DJ Donna Edwards



undaground archives


In the culture of dance music, you can still count the amount of female DJs and Producers who earn and get global acclaim for their work. So in the spirit of change and growth, we are happy to present an emerging talent, ready to ascend to the heights of dedicated mass appeal. Bubbling under the surface for just over ten years, DJ Donna Edwards enjoyed a breakthrough 2002 by flouting gender, attendance and buzz levels at traditionally all-male events while continuing to hold several popular weekly residencies all over the city. Known for hard-driving sets rich with uplifting spirituality, steamy erotic overtones and served in a seamless mix of classic dance tunes, her blend of multi-genre sound-scapes keeps her a hot-topic among the industry elite and a growing legion of fervent big room dancers. In our exclusive interview, meet the woman behind the hype who reveals why her love for all things classic, deep family ties and her commitment to clubbing as a business are but a few of the secrets to her success.

March 2003

Jumping right in, where did you grow up and were you raised with both parents?

Donna Edwards:
Yeah, I was raised with both parents in Brownsville, Brooklyn. I am the youngest of four – two sisters and my brother is the oldest. My early days in Brownsville [were] pretty eventful I would guess. It was crazy and off the hook with a lot of things going on. Back then they had gangs like the Tomahawks and the Jelly or Jolly Stompers. It was pretty wild. In the early seventies, you could still have fun but you had to be really street-smart back then. You had to watch your back for real.

Where’d the music come from? Did your family play a lot of it in the house?

DE: Oh, everyday. My father’s actually a musician. He’s a guitarist.

Did he teach you how to play?

DE: Yeah, I kind of learned. I really didn’t pay too much attention to it. My thing was the trumpet.

Why the trumpet?

DE: I don’t know… I just liked horns. I like strings too but I really love horns and percussion.

Did you study the trumpet?

DE: Yes, in High School. I was in our school band and when they had a competition for the All-New York City Band, I made the first cut for that. I think it was my last year in HS when I accomplished that and we played at Carnegie Hall. That was nice. I think we played something [from] Beethoven.

So you studied classical music as well?

DE:  Yeah, I did. Classical, jazz… everything. The experience of learning to play classical music was incredible. The feel for it is totally different than your average four-to-the-floor beat or R&B – it’s different. It’s more smoothed out and it’s almost like you’re floating.

Why’d you stop with the trumpet?

DE: That’s a good question. Since my sophomore year in school I was DJing, too, so I was doing both. I preferred to DJ and I couldn’t see myself going on tour playing a trumpet. I just couldn’t picture it. I didn’t want that as a future even though I loved what I did. I was about sixteen/seventeen years old when I really seriously started DJing and I got my own set. Thank God my brother bought it after I talked him into it. I was like, ‘Yeah. I can do this, man! I’m good at this.’

How did you know that if you didn’t even have your own set?

DE: I just knew. I could feel it. I mean I was naturally into music. I could play a trumpet and if I could do that, I felt I could do anything.

So what was your first experience with DJing and the culture?

DE: My first real exposure to DJing came when we used to visit my Grandmother’s house back in the early seventies – I’m talking about ’69, 1970. Don Welch from the SOUND FACTORY BAR and UNDERGROUND NETWORK, used to live above my grandmother’s apartment and he used to practice and DJ back then. He and my brother were friends so sometimes my brother would take me upstairs and I would see him doing it. I didn’t really know what it was then because I was too young but I can remember some of the songs he would play back then. One of the ones I know he played forever, was by the Supremes “Up the Ladder to the Roof.” This guy would practice for hours playing that song. That was the first time I actually saw somebody with turntables and the type of set-up to actually mix music. I don’t even recall seeing a mixer so I don’t know how he did it, but he was doing it well. Another song that I know he loved and practiced with was Eddie Kendricks’ “You Need a Change of Mind.” These are songs that remind me of him from my memories of hearing him play. It was funny though, my grandmother used to knock on the ceiling with a broom telling him to turn down the music. She was a church lady so she didn’t like all that music. My brother and I were loving it though because we just loved music.  He could keep it on all day, you know?

When did you start buying records?

DE:  During the early days, I didn’t have to buy records because my parents always bought them – whatever the latest hits were – whether rock and roll, R&B, gospel. I always had music at home but one thing we did [as a family] was go skating every Saturday. We started skating at Empire about 1971, ’72 and all of us went – my brother, my sisters, my cousins. There were about eight of us and we went every week. That was my next stage of being introduced to a live set up and hearing a DJ play.

