonka in the Chuck Factory.
It's ridiculous.
Speaker 6 (02:33):
That's ridiculous.
Speaker 2 (02:34):
It is. I just watched too much TV.
Speaker 7 (02:36):
I mean, speaking of accent, Let's go back to Liverpool, UK.
That's where you're.
Speaker 2 (02:40):
From, right, born and raised. So if I have my
Liverpool accent, You're not really going to understand the word
I'm saying, is it? I du was like, I don't
know what accent this is, but it's like you're ordering
from a Chinese restaurant. That's exactly what they sounded like Liverpool.
If I talk about Liverpool, accident, I'm talking really really fashion.
I can't understand the way I'm saying. I just said
(03:01):
the same thing in my Liverpool accents. If I'm talking
like this all the time. But if I call my
mom and I say, Mom, I want to talk to
you now and put you on the phone, I'm going
to talk to me mom on the phone just like this,
like now.
Speaker 5 (03:11):
Wow, yeah, it'll probably take me like I'll probably have
a brain delay, like oh okay, that's what she said, Like.
Speaker 2 (03:17):
Yeah, so I just said I was going to call
my mom and I would speak in that accent, and
if I didn't, she wouldn't understand the word I'm.
Speaker 6 (03:23):
Saying because it's so fairst, you know, in your saying.
Speaker 2 (03:26):
And my uncle he's worse Uncle George. He's no one
understands that guy. I mean we do because it's Uncle
George where he talks really really quickly.
Speaker 3 (03:34):
Do you mask your accent when you're recording, It's.
Speaker 2 (03:37):
Not a mask, it's like an immediate go to. It's
the inflections you use in your voice. So I think
everyone universally has a song singing dialect that they use
to singing and it's always with that. Yeah.
Speaker 6 (03:53):
So what was the music like in your house growing up?
Speaker 2 (03:55):
Oh? It's everything for me. My main go tos were
prints my called Stevie No Order, but my dad very
into Funkadelic, George Clinton, Stanley Clark, George Duke, Steely Dan.
But then it's also Queen Talking Heads, Duran, Duran, all
that pop stuff. So it's I had an eclectic amount
(04:19):
of music to listen to. So it was pretty much everything.
Speaker 6 (04:23):
Were your daddy's girl growing up both both.
Speaker 2 (04:25):
My dad was a bass player, lead guitarist and singer
in a funk band in the seventies. I thro out
to hear sets out Taco beat Ooh, just hilarious. My
mom had all the vinyl that you could ever want.
Any DJ would like cry going into the crib, like,
(04:46):
let me just dig through the crazy and find stuff
they'd never seen, and you know the couzins. Growing up,
she would sing do harmonies. So I kind of had
all the things in the household for the makings of
a musician without wanting to be a musician, without being
pressured into being a musician.
Speaker 3 (05:03):
So nobody told you you should do music.
Speaker 2 (05:05):
No, it was do what you want, but don't touch that.
But it, mister Miyagi, you know what I mean. You're like,
don't hey, get off my keys, get off the piano,
get off that guitar, get off them drums, like okay,
And I'm just playing, trying to sneak play, but then
getting better and bety each time. But my dad was
also a hooper, a basketball player, and then he went
(05:25):
into coaching and basketball was my passion. So then I'm
just playing hoop.
Speaker 3 (05:31):
You was playing ball.
Speaker 2 (05:32):
What I played for England. I was playing for Brickston
Top Cats fourteens and the women's team and still playing
for England. Then I tore ligaments. That's how I dreams,
and I was ready too. I was ready to come
to high school over here, and eventually wanted to come
to Georgia Tech. I had all of these things on
(05:53):
the table, specifically Georgia Tech. Specifically because the high school
coach that I was going to see in New Jersey
that was to connect any players that were going through
that school. We're getting recruited to Georgia Tech or somehow
getting an opportunity to you know, audition or play if
you will, to get the opportunity to come. So I'm like, okay,
(06:13):
I'm gonna go that route. And that summer I got hurt.
Then I had to figure it out. And then I
just started writing my thoughts and my feelings and my
pain and agony. And I wrote this song called If
I Was a Bird and that was about basketball wow,
about it breaking my heart and not being able to
fly like Michael Jordan from the Foul Line like I
wanted to. So you had no hubs none, So you
(06:35):
had a brother as well, right, Yeah, I haven't brother yet.
Younger brother did.
Speaker 6 (06:38):
He play sports? And her? Yeah?
Speaker 5 (06:40):
He was.
Speaker 2 (06:40):
We were both borling. So me and my brother kind
of had this where three years apart, were kind of
like twins. So if I was balling, he was balling.
If I was playing music, he's playing music. So When
I told my dad I wanted to quit hooping, he
broke down and cry like it was over it, like
the world ended, my dad. I just don't want to
take you for serious, like what I said. No, I'm
(07:03):
gonna take music seriously. So him being a musician and
him seeing the ups and downs of a very hostile industry,
especially where it can be for women. I knew it
was coming from a place of love, but at the
same time a place from the experiences that only he had.
But I'm like, Dad, if I do this, I'm gonna
do it's for real. So imagine me. I get a
(07:24):
free ticket to come to atl in the year two
thousand to do a patchy cafe. I'm like, all right, bet,
I'm coming. So I do a patchy cafe in that land.
Speaker 3 (07:33):
What's a patch cafe?
Speaker 2 (07:34):
It was like a poetry spot over my jam session
in the early two thousands. So two thousand April, I'm
doing that and I'm like, yo, Dad, it looks like
it's gonna work out. Then I get to Philly do
the same thing, Dad. I feel like this is really
gonna work out, yo, Dad. Michael Jackson just heard my
song Butterflies on the demo. Yo, Dad, I'm in the
studio with It's never enough.
Speaker 6 (07:55):
It was his response, you don't believe nothing.
Speaker 2 (07:57):
But like I said, I'm not a at that time,
so I'm not understanding. His responses are just all protection.
I'm just like hater, not hater, but like you're just
gonna shut down my dreams. But it was just to
protect me. Like maybe Michael Jackson takes this song, maybe
he doesn't, and he did, and the rest is history.
And I'm still like, your dad, See I told you
(08:18):
music was gonna work.
Speaker 7 (08:19):
Wow, it is mind change? Did his mind change when
he sell you on TV?
Speaker 5 (08:24):
No?
Speaker 2 (08:25):
Mind change? It's like, oh she was for serious.
Speaker 3 (08:30):
I was just like, oh yeah, yeah.
Speaker 2 (08:32):
I never met my dad so yeah, no, No, my
dad is as proud as you can be, h you know,
as a father for a door, like he really is.
But back then it was just I'm uphill climbing to
try and match.
Speaker 3 (08:45):
Were you struggling though you? Was he struggling?
Speaker 2 (08:48):
No, I'm gone. I left home and told my mother
I was going for two weeks and just didn't. I'm
just twenty four years later, you had.
Speaker 7 (09:00):
Been blessed man, and we're so happy to have you
right here. On The Barler La Show, we got Marsha Ambrosius.
Speaker 3 (09:05):
Did she get right?
Speaker 7 (09:06):
Yes, it's getting well right.
Speaker 6 (09:12):
We'll be right back for more.
Speaker 2 (09:14):
Alert So can we get the background music for coming
to a record? That's one of my favorite movies?
Speaker 3 (09:19):
To yo?
Speaker 5 (09:28):
I feel like you moved to America and just watched Yo.
What is American movies that we have to watch? No?
Speaker 2 (09:35):
I grew up with all of that. Like my grandfathers
are both American, so my cousins were over here and
sending me, you know, different, Well, so.
Speaker 3 (09:46):
You already knew what it was like.
Speaker 2 (09:48):
I just never had the us A experience that I
wanted to have.
Speaker 6 (09:55):
Back with more The Butler Lah Show, we got Marcia
and Brosius.
Speaker 4 (09:59):
Yeah, yeah, yeah, camera for the hadlug.
Speaker 1 (10:07):
She ain't given it to me?
Speaker 2 (10:08):
What don't blame me?
Speaker 3 (10:10):
Okay, we.
Speaker 2 (10:12):
Allow this off air bringing this up. I got you.
Speaker 4 (10:18):
We were talking, we were talking about the experience of America.
Did you get the full Atlanta experience? Because you were
here for how long?
Speaker 2 (10:27):
I was here? Initially just a couple of weeks, went
to Philly, came back, but I was always going back
and forth between listen, Oh.
Speaker 5 (10:39):
They know me that.
Speaker 2 (10:43):
Many of my ones are still circulating, many of my tens,
many of my twenties, many of my hunters are still circulating. Okay, okay,
so you're saying you have some time.
Speaker 1 (10:54):
Wow, time was at time and.
Speaker 4 (10:56):
The headlights working with and the red lights working at
the headline, I.
Speaker 1 (11:06):
Mean your music states So.
Speaker 2 (11:09):
Do you hear my music?
Speaker 4 (11:11):
Yeah?
Speaker 1 (11:11):
Yeah, the baddest.
Speaker 2 (11:13):
Of all baddies at the end of not even the
end of the night, the main dance night, and it's
say yes and it's just cheeks and seductions.
Speaker 1 (11:25):
Whoa now, did you mean yours?
Speaker 2 (11:28):
And the best chicken? Why do just why does strip
clubs have the best food.
Speaker 1 (11:37):
The extra miles.
Speaker 2 (11:38):
It's like, the fries be good, like what in the seasoning?
Not everyone just gives a basic fry. There's no basic
fries in strip club in Atlanta and Houston have good food.
I think at L may have done the very first
lemon pepper ketchup. I was like, why does your ketch
up season?
Speaker 3 (11:57):
Like everybody like one time?
Speaker 6 (12:04):
Yeah, what about the first time you tasted waffle house? First?
Speaker 2 (12:08):
I was wasted. I had to I had to have
been drunk to be in there, Like I'm trying to
remember which one is, remember where j D's old spot was,
and you go further down, it's like a sex toy shirt.
It's the one that's in between the two.
Speaker 3 (12:23):
Talking about the waffle house on the wait.
Speaker 2 (12:27):
Baked see the landmarks.
Speaker 1 (12:30):
How do you know about the sex shot friend?
Speaker 5 (12:33):
For me?
Speaker 1 (12:33):
How I know you indulging the toys and stuff.
Speaker 2 (12:36):
With that because used to pass it if you go
under that bridge, right, Yeah, being single during I.
Speaker 1 (12:45):
Wanted a couple of times you walked in. Yeah, I definitely.
Speaker 2 (12:48):
Worded well, I made purchases, I wasn't here and basic stuff,
like the basic stuff. What's basic for you? Elaborate what
you mean, like a magazine, Like there's like a toy.
