- TONIGHT ON SHOWCASE WITH BARBARA KELLAR, A STUDENT OF THE LEGACY OF KING RECORDS, KENT BUTTS.

STAY TUNED, SHOWCASE STARTS RIGHT NOW.

(MUSIC) KELLAR: HI, I'M BARBARA KELLAR, AND I'M HERE TODAY TO TALK TO SOMEBODY THAT I'VE WAITED FOR A LONG, LONG TIME TO MEET.

HIS DAD AND I WENT TO HIGH SCHOOL TOGETHER AT WITHROW HIGH SCHOOL, AND THEY WERE ALREADY SUPERSTARS, AS FAR AS WE KNEW.

AND IT WAS OTIS WILLIAMS AND THE CHARM'S.

AND THEY WENT ON TO HUGE, HUGE SUCCESS AND POPULARITY.

AND HIS SON, KENT BUTTS, IS HERE TODAY TO TALK ABOUT HIS DAD AND TO TALK ABOUT THE LEGACY OF KING RECORDS, WHICH IS SOMETHING EVERYBODY IS TALKING ABOUT NOW BECAUSE THEY ARE GOING TO REVITALIZE AND REMODEL AND IT'LL BE A HISTORIC SITE.

AND KENT IS THE POWER BEHIND THE THRONE, SORT OF, YES.

BUTTS: SORT OF.

KELLAR: YEAH.

SO WELCOME TO SHOWCASE.

BUTTS: THANK YOU.

I APPRECIATE YOU FOR HAVING ME.

KELLAR: TELL US A LITTLE BIT ABOUT, YOU JUST TOLD ME THAT YOU ACTUALLY SIGNED WITH THE CHARM'S FOR A LITTLE BIT.

TELL ABOUT THAT.

BUTTS: YES, MA'AM.

WHEN ME AND MY FATHER GOT BACK TOGETHER, WHICH WAS AROUND THE 2008 TIME FRAME, WHICH WAS ACTUALLY WHEN THE ACTUAL KING RECORDS MARKER FROM THE ROCK AND ROLL HALL OF FAME WAS PUT IN FRONT OF THE ACTUAL BUILDING.

KELLAR: RIGHT.

BUTTS: THEY WERE HAVING A CEREMONY THERE.

AND THAT'S WHEN PHYSICALLY ME AND MY FATHER GOT BACK TOGETHER.

KELLAR: RIGHT.

-: AND AT THAT POINT, WE MADE OUR ACQUAINTANCE AND EVERYTHING.

AND I WAS ALREADY A PERFORMING MUSICIAN IN DIFFERENT FACETS OF MUSIC.

AND WHEN WE GOT TOGETHER, WE TALKED A LITTLE BIT AND HE CAME TO SEE ONE OF MY BANDS.

THE BAND THAT I HAD HERE IN CINCINNATI.

AND HE WAS EXCITED ABOUT THAT.

HE DIDN'T REALLY KNOW I DID ALL THAT TYPE OF STUFF.

SO ONCE WE DID THAT, A COUPLE OF WEEKS LATER, HE ENDED UP CALLING ME AND ASKED ME COULD I SING FIRST TENOR.

AND I WAS LIKE, "UMM, I THINK SO."

AND SO AT THAT POINT, HIS POINT WAS HE HAD A HALL OF FAME SHOW TO DO IN BOSTON FOR THE DOOWOP HALL OF FAME, AND HE NEEDED A FIRST TENOR.

AND ACTUALLY TO BE ONE OF THE CHARMS.

KELLAR: RIGHT.

BUTTS: AND HE DIDN'T SAY THAT AT FIRST.

HE JUST ASKED ME, COULD I.

SEE, I DIDN'T KNOW WHAT IT WAS.

I THOUGHT IT MIGHT BE SOME STUDIO WORK OR SOMETHING LIKE THAT.

KELLAR: OR SING HAPPY BIRTHDAY.

BUTTS: YEAH, YOU KNOW, SO ONCE THAT HAPPENED, WE HAD, OF COURSE, A BETTER CONVERSATION ON IT.

AND I DIDN'T REALLY KNOW A LOT OF MY FATHER'S MUSIC AS FAR AS ACTUALLY KNOWING IT, EXCEPT FOR HEARTS MADE OF STONE.

KELLAR: RIGHT.

WHICH WAS HIS HUGE HIT.

BUTTS: THAT WAS.

KELLAR: EVEN I CAN SING HEARTS OF STONE.

BUTTS: YEAH, THAT WAS A BIG HIT FOR HIM AND OTHERS THAT COPIED IT.

AND ONCE WE GOT TOGETHER, HE GAVE ME THE MUSIC AND THE ONLY THING WAS WE HAD MAYBE THREE WEEKS BEFORE WE HAD TO GET ON A PLANE AND GO TO BOSTON.

KELLAR: YEAH.

BUTTS: SO I HAD A LOT OF WORK TO DO.

YOU KNOW, I HAD TO GET THE CLOTHING AND EVERYTHING LIKE THAT BECAUSE IN HIS GROUPS, THE BACKGROUND SINGERS DO A LOT OF SINGING, OBVIOUSLY, AND STEPS.

KELLAR: OH, YEAH, THE MOVES.

BUTTS: YEAH.

YEAH.

WE HAD TO LEARN ALL, I HAD TO LEARN ALL THAT.

KELLAR: THINK SUPREMES.

YEAH.

BUTTS: YES, MA'AM.

THEY WERE SOME OF THE FIRST TO GET INTO THAT TYPE OF STUFF.

KELLAR: YEAH.

BUTTS: YOU KNOW, BECAUSE KING WAS THE PRECURSOR WHEN YOU THINK ABOUT PLACES LIKE MOTOWN AND THINGS LIKE THAT AND THEY PERFECTED IT, YOU KNOW, MOTOWN DID.

BUT A LOT OF THAT WAS COMING FROM THE DOO WOP ARTISTS.

AND ME AND MY FATHER WOULD KID AROUND A LOT OF TIMES, ONCE WE START WORKING TOGETHER, WHERE IT WOULD BE MORE, WE CALLED, MOSTLY DOO WOP ARTISTS USED TO DO WHAT WE CALL THE ARM PUMP MOVE WHERE WE JUST -- THAT'S HOW THEY WOULD MOVE.

THEY'D SWAY FROM SIDE TO SIDE AND DO ONE ARM PUMP.

AND THAT WAS DANCING.

