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Speaker 1: From I Heeart podcast I Am Fab five Freddy and

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Speaker 1: this this fifty years of hip Hop podcast series. So

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Speaker 1: as we all by now clearly know, the birthplace of

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Speaker 1: hip hop is the Bronx in New York City and

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Speaker 1: would soon magnify, grow, expand and morph into other boroughs,

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Speaker 1: into other parts of the city, Queens State Island, Brooklyn

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Speaker 1: of course, you know Manhattan, money Maker Manhattan as we

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Speaker 1: call it. This expansion of rap music would not stop.

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Speaker 1: I mean on and on to the break of dawn.

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Speaker 1: And as other parts of the country begin to hear

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Speaker 1: and connect with this flavor, other sounds developed from other

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Speaker 1: parts of the country, from the West coast, from the southwest,

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Speaker 1: other parts of the East coast.

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Speaker 2: A lot of times people say the East Coast.

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Speaker 1: They mainly are referencing New York as you're here later

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Speaker 1: with other people speaking, but we're talking the east coast

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Speaker 1: of the country. You know, New York, DC, But it

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Speaker 1: was mainly coming out of New York on the east.

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Speaker 1: But also Philly, which is kind of east, was also

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Speaker 1: a big early influence. But stars were developing, groups, different ideas,

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Speaker 1: different beats were developing and having a really strong impact,

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Speaker 1: especially from Atlanta and they were touching all parts of

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Speaker 1: the country. Without a doubt that South definitely had something

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Speaker 1: to say along with everybody else. Let's get into it,

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Speaker 1: Shaudi Das music industry executive, Well.

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Speaker 3: New York.

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Speaker 4: I mean, first of all, let me just say I

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Speaker 4: am a big fan of New York culture and hip hop.

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Speaker 4: I lived in Jersey and worked in Manhattan for ten

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Speaker 4: years and as a young girl grew up listening to

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Speaker 4: everybody from you know, one of my favorite groups ever

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Speaker 4: was a tribe called Quest you know, rest in Peace

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Speaker 4: to Fife Dog and shout out to Ali in Youtip.

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Speaker 4: So listening to those guys tribe and I think was

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Speaker 4: the one group that I love because they it was

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Speaker 4: more live instrumentation, it seemed like in some of their music,

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Speaker 4: but traditional hip hop like it's you know, EP and

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Speaker 4: D right or l O Cooolja. It was more I

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Speaker 4: think eight oh eight heavy, you know, and beats and

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Speaker 4: that sort of thing, and so Atlanta hip hop and

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Speaker 4: Southern hip hop from the onset I think was just

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Speaker 4: like a hodgepodge of different sounds of music. Because I

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Speaker 4: think that's one thing that was so special about the

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Speaker 4: guys in the Dungeon family. Rico ran pat is that

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Speaker 4: you know, you had all these live musicians in the studio,

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Speaker 4: You had a little bit of.

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Speaker 2: Funk, gospel soul.

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Speaker 4: They still had the you know, thrum machines and all

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Speaker 4: of that, and it just brought it all together as

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Speaker 4: like a mixture of different genres, if you will. And

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Speaker 4: so it was laid back.

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Speaker 2: It was something you could sing to.

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Speaker 4: I think Southern playlistic like that first album from Our

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Speaker 4: Chats was just so funky and it was something that

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Speaker 4: I think, well hadn't really heard before, and it was like,

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Speaker 4: you know, what is this. You know, it sounds a

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Speaker 4: little bit like hip hop, but it also sounds like

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Speaker 4: someone Auntie and my grandma might listen to also, And

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Speaker 4: so it was just this new sound, if you will.

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Speaker 5: It kind of came to the forefront end.

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Speaker 4: You know, you had sounds like from George Clinton, you know,

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Speaker 4: if you will. So it was very funky and lace

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Speaker 4: still with heart beats, and so it was just a

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Speaker 4: new sound. And then I think as trap music evolved,

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Speaker 4: that was a different sound as well. Right, I was

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Speaker 4: in New York at the time when like t I

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Speaker 4: and g Z and you know, Shout Out to the Lake,

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Speaker 4: Shakir Sewart, who I think was responsible for signing a

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Speaker 4: lot of artists and really helping the shape what that

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Speaker 4: trap music era sounded like.

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Speaker 5: And I think trap music.

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Speaker 4: Really was an opportunity for people to really talk about

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Speaker 4: the environment and what they went through, the struggles growing

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Speaker 4: up in the South, some things that you know, guys

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Speaker 4: had to do. Maybe they weren't proud of getting out

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Speaker 4: of the trap right being able to find other outlets

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Speaker 4: for themselves. And so trap music to me was kind

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Speaker 4: of reminiscent of what we heard in the earlier days

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Speaker 4: when hip hop started, whether it was you know, Ice

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Speaker 4: Cube talking about what he went through in the West Coast,

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Speaker 4: or you know the plight of the black community that

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Speaker 4: you you know heard from Chut D and Public Enemy. Like,

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Speaker 4: trap music kind of talked about a lot of the

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Speaker 4: struggles that we were going through in the South.

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Speaker 1: Yeah, Shanti Dots, her Auntie and Grandma, if listening closely,

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Speaker 1: were moved by bits and chunks of sixties and seventies

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Speaker 1: soul songs that was sampled and used as a lot

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Speaker 1: of raps foundations.

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Speaker 2: Bun Be hip hop legend and entrepreneur.

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Speaker 3: Well, I mean, you know, you got to go through

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Speaker 3: a lot of things, right, So I started seeing I remember,

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Speaker 3: you know, primarily a lot of hip hop. I saw

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Speaker 3: things from New York. I started to see hip hop

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Speaker 3: come out of the West Coach right from LA and

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Speaker 3: from the Bay Area. I started to see rap come

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Speaker 3: out of let's say Philadelphia, right with schoolely D and

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Speaker 3: Tough Crew. We started to see rap come out of

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Speaker 3: Florida with the ghetto style DJs and Luke Records and

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Speaker 3: all that early peg jam stuff. You started to see

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Speaker 3: guys like Kelo, you know, come out of Atlanta. You

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Speaker 3: started to see you know, Gregory D and Manny Fresh,

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Speaker 3: you know, started to come out of New Orleans, all

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Speaker 3: of these different rejates representing themselves. And then there we

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Speaker 3: were in Houston. We had a lot of guys like RP. Coola, Romeo, Poet,

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Speaker 3: Billy D, Willie D, you know, the college boys.

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Speaker 2: Primarily for us, it was Rap a Lot.

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Speaker 3: Records, who was actually like a full up and running

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Speaker 3: record label, signed the artists and releasing music in the city.

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Speaker 2: And at the same time.

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Speaker 3: As we were recording were getting ready to release music,

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Speaker 3: the ghetto boys ended up dropping mind playing tricks on me.

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Speaker 3: It became this national hit record, you know what I'm saying,

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Speaker 3: cover of the source magazine perform Alive and yourt raps,

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Speaker 3: and that just gave us more confidence to believe that

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Speaker 3: we could make it this game.

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Speaker 2: Like, look, these are people from where we're from.

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Speaker 3: Basically at this point, and they took that all the way.

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Speaker 3: So once we saw that, I know, for me, it

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Speaker 3: put a fire under me. You know what I'm saying that, Like, Okay,

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Speaker 3: Texas is actually recognized and acknowledge you know what I'm saying,

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Speaker 3: Let's see where it can go.

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Speaker 2: Yeah, but hip hop is like an algorithm.

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Speaker 1: I feel, once you figure it out, you can work

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Speaker 1: it in any city or state in the country or

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Speaker 1: country on the whole planet. Paul Wall, rapper DJ. When

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Speaker 1: I think about.

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Speaker 6: How hip hop expanded outside of New York City to

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Speaker 6: down South, I sometimes get stuck between how it was

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Speaker 6: and how it is. When I was growing up listening

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Speaker 6: to Southern hip hop, it was unaccepted by the rest

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Speaker 6: of the music industry and the rest of the hip

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Speaker 6: hop community. It was like we wanted stepchild or something

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Speaker 6: in terms of how everyone else looked at the South.

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Speaker 6: Some of that was because of where it was created

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Speaker 6: and the power that comes with that and the dopeness

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Speaker 6: that comes with growing up in a place where this

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Speaker 6: was created. So from birth a lot of people parents

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Speaker 6: was around it or influenced by one way or another,

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Speaker 6: and almost everybody that.

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Speaker 2: Grew up right it was influenced by one way or another.

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Speaker 6: So coming from the South, where the Southern ways weren't

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Speaker 6: some of us accepted. A lot of them will look

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Speaker 6: down on, like the Southern drawl or being talking slow,

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Speaker 6: or you know, it was looked down on as ignorance.