Speaker 4 (13:07):
I got skin things, so I have to get something
that was sensitive to my skin.
Speaker 1 (13:11):
So I had to, you know, get some condoms that were.
Speaker 2 (13:14):
Thank you for all of that information, clarity, you know,
And it was only there about that we got there.
That's how I knew where waffle house was. So I
used to work at Droppless Studios. So I'll be into
(13:35):
room writing some songs and then we would leave. Oh,
there's a sex story show right there on the right
hand side. So we will hop out getting my waffle
house in gloriousness, the dang cheese eggs greasy and if
no one's firing, it didn't really happen.
Speaker 4 (13:53):
Did you find inspiration when you were in Atlanta a
lot for writing music?
Speaker 2 (13:56):
It was it was very, I want to say, the
southern hospitalities unmatched, so you felt at home and comfortable.
So even in that approach, I had foundation here. I
had friends that really became family, so really made me
feel comfortable, so I could really stretch my pen and
(14:18):
say things that I wouldn't ordinarily say or things that
I'd want to experience. So you leave Magic City, you're
gonna riot a different type song. And I was here
during a different time like this is when I mean,
Atlanta's always been here and trend setted as what the
world would know Atlanta to be. So I'm there when
(14:38):
Sierra is in the studio. I'm there when you know
Andrea and Vidal from Philly had given her oh, and
I'm like, oh my god, what's happened? At atl was
doing something and ludicrous happens and it's all these things
that are happening. But the foundation of it all is
when I get to a patchy cafe and it's outcast.
Speaker 5 (14:58):
So did you start it out a songwriter? Were you
like writing for other people in the studio?
Speaker 2 (15:02):
Yeah, and like that's always been my passion. I've always
wanted to be behind the scenes getting my Quincy Jones
on and then I'd just been offered deals and things
to do outside of that, so it just kind of happened.
As far as the whole solo thing.
Speaker 3 (15:17):
Do you remember getting your first deal?
Speaker 2 (15:20):
I do. I remember seeing the thick ears paper, like
do I have to read all that shit? And I
should have? No, I did not.
Speaker 6 (15:27):
Absolutely, this is for your group for yeah, okay.
Speaker 2 (15:30):
So initially with that deal in two thousand, that was
like big. So that was my first US deal. I
had a deal in the UK and that was strictly
for a song that I wanted to license. That was
a single that my manager at the time, I was
sixteen seventeen, and it got pushed to radio and then
(15:52):
it ended up being number two. No deal, no nothing.
It was like Drew Hill Overseas. Yeah, it was like
Drew Hill something. Even in my bed remix, JD's Jeds
remix and my song were one and two on the charts.
On the urban stations over there. So I was offered
a deal because of that and just didn't see the
(16:13):
rest of it through because young black R and B
artists in the UK didn't really exist like that. So
it was like Craig David and then.
Speaker 6 (16:23):
See my friend exactly.
Speaker 2 (16:25):
So at the time, there wasn't there wasn't a Missy yet,
there wasn't a Lauren Hill to be compared to. It
was just and I was like, Ah, you don't get it,
You don't get me. I'm just gonna go back to
my shell and just right produce.
Speaker 3 (16:40):
What are you trying to make? You change your style up?
Speaker 2 (16:43):
No, not even change my style because no one's doing that.
I don't know if anyone could make me do that.
You either want to do that made No, That's why
it didn't work out. It works I want it's supposed
to work out, and it worked out because of how
I wanted things to sound. So by the time I've
reached out to a high school friend like yo put
some poetry to my music, it's because I'm in the
(17:04):
studio writing, producing, and I had the record call Fantasize,
and that's how Flowatry happens. So It's like things that
I want to do have happened, the Doctor Drake thing
and Casablanca right now, because I've laid all of this
foundation and groundwork for something that I wanted to do,
and if it was time that I had to wait
to do it, then that's time.
Speaker 6 (17:26):
Well it's time for a break.
Speaker 2 (17:27):
Man.
Speaker 7 (17:27):
We'll be right back with more Marsha Ambrosius right here,
all revolt Ambrosius.
Speaker 3 (17:32):
We'll be right back with more of the Bailer Alert show.
Speaker 2 (17:38):
So after commercial break, what else do you have for me?
Bring it?
Speaker 7 (17:43):
Okay, bring it mile Meg?
Speaker 6 (17:47):
Oh no, you did it? What well? You know club?
Speaker 3 (17:52):
Oh?
Speaker 2 (17:52):
Oh, well, what happened?
Speaker 8 (17:55):
I was asked to join Flower Tree after Natalie to
I was told that Natalie left, and then we prepared
to go on tour and they did not tell the
fans that Natalie would not be joining Marsha on the tour. Okay,
Marcia never made it any easier.
Speaker 1 (18:15):
Why Natalie is burning me up?
Speaker 9 (18:20):
She's like, I'm on the Seals is not real, She's fake.
This is all fake, fake, fake, fake. So now Marcia
caused me like did you listen? I say, yeah, what
you gonna do about it? Nothing said oh, okay.
Speaker 8 (18:37):
And this is this is a trend of me not
being protected.
Speaker 2 (18:40):
That's really sad and unfortunate that she felt that way,
you know. And as far as a response, it really
was seventeen years ago. And what you can't do is
I can't change how an existing fan base feel about
a situation.
Speaker 6 (19:00):
The original members.
Speaker 2 (19:01):
Yeah, so really, she could have really been anybody and
it wouldn't have happened. It wouldn't have worked. Everyone was like, yeah, March,
who's this? So she happened to be catching that flag.
As far as being protected, I could only do what
I could have done at that time where I was
at in my life. And however her experience of it
(19:21):
was what it was for her. I know what happened
for me, and I don't have to go into that.
We're seventeen years later. I've done so much healing time
between then and now, and you know, seventeen years ago,
that's Harry Potter, deathly Hallos and it's a long time ago,
you know, seventeen years ago. It's ow sort, it's not
letting go. I've taken my ls, like the ls that
(19:45):
I've taken, I've just been like, oh, that didn't work.
I moved on and moved past that, you know, and
I'm all about moving on and moving past things. It
didn't work out. There's not a record label that could
have fixed that. There's not me that could have an
existing member of a group that could fixed that. There's
not a management that can go this is not working.
And it just didn't work. And we moved on. And
(20:06):
I've had nothing but positive interactions with her after the fact.
So then there's that, you know.
Speaker 6 (20:14):
So yeah, yeah, I mean she did say that. I
think you've seen her after that or before twenty thirteen.
Speaker 2 (20:21):
We did a what was it a hair thing in
New York and there's all hugs and smiles and we
kicked it up. Oh so she did hug you and yeah,
like we shed text me, like we'd go back and
forth like up and through the years, like after the reunion.
Speaker 8 (20:36):
I actually saw her at Usher show recently and she
went to hug me and I was like, no, I'm good.
Speaker 5 (20:42):
Yeah.
Speaker 2 (20:42):
Then she saw me again and it was like, none
of those things happened. So I can't be accountable for
who she is now. I didn't deal with Amanda Seals.
I dealt with Amanda Diva in two thousand and seven,
So I can't get mad at the two thousand and
seven version of her, not the two thousand and seven
version of myself. So, like I said, all the healing
time in between and the seventeen years later, I'm a
(21:04):
wife and a mother and them in a different place,
and there will be no coming at another black woman
in her healing and her time.
Speaker 6 (21:13):
Who picked her for their role.
Speaker 2 (21:16):
Label or management. I didn't know who she was, and
it really could have been anybody. So we had time
to rehearse and you know, do all the things. But
then you put it into play and it works or
it doesn't work. And it didn't work.
Speaker 5 (21:27):
So what's some advice that you would give her, just
based on that interview give her?
Speaker 2 (21:33):
I'm trying to figure out what There's nothing I can give, Like,
what's the advice?
Speaker 5 (21:37):
I feel like sometimes people say things like that because
they want closure, they feel like they didn't have closure.
Speaker 2 (21:44):
I feel like whatever that meant for her, clearly she's
gone on to do other things as her eye, and
I'm not sure what else they could. What's there to say?
What do you want to do? Be a group? You
want to put out me music? I don't know what
the endgame is for, like what is the result? What
(22:04):
changes that? Why did nothing in the first place with me?
And that, Oh that's that's an even longer story. Some
things just don't work out and time is time, and
we really made music when we made music. And the
fact that we can still reconnect over the years and
people can still press play on the Floetic album and
(22:25):
still call it a classic.
Speaker 1 (22:27):
We did our job.
Speaker 2 (22:28):
We don't have to keep doing our job, like people
want to stay flipping burgers or you know at waffle
house pressing the waffle forever that was like my waffle
house years and it just happens.
Speaker 4 (22:40):
The question happened happens to come up because you guys
have this fan base that never leaves you.
Speaker 1 (22:45):
Guys, wherever you.
Speaker 6 (22:46):
Go, you're gonna r be classic. Say yes, right, classic?
Speaker 2 (22:49):
And that is what that I can't do anything about
that time tells that. I think someone was asking me,
you know what makes the timeless classic? Time? You know,
I don't know what it's going to be played twenty
four years from now. Where people get to be on
a podcast and talk about things that they've done over
years that people really care about, like you cared about
this thing so much. That's seventeen years later, it was
(23:12):
still on it.
Speaker 7 (23:13):
Like dang, I was like that, how did y'all how
did you meet Natalie do?
Speaker 6 (23:18):
Or did y'all grow up together? We grew up together?
Speaker 2 (23:20):
Okay, we play basketball, Yeah, we played balls. She was
playing for another club, but we would see each other
with tournaments. We went to the same performing art school together,
so we known each other in South London.
Speaker 6 (23:30):
Like, did you was it your idea to start the
group or.
Speaker 2 (23:33):
It wasn't even a group thing. I had a song
that I wrote called Fantasized, and I was like, yo, Nap,
put some poetry to my music, and she did and
the song was fire and I was like, oh, we
performed it. Rest is history.
Speaker 6 (23:50):
So both of you were writers.
Speaker 2 (23:51):
She wrote her poetry, I was music.
Speaker 7 (23:53):
Okay, just for clarity, because I know some people, especially
like the younger millennials or gen Z or even the
Beta people, they don't really know who Floor Tree was
or is, so I just kind of want to break
it down for them.
Speaker 2 (24:05):
The talk changed that no, I'm joking, but like it's
like TikTok will bring a song back.
Speaker 6 (24:10):
It just brings these things.
Speaker 2 (24:12):
Like samples like her sample did, and there's like all
of these nuds to like Drake Sampling say yes, I
mean getting late. So it's just like all of these
nuds to like I said, somebody did twenty four years ago.