KELLAR: YOU MEAN?

YEAH.

BUTTS: THAT WAS IT, YOU KNOW.

KELLAR: NO CHOREOGRAPHY.

BUTTS: BUT MY FATHER AND HIS GROUP AND A FEW OF THE OTHER GROUPS, BUT MY FATHER, PARTICULARLY WITH HIS GROUP, THEY DECIDED WHEN THEY WERE DOING SOME THINGS IN NEW YORK THAT THEY WANTED TO LEARN HOW TO DO SOME STEPS ALONG WITH THE DOO WOPS.

KELLAR: YEAH, THEY NEEDED A CHOREOGRAPHER BUTTS: AND THAT'S WHERE THEY GOT HIM FROM, OUT IN NEW YORK.

I FORGET THE GUY'S NAME, BUT HE HOOKED THEM UP WITH A COUPLE OF SHOWS, AND THEN, I THINK IT WAS AT THE APOLLO.

AND HE HOOKED THEM UP WITH A COUPLE OF SHOWS OF HOW TO DO SOME STEPS.

AND THEN FROM THERE THEY TOOK IT UPON THEMSELVES AND THEY WENT FROM THERE AND JUST KEPT DOING IT.

KELLAR: YEAH.

BUTTS: BUT I SAY THAT TO SAY A LOT OF PEOPLE DON'T REALIZE THAT WAS LIKE THE PRECURSOR TO WHERE YOU TURN AROUND AND YOU SEE THE TEMPTATIONS, SMOKEY ROBINSON, THE MIRACLES, AND PEOPLE LIKE THAT TOOK THAT AND RAN WITH IT AND PERFECTED IT TO BE WHAT WE KNOW TO REALLY BE A SHOW.

KELLAR: YEAH.

BUTTS: FROM THE BACKGROUND DANCERS AND THINGS LIKE THAT.

OR LATER ON AT KING WHEN YOU SEE JAMES BROWN AND YOU SEE THE FLAMES.

YOU KNOW, THAT WAS A LITTLE LATER.

KELLAR: YEAH.

BUTTS: AND THE FLAMES WERE VERY ACTIVE AND DANCING.

KELLAR: RIGHT.

BUTTS: YOU KNOW, AND IT JUST -- THAT'S HOW THESE THINGS COME UP.

AND A LOT OF PEOPLE DON'T REALIZE WHEN YOU TALK ABOUT DOO WOP, A LOT OF ARTISTS THAT HAVE COME OUT OF THERE, LIKE JACKIE WILSON, YOU KNOW, PART OF THE DOMINOS.

THESE INDIVIDUALS ARE THE O'JAYS, THEY ALL KIND OF GOT THEIR START IN GOSPEL MAYBE AND ALSO DOO WOP.

THE DOO WOP ENDED UP, THAT'S HOW YOU HAD A LOT OF LEAD SINGERS COME OUT OF THERE, OUT OF THE DOO WOP GAME, BECAUSE THEN YOU START ADDING BANDS.

ONCE YOU START ADDING BANDS, THEY DON'T NECESSARILY NEED ALL OF THE BACKGROUND SINGERS BECAUSE YOU HAVE A KEYBOARD PLAYER THAT CAN PLAY THE HARMONIES AND CHORDS.

KELLAR: RIGHT.

BUTTS: AND IT'S HOW YOU ENDED UP GETTING -- A LOT OF PEOPLE DON'T REALIZE THAT DOO WOP WAS SO SIGNIFICANT IN THE EARLY STARTS OF WHAT WE CALL R&B OR R&B LEAD SINGER.

KELLAR: RIGHT.

BUTTS: MOST OF THEM WERE COMING, EVEN WHEN YOU START DEALING WITH THINGS LIKE FUNK MUSIC AND YOU THINK OF SOMEBODY LIKE GEORGE CLINTON, OR PARLIAMENT FUNKADELIC, THEY WERE ACTUALLY -- GEORGE CLINTON AND HIS GROUP WERE ACTUALLY A DOO WOP GROUP.

SO WHEN YOU LISTEN TO SOME OF EVEN THE FUNK MUSIC.

KELLAR: YEAH.

BUTTS: WHEN YOU LISTEN TO THAT FUNK MUSIC OF GEORGE CLINTON'S, THERE ARE A LOT OF GREAT HARMONIES IN THERE.

THERE ARE A LOT OF GREAT GUITAR PARTS AND THINGS LIKE THAT THAT WERE SIGNIFICANT, IT'S JUST HOW THEY MASHED THEM UP TO CALL IT FUNK MUSIC.

BUT A LOT OF PEOPLE DON'T REALIZE ALL THIS.

AND THIS IS WHERE I GO TO A LOT OF TIMES, BARBRA, WHEN PEOPLE TALK TO ME AND ASK ME QUESTIONS AND THEY SEGREGATE MUSIC.

KELLAR: HMM.

BUTTS: THIS IS COUNTRY.

SO COUNTRY IS WHITE MUSIC.

OR THIS IS, YOU KNOW, HILLBILLY OR WHATEVER IT IS.

AND MOST OF THE TIME WHEN I'M SPEAKING TO SCHOOLS OR CLASSES OF KIDS, SOMETIMES I JUST SIT DOWN WITH THEM.

AND EVEN THE TEACHERS THAT DON'T REALLY UNDERSTAND.

I TELL THEM THERE'S ONLY 12 NOTES.

WE ALL DEAL WITH THOSE SAME 12 NOTES AND THAT MAY BE A LITTLE FLAT OR A LITTLE SHORT.

KELLAR: RIGHT.

BUTTS: AND SOME PEOPLE CAN'T GET IT RIGHT UNTIL THEY GET IN THE SHOWER, YOU KNOW, AND THEY SOUND LIKE THE GREATEST THING EVER IN THE SHOWER.

BUT I SAY THAT AND I'M VERY SIGNIFICANT IN WHAT I MEAN WHEN I SAY THAT, IN THAT THOSE 12 NOTES, THAT'S MY BEST LANGUAGE.

AS I'VE TRAVELED AROUND IN THE UNITED STATES AND OUTSIDE OF THE UNITED STATES, THE ONE THING I DO KNOW IS F SHARP HERE IS THE F SHARP.

KELLAR: YEAH, ANYWHERE IN THE WORLD.

BUTTS: IN ITALY OR WHEREVER WE'RE AT, IT'S THE SAME THING.