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Speaker 6: But we just a little warmer, a little hot of

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Speaker 6: down in Texas. So we move a little slower sometimes,

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Speaker 6: but we get that when we need to, even with

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Speaker 6: how we listen to the music, and the South was

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Speaker 6: so much different. The South and the Midwest were be

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Speaker 6: on cars, on the car culture, along with the West

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Speaker 6: coast where it wasn't as big on the so a

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Speaker 6: lot of our music reflected that. Where we had a

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Speaker 6: lot of bass, we had a lot of bassline, a

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Speaker 6: lot of sampling where it wasn't the soul samples so

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Speaker 6: much or the boom back type of sample so much.

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Speaker 6: It was more blues samples, and the blue samples would

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Speaker 6: do something. It's a little bit different when they hit

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Speaker 6: in that face and you had hato wasts and trunks

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Speaker 6: around the sample. And that's what you would see a

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Speaker 6: lot in a lot of the Southern music.

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Speaker 2: Also a lot of the Southern.

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Speaker 6: Producers, almost all of them. You know, it's like the

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Speaker 6: only outlet for music is the church. So you learn

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Speaker 6: so much in the church that influences how you create

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Speaker 6: that music, how you play the instruments, or how you

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Speaker 6: just bring it all together. So when I think of

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Speaker 6: how it was for me growing up in the South,

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Speaker 6: there was a tremendous amount of pride listening to Southern

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Speaker 6: hip hop for me, or especially Texas hip hop. You know,

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Speaker 6: from sixth grade in school in Texas, you talked Texas

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Speaker 6: history and you always kind of talk of course all

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Speaker 6: my all those everything bigger in Texas, but you're always

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Speaker 6: taught the sense of Texas pride. So you support things

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Speaker 6: that come from Texas. A lot of people that come

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Speaker 6: out of Texas you feel like don't get a fair shot,

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Speaker 6: so you root for them a little harder, you support

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Speaker 6: them a little harder sometimes, and you just all around

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Speaker 6: just are proud of where you're from. So being proud

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Speaker 6: of Texas and proud of the music that came from

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Speaker 6: Texas was something that I took a tremendous amount of pride.

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Speaker 1: I'm glad to hear Paul Wall mention the blues because really,

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Speaker 1: when you think about it, let's face it, R and

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Speaker 1: B if you will, it's really rhythm and blues and

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Speaker 1: blues is so much at the core of all American music.

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Speaker 1: And so the blues also, which a lot of it

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Speaker 1: originated in the South. So many people in New York

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Speaker 1: and the biggest cities, their families originated in the South,

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Speaker 1: and then they migrated north into those other cities to

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Speaker 1: have a better lifestyle. But the soul of that music

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Speaker 1: is the soul of American music, and the South helped

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Speaker 1: put a lot of that all back into hip hop.

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Speaker 1: Without questions, we go Wade from Organized Noise, producer pioneer

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Speaker 1: of the Dirty South sound.

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Speaker 7: When Andre said that the South got something to say.

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Speaker 2: Minded folks, you know what I'm saying.

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Speaker 8: It's like we got a demo tape on him by

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Speaker 8: the one to.

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Speaker 2: Head, but it's like this, the South got something to say.

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Speaker 1: That's all I got to say.

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Speaker 7: That was after Southern playlists we had already went Platt.

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Speaker 7: That's why it was so much disappointment in his voice,

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Speaker 7: like we platinum, like we were platinum. And plus I

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Speaker 7: think the source of magazine had told us they was

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Speaker 7: gonna put us on the cover of the Source. And

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Speaker 7: then at the end of it, right at the end,

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Speaker 7: Ben Zeno or he put his group the Barrio Boys

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Speaker 7: on the cover. So we was like, well, that's some

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Speaker 7: obvious boys. You know what I'm saying. You gotta realize

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Speaker 7: you I'm saying, and this is and we were talking

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Speaker 7: to Dave Maidens. Even Dave was like, it's some bulle

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Speaker 7: but but luckily the source, it kind of it kind

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Speaker 7: of broke up a little bit.

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Speaker 2: After that.

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Speaker 7: A lot of the best writers, they really took the

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Speaker 7: stand the way they because because of what you're saying,

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Speaker 7: like what you're saying, like the majority was rocking with everybody.

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Speaker 7: So it was still some inside some inside challenges you

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Speaker 7: had to deal with with certain DJs or certain people

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Speaker 7: that that they was trying to like keep their old,

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Speaker 7: their old New York alive. We gotta play this more

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Speaker 7: and don't let me find on New York arts that

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Speaker 7: we can support. We're gonna try to or we gonna

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Speaker 7: support them way harder. Than we can somebody else, which

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Speaker 7: is cool because if you undeniable, you undeniable. So so

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Speaker 7: that's what it may. It created the monster that's outcast.

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Speaker 7: It created that monster. These boys had to keep coming

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Speaker 7: back with something else. Dope, I'm seeing better lyrics. We

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Speaker 7: had to come back with better music than what we

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Speaker 7: did before, and at the same time not compromising or

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Speaker 7: not being scared because it would be times when you

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Speaker 7: know you I'd be like, well, maybe, well, we don't

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Speaker 7: have to do that. I'm saying, y'all, ain't gotta we

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Speaker 7: don't have to do We don't have to be that

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Speaker 7: different no more. We could just be straight. But it

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Speaker 7: was like, nah, we start like outcasts. Was driven at

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Speaker 7: that point. That's all we know now is being different.

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Speaker 2: You know, we go.

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Speaker 1: I feel you loud and clear on that, man. But

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Speaker 1: in my opinion, you know what's important. It's key to

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Speaker 1: any region's success as hip hop spread around the country

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Speaker 1: is a significant combo of unique and innovative music talent

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Speaker 1: and a few key players who can handle business and

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Speaker 1: make deals. I mean, sit at the table with the

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Speaker 1: powers that be and structure are somewhat If you can

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Speaker 1: equitable deal, that's key to any of these regions blowing

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Speaker 1: up and having a significant influence.

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Speaker 2: That's like the cheat code if you will.

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Speaker 1: Master p he had it, Baby and Slim, Jermaine Duprie,

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Speaker 1: La Reid and Babyface J Prince just a few of

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Speaker 1: those cats that knew how to put those deals in

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Speaker 1: place to really make it happen.

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Speaker 4: Shady das Big Cat was a friend to Outcast and

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Speaker 4: to Goodie Mob, and he was one of the first

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Speaker 4: DJs that will actually play our stuff, whether it was

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Speaker 4: in rotation or not. Like he fought really hard for

256
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Speaker 4: us and some of the other DJs, it took a

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Speaker 4: lot harder. Like Clues supported us do Wop, a lot

258
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Speaker 4: of people supported us early on, but a lot of

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Speaker 4: the bigger DJs it took a long time for them

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Speaker 4: to come around. And once they did, you know, the

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Speaker 4: respect was there. But you know, being in New York

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Speaker 4: and it being the birthplace of hip hop, there's a

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Speaker 4: certain level of arrogance that was always there from a

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Speaker 4: hip hop perspective, and it was frustrating, especially as a

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Speaker 4: young girl working street teams and promotions. And I was

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Speaker 4: relentless at you know, supporting my group and trying to

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Speaker 4: break my group. But it was not easy getting our

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Speaker 4: foot in the door, and even with Goodie Mob, like

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Speaker 4: it was even harder working Goodie Mob than outcasts. And

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Speaker 4: so there were just times when we felt like, you know,

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Speaker 4: step kids in the culture, and we just it was

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Speaker 4: just it just meant that we had to work, you know,

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Speaker 4: three or four times as hard to get hurt and

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Speaker 4: to get that national attention and respect.

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Speaker 2: DJ record producer and music executive.

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Speaker 8: I knew that being up North, that we will never

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Speaker 8: survive based on a crab and a barrel thought process.

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Speaker 8: They didn't have that. The Southern comfort allowed them. I

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Speaker 8: don't remember them ever being a serious beef. If it

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Speaker 8: was a rap argument, it was a rap argument, but

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Speaker 8: it was never really. The only one I seen was

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Speaker 8: the pastor Troy master P thing, but it still was

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Speaker 8: in lines of hip hop, you know what I mean.

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Speaker 8: It wasn't like it was disrespectful, but it wasn't like

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Speaker 8: how the North we carried it, you know what I mean.

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Speaker 8: The way we carried up North is like we expose

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Speaker 8: you and you're never supposed to come back around. The

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Speaker 8: ecosystem here allowed both of them to live. It was like,

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Speaker 8: well people are like him, y'all go over there, people

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Speaker 8: will hug him.

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Speaker 2: But I seen it when they started.

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Speaker 8: And when I said when Andre said the South got

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Speaker 8: something to say, I felt like they did here.

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Speaker 2: I felt like they was like, so what y'all gotta say?

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Speaker 2: Nobody give a you know what I'm saying.

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Speaker 8: And even though they was making these smacks and people

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Speaker 8: was respecting them and it was just them, it was

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Speaker 8: like outcast was the whole Atlanta. But really he was saying, yo,

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Speaker 8: anywhere from New Orleans down to Miami, South Carolina, North Carolina.