Who did you hear spinning there?

DE:  Before Tee [Scott] got there, there were these guys named Horace and Chuck. Then later on, around ’81, Tee Scott and DJ Big Bob came in. That’s when I really started paying attention to it and was like, ‘Yo, I really love this and I’ve got to learn how to play.’ I probably didn’t start buying records until I was about sixteen or seventeen but before that, I used to tape off the radio.

Which shows were you taping religiously?

DE: 92 ‘KTU. And before that in the early, early days, WWRL or Frankie Crocker [WBLS] on Saturday’s when they used to play different genres of music. They would have the best of the salsa bin, dance/disco and I would record anything they played.

Do you still have the tapes?

DE: Of course not! They got stolen, wrecked, whatever. I only have a few tapes left and those are actually from the ‘BLS dance party that Timmy [Regisford] used to play or from KISS when Tony [Humphries]  used to play. I only have a few.

Were you experiencing the developing Brooklyn scene back in the day? Did you go to hear Dave Morales play or any other local heroes?

DE: I would hear him play once in a while because I liked his style but it was mainly Tee Scott and Andre Collins that I would go hear. Sometimes Andre would play at Tracks, Better Days and some of the private parties they were doing back then.

What did your parents have to say about your partying and going out at such a young age?

DE: Well, they were supportive because they didn’t say “No you can’t go” – especially my mom. She knew how serious I was about my music. She trusted me and gave me a chance to experience it. She said if you give me a reason not to trust you, then you won’t be able to go. Since I was roller-skating from such a young age, I was always out. Monday nights when I was in High School, I would skate at Roxy till 2am and I had to go to school at eight-thirty in the morning. But the deal was: no good grades or you don’t go to school, no skating. It was kind of one hand washes the other. Do what you got to do and you can do what you want to do. That’s pretty much how they raised us. If you didn’t take care of business at home and in school, you were denied everything – no money, no out, no nothing! It’s just shut off. I guess I was blessed cause I had enough sense to do what I had to do and not push them to the limits.

What was your first gig like?

ED:  My first paid gig was for one of my older cousins. She used to bartend at a bar in Queens and she had her birthday there.  She told the owner that her cousin could DJ and that I was really good. She got them to pay me to play for her party. It was a twelve-hour party – 12 to 12.  When she told me the hours, I was like you all are crazy!  That was my first and last twelve-hour party. They paid me $300 bucks for [it].

Well, that was a lot of money though back then!

DE: Yeah, for a teenager. Those were some long ass hours.  I remember that it was in May and coming outside after, it was bright as hell and my eyes were hurting. I was like, ‘Oh no! Ain’t nothing fun about this. Not even for the money.’ But I was like, it’s part of the game. I knew that I loved doing it but I wasn’t crazy about twelve hours. I prefer to do my six to eight-hour party and be gone.

When did you start doing the mobile gigs?

DE: At the same time, I was doing both. Getting small bar gigs but I was mostly mobile. I think my first residency came around ’91 [but] before that it was all mobile. That first residency was for Tracy Pridgen of Trey’s Productions.  She had a space on the West Side Highway and Jane St. that she used to call the Jane St. Café.

What was your first DJ-set?

DE: I had belt drive SL-100 Technics – my brother hooked me up. He bought me a small ELI mixer but I didn’t care as long as it worked. He also bought me a pair of Koss headphones – those real big ass headphones. I was like, ‘this ain’t cool cause they going to mess up my hair.’ Beggars shouldn’t be choosy but he was laughing because he knows how I am. Eventually he got me a more expensive, smaller and cuter-looking pair that didn’t mess up my hair. So I was good and thankful for that. Then I got a Kenwood amp and an equalizer with full-range speakers that kicked ass.  They weren’t separated or anything and [that was] my beginning set. It wasn’t bad because I always had someone working with me to help carry my stuff, so I didn’t do a lot of lifting in those early days. I think if I had to, I don’t think I would have.  (Laughs)

So you had roadies from the get-go, huh?

DE:  You said it, not me! [Both laugh]

Who else really inspired you?