SO THAT'S A UNIVERSAL LANGUAGE AND I STAND BY THAT LANGUAGE, YOU KNOW, AS SOMETHING THAT I'M VERY PROUD OF TO BE ABLE TO USE AND COMMUNICATE.

YOU KNOW, THOSE 12 NOTES, AND I SAID THIS RECENTLY IN ANOTHER INTERVIEW I DID WHERE THE TWELVE NOTES, THEY'RE YOURS, THEY'RE MINE, THAT'S FREE.

WHAT'S NOT FREE AND WHAT HAS CAUSED ALL OF THE RIFF RAFF AND BACK AND FORTH ABOUT THE SITUATION IS WHEN YOU TAKE SOMEBODY ELSE'S VERSION OF WHAT THEY DO WITH THOSE 12 NOTES AND YOU USE IT FOR YOURSELF WITHOUT EITHER PAYING THEM OR RECOGNIZING THEM.

KELLAR: YEAH.

BUTTS: THAT'S THE WORST PART OF THISUSINESS WHERE A LOT OF PEOPLE HAVE NOT BEEN RECOGNIZED.

AND A LOT OF THAT HAPPENED IN THE '50S AND '40S WHERE, YOU KNOW, WITH AFRICAN-AMERICANS AND THEIR MUSIC AND STYLES AND BLUES AND DOO WOP AND THINGS LIKE THAT, THEIR MUSIC WAS TAKEN SO THAT THAT WAS HOW THEY PAID AND THEIR FAMILIES ATE.

KELLAR: RIGHT.

BUTTS: SO IF YOU DON'T HAVE THAT AND OTHER ARTISTS GET IT AND EVEN TO TO NOW, TO TODAY AS WE ARE RIGHT NOW, IF YOU DON'T HAVE THOSE THINGS, YOU CAN'T PASS THAT DOWN.

THAT'S WHY I DEAL MOSTLY FROM A LEGACY STANDPOINT.

KELLAR: RIGHT.

BUTTS: YOU'RE GOING TO HEAR ME TALK A LOT ABOUT THE BUILDING.

AND I REALLY APPRECIATE THAT THAT BUILDING IS STILL HERE AND THAT WE'VE DONE ALL WE HAVE DONE TO GET THAT BUILDING AND HOLD ONTO IT.

BUT A LOT OF PEOPLE STOP THERE, THEY THINK LET'S JUST GET THIS BUILDING, MAKE THE BUILDING LOOK PRETTY.

KELLAR: YEAH.

BUTTS: BUT THEN IF WE DON'T GET THE LEGACY RIGHT, THE WHOLE SOUL OF THE BUILDING WILL BE JUST HEARSAY.

KELLAR: IT WILL BE NOTHING.

I THINK INTELLECTUAL PROPERTY RIGHTS HAVE BECOME SIGNIFICANT, WHEREAS IN THE PAST YOU COULD STEAL OR, YOU KNOW, OR REPOSSESS WHATEVER OF SOMEBODY ELSE'S WORK.

BUTTS: THAT'S CORRECT.

KELLAR: SO CORPORATIONS ARE CERTAINLY VERY CAREFUL ABOUT WHAT THEY DO AND THAT IF SOMEONE STEPS ON SOME LITTLE TINY BIT, THEY HAVE TO -- THEY HAVE TO SEND A LAWYER IN.

BUTTS: THAT IS CORRECT.

KELLAR: TO STOP THAT.

SO TELL US A LITTLE BIT ABOUT THE RECORDS, THE KING RECORDS BUILDING.

WHERE IS IT?

IT'S ON BREWSTER AVENUE?

AND THE ADDRESS THAT EVERYONE KNOWS IS 1540 BREWSTER, WHICH IS LIKE IF YOU'RE ON OUR EXPRESSWAY I-71, YOU CAN LOOK UP BEFORE YOU GET TO AN EXIT CALLED THE DANA EXIT.

KELLAR: OH, YEAH, THAT'S MY EXIT.

BUTTS: LOOK OVER TO YOUR -- OH, ISN'T IT?

GREAT.

WE'LL HAVE YOU OVER THERE ONCE WE GET THIS BUILDING TOGETHER.

KELLAR: OKAY.

BUTTS: NOW THAT THEY'VE CLEANED THAT AREA OFF OVER THERE, IT USED TO BE A LOT OF TREES AND SHRUBBERY OFF THE EXPRESSWAY AND YOU COULDN'T SEE.

BUT IF YOU ACTUALLY LOOK OVER PRE THAT EXIT AND YOU LOOK OVER TO YOUR, DEPENDING UPON WHICH WAY YOU'RE GOING, YOU LOOK OVER AND YOU'LL SEE THE KING BUILDING SITTING THERE.

AND AT THIS POINT, IT'S BEEN MOTHBALLED BASICALLY.

KELLAR: YEAH.

BUTTS: IT'S HISTORICAL CITY WIDE.

AND IT'S BEEN CLEANED OUT, BECAUSE IT HAD A BAD ROOF ON IT, BUT WITH THE GRACE OF THE CITY, THEY'VE PUT A BRAND NEW ROOF ON IT, ON THE WHOLE SECTION OF BUILDINGS.

AND IT'S BASICALLY BEEN MOTHBALLED SO THAT WE CAN NOW START GETTING THE FUNDING AND GET READY TO GET INTO REVISING THE BUILDING IS WHAT WE WANT TO DO.

KELLAR: AND THERE'S NOTHING SIGNIFICANT ABOUT THE BUILDING, IT'S WHAT HAPPENED THERE.

BUTTS: THAT'S CORRECT.

THE BUILDING HAS GONE THROUGH DIFFERENT THINGS.

AND AGAIN, THE ONE THING I TELL A LOT OF PEOPLE, BECAUSE I'M NOT REALLY BIG ON TITLES, YOU KNOW, LIKE I'M THE CHAIR OF THIS PARTICULAR KING RECORDS LEGACY COMMITTEE.

AND THAT'S BEAUTIFUL AND I THANK EVERYBODY FOR THAT HONOR AND EVERYTHING.

BUT MY BIGGER THING IS A LOT OF PEOPLE THINK THAT MEANS YOU KNOW EVERYTHING.

I'M AN EXTREME STUDENT OF KING RECORDS.

THERE'S SO MUCH AND I'M NOT GOING TO GET TO IT BEFORE MY LIFETIME IS OVER.

KELLAR: YEAH.