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Speaker 8: Bro we on some you know what I mean. But

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Speaker 8: Atlanta still was just in a pocket. I remember j

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Speaker 8: JD running it, and I felt like they wasn't respecting

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Speaker 8: him as an Atlantian. They was respecting him as a

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Speaker 8: New Yorker. I was like, yo, bro, he going crazy

305
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Speaker 8: down here. You know, it don't matter where are you're from.

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Speaker 8: He representing Atlanta, but I felt like they didn't give

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Speaker 8: him his props. So I remember specifically when Little John

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Speaker 8: came out, it being a real like dangerous peace in Atlanta.

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Speaker 8: Like it was like a Little John came out and

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Speaker 8: crunk started.

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Speaker 2: Bro. That's when Atlanta was like we it, you know

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Speaker 2: what I mean?

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Speaker 8: Because they stuck together one but you'll go to their

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Speaker 8: clubs like the Bounce at five five nine, Chocolate and Autise,

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Speaker 8: and it was just this is what it is. We

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Speaker 8: don't want to hear nothing, you know what I'm saying.

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Speaker 8: Five five nine, You probably won't hear any biggie, any

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Speaker 8: j You might hear some old school Tupac. But they

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Speaker 8: created a way for themselves by saying we are Atlanta

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Speaker 8: and this is what it is. And I felt like

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Speaker 8: that's where it turned into the juggernaut of like Okay

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Speaker 8: to Atlanta, that's it, like this is this is it?

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Speaker 2: Ayrena.

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Speaker 1: Jamaine dupri was definitely key to a lot of what happened,

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Speaker 1: especially in Atlanta, producing various acts that he introduced and

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Speaker 1: as an artist himself, I mean back in the days

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Speaker 1: for y'all that don't know, you gotta remember, Jermaine Duprix

328
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Speaker 1: started out as a hip hop dancer for the group

329
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Speaker 1: Houdini and was a part of one of rap's first

330
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Speaker 1: big tours. So Jermaine was moving fluently between New York

331
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Speaker 1: Atlanta like diplomatic style, paved the way for a lot

332
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Speaker 1: of what would then happen in the South.

333
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Speaker 2: Through incredible relationships he had built.

334
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Speaker 1: Along the way. And then when Little John and that

335
00:17:17,480 --> 00:17:20,760
Speaker 1: crunk sound drop, Oh my goodness, what a big impact

336
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Speaker 1: that had Coast to coast.

337
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Speaker 2: DJ Scream Atlanta mixtape legend.

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Speaker 9: There's a lot of unity in Atlanta. If you look

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00:17:29,080 --> 00:17:31,320
Speaker 9: back to a lot of the music videos, if you

340
00:17:31,359 --> 00:17:33,720
Speaker 9: look back to like Bold Crushing that were Scared and

341
00:17:34,480 --> 00:17:37,600
Speaker 9: Killer Mike and Ball Crushing, Ti Past Troy and Little

342
00:17:37,680 --> 00:17:41,000
Speaker 9: John and y'all Blood Jermaine, all of them what kind

343
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Speaker 9: of like, you know, rocking and I don't know the story.

344
00:17:43,240 --> 00:17:45,199
Speaker 9: Maybe they were really rocking, maybe they weren't. I don't know,

345
00:17:45,280 --> 00:17:50,159
Speaker 9: but it looked great. See, my thing was, there was

346
00:17:50,280 --> 00:17:52,320
Speaker 9: never a more impactful moment.

347
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Speaker 2: To me uttered than seeing the wool Tag thing.

348
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Speaker 9: It's like, how can all these black people be together

349
00:18:00,960 --> 00:18:03,720
Speaker 9: and I hate each other? You say, like, it's just

350
00:18:03,840 --> 00:18:06,080
Speaker 9: kind of crazy. You have to give respect to the

351
00:18:06,119 --> 00:18:08,800
Speaker 9: person that brought them together. And then we saw with

352
00:18:08,880 --> 00:18:11,199
Speaker 9: Dungeon family, and then we saw we're like death Row

353
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Speaker 9: Records and it may not last forever, but in our city,

354
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Speaker 9: you know what I'm saying. There was a city where

355
00:18:17,359 --> 00:18:19,520
Speaker 9: I think the mentality, at least at the time was

356
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Speaker 9: even if I don't like Homie and he's doing his day,

357
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Speaker 9: I ain't gonna hate on even if we have a

358
00:18:25,680 --> 00:18:29,600
Speaker 9: personal thing. I can't hate on the fact that his

359
00:18:29,760 --> 00:18:37,159
Speaker 9: music jam. Oh man, it's simple bad bass eight o

360
00:18:37,320 --> 00:18:43,359
Speaker 9: a bad bass. Like the producers down south. There's a

361
00:18:43,359 --> 00:18:45,720
Speaker 9: lot of producers down south that can sample on.

362
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Speaker 2: Their dope at it. You know what I'm saying.

363
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Speaker 9: The producers are East Coast, you know, you go back

364
00:18:52,560 --> 00:18:54,879
Speaker 9: to the classic producers. The way they sample is just

365
00:18:54,920 --> 00:18:57,639
Speaker 9: a match. It just gives you a feeling, right, And

366
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Speaker 9: then the big drums in the South stay at oh

367
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Speaker 9: eight man, like just hear you feel in the car,

368
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Speaker 9: you feel in the club. It's spiritual like you feel

369
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Speaker 9: at eight O eight.

370
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Speaker 2: You just do so for you.

371
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Speaker 9: And I said for a long time, what's your cheek?

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Speaker 2: Cole atoa? You know what I'm saying.

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Speaker 9: And now you see different reasons tapping into that eight

374
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Speaker 9: O eight and this in their music.

375
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Speaker 2: I really feel like the AO eight's is tribal. It's spiritual.

376
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Speaker 2: Oh man.

377
00:19:26,000 --> 00:19:28,119
Speaker 1: DJ Scream is so right. I love the sound of

378
00:19:28,160 --> 00:19:31,440
Speaker 1: that eight o waight. That deep Bait's definitely a tribal

379
00:19:31,520 --> 00:19:34,720
Speaker 1: vibe going on rattles you to the bone. Marrow Man

380
00:19:34,800 --> 00:19:39,520
Speaker 1: had a trunk of them cars rattling hard boy shouty das.

381
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Speaker 4: These artists, they drew inspiration from one another, right like

382
00:19:43,440 --> 00:19:45,959
Speaker 4: most of my friends all love a ball and MJG

383
00:19:46,560 --> 00:19:48,520
Speaker 4: like you know, and they are one of the greatest

384
00:19:48,560 --> 00:19:51,359
Speaker 4: Southern hip hop acts ever. Right, you talk about it

385
00:19:51,520 --> 00:19:55,520
Speaker 4: UGK and what UGK meant to Outcast and the Dungeon family.

386
00:19:55,680 --> 00:19:58,560
Speaker 4: They all family bun be like we all kind of

387
00:19:58,600 --> 00:20:01,399
Speaker 4: grew up, you know, in and we vibed off the

388
00:20:01,440 --> 00:20:04,720
Speaker 4: same music and some of the sounds are very similar.

389
00:20:04,880 --> 00:20:08,240
Speaker 4: And so I think Atlanta, you know, Atlanta helped to

390
00:20:08,320 --> 00:20:11,399
Speaker 4: jump it off. But those guys, you know, rightfully so

391
00:20:11,640 --> 00:20:12,760
Speaker 4: were doing their own thing.

392
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Speaker 5: And you know in Houston and.

393
00:20:14,200 --> 00:20:17,720
Speaker 4: The Ghetto Boys, the Ghetto Boys also used live instrumentation

394
00:20:17,840 --> 00:20:20,840
Speaker 4: and had funky beats, and so it was just that

395
00:20:21,040 --> 00:20:24,560
Speaker 4: Southern love, that Southern hospitality, if you will. And so

396
00:20:24,760 --> 00:20:28,600
Speaker 4: there's so many similarities and synergies there. But I think

397
00:20:28,640 --> 00:20:32,080
Speaker 4: what Atlanta did for the Memphiss of the world and

398
00:20:32,119 --> 00:20:34,679
Speaker 4: the Houstons, I think, you know, you think about regional

399
00:20:34,720 --> 00:20:37,760
Speaker 4: hip hop, sometimes they look at they would think, okay, Houston,

400
00:20:37,880 --> 00:20:40,879
Speaker 4: you know, these are regional acts. Memphis, that's a Southern

401
00:20:40,920 --> 00:20:44,760
Speaker 4: regional act, but the artists from Atlanta were able to

402
00:20:44,800 --> 00:20:48,880
Speaker 4: break nationwide, I think, and it gave some of those

403
00:20:48,960 --> 00:20:53,080
Speaker 4: regional hip hop acts the opportunity to break nationally and

404
00:20:53,160 --> 00:20:54,000
Speaker 4: even globally.

