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Speaker 1: Quest Left Show is a production of iHeart Radio.

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Speaker 2: Open Mic Man, Happy Thursday, Happy Thursday, and Day Absolutely. Man.

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Speaker 2: You got any plans for the weekend?

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Speaker 1: Yeah, I'm shooting video this weekend. That's the biggest plan shoot,

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Speaker 1: shooting a music video for the new project. What you

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Speaker 1: Gotta Treatment? Everything laid out? You kind of it laid out.

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Speaker 1: We've shot most of it already. It's the last day

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Speaker 1: of shooting. It ought to be nice and easy.

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Speaker 2: Oh man, I can't wait for that one. I saw

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Speaker 2: a little visual content on the Grammar online. I'm eager

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Speaker 2: for this one, and I love you know. I was

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Speaker 2: thinking a lot about Wild Pitch Records recently. I was

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Speaker 2: in something I think it was an old episode of

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Speaker 2: QLs and they were somebody was talking about Stu Fine

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Speaker 2: and before they got to the punchline, I'm like the

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Speaker 2: founder of Wild Pitch. And to me, even before Ruckus,

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Speaker 2: that was always a label I could trust most of

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Speaker 2: the time. And I feel like we've gotten away from

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Speaker 2: that a little bit. There are labels that you've worked

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Speaker 2: with over the years, but I do feel like Backwood

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Speaker 2: Studios is a brand you can trust.

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Speaker 1: I feel like they're like the last sons of Krypton,

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Speaker 1: you know what I'm saying. Like they are like the

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Speaker 1: the vestiges of the underground that I used to that

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Speaker 1: I came up in and I saw so many labels.

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Speaker 1: See this is and and I'm already off on a

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Speaker 1: tangent what we do. It's a rabbit old platform to me,

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Speaker 1: the unspoken story of the sort of deletion of the

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Speaker 1: hip hop middle class. And how like you know, a

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Speaker 1: lot of times now it's just like superstar rapper or

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Speaker 1: struggling indie. There's there's not a lot of working rappers

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Speaker 1: in the in the stratum in between. And part of

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Speaker 1: the story of that is how many labels used to

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Speaker 1: exist that are gone now you used to have And

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Speaker 1: this this goes back I think too, when the majority

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Speaker 1: of money that was coming in was based on selling

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Speaker 1: CDs and physical product, that there was enough money coming

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Speaker 1: in to make sure that these labels were able to

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Speaker 1: stay afloat and keep putting enough money in rappers pockets

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Speaker 1: every time they dropped the album, that they were able

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Speaker 1: to stay afloat between that and touring. Yeah, and so

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Speaker 1: many of those labels are gone, and Backwoods feels like

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Speaker 1: the last sort of connection to you know, not only

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Speaker 1: the aesthetics of of the older days, but a viable,

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Speaker 1: well run business that's putting forward the new voices in

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Speaker 1: that same family tree.

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Speaker 2: Absolutely new voices. And then you know, I mean even

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Speaker 2: what I consider veterans yourself. Yeah, you know, it's just

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Speaker 2: one exactly. You know, they've been very kind to some

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Speaker 2: of the They put out some great product with some

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Speaker 2: of the folks that have been kind to me and

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Speaker 2: that I've gotten to you know, share some airwith over

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Speaker 2: the years. So yeah, I'm looking forward to that. And

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Speaker 2: on the subject to hip hop, you know, we're talking

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Speaker 2: about the last episode we've run in June, which is

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Speaker 2: part of you know q LES. I think this is

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Speaker 2: year four or five of our Black Music Month initiative,

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Speaker 2: where episodes to the catalog are run every day if

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Speaker 2: it's not a mini episode like this or a new episode.

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Speaker 2: But the final new episode of this month is none

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Speaker 2: other than Chuck da Public Enemy. And I really was

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Speaker 2: hoping when you and I got together in the studio

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Speaker 2: with the Mirror and the rest of the team in

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Speaker 2: LA I was hoping it was going to be the

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Speaker 2: same day as Chuck, but it didn't work out that way.

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Speaker 2: But man, it was that was something something special. Man

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Speaker 2: he is.