BUTTS: BUT I WOULD LOVE TO BECAUSE I'M A STUDENT OF MUSIC.

I JUST LOVE MUSIC.

KELLAR: YEAH.

BUTTS: ALL TYPES OF MUSIC.

AND KING, FORTUNATELY, AS A RECORD COMPANY BACK IN THAT TIME FRAME, HAD SO MUCH DIFFERENT MUSIC COME THROUGH THERE.

KELLAR: WHAT WERE THE YEARS?

BUTTS: 1943 THROUGH 1971.

THAT'S THE BASIC OPERATIONAL TIME OF KING RECORDS.

KELLAR: YEAH.

BUTTS: A LITTLE HAPPENED AFTER THAT.

BUT IF I'M NOT MISTAKEN MR. SYD NATHAN PASSED AWAY, I BELIEVE IN '68, IF I'M NOT MISTAKEN.

KELLAR: IS HE THE -- THAT WAS THE FOUNDER?

BUTTS: YES, THE OWNER AND FOUNDER OF KING RECORDS.

KELLAR: OKAY.

BUTTS: AND IT WENT THROUGH ALL TYPES OF DIFFERENT PHASES.

BUT IF YOU THINK ABOUT BACK THEN, THAT'S A PRETTY GOOD RUN, YOU KNOW, FOR A RECORD COMPANY.

KELLAR: WOW.

YEAH.

WAS YOUR FATHER, OTIS WILLIAMS AND THE CHARMS, WERE THEY ALREADY EMPLOYED MAKING RECORDS FOR KING RECORDS IN HIGH SCHOOL?

WHEN WE WERE IN HIGH SCHOOL?

BUTTS: RIGHT, WHEN ALL WERE IN HIGH SCHOOL, HE WAS PLUCKED OUT OF HIGH SCHOOL.

KELLAR: YEAH, I KNEW HE WAS PLUCKED.

ONE YEAR, YEAH, THAT'S RIGHT.

BUTTS: YOU KNOW, AND HE REALLY WASN'T EVEN A SINGER AT ALL.

KELLAR: YEAH, HE SAID THAT.

BUTTS: YOU KNOW, I MEAN, THAT WASN'T EVEN IN HIS MIND.

EVERYBODY, YOU KNOW, WOULD HUM A FEW THINGS, BUT IT WAS JUST THIS SITUATION WHERE THE CHARMS WERE GOING TO DO THAT TALENT SHOW AND IN THE BATHROOM HE HEARD HIM AND THEN THEY ASKED HIM COULD YOU SING, HELP THEM OUT BECAUSE THEY WERE MISSING A GUY.

KELLAR: YEAH.

BUTTS: AND IT'S HOW HE GOT INTO IT.

KELLAR: AND THE REST IS HISTORY.

BUTTS: AND THE REST BECAME HISTORY, BUT IT WAS KIND OF WEIRD FOR HIM BECAUSE HIS MIND WAS REALLY STILL ON SPORTS.

YOU KNOW?

HE REALLY WANTED TO BE A FOOTBALL INDIVIDUAL AND HE WAS A STANDOUT IN FOOTBALL IN HIGH SCHOOL, AND BASEBALL.

KELLAR: YEAH.

BUTTS: YOU KNOW, HE'S THE ABILITY OF HIM TO GET OFFERS FROM OHIO STATE AND ALL THESE DIFFERENT MAJOR COLLEGES, PARTICULARLY AT THAT TIME FRAME.

WE'RE TALKING IN THE '50S.

KELLAR: YEAH, IT WAS A DIFFERENT WORLD.

BUTTS: YEAH, IT WAS A WHOLE DIFFERENT WORLD.

YOU KNOW, SOME PEOPLE SAY THAT NOW AND WE DON'T START PUTTING DATES, WHICH I APPRECIATE YOU ASKING ABOUT DATES.

WE DON'T PUT THOSE DATES THERE, SOMEBODY WILL SAY NOW THEY WOULDN'T THINK TWICE.

YOU SAID OHIO STATE?

OK, GREAT.

THEY DON'T REALIZE THAT YOU'RE TALKING IN THE '50S.

1950, YEAH, EXACTLY.

I WAS THERE SO I YOU KNOW.

YEAH.

BUTTS: YOU KNOW, THE REDS, HE HAD A CONTRACT OFFER FOR THE REDS TO GO TO THEIR FARM TEAM.

BUT WHAT HAPPENS WAS SYD NATHAN SENT SOMEONE TO COME LOOK AT THEM, KELLAR: AT THE MINSTRELS.

BUTTS: YEAH.

THE WITHROW MINSTRELS WERE VERY FAMOUS, THE GREATEST SHOW HIGH SCHOOLS EVER, EVER PUT ON.

BUTTS: I WOULD REALLY -- I REALLY WOULD LIKE TO LEARN MORE ABOUT THAT PARTICULAR SHOW.

I KNOW ABOUT IT BASICALLY FROM THE PART WHERE WE START TALKING ABOUT MY FATHER AND WHAT HAPPENED AND HOW HE GOT PLUCKED OUT OF THERE.

BUT I REALLY WANT TO LEARN A LITTLE BIT MORE ABOUT THOSE SHOWS AND WHAT WAS HAPPENING.

KELLAR: YEAH, I HAD SOME AUDIO RECORDING.

I DON'T THINK THERE ARE ANY VIDEOS OF THAT.

BUTTS: THAT WOULD BE GREAT.

KELLAR: BUT I HAVE SOME, I DON'T KNOW IF I COULD FIND THEM OR NOT, BUT.

BUTTS: OH, THAT WOULD BE GREAT IF YOU CAN FIND THINGS.

I WOULD LOVE TO CHECK IT OUT.

KELLAR: I'LL SEE IF I CAN FIND THOSE.

YOU KNOW THE WITHROW ALUMNI ASSOCIATION HAS THEM BECAUSE THAT'S WHERE I GOT THEM.

SO I'LL FIND OUT.

I'LL FIND OUT.

BUTTS: AND I'LL REACH OUT TO THEM.

I WILL.

YOU KNOW, I MEAN, IT'S THINGS LIKE -- I CALL THIS THE TREE TRUNK, WHAT WE'RE TALKING ABOUT RIGHT NOW.

AND A LOT OF PEOPLE, THERE'S BEEN A LOT OF WORK IN CINCINNATI ON THE WHOLE KING RECORDS IDEA OF KING RECORDS.

LET ME PUT IT THAT WAY.