405
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Speaker 1: Globally, Oh Man Sean, you mentioned eight Ball and MJG. Man,

406
00:20:57,800 --> 00:21:01,040
Speaker 1: those one of my favorite groups right there. Man spade

407
00:21:01,119 --> 00:21:04,040
Speaker 1: Ja's pimping and that's on just like Candy Man.

408
00:21:04,160 --> 00:21:05,600
Speaker 2: Them dudes was so cool.

409
00:21:05,960 --> 00:21:07,879
Speaker 1: I remember when I signed and put out the group

410
00:21:07,920 --> 00:21:12,600
Speaker 1: Crucial Conflict, a big influential group out of Chicago that

411
00:21:12,720 --> 00:21:15,000
Speaker 1: had a whole lot of country swag.

412
00:21:15,119 --> 00:21:17,040
Speaker 2: But who would know unless you knew Chicago.

413
00:21:17,200 --> 00:21:19,760
Speaker 1: Well, that a lot of folks when they migrated up

414
00:21:19,800 --> 00:21:24,000
Speaker 1: to Chicago from Alabama and places like that, Mississippi, A

415
00:21:24,000 --> 00:21:25,880
Speaker 1: lot of them people in the especially on the West

416
00:21:25,880 --> 00:21:28,880
Speaker 1: side of Chicago, kept a lot of that Southern flavor

417
00:21:29,000 --> 00:21:32,080
Speaker 1: with them and found this incredible group, Crucial Conflict, and

418
00:21:32,119 --> 00:21:35,520
Speaker 1: put them together and their first show at the Regal

419
00:21:35,920 --> 00:21:38,760
Speaker 1: was opening for eight Ball and MJG. And I was

420
00:21:38,800 --> 00:21:41,520
Speaker 1: so honored to meet those casts backstage and watch Crucial

421
00:21:41,560 --> 00:21:44,159
Speaker 1: Conflict blow up talking about Hey in the middle of

422
00:21:44,200 --> 00:21:48,440
Speaker 1: the Bond we Go Wade from Organized Noise.

423
00:21:48,240 --> 00:21:51,240
Speaker 7: Master P and Baby did become art with artists, but

424
00:21:51,359 --> 00:21:53,600
Speaker 7: they were really master P got that the hustle that

425
00:21:53,680 --> 00:21:55,840
Speaker 7: he did when he was talking about the Bay Area,

426
00:21:55,880 --> 00:21:57,399
Speaker 7: where he was out in the Bay Area and figured

427
00:21:57,400 --> 00:21:59,840
Speaker 7: out that they were selling records just in the Bay

428
00:21:59,840 --> 00:22:03,520
Speaker 7: a carry like records that wasn't selling in no other places,

429
00:22:03,560 --> 00:22:06,560
Speaker 7: but they was going to three hundred thousand of gold

430
00:22:06,760 --> 00:22:07,840
Speaker 7: independently and they.

431
00:22:07,800 --> 00:22:08,400
Speaker 2: Was getting rich.

432
00:22:08,600 --> 00:22:11,000
Speaker 7: The fact that he even took that mentality to the

433
00:22:11,040 --> 00:22:14,639
Speaker 7: South and said, who cares if we get played on

434
00:22:14,640 --> 00:22:16,600
Speaker 7: the radio, Let's just sell them.

435
00:22:16,640 --> 00:22:17,719
Speaker 2: Let's just tell these records.

436
00:22:17,800 --> 00:22:19,800
Speaker 7: Let's sell these records and get this money and split

437
00:22:19,840 --> 00:22:21,440
Speaker 7: it up and keep doing it.

438
00:22:22,240 --> 00:22:24,280
Speaker 2: I'm very proud of all them.

439
00:22:24,640 --> 00:22:28,160
Speaker 1: Iced tea at the rapper West Coast Hip Hop pie

440
00:22:28,240 --> 00:22:28,520
Speaker 1: in there.

441
00:22:28,760 --> 00:22:31,520
Speaker 10: I think that early, you know, I came out, but

442
00:22:31,520 --> 00:22:34,000
Speaker 10: it's only one rapper. Then you got kind of like

443
00:22:34,000 --> 00:22:37,760
Speaker 10: too short coming through bringing the Bay up. Even ghetto

444
00:22:37,800 --> 00:22:40,280
Speaker 10: boys out of Texas, they not really West Coast, but

445
00:22:40,359 --> 00:22:43,400
Speaker 10: they was coming out, but they But I think once

446
00:22:43,560 --> 00:22:46,440
Speaker 10: nw WAD started making their moves and then the real

447
00:22:46,640 --> 00:22:50,840
Speaker 10: bang w is where Death Row and all that started

448
00:22:50,840 --> 00:22:53,760
Speaker 10: happening with Pock and Sugar and all that Snoop Dog.

449
00:22:54,119 --> 00:22:57,080
Speaker 10: It was just like a title wave of West Coast music.

450
00:22:57,200 --> 00:22:59,840
Speaker 10: Death Row and them just put so many good records out.

451
00:23:00,400 --> 00:23:04,600
Speaker 10: They had so much energy going by. Now you've got comptus,

452
00:23:04,600 --> 00:23:07,679
Speaker 10: most wanted, you got all of us. It's it's a

453
00:23:07,680 --> 00:23:09,639
Speaker 10: lot of action going on in the West Coast. But

454
00:23:09,680 --> 00:23:12,760
Speaker 10: I think the real Death Row movement really was the

455
00:23:12,760 --> 00:23:16,800
Speaker 10: most powerful one that really said, hey, the West Coast

456
00:23:16,880 --> 00:23:20,080
Speaker 10: got a sound. Dre really using a lot of George

457
00:23:20,119 --> 00:23:24,520
Speaker 10: Clinton sounds really stamped in. You know, Warren g created

458
00:23:24,600 --> 00:23:27,240
Speaker 10: Chief Funk. We just had a different energy. See, the

459
00:23:27,280 --> 00:23:30,240
Speaker 10: thing of it is, it's like music matches the culture,

460
00:23:30,640 --> 00:23:33,760
Speaker 10: not the culture, but the climate of the place.

461
00:23:34,240 --> 00:23:35,440
Speaker 2: So if you listen to New.

462
00:23:35,400 --> 00:23:39,040
Speaker 10: York, New York is Wu Tang Clan, New York is

463
00:23:39,440 --> 00:23:43,000
Speaker 10: the trains, New York is static. Like you step on

464
00:23:43,040 --> 00:23:46,880
Speaker 10: the streets, it's like that's New York, La, you riding,

465
00:23:47,160 --> 00:23:49,880
Speaker 10: We're riding. So the music's a little more laid back.

466
00:23:49,920 --> 00:23:52,720
Speaker 10: We got palm trees, we got big booty girls. Everything

467
00:23:52,840 --> 00:23:56,800
Speaker 10: is cool until the pops off. That's la. Down south,

468
00:23:56,880 --> 00:23:59,560
Speaker 10: they got a southern swag. That's why Usual your goodie

469
00:23:59,600 --> 00:24:02,679
Speaker 10: mob and on them, So it has to match. Hence

470
00:24:02,960 --> 00:24:05,879
Speaker 10: what Russell told me when I started, you have to

471
00:24:06,000 --> 00:24:09,040
Speaker 10: rep where you're from. The music has to reflect to

472
00:24:09,280 --> 00:24:12,800
Speaker 10: live crew. It was a Miami Sam that Miami basse.

473
00:24:13,200 --> 00:24:15,480
Speaker 10: They kicked in, all the booty shaking and all that

474
00:24:15,640 --> 00:24:20,040
Speaker 10: was down there. So when LA found its real place

475
00:24:20,320 --> 00:24:23,000
Speaker 10: was when Dre and them really locked in that depth

476
00:24:23,080 --> 00:24:24,000
Speaker 10: roaw sound.

477
00:24:24,040 --> 00:24:26,359
Speaker 2: As far as the West Coast hip hop scene and

478
00:24:26,400 --> 00:24:27,080
Speaker 2: what that was.