DE: The biggest influence was through Empire Skating rink because they had some of the best DJs I have ever seen or heard and the system was like, Oooh! To describe what Empire’s system was, is like what people say the [Paradise] Garage was like. I never went to the Garage but the only other space I know to compare it to sound-wise was the original Sound Factory where Junior Vasquez played. 

How come you never went to the Garage?

DE: Mainly because I just followed Tee Scott wherever he played at. I really liked his style. Everybody talks about how great Larry was and I am sure he was, but I never heard him there. Since most of my friends would go, some of the horror stories I would hear had me saying, ‘I don’t think I should be there.’

What kind of stories did you hear?

DE: People having sex and things like that. I don’t think I could deal with things like that back then. Plus I didn’t want to take too many chances with the drug scene. People did get high at Better Days but my idea was that it was more controlled security-wise compared to the stories I heard [about Garage]. I can’t say that it was true but I knew that I shouldn’t be in certain environments as far as taking care of myself. Peer-pressure is a bitch when you’re young. I’m not saying that Better Days was an angel club, but you know.

What was so special to you about Tee Scott?

DE: I think what mainly made me gravitate to him was that he was an open type of DJ; he wasn’t an egotistical type of guy. You could meet him for the first time and he was very receptive – wanting to know you and listen to what you had to say. He was always so willing. If you asked him a question, he would answer you. He wasn’t trying to give you the run around. It was just his spirit. He was very friendly and he could play his ass off! The guy was incredible. He wasn’t predictable; he would always surprise you. Keep you hanging on a thread making you say, “I can’t wait till next week to see what he is going to do.” When he did his own edits of songs like “Love is the Message” or “I Was Born this Way”, songs that you knew but you would hear his version and it would be off the hook! Just his talent alone; you want to go and be a part of what’s good.

Now back to you… where was your next residency after Jane St. Café?

DE: I was all over the place after that. I did a lot of guesting but my next residency would have been at 1 Front St in Brooklyn near the Brooklyn Bridge. I played there for maybe a year. Then I left and went to the Silver Shadow [still open on W 27th St between 7th & 8th Avenues] on Friday night. All my residencies have been on Friday nights.

Pretty big rooms too…

DE: Oh yeah, definitely. I was there for two years working with two promoters named Caroline & Kate. Kate currently hosts the LovHer girl party at the Shelter downstairs. At Silver Shadow, I was doing the Hershey Bar party. That was the name of the production that Caroline & Kate ran back in those days. Then I left there and went back to work with Tracy at the Warehouse in January 1998. I’ve been there ever since, regardless of whether the promoters have come and gone. In between these last five years, I also did a year at the Brooklyn Café for Trey’s production. When Tracy left the Warehouse in 2000, I stayed and was doing both the Warehouse and Brooklyn Café. 

Have you ever been on the radio?

DE: My first one was in about 1996 for DJ Disciple when he did a female DJs night. I played with DJ Mona Lisa. Actually I sent in a mixed tape because I couldn’t take off from work – but the other three ladies showed up in person. He didn’t let them play live though, he just played their tapes. DJ MK was one and I think the third was a lady named Phyllis. I still have that. I was asked to do his show but I probably wouldn’t have submitted anything to him because I was not really interested in doing radio for some reason. I was used to having the live audience in front of me, that’s what really gets me going. I’m glad that I did do it and that I was asked. It opened up my mind more as far as knowing what we need to do to keep this music going and growing. Real music, where you have true vocalists not some sampled over studio crap. Real musicians. In some cases, we still have a lot of electronic and sample music in our house genre but for the most part, we also have real musicians and vocalists.

What was your style like in the beginning and is it the same now?

DE: I don’t really know if I have a style. I pretty much always play for a dancing crowd. That’s the key for me. [It determines] how I shop and how I buy my music. If it’s not a record you can dance to, it will be my last choice. I say I’ll come back and get it if it’s a nice, ‘sit down record’ as I call it. It’s hard. Maybe in my younger days it was harder to slow down, [and though] I still play a lot of high-energy records now, back then it was even more. I could go all night just up there and not let them breath! I learned you got to let them breath! They need to go to the bathroom; they need to spend that money at the bar.

So there’s a business to playing music?