AND THERE'S BEEN A LOT OF GREAT WORK DONE.

MY THING, BECAUSE BEFORE I ACTUALLY START RUNNING OR WORKING TOWARD RUNNING ANYTHING OR BEING A PART OF ANYTHING OFFICIALLY, I WAS HOPING THAT THINGS WERE KIND OF MOVING ON THEIR OWN, GETTING TO THE POINT FROM A LEGACY STANDPOINT OF KING RECORDS.

YOU KNOW, BECAUSE I'M TALKING TO EVERYBODY, THE COUNTRY, I'M TALKING ABOUT THE PEOPLE WHO PRESSED THE RECORDS, THE A&R MEN.

A LOT OF PEOPLE THINK I'M JUST TALKING ONE BECAUSE MY FATHER WAS ONE OF THE ARTISTS.

AND SO THEY THINK IT'S ALWAYS ABOUT JUST MY FATHER.

KELLAR: IT'S ABOUT EVERYBODY.

BUTTS: AND I TRY TO EXPLAIN TO THEM, FIRST OF ALL, WE DIDN'T EVEN -- I DIDN'T GROW UP LIKE THAT, YOU KNOW, WITH HIM.

LIKE HE DIDN'T TRY TO MAKE ME INTO A MUSICIAN.

I WAS ALREADY A MUSICIAN BY THE TIME WE GOT BACK TOGETHER.

AND WHEN WE GOT BACK TOGETHER, I BROUGHT LIKE MY UP TO DATE VERSION OF WHAT'S GOING ON IN THE MUSIC BUSINESS CONNECTED WITH WHAT HE HAD WENT THROUGH.

AND WE JUST KIND OF MARRIED THEM TOGETHER.

KELLAR: YEAH.

BUTTS: AND HE KNEW PEOPLE IN AN INDUSTRY.

I KNEW PEOPLE IN AN INDUSTRY.

AND IT WAS A BLESSING FOR ME BECAUSE I'M MEETING LIKE 70, 80, 90 YEAR OLDS THAT DID IT.

KELLAR: CAREFUL.

BUTTS: IN THE GOOD WAY, YOU KNOW, THAT'S THE BEAUTIFUL THING.

KELLAR: THAT'S RIGHT.

BUTTS: YOU KNOW, BECAUSE FOR ME, I'VE ALWAYS BEEN AROUND OLDER INDIVIDUALS.

BUT THERE'S A LOT OF KNOWLEDGE THERE THAT I THINK, PERSONALLY -- KELLAR: HISTORY.

BUTTS: WE DON'T DIVE INTO THAT AND SHOW THAT THE LOVE THAT IT NEEDS, WHICH LEADS BACK INTO OUR LEGACY.

AND I'M NOT JUST TALKING ABOUT JUST KING, YOU KNOW, IT'S JUST THAT KING WAS A PRECURSOR FROM A MUSICAL STANDPOINT TO SO MUCH STUFF.

AND I THINK ABOUT, EVEN AS I TOLD YOU ABOUT THE BOSTON, WE DID THAT SHOW, THE HISTORICAL SHOW WE DID THERE FOR THAT HALL OF FAME, DOO WOP HALL OF FAME.

WE DID THAT IN BOSTON'S SYMPHONY HALL, SOLD OUT SHOW.

AND I SAY THAT BECAUSE I MET SOME INDIVIDUALS LIKE CHARLIE THOMAS, THE DRIFTERS.

I FORGET ANOTHER GUY'S NAME THAT WAS VERY SIGNIFICANT AND MADE A COUPLE OF HITS.

BUT I SAY THAT BECAUSE SINCE THEN THESE INDIVIDUALS HAVE PASSED AWAY.

KELLAR: YEAH, YEAH.

THAT'S RIGHT.

BUTTS: I WOULD HAVE NEVER MET THEM.

BUTTS: AND I WAS AT -- SOME OF THESE SONGS, LIKE THERE WAS A SONG CALLED TOSSING AND TURNING A LONG TIME AGO.

AND EVEN WHEN I WAS EARLY IN MY CAREER, MY BAND USED TO DO THAT SONG.

I NEVER KNEW IT WAS A KING RECORD RECORDED BY SOMEBODY THAT RECORD IT.

I THINK HIS NAME WAS BOBBY.

I HAVE TO REMEMBER HIS NAME IS BOBBY SOMETHING.

AND WHEN I MET HIM, HE ACTUALLY WAS ON THAT SAME HALL OF FAME SHOW THAT WE DID.

KELLAR: OH, REALLY?

BUTTS: AND HE WAS TOTALLY BLIND.

KELLAR: OH, MY GOSH.

BUTTS: CAME OUT ON THAT STAGE.

HE KNEW EXACTLY WHERE TO GO, HOW TO DO IT.

DID THE SONG PERFECTLY, AND WE TALKED WHEN HE CAME OFF THAT STAGE, WE TALKED A LITTLE BIT.

SO MUCH GREAT HISTORY IN AN INDIVIDUAL LIKE THAT.

AND I WAS SO BLESSED TO BE ABLE TO TALK TO HIM AND LEARN FROM HIM.

AND MAY BE A FEW YEARS AFTER THAT HE PASSED AWAY.

AND I THINK ABOUT THOSE TYPE OF THINGS OF WE'VE GONE 40, 50 YEARS AND ALL OF THAT KNOWLEDGE THAT THOSE INDIVIDUALS HAVE.

KELLAR: YEAH.

BUTTS: NOBODY KNOWS.

KELLAR: WHEN THEY REDO THIS BUILDING INTO WHAT WE WOULD CALL A MUSEUM.

RIGHT?

WILL THEY HAVE DISPLAYS UP SHOWING PICTURES AND DESCRIPTIONS OF THE PEOPLE WHO RECORDED AND WHAT THEIR CAREERS WERE?

BUTTS: YES, MA'AM, IN THAT LIKE WHICH IS WHY WE'RE TAKING SOME VERY VALUABLE TIME BECAUSE IT WILL HAVE SOME -- A TINGE OF A MUSEUM.

THE REASON I SAY THAT IS THAT WHAT WE WANTED TO DO IS BREATHE, WE WANT IT TO BE INTERACTIVE.

KELLAR: OH, SURE.

BUTTS: YOU KNOW, RATHER THAN JUST SOME CLOTHING.

KELLAR: SOME DISPLAYS OR WHATEVER.

BUTTS: YES.

SOME CLOTHING OR, YOU KNOW, OR GUITAR, THINGS LIKE THAT.

THAT'S GREAT, BUT WE WANTED TO DO IS TOUCH YOU OR YOU BE ABLE TO TOUCH IT.

EVEN THOUGH IT WAS DONE 50, 60 YEARS AGO, CAN YOU STAND IN THE SAME SPOT WHERE JAMES BROWN RECORDED PLEASE, PLEASE, PLEASE?

KELLAR: YEAH.

BUTTS: THAT HAS SIGNIFICANCE WHEN YOU, PARTICULARLY WHEN YOU'RE TRYING TO REACH OUR KIDS.

KELLAR: YEAH.

BUTTS: BECAUSE A LOT OF THIS, NOT JUST ON OUR KIDS, BUT THE KIDS PARENTS DON'T KNOW.

KELLAR: YEAH.

BUTTS: SO THEY HAVE ACTUALLY NO CLUE ON WHAT THIS IS ABOUT.

SO IN TODAY'S TIMES WHERE WE HAVE -- EVERYBODY HAS A PHONE OR AN IPAD OR TABLET, WE UNDERSTAND IT HAS TO BE MORE INTERACTIVE, MORE REALISTIC.

YOU KNOW, WE WILL DO THINGS LIKE THE ABILITY FOR YOU TO BE ABLE TO RECORD YOUR OWN LITTLE 45 AND TAKE IT WITH YOU.

YOU KNOW, HOW DO YOU DO THAT?

NOW TODAY WE CAN HAVE A LAPTOP, A APPLE COMPUTER RIGHT NOW, AND IT HAS A PROGRAM IN THERE THAT WE CAN TAKE AND WE CAN RECORD THE WHOLE THING.

KELLAR: RIGHT.

BUTTS: WELL ONE OF THE THINGS THAT WE WANT TO HAPPEN WITHIN THAT BUILDING, THERE WILL BE A METHOD THAT SHOWS RECORDING HOW THEY DID IT BACK THEN.

KELLAR: OH, THAT'S GREAT, YEAH.

BUTTS: AS COMPARED TO HOW YOU DO IT NOW.

KELLAR: YEAH.

BUTTS: NOW, THE BEAUTY OF THAT IS THAT'S A CLASS IN ITSELF BECAUSE BACK THEN THERE WAS ONE, MAYBE TWO MICROPHONES FOR EVERYBODY, THE BASS PLAYER, EVERYBODY.

SO EVERYTHING WAS DONE ON THOSE ONE OR TWO MICROPHONES.

KELLAR: YEAH.

BUTTS: AT THE SAME TIME.

SO IF WE'RE PLAYING THAT SONG AND THE GUITAR PLAYER MESSES UP, EVERYBODY HAS TO GO ALL THE WAY BACK.

IT'S CALLED DESTRUCTIVE EDITING BACK THEN.

NOW WE HAVE NONDESTRUCTIVE EDITING TO WHERE WHATEVER WE DO, IT'S ON TAPE OR TO DIGITALLY RECORDED AND WE CAN GO IN AND CUT IT, DO WHAT WE NEED TO DO TO IT.

THEY DIDN'T HAVE THAT PLEASURE BACK THEN.

JUST THAT, I'VE SPOKEN TO SCHOOLS, MUSIC SCHOOLS, AND THE KIDS ARE SO USED TO JUST BEING ABLE, "WELL, WE GOT IT WRONG.

DON'T WORRY ABOUT IT.

WE'LL FIX IT TOMORROW."

THAT WASN'T WHAT HAPPENED BACK THEN.

BACK THEN YOU HAD TO GET IT RIGHT THAT ONE WHOLE FULL TAKE.

KELLAR: YEAH.

BUTTS: AND FOR THAT TO HAPPEN, THERE'S SO MUCH LEARNING IN THAT, WHICH MEANS YOU HAD TO DEPEND ON THE PERSON NEXT TO YOU OR YOU MIGHT NOT EAT FOR THE NEXT THREE HOURS.

KELLAR: YEAH, IF HE SCREWS UP, YOU SCREW UP.

BUTTS: YOU SCREW UP, THAT'S RIGHT.

THAT'S NOT REALLY WHAT GOES ON TODAY.

AND I THINK THAT'S KIND OF HURTING US BECAUSE THEN YOU REALLY HAD TO PRACTICE YOUR PART.

YOU KNEW YOU HAD TO GET IT RIGHT AND THE OTHER PERSON NEXT TO YOU HAD TO GET IT RIGHT.

THAT'S NOT REALLY WHAT WE DO TODAY, WHICH IN OUR INDUSTRY WITH A LOT OF DIFFERENT THINGS, NOT JUST MUSIC, BUT WE DON'T SOCIALIZE IN OUR WORK LIKE THAT, THAT HURTS US.

AND BECAUSE WE DON'T GET THAT CAMARADERIE.

WE DON'T GO TO SLEEP THINKING, "I NEED TO HIT MY NOTE TOMORROW TO MAKE SURE WE GET IT."

THERE IS SOMETHING TO BE SAID JUST FOR THAT.

KELLAR: YEAH.

BUTTS: YOU KNOW, WHERE TODAY EVERYTHING'S SO NONSOCIAL.

KELLAR: THAT'S A TOTALLY DIFFERENT SCENARIO.

BUTTS: YES, MA'AM.

BUT THAT'S ONE OF THE BIG THINGS THAT THE INTERACTIVE PART OF WHAT HAPPENS IN THAT BUILDING, TO ANSWER YOUR QUESTION, TO GO BACK AND ANSWER YOUR QUESTION IS A BIG THING THAT WE WANT TO DO WITHIN THAT BUILDING, WHICH WILL INCLUDE, OBVIOUSLY, ALL OF YOUR THINGS, LIKE THE MUSEUM ASPECTS OF IT.

BUT, YOU KNOW, THERE'S EVERYTHING NOWADAYS FROM 3D MODELING AND DIFFERENT THINGS THAT WE WANT TO DO IN THAT BUILDING AND HAVE SOME SOCIAL SPACE IN THAT BUILDING ALSO.

KELLAR: I DON'T KNOW HOW BIG IT IS.

IS IT BIG ENOUGH TO HAVE ALL THE STUFF YOU WANT.

WELL, NOTHING'S EVER BIG ENOUGH TO HAVE ALL THE STUFF.

BUT DO YOU THINK THAT'LL BE ADEQUATE TO TELL YOUR STORY?