479
00:24:27,160 --> 00:24:30,120
Speaker 1: You know, my show You're on TV raps was important

480
00:24:30,160 --> 00:24:32,480
Speaker 1: because this is where we got to show you and

481
00:24:32,560 --> 00:24:36,560
Speaker 1: oftentimes go to the neighborhoods where these artists lived. NWA

482
00:24:37,119 --> 00:24:40,720
Speaker 1: debuting on my show back then easy that whole thing

483
00:24:40,800 --> 00:24:43,840
Speaker 1: and me and Dre. I developed a good friendship with him,

484
00:24:44,119 --> 00:24:46,560
Speaker 1: and he asked me to come and direct Snoops first

485
00:24:46,640 --> 00:24:49,960
Speaker 1: video back then for the song What's My Name? And

486
00:24:50,040 --> 00:24:52,520
Speaker 1: that ended up with me spending that whole summer out

487
00:24:52,560 --> 00:24:56,560
Speaker 1: in La crashing at Dre's crib because the focus was

488
00:24:56,920 --> 00:25:00,159
Speaker 1: finishing up Snoops album and I had to fit to

489
00:25:00,160 --> 00:25:03,000
Speaker 1: shove his first video, so I got to really feel

490
00:25:03,160 --> 00:25:07,320
Speaker 1: that whole LA lifestyle. The music was really designed to

491
00:25:07,560 --> 00:25:11,680
Speaker 1: listen well while driving, and it was so amazing and

492
00:25:11,800 --> 00:25:14,920
Speaker 1: listen to records like the Chronic and other things that

493
00:25:15,000 --> 00:25:18,200
Speaker 1: like Dre was cooking up while rolling from one part

494
00:25:18,200 --> 00:25:20,560
Speaker 1: of LA to the next in those long drives. So

495
00:25:20,560 --> 00:25:24,280
Speaker 1: it was really important and really a first hand look

496
00:25:24,600 --> 00:25:27,320
Speaker 1: at that whole part of hip hop blowing up.

497
00:25:28,000 --> 00:25:31,919
Speaker 2: The doc rapper, producer, songwriter.

498
00:25:32,119 --> 00:25:34,960
Speaker 11: For me, when it showed up, it's just, you know,

499
00:25:35,760 --> 00:25:38,000
Speaker 11: look rock him says, it ain't where you fromis were

500
00:25:38,080 --> 00:25:41,200
Speaker 11: yet and so it came from New York, but it's

501
00:25:41,359 --> 00:25:46,480
Speaker 11: blongs towards all and it's going to manifest itself through

502
00:25:46,520 --> 00:25:50,960
Speaker 11: each individual in their own depending on what the zip

503
00:25:51,000 --> 00:25:56,000
Speaker 11: code is. But me, I'm a Texas dude, Dallas, Texas,

504
00:25:56,040 --> 00:26:00,359
Speaker 11: but I'm a East Coast MC in my heart, you know,

505
00:26:00,520 --> 00:26:05,600
Speaker 11: and so but I was raised on West Coast music,

506
00:26:05,760 --> 00:26:10,399
Speaker 11: in hip hop. I'm just a hybrid of all of

507
00:26:10,400 --> 00:26:14,080
Speaker 11: those things that that that's what kind of made I

508
00:26:14,160 --> 00:26:17,639
Speaker 11: think it's makes me sort of unique coming up in

509
00:26:17,640 --> 00:26:20,880
Speaker 11: this game. But hip hop is a universal thing to me. Bro.

510
00:26:21,760 --> 00:26:25,920
Speaker 11: We all respect those boroughs where it found its way

511
00:26:25,960 --> 00:26:29,240
Speaker 11: to us, but it's a universal thing, you know.

512
00:26:29,440 --> 00:26:30,800
Speaker 2: That's worldwide lie.

513
00:26:32,200 --> 00:26:35,920
Speaker 1: Hip Hop's influence was spread far beyond its musical artistry

514
00:26:36,000 --> 00:26:39,399
Speaker 1: into many of the industries and forms of expression. With

515
00:26:39,520 --> 00:26:44,280
Speaker 1: the cultural and worldwide dominance of hip hop growing and expanding,

516
00:26:44,520 --> 00:26:47,360
Speaker 1: we would soon see its expression in the world of fashion.

517
00:26:47,960 --> 00:26:50,880
Speaker 1: Hip Hop didn't just create a music genre, it defined

518
00:26:50,880 --> 00:26:55,159
Speaker 1: a fashion style. What started out as street where urban

519
00:26:55,280 --> 00:26:59,200
Speaker 1: weere evolved into a unique style that has become high

520
00:26:59,200 --> 00:27:03,399
Speaker 1: fashion at the highest level, but only matched by his

521
00:27:03,560 --> 00:27:05,600
Speaker 1: attitude and confidence.

522
00:27:06,240 --> 00:27:09,840
Speaker 2: Ralph McDaniels, co creator of New York's.

523
00:27:09,520 --> 00:27:14,200
Speaker 1: Pioneering show Video Music Box and currently the hip hop

524
00:27:14,280 --> 00:27:17,080
Speaker 1: coordinator for the Queen's Public Library.

525
00:27:17,400 --> 00:27:20,480
Speaker 2: I think hip hop's impact on lifestyle.

526
00:27:20,000 --> 00:27:24,560
Speaker 12: And the arts, and it's always been about just do

527
00:27:24,640 --> 00:27:25,679
Speaker 12: your own thing, you know.

528
00:27:25,760 --> 00:27:27,080
Speaker 2: It's always it's.

529
00:27:26,960 --> 00:27:30,920
Speaker 12: Never been like fit into this, you know, even though

530
00:27:30,920 --> 00:27:33,440
Speaker 12: it is that, but we always say do your own thing.

531
00:27:33,680 --> 00:27:36,400
Speaker 12: And if you if you operate like that, you're free

532
00:27:36,440 --> 00:27:39,120
Speaker 12: to do whatever you want to do. Russell Simmons, first

533
00:27:39,160 --> 00:27:41,720
Speaker 12: time I went to a record company, you know, sneakers.

534
00:27:41,720 --> 00:27:43,360
Speaker 12: He had his hat to the back and he had,

535
00:27:43,600 --> 00:27:45,879
Speaker 12: you know, his hoodie on, and I thought you were

536
00:27:45,880 --> 00:27:47,760
Speaker 12: supposed to wear a suit when you walk into one

537
00:27:47,800 --> 00:27:50,400
Speaker 12: of these type of offers and I was like, they're

538
00:27:50,440 --> 00:27:52,280
Speaker 12: not gonna let him in, and he walked right in

539
00:27:52,520 --> 00:27:53,280
Speaker 12: and they were.

540
00:27:53,200 --> 00:27:54,199
Speaker 2: Like, Russ, what up?

541
00:27:54,320 --> 00:27:54,639
Speaker 8: Russ?

542
00:27:55,680 --> 00:27:58,320
Speaker 12: And I was like, so, if you have something that

543
00:27:58,359 --> 00:28:00,520
Speaker 12: people want, you can wear whatever you want to wear

544
00:28:00,600 --> 00:28:02,560
Speaker 12: and look and talk however you want to talk if

545
00:28:02,840 --> 00:28:05,679
Speaker 12: as long as you bring them what they want. And

546
00:28:05,760 --> 00:28:07,800
Speaker 12: that was a game changer for me because I was like,

547
00:28:09,200 --> 00:28:10,720
Speaker 12: I didn't want to get dressed up and wear a

548
00:28:10,760 --> 00:28:14,240
Speaker 12: suit everywhere with in hard bottoms, you know. I was like,

549
00:28:14,480 --> 00:28:18,000
Speaker 12: mm hmmm, I'm throwing my sneakers on. Were good now

550
00:28:18,280 --> 00:28:21,880
Speaker 12: And that changed everything. And everywhere you went, everybody looked

551
00:28:21,880 --> 00:28:24,480
Speaker 12: like Russell, you know, they had on a little pack

552
00:28:24,560 --> 00:28:27,480
Speaker 12: of sweater or whatever and they talked like him. And

553
00:28:27,520 --> 00:28:30,800
Speaker 12: I was like, this dude changed everything, you know, like

554
00:28:31,440 --> 00:28:33,480
Speaker 12: this is how we're gonna act. And I don't know

555
00:28:33,520 --> 00:28:35,719
Speaker 12: where he got it from, but this is how we're

556
00:28:35,720 --> 00:28:37,680
Speaker 12: gonna act. That's what hip hop does.

557
00:28:37,920 --> 00:28:41,280
Speaker 1: Great point, Ralph, you know, the bold and disruptive nature

558
00:28:41,400 --> 00:28:44,040
Speaker 1: of wearing jeans and sneakers to a business meeting.

559
00:28:44,600 --> 00:28:47,200
Speaker 2: I spoke volumes back then, and that's a part of.

560
00:28:47,160 --> 00:28:51,800
Speaker 1: The disruptive nature at the core of hip hop culture

561
00:28:52,120 --> 00:28:59,240
Speaker 1: without question, swagnificent for sure. Yes, indeed, Karl Kana, fashion

562
00:28:59,320 --> 00:29:02,640
Speaker 1: designer and the godfather of urban street wear.

563
00:29:02,960 --> 00:29:04,880
Speaker 5: Hip hop was everything in the fashion world.

564
00:29:05,120 --> 00:29:08,080
Speaker 13: When we talk about fashion and hip hop, you know

565
00:29:08,120 --> 00:29:11,440
Speaker 13: when people talk about who started street with, I say, here,

566
00:29:11,480 --> 00:29:16,240
Speaker 13: what time? When we started, I didn't really know where

567
00:29:16,280 --> 00:29:16,960
Speaker 13: that my end.

568
00:29:16,800 --> 00:29:17,560
Speaker 5: Game was going to be.

569
00:29:18,520 --> 00:29:20,520
Speaker 13: But I knew I was doing something that was right.

