Victor Orlando: From The Gap Band's Percussionist to Fun-Ja-La's Visionary—A Journey of Musical and Cinematic Excellence 

INTERVIEW BY: GINA SEDMAN, WRITER/JOURNALIST & HEAD EDITOR 

There's so much more to say about the legendary Mr. Victor Orlando. What an incredible individual! I thoroughly enjoyed our interview; his humorous personality and remarkable career captivated me. Victor Orlando is truly one of a kind! Victor Orlando is an accomplished artist known for his diverse talents as a percussionist, musician, music producer, songwriter, actor, comedian, and screenwriter. He has also established himself as a producer and director in the film industry, with his latest project being the comedy film "SWITCH!"   

Victor's musical journey has garnered him nominations for esteemed Grammy and NAACP Awards with his album "N Da House," showcasing a dynamic blend of Funk, Jazz, and Latin rhythms that truly reflect the spirit of his band, Fun-Ja-La.  

Throughout his illustrious career, he has been recognized with numerous accolades, including the Lifetime Achievement Award in Percussion at the 7th Annual Hollywood F.A.M.E. Awards and the Best Percussionist Award at the 2nd Annual Nollywood Film Awards.  

Victor's remarkable influence permeates the film industry, highlighted by his captivating track "Argentia," which graces the soundtrack of the cinematic masterpiece "For The Love of Money," featuring the talents of Edward Furlong and James Caan. His illustrious career boasts a rich history as the percussionist for The Gap Band, where he played a pivotal role in creating their unforgettable R&B classic "Outstanding" the 12" Single. Victor's vast experience is further enriched by collaborations with an impressive roster of artists, including the likes of Angie Stone, Yarbrough & Peoples, Teena Marie, Buddy Miles, Billy Preston, Bobby Womack, 2Pac, LL Cool J, and the incomparable Chaka Khan, among numerous others. I had the opportunity to speak with him about his journey in the entertainment industry, and here's what he shared with me. 

Hello, Mr. Victor Orlando. Hello, ma'am, how are you, Miss Gina? 

You know what? I am lovely, blessed, and grateful to the Lord for all He's done in my life. That makes two of us.  

Thank you, Mr. Orlando, for your time. It's truly an honor and a privilege to discuss your career with you. I understand the value of your time, and I'm grateful for this opportunity. No, I feel honored that you asked me. In fact, I'm happy whenever anybody asks me about what I'm doing. Whenever that happens, I'm like, "Wow, you're concerned about me?" I feel that way because whenever I talk to somebody on the phone, and it goes beyond, "Hey, man, how are you doing? OK, cool, I'll talk to you later, bye," and instead turns into an hour or two, or even three hours, I'm amazed. I'll say, "Thank you for giving me two hours, 32 minutes, and 47 seconds of your life." I know how long I've been on the phone because those are the numbers that show up on my screen. So, when a person gives me that much time, I'm like, "Wow, you thought enough of me (A) to ask me and (B) to interview me and even spend that much time with me because, honestly, my life isn't that important." (laughs)  

You're absolutely hilarious! I can already tell this interview is going to be a blast, and I'm really excited. To kick things off, I'd like to lay some groundwork and introduce you to any newcomers who might not yet know about your incredible impact on the music scene. So, let's begin by asking where you originally hail from and where you call home now. I'm originally from Dallas, TX, where I grew up, but now I live in California because I've been here for more time than in my hometown.  

Yeah, absolutely. Although I was born in Chicago, I was raised in California, which makes me a true Californian; therefore, I'm qualified to make this statement. Many Californians think everyone in Texas has ridden a horse at some point in their life. Is that true for you, Victor? As a Texan, have you ever ridden a horse? (Laughs) You know, I only rode a horse once I went to Canada. They had horses, and I went on the horse and rode it.    

Oh wow. Awesome! Yeah, I hopped on the horse, took the walking trail, and galloped a bit. However, I didn’t go all out like at Hollywood Park racetrack because that would have sent my mind racing in a totally different direction.  

That's absolutely hilarious! It sounds like a blast. I remember going horseback riding as a kid, and it was such a great experience. I'm not sure I'd do it again, but that day definitely gave me a unique perspective on life. (Laughs) Now, Victor, there's so much to explore about your adventurous career. Let's dive right in! You're an incredible percussionist, musician, music producer, songwriter, actor, comedian, movie producer, director, and so much more that I probably missed! (Laughs) 

Before we dive into the desert, let's gather some fruits and vegetables. Victor, let's begin our conversation by exploring your daily routine in this business. What does a typical day look like for you? I try to live a regular life. I wear a hat and a shirt. Right now, I'm coming from physical therapy to help get my body in shape. I enjoy sitting in the Jacuzzi and playing pool.   

I do everyday things like taking a shower. Sometimes, I'm surprised when I look at my body after the shower. I wonder what people think when they see me on stage. They may think I should diet or go to the gym. But when I'm performing, I don't care about those opinions. If only one person thinks that, then that's okay with me! (laughs) 

So, I hop out of the shower, fix my face and hair, throw on some clothes, and make a to-do list. If I don't do that before heading out, I'll probably forget something and have to come back, saying, "Oh, no! I forgot this or that!" "And if I have to return home, I might lose the motivation to go back out. But I usually stick to my routine.  