So yeah, it's a lot of things. And here we
are twenty four years later, and I'm still still passionate
(24:33):
about just creating.
Speaker 6 (24:35):
Where does that.
Speaker 2 (24:36):
Come from the air? Like the hum of the ac
Like I'm gonna write a song to anything, to this
clicking like this has a tone to it, like rhythm,
just anything. I'm gonna think of a song or a
concept for it, Like it's just how my mind works.
Speaker 7 (24:54):
I really appreciate the fact that you never stop and
then you still a fine time to create.
Speaker 2 (25:00):
It's very inspiring.
Speaker 3 (25:01):
Twenty four years it's a long time. It's long to
be in this industry.
Speaker 2 (25:05):
It is longer than that. Like that's just the visible years,
you know what I mean, that's just the Oh I'm
signed now and my name is kind of floating around.
But before that's all the grind. It's the sleepless nights
you don't see. It's the downtime, it's the l's it's
the oh that record, wasn't that well received publicly, but
I'm on tour for those five years. Like it's there's
(25:28):
so much to this thing that people don't see that
you think you want it. You have to really want
to do this, like really want to do it. It's
even sitting here and talking to you guys. You actually
want to do it.
Speaker 7 (25:41):
And one thing we really don't want to do is
go to commercial. But we can't have to. So you'll
be right back with more Marsha Ambrosius.
Speaker 3 (25:48):
We'll be right back. Stay tuned with more of the
Baller Alert Show. You're listening to a special edition of
The Baller Alert Show.
Speaker 2 (25:57):
Hey, this is Marshall. I'mbrosius. You're watching the Billa a
Lad Show on Revolt back.
Speaker 6 (26:03):
But more of the brother in Luve Show.
Speaker 7 (26:04):
We got Marsha and Brostius lovely.
Speaker 3 (26:09):
H twenty four years in a game.
Speaker 7 (26:10):
But we were talking about, you know, the downtime and
the pandemic happened, and then you got with doctor Dre.
You guys created a masterpiece that is about to finally
hit us. What was the can you break down that
process from twenty twenty one?
Speaker 6 (26:25):
I believe when you guys started it yeap until.
Speaker 2 (26:28):
June twenty eighth, when it's finally about to drop in
twenty twenty four, twenty two, let's go the end of
that year. Well, the type of twenty twenty one is
when I finally get to La Dre had that brain aneurysm.
Prior to that, I was already in communication with Dra
(26:51):
so we're going back and forth shooting ideas. It happens
two days after his aneurysm. He was like, Yo, I'm
getting back to work when the fly you out here,
and you know, let's just get to create it. So
we end up doing GTA, the video game he was
doing the music for, So I was in the studio
really doing that from February March Grand Theft Auto, Grand
(27:15):
Theft Auto. So Dree had the San Andreas. Yeah, I
had the San Andreas episode where it's him in the
car and you had to steal the car so you
would get the demos of the songs. So it was
like six songs for that demo. So it's like me
Eminem Rick Ross, who else is on there? Snoop's on there,
Anderson is on there. And we did all of these
(27:36):
songs for the video game. Video game drops and April
Dre was like, I just want to keep you inspired,
because I told Dre, I'm calling this artist stuff, I'm
calling this industry. I love what we're doing in the
studio and working with your team. I just want to
write and produce and that's it. Over this being an
(27:57):
artist being I'm hustling, bustle, I have to go on tour,
like all the things me saying, I want to sit
and talk to you. I'm over talking about anything, like
I'm done, Like I feel like I'm not in a
bad way.
Speaker 6 (28:10):
I just felt like you've done what you set out
to do and you're okay with it.
Speaker 2 (28:18):
So I'm like, I clubbed the video game. I'm at
the final level, Like what do I Where do I
go from here? Like there's nothing else with my bucket
list that I could check off that's gonna satisfy me.
So jer wasn't having that though, Drace again, I just
want to do something to keep you inspired. So we
(28:40):
recorded one song that was intentional, like with the first time,
first time we'd ever actually created with intention to go,
we're doing something. So him and I producing this piece
of music together and it was, if I must say so, myself,
so incredible, Like outside of it being me. It was
(29:04):
like it wasn't even coming from me. God said, oh y,
you're gonna do this, this, this things, this happened, Okay,
watch this and it was like having an out of
buddy experience and watching this thing happen. So we record
one song and it was like, we know what this is.
Now we have to back this up. Let's do another one.
(29:25):
See I see where it goes. So we do two,
and we do three. This is in the space of
two weeks. We do four, we do five, we do six,
we do seven, eight and nine. We kind of sit
there like we two. Work is away from this being
the buddy of work, not a body of work, the
buddy of work, the greatest, the greatest. So by May
(29:52):
we already named the album. By June it was we
need a twenty seven piece orchestra. Let's set up the
time when we can get in and do that. So
we're getting the conductor in the string arranger did that
and it was just so meticulously done. I didn't think
(30:17):
it was ever going to see the light of day
because of what we did. I'll explain. If you think
about how you sample in hip hop, and you can
just take a piece of you know you break up
when it comes to beats, we're talking about breaking up
not only the beat but the melody, but the instrumentation
of just a horn piece from Duke Ellington and just
(30:39):
the keys from Smooth Criminal, just the strings from George Benson.
I'm putting it on one song. How do you even
begin to clear that? So by the time we've recorded it,
it's done. I'm like, we're never gonna get the permission,
(31:00):
get clear, never get permission to do like saying it
out loud. There's no way, but there is. There's a
dog de Dre and his budget and he would go
to whatever lence to make sure that we could. But
it was also going to take time. It's if we
use something for Michael Jackson, now we have to go
through to the estate, if we use something from certain things.
(31:21):
But there are so many different avenues that we have
to take to get it done. So it took twenty
twenty two to clear a year eleventh Clear because there's
eleven songs on the record, but within each song sen
everything the credits. I don't know. I've always been by
(31:44):
the album. Look at the credits and see who did worse. No,
look at these credits just to understand the work put in,
and I feel like the effort put into this is
one for the record books. I don't think anyone on
planet Earth has credits that even look for remotely close
to what these things look like.
Speaker 7 (32:02):
I think, just to get Doctor Dre to do anything,
because how long we've been waiting on the Detox album.
Speaker 10 (32:08):
The one album it doesn't exist, only he's listening to it,
but just for and for you to pop out with
not only a Marsh and Brosius record, but with Doctor.
Speaker 1 (32:20):
Dre executively produced together as a right team.
Speaker 2 (32:24):
It's one of one. So it was truly an even
plan field to a degree. But it's me trusting his
word as Doctor Dre, but him absolutely trusting me on
my pen and what I could contribute to what it
is that we were doing.
Speaker 1 (32:40):
Supantly, give me your flowers too, though, because for sure.
Speaker 2 (32:44):
And I have to receive that, because he's, like you said,
he's not doing that with anyone anybody.
Speaker 4 (32:50):
We've interviewed all the greats, right including yourself, and I
always asked trying to make sure I asked this question.
I'm gonna ask you this one because you had your
your list of accolades. It very long, it's superior. Do
you take the time to indulge in the moment of
what's actually happening to you, you know, because I know
sometimes you guys work and we all do it the
(33:11):
same thing. We've done all these big interviews and I
even had to sit back a couple of days with like, wow,
we literally just kicked ass all last year for you
as an artist and all these amazing things that you've done.
Do you take the moment because I know sometimes you
gotta unplugged, be more. You got to unplugg and be
wife exactly. That is the family part of it. It's
really taking time to just when you unplug, like I
(33:35):
don't sit here and become mash, Like the cameras will
be off and you're still gonna get me maybe with
a Philly accent, but other than.
Speaker 6 (33:43):
That, it's still me.
Speaker 2 (33:45):
So the reality is my phone rigging or me getting
a text, or it's you know, my door, like mommy,
can you call me? You're like I need it. Then
it's snap, that's my priority, or it's hey, we have
to go back to this and do such and such,
and it's they're the same person. There's no switch off,
there's no disconnect. I can just micromanage the type of
(34:09):
person and type of human. I have to be each
and every time and just show up whoever that is.
You know. But no, I don't take enough time to
go wow. I think I'm only wowing over things I
did in seven, Wow, at oh five, Wow, at twenty eleven.
Like I'm forgetting stuff people are. You know it's the Internet,
(34:32):
Like I forgot I even did that. I have to
remind myself, like.
Speaker 6 (34:36):
Yo, Google, you know what I mean?
Speaker 2 (34:39):
Like it it's wild. I've done some crazy things.
Speaker 6 (34:42):
Speaking of Accolade, you work with Michael Jackson.
Speaker 7 (34:44):
Can you tell us what that was like Michael jacks v.
Speaker 2 (34:49):
King.
Speaker 3 (34:50):
I don't even know what his clone.
Speaker 2 (34:52):
Was, like he smells so good. That thing was custom
or like Mike just come a little bit closer, like
he would wear this burgundy shirt and this black I
think it was like a I can't remember what brand
it was, this black leather jacket. I'm like, you so fled.
Speaker 7 (35:13):
And not only did you write for Mike, you wrote
a classic like Butterflies.
Speaker 6 (35:20):
That is a classic. Ye, he didn't even know.
Speaker 3 (35:28):
Yeah, I know you wrote butterflies. Michael Jackson.
Speaker 6 (35:32):
I did that was there. That was her song first,
and then Mike, No.
Speaker 2 (35:37):
No, okay, that was my demobo any song. It wasn't
even a I didn't know who I was writing that
for as an artist I wrote. I wrote it about
a boy that worked the McDonald's in Cambowell when I
was like sixteen. But get to Philly, it's on a demo.
So yeah, it wasn't even for Mike. He just heard
(35:58):
it as a part of a demo. I need that
one there. And I was like, yeah, that's crazy.
Speaker 7 (36:07):
And then not only did you write it and he
sang it, but you had to produce him. You had
to tell him how the song went.
Speaker 4 (36:13):
Yes, you were there with him. No, I'm like away
in the song with him. Yeah, and not too many
people can say that.
Speaker 5 (36:21):
So you were telling Michael Jackson sing it like this,
singing this kid.
Speaker 2 (36:26):
See where she's standing with this kind of right again,
Mike can see Yeah, Okay, so there's a person behind
the glass. I'm behind the soundboard. I'm like, all right, Mike,
one more time, so I'm clicking button. It's like, okay, cool.
And the first thing he said was butterflies, like he
whispered it, and I just remember me and Dre just
looked up like Andre Harris to produced it with me
(36:49):
start crying. Wow, I was crying. I had to get
it out like it's like, and then shook it off,
told him what to do. One more time, I what's
your breathing? My little pitchy? All right, one more time?
Speaker 3 (37:02):
You're telling Michael Jackson is I.
Speaker 2 (37:04):
Was twenty three years old.
Speaker 7 (37:06):
Twenty three years old started your career working with Michael Jackson.
Speaker 2 (37:10):
So there's really nothing that could intimidate, noing make me
feel some type of way about anybody in twenty two
thousand and one. That was my life.
Speaker 3 (37:19):
Like y'all, I ain't worked with Mike.
Speaker 1 (37:22):
Yeah, I ain't gonna lie if that was me. You
really can't tell me nothing.
Speaker 4 (37:26):
You couldn't tell me nothing to like, Bro. I just
I told was telling Michael Jackson, will do a student.
I'm talking to me, Bro, But you.
Speaker 2 (37:31):
Gotta stay you have to stay humble, though watery, do
the math. Over the course of years, anyone testing my
ability to be able to write or produce, or feel
intimidated or I'd done that so early. There was nothing
that was gonna phase me in this thing. I don't
(37:52):
like your music? Cool? That name for you?
Speaker 3 (37:56):
You should have said, do you like Michael Jackson?
Speaker 2 (37:59):
You like?
Speaker 4 (37:59):
Not that.
Speaker 2 (38:01):
Anyone anything to say. It's like, okay, because somewhere in
your library of music or whatever you did, I touched
something that you're banging with right now.
Speaker 1 (38:16):
These are what's talk about.
Speaker 7 (38:18):
Costa Blanco, Casa blanco, w Costa blanco or not.
Speaker 2 (38:24):
Initially I called it Casta Blanco, and that's because of
how it felt. So you have to understand. I'm at
Dunctor Dre's crib in l A, and I'm going back
and forth in these hills, Beverly Hills. It's palm trees,
it's red carpets. It's like the treatment was laid out,
and I was like, what else was I gonna write?
This is giving vintage Hollywood, this is giving diamonds, pearls,
(38:48):
just furs, like ridiculous cars and private jets. So I
was like, this is what the music sounds like. So
I was spoiled in that regard, like like Casta Blanco
felt like a place. So Casa Blanca the movie. I'm saying,
you know, Drea feels like this, and he was like, nah,
Casa Blanco making more gangster like Blanco Grizelda. I was like,
(39:14):
this is why your doctor Dre and I. So we
combine forces. I'm giving you the vintage Hollywood Phil with Dre's.
Speaker 1 (39:23):
Gangster and we met Casa Blanco.
Speaker 4 (39:26):
Even one night stand is out right now and talking
real spicy on there, hanging off the chandelier.
Speaker 1 (39:32):
You might break, You might fall and break your wrist?
Was what you talking about? You talking about your husband
over there? Haul in your Is this this this?
Speaker 4 (39:38):
He'll be right over.
Speaker 2 (39:41):
Yeah, it's before I met you. Baby. He knows I
pulled from many experiences and had.
Speaker 1 (39:52):
To that's dope that he supports that he's cool. That
ain't tripping on.
Speaker 2 (39:55):
That, because where else the inspiration gonna come from? I lived.
I mean, we've known each other for ten years, married
for almost seven of those, have a seven year old. Amazing, Like,
where'd y'all meet on tour? Okay?
Speaker 6 (40:07):
A musician?
Speaker 2 (40:08):
Wait?
Speaker 1 (40:08):
Wait wait? How did he did he approached you? You approaching?
Speaker 2 (40:12):
I approached him met by ways of management that we
were doing a tour and my road manager invited him
to work as a part of the tour.
Speaker 1 (40:21):
And I'm like, and now he's your manager?
Speaker 2 (40:23):
Who is that? What was he doing? Was he sitting
there in a red hat? That's what he was doing.
Speaker 3 (40:30):
I don't care what he was.
Speaker 6 (40:34):
We didn't care.
Speaker 2 (40:35):
He didn't care who I was. It wasn't even about that.
Speaker 1 (40:39):
Did he know you were Marsha?
Speaker 6 (40:41):
No, he had to know this way.
Speaker 2 (40:45):
You have to understand. This is what he said.
Speaker 1 (40:47):
No clue.
Speaker 2 (40:49):
He may have known my songs. He doesn't know me.
Speaker 4 (40:53):
You know what I'm saying.
Speaker 2 (40:54):
And even if it was that, he's getting the word like, yo,
does a paycheck in it? You want me to be
on the road as a tour like, oh, yeah, I'm on.
I had nothing to do with who it was. Why
it was who I am? So when we met, we're
meeting on an even playing field, because if you aren't
tour with me, my musicians will tell it's family. So
(41:15):
we're working. But he was fine. So we're working and
I'm distracted, like who's this? So I'm trying to get
to know I'm like yo, so, and I'm also mad
at Mitch, like why you ain't introduced me before? Like
he's just been around this whole time, and how we
never come across.
Speaker 6 (41:33):
So was he in a bodyguard or like.
Speaker 3 (41:38):
All the above.
Speaker 2 (41:39):
So initially it was Flowatry Reunion and we were traveling separately.
So I'm traveling with my road manager a couple of
band members, and he's des Is driving the other team,
so we're basically micro managing two separate sections of the tour,
(42:00):
a day to day management. So I'm meeting him under
those circumstances, and it's like, what's up with him in
the red hat? Then I seen him. I seen him
hoop in Virginia, and I feel like that's what's stilled
the day. He looked like he could hoop a little
bit basketball. I'm saying what it looked like to me
(42:20):
back then. So I'm like, what if he's trash.
Speaker 5 (42:24):
Like.
Speaker 2 (42:26):
It's a bit of a turn off if you have
no not even a jay or at least like it
just looked awkward. I'm like, oh no, any whop? I
feel like that was it?
Speaker 6 (42:39):
Like did y'all play?
Speaker 2 (42:41):
I don't even think we played. It was like there's
a venue in Virginia, the Nova, and right up top
they have like a full core up there, like a
half core or something, so they were just you know,
playing around, shooting around. After the show.
Speaker 7 (42:53):
It's giving basketball let's play for your heart following a little.
Speaker 2 (42:57):
Bit, and I was like, hmm, So by the end
of the tour we went together. Okay, So it took
three then we was in a relationship, a tour relationship.
I thought it wasn't not saying it wasn't gonna lost.
I'd never done anything like that before, so I'm like, oh,
this is naughty. These are all the songs that I've
(43:19):
created and I'm making them a reality. This is nasty.
I like it. So at the end of the tour
we get back to l A. I'm like, I'm going
back to l A. You going back to la not
like you're gonna call me. It's like one of those
like what's happening? I think we lived together a month
(43:39):
after that. That's great. We are insane.
Speaker 6 (43:44):
Now you have a daughter.
Speaker 2 (43:46):
We're insane. Once it was it, it was it.
Speaker 6 (43:49):
I love that.
Speaker 2 (43:50):
Yeah, wow, wow, I really so.
Speaker 6 (43:58):
Yeah.
Speaker 2 (43:58):
It was a one nderstand. It's now lost it for
ten years.
Speaker 6 (44:03):
And man, what I gave from this interview is that,
Marsha cool cool.
Speaker 4 (44:08):
Did you ever think about like media, because like I
was saying my previous interview the same thing, like you're
actually really good?
Speaker 1 (44:15):
Would you think consider doing like a possibly media.
Speaker 2 (44:22):
Well, if you see you need to see me live.
You've never been to one of my shows? Are you
going on tour soon?
Speaker 5 (44:36):
Oh?
Speaker 2 (44:37):
Yeah, I mean yeah. Say let's it's stand up comedy,
it's music, it's sexy, it's it's all the things, all
the thing. It really is all the things.
Speaker 7 (44:48):
Masha and Bro. She is right here on the blog show.
We appreciate you for coming through.
Speaker 3 (44:52):
Man listeners even get to hear all the talking. She
was talking.
Speaker 6 (44:59):
This is me.
Speaker 2 (45:00):
Yeah, oh yeah, Hey, okay, you want to hear Okay,
till the next time. Hey, before we.
Speaker 6 (45:08):
Get out of here, we gotta hit you with a
pep talk.
Speaker 2 (45:11):
Hey, this is Marcia Ambrosius and I've been sitting here
with bailer alert balling, and my last words would be
for anyone out there that needs to hear this, do you?
It sounds real simple, but in order for you to
do you you need to understand who it is that
(45:32):
you are. Okay, look in the mirror and really figure
out who that is. Be for serious, take time to reflect.
Just close your eyes even imagine who that is that
you want to be, and you open them eyes be that.
(45:53):
Do you
Speaker 10 (45:56):
Be you can't get enough of baller Alert, Follow us
on all social media platforms at baller Alerts Blog, on
to baller alert dot com
Did you go to the club.
Speaker 2 (00:06):
They know me, But many of my ones are still circulating,
many of my tents, many of my twenties, many of
my hunters are still circulating.
Speaker 1 (00:15):
Okay, okay, how do you know about the sex shop?
Speaker 3 (00:18):
Friends me?
Speaker 4 (00:20):
How I know you indulge in the toys and stuff?
With that, I mean your music states So do you
hear my music?
Speaker 2 (00:28):
Yeah?
Speaker 1 (00:28):
Yeah, yeah, yeah.
Speaker 2 (00:30):
Imagine the baddest of all baddies at the end of
not even the end of the night, the main dance night,
and it's say yes, oh you gotta do sha and
it's just cheeks and seductions.
Speaker 4 (00:48):
Borrow with me here, you know, bt no, how goes
shout at oct no real color?
Speaker 5 (00:52):
What we see?
Speaker 3 (00:53):
How game d about something?
Speaker 5 (00:54):
Oh?
Speaker 6 (00:55):
You can't stand on my owns?
Speaker 4 (00:56):
See, I already know you Caca with the squad and me,
they get a little.
Speaker 6 (01:08):
We're brought alive from ACM. We are the brother Alert Show.
Speaker 7 (01:12):
And we got the one the only Marcia Ambrosious.
Speaker 3 (01:18):
Did she say it right?
Speaker 2 (01:19):
I like the way you said it and you said
I'm brocious. Yeah that's cute, sir, I'm bro don't apologize.
I Ambrosius and Ambrosius Yeah, to say, the s ambrosious.
Speaker 5 (01:32):
So now you want to turn your accent, which I
don't know what you at home watching is when I
walked in, before the cameras got started, she was talking
in a normal accent.
Speaker 2 (01:41):
What's normal?
Speaker 3 (01:42):
Okay, not normal accent.
Speaker 5 (01:43):
She was talking in the English accent, American accent, Philly
accent to be directed, and then she started talking.
Speaker 2 (01:50):
In well English, what a British British British accents. Well, no,
it can come on and off. It just depends how
it's being in America for twenty four years. That's what happens.
Speaker 6 (02:03):
It's kind of a lot of TV.
Speaker 2 (02:05):
Yeah, and I don't have so many No, you've got
so many movies that you just make stuff up. And
I don't know. I've adopted the THEEA, yeah, the accent.
Speaker 6 (02:14):
What's some of your favorite movies?
Speaker 2 (02:16):
Oh, there's too many. We can't go into all of that.
It's random stuff from ET to Friday.
Speaker 6 (02:21):
Like it is random.
Speaker 2 (02:23):
It's the spectrum. Like think about that. It's random Jaws, clothes,
Encounters of the Third kind, Willy Wonka in the Chuck Factory.
It's ridiculous.
Speaker 6 (02:33):
That's ridiculous.
Speaker 2 (02:34):
It is. I just watched too much TV.
Speaker 7 (02:36):
I mean, speaking of accent, Let's go back to Liverpool, UK.
That's where you're.
Speaker 2 (02:40):
From, right, born and raised. So if I have my
Liverpool accent, You're not really going to understand the word
I'm saying, is it? I du was like, I don't
know what accent this is, but it's like you're ordering
from a Chinese restaurant. That's exactly what they sounded like Liverpool.
If I talk about Liverpool, accident, I'm talking really really fashion.
I can't understand the way I'm saying. I just said
(03:01):
the same thing in my Liverpool accents. If I'm talking
like this all the time. But if I call my
mom and I say, Mom, I want to talk to
you now and put you on the phone, I'm going
to talk to me mom on the phone just like this,
like now.
Speaker 5 (03:11):
Wow, yeah, it'll probably take me like I'll probably have
a brain delay, like oh okay, that's what she said, Like.
Speaker 2 (03:17):
Yeah, so I just said I was going to call
my mom and I would speak in that accent, and
if I didn't, she wouldn't understand the word I'm.
Speaker 6 (03:23):
Saying because it's so fairst, you know, in your saying.
Speaker 2 (03:26):
And my uncle he's worse Uncle George. He's no one
understands that guy. I mean we do because it's Uncle
George where he talks really really quickly.
Speaker 3 (03:34):
Do you mask your accent when you're recording, It's.
Speaker 2 (03:37):
Not a mask, it's like an immediate go to. It's
the inflections you use in your voice. So I think
everyone universally has a song singing dialect that they use
to singing and it's always with that. Yeah.
Speaker 6 (03:53):
So what was the music like in your house growing up?
Speaker 2 (03:55):
Oh? It's everything for me. My main go tos were
prints my called Stevie No Order, but my dad very
into Funkadelic, George Clinton, Stanley Clark, George Duke, Steely Dan.
But then it's also Queen Talking Heads, Duran, Duran, all
that pop stuff. So it's I had an eclectic amount
(04:19):
of music to listen to. So it was pretty much everything.
Speaker 6 (04:23):
Were your daddy's girl growing up both both.
Speaker 2 (04:25):
My dad was a bass player, lead guitarist and singer
in a funk band in the seventies. I thro out
to hear sets out Taco beat Ooh, just hilarious. My
mom had all the vinyl that you could ever want.
Any DJ would like cry going into the crib, like,
(04:46):
let me just dig through the crazy and find stuff
they'd never seen, and you know the couzins. Growing up,
she would sing do harmonies. So I kind of had
all the things in the household for the makings of
a musician without wanting to be a musician, without being
pressured into being a musician.
Speaker 3 (05:03):
So nobody told you you should do music.
Speaker 2 (05:05):
No, it was do what you want, but don't touch that.
But it, mister Miyagi, you know what I mean. You're like,
don't hey, get off my keys, get off the piano,
get off that guitar, get off them drums, like okay,
And I'm just playing, trying to sneak play, but then
getting better and bety each time. But my dad was
also a hooper, a basketball player, and then he went
(05:25):
into coaching and basketball was my passion. So then I'm
just playing hoop.
Speaker 3 (05:31):
You was playing ball.
Speaker 2 (05:32):
What I played for England. I was playing for Brickston
Top Cats fourteens and the women's team and still playing
for England. Then I tore ligaments. That's how I dreams,
and I was ready too. I was ready to come
to high school over here, and eventually wanted to come
to Georgia Tech. I had all of these things on
(05:53):
the table, specifically Georgia Tech. Specifically because the high school
coach that I was going to see in New Jersey
that was to connect any players that were going through
that school. We're getting recruited to Georgia Tech or somehow
getting an opportunity to you know, audition or play if
you will, to get the opportunity to come. So I'm like, okay,
(06:13):
I'm gonna go that route. And that summer I got hurt.
Then I had to figure it out. And then I
just started writing my thoughts and my feelings and my
pain and agony. And I wrote this song called If
I Was a Bird and that was about basketball wow,
about it breaking my heart and not being able to
fly like Michael Jordan from the Foul Line like I
wanted to. So you had no hubs none, So you
(06:35):
had a brother as well, right, Yeah, I haven't brother yet.
Younger brother did.
Speaker 6 (06:38):
He play sports? And her? Yeah?
Speaker 5 (06:40):
He was.
Speaker 2 (06:40):
We were both borling. So me and my brother kind
of had this where three years apart, were kind of
like twins. So if I was balling, he was balling.
If I was playing music, he's playing music. So When
I told my dad I wanted to quit hooping, he
broke down and cry like it was over it, like
the world ended, my dad. I just don't want to
take you for serious, like what I said. No, I'm
(07:03):
gonna take music seriously. So him being a musician and
him seeing the ups and downs of a very hostile industry,
especially where it can be for women. I knew it
was coming from a place of love, but at the
same time a place from the experiences that only he had.
But I'm like, Dad, if I do this, I'm gonna
do it's for real. So imagine me. I get a
(07:24):
free ticket to come to atl in the year two
thousand to do a patchy cafe. I'm like, all right, bet,
I'm coming. So I do a patchy cafe in that land.
Speaker 3 (07:33):
What's a patch cafe?
Speaker 2 (07:34):
It was like a poetry spot over my jam session
in the early two thousands. So two thousand April, I'm
doing that and I'm like, yo, Dad, it looks like
it's gonna work out. Then I get to Philly do
the same thing, Dad. I feel like this is really
gonna work out, yo, Dad. Michael Jackson just heard my
song Butterflies on the demo. Yo, Dad, I'm in the
studio with It's never enough.
Speaker 6 (07:55):
It was his response, you don't believe nothing.
Speaker 2 (07:57):
But like I said, I'm not a at that time,
so I'm not understanding. His responses are just all protection.
I'm just like hater, not hater, but like you're just
gonna shut down my dreams. But it was just to
protect me. Like maybe Michael Jackson takes this song, maybe
he doesn't, and he did, and the rest is history.
And I'm still like, your dad, See I told you
(08:18):
music was gonna work.
Speaker 7 (08:19):
Wow, it is mind change? Did his mind change when
he sell you on TV?
Speaker 5 (08:24):
No?
Speaker 2 (08:25):
Mind change? It's like, oh she was for serious.
Speaker 3 (08:30):
I was just like, oh yeah, yeah.
Speaker 2 (08:32):
I never met my dad so yeah, no, No, my
dad is as proud as you can be, h you know,
as a father for a door, like he really is.
But back then it was just I'm uphill climbing to
try and match.
Speaker 3 (08:45):
Were you struggling though you? Was he struggling?
Speaker 2 (08:48):
No, I'm gone. I left home and told my mother
I was going for two weeks and just didn't. I'm
just twenty four years later, you had.
Speaker 7 (09:00):
Been blessed man, and we're so happy to have you
right here. On The Barler La Show, we got Marsha Ambrosius.
Speaker 3 (09:05):
Did she get right?
Speaker 7 (09:06):
Yes, it's getting well right.
Speaker 6 (09:12):
We'll be right back for more.
Speaker 2 (09:14):
Alert So can we get the background music for coming
to a record? That's one of my favorite movies?
Speaker 3 (09:19):
To yo?
Speaker 5 (09:28):
I feel like you moved to America and just watched Yo.
What is American movies that we have to watch? No?
Speaker 2 (09:35):
I grew up with all of that. Like my grandfathers
are both American, so my cousins were over here and
sending me, you know, different, Well, so.
Speaker 3 (09:46):
You already knew what it was like.
Speaker 2 (09:48):
I just never had the us A experience that I
wanted to have.
Speaker 6 (09:55):
Back with more The Butler Lah Show, we got Marcia
and Brosius.
Speaker 4 (09:59):
Yeah, yeah, yeah, camera for the hadlug.
Speaker 1 (10:07):
She ain't given it to me?
Speaker 2 (10:08):
What don't blame me?
Speaker 3 (10:10):
Okay, we.
Speaker 2 (10:12):
Allow this off air bringing this up. I got you.
Speaker 4 (10:18):
We were talking, we were talking about the experience of America.
Did you get the full Atlanta experience? Because you were
here for how long?
Speaker 2 (10:27):
I was here? Initially just a couple of weeks, went
to Philly, came back, but I was always going back
and forth between listen, Oh.
Speaker 5 (10:39):
They know me that.
Speaker 2 (10:43):
Many of my ones are still circulating, many of my tens,
many of my twenties, many of my hunters are still circulating. Okay, okay,
so you're saying you have some time.
Speaker 1 (10:54):
Wow, time was at time and.
Speaker 4 (10:56):
The headlights working with and the red lights working at
the headline, I.
Speaker 1 (11:06):
Mean your music states So.
Speaker 2 (11:09):
Do you hear my music?
Speaker 4 (11:11):
Yeah?
Speaker 1 (11:11):
Yeah, the baddest.
Speaker 2 (11:13):
Of all baddies at the end of not even the
end of the night, the main dance night, and it's
say yes and it's just cheeks and seductions.
Speaker 1 (11:25):
Whoa now, did you mean yours?
Speaker 2 (11:28):
And the best chicken? Why do just why does strip
clubs have the best food.
Speaker 1 (11:37):
The extra miles.
Speaker 2 (11:38):
It's like, the fries be good, like what in the seasoning?
Not everyone just gives a basic fry. There's no basic
fries in strip club in Atlanta and Houston have good food.
I think at L may have done the very first
lemon pepper ketchup. I was like, why does your ketch
up season?
Speaker 3 (11:57):
Like everybody like one time?
Speaker 6 (12:04):
Yeah, what about the first time you tasted waffle house? First?