570
00:29:21,040 --> 00:29:23,160
Speaker 13: I knew I was doing something that's fulfilling. I knew

571
00:29:23,160 --> 00:29:24,720
Speaker 13: that I was doing something because when we went to

572
00:29:24,760 --> 00:29:27,320
Speaker 13: the stores, we didn't see any of our people being

573
00:29:27,360 --> 00:29:30,080
Speaker 13: represented to the fashion world. But we spent all our money,

574
00:29:30,120 --> 00:29:32,360
Speaker 13: me and all my Frederick always was broke. We had

575
00:29:32,400 --> 00:29:35,840
Speaker 13: our fresh clothes. So this thing called fashion and stink

576
00:29:35,880 --> 00:29:38,240
Speaker 13: care hip hop was kept calling our name. And I

577
00:29:38,280 --> 00:29:40,600
Speaker 13: say two people all the time. Sometimes destiny is calling

578
00:29:40,640 --> 00:29:42,800
Speaker 13: your line, but you got to pick up.

579
00:29:42,720 --> 00:29:44,080
Speaker 5: The call right.

580
00:29:44,840 --> 00:29:48,960
Speaker 13: So when I saw how much money he was spending,

581
00:29:49,680 --> 00:29:51,840
Speaker 13: and I saw my dad, how I got into fashion.

582
00:29:52,440 --> 00:29:54,560
Speaker 13: My dad used to get his close made by Taylor,

583
00:29:55,160 --> 00:29:57,200
Speaker 13: my dad's in Panama. He won his clothes to fit

584
00:29:57,240 --> 00:29:59,120
Speaker 13: in a certain way. He used to go to the

585
00:29:59,200 --> 00:30:01,240
Speaker 13: last street buys, Baby Kin then take it back to

586
00:30:01,320 --> 00:30:03,600
Speaker 13: flap Wish, So I tail and Flappish Telling used to

587
00:30:03,640 --> 00:30:06,040
Speaker 13: make it then, so I kind of saw the process

588
00:30:06,040 --> 00:30:08,440
Speaker 13: of making your own clothing and that's what it inspired

589
00:30:08,480 --> 00:30:10,560
Speaker 13: me to start making my own clothes. Or when my

590
00:30:10,640 --> 00:30:14,160
Speaker 13: dad my mom got divorced in East New York, a

591
00:30:14,200 --> 00:30:16,400
Speaker 13: lot of my friends used to shop at the same stores,

592
00:30:16,600 --> 00:30:19,200
Speaker 13: and if I had something fresh, I'm not going to tell.

593
00:30:19,120 --> 00:30:19,760
Speaker 5: You where I got it from.

594
00:30:19,880 --> 00:30:21,640
Speaker 13: I don't want you wearing the same thing I died, right,

595
00:30:21,680 --> 00:30:22,640
Speaker 13: So there's a lot of competition.

596
00:30:22,760 --> 00:30:24,120
Speaker 5: Does those secrets? You know what I'm saying.

597
00:30:24,640 --> 00:30:26,880
Speaker 13: And then like I remember all day I was thinking,

598
00:30:26,880 --> 00:30:29,120
Speaker 13: I said, damn, but I make an alpha. My dad's tailor.

599
00:30:29,440 --> 00:30:32,360
Speaker 13: None of these dudes what happened, aren't sisked. My dad

600
00:30:32,360 --> 00:30:34,360
Speaker 13: can make an outfit. He was kind of surprised of the accident.

601
00:30:34,360 --> 00:30:35,520
Speaker 13: He's like, you want to make an outfit?

602
00:30:35,600 --> 00:30:36,360
Speaker 5: I was like, yeah.

603
00:30:36,840 --> 00:30:38,320
Speaker 13: So I went to the land, said, well, five year

604
00:30:38,320 --> 00:30:40,440
Speaker 13: olds of linen, and I brought it back to his

605
00:30:40,520 --> 00:30:42,920
Speaker 13: tailor and I told him I wanted a Jeane suit

606
00:30:43,200 --> 00:30:45,400
Speaker 13: style made out of linen. I kind of designed when

607
00:30:45,400 --> 00:30:47,440
Speaker 13: I wanted, but I told him I want the pants

608
00:30:47,520 --> 00:30:49,560
Speaker 13: led to be bigger. But back then we will look

609
00:30:49,560 --> 00:30:51,680
Speaker 13: at a bigger clothing, but it wasn't in the stores.

610
00:30:51,960 --> 00:30:54,640
Speaker 13: I'm saying it had no designer was making baggy closed.

611
00:30:55,240 --> 00:30:56,880
Speaker 13: So once I told him that, he said, shung's on

612
00:30:57,000 --> 00:30:59,240
Speaker 13: orbit of the legs for you. So when I wore

613
00:30:59,240 --> 00:31:01,840
Speaker 13: the outfit around, it's like, man, where'd you get that from?

614
00:31:01,960 --> 00:31:04,240
Speaker 13: You get a fund So you know, I ain't telling

615
00:31:04,280 --> 00:31:05,960
Speaker 13: them about my tailor, right, I said, if you want,

616
00:31:05,960 --> 00:31:07,800
Speaker 13: While'll make you one. So I used to have all

617
00:31:07,800 --> 00:31:10,120
Speaker 13: the hustlers coming up to giving me was of cash

618
00:31:10,920 --> 00:31:12,880
Speaker 13: and to buy my outfice that I had on. They

619
00:31:12,920 --> 00:31:16,280
Speaker 13: wanted every color. So that's kind of how street gear

620
00:31:16,360 --> 00:31:18,400
Speaker 13: was starting. That's kind of how I got into the business,

621
00:31:18,520 --> 00:31:22,000
Speaker 13: selling to the hustlers first, and then it's started transpired

622
00:31:22,080 --> 00:31:22,440
Speaker 13: from there.

623
00:31:22,920 --> 00:31:26,640
Speaker 1: Fascinating to hear carled Kana's origin. Man, you know, as

624
00:31:26,680 --> 00:31:30,360
Speaker 1: a true pioneer of hip hop fashion. You started with

625
00:31:30,440 --> 00:31:33,920
Speaker 1: cutting sew in the same way Dapper Dan did in Harlem.

626
00:31:34,000 --> 00:31:38,640
Speaker 1: Although DApp was, you know, cutting leather and doing incredible designs,

627
00:31:38,760 --> 00:31:44,720
Speaker 1: unique designs using Gucci, Louis Baton and MCM's logos. His

628
00:31:44,880 --> 00:31:48,560
Speaker 1: original clientele. Just like yours car with them street corner

629
00:31:48,640 --> 00:31:51,520
Speaker 1: hustlers and those rappers that was about to blow up.

630
00:31:52,440 --> 00:31:56,320
Speaker 2: Kid Capri, Grammy Award winning DJ and producer.

631
00:31:56,840 --> 00:32:01,080
Speaker 14: You go back to right DMC for duc the Didas

632
00:32:01,120 --> 00:32:05,040
Speaker 14: suit didas sneaking with with no laces in it? When

633
00:32:05,080 --> 00:32:07,600
Speaker 14: did the Garden put the sneak up? Twenty thousand people

634
00:32:07,600 --> 00:32:10,480
Speaker 14: had to sneak of. Adidas gives them a deal back.

635
00:32:10,880 --> 00:32:14,160
Speaker 14: So you got Adidas that been Adidas forever coming to

636
00:32:14,200 --> 00:32:17,080
Speaker 14: a hip hop constant and seeing this something they've never

637
00:32:17,120 --> 00:32:20,120
Speaker 14: seen before and a whole Arenas holding they sneak.

638
00:32:19,920 --> 00:32:23,120
Speaker 2: Up who did it first before them?

639
00:32:23,520 --> 00:32:26,880
Speaker 14: And this is in the eighties, so it always been

640
00:32:26,920 --> 00:32:29,920
Speaker 14: a part of hip hop since then. You were seeing

641
00:32:30,040 --> 00:32:34,320
Speaker 14: fat farm rock aware, you know, like you see these things,

642
00:32:34,320 --> 00:32:37,880
Speaker 14: They're always been there. Cross colors, this hip hop fashion,

643
00:32:38,160 --> 00:32:42,600
Speaker 14: Carl Kana hip hop fashion, timber Land became hip hop fashion,

644
00:32:43,280 --> 00:32:48,720
Speaker 14: Tommy Hill Finny hip hop fashion. Kelly Hanson them saying.

645
00:32:48,520 --> 00:32:51,840
Speaker 2: All these things became Gucci, Louie to.

646
00:32:51,880 --> 00:32:54,600
Speaker 14: Talk or hip hop fashion.

647
00:32:56,240 --> 00:32:57,480
Speaker 1: It's not hip hop fashion.