DE: Oh definitely! It’s all business. I know most of us pick it up as a hobby at first because you love it. But those of us that are blessed to get hired to play and get paid to do this, you are offering a service. That’s the first thing. It’s not about what you want, it’s not about ego or anything. It’s about making sure that the people that come through that door are happy; the promoters are happy and the club owner is happy. If you can’t do that, then you won’t be working – because this is a business. If you want to play for fun, then you get your own space and make your own party. I don’t know too many people that play for fun. It costs a lot of money to have and run a party. It’s not cheap. It costs a lot of money to play: to keep up with the records and to keep your equipment in shape.

Where do you like to go for your records?

DE: Here in the city – Satellite, Dance Tracks, DiscoRama, Rock & Soul, Vinylmania – your standards. Other than that, your little mom and pop stores in the outer boroughs. When you’re driving through, you can stop and just dig because there’s always a gem somewhere – always.

Are you interested in producing music?

DE: Yes, definitely. I would love to try my hand at it.

But you are well known among the insiders for your great fingers already. When did you start doing edits and when will people hear more of your work?

DE: I’ve been editing my own material for a few years now just to play in my sets to give it spice. It’s kind of like the old-school thing to do. What Tee Scott and others used to do. I guess old habits are hard to break and to me it’s real interesting. To me it keeps you on your toes. Sometimes you can do edits that are really hard to mix just for the challenge of it. That’s why I still do it to this day and I actually just started collecting my own edits. I used to do edits and things and not even keep them, but now I have a collection. I edit mostly classics.

Why classics?

DE: That’s what I love! They really, really move me. Don’t get me wrong, I love some of the new things coming out now…

… Like what?

DE: One song that really hit me that came out last year was Blaze’s “Brand New Day [Masters At Work].” There was something raw and edgy about it. Very up-tempo. That’s what I liked. The vocals were great. The arrangement was great and I was like, ‘I got to edit this.’ I felt like I had to work it cause I loved the song. That song is definitely going to become a classic. It’s music like that that is great and stands out. It’s not predictable and it’s original. I don’t feel like there was anything in that song that was heard before. It was something fresh. That’s why most classics are classics because they were that one particular song that was just fucking HOT, fresh – and original. It’s so good that you just want to dissect it and make it better or just extend it. You want more and more of it.

Do you think there are fewer neo-classics?

DE: Yes. I’m not sure why it’s not like that anymore but my guess would be that many of those great producers who were in the game back then and creating all those great songs, are not producing now. Some of those musicians and vocalists aren’t singing or playing anymore. You’ve got a whole new generation where everything is digital and computerized. Everybody wants that high-end sound or that quick fix to do a record. Back in the day I think they put more time and effort into making a record. I think it even took more time to do a track of course because it wasn’t digital. Back then, we knew what we were listening to would be something we would be listening to for years to come. It had that feel to it – it was jumping right out of the box. A lot of the songs today, you have to listen almost to the end of the record before it even gets to the box. Some never even get out of the box. You’ve got to play something and you’re trying to move on with the times as far as the music, but for me I think a great party consists of both classics and new stuff.

Let’s talk a little about your editing technique. I heard it’s real simple.

DE: Yeah, it’s real simple. Andre says I have a deadly finger because my timing is impeccable. He thinks it’s really hard to do but I think it’s simple. It’s nothing complex like what these guys do with the computer. I don’t know how to use the computer method. I used to do it the old way with the tape deck, the splicing and all that. Now they have samplers and even some of the CD players have samplers on them. I just do [them] like that. I’ll take bits and pieces of edits or whatever I want and either use them as plain straight up edits or I mix them together/mix them down to make a whole different track. Actually it’s the same track just re-edited to a longer version where the parts are played at a different time because I think it should be. That’s all I do. But this is what I hear so this is what I edit. It works for me because for the live parties and mixed CDs where I have [used them], they’ve gotten good responses. So I guess I’m on the right road. It’s something that sounds danceable and acceptable to the ear.

Speaking on new things… do you have any ideas on how to grow this musical style to a younger audience?

DE: I think as the older DJs we sometimes need to give [the audience] a chance and listen to what they are feeling and hearing to see if we can work with them. Still teach them, but also bend so they can learn. You’ve got to be more open to teach and to give up information if they call or they come to the club when you’re playing. Tell them what something is, what label it’s on, who produced it so they can find it. Things like that – we need to share more information.

This is an era where there’s a lot more openness or access to DJs than previously. Who was helping to educate us before, the radio?