Speaker 2 (12:08):
I was wasted. I had to I had to have
been drunk to be in there, Like I'm trying to
remember which one is, remember where j D's old spot was,
and you go further down, it's like a sex toy shirt.
It's the one that's in between the two.
Speaker 3 (12:23):
Talking about the waffle house on the wait.
Speaker 2 (12:27):
Baked see the landmarks.
Speaker 1 (12:30):
How do you know about the sex shot friend?
Speaker 5 (12:33):
For me?
Speaker 1 (12:33):
How I know you indulging the toys and stuff.
Speaker 2 (12:36):
With that because used to pass it if you go
under that bridge, right, Yeah, being single during I.
Speaker 1 (12:45):
Wanted a couple of times you walked in. Yeah, I definitely.
Speaker 2 (12:48):
Worded well, I made purchases, I wasn't here and basic stuff,
like the basic stuff. What's basic for you? Elaborate what
you mean, like a magazine, Like there's like a toy.
Speaker 4 (13:07):
I got skin things, so I have to get something
that was sensitive to my skin.
Speaker 1 (13:11):
So I had to, you know, get some condoms that were.
Speaker 2 (13:14):
Thank you for all of that information, clarity, you know,
And it was only there about that we got there.
That's how I knew where waffle house was. So I
used to work at Droppless Studios. So I'll be into
(13:35):
room writing some songs and then we would leave. Oh,
there's a sex story show right there on the right
hand side. So we will hop out getting my waffle
house in gloriousness, the dang cheese eggs greasy and if
no one's firing, it didn't really happen.
Speaker 4 (13:53):
Did you find inspiration when you were in Atlanta a
lot for writing music?
Speaker 2 (13:56):
It was it was very, I want to say, the
southern hospitalities unmatched, so you felt at home and comfortable.
So even in that approach, I had foundation here. I
had friends that really became family, so really made me
feel comfortable, so I could really stretch my pen and
(14:18):
say things that I wouldn't ordinarily say or things that
I'd want to experience. So you leave Magic City, you're
gonna riot a different type song. And I was here
during a different time like this is when I mean,
Atlanta's always been here and trend setted as what the
world would know Atlanta to be. So I'm there when
(14:38):
Sierra is in the studio. I'm there when you know
Andrea and Vidal from Philly had given her oh, and
I'm like, oh my god, what's happened? At atl was
doing something and ludicrous happens and it's all these things
that are happening. But the foundation of it all is
when I get to a patchy cafe and it's outcast.
Speaker 5 (14:58):
So did you start it out a songwriter? Were you
like writing for other people in the studio?
Speaker 2 (15:02):
Yeah, and like that's always been my passion. I've always
wanted to be behind the scenes getting my Quincy Jones
on and then I'd just been offered deals and things
to do outside of that, so it just kind of happened.
As far as the whole solo thing.
Speaker 3 (15:17):
Do you remember getting your first deal?
Speaker 2 (15:20):
I do. I remember seeing the thick ears paper, like
do I have to read all that shit? And I
should have? No, I did not.
Speaker 6 (15:27):
Absolutely, this is for your group for yeah, okay.
Speaker 2 (15:30):
So initially with that deal in two thousand, that was
like big. So that was my first US deal. I
had a deal in the UK and that was strictly
for a song that I wanted to license. That was
a single that my manager at the time, I was
sixteen seventeen, and it got pushed to radio and then
(15:52):
it ended up being number two. No deal, no nothing.
It was like Drew Hill Overseas. Yeah, it was like
Drew Hill something. Even in my bed remix, JD's Jeds
remix and my song were one and two on the charts.
On the urban stations over there. So I was offered
a deal because of that and just didn't see the
(16:13):
rest of it through because young black R and B
artists in the UK didn't really exist like that. So
it was like Craig David and then.
Speaker 6 (16:23):
See my friend exactly.
Speaker 2 (16:25):
So at the time, there wasn't there wasn't a Missy yet,
there wasn't a Lauren Hill to be compared to. It
was just and I was like, Ah, you don't get it,
You don't get me. I'm just gonna go back to
my shell and just right produce.
Speaker 3 (16:40):
What are you trying to make? You change your style up?
Speaker 2 (16:43):
No, not even change my style because no one's doing that.
I don't know if anyone could make me do that.
You either want to do that made No, That's why
it didn't work out. It works I want it's supposed
to work out, and it worked out because of how
I wanted things to sound. So by the time I've
reached out to a high school friend like yo put
some poetry to my music, it's because I'm in the
(17:04):
studio writing, producing, and I had the record call Fantasize,
and that's how Flowatry happens. So It's like things that
I want to do have happened, the Doctor Drake thing
and Casablanca right now, because I've laid all of this
foundation and groundwork for something that I wanted to do,
and if it was time that I had to wait
to do it, then that's time.
Speaker 6 (17:26):
Well it's time for a break.
Speaker 2 (17:27):
Man.
Speaker 7 (17:27):
We'll be right back with more Marsha Ambrosius right here,
all revolt Ambrosius.
Speaker 3 (17:32):
We'll be right back with more of the Bailer Alert show.
Speaker 2 (17:38):
So after commercial break, what else do you have for me?
Bring it?
Speaker 7 (17:43):
Okay, bring it mile Meg?
Speaker 6 (17:47):
Oh no, you did it? What well? You know club?
Speaker 3 (17:52):
Oh?
Speaker 2 (17:52):
Oh, well, what happened?
Speaker 8 (17:55):
I was asked to join Flower Tree after Natalie to
I was told that Natalie left, and then we prepared
to go on tour and they did not tell the
fans that Natalie would not be joining Marsha on the tour. Okay,
Marcia never made it any easier.
Speaker 1 (18:15):
Why Natalie is burning me up?
Speaker 9 (18:20):
She's like, I'm on the Seals is not real, She's fake.
This is all fake, fake, fake, fake. So now Marcia
caused me like did you listen? I say, yeah, what
you gonna do about it? Nothing said oh, okay.
Speaker 8 (18:37):
And this is this is a trend of me not
being protected.
Speaker 2 (18:40):
That's really sad and unfortunate that she felt that way,
you know. And as far as a response, it really
was seventeen years ago. And what you can't do is
I can't change how an existing fan base feel about
a situation.
Speaker 6 (19:00):
The original members.
Speaker 2 (19:01):
Yeah, so really, she could have really been anybody and
it wouldn't have happened. It wouldn't have worked. Everyone was like, yeah, March,
who's this? So she happened to be catching that flag.
As far as being protected, I could only do what
I could have done at that time where I was
at in my life. And however her experience of it
(19:21):
was what it was for her. I know what happened
for me, and I don't have to go into that.
We're seventeen years later. I've done so much healing time
between then and now, and you know, seventeen years ago,
that's Harry Potter, deathly Hallos and it's a long time ago,
you know, seventeen years ago. It's ow sort, it's not
letting go. I've taken my ls, like the ls that
(19:45):
I've taken, I've just been like, oh, that didn't work.
I moved on and moved past that, you know, and
I'm all about moving on and moving past things. It
didn't work out. There's not a record label that could
have fixed that. There's not me that could have an
existing member of a group that could fixed that. There's
not a management that can go this is not working.
And it just didn't work. And we moved on. And
(20:06):
I've had nothing but positive interactions with her after the fact.
So then there's that, you know.
Speaker 6 (20:14):
So yeah, yeah, I mean she did say that. I
think you've seen her after that or before twenty thirteen.
Speaker 2 (20:21):
We did a what was it a hair thing in
New York and there's all hugs and smiles and we
kicked it up. Oh so she did hug you and yeah,
like we shed text me, like we'd go back and
forth like up and through the years, like after the reunion.
Speaker 8 (20:36):
I actually saw her at Usher show recently and she
went to hug me and I was like, no, I'm good.
Speaker 5 (20:42):
Yeah.
Speaker 2 (20:42):
Then she saw me again and it was like, none
of those things happened. So I can't be accountable for
who she is now. I didn't deal with Amanda Seals.
I dealt with Amanda Diva in two thousand and seven,
So I can't get mad at the two thousand and
seven version of her, not the two thousand and seven
version of myself. So, like I said, all the healing
time in between and the seventeen years later, I'm a
(21:04):
wife and a mother and them in a different place,
and there will be no coming at another black woman
in her healing and her time.
Speaker 6 (21:13):
Who picked her for their role.
Speaker 2 (21:16):
Label or management. I didn't know who she was, and
it really could have been anybody. So we had time
to rehearse and you know, do all the things. But
then you put it into play and it works or
it doesn't work. And it didn't work.
Speaker 5 (21:27):
So what's some advice that you would give her, just
based on that interview give her?
Speaker 2 (21:33):
I'm trying to figure out what There's nothing I can give, Like,
what's the advice?
Speaker 5 (21:37):
I feel like sometimes people say things like that because
they want closure, they feel like they didn't have closure.
Speaker 2 (21:44):
I feel like whatever that meant for her, clearly she's
gone on to do other things as her eye, and
I'm not sure what else they could. What's there to say?
What do you want to do? Be a group? You
want to put out me music? I don't know what
the endgame is for, like what is the result? What
(22:04):
changes that? Why did nothing in the first place with me?
And that, Oh that's that's an even longer story. Some
things just don't work out and time is time, and
we really made music when we made music. And the
fact that we can still reconnect over the years and
people can still press play on the Floetic album and
(22:25):
still call it a classic.
Speaker 1 (22:27):
We did our job.
Speaker 2 (22:28):
We don't have to keep doing our job, like people
want to stay flipping burgers or you know at waffle
house pressing the waffle forever that was like my waffle
house years and it just happens.
Speaker 4 (22:40):
The question happened happens to come up because you guys
have this fan base that never leaves you.
Speaker 1 (22:45):
Guys, wherever you.
Speaker 6 (22:46):
Go, you're gonna r be classic. Say yes, right, classic?
Speaker 2 (22:49):
And that is what that I can't do anything about
that time tells that. I think someone was asking me,
you know what makes the timeless classic? Time? You know,
I don't know what it's going to be played twenty
four years from now. Where people get to be on
a podcast and talk about things that they've done over
years that people really care about, like you cared about
this thing so much. That's seventeen years later, it was
(23:12):
still on it.
Speaker 7 (23:13):
Like dang, I was like that, how did y'all how
did you meet Natalie do?
Speaker 6 (23:18):
Or did y'all grow up together? We grew up together?
Speaker 2 (23:20):
Okay, we play basketball, Yeah, we played balls. She was
playing for another club, but we would see each other
with tournaments. We went to the same performing art school together,
so we known each other in South London.
Speaker 6 (23:30):
Like, did you was it your idea to start the
group or.
Speaker 2 (23:33):
It wasn't even a group thing. I had a song
that I wrote called Fantasized, and I was like, yo, Nap,
put some poetry to my music, and she did and
the song was fire and I was like, oh, we
performed it. Rest is history.
Speaker 6 (23:50):
So both of you were writers.
Speaker 2 (23:51):
She wrote her poetry, I was music.
Speaker 7 (23:53):
Okay, just for clarity, because I know some people, especially
like the younger millennials or gen Z or even the
Beta people, they don't really know who Floor Tree was
or is, so I just kind of want to break
it down for them.
Speaker 2 (24:05):
The talk changed that no, I'm joking, but like it's
like TikTok will bring a song back.
Speaker 6 (24:10):
It just brings these things.
Speaker 2 (24:12):
Like samples like her sample did, and there's like all
of these nuds to like Drake Sampling say yes, I
mean getting late. So it's just like all of these
nuds to like I said, somebody did twenty four years ago.
So yeah, it's a lot of things. And here we
are twenty four years later, and I'm still still passionate
(24:33):
about just creating.
Speaker 6 (24:35):
Where does that.
Speaker 2 (24:36):
Come from the air? Like the hum of the ac
Like I'm gonna write a song to anything, to this
clicking like this has a tone to it, like rhythm,
just anything. I'm gonna think of a song or a
concept for it, Like it's just how my mind works.
Speaker 7 (24:54):
I really appreciate the fact that you never stop and
then you still a fine time to create.
Speaker 2 (25:00):
It's very inspiring.
Speaker 3 (25:01):
Twenty four years it's a long time. It's long to
be in this industry.
Speaker 2 (25:05):
It is longer than that. Like that's just the visible years,
you know what I mean, that's just the Oh I'm
signed now and my name is kind of floating around.
But before that's all the grind. It's the sleepless nights
you don't see. It's the downtime, it's the l's it's
the oh that record, wasn't that well received publicly, but
I'm on tour for those five years. Like it's there's
(25:28):
so much to this thing that people don't see that
you think you want it. You have to really want
to do this, like really want to do it. It's
even sitting here and talking to you guys. You actually
want to do it.
Speaker 7 (25:41):
And one thing we really don't want to do is
go to commercial. But we can't have to. So you'll
be right back with more Marsha Ambrosius.
Speaker 3 (25:48):
We'll be right back. Stay tuned with more of the
Baller Alert Show. You're listening to a special edition of
The Baller Alert Show.
Speaker 2 (25:57):
Hey, this is Marshall. I'mbrosius. You're watching the Billa a
Lad Show on Revolt back.
Speaker 6 (26:03):
But more of the brother in Luve Show.
Speaker 7 (26:04):
We got Marsha and Brostius lovely.
Speaker 3 (26:09):
H twenty four years in a game.
Speaker 7 (26:10):
But we were talking about, you know, the downtime and
the pandemic happened, and then you got with doctor Dre.
You guys created a masterpiece that is about to finally
hit us. What was the can you break down that
process from twenty twenty one?
Speaker 6 (26:25):
I believe when you guys started it yeap until.
Speaker 2 (26:28):
June twenty eighth, when it's finally about to drop in
twenty twenty four, twenty two, let's go the end of
that year. Well, the type of twenty twenty one is
when I finally get to La Dre had that brain aneurysm.
Prior to that, I was already in communication with Dra
(26:51):
so we're going back and forth shooting ideas. It happens
two days after his aneurysm. He was like, Yo, I'm
getting back to work when the fly you out here,
and you know, let's just get to create it. So
we end up doing GTA, the video game he was
doing the music for, So I was in the studio
really doing that from February March Grand Theft Auto, Grand
(27:15):
Theft Auto. So Dree had the San Andreas. Yeah, I
had the San Andreas episode where it's him in the
car and you had to steal the car so you
would get the demos of the songs. So it was
like six songs for that demo. So it's like me
Eminem Rick Ross, who else is on there? Snoop's on there,
Anderson is on there. And we did all of these
(27:36):
songs for the video game. Video game drops and April
Dre was like, I just want to keep you inspired,
because I told Dre, I'm calling this artist stuff, I'm
calling this industry. I love what we're doing in the
studio and working with your team. I just want to
write and produce and that's it. Over this being an
(27:57):
artist being I'm hustling, bustle, I have to go on tour,
like all the things me saying, I want to sit
and talk to you. I'm over talking about anything, like
I'm done, Like I feel like I'm not in a
bad way.
Speaker 6 (28:10):
I just felt like you've done what you set out
to do and you're okay with it.
Speaker 2 (28:18):
So I'm like, I clubbed the video game. I'm at
the final level, Like what do I Where do I
go from here? Like there's nothing else with my bucket
list that I could check off that's gonna satisfy me.
So jer wasn't having that though, Drace again, I just
want to do something to keep you inspired. So we
(28:40):
recorded one song that was intentional, like with the first time,
first time we'd ever actually created with intention to go,
we're doing something. So him and I producing this piece
of music together and it was, if I must say so, myself,
so incredible, Like outside of it being me. It was
(29:04):
like it wasn't even coming from me. God said, oh y,
you're gonna do this, this, this things, this happened, Okay,
watch this and it was like having an out of
buddy experience and watching this thing happen. So we record
one song and it was like, we know what this is.
Now we have to back this up. Let's do another one.
(29:25):
See I see where it goes. So we do two,
and we do three. This is in the space of
two weeks. We do four, we do five, we do six,
we do seven, eight and nine. We kind of sit
there like we two. Work is away from this being
the buddy of work, not a body of work, the
buddy of work, the greatest, the greatest. So by May
(29:52):
we already named the album. By June it was we
need a twenty seven piece orchestra. Let's set up the
time when we can get in and do that. So
we're getting the conductor in the string arranger did that
and it was just so meticulously done. I didn't think
(30:17):
it was ever going to see the light of day
because of what we did. I'll explain. If you think
about how you sample in hip hop, and you can
just take a piece of you know you break up
when it comes to beats, we're talking about breaking up
not only the beat but the melody, but the instrumentation
of just a horn piece from Duke Ellington and just
(30:39):
the keys from Smooth Criminal, just the strings from George Benson.
I'm putting it on one song. How do you even
begin to clear that? So by the time we've recorded it,
it's done. I'm like, we're never gonna get the permission,
(31:00):
get clear, never get permission to do like saying it
out loud. There's no way, but there is. There's a
dog de Dre and his budget and he would go
to whatever lence to make sure that we could. But
it was also going to take time. It's if we
use something for Michael Jackson, now we have to go
through to the estate, if we use something from certain things.
(31:21):
But there are so many different avenues that we have
to take to get it done. So it took twenty
twenty two to clear a year eleventh Clear because there's
eleven songs on the record, but within each song sen
everything the credits. I don't know. I've always been by
(31:44):
the album. Look at the credits and see who did worse. No,
look at these credits just to understand the work put in,
and I feel like the effort put into this is
one for the record books. I don't think anyone on
planet Earth has credits that even look for remotely close
to what these things look like.
Speaker 7 (32:02):
I think, just to get Doctor Dre to do anything,
because how long we've been waiting on the Detox album.
Speaker 10 (32:08):
The one album it doesn't exist, only he's listening to it,
but just for and for you to pop out with
not only a Marsh and Brosius record, but with Doctor.
Speaker 1 (32:20):
Dre executively produced together as a right team.
Speaker 2 (32:24):
It's one of one. So it was truly an even
plan field to a degree. But it's me trusting his
word as Doctor Dre, but him absolutely trusting me on
my pen and what I could contribute to what it
is that we were doing.
Speaker 1 (32:40):
Supantly, give me your flowers too, though, because for sure.
Speaker 2 (32:44):
And I have to receive that, because he's, like you said,
he's not doing that with anyone anybody.
Speaker 4 (32:50):
We've interviewed all the greats, right including yourself, and I
always asked trying to make sure I asked this question.
I'm gonna ask you this one because you had your
your list of accolades. It very long, it's superior. Do
you take the time to indulge in the moment of
what's actually happening to you, you know, because I know
sometimes you guys work and we all do it the
(33:11):
same thing. We've done all these big interviews and I
even had to sit back a couple of days with like, wow,
we literally just kicked ass all last year for you
as an artist and all these amazing things that you've done.
Do you take the moment because I know sometimes you
gotta unplugged, be more. You got to unplugg and be
wife exactly. That is the family part of it. It's
really taking time to just when you unplug, like I
(33:35):
don't sit here and become mash, Like the cameras will
be off and you're still gonna get me maybe with
a Philly accent, but other than.
Speaker 6 (33:43):
That, it's still me.
Speaker 2 (33:45):
So the reality is my phone rigging or me getting
a text, or it's you know, my door, like mommy,
can you call me? You're like I need it. Then
it's snap, that's my priority, or it's hey, we have
to go back to this and do such and such,
and it's they're the same person. There's no switch off,
there's no disconnect. I can just micromanage the type of
(34:09):
person and type of human. I have to be each
and every time and just show up whoever that is.
You know. But no, I don't take enough time to
go wow. I think I'm only wowing over things I
did in seven, Wow, at oh five, Wow, at twenty eleven.
Like I'm forgetting stuff people are. You know it's the Internet,
(34:32):
Like I forgot I even did that. I have to
remind myself, like.
Speaker 6 (34:36):
Yo, Google, you know what I mean?
Speaker 2 (34:39):
Like it it's wild. I've done some crazy things.
Speaker 6 (34:42):
Speaking of Accolade, you work with Michael Jackson.
Speaker 7 (34:44):
Can you tell us what that was like Michael jacks v.
Speaker 2 (34:49):
King.
Speaker 3 (34:50):
I don't even know what his clone.
Speaker 2 (34:52):
Was, like he smells so good. That thing was custom
or like Mike just come a little bit closer, like
he would wear this burgundy shirt and this black I
think it was like a I can't remember what brand
it was, this black leather jacket. I'm like, you so fled.
Speaker 7 (35:13):
And not only did you write for Mike, you wrote
a classic like Butterflies.
Speaker 6 (35:20):
That is a classic. Ye, he didn't even know.
Speaker 3 (35:28):
Yeah, I know you wrote butterflies. Michael Jackson.
Speaker 6 (35:32):
I did that was there. That was her song first,
and then Mike, No.
Speaker 2 (35:37):
No, okay, that was my demobo any song. It wasn't
even a I didn't know who I was writing that
for as an artist I wrote. I wrote it about
a boy that worked the McDonald's in Cambowell when I
was like sixteen. But get to Philly, it's on a demo.
