So, of course, we get in there and start rehearsing, and the first thing that happens is, "Man, I'm thirsty, man. Can I get some of that juice, man?" "Hey, man, don't mess with that juice machine." It's like, "Naw, naw, Weaver [ph.] ain't going to know. He ain't going to know." Next thing you know, we've drank like all the juice like down to about that much. So, now Jesse [Jesse Johnson] is taking water and trying to pour water in to fill it up so it looks like it's all filled up again. So, as we're rehearing and during, during the rehearsal and stuff, Prince comes to, Prince comes to one of the rehearsals. And, in a couple of the songs Morris [Morris Day] says, "Somebody bring me a mirror," right. So, Prince is watching. Morris says, "Somebody bring me a mirror." Out of nowhere, Jerome [Jerome Benton] grabs this big mirror. And, I'm talking about a big, like a wall mirror, off the wall, right. Yanks it off the wall, knocks over a titty lamp, brings it in front of Morris, Morris turns around and looks at him a goes, and starts primping. Prince falls out of his chair on the floor. He say, "Oh, my god! That's it, we got to add that to the act. We got to add that to the act." So, Jerome was a roadie no more. He was Morris' valet, at that moment, right. So, anyway (laughter), Jerome now goes, after--now the rehearsal's over. Jerome's coming now, he's trying to tape the titty lamp back together, right. So, he puts it and he kind of hides it, and you can see like a little crack. But, he kind of tilts it just a little bit so, you know, you can't see it, right? In walks Weaver. Weaver walks in. He goes, "How's it going guys?" We're like, "Hey, good Weaver. Great man, great." He walks in. (Pause), "Man, who been in my juice machine? Man, somebody been in my juice machine." We started cracking up. We said, "What are you talking about, man?" "I told you not to go in my, in my juice machine." And, then he looks around and goes, "My titty lamp! Somebody broke my titty lamp." We were kicked out of there. We, we didn't rehearse, we had no more rehearsals at the YAASM, man. It was, it was over, you know, 'cause did the--you broke the sacred trust, man. The juice machine and the titty lamp, you can't break it. So, that was it. We started rehearsing in a warehouse [in Minneapolis, Minnesota] after that. But, anyway, I tell that story because that, first of all, I tell that story 'cause that was, that was just kind of summed up the group [The Time], right. But, also, 'cause that's how Jerome became Jerome the valet. Because he was Jerome the roadie, you know. But, in that instance when he pulled that mirror off the wall, and I don't know whether, I haven't asked him to this day, had he thought about that before or was it just because he had watched us run the show so many times. He just one day say, "I'm just going to take that mirror off the wall." And, the mirror was so huge (laughter). It was a joke. We said, "We got to get you a proper size mirror, man." It was so crazy.$And, so, finally, on like the fifth day she says, "When are we going to get to work?" And, we said, "Oh, we're working. We're working." And, we whipped out the lyrics to "Control." And, she said, "Wow." She said, "This is what we've been talking about." And, I said, "Yeah." And, she said, "So, wait a minute. So, the album's ['Control'] going to be just whatever we talk about, that's what the album going to be?" And, we said, "Yeah." Well, it was like a lightbulb went off in her head. Because if--on her two albums before, she just went in and sang. Somebody gave her lyrics. Somebody gave her a song. Nobody asked her her opinion. The albums weren't personal, right. All of a sudden she realized that, wait, we can make a personal record here? It's like, "Yeah." So, then there was a thing at the club, we went to one of the clubs. There was these guys talking to her. They were bothering her. She kept looking over at us like, come rescue me. And, you know, some of our friends were like, "Hey, go help Janet [Janet Jackson]." We're like, "She's fine. We're standing right here. Ain't nobody going to do nothing. This is Minneapolis [Minnesota]. Nobody's going to do nothing to her," right. So, afterwards she comes over, and she said, "Did you see those guys talking to me?" And, we said, "Yeah." She said, "Those guys were nasty." We said, "Really?" "Yeah. Why didn't you come help me?" And, we said, "Well, you're standing here now, so obviously you were fine, handled yourself just fine." She said, "Oh, yeah, I guess I did, didn't I." So, it got her out of her shell, you know, out of her kind of insulated shell that she had grown up in. And, we, you know, we were ourselves around her too. We'd like, cussed. She'd charge us twenty-five cents every time we cussed, you know. We'd say, "Hey, Janet, oh yeah, oh fuck that Janet." She'd go, "Oh, twenty-five cents, twenty-five cents," like she was the police. It was like okay, cool. But, we had a great relationship. And, so, the thing that happened at the club with the guys turned into "Nasty," into the song "Nasty." And, that was sort of the way the recording of the record happened. She was engaged. She was excited about it. And, it was a different Janet than--we were fortunate because the Janet we got was a Janet who was now excited about singing and about creating as opposed to, "I'm just doing this 'cause my dad [Joe Jackson] wants me to do this." This was the first time she was doing it 'cause she was passionate about it. So, we, we were good to be a part of that. I mean, we, we were fortunate. So, at the end of the project, we figured that we're done with the project, right. And, I always have a saying about A and R [artists and repertoire] people. A and R people, at record companies, basically the only thing they ever do, is they come in and they always say, "I just need one more," right. That's--so, John McClain, so we're riding around--no, we're not riding around with John McClain. John McClain comes to the studio [of Flyte Tyme Productions, Inc.], we play him the whole record 'cause we've recorded in Minneapolis so nobody's interfered with us. We play John the whole record, and he says, "Man, I really love the record. I just need one more." And, we said, "Oh, here we go. What do you need, John?" "Man, I don't know man, I just, it's really great. I just need one more." So, we said, "Okay, cool, John. Okay, fine. All right. Well, we'll figure out what that is." So, I remember we were riding around in the car, and we said, "John, hey, you know, me and Terry [Terry Lewis] are working on our own album." And, he said, "Oh, that's cool. Can you play some stuff?" Said, "Yeah, yeah." So, we started playing him tracks from what's going to be me and Terry's album. And, one of the tracks comes on and it comes on (singing). And, John goes, "Wait a minute. What is that?" And, we said, "Oh, just a song. We don't know what it's going to be yet." He said, "That's the song I need." We said, "No, no, no, no, no, no. That song is for our album." He said, "No, no, no. That's the song. I swear to God. That's the song I need. That's the song I need." So, after we argued about it a little while, we said, "Okay, here's, here's what we're going to do, John. When Janet comes to the studio tomorrow, we're going to just play the record. If she likes it, she can have it. If she doesn't say anything about it, we're going to keep it." And, so, she's sitting on a couch out in the room, we put the record on, she walks in the room, she goes, "Who's that for?" And, we said, "You, if you want it." And, she said, "I want it," "What Have You Done for Me Lately," first single.