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Speaker 1: He's such a dope dude, and it's just like we

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Speaker 1: have some real and I hesitate to use this term

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Speaker 1: because it also covers a real crew with some homies

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Speaker 1: in mind. But we have some real living legends in

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Speaker 1: this thing. The real rap giants ha still walk the

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Speaker 1: ground and can still have a conversation with you, and

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Speaker 1: they're not often venerated in a way I feel like

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Speaker 1: they should be. But Chuck d is just an incredible

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Speaker 1: human being that was a titan in this rap thing,

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Speaker 1: and it's just amazing to hear him in conversation, like

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Speaker 1: that's just amazing here.

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Speaker 2: He's one of those talking he talks, he talks, and

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Speaker 2: he knows he talks. He laughed. You know, He's one

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Speaker 2: of those people that could read the ingredients to a

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Speaker 2: box of tricks, and I would enjoy it. Just his voice,

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Speaker 2: his conviction was funny. On the way to the studio,

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Speaker 2: I'm originally from Pittsburgh and I am a hapless Pittsburgh

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Speaker 2: Pirates fan, and he and I and Chuck's daughter Dominique

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Speaker 2: were taking the elevator up and I've said this to

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Speaker 2: Chuck before on the phone, but it was our first

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Speaker 2: time being in you know, a small space together. I

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Speaker 2: was like, man, aside from Clemente, Roberto Clemente, you have

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Speaker 2: done so much much for the pirate hat. And he

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Speaker 2: looked at me, He's like, you know, I'm a Mets fan, right.

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Speaker 2: And last I was like, man, all the literal elevator

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Speaker 2: conversations a guy who idolized his public enemy could have

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Speaker 2: with Chuck D. You know, I you know, I shot

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Speaker 2: the brick. Yeah, well that's on him though, Yeah, yeah,

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Speaker 2: well no, I mean, you know, but I so appreciate him.

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Speaker 2: It was funny like Chuck was not a last minute

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Speaker 2: booking by any extension, but kind of a last minute

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Speaker 2: agreement while we were in LA and he had a

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Speaker 2: very busy day and he was very generous with his time.

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Speaker 2: And I think, much like Questlove and Open Mike Eagle,

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Speaker 2: I think a Mer and Chuck D will be a

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Speaker 2: series of conversations, right because the conversation really goes from

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Speaker 2: like nineteen childhood memories up until about nineteen eighty eight

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Speaker 2: eighty nine. And I'm okay with that. I'm ready for

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Speaker 2: another hour. You know, great, what stood out to you

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Speaker 2: with this one?

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Speaker 1: You know what really stood out to me. First was

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Speaker 1: him talking about the sample for Public Enemy number one,

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Speaker 1: and Emir asked him why that song, why that James

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Speaker 1: Brown song and nobody else really used And when he

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Speaker 1: told that story of the roller rink and how like

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Speaker 1: that was the song that was the signal for all

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Speaker 1: of the real skaters to get out there and cut

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Speaker 1: it up. And it's like, damn, you can hear that,

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Speaker 1: and I just like, that's the sort of things that

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Speaker 1: fascinate me. It's like the real life reasons that people make,

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Speaker 1: the choices that you hear on records that you would

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Speaker 1: never understand, you would never know, you would like it's

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Speaker 1: because the song's not about roller skating. You don't talk

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Speaker 1: about that in the song, but it's such a great song,

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Speaker 1: and you never would have known that it was this real,

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Speaker 1: visceral memory that he wanted to invoke. Yep, that is

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Speaker 1: the reason this song sounds like this.

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Speaker 2: You know, I agree with you, and I think of

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Speaker 2: that in life a lot, just the butterfly effect of

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Speaker 2: small decisions. But I didn't, you know, I grew up

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Speaker 2: there were still roller rinks in my neighborhoo and stuff

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Speaker 2: like that. I I can't skate to save my life.

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Speaker 2: But the idea of the roller rink is a place

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Speaker 2: to hang out and meet folks, and like that's so

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Speaker 2: that that's a little antiquated to me. But to hear

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Speaker 2: Chuck talk about that in here one record, then the

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Speaker 2: blow your Head joint, you know changed, I will I

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Speaker 2: knew I knew Public Enemy number one before I knew

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Speaker 2: the Fred wes Lee James Brown joint.