648
00:32:57,640 --> 00:33:02,920
Speaker 14: Apociate all those but we may become that like Feliz,

649
00:33:03,560 --> 00:33:07,640
Speaker 14: before people knew with feelis Feeve was out way years

650
00:33:08,040 --> 00:33:11,120
Speaker 14: white people tennis plays. We was wearing Feliz before anybody

651
00:33:11,160 --> 00:33:14,960
Speaker 14: knew what felives were, years before they wove. And when

652
00:33:14,960 --> 00:33:18,360
Speaker 14: Felis came out, they thought it was a new thing.

653
00:33:18,680 --> 00:33:21,840
Speaker 14: Balley been out, Pack Hicks been out. It's just that

654
00:33:21,960 --> 00:33:24,720
Speaker 14: it came to the hood later. But I was wearing all.

655
00:33:24,600 --> 00:33:28,040
Speaker 2: That Kwime rapper and record producer.

656
00:33:28,440 --> 00:33:31,000
Speaker 15: Hip Hop has been around long enough to now that

657
00:33:31,080 --> 00:33:36,160
Speaker 15: the major designers are most likely hip hop fans or

658
00:33:36,320 --> 00:33:40,320
Speaker 15: understand the culture of hip hop in their DNA as

659
00:33:40,320 --> 00:33:43,560
Speaker 15: opposed to thirty years ago, it's some guy that designed

660
00:33:43,600 --> 00:33:46,200
Speaker 15: ball gowns and don't understand what street where it is

661
00:33:46,240 --> 00:33:49,600
Speaker 15: at all. And we've also incorporated so many other styles

662
00:33:49,600 --> 00:33:54,280
Speaker 15: that we've like gumbo, We've mixed everything in and everything

663
00:33:54,360 --> 00:33:58,440
Speaker 15: is now considered hip hop fashion, and it's just very interesting.

664
00:33:58,520 --> 00:34:01,280
Speaker 15: I think again, the quick answer or as fashion would

665
00:34:01,280 --> 00:34:04,920
Speaker 15: be extremely boring and extremely how do I put this

666
00:34:05,120 --> 00:34:08,680
Speaker 15: without offending because I don't want to do that, extremely

667
00:34:08,719 --> 00:34:12,480
Speaker 15: boring and extremely effeminate. You understand what I'm saying. There

668
00:34:12,520 --> 00:34:18,920
Speaker 15: wouldn't be any extra forms of masculinity in fashion without

669
00:34:19,239 --> 00:34:23,560
Speaker 15: hip hop fashion. I think hip hop brings that grunginess

670
00:34:24,000 --> 00:34:27,719
Speaker 15: to certain fashion line that probably would not have been there,

671
00:34:28,239 --> 00:34:30,279
Speaker 15: if that makes sense. And it's weird because hip hop

672
00:34:30,560 --> 00:34:33,719
Speaker 15: fashion is so ingrained in our culture. You know, you

673
00:34:33,760 --> 00:34:36,840
Speaker 15: could take this like this Ralph Laurentz sweater and I

674
00:34:36,840 --> 00:34:38,279
Speaker 15: could wear it a certain way and it could be

675
00:34:38,360 --> 00:34:42,680
Speaker 15: hip hop. But somebody could say, no, that's college fashion.

676
00:34:43,080 --> 00:34:46,160
Speaker 15: You know, that's collegiate fashion. But yeah, but it could

677
00:34:46,200 --> 00:34:50,080
Speaker 15: be twisted here. That's the greatness about hip hop fashion.

678
00:34:50,080 --> 00:34:52,560
Speaker 15: It could be twisted in so many different directions. You

679
00:34:52,600 --> 00:34:55,359
Speaker 15: could take ball gowns, and you could take college wear,

680
00:34:55,400 --> 00:34:58,400
Speaker 15: and you could take black tie wear and flip it

681
00:34:58,440 --> 00:35:01,280
Speaker 15: in a way where you turn it into hip hop fashion.

682
00:35:01,560 --> 00:35:04,640
Speaker 15: So now it's like, you can't. I don't think there's

683
00:35:04,640 --> 00:35:08,200
Speaker 15: any such thing as just like a definitive quote unquote

684
00:35:08,239 --> 00:35:12,440
Speaker 15: hip hop thing. It's a spin on whatever you already

685
00:35:12,520 --> 00:35:15,440
Speaker 15: have that makes it hip hop. And know that spin

686
00:35:15,520 --> 00:35:22,200
Speaker 15: that is in the DNA now makes fashion extremely interesting.

687
00:35:22,480 --> 00:35:26,319
Speaker 13: Carl Cannot Cross Colors played a major major role in

688
00:35:26,360 --> 00:35:27,560
Speaker 13: the success of Carl Cannot.

689
00:35:27,760 --> 00:35:30,840
Speaker 5: Okay, the owner cross Clus's name is Carl Jones T J.

690
00:35:30,960 --> 00:35:31,360
Speaker 2: Walker.

691
00:35:31,480 --> 00:35:32,319
Speaker 5: All a lot to them.

692
00:35:32,440 --> 00:35:35,920
Speaker 13: You know, Carl had the infrastructure set up. They had

693
00:35:35,960 --> 00:35:38,800
Speaker 13: the customer service, the shipping, the receiving. A black owned company,

694
00:35:38,960 --> 00:35:41,400
Speaker 13: they were on their grind and what calar can I

695
00:35:41,440 --> 00:35:43,360
Speaker 13: need is what they had. We need the infrastructure that

696
00:35:43,480 --> 00:35:46,080
Speaker 13: they have, they had something I needed and we was

697
00:35:46,120 --> 00:35:48,960
Speaker 13: it into a system as well too, because Cross Colors

698
00:35:49,280 --> 00:35:51,359
Speaker 13: preferred to have quark Can I be on their team

699
00:35:51,360 --> 00:35:54,160
Speaker 13: as opposed to me, to me being their competition, Okay,

700
00:35:54,520 --> 00:35:56,600
Speaker 13: they didn't want me to be somebody else who compete

701
00:35:56,600 --> 00:35:59,560
Speaker 13: against them. It's better to have two black owned companies together,

702
00:36:00,239 --> 00:36:03,319
Speaker 13: umbrella and we could dominate together. So together we were

703
00:36:03,360 --> 00:36:06,239
Speaker 13: a lot more powered for so Cross Colors helped set

704
00:36:06,280 --> 00:36:09,080
Speaker 13: the infrastructure and we came in and we took the

705
00:36:09,120 --> 00:36:11,840
Speaker 13: streets and get Cross Colors to the street fun that

706
00:36:11,880 --> 00:36:14,240
Speaker 13: they needed and they brand because that's what we wropped

707
00:36:14,239 --> 00:36:16,400
Speaker 13: the streets. We knew how to get the hustles in

708
00:36:16,400 --> 00:36:18,000
Speaker 13: our cold and we knew how to get this stuff

709
00:36:18,000 --> 00:36:20,440
Speaker 13: in every inter city store in every hood. That was

710
00:36:20,480 --> 00:36:23,320
Speaker 13: our main focus vocals on inner city stores in every hood.

711
00:36:23,520 --> 00:36:25,319
Speaker 5: That's all the hustles shop and that's how hold they

712
00:36:25,320 --> 00:36:25,680
Speaker 5: need to be.

713
00:36:25,800 --> 00:36:27,840
Speaker 13: So we have a philosophy on how we wanted to

714
00:36:27,840 --> 00:36:29,440
Speaker 13: promote and distribute our brand.

715
00:36:29,640 --> 00:36:31,359
Speaker 5: I feel like the call cannot grand.

716
00:36:31,360 --> 00:36:33,520
Speaker 13: What we've done is that will be shown that you

717
00:36:33,560 --> 00:36:35,960
Speaker 13: could be yell and compete against the big boys and

718
00:36:36,120 --> 00:36:39,680
Speaker 13: compete against big corporations is out there now. That being said,

719
00:36:40,360 --> 00:36:43,040
Speaker 13: the rappers they have to begin for once in terms

720
00:36:43,080 --> 00:36:46,239
Speaker 13: of exposure and things like that. So I felt like

721
00:36:46,560 --> 00:36:50,239
Speaker 13: we played our role. I honestly feel a papa doesn't

722
00:36:50,239 --> 00:36:52,879
Speaker 13: inspire people that you could become a businessman.

723
00:36:52,560 --> 00:36:54,080
Speaker 5: That you don't have to be a rapper.

724
00:36:54,280 --> 00:36:56,200
Speaker 13: Right, we showed that you could just other ways you

725
00:36:56,200 --> 00:36:58,400
Speaker 13: could get big and this business don't happen because everyone

726
00:36:58,600 --> 00:37:00,960
Speaker 13: the chances of you being successfu raptist him and now

727
00:37:01,000 --> 00:37:03,839
Speaker 13: there's a very few successful Baptists back in the days. Right,

728
00:37:04,040 --> 00:37:08,040
Speaker 13: he had a hand ten twenty the most, right what

729
00:37:08,160 --> 00:37:10,760
Speaker 13: his other abbeys Other ways you become successful as business

730
00:37:10,800 --> 00:37:15,080
Speaker 13: and olding became a major major force that even every

731
00:37:15,160 --> 00:37:17,279
Speaker 13: rapper started doing their own colt rhine as well too.