So yeah, it wasn't even for Mike. He just heard
(35:58):
it as a part of a demo. I need that
one there. And I was like, yeah, that's crazy.
Speaker 7 (36:07):
And then not only did you write it and he
sang it, but you had to produce him. You had
to tell him how the song went.
Speaker 4 (36:13):
Yes, you were there with him. No, I'm like away
in the song with him. Yeah, and not too many
people can say that.
Speaker 5 (36:21):
So you were telling Michael Jackson sing it like this,
singing this kid.
Speaker 2 (36:26):
See where she's standing with this kind of right again,
Mike can see Yeah, Okay, so there's a person behind
the glass. I'm behind the soundboard. I'm like, all right, Mike,
one more time, so I'm clicking button. It's like, okay, cool.
And the first thing he said was butterflies, like he
whispered it, and I just remember me and Dre just
looked up like Andre Harris to produced it with me
(36:49):
start crying. Wow, I was crying. I had to get
it out like it's like, and then shook it off,
told him what to do. One more time, I what's
your breathing? My little pitchy? All right, one more time?
Speaker 3 (37:02):
You're telling Michael Jackson is I.
Speaker 2 (37:04):
Was twenty three years old.
Speaker 7 (37:06):
Twenty three years old started your career working with Michael Jackson.
Speaker 2 (37:10):
So there's really nothing that could intimidate, noing make me
feel some type of way about anybody in twenty two
thousand and one. That was my life.
Speaker 3 (37:19):
Like y'all, I ain't worked with Mike.
Speaker 1 (37:22):
Yeah, I ain't gonna lie if that was me. You
really can't tell me nothing.
Speaker 4 (37:26):
You couldn't tell me nothing to like, Bro. I just
I told was telling Michael Jackson, will do a student.
I'm talking to me, Bro, But you.
Speaker 2 (37:31):
Gotta stay you have to stay humble, though watery, do
the math. Over the course of years, anyone testing my
ability to be able to write or produce, or feel
intimidated or I'd done that so early. There was nothing
that was gonna phase me in this thing. I don't
(37:52):
like your music? Cool? That name for you?
Speaker 3 (37:56):
You should have said, do you like Michael Jackson?
Speaker 2 (37:59):
You like?
Speaker 4 (37:59):
Not that.
Speaker 2 (38:01):
Anyone anything to say. It's like, okay, because somewhere in
your library of music or whatever you did, I touched
something that you're banging with right now.
Speaker 1 (38:16):
These are what's talk about.
Speaker 7 (38:18):
Costa Blanco, Casa blanco, w Costa blanco or not.
Speaker 2 (38:24):
Initially I called it Casta Blanco, and that's because of
how it felt. So you have to understand. I'm at
Dunctor Dre's crib in l A, and I'm going back
and forth in these hills, Beverly Hills. It's palm trees,
it's red carpets. It's like the treatment was laid out,
and I was like, what else was I gonna write?
This is giving vintage Hollywood, this is giving diamonds, pearls,
(38:48):
just furs, like ridiculous cars and private jets. So I
was like, this is what the music sounds like. So
I was spoiled in that regard, like like Casta Blanco
felt like a place. So Casa Blanca the movie. I'm saying,
you know, Drea feels like this, and he was like, nah,
Casa Blanco making more gangster like Blanco Grizelda. I was like,
(39:14):
this is why your doctor Dre and I. So we
combine forces. I'm giving you the vintage Hollywood Phil with Dre's.
Speaker 1 (39:23):
Gangster and we met Casa Blanco.
Speaker 4 (39:26):
Even one night stand is out right now and talking
real spicy on there, hanging off the chandelier.
Speaker 1 (39:32):
You might break, You might fall and break your wrist?
Was what you talking about? You talking about your husband
over there? Haul in your Is this this this?
Speaker 4 (39:38):
He'll be right over.
Speaker 2 (39:41):
Yeah, it's before I met you. Baby. He knows I
pulled from many experiences and had.
Speaker 1 (39:52):
To that's dope that he supports that he's cool. That
ain't tripping on.
Speaker 2 (39:55):
That, because where else the inspiration gonna come from? I lived.
I mean, we've known each other for ten years, married
for almost seven of those, have a seven year old. Amazing, Like,
where'd y'all meet on tour? Okay?
Speaker 6 (40:07):
A musician?
Speaker 2 (40:08):
Wait?
Speaker 1 (40:08):
Wait wait? How did he did he approached you? You approaching?
Speaker 2 (40:12):
I approached him met by ways of management that we
were doing a tour and my road manager invited him
to work as a part of the tour.
Speaker 1 (40:21):
And I'm like, and now he's your manager?
Speaker 2 (40:23):
Who is that? What was he doing? Was he sitting
there in a red hat? That's what he was doing.
Speaker 3 (40:30):
I don't care what he was.
Speaker 6 (40:34):
We didn't care.
Speaker 2 (40:35):
He didn't care who I was. It wasn't even about that.
Speaker 1 (40:39):
Did he know you were Marsha?
Speaker 6 (40:41):
No, he had to know this way.
Speaker 2 (40:45):
You have to understand. This is what he said.
Speaker 1 (40:47):
No clue.
Speaker 2 (40:49):
He may have known my songs. He doesn't know me.
Speaker 4 (40:53):
You know what I'm saying.
Speaker 2 (40:54):
And even if it was that, he's getting the word like, yo,
does a paycheck in it? You want me to be
on the road as a tour like, oh, yeah, I'm on.
I had nothing to do with who it was. Why
it was who I am? So when we met, we're
meeting on an even playing field, because if you aren't
tour with me, my musicians will tell it's family. So
(41:15):
we're working. But he was fine. So we're working and
I'm distracted, like who's this? So I'm trying to get
to know I'm like yo, so, and I'm also mad
at Mitch, like why you ain't introduced me before? Like
he's just been around this whole time, and how we
never come across.
Speaker 6 (41:33):
So was he in a bodyguard or like.
Speaker 3 (41:38):
All the above.
Speaker 2 (41:39):
So initially it was Flowatry Reunion and we were traveling separately.
So I'm traveling with my road manager a couple of
band members, and he's des Is driving the other team,
so we're basically micro managing two separate sections of the tour,
(42:00):
a day to day management. So I'm meeting him under
those circumstances, and it's like, what's up with him in
the red hat? Then I seen him. I seen him
hoop in Virginia, and I feel like that's what's stilled
the day. He looked like he could hoop a little
bit basketball. I'm saying what it looked like to me
(42:20):
back then. So I'm like, what if he's trash.
Speaker 5 (42:24):
Like.
Speaker 2 (42:26):
It's a bit of a turn off if you have
no not even a jay or at least like it
just looked awkward. I'm like, oh no, any whop? I
feel like that was it?
Speaker 6 (42:39):
Like did y'all play?
Speaker 2 (42:41):
I don't even think we played. It was like there's
a venue in Virginia, the Nova, and right up top
they have like a full core up there, like a
half core or something, so they were just you know,
playing around, shooting around. After the show.
Speaker 7 (42:53):
It's giving basketball let's play for your heart following a little.
Speaker 2 (42:57):
Bit, and I was like, hmm, So by the end
of the tour we went together. Okay, So it took
three then we was in a relationship, a tour relationship.
I thought it wasn't not saying it wasn't gonna lost.
I'd never done anything like that before, so I'm like, oh,
this is naughty. These are all the songs that I've
(43:19):
created and I'm making them a reality. This is nasty.
I like it. So at the end of the tour
we get back to l A. I'm like, I'm going
back to l A. You going back to la not
like you're gonna call me. It's like one of those
like what's happening? I think we lived together a month
(43:39):
after that. That's great. We are insane.
Speaker 6 (43:44):
Now you have a daughter.
Speaker 2 (43:46):
We're insane. Once it was it, it was it.
Speaker 6 (43:49):
I love that.
Speaker 2 (43:50):
Yeah, wow, wow, I really so.
Speaker 6 (43:58):
Yeah.
Speaker 2 (43:58):
It was a one nderstand. It's now lost it for
ten years.
Speaker 6 (44:03):
And man, what I gave from this interview is that,
Marsha cool cool.
Speaker 4 (44:08):
Did you ever think about like media, because like I
was saying my previous interview the same thing, like you're
actually really good?
Speaker 1 (44:15):
Would you think consider doing like a possibly media.
Speaker 2 (44:22):
Well, if you see you need to see me live.
You've never been to one of my shows? Are you
going on tour soon?
Speaker 5 (44:36):
Oh?
Speaker 2 (44:37):
Yeah, I mean yeah. Say let's it's stand up comedy,
it's music, it's sexy, it's it's all the things, all
the thing. It really is all the things.
Speaker 7 (44:48):
Masha and Bro. She is right here on the blog show.
We appreciate you for coming through.
Speaker 3 (44:52):
Man listeners even get to hear all the talking. She
was talking.
Speaker 6 (44:59):
This is me.
Speaker 2 (45:00):
Yeah, oh yeah, Hey, okay, you want to hear Okay,
till the next time. Hey, before we.
Speaker 6 (45:08):
Get out of here, we gotta hit you with a
pep talk.
Speaker 2 (45:11):
Hey, this is Marcia Ambrosius and I've been sitting here
with bailer alert balling, and my last words would be
for anyone out there that needs to hear this, do you?
It sounds real simple, but in order for you to
do you you need to understand who it is that
(45:32):
you are. Okay, look in the mirror and really figure
out who that is. Be for serious, take time to reflect.
Just close your eyes even imagine who that is that
you want to be, and you open them eyes be that.
(45:53):
Do you
Speaker 10 (45:56):
Be you can't get enough of baller Alert, Follow us
on all social media platforms at baller Alerts Blog, on
to baller alert dot com
Popular Podcasts
Stuff You Should Know
If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Special Summer Offer: Exclusively on Apple Podcasts, try our Dateline Premium subscription completely free for one month! With Dateline Premium, you get every episode ad-free plus exclusive bonus content.
On Purpose with Jay Shetty
I’m Jay Shetty host of On Purpose the worlds #1 Mental Health podcast and I’m so grateful you found us. I started this podcast 5 years ago to invite you into conversations and workshops that are designed to help make you happier, healthier and more healed. I believe that when you (yes you) feel seen, heard and understood you’re able to deal with relationship struggles, work challenges and life’s ups and downs with more ease and grace. I interview experts, celebrities, thought leaders and athletes so that we can grow our mindset, build better habits and uncover a side of them we’ve never seen before. New episodes every Monday and Friday. Your support means the world to me and I don’t take it for granted — click the follow button and leave a review to help us spread the love with On Purpose. I can’t wait for you to listen to your first or 500th episode!