I get a bit frantic when it's showtime because I want everything to be just right. I know it won't be perfect, but I aim to be as close as possible. I want to be on point, especially when playing in someone else's gig because I don't want anyone talking about me. All I want is to show up, perform, and head home. Besides that, I go to church. If I can't make it, I join a Zoom service. I want to let God guide me in what I'm doing.    

Knowing He wakes me up and sets my schedule, I need to follow through. If there's nothing on the calendar, He wants me to rest to prepare for what's next. I work a lot, so I get enough rest to always be at my best, whether at my gig or someone else's. 

Victor, I often pose this question during interviews because I have a real passion for breakfast—it's likely my favorite meal of the day! So, I must ask you, what's your go-to breakfast choice in the morning? Well, they're trying to get me to eat breakfast. They want me to eat these three things. Some mornings, it's watermelon; other mornings, it's six pieces of bacon, six pancakes, and one egg. And I'm enjoying it.   

I eat the food as I'm cooking it, so the plate doesn't look that massive when I sit down to eat the remaining food. Sometimes, I eat one after I cook it, and other times, I'll knock down four of them, but it's not like there are six pancakes and six pieces of bacon just sitting there on the plate.   

Victor! You crack me up! I'm really having a great time chatting with you! And yes, I absolutely adore pancakes, but you must eat them fresh off the griddle; otherwise, they lose their charm. Nobody wants to munch on cold hotcakes! (laughs) So, you mentioned that they're encouraging you to have breakfast. Can you tell me more about that? Yes, maybe three times a month I may eat breakfast, but I'm starting to add watermelon to my breakfast, and lunch. Just a plate of center cut watermelon. I don't do the seeds. I just cut out the center and cut it up. Then, I sit and eat a plate of it and enjoy it. 

Currently, I am drinking cranberry grape juice. Sometimes, I enjoy a ham and egg breakfast croissant, and then I am good to go. However, I rarely sit down and have lunch. I always eat dinner and try my best to eat before 6:00 pm. I enjoy eating mashed potatoes, green beans, black-eyed peas, and tri-tip. 

Fantastic! There it is everyone! The meals fit for a champion: breakfast, lunch, and dinner. Thanks for sharing that with us. Upon entering this world, each of us is bestowed with unique gifts by God, and it's our duty to nurture and apply these talents for the benefit of others rather than solely for personal gratification or, certainly, not for evil purposes.   

With that in mind, Victor, let's imagine we have a time machine at our disposal. Picture us stepping into your living room to catch a glimpse of young Victor. What moments would you want to share with me that showcase your innate passion for the arts and the talents that have shaped your identity today?  

Well, you said it perfectly. That's what happens when we are born. When I got the Star Award, like the Star on the Hollywood Walk of Fame, my acceptance speech was saying: " When You're When you're born, what I like to say is that God takes a tablespoon or something and puts something into every baby that's born.  Now we don't always know what that something is but, He knows.  

He knows he poured musician and entertainer into me, He poured Dr., lawyer, police officer, or whatever into other individuals. 

Whatever God will for a person's path to be, He's given us all the tools we need to walk out that path.  The drawback is when we don't realize what was poured into us and we take off on our own path or go on another path.  

I used to work in a hospital's surgery room as an aide to the anesthesiologist. I spent eight years immersed in that field, filling my mind with medical knowledge. Eventually, I transitioned to leaving the Medical Field.  

Nevertheless, God had poured something else into me, something I hadn't realized until I started truly appreciating music—listening to it, enjoying it, loving it, singing to it, humming along, and tapping to its rhythm.That's when I knew I had a gift. After I graduated high school, my mother asked me, "So, what are you going to do about college?" I told her I wasn't going to college.   

She was shocked and said, "What?" I replied, "Yes, Mom, I'm a musician!" At that time, I was just starting out, but I was confident. I remember saying, "The stage is going to be my classroom every day that I perform on it." So, every day I performed on stage was like going to college. I would say, "I'm going to school" or "I'm going to college!"   

Now, here we are in 2024, and I'm still in school because I'm still learning—whether it's with a new band or a new song. I'm always learning something new. To me, that's equivalent to going to college. But if you go to college and earn your degrees, does that guarantee you a job for life? 

Nope. Exactly. I never went to college. All I did was step on stage, and I'm still on that stage, making a living from my passion. No one can fire me because God gave me this talent.   

And I always say, if no group ever calls me, I can put a band together and still work because I'm still being true to myself.  

Certainly! Building on your point about staying true to oneself, could you elaborate for the readers of Indie Post Magazine, particularly those with traditional 9-to-5 jobs, on the significance of music in your life as a musician? How does it intertwine with your identity? I feel that many people might not fully grasp or appreciate the depth of art and its importance to those who create it. Could you share what music truly represents for you? Yeah, the stuff that God has poured into us as artist is something special. Let's just say, out of 10 people, five of them may not have a creative gift within them. I like to call us gifted people, “aliens from another planet because what we have in us, these other five don't have. We're from another planet and the funny thing is, we can spot another one of us immediately. From the clothes we wear to the way we do things, another musician will say, “you must be a musician” because we just know each other.  

Nine-to-fivers are career people, and they don’t have that chip in them to understand what we’re going through or what we’re thinking about doing. They go to work, wear a white shirt and tie, and get their paycheck on Friday.   