DE: Yeah the radio did most of the educating back then because all the realness was played on the radio. We had our underground clubs of course where Tee, Larry and all the other guys broke songs, but the majority of the things they played were on the radio. Stuff we would call commercial music today; it wasn’t really underground – not at all.

Where did you party and dance?

DE: Like I said, pretty much I went to Better Days or Tracks (NY). I would go to parties with my brothers and sisters in Queens to this club called the Blue Ice, Brown Sugar on Nostrand Ave. I was all over the place – wherever the music was good! When Don Welch played at a spot called Two Levels Up or something like that on 23rd St., my brother used to take me there sometimes.

You always partied with your brother?

DE: Yes, all the time! He was my hanging partner, what? There’s only about four or five years between us.

Why didn’t he become a DJ or anything else musical if he was just as immersed as you were in the scene?

DE: He just knew that he wasn’t really into the DJing, but he could tell you what every record was because he knows and loves music. He grew up playing piano, bass, drums and the guitar – and he can sing. He’s just diverse like that. I wish I had the skills he had, I probably wouldn’t have been a DJ. I’d be singing. He has an incredible voice, but he didn’t want to get into music as a career. He [just] loved to dance and hang out. We did a lot of hanging out back then. Even after we got older and the rest of the family stopped doing that Saturday everybody go skating thing, me, my brother and two of our cousins – Anthony & John, continued to go out until about the eighties before they moved back to South Carolina. Once they left, it was still my brother and I. We would go on Tuesday nights to hear Tee play [at Empire]. It’s just incredible to think about all the stuff we did. We really stopped hanging out a lot together when he went into the service. Then when he came back, he was hanging out with his girlfriend and he was like, “I ain’t got no time to hang with you. I got to go with my woman.”

In the past year, you started to make a significant impact on the scene by adding a new Brooklyn residency, breaking the gender traditions at a couple of key events, getting more focused… let’s talk about some of those achievements.

DE: [BKNY at] 667 is going well and we’ve been there since April or May of 2002. The line-up we have now is Lil Ray who does the after-work portion from 6-9pm. And from 9 till 3 or 4 am, Tyrone Francis and I do the rest of  the night together. The people there are great: they come, they support us and they dance. The feeling is good.

Now the Prospect Park Jam. Had you gone to the party before you played there? What was the day like, your mom was there…

DE: My whole family was there – my godson, my sisters, my nieces, my mom, my cousins. It was a family thing and it felt good because I am a family person. We were doing it like it was a club environment but it was good to actually take them outside instead of them listening to me in the house or when we have a family party. Seeing people getting down [out there] was a good feeling. I was happy and elated that I was asked to do it.

Yeah, Ray made a grand announcement in the rain without a mic.

DE: Yeah! That made me turn red and blush like hell! I didn’t expect it. It was nice of him to do it, but I was like, you don’t have to do that, just let me play. But that’s Ray.

Now that you’ve added Shelter to your list of successful BIG room events, let’s go inside and reveal what that felt like. 

DE: Well, I could tell you for sure that it was an honor and a blessing to be asked by Timmy himself. I really respect what this guy does and have looked up to him for the work he’s done over the years. It’s almost kind of a shock – it’s incredible because of course you dream of it. You listen to these guys on the radio for years, hear them play at big clubs and your dream is always to work with them because you enjoy all the pleasure they’ve given to people over the years. You can’t take it for granted that’s for sure.

Well you got your shot and you did a lot with it... so what’s next?

DE: What’s next? I want to continue traveling but I would really love to finally get over to Europe to play. I just want to continue to live out my dream and have fun doing it. At the same time, I want to keep giving them love here at home like I’ve been doing all these years. I don’t want to be on the road to the point where I am just gone and never home. I’m rooted here, to what started me.

You play for straight, gay and other mixed groups, is there a difference in playing for one crowd or another?

DE: I think there definitely is. There’s a difference in how you approach what you play. You have to be very careful how you select your music especially at a girl party. What they are used to hearing and what you play, can make or break you. You have to be very consistent. You can break new songs with them but very slowly. You can play probably 3 to 5 new tunes but you’ll have to play them for a month or two before they catch on. They are real slow like that. Playing for the guys – it’s different. They catch on right away! If you play two new songs in a night and you repeat them at least three times, by the third time, they know the words to the song. They’re more attentive to the music. They want it and they’re waiting. At the women’s party, other than the true heads that come there to dance, they pretty much go out to look cute or socialize. It’s just interesting that there’s a difference and I’m glad that I have had the opportunity to learn the difference and learn how to work different parties. Not just assume that I can beat them in the heads with whatever. You’ve got to accept it, it doesn’t work like that.