732
00:37:17,400 --> 00:37:20,120
Speaker 13: They saw how powerful and how big this business was

733
00:37:20,120 --> 00:37:22,279
Speaker 13: out influential they were at the same time. So I

734
00:37:22,280 --> 00:37:25,200
Speaker 13: feel like the calal cannot grant inspired people just on

735
00:37:25,239 --> 00:37:28,880
Speaker 13: the business level to be young black and be successful

736
00:37:28,960 --> 00:37:30,520
Speaker 13: and could people with the big dolls. I think they

737
00:37:30,560 --> 00:37:33,000
Speaker 13: inspired a lot of corporations yet to look at hip

738
00:37:33,000 --> 00:37:35,000
Speaker 13: hop and a whole different manner. They're seeing how big

739
00:37:35,000 --> 00:37:37,480
Speaker 13: this thing could get. I mean, look at the owner's sketchers.

740
00:37:37,480 --> 00:37:40,040
Speaker 13: He saw he came to me, wanted to clowk not footworth.

741
00:37:40,320 --> 00:37:42,719
Speaker 13: He knew nothing about hip hop, but he saw the

742
00:37:42,719 --> 00:37:45,000
Speaker 13: influest that we had on the marketplace. He wanted he

743
00:37:45,080 --> 00:37:48,279
Speaker 13: wanted in. So it shows you that how influential this

744
00:37:48,320 --> 00:37:49,880
Speaker 13: whole movement has been overly.

745
00:37:49,880 --> 00:37:51,120
Speaker 1: Is don Cannon.

746
00:37:51,480 --> 00:37:55,560
Speaker 8: I've heard from ten years old to this year that

747
00:37:56,320 --> 00:37:57,200
Speaker 8: it's just a fat.

748
00:37:58,520 --> 00:38:01,560
Speaker 2: It's just a fat. It's gone way. They ain't gonna y'all.

749
00:38:01,560 --> 00:38:03,640
Speaker 8: Ain't y'all gonna be listening to something else when you fifteen,

750
00:38:03,719 --> 00:38:07,560
Speaker 8: something else, when you twenty twenty five, thirty forty came.

751
00:38:07,600 --> 00:38:11,319
Speaker 2: I was like, you're like, yeah, you know what I mean.

752
00:38:11,360 --> 00:38:14,200
Speaker 8: To the point where I when I told the story

753
00:38:14,200 --> 00:38:17,560
Speaker 8: about my mom saying hip hop died in nineteen ninety

754
00:38:17,560 --> 00:38:22,200
Speaker 8: seven to now her listening to hip hop records and

755
00:38:22,400 --> 00:38:24,840
Speaker 8: asking me to make her playlist of hip hop records.

756
00:38:25,320 --> 00:38:28,320
Speaker 2: My au Dinna Rest in Peace was a huge Tupac.

757
00:38:27,880 --> 00:38:33,800
Speaker 8: Fan, and that came years after saying rap wasn't gonna

758
00:38:33,800 --> 00:38:34,080
Speaker 8: be there.

759
00:38:34,160 --> 00:38:35,600
Speaker 2: She was just always cool with it.

760
00:38:35,680 --> 00:38:38,640
Speaker 8: But everybody's saying that rap was it gonna be there,

761
00:38:38,719 --> 00:38:41,160
Speaker 8: or hip hop was gonna be there. We're like, look,

762
00:38:41,680 --> 00:38:45,239
Speaker 8: we're fifty years old. We half a century. Bro, What

763
00:38:45,320 --> 00:38:48,680
Speaker 8: in the world, how did this happen? When it's not

764
00:38:48,719 --> 00:38:52,799
Speaker 8: gonna die. It's a regenerating organ This joint just keep going, Bro,

765
00:38:53,320 --> 00:38:55,680
Speaker 8: like we're gonna have down spots, We're gonna come up.

766
00:38:55,719 --> 00:38:57,759
Speaker 2: We're gonna down spots come up. Like.

767
00:38:57,840 --> 00:39:02,360
Speaker 8: It's just it's influenced. Everything influenced. People don't do enough studying.

768
00:39:02,400 --> 00:39:04,840
Speaker 8: But R, R and B records are hip hop records.

769
00:39:05,480 --> 00:39:09,400
Speaker 8: Taylor Swift beats and Katie Perry beats their hip hop beats.

770
00:39:09,960 --> 00:39:14,560
Speaker 2: That's in a whole nother genre. We got country, which

771
00:39:14,719 --> 00:39:16,080
Speaker 2: was known a lot of.

772
00:39:17,680 --> 00:39:22,520
Speaker 8: It was like, no, it's hip hop. Gospel, which was

773
00:39:22,640 --> 00:39:26,480
Speaker 8: also any former hip hop was a secular space. Now

774
00:39:26,840 --> 00:39:29,760
Speaker 8: guess what it's in gospel.

775
00:39:29,400 --> 00:39:31,759
Speaker 2: Music, you know what I'm saying. So it's like we

776
00:39:31,800 --> 00:39:32,640
Speaker 2: influenced everything.

777
00:39:32,640 --> 00:39:37,640
Speaker 8: We influenced, Bro, We influenced the touchdowns in football, you

778
00:39:37,680 --> 00:39:39,879
Speaker 8: know what I mean? Every dance they doing now it's

779
00:39:39,880 --> 00:39:45,480
Speaker 8: all hip hop influenced, rap influenced, basketball dunks and swag.

780
00:39:46,160 --> 00:39:48,839
Speaker 2: Hip hop influenced, you know what I mean.

781
00:39:49,320 --> 00:39:52,359
Speaker 8: The tables have turned from hustlers and how they get

782
00:39:52,360 --> 00:39:55,640
Speaker 8: their money. It's based on hip hop, you know what

783
00:39:55,680 --> 00:40:01,960
Speaker 8: I mean. It's what Elliott made for the artists. You

784
00:40:02,000 --> 00:40:07,080
Speaker 8: know what I'm saying. You turn on commercials for TV salesmen,

785
00:40:07,840 --> 00:40:11,360
Speaker 8: they're using hip hop influence. Sports Center, you turn it on,

786
00:40:11,440 --> 00:40:16,000
Speaker 8: it's hip hop influence. So it's definitely beyond one hundred years.

787
00:40:16,160 --> 00:40:18,960
Speaker 8: I can see, like it's just it's gonna go like

788
00:40:19,000 --> 00:40:20,680
Speaker 8: it's just the influences.

789
00:40:21,120 --> 00:40:23,439
Speaker 1: On the next episode of the fifty Years of Hip

790
00:40:23,440 --> 00:40:27,280
Speaker 1: Hop podcast series, you know it, it's time for ladies first.

791
00:40:27,440 --> 00:40:31,080
Speaker 1: That's right from Queen latifas you and it Y all

792
00:40:31,120 --> 00:40:32,680
Speaker 1: the way to what Cardi B's.

793
00:40:32,440 --> 00:40:33,320
Speaker 2: Been up to lately.

794
00:40:33,440 --> 00:40:37,200
Speaker 1: Women MC's who have played a strong part in development

795
00:40:37,239 --> 00:40:40,280
Speaker 1: of hip hop culture from the very beginning. They continue

796
00:40:40,320 --> 00:40:43,480
Speaker 1: to rule their queendoms and make the moves that need

797
00:40:43,560 --> 00:40:46,759
Speaker 1: to be made. We're gonna explore the evolution of the

798
00:40:46,800 --> 00:40:49,480
Speaker 1: women of hip hop for a variety of topics, from

799
00:40:49,480 --> 00:40:53,120
Speaker 1: the founding mothers to the evolution of women in rap today,

800
00:40:53,760 --> 00:40:57,279
Speaker 1: and through all this success and failures and triumph and turbulence,

801
00:40:57,800 --> 00:41:00,520
Speaker 1: we want to know, can hip hop outlok most of

802
00:41:00,600 --> 00:41:03,360
Speaker 1: us and make it to the century mark?

803
00:41:04,120 --> 00:41:06,920
Speaker 2: Haha. We're gonna get into all that, baby.

804
00:41:07,080 --> 00:41:10,800
Speaker 1: Fifty years of hip hop podcast series Rose on Roll Strong.

805
00:41:11,719 --> 00:41:15,120
Speaker 1: This episode has been executive produced by Dolly s. Bishop,

806
00:41:15,480 --> 00:41:18,360
Speaker 1: host it and produced by your Boy five five Freddy.

807
00:41:18,680 --> 00:41:22,839
Speaker 1: Produced by Aaron A. King Howard. Edit, mixed sound by

808
00:41:22,960 --> 00:41:27,440
Speaker 1: Dwayne Crawford, music scoring by Trey Jones, Talent booking by

809
00:41:27,520 --> 00:41:28,480
Speaker 1: Nicole Spence,