"They brought me in for one episode, and I stole the show"
Daniel: Do some of the judges, do they know enough about hip-hop to be judging, you know, like Mary or Nigel?
Sparks: I don't -- you know what? That's a good question. I don't think so, but a lot of times when they judge it, they judge it from a performance point of view, you know what I mean? And I can't be mad at 'em, because, like, when I was on the panel a couple of times, I would judge ballroom from a performance point of view, and I'll let Mary take care of the technical, and let Nigel take care of the technical side of it, because I really couldn't a hundred percent judge that. But that's what makes the judgment good, because -- I would think their performance was great, coming from somebody who's never done ballroom. You know what I mean? And a lot of other people in America would say, "Oh my god, that was good! Why they doggin' him?" -- you know what I mean? So you need both sides of it; you need the technical side, and you need the side that's not technical, but knows the performing, so when the audience, when America's watching, they can judge from both those sides, instead of it just being all technical. 'Cause if it was all technical judges up there, you know what I mean, a lot of the routines would get smashed. So that would kinda make America be like, "Okay, I guess they didn't do good." You know what I mean? But if you get somebody up there who's like, "Oh my god, I don't care you weren't on point, you weren't flexing your toes, or your back wasn't up or your chest wasn't out, but your performance level was off the hook," and that would make people be like, "That's hot, then."
Daniel: In the finale, you talked about Phillip Shebib, the guy who did the noodle-armed thing.