You’ve earned a lot of respect among your peers that’s not based on a “girly” image. It really is about how well you rock a room. What do guys say to you when you’re playing?

DE: Most of them are amazed and keep looking at me without saying anything. They look and don’t say anything or they’ll look and shake their heads then say, “I can’t believe that a woman is just wrecking shit!” Some will come and ask me “how long you been playing sis? You just nasty, nasty!” I be like, damn. I hope that is a nasty good. But I know it’s good, though. The last thing they’ll say is “Keep doing what you do. Don’t stop.” That’s the biggest compliment that I get.

 Let’s talk about what makes a good party? What makes your game so tight?

DE: I think it’s the selection and the way I play things. You can play the same records over and over but it’s how you play it and how you bring it to them that gets the reaction. Also it’s the selection and the programming. That’s what really gets it to the height where they are screaming. It’s the build-up – it has to release, let it go. I know at Shelter when I played, my friends came in the booth and told me: “They crazy! They just screaming your name and saying, ‘Put it down bitch. Put it down!’” I was like, that’s what they are saying? I couldn’t understand [it inside the booth].

What do you see when you look out at the crowd? Are you seeing anyone in particular?

DE: I definitely try to focus in on each individual as they come on the floor. I watch them to see if they are someone familiar first to say, ‘I know what they want’ or if they are someone new, I see what they dance to. Now I know what I can go to next. It’s never pre-arranged, it’s just working on the feeling and watching their body language.  Every person that comes on that floor I try to look them in their face and look at how they are moving on the floor. Are they moving because they are looking for somebody or are they ready to dance. That’s what I do. Once they are there and the floor is pretty much the floor, I just look at it. Back, front, side-to-side, I just look at it every record.

Does it ever make you nervous if you see a weird response?

DE: No. You can’t please everybody. It isn’t possible.

You always have a day job and are a college graduate, what do you think you would be doing if you weren’t doing this and will you ever make music your prime focus?

DE: I pray that can. If I’m lucky I can do a few more years on my [day] job and pretty much leave and retire. I‘ll get a pension so I am not worried about that. But if I can seriously concentrate the rest of my young years solely on my music, I would love to do that. Before I have to throw in the towel and settle down. (Laughs)

What do you listen to when you are not listening to dance music?

DE: That’s what I’m listening to. It’s very rare that I will [listen to anything else]. I will listen to radio programs because I definitely like to know what’s going on in the [wider] community. I want to know what the kids are really into in the streets. When I am home, I try to listen to the older stuff, jazz like Donald Byrd or Motown stuff. I really love salsa. I think I was Cuban in another life.

Let’s talk about the Warehouse experience and working with your good friend Andre Collins.

DE: Before I even got a residency there, I went to check out the Warehouse on a Saturday night when Andre was playing. It was incredible! This guy and his energy – whooo! The songs he played and the response from the crowd. The floor was packed and the system was tight, tight, tight! I was like, ‘this is what I’m coming to?’ I loved it. What I really loved about it was having the dance floor separate from the bar and the lounge. A real club, I was like yeah. We’re here to dance and there’s no playing around. Don’t even come in here if you don’t want to dance. We’ve been friends since the Better Days days. At one point we lost contact due to other reasons…

Yeah Andre and I talked about that – the dark time.

DE: He came back together and I’m glad our lives were able to cross paths again because he’s helped keep me calm and helped me follow my dreams. He’s been an integral part of me being able to hold it down. Being attached to the Warehouse and playing some Saturday’s with Andre has helped me grow along with having my own residency there on Friday’s. My main floor residency is a great accomplishment and it’s not easy to do – especially at real dance clubs and for real promoters like Tracy and Mike Stone.

Anything else you would like to say?

DE: I thank God for all my blessings, family & friends. I was really honored and appreciated that I was the first sister to play Club Shelter. I really want to thank Timmy, Freddy, Lil Ray and Tyrone for pushing me and supporting me and for being there. Andre Collins my right hand, left-hand, my heart…

Thanks for spending time with us!