That was my first marriage and family. I thought, “OK, I’m going to try it, but I’m also going to pursue this other path.” And they were like, “No, you can’t do both.” But I questioned that and asked, “Why can’t I do both?” Ultimately, everything broke down, split apart, and we went our separate ways. I kept the part of me that was true to myself.  

What’s inside of us, and this is something I didn’t learn until later, is that every time I stepped on that stage, I was giving people a gift from God. Back then, I was just playing music, enjoying it, and watching people have fun. I didn’t realize that I was sharing something divine.  

God gave me a gift when He gave me the ability to play music, but He didn’t give it to me to keep, hoard, or make money off of it. It wasn’t about becoming rich or being egotistical. He gave it to me so that I could give it back to people who are going through tough times and need music to help soothe their souls.   

It’s our job to massage and comfort them with music, whatever genre they enjoy. They come to see us so they can forget what’s troubling them. Our gift is to give them that relief.  

At first, I didn’t realize it was a gift. I thought I was just playing, getting paid, and moving on to the next gig. But people kept coming back and telling me, “Oh man, you did something incredible! I was feeling so low, but when I saw you play and move around, you gave me hope.” And I thought, “I did all that?”  

Then, things started happening to me. It felt like God was shaking me, like one of those snow globes. The snowflakes inside can relax and fall again after being shaken. I realized that God was shaking me.  

People were watching what He had shaken up, and they saw this beautiful scene inside the snow globe, with snow gently falling around it. So, this gift that God gave me is a gift to these people. The more I looked at it that way—as if I was giving His gift away—the more people came up to me to let me know that they received what I had to offer. 

If just one person out of 500 feels inspired by what I do, it means that one person in the crowd really connected with it and is letting me know. They’ve received something special. They’re not just saying, “Thanks for the gift.” Instead, they’re like, “Wow, you were amazing! How do you move so fast?” They’re expressing that they’ve received something valuable. And I’m grateful for that. If 20, 30, or even 40 out of 500 feel the same way, that’s even better! Some people might not say anything at all; they just smile and go home. But that’s enough for me—they got it.  

When I'm performing, and cameras start rolling, I feel like it's all about sharing the gift I've been given. It's like I've got this gift inside me that I need to pass on to the 9-to-5ers and those dealing with tougher issues than I have. Sure, I've got my own struggles too. Just last night, I was chatting with someone about my problems, but I'd never bring that baggage on stage. I can just imagine the audience thinking, "What's bothering him tonight? Must be something with his girlfriend."  

That's hilarious, Victor!  He's definitely different from how he was last night. You know how rumors fly, right? Before you know it, people might be thinking, "He's got too much happening; I'm not really feeling up for seeing him tonight." So, you just head up there, flash a smile, do your thing, and show off what you've got, and they'll likely respond positively or let you know they value it. After that, it's on to the next crowd! That's my way of dealing with things.  

Absolutely! That's truly wonderful. Playing and listening to music is such a beautiful blessing in both ways. It creates a beautiful moment that everyone can enjoy together. Now, let's rewind a bit. You were initially involved in the medical field, and you made the decision to step away from college, realizing that your true passion lay elsewhere. What was your mindset during that transition? It might not have been a clear-cut plan; perhaps it was more about how life unfolded and how opportunities presented themselves. Can you share your journey from deciding that the medical path wasn't for you to pursue a professional career in music? When I was in my early 20s, I was newly married with a baby. Even then, I knew what I wanted to do, though I didn't have a clear path or plan. I didn't fully understand how I was going to achieve it, but I was determined to do it and take care of my family. At the time, I faced a lot of "No, you can't" from others, but deep inside, there was a "Yes, you can" that eventually led to everyone going their own separate ways. I felt stuck with nothing, but I desperately wanted to use my gift.  

So I started asking myself, "What do I do?" Looking back, I believe it was God guiding me because I wasn't sure what to do. The honest truth was I didn't know what I was going to do. 

At the time, I wasn't really connected with God, though He was working in my life in ways I didn't even realize. At that time, I had four drums and a bunch of clothes but no car. I believe God gave me a plan and instructions. I felt led to get on a bus and go to California because I had relatives there.  

Before I left, I felt prompted to call another friend back in Dallas and tell him my plan. I also felt that God was telling me, "When you call him, he's going to say you can stay at his sister's house, so you'll have a place to go when you get there." I didn't plan this or think it through—it just came to me to call my friend's sister. I thought that I would stay with her for a bit until I figured out my next move."  

But there was a part of the story I didn't know. I got to LA and was sitting in the bus station with my two drums and clothes, holding them tight because the Greyhound bus station in downtown Los Angeles is a rough place, especially when you're holding two drums.  

I got up, went to a payphone, and called the number. I said, "Hi, can I speak to Janice?" The person on the other end asked, "Who is this?" I replied, "This is Victor. I'm a friend of so-and-so, and he told me to call Janice so I could stay with her because I just got to California and have nowhere to stay." I asked, "Who am I speaking with?" And then said, "I'm Janice's mom. Janice is only 17." 

Oh no! Yeah, I had no idea she was still living at home with her mother and was just a teenager. But the mother said, "Oh, that's so sweet of him to tell you that. That's my son, and he's looking out for you. I'll come down and pick you up." 