BUTTS: IT WILL, IN MY OPINION IT WILL BE, BECAUSE I THINK ABOUT OBVIOUSLY TO YOUR POINT, VERY GOOD POINT.

NOTHING'S EVER BIG ENOUGH.

THE ROCK AND ROLL HALL OF FAME, WHEN IT STARTED OUT WAS A CERTAIN SIZE.

BUT THEN BY THE TIME EVERYONE COMES, AND ARTISTS, THERE'S A NEW ARTIST BEING BORN EVERY DAY.

KELLAR: YEAH.

BUTTS: SO THINGS JUST KEEP HAPPENING AND MATERIALS KEEP COMING, CLOTHING KEEPS COMING.

WELL, THE ONE GOOD THING ABOUT KING RECORDS IS FOR THAT TIME FRAME, YOU WENT FROM A TO Z IN KING RECORDS WHERE YOU WOULD COME IN, WRITE THE SONG, WORK ON THE SONG, RECORD THE SONG, GET THE SONG PRESSED, GET THE SONG MOVED OVER, GET ALL YOUR PR WORK DONE.

AND THEN IT WOULD GO TO THE DOCK, PUTTING THE SLEEVES, PUT IN THE BOX, AND ALL IN THAT ONE SECTION OF BUILDINGS WAS A FACTORY IN THE 40S AND 50S.

THAT WAS UNHEARD OF FOR ONE PLACE TO DO EVERYTHING.

KELLAR: TO DO THE WHOLE THING.

YEAH.

BUTTS: SO I SAY THAT BECAUSE, LET'S TAKE SOMETHING WHICH CAME LATER BEHIND KING RECORDS, LIKE MOTOWN.

MOTOWN BASICALLY WAS A LITTLE HOUSE IN COMPARED TO WE HAVE ACTUAL BUILDINGS THAT WERE COMMERCIAL BUILDINGS.

IT USED BE AN OLD ICE HOUSE.

SO THERE'S LIKE PARTIALS OF BUILDINGS.

KELLAR: YEAH.

BUTTS: AND OUT OF THAT IT'S HUGE IN COMPARISON TO STUDIOS BACK IN THAT TIME FRAME.

SO THERE'S A LOT WE CAN DO WITH IT, YOU KNOW.

BUT TO YOUR POINT, WE'RE ALWAYS LOOKING FOR MORE SPACE AND MORE THINGS TO BE DONE.

BUT I BELIEVE, WHICH IS PART OF THE ISSUE OF MAKING SURE WE GET IT RIGHT WHEN WE COME OUT OF THE DOOR, CAN YOU TRANSFORM IT?

WE DON'T REALLY WANT IT TO BE A LOT OF SPACE THAT'S LIKE THIS IS THE ONLY WAY YOU CAN LOOK.

KELLAR: OH, YEAH.

BUTTS: WE WANT TO BE ABLE TO TRANSFORM THINGS WITH IT.

KELLAR: YEAH, AND MAKE CHANGES.

BUTTS: YES, MA'AM.

KELLAR: I WAS JUST GOING TO ASK YOU ABOUT YOUR FUNDING.

USUALLY AN ONGOING THING IS FUNDING.

WHERE HAVE YOU FOUND THE MOST, YOUR BEST SOURCES?

BUTTS: THE SOURCES, WHICH IT'S ACTIVE RIGHT NOW.

WE'RE ACTUALLY DEEP IN THAT PART OF THE WORK THAT NEEDS TO BE DONE RIGHT NOW.

OBVIOUSLY, THE CITY ITSELF HAS DONE A GREAT DEED IN BUYING THE BUILDINGS.

KELLAR: BECAUSE PEOPLE WILL COME HERE.

BUTTS: THAT'S RIGHT.

AND SO THE FACT THAT OUR CITY AND OUR PRESENT MAYOR, WHO HAS ALWAYS BEEN, MAYOR JOHN CRANLEY, WHO HAS ALWAYS BEEN BEHIND THIS PROJECT EVEN BEFORE HE WAS MAYOR.

ME AND MY FATHER HAD SPOKEN TO HIM BEFORE WHEN HE WAS A COUNCIL PERSON, YOU KNOW, SO I HAVE TO GIVE HIM HIS ROSES.

YOU KNOW, I'M NOT REALLY INTO POLITICS OR ANYTHING LIKE THAT, BUT I DO HAVE TO SHOW RESPECT TO THE FACT THAT HE HAS NEVER GONE AGAINST ANYTHING THAT WE'VE WANTED TO DO WITH THAT.

AND HE STAYED STEADFAST WITH US WHEN WE NEEDED TO GET THE BUILDING.

SO I HAVE TO GIVE HIM HIS CREDIT AND COUNCIL AND THE OTHERS THAT HAVE WORKED THROUGH CITY SYSTEM ON THAT SITUATION, BUT THAT THERE'S A LOT OF FUNDING THAT HAPPENED RIGHT THERE JUST TO GET THE BUILDING AND THAT ROOF ON IT, WHICH IS HUNDREDS OF THOUSANDS OF DOLLARS, THAT CAME THROUGH THE CITY.

YOU KNOW, THE EVANSTON COMMUNITY, WHICH WE DON'T WANT TO LEAVE THEM OUT.

THAT'S WHERE THE BUILDING RESIDES AT.

BREWSTER IS IN EVANSTON.

THAT COMMUNITY, IT'S VERY IMPORTANT THAT WE DEAL WITH THAT COMMUNITY IN THEIR HISTORY AS TO KING RECORDS ALONG WITH THAT.

BECAUSE BACK THEN, BEFORE I-71 CUT EVANSTON IN HALF WHICH CUT THEIR WHOLE COMMUNITY IN HALF BASICALLY.

YOU KNOW A LOT OF THAT, IT'S HARD WHEN YOU CUT A COMMUNITY IN HALF LIKE THAT, PARTICULARLY AN AFRICAN-AMERICAN COMMUNITY THAT'S TRYING TO SURVIVE OFF OF EACH OTHER.

KELLAR: RIGHT.

BUTTS: IT WAS JUST CUT IN HALF BY AN EXPRESSWAY, YOU KNOW, WHICH THAT'S A WHOLE ‘NOTHER TYPE OF THINKING.

KELLAR: YEAH.

BUTTS: SO DIFFERENT THINGS LIKE THAT.

WE WANT TO MAKE SURE ALL OF THIS IS INCLUDED.

