Operator: Hello and thank you for joining us today for an interview with award winning entertainment executive Suzanne De Passe, and Rock and Roll Hall of Famer, The Four Tops's Duke Fakir. This call is in advance of the StarVista Entertainment, Time Life release of "Motown 25, Yesterday, Today, Forever". You can refer your readers to motown25dvds.com for more information and to purchase the collection. Remember to hit *1 to ask a question and we'll wait a moment to collect questions. Once again that is *1 on your telephone keypad to ask a question. It'll be just a moment here while questions are queuing up. Operator: Thanks for your patience. We're going to go ahead and take our first question. It comes from Brian McCollum with the Detroit Free Press. Brian? Brian: Hi, Suzanne. SUZANNE DEPASSE: Hi. “DUKE” FAKIR: Hi, Brian. SUZANNE DEPASSE: Hey, Duke, how are you man? “DUKE” FAKIR: I'm doing fine. Good to hear from you. Brian: Likewise. Suzanne, I'll hit you with a tough one right out of the gate here. Certainly one of the big legends about that night, the taping of this event was whatever happened on stage with the Supremes. I was wondering if maybe you could talk about that a little bit and is there footage out there that we haven't seen and was it considered for inclusion on this thing at any point? SUZANNE DEPASSE: Well, you know, I think that the big legend about that is Diana took Mary Wilson's microphone away from her, that's pretty much I think what you're talking about? Brian: Mmhmm (affirmative). SUZANNE DEPASSE: Well, actually what happened was we had rehearsed the introduction of Berry Gordy, and Mary was kind of jumping the gun by taking the bit in her teeth, so to speak, and I think it was all in the enthusiasm of the night, but what happened was, Mary started to say something and Diana just took her hand and pushed the hand that Mary had with her microphone down so that she could carry on with what had been rehearsed. People just seemed to blow it out of proportion; I don't even know where it really started, but no the footage is not in there and the fact is that we really were not on ... The cameras were sort of pointing toward Berry Gordy's entrance, and while it was on Diana, I don't think we really have her actually the moment of the great microphone abandonment on Mary's part and Diana's part. It comes out of I think a tendency that people want to paint Diana as this grand diva and she was acting on her own, when she was really just following our request and instructions. Brian: So all these rumors over the years of footage was burned and all this stuff is, you're saying that we can set that aside and declare it not true? SUZANNE DEPASSE: And declare it not true, certainly the burning of... I come from the Berry Gordy camp where you burn nothing, bad or indifferent. Brian: There you go. SUZANNE DEPASSE: That would be the case. No, nothing burned, nothing averted, no. I think in thirty-­‐one years or whatever it's been, if we had it, we'd have used it to actually dispel the perception that there was some terrible altercation. Brian: Excellent, I appreciate it. SUZANNE DEPASSE: No problem. Operator: As a reminder, please press *1 to ask a question. Our next question comes from Gary Graff with Billboard. Gary? Gary: Hi, guys, how are you today? SUZANNE DEPASSE: Good, and you? Gary: Good. “DUKE” FAKIR: Hello. Gary: Duke, you hitting 'em straight? “DUKE” FAKIR: Everything is good. How you doing, Gary? Gary: Good, good. Thanks. “DUKE” FAKIR: Great. Gary: I'll get Suzanne first, but Duke you probably have some thoughts about this too. What was it about Motown 25 that you feel connected so well it still resonates? Did you feel at the time as you were putting it together that it was going to have the kind of impact that it did? “DUKE” FAKIR: Well I... SUZANNE DEPASSE: Go ahead, Duke. “DUKE” FAKIR: We both probably can answer that; from the artist point of view, to me it was actually a great coming back together of what I would call the family, and it was like we all came back together for Thanksgiving dinner. We appreciated and loved every moment that we were there taping, and we really felt that this was going to be extremely special. That's before we knew what Michael Jackson was going to do. We just thought it was something that the public would love to see, and we certainly loved doing it. It was just exciting that whole particular week and the night of, adrenaline was really flowing from everyone. I would say yes, we really enjoyed it, it had that family feeling all during the rehearsals, all during that week, we played all kind of games on each other and it was just fun. I wish we had some footage of the dressing room. Gary: Before Suzanne comes in on this, Duke, you're going to have to talk about those games and what went on in the dressing room. “DUKE” FAKIR: Can't tell. Gary: What goes on in Motown 25 stays in Motown 25? “DUKE” FAKIR: Hey, if it ain't on tape, you ain't got it. No, it's just fun and games, nothing special. We just played jokes on each other, just so glad to see each other. You know how men are. We just reminded each other how well we felt and how good we felt about each other and being around each other, so we had some fun. Great fun. Gary: Suzanne, your sense of the impact and was there a point in all this where you felt like you knew the impact it might have? SUZANNE DEPASSE: That would be no. I think those of us on the production side of things were in a constant state of stress and worry. For instance, Stevie Wonder was meant to open the show, and he was as par usual late, so we had to strike the set. Every moment that we got something in the can, there was a small sigh of relief, but actually it wasn't until we finished the editing process that I think any of us really relaxed or became imbued with a sense of what we had accomplished, because every minute of the booking process, the production process, the rehearsal process, the whole thing was just bigger than you could stop and appreciate. There was more going on than appreciating... Obviously on the night when the Tops and Temps were on and the reunion of the Miracles and Michael with his brothers and the moonwalk and all of that, you had momentary [inaudible 00:08:42], "Oh my God, look at that," but until the whole thing was put together, I don't think any of us really understood what we had all accomplished together and sort of bringing the family back together and the notion that has been basically talked about with respect to the family, Motown was a family blah blah, and I don't think until Motown 25 the rest of the world really got to understand that, that regardless of anything else, the coming back together was the greater good and the bigger feeling of love and appreciation for what they had experienced together. Gary: Sure. Go ahead, Duke. “DUKE” FAKIR: No, no. I was just going to say as just a reminder, from the artist point of view, while we were doing it and watching it being done, there was conversation between quite a few of the artists that this was something extremely special and we'd be looking for some kind of award. I just wanted to put that out there. The artists, not dealing with the particulars and this and that as the producers would, we felt we saw something special and we felt something special and we thought it would be an award coming from this particular show. Gary: Suzanne, how come something like this, I mean you know okay the scale was going to be impossible to replicate, but how come something really major like this didn't happen for thirty, forty, and especially for fifty? SUZANNE DEPASSE: That's a good question, and I think that once Berry Gordy sold the company in 1988, it changed everything sort of, you know? We did do Motown 30, "What's Going On?" That ended up on, I believe it was CBS, and we did do Motown 40, "The Music Is Forever", which was more of a documentary reminiscent piece, or as we like to call it, a rockumentary, but as far as gathering everybody together, that didn't really happen obviously. Gary: Okay. All right, very good. Thank you guys. “DUKE” FAKIR: Thank you, Gary. Operator: Okay. Our next question comes from Shameika Rhymes with soultrain.com. Shameika? Shameika: How's everybody doing? “DUKE” FAKIR: We're doing fine, Shameika, how are you? Shameika: I'm good, I'm good. I'm multi-­‐tasking. My first question for you, Duke, is aside from your performance with the battle of the bands type of thing, what was the highlight of the show for you? “DUKE” FAKIR: Well, the highlight of the show for me was, well there was two highlights actually, but the main highlight, not disregarding ours, the Tops and Temps, I felt really good about how we acted and interacted with each other on this particular new kind of format. It was very, very exciting, but after watching Michael Jackson doing his personal thing, that to me was the highlight. I was just so excited and happy for him the way he came out and just boom, he just showed out. Shameika: Hi, Suzanne. SUZANNE DEPASSE: Hi. Shameika: My question for you is why release it now, thirty-­‐one years later? SUZANNE DEPASSE: Because we finally conquered with Time Life and StarVista the most challenging part of releasing this, which is the clearances and the ability to do a new 5.1 surround sound mix. We've tried over the years and we were always stymied by the question of who was going to take on the responsibility of the clearances. SUZANNE DEPASSE: I guess the bottom line is that the stars aligned the opportunity to work with Time Life I think who recognized that this is kind of an evergreen piece and that even though it's thirty-­‐one years later, that there would be a sufficient amount of interest in the reliving what Motown 25 was all about. Shameika: Well I'm certainly glad that you are releasing it, because I have been one of those people waiting for it. SUZANNE DEPASSE: Well I'm just glad it happened before I hit the [inaudible] home, you know? Shameika: Thank you. Operator: Okay, our next question is from David Barron with the Houston Chronicle. David? David: This may reflect my demographic group, but it would appear that there are probably fewer opportunities these days for cultural moments of consensus; this would seem to be one of those events that was a consensus at the time, the music was a consensus when the music was being released, it was a consensus when you did the special, and probably to a degree it's a sort of a cultural consensus. Are those sort of those things fewer and farther between as society gets more fabricated and more complicated than perhaps it was a few years ago? SUZANNE DEPASSE: I absolutely think you're right. Yes is the answer from my point of view, and I think in a world where the competition for eyeballs and interest and pocketbooks is so unbelievably competitive and there are so many choices, it seems as though that unless it's a specific sporting event or some monumental programming, then it's very hard to have that water cooler moment. It's sort of a rolling appreciation of whether it's a program or a movie or a concert, it's not the way it used to be because there are too many choices. David: Thank you. Operator: Thanks, David. Our next question is from Wesley Norhoff with LMJ. Wesley? Wesley: Hello, good evening. This is Wesley speaking from LMJ. “DUKE” FAKIR: Hello. Wesley: We all know Michael's performance at Motown 25 was one of the most important ones in his career, but it has also been rumored for many, many years that Michael did not want to do the show. According to the story Berry Gordy went to Michael when he was recording the Thriller album in the studio. My question is is that true and can you tell us more about how you guys managed to get Michael on stage and that process you went through? SUZANNE DEPASSE: First of all, the truth is that Michael really didn't want to do the show because I think he felt that he had moved on and they had moved on in a way, but Berry was very instrumental in speaking with Michael, and he Michael wanted to make sure that he could do Billie Jean even though while we were in rehearsal, a letter came from Michael's attorney saying we were forbidden to tape it, much less air it. There were challenges with the Michael performance, for sure, but I went to Michael and basically said in response to this letter, because we had just seen it in rehearsal, that we had to tape it and that he was welcome to come to the editing room, and if at the end of the day he wasn't happy, then we wouldn't use, but to let the moment go by because he wanted to do it for the people in the house. As you can see, the result was that he was very happy with it. At the end of the day he was so happy to do it and he was fun and the old Michael, you could just see that whatever obstacle there was to him in his mind that actually getting there and see all of his old friends and working with our team and stuff like that, it just all dissipated. If you see him in the finale, he's as happy as he can be. Yes, it was a bit of a struggle getting him there, but at the end of the day the proof is in the pudding. Wesley: Thanks so much. Great answer. Operator: Thank you. As a reminder, please press *1 if you would like to ask a question. Our next question comes from Chuck Yarborough with Cleveland Plain... Chuck? Chuck: It's Chuck Yarborough with The Plain Dealer in Cleveland. The question I have for both of you really is this: in going back and seeing these DVDs and seeing all this footage, is there something, a particular moment that you either hadn't notices in real time and it brought it back to you or was there something that you had forgotten about? “DUKE” FAKIR: Personally, I haven't seen it in a while. I just saw maybe one little portion of it, so I can't really refer to it. I can't wait to see it though. Chuck: So you already have yours in your cart? You've been online and pre-­‐
ordered it? “DUKE” FAKIR: Say that again. Chuck: You've been online and pre-­‐ordered yours already then? “DUKE” FAKIR: Oh, I can get mine without pre-­‐ordering, I'm sure. Chuck: What about you, Suzanne? Have you had a chance to see the entire collection yet and is there something that you had forgotten about? SUZANNE DEPASSE: I think when we were looking at the rehearsal footage of Marvin Gaye, I had actually forgotten how really funny he was and how he was supposed to come up on this elevated stage, elevator stage thing, but when see you it, it bumps and it grinds and he's sitting there on the piano, so he was supposed to rise up on this piano, and the thing just wouldn't work. His reaction to that, I had forgotten how hilarious it was that his sense of humor about not going down there again and sort of the twinkle in his eye about that. I had clearly forgotten how sweet he was and how ridiculous the mechanics were. Chuck: All right, thank you very much, I appreciate it. “DUKE” FAKIR: You're welcome. Operator: Okay, we'll take our next question which comes from Kimberly Roberts with the Philadelphia Tribune. Kimberly? Kimberly: Yes, I'd like to go actually back, and of course I'm a big fan of Motown 25. I've actually seen it a couple times on YouTube and things like that, but I'd like to go back a little bit into Motown history. I grew up in Philadelphia during the Motortown Revue, and the show would come to the Uptown Theater. I'd like to ask Suzanne as somebody behind the scenes and Duke as a performer, how did that tour get started and what impact did it have on the success of the company? “DUKE” FAKIR: Well, I'm not sure whether you're referring to an early Motown review show like in '63 or '62, '64 maybe. Kimberly: Yes. “DUKE” FAKIR: I was not on that one. Kimberly: Mmhmm (affirmative). SUZANNE DEPASSE: I was in high school. Kimberly: Okay. I'm talking about the ones that would come to the Uptown Theater and the Regal Theater and the Royal ... “DUKE” FAKIR: The one you're talking about is probably one of Georgie Woods's productions. Kimberly: Yes. “DUKE” FAKIR: Oh yes, he put on some great shows there in Philly. Sometimes he would have just Motown artists; sometimes he would have a great mixture of the black artists that were topping the charts and great competition. Those things were brought in by the promoter or in that case it would be Georgie Woods. That's the kind of show he wanted and I think we put the show together that he requested [inaudible 00:22:20]. Kimberly: How did those shows impact your career? Did they help you as far as being to, the longevity that you've had? Because I've heard you've had so many shows per day during that time. “DUKE” FAKIR: Yeah, we did have a lot of shows during that time. The Apollo would be five, it was five a day and it would be like three with Georgie Woods and at the Fox and Brooklyn it was from nine o'clock to nine almost. Kimberly: Wow. “DUKE” FAKIR: Six or seven shows. But Georgie asked for that particular show to come there. The Motown Revue had been traveling, but they hadn't been doing any theaters during those particular years that you're talking about. Kimberly: Okay. Thank you. “DUKE” FAKIR: Welcome. Operator: Thank you. If you already asked a question but you have another one, you can re-­‐enter the Q by pressing *1. Our next question is from Gary Graff from Billboard. Gary? Gary: Hey, hi again. “DUKE” FAKIR: Hey, Gary. Gary: Hey. Duke, if you would talk about the Tops and Temps segments and how that came about. Suzanne, you might have something to say about that as well, but then Duke, I mean obviously, you guys just went back out on the road after that together and that was a big moment I think for both of the groups. “DUKE” FAKIR: Absolutely. Suzanne can probably tell you how that was put together. We did not put that together, but I can tell you what happened after we did it; the production of that came from Suzanne's camp. SUZANNE DEPASSE: Yeah. We had the benefit of having the super genius Gil Askey as our musical director and arranger for the show, and he had been very imbued with the Motown everything. He was Diana Ross's musical director, he went out with many of the acts, but primarily Diana Ross, and one of the things that he was just so skilled at in Diana's act, was putting together medleys of the hits and stuff like that. I think that the fact that Berry Gordy had always believed in the battle of the stars, not necessarily on stage at the same time, but kind of the pitting of one act against another performance wise and as it related to the Motown Revue, the more popular you were, the further down in the show you earned your sort of star positioning. I think it was kind of a combination of the show really wanting to, what we really wanted to do was celebrate a lot of the legacy stuff that had even happened before I was there, but you kind of get it by osmosis. We thought the Tops, as a moment where their songs would be part of this medley that Gil put together. I don't think any of us had an inkling that it was going to be what it became, because what the guys brought to it was the personality and the fun and the one-­‐
upmanship and sort of competition for not just the audience, but for themselves, and really what happened was, it was so magical because you can't program that kind of stuff. You can hope for it, but I would give all praise to Gil and to the Temps and Tops because it just took on a life of its own and it really reflected, I think the spirit of what was going on during our rehearsals and putting the show together is that the energy just kept going up and up and up and up. Gary: All right, and Duke the in the wake of that ... go ahead. “DUKE” FAKIR: When we started doing it on stage, first time even in rehearsal, it just felt like something really great and magical. Then after we did it for the actual performance and we looked at a replay, we said this is something we need to take on the road. I was talking to our manager at that time, Ron Strassner, so we both decided that let's talk to the Temps and let's see what we can do, if we can get this on the road. Originally we talked about maybe Smokey would do it. At first he said he might, so we put the word out there and people from the ringers would call us day and night to try to book Tops, Temps, and Smokey, but Smokey had some last moment had some other obligations and said he really couldn't do it, so we said, "Well, we'll do it alone like we did on TV," and we just started selling it. At first it was a fairly low price, people wasn't that excited about buying it, no people wanted to see it, then as the audiences started coming to see it, it just exploded. That was in 1983, that was only, is that thirty years ago, thirty-­‐one? And it's been going just like that ever since and it's just absolutely amazing. It has extended both of our careers well into overtime which I appreciate. I remember we did it for twenty-­‐five years, Tops and Temps, we had a lovely dinner and we said some wonderful things and we said a thank you prayer, because it really extended our career and it really is the spirit to me of Motown, the way that we competed with each other but we competed and we'd try to compete on a high and to have fun with it, but it's also competition in a loving, brotherly way. Every night we compete even now we're still competing. If you fall down on your job, you'll get laughed at a little bit, talked about in the dressing room, so the people are really getting Tops and Temps at their best performance every night, and it's certainly helped our career. It's just wonderful. We do most of engagement, I'd say 60% of our engagements are Tops and Temps even to this day. So thankful. SUZANNE DEPASSE: Yeah, I think it also speaks to the incredible songwriting that is the genesis of the whole thing. The songs and the records that were put out that are a part of that tremendous legacy of the Temps and Tops and the feel good music that is so much a part of their performances, it has to include the songwriters who, the Whitfields and the [inaudible 00:29:33], and Barrett Strong, and all of those who contributed. “DUKE” FAKIR: You're absolutely right, Suzanne. I always sometimes forget to mention that a lot of all of our success really hinged on some great writing. Some super songs that just took the people over. Operator: Thank you. Our next question is from Brian McCollum with the Detroit Free Press. Brian? Brian: Hi again. In Berry's Broadway musical, Motown 25 is really a linchpin in the story. It's portrayed as this kind of redemptive moment for him. Thinking back to that time, and I guess this is really for you, Suzanne, if you were next to Berry during this process, was there a real sense of that that he needed this triumphant occasion as this validation of this legacy that he had created? SUZANNE DEPASSE: You know, I have to say that I did not realize at the time that the company was having tremendous financial difficulties, so I went twirling off to do this idea, and I think that in concept he really wasn't interested at the beginning or in coming, there were so many mixed emotions for him, but I think in the actual moment where he comes on stage and is greeted by all of the people that he created the opportunity for them to become what they became, that moment just was not just redemptive, I think it was just a validation and a celebration of the joint accomplishments of those people. Brian: Great, thanks. Operator: We'll take our next question, comes from David Barron with the Houston Chronicle. David: Suzanne, you mentioned the music rights which is involved in several Time Life projects in the last few months before basically they've been able to bring out a series or programs that have had music right problems in the past. I'm curious if you could discuss the difficulties involved in obtaining clearances if it's something you're familiar with, if there was any particular song or series of songs in this case that was difficult [inaudible 00:32:10] for. SUZANNE DEPASSE: If you really take the Motown 25 ingredients apart, it's not just songs, it's clips and photographs and dancers of other people like Frank Sinatra, so forth. I can't say, because we fortunately did not have to do them this time. The business has changed dramatically, and I think that part of the reason that Time Life and StarVista are such great partners is because the amount of clearance work that they do to bring these things forward, they have a lot of influence if not clout with publishers and so forth. There used to be twenty-­‐five publishers of repute and size, and now there's probably three because everybody's gobbled up everybody else. The whole atmosphere and climate is so different, so I think that the challenge over the years has been when people didn't exactly understand the value of intellectual property on the global basis and all that kind of stuff has just changed the process and the economics, and I don't even dare speculate as to what all they had to do to get these songs cleared. David: Thank you. Operator: As a reminder, press *1 if you would like to ask a question. If you're having a problem getting into the cue, please email Eric Stein directly. Our next question is from Wesley Norhoff with LMJ. Wesley? Wesley: This is for Suzanne. Before I ask my real question, I just wanted to say that Michael Jackson fans around the world really love and respect you. SUZANNE DEPASSE: Oh, that's lovely. Thank you. Wesley: I'm sure they all think you did a great job for Michael. We have seen zero attention from the Michael Jackson estate regarding the Motown 25 release. I believe sharing it on the official Michael Jackson accounts would give the release a great boost among Michael Jackson fans, so my question is did you get in touch with the Michael Jackson estate regarding the release or does it have their support? SUZANNE DEPASSE: Yes, it does. They were, first of all they control his name and likeness so the estate had to work with us to grant us as much as they felt comfortable with of footage that we could use because as one could imagine, they have a number of their own projects going and just didn't want to, I suspect, flood the marketplace, although that we know that Michael Jackson fans, there is no such thing as flooding. SUZANNE DEPASSE: Bit the fact is that they were cooperative, yet they were protective as well. Wesley: Thanks. Operator: Okay. Our next question is from Gary Graff at Billboard. Gary? Gary: Hi again. Suzanne, one of the things that happened after Motown 25, and I think maybe partially as a result of the special, was the attention that was paid to the Funk Brothers and them having their own moment. Was there anything intended for Motown 25 that involved them or was it one of those things that because you had so much else going on that wasn't necessarily going to be part of the show? SUZANNE DEPASSE: The truth is that there was so much that we didn't get to do, and the fact is that in some of the footage we see them and songwriters, the extended songwriters, there's mention of them and as individuals, Jameson and so forth, but I think what Motown did do was create or reinvigorate interest in not only the on stage people, but the behind the scenes people as well. Gary: Sure. What other great stories were there of you talked about Marvin and Stevie being late, big surprise there, and the Supremes and the Temps and Tops. What else had a really good story about how it was put together or how it came to be or who else showed up late or got lost or anything like that? SUZANNE DEPASSE: I'll tell you one that is kind of... I was standing next to Diana Ross stage left, and Adam Ant came on. She looked at me, she said, "Well, who is that?" I said, that's Adam Ant and he's a Brit and blah blah, and the next thing I knew I was looking at the back of her head walking on stage. That was absolutely not planned, it was absolutely spontaneous, and it kind of blew the surprise of her being in the audience, and poor Adam didn't realize that she was on stage, so when he heard that ovation he said to himself, "Oh my God, I've got them," meaning the audience, then he turned around and there's a really sweet interview with him that we just did in London where he talks about that moment, but that was one of those things that had absolutely no plan or idea. I mean we were included Adam to sort of say Motown is a global influence and even hot young Britains want to sing the song. She made that spot something completely different and of course Don [inaudible 00:39:19] thought, "Oh my God, this is terrible," until he really saw the footage and he said, "This is great." Gary: That's great. Then you had to call in the special riot police just to take care of Duke during the taping right? To make sure he behaved? SUZANNE DEPASSE: I'll never tell. Gary: All right. Thanks a lot guys. “DUKE” FAKIR: Thank you. Operator: All right. That is the end of our Q & A for today. Before we conclude, we'll ask Suzanne or Duke if they have anything to add. “DUKE” FAKIR: I guess I should add something. It's just that I'm extremely happy that this release is finally coming about, because I've had a lot of people ask me would there ever be a DVD or is there a DVD coming and I'm just really excited about it. In fact I can't really wait to see it again, so it will energize me as well. I'm extremely happy about it. As soon as it come out, in fact I'll be in California this weekend; y'all going to have to get me a couple pieces, okay? SUZANNE DEPASSE: I would just add that the additional footage that we shot and created both interviews and behind the scenes and featurettes that have been created for particularly the deluxe six, you think about it, there's like I don't know how many minutes, 700 minutes for a two hour show, but that just proves to me how much people really were touched and influenced by and enjoyed the show. I think that the final thing for me is that I was so lucky to work at a company that there were no boundaries. I was coming fresh out of the record side of things and recently installed as the head of Motown Productions, and the next thing I knew, we were getting an Emmy and a Peabody award and all kinds of accolades for ... It was kind of an amazing thing for me to reflect on, that only in Motown in a company like Motown with Berry Gordy at the helm, could someone like me be in a career in a whole different space that has really not a lot to do with making records, but a lot to do with celebrating the music of the company. I'm just pleased as punch that these years have gone by but the interest in the program has really not diminished. “DUKE” FAKIR: Let me add something, Suzanne. First of all I know the company was extremely happy and fortunate to have you and the artists feel the same way. I think without you we would not have had the type of celebration Motown 25 was if it was not really for you, so we thank you so very much for your input and your longevity and creativity with Motown and its artists. We love you. SUZANNE DEPASSE: Thank you that means a lot to me. Thank you so much. Operator: Thank you Suzanne and Duke, and thank you for joining us today. “DUKE” FAKIR: My pleasure, everybody take care. Operator: Thank you. Please contact Scoop marketing for any additional requests or questions. This will conclude our conference, thank you.