Wow! Yes, ma'am. So, she came, picked me up, cleaned out her sewing room, and let me stay there. I stayed until I could connect with my relatives, whom I hadn't seen or didn't know well. They used to come to Dallas every year with my cousins and the older folks, but that's all I really knew of them. So, it was a bit scary, but I moved in with them. That was the beginning of my journey—from the Greyhound to this lady's house to my cousin's house.  

I had no plan, nothing written, no goals—just a desire to play. That was it until one morning, my uncle walked in and said, "Around here, when I go to work, everybody gets up and goes to work." But I didn't come there to work. To me, he sounded just like my mother. All I was trying to do was find a gig, not a job.  

Nevertheless, I found a gig, and shortly after that, we parted ways. The drummer understood my situation, so he moved me in with him. Now I was staying at the drummer's house, playing music with their group. That was the giant step from Dallas to Los Angeles and all the intricate things that God was doing in my life at that time, things I had no knowledge of, leading me to my first gig, my first place to stay, and eventually, touring. And the rest is history. 

You know Victor, I believe that history unfolds in a fascinating way, with one event leading seamlessly into the next. I truly believe that when you discover your purpose, opportunities begin to present themselves, and before you realize it, you're navigating a whirlwind of experiences. Now, considering your incredible talent as a percussionist and a producer, how would you describe the evolution of music production? I recall the days of reel-to-reel tapes and the unique journey of getting signed back then, which feels worlds apart from today's landscape. In your experience, how does the production process differ now compared to the past? What aspects do you cherish from those earlier days, and what do you appreciate about the current scene? There are three stages to this for me. First, back in the day, I worked with two-inch reel-to-reel tape. Now, when I'm working on my album, I call a guy in Florida, send him my stuff, and he sends it back completed. Then, someone assembles everything on a computer in their bedroom. These are what I consider "the three phases."  

Back in the day, the process was much more hands-on and homemade, whether it was with the two-inch tape or in the studio. Everyone would go in and play, the music would be edited, spliced, and mixed, and then you'd walk out with your product in hand.  

During the early days with "The Gap Band," I didn't involve myself in production at all. I didn't think about it; I was just focused on playing. But in doing so, I was unknowingly producing and directing myself, deciding what I would contribute to each song.   

By laying down tracks, I was essentially directing where the music would go. That's what directing and producing is all about—knowing the direction and taking it there. If you're acting and delivering your lines, you're directing your performance. When you're producing, you're making the final product happen. When you step back and listen to your song or watch your performance, you see the part of you that you've produced in that product.  

I didn't engage in any of this during my "Gap Band" days. I didn't even go into the studio control room because it was filled with smoke and stuff. The 70s were a drug era, and a vast majority of groups at that time were involved in that lifestyle.  

As for me, I've never smoked, drank, or done drugs in my life. But I saw it all and thought, "God, how are we going to do this?" I believe He placed a protective shield over me, preventing those things from affecting me. That's what drugs and alcohol do—they get to people. If they don't have God protecting them, those things can take over, and it becomes harder and harder for them to escape it. 

That's right. I never would go in the studio when it was smoke-filled. When they were mixing, songs like “You Dropped A Bomb On Me,” and “Outstanding,” I never would go in because I'm not going to put myself in a position where it could get to me. 

Absolutely. In every group I've played with, my rule has always been: "I don't know what you do, and I don't care what you do. Even though I see what you do, it's not going to affect me because you do what you do. Just pay me for what I do."  

Yes, that's awesome! Here's a perfect example of that. I was on a bus with the number one funk band in the world, and they said, "Man, we've heard about you, blah, blah, blah. Why don't you come and “hang” with us?"  

Now, mind you, I didn't hear them say anything about a contract or pay—just, "Come on, hang with us."  

I thought to myself, "That's how you got all these knuckleheads working for you, so I told them no thank you! I was like, "That's not me. I love your music, but I'm not going to play for free, I'm not going to play for drugs, and I'm not going to play for "nothing." I'm going to maintain my standards."  

Nowadays, they call it a "brand." So, my "brand" was that Victor doesn't smoke, drink, or do drugs. All he wants to do is play and get paid for his work.  

People would say, "He's not going to bother you, so don't bother him." End of story. And that's what everyone knew about me.Those who didn't want to hire me didn't. Those who hired me did so for what I brought to the table. I did my job, and then I was gone! 

Absolutely! I'm excited to explore this topic with you as we turn our attention to The Gap Band. While there's a lot to discuss, can you tell me about some artists you've worked with beyond The Gap Band? I'm eager to learn about your experiences with other musicians! Coming out of Dallas, when I got to LA and returned from the Canada tour, I started learning about other groups and people and making connections. One of those connections was with Buddy Miles. At the time, I didn't know him personally, I just knew of one of his records. 

Next thing I knew, I was playing with Buddy Miles, and I was like, "Wow!" It was cool and fun. I didn't even realize I was adding credits to my "body of work."  

They call it your "body of work," but I like to call it "BOW" because it's my way of thanking everyone who contributed to my career. 

Then some of my friends would say, "Hey man, I'm doing this or that," and that led to me working with Billy Preston, Ozone, and Teena Marie. Yarbrough and Peoples, and Robert "Goodie" Whitfield were classmates of mine. So, one day, when I was in town, they were already here, working with The Gap Band and touring. I was rocking the percussion, and they called me up. Bam! Just like that, I was with The Gap Band, Yarbrough and Peoples, and Robert Goodie Whitfield. After that, more people started reaching out to me for other gigs. 

I've worked with artists like LL Cool J, Chaka Khan, and Bobby Womack. Before all that, I remember feeling down. I had no gigs, I was struggling, and I was lying on my back, praying, "God, please give me something."  

And Gina, let me tell you, He heard my prayer because the phone rang. It was Bobby Womack's music director, asking if I had a passport and if I could do a gig.  

Gina, I sat straight up in bed and told that man, "Yes!" He asked me to come by and pick up a tape so I could hear the music. But in my head, I was thinking, "I don't need a tape; I know what the man sounds like, and I know the songs!" So, I told him to send me the itinerary, the deposit, and the airplane tickets. Once I received those, it would tell me that he was serious because California is the land of fakes. Until I get an itinerary, ticket, and deposit, it's all stored in the "fake" bin. 

Absolutely. When a lot of people say things to me, I'm like, "Oh, really? We're going there? We're doing this?" I just put it in the fake bin until I get the call and the ticket in the mail. Then, and only then, will I pull it out, staple the ticket and itinerary to it, and consider it an actual contract. Gina, let me tell you, I still have so much stuff sitting in the "fake" bin to this day.  

I completely understand where you're coming from. I've had similar experiences in my life as well. I refer to it as "Hollywood talk." It's puzzling why people choose to engage in that. In today's society, and even in the past, integrity is a rare quality. My father always taught me to be a woman of my word and to strive for punctuality, which can be challenging as a Black woman. There's this stereotype that Black individuals are often late or unreliable, but we need to rise above those expectations. Many have fought hard for our rights, and we owe it to them to be better. I take pride in my integrity; it means everything to me.    

I get frustrated with inauthenticity, but I believe in the saying that your gifts will open doors for you and bring you before influential people. I truly believe that God paves the way for those who are genuine. You've been an unintentional role model in the industry, and one day, you might realize just how much your choices have impacted others. I am grateful for standing firm in your values and for demonstrating that it's possible to be talented without compromising your faith or morals. Money isn't everything; ultimately, you want to hold your head high and be proud of who you are.   

People can look back and acknowledge that you remained steadfast. You know it's true; you didn't bow down or play the game. While it may have meant passing up specific opportunities, you chose to uphold your dignity, and your reputation is worth far more than any financial gain.   

Your commitment has led to divine blessings, and speaking of those blessings, let's shift our focus to your film career. I want to maximize our time together, so let's discuss your new project. As a producer and director, you have a fresh film called "Switch." What led you to the world of movie production? I'm familiar with your music career, but I'd love to hear about your journey into filmmaking. I wasn't aware of what was inside me until I started doing it. I realized that it came naturally to me, and I enjoyed doing it. I was involved in theater in high school, and I loved it. I even had the opportunity to play the first black Ebenezer Scrooge in A Christmas Carol.  

I was part of a play with my three classmates who represented the ghosts of past, present, and future. When there was a citywide call for actors, I was the only black guy chosen from all the schools that auditioned for a role. I ended up playing the role of "Silva Vicarro" in Tennessee Williams' play "27 Wagons Full of Cotton," which had a cast of only three people. It was a deep experience, but it felt strange that I had no support. 

One of my cousins took me to the play. My parents wouldn't support me in that, but those are the things that kept me going. As a side note, I want to interject this really quick. It's about what you said regarding the stereotypical sayings that people make as an excuse. For example, "Well, he's just a product of his environment." 

"That's why he's like this, that, and the other. Well, my mother smoked, drank, and died because her lungs were like Swiss cheese from all of the smoking, drinking, cursing, and all of the other stuff that they did, and I don't do any of that.  

So, if I saw it, how would I be a product of it? But on the contrary, I said to myself that that would not be me. For me, the door is closed. I can be around it but not in it and certainly not a part of it.  

That's why I hate it when people say, "Oh, well, he's a product of where he came from and what he grew up with," because I'm a living witness that it’s a false statement. That is not always the case. It's your choice. You don't have to live that way. I didn't. 

That's right. But acting got me into it.  I can act, or so they say. When I moved to LA, I started getting cast as an extra in a lot of movies, including Rudy Ray Moore's "Dolomite" movies. As raunchy and crazy as those films were, I was still new to LA, young, and playing in a band. The guy I moved in with was in the band, and the producers wanted the whole band to appear in these movies. So, I ended up in several of them. I was in three of the Rudy Ray Moore Dolomite series films, playing music on stage with the band. Later on, they even gave me an acting role. It was during the Blaxploitation era. 

That put me in front of the camera. In my mind, I was like, "I'm in a movie! Get out of here! How did I pull that off?" But it's all part of the journey and the process. As I started getting more roles in movies and TV shows, I began observing the director, the producer, and the cameraman—just watching them work without getting in their way and studying their techniques. 

It all ties back to directing. You see something in your head, say it, direct where the pieces will go, and then get the people who will bring that whole picture together. And then, you've produced something. 

Now, I'm also a comedian and can impersonate Richard Pryor well. But I don't curse when I impersonate him. Some people ask me, "How will you do Richard Pryor without cursing?" My answer is, "Watch me." 

I really appreciate that because I can't stand it when comedians rely on profanity for their humor. I want to enjoy comedy and laughing, but sadly, I watch less of it due to the swearing. I also avoid movies and any content that includes foul language. Right. There are several movies in which other famous comedians have played Richard Pryor. But because some people say I look like him, they suggest I should have been cast in a Richard Pryor role. I tell them, "No, I shouldn't have, because they're going to make him curse and do things I don't want to do. I'm not going to do that, so no, that's not for me." 

On the contrary, I just started writing something I thought would be funny as a movie called Switch, which features my "Mudbone," Richard Pryor-inspired character. I got a cast of some of the funniest comedians on television and some actors, and we did a table read. That was a shining moment—realizing that you thought of something, you wrote it down, you directed what you wrote on the pages, you produced it by bringing the people together, and now you're having them read it. But the top moment was when they laughed at the spots I wrote.  

You can't beat that! I mean, I had Ernest Lee Thomas, best known for his role as Roger "Raj" Thomas on the 1970s ABC sitcom What's Happening, sitting at the table and laughing at my jokes. Cisco Reyes from "Next Day Air," also a part of the cast, was there, too, and they were laughing at what I wrote. 

I'm at a table with a circle of actors, reading the script as a table read. I'm the lead character, so I'm in the middle reading the script. Keep in mind this is my first time writing, producing, or putting together a script.  

I used to spend a lot of time watching TV and movies, and I often noticed things that didn't make sense in the film. For example, if a family was supposed to have four kids, only three would be shown, or the movie wouldn't explain where the daughter went. These inconsistencies inspired me to write my own film. I ended up creating a movie with 58 characters, all interconnected in some way. What's even more surprising is that I didn't plan how I did that. It felt like a calling from God to put my thoughts and ideas into a script. 

Scriptwriting is something that's done almost spiritually as you write. You want the story to flow naturally, with all the pieces connecting smoothly. In other words, when you're writing a screenplay, you need to keep several things in mind, like not forgetting the details you've introduced earlier and making sure everything ties together as the story progresses. 

I kept that in mind, and when I finished, it all connected, which made me happy. Now, the next hurdle is securing funding to promote it and get it out there. But that's how I got into this. The movie is called Switch. 

We have to get that funded because my husband and I want to watch a comedy without any profanity. So, I'm definitely rooting for you on this project. Now, Victor, you also do stand-up comedy, right? 

I do comedy, but not stand-up. However, I've done it because people have pushed me into it. In fact, I went to a comedy club in Burbank, California, because a guy said, "Man, they're doing a 'Dead Comics Night' for Halloween, where comedians impersonate late comedians." They were looking for look-alikes, so I went and did Richard Pryor. 

I put on a wig and auditioned, and they emailed me back to say I got the part. They chose me to be Richard for Dead Comics Night, and I killed it! I only had five minutes, but I nailed it as “Richard.” That's the only time I do stand-up, other than when I'm around people and making them laugh. 

But dang, it's tough to get up in front of an audience and make them laugh. I can do it during my shows because my drums are in front of me. If I say something funny and don't hear any laughter, I just quickly move on to the next song (laughs). 

Absolutely! This world truly needs more clean comedians. As a fellow individual and a born-again Christian, I find that I have no interest in content filled with profanity or adult themes. When I encounter such material, I simply switch it off because it doesn't sit well with my spirit. It makes me wonder why filmmakers feel the need to include such elements. Take "War Room," for instance; it was a hugely successful film without any of that. Many beloved shows and movies from our past thrived without resorting to inappropriate content. Clearly, there is a demand for clean entertainment, and I would love to see more comedy that everyone can enjoy without the negativity of foul language. Right, and that's precisely what I said about my movie. I want my grandkids to watch it.  

Absolutely. Well, when "Switch" comes out, please make sure I know about it. With the way the world is going today—with all the filth and unproductive content out there—your film might be the only one I can watch. I'll just have to watch your film repeatedly. (laughs) I do the same thing, Gina. I knew exactly what you were going to say before you even mentioned it because, Gina, if I see one more girl twerking! And you know what? I'm going to give you a big honor today.   

We've done this whole interview, and not once have you grabbed your hand, pulled on it, pulled down on the side of it, stroked it, or anything like that. And you did not twerk either!  

That's so funny! I truly appreciate the kind words. Growing up, I was taught the importance of class. From a young age, I looked up to remarkable women like Lena Horne, Nancy Wilson, and Ella Fitzgerald, who embodied elegance and grace. As I transitioned into adulthood, I aimed to emulate their poise. However, my primary focus is on being a positive influence on the younger generation. That's the essence of who I am and what The Indie Post Magazine represents. I'm not the type to just seek out fun; I was brought up to value respect. Victor, you had an interesting experience playing at the Monterey Jazz Festival. Can you share that experience with our readers?  

Yes, I was performing with an artist, and my hair was pulled back while we were on stage. Then the lady came over to me and did this bit where she came over, stood behind me while I was playing, and did a little dance.  

Now, we all knew what she was going to do—she was going to take my little hair thing off and fluff my hair up. So, she did that while I was playing and really getting into it. Meanwhile, someone was taking pictures—click, click, click, click.  

Oh, wow. So, they caught you in action? Yes! Gina, when I returned to Los Angeles, I received a phone call from one of the band members. He said, "Hey, man, your pictures in the paper." I was like, "What are you talking about?" He said, "Your picture is in the paper, and people are talking about it." I thanked him and thought, "Okay, I need to see this."  

So, I checked the paper, and the picture I just showed you was right on the front page of the Monterey newspaper.  

Oh wow. Wow, praise God for His blessings. Yes, it was amazing! Imagine opening your door in the morning, grabbing the newspaper off the porch, and the first thing you see is your picture on the front page. 

Wow, that was a blessing. That was totally divine intervention! Out of all the amazing artists like Gladys Knight, Coco Montoya, and Patti LaBelle who performed at that festival, I ended up on the front cover. I can just picture the editor, channeling his inner J. Jonah Jameson, saying, “That’s the shot I want, Parker! Forget Spiderman; give me that one!” (laughs) It’s just too funny! So, I reached out to the guy and said, “Thanks a ton, man!” Because honestly, it was all God’s doing that he captured that moment. It was God who made sure my photo got the spotlight. I even had him send me five copies, and I still have them today. It’s also my screensaver now! 

Hey, that's such a blessing! Being in the spotlight like that is amazing, and huge congrats on snagging the 2013 Hollywood F.A.M.E Lifetime Achievement Award, Percussionist! What a fantastic accomplishment. God is truly faithful and good. When you follow what God has in store for you, even though we all have our flaws, if your heart is in the right place to honor Him, He'll definitely open the right doors for you. So, once again, congrats! Now, before we wrap things up, I want to ask you a few more questions, especially about your band "Fun Ja La." Can you share how that name came about and tell us a bit about the band?  Well, music is music. That's the umbrella, and then every genre falls under that umbrella. 

Whenever people ask me what I think about young musicians coming up, I always tell them to listen to every kind of music. Learn it and learn how to play it because, one day, the phone's going to ring—just like it did in my case—and someone will say, "Hey, Victor, I just heard about this guy, and he wants you to play percussion in his video. It's a Middle Eastern video." 

If you say, "I don't know any Middle Eastern music, and I don't know how to do that," then you'll miss out on that opportunity and the income that comes with it. 

Because I learned how to play multiple genres of music, I'm the guy who can say, "I'll take it! Cool!" And the next thing I knew, I was working. I had listened to Middle Eastern music and even wrote a Middle Eastern song on one of my CDs, so I already knew the style. 

I knew it well enough to write a song about it. After I wrote it, I realized, "This is a Middle Eastern electronic dance music song." So, I gave it the wackiest name I could think of: "East of Egypt and West of Compton." That was the title of my song. 

That's hilarious, Victor! That's so cool! Love it! That's why I tell young people to learn all different styles of music. Another time, this guy called me, looking for a percussion player who knew how to play the timbale solo in a song called "Frankenstein." 

All I could do was smile because I grew up listening to "Frankenstein" by Edgar Winter. It's a big percussion solo with the drummer featured prominently in the song. When he asked if I needed him to send me the track, I told him, "No need; I know that song in my sleep." 

He could have called me in the Middle of the night, and I would have played it for him. But the point is, I knew it. In fact, anybody can call me, and I'll know the music. Don't just sit there and do gangsta rap all your life and nothing else. 

My musical repertoire and understanding are so broad that even Tupac's and Suge Knight's people called me. I ended up working on Michel'le's album and then worked with LL Cool J. 

At that time, I worked a regular job at a donut shop, selling donuts through the drive-thru window from 12 a.m. to 8 a.m. No gigs were in sight. I was staying with my niece, and she called me one day and said, "Uncle Victor, LL Cool J's people are calling. They want you to come to an audition today." I thought she was joking and said, "Stop playing with me!" But she insisted, "No, I'm serious. They left a number." So, I said, "Fine, whatever. What kind of donuts do you want? I'm on my way home." I made some donuts, went home, and sure enough, there was the number. 

I called the studio, and sure enough, I was scheduled for an audition at 1:00 p.m. 

So, I packed up all my gear, went down there, and bam! I impressed LL. The next thing I knew, I was on the "Mama Said Knock You Out" tour with LL Cool J. 

I performed at the Los Angeles Coliseum with all these groups and toured on the buses with LL and everyone! It was amazing, but it all stemmed from knowing more than one style of music. It segued into different opportunities. 

I've done funk, and I grew up playing jazz. I'm part Latin and love Latin music. I've worked with members of Santana, and played along side of Pete Escovedo and Sheila E. 

So, when I perform, it's like, "Ladies and gentlemen, coming to the stage, Victor Orlando and Energy!" When I thought of the Name of my Band, I knew I played Funk, Jazz, and Latin, so I just took the "K," Off Funk, the ZZ, Off Jazz, and the Tin, off Latin, and Created fun-ja-la—the Name of the Music and Bands Name. 

So, if you book me, I can do nothing but funk if that's what you need for a funk show. Or you can book me for jazz while you sit and eat, and I'll do that all day long. If you book me for Latin, I'll do that too. So, when you book me, you get all of it. 

People will ask me, "Man, where did you get that African name? That's cool!" And I'll tell them, "I wrote it on a piece of toilet paper while sitting in the bathroom." How about that? I use it as a joke to explain how I came up with it. 

That's so funny! Victor, you are cracking me up! You're a funny guy indeed! But it rolls off the tongue, has a mysterious meaning, and works. 

Your CD, Victor Orlando, And Fun-Ja-La – 'N Da House achieved significant success, reaching #1 as a single in both the US and UK markets. Congratulations on that success! Can you share with me what you're currently working on? Yeah, I'm we're and I'm working on the second one in the process of working on the second one now. 

OK. Is it on vinyl? No, it's on CD only and you can purchase it from my website, victororlando.com. That’s where you can get it. You can also get the singles, or you can get the whole CD. They e-mail me when somebody wants the CD and then I'll mail it to them. Or of course, I sell my music at the shows. 

Unfortunately, the online streaming thing has you getting only pennies but on my site, you can get it for $0.99 and the CD I think is only $7.00. 

 "That was the transition from, 'I don't know what I'm doing.' I've played on everybody's stuff before, and God is like, 'OK, well, it's time for you to do something.' That is the message I tell every musician now: don't die leaving this earth without leaving your mark.  

You have been given a God-given talent, but if you haven't done anything yet, what have you really accomplished? 

Sure, you've made money, done this, that, and the other, but what are you leaving behind? Just your years, centuries of days, weeks, and months? So, go in and make something. I tell all my friends the same. Get challenged enough to create something. I'm creating songs in my head. 

I don't even know how to play a keyboard, but I can play a one-finger bass note from Chicago. I was given a guitar. A side note: I won the John Lennon songwriting contest grand prize.  

I submitted my song, and it won the grand prize for songwriting. I also won a Kramer guitar. Bootsy Collins judged the song, and he's putting it on a compilation album.  

A bunch of songs came in without any artist names attached. He chose three tracks, and that night, we were glued to Instagram, waiting for the big reveal. He announced all the winners, and there were just a couple of spots remaining. Then he said my name and announced, "And the grand prize winner is Victor Orlando!"  

So, when the dude from John Lennon's songwriting contest mentioned the songwriter's name, Booty was like, "Oh, I know that guy! That's Victor Orlando. Hey, Bubba! What's up?" But at first, he had no clue it was my song.  

I felt really great about that. Then, the announcer had to clarify something. Even though “Bootsy” recognized who I was, he didn't vote for me just because of that. He didn't even know who the other nominees were when he cast his vote. So, it made me really happy to know my song won purely based on my writing skills. It felt awesome because it showed that people were actually listening to it, and I didn't have to throw a bunch of cash at anyone to get it played. Plus, I'm noticing the analytics rising.  

Then it hit number one, and I was like, wow, people are actually grooving to my music! That’s how my first CD came together—just a bunch of thoughts and ideas. You know, Santana dropped Supernatural and snagged a bunch of Grammys with it, but that track had smooth tunes and R&B vibes, not just Latin sounds. So, I thought, that’s the way to go! I wanted to create a CD that had something for everyone—if you’re into funk, there’s a track for you; if you love Latin beats, I’ve got you covered; and for those who dig ballads and R&B, there’s a song for that too. It’s like everyone gets their own copy! (Laughs) 

Totally! You were talking about your music climbing the charts, and that's such a big deal, especially with the Bootsy Collins competition win—what an incredible accomplishment! And let's not forget all the other awards you've snagged, like the Hollywood Fame award for lifetime achievement in percussion and even a shoutout from Joe Biden. Big congrats on that! I just wanted to ensure we got that on record because you're super excited about it. You've really earned it with all the effort you've put in. I just realized we didn't discuss your appearances on "Martin" and "Dexter." I wanted to fit that in, too! Central Casting is the city agency that casts about 99.9% of everything we see in the industry. SAG-AFTRA is the company that pays the most. Then you move on from Central Casting to speaking roles, the pay increases and you also start earning royalties. I went through the whole spectrum, appearing on pretty much every major Black show of the '80s like The Fresh Prince of Bel-Air, In Living Color, Living Single, and The Steve Harvey Show. I also worked on other popular shows like Beverly Hills 90210, Melrose Place, and Married with Children. 

I remember wanting to be on Married with Children so badly. I called my agent and said, "What can you do to get me on the show? I just have to be on Al Bundy's show!" The comedy is so stupidly offbeat, and I managed to get on twice! Later, I also wanted to be on The Big Bang Theory, but they were ending the show, so I didn't get the chance. 

Thank you so much for sharing your amazing journey. Speaking of making a positive impact, I have one final question for you. I’ve got about five minutes left, but I want to make this count. This magazine was designed to inspire and uplift, not to bring anyone down. I believe that the media should be a tool for encouragement. It’s disheartening to see so much content that focuses on negativity and seeks to highlight the worst in people. My goal with this magazine is to bring out the best in individuals and to provide encouragement. So, I’d love to know: what encouraging words would you share with emerging musicians and those trying to enter this field? What insights can you offer to inspire and motivate those who are currently figuring things out? You're totally right about that, uplifting people is a good thing. What I would say is, be open to listening to all kinds of music and be true to yourself.  

Absolutely! Thank you so much for this incredible conversation. It has truly been a delightful exchange, and I appreciate every moment. I've gained so much insight into your remarkable life and who you are as an individual. I genuinely feel like I've made a new friend in you. My heartfelt wish is for God to bless all your endeavors, aligning them with His divine purpose for your life. May He protect you and your lovely family during your travels, and may He continue to open new doors for you. I hope you encounter trustworthy and genuine people who have your best interests at heart. I pray for God's favor to shine upon you. I want you to know how proud I am of you and all your accomplishments. I thank God for the opportunities He has provided you. Thank you for being such an inspiring role model and for your beautiful spirit. I can't wait to see what amazing things God has in store for you and all the exciting projects on the horizon! Thank you, Gina, God bless you.