AND TO YOUR POINT, IT'S A LARGE UNDERTAKING, BUT AND IT'S SOMETHING YOU KNOW, IT'S A PASSION.

KELLAR: RIGHT.

BUTTS: AND BUT FOR THE FINANCIAL SITUATIONS, A LOT OF THAT'S COMING FROM PRIVATE INDIVIDUALS THAT WANT TO GET INVOLVED.

BUT THE BIGGEST THING WITH IT, BARBARA, IS WHERE IN ORDER TO GET THEM TO INVEST, THERE ARE SO MANY PEOPLE THAT HAVE BEEN DOING THINGS FOR KING.

WHAT I FOUND IN MY POSITION, WHAT I'M DOING, A LOT OF PEOPLE WANT TO KNOW, "AM I GIVING TO THE RIGHT SOURCE?"

BECAUSE THERE'S A LOT OF PEOPLE THAT ARE DOING THINGS ON BEHALF OF KING.

AND I'M NOT SAYING IT'S A BAD THING.

KELLAR: RIGHT.

BUTTS: BUT A LOT OF THESE MAJOR PLAYERS WANT TO GIVE TO THE ACTUAL ENTITY THAT OWNS THE BUILDING OR HAS THE BUILDING AND DIFFERENT THINGS LIKE THAT.

SO THAT'S SOMETHING THAT WE'RE GOING THROUGH RIGHT NOW.

BUT PLEASURABLY, YOU KNOW, EVEN THE OTHER ENTITIES THAT WE WANT TO WORK WITH SCHOOLS, WE WANT TO WORK WITH COLLEGES OR WHOEVER, IT'S FOR EVERYBODY.

IT'S JUST KIND OF DIFFICULT BECAUSE FOR YEARS SO MANY PEOPLE HAVE BEEN PICKING OFF OF KING BECAUSE IT'S A LOW HANGING FRUIT.

KELLAR: YEAH, EXACTLY.

BUTTS: UNFORTUNATELY.

KELLAR: YOUR DAD MUST BE REALLY PROUD OF YOU.

YOU ARE SO WELL-SPOKEN.

YOU ARE OBVIOUSLY A GREAT LEADER.

YOU OBVIOUSLY ARE GOING TO GET THIS DONE AND IT'S GOING TO BE GREAT.

AND WE'RE GOING TO BE REALLY, REALLY PROUD OF YOU BECAUSE YOU ARE TERRIFIC.

BUTTS: I APPRECIATE YOU.

I MEAN, I DON'T REALLY LOOK AT THAT LIKE THAT, BUT I MEAN.

KELLAR: I KNOW YOU DON'T, BUT WE DO.

BUTTS: AND I APPRECIATE THAT, I REALLY DO.

AND YES, HE IS DEFINITELY PROUD OF ME, MY MOTHER'S PROUD OF ME, I MEAN.

AND THEY ALL ASK ME, YOU KNOW, BECAUSE THEY KNOW I WAS DOING A LOT OF OTHER STUFF PREVIOUS.

KELLAR: YEAH.

BUTTS: BUT ONE THING I'VE LEARNED, BARBARA, IN MY ATTACK OF GOING AT THIS I SPEAK TO A LOT OF FAMILIES BECAUSE MOST OF THE ARTISTS HAVE PASSED AWAY, UNFORTUNATELY.

KELLAR: YEAH.

BUTTS: I SPEAK TO A LOT OF THEIR FAMILIES.

WHEN I SPEAK TO THEIR FAMILIES, I END UP SPEAKING TO KIDS THAT AREE OR YOUNGER THAN ME.

AND OTHERS HAVE TRIED TO SPEAK TO THEM, AND A LOT OF THEM HAVE BEEN TARNISHED TO THE POINT TO WHERE THEY ONLY WANT TO TALK ABOUT IT, BECAUSE A LOT OF THE FAMILIES, TO INCLUDE MY OWN, DID NOT GET THE RECIPROCATION OF MONEYS AND FINANCIAL THINGS FROM IT.

SO THEY KIND OF JUST THROW THEIR OWN HISTORY OUT THE DOOR.

SO WHEN I POPPED IN ON THE SCENE, BECAUSE I WAS - I WAS ONE OF THOSE KIDS.

I RECEIVED THAT SAME TREATMENT.

BUT WHEN I TALK TO THEM, THE BEAUTY OF IT IS -- AND THERE'S ANGER OUT THERE ABOUT THESE THIS.

BUT THE BEAUTY OF IT IS THAT THEY REALLY KNOW THAT I'M ONE OF THOSE KIDS AND I EXPERIENCED IT TOO, BUT I CARE.

KELLAR: RIGHT.

BUTTS: THAT SEEMS TO BE SOMETHING THAT WAS MISSING TO THEM.

MANY PEOPLE HAVE INTERVIEWED THEM OR THE FAMILIES AND THINGS LIKE THAT, BUT IT'S JUST SOMETHING ABOUT THAT CARE THAT THEY DON'T FEEL OR THAT RESPECT.

KELLAR: WELL, YOU ARE A GREAT COMMUNICATOR AND YOU'RE GOING TO GET IT DONE.

AND THANK YOU.

I WISH WE COULD TALK MORE, BUT THANK YOU SO MUCH FOR COMING.

BUTTS: I APPRECIATE YOU.

KELLAR: I LOVE THIS STORY AND WE'RE GOING TO BE WATCHING FOR YOUR DIFFERENT PLATEAUS OF GETTING IT DONE.

AND WHEN YOU HAVE YOUR BIG OPENING, MAYBE YOU'LL INVITE US.

BUTTS: MAYBE.

KELLAR: YEAH, THAT'S RIGHT.

BUTTS: OF COURSE I WILL.

KELLAR: YES.

KELLAR: EVERYBODY, IT'S FOR EVERYBODY.

KELLAR: IT IS.

IT'S GOING TO BE FOR EVERYBODY.

BUTTS: I APPRECIATE YOU ALL.

HOPEFULLY I'LL BE BACK.

KELLAR: ALL RIGHT.

THANK YOU SO MUCH.

BUTTS: YES, MA'AM.

- JOIN US NEXT WEEK FOR ANOTHER EPISODE OF SHOWCASE WITH BARBARA KELLAR RIGHT HERE ON CET.

CAPTIONS: MAVERICK CAPTIONING, CINCINNATI OH MAVERICKCAPTIONING.COM