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Speaker 1: So it's same.

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Speaker 2: Yeah, And I figured, like the the the founders of

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Speaker 2: hip hop and how one creative records, you know, one

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Speaker 2: choice from one DJ ultimately shapes livelihoods, legacies, incomes all

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Speaker 2: of the things. You know, It's just crazy. So it's

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Speaker 2: also interesting. He mentioned roller skating again in that conversation.

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Speaker 2: I've never seen this, but correct me if you understood

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Speaker 2: it differently, But he alluded to performing in roller skates,

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Speaker 2: like being He.

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Speaker 1: Did say he could do a couple of his songs

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Speaker 1: on roller skates. Yeah, that was he said. There really

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Speaker 1: smooth to what I'm like, Wait a minute, nothing.

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Speaker 2: About that, Like twenty twenty six sounds a special, but

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Speaker 2: it sounds cool if Chucky's doing it. Have you had

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Speaker 2: many Chuck or Pe show going experiences, So.

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Speaker 1: I've never seen a Public Enemy show. But I did

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Speaker 1: have quite the chuck the experience. And if I ever

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Speaker 1: get a chance to talk to him, gonna ask him

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Speaker 1: if he remembers this day because I went to College's

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Speaker 1: Southern Illinois University and he was brought up.

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Speaker 2: Is that an Urbana Champlain.

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Speaker 1: No, this is a Carbondale, Illinois, so comarad south of.

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Speaker 2: I've been there too. I always confuse my schools, but

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Speaker 2: go ahead.

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Speaker 1: Yeah, yeah, yeah, they're easily confusable. But he was brought

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Speaker 1: in to give a speech and the large Ornate Central

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Speaker 1: School auditorium where you know where if they had a

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Speaker 1: ballet company come or they had a theater company come,

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Speaker 1: they do it in this big Ornate must have been

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Speaker 1: two thousand seat auditorium. And he's about to give his

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Speaker 1: speech and the tornado sirens start going off. And this

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Speaker 1: is the Midwest, this is southern Illinois. It's very flat,

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Speaker 1: and you know tornado watches and tornado warnings or things

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Speaker 1: that happen, but this was a serious one. And it's

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Speaker 1: not the sort of thing. When you're in a tornado warning,

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Speaker 1: you can't just like send people home, right, you have

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Speaker 1: to go to shelter. And so I don't and So

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Speaker 1: the part that I don't quite remember correctly is how

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Speaker 1: this would have worked with the laws of physics. But

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Speaker 1: everyone who was there was put in the basement, Chuck included.

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Speaker 1: And so we go from this big ornate theater with

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Speaker 1: you know, gilded ceilings and all of that. So now

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Speaker 1: we're all in a basement where the ceiling is about

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Speaker 1: you know, a shade over six feet high, and Chuck

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Speaker 1: d is down there with all of us, in the

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Speaker 1: middle of this tornado warning, and he just starts doing

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Speaker 1: the rest of his speech right there in the basement

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Speaker 1: and did a Q and A with us right there

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Speaker 1: in the basement. Wow, And it was just it was

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Speaker 1: just one of the most amazing moments I've ever had,

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Speaker 1: and really watching somebody adapt deal with the situation, not sweat,

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Speaker 1: not trip out, just roll with it. Now we're in

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Speaker 1: the basement. So now the talk continues, and I'm just

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Speaker 1: standing there, riveted the whole time. I can't remember word

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Speaker 1: he said, but I do remember him giving this speech

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Speaker 1: in this basement because we had a tornado warning.

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Speaker 2: Was he there to speak about hip hop? Was it

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Speaker 2: about you know, other issues? Or do you remember that

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Speaker 2: part or not?

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Speaker 1: I do think it was it was something to do

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Speaker 1: with hip hop. I think a lot of times stuff

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Speaker 1: on our campus was about, you know, how we turn

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Speaker 1: things around into black community sort of sort of sort

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Speaker 1: of talking points, you know, save people from falling into

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Speaker 1: street violence and then those types of issues. I believe

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Speaker 1: that's what it was about, but I honestly don't remember.

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Speaker 2: He would have to remember that. I imagine that when.

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Speaker 1: About so but I can imagine, like that's the thing.

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Speaker 1: He was so cool about it. It was one of

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Speaker 1: the things that made you think, like, how many wild

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Speaker 1: days does this man had just wild days to where

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Speaker 1: this is nothing to him? You know.

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Speaker 2: Think he made a comment to Amir in the interview,

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Speaker 2: or maybe it was the moments before we started rolling

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Speaker 2: where he said, I'm so glad you're around because people

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Speaker 2: don't have to come to me to be the talking

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Speaker 2: head for every documentary everymore, Like you know, whether it's

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Speaker 2: about hip hop or black entertainment culture or whatever. It

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Speaker 2: is amazing to me that Chuck could sit for a

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Speaker 2: whole hour and he's not somebody who repeats himself. He

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Speaker 2: spoke about writing as he drove. I knew he was

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Speaker 2: a messenger like that part always heard, but I never

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Speaker 2: had clarification whether he was you know, like a bike messenger,

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Speaker 2: like I never knew how to picture it, or it

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Speaker 2: sounds like he delivered photographs two different you know, he

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Speaker 2: was kind of a courier but by car. But the

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Speaker 2: idea of him writing some of his most classic material

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Speaker 2: while driving at night was dope.

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Speaker 1: I love that psychotic. That's just pure psychosis. You were

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Speaker 1: trying to tell people rappers are insane. Even even the

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Speaker 1: most lucid of us, You could tell we always got

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Speaker 1: a little screw loose somewhere. And I feel like that's

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Speaker 1: like the way he talked about that is like a

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Speaker 1: perfectly legal and safe activity.

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Speaker 2: Yeah, was amazing that. And then there's this moment too

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Speaker 2: and this Amir looked at me and we just started

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Speaker 2: laughing because and this is so cool to me too.

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Speaker 2: Of like you hear about the cobbled together resources that

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Speaker 2: you know brings hip hop. I got a turntable, you

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Speaker 2: got a turntable bringing them together. They got a mixer.

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Speaker 2: But Chuck was saying, you know, with the bomb Squad,

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Speaker 2: and I feel like, you know, people often think of

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Speaker 2: just the production. They think, oh, you know, Hank and

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Speaker 2: Keith Shockley and Eric Vietnam Sadler, but like Chuck was

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Speaker 2: very integral to that production, and he down like you

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Speaker 2: don't hear him asserting his own credit, but he was

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Speaker 2: describing how, you know, in Roosevelt, Long Island, I think

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Speaker 2: it was Roosevelt, they had this like they put all

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Speaker 2: their records together in one place, and they like created

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Speaker 2: a dewey decimal system of where each record could be,

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Speaker 2: you know, not alphabetical, not like the jazz is over here,

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Speaker 2: the funk is over here, but that way you could

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Speaker 2: look at a book. And Chuck was priding himself on

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Speaker 2: his penmanship. I just love that, Like that is that

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Speaker 2: is elder leadership right there. He was like you could

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Speaker 2: look and go, okay, cool in the gang this album

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Speaker 2: show five, you know, like you know, like you're in

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Speaker 2: a big box store. And I just thought that is

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Speaker 2: such a great image when they're making, you know, the

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Speaker 2: second and third Pe album of just those layered samples

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Speaker 2: and all that they did to make it sound the

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Speaker 2: way it did.

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Speaker 1: You know, you remind me too, how often it is

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Speaker 1: when you really go back and look, how often our

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Speaker 1: rap legends were involved in the production in ways that

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Speaker 1: we would never really understand as listeners because that weren't

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Speaker 1: the way. That wasn't the way things were talked about.

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Speaker 1: I think about Daylight Soul's involvement and a lot of

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Speaker 1: their records, like the like Pass and Day of themselves

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Speaker 1: bringing in samples or having the goal of Okay, I

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Speaker 1: want to I want to flip this, I want us

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Speaker 1: to use this, or making the beats themselves at home

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Speaker 1: and bringing them into the studio, and a similar thing

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Speaker 1: with like Organized Confusion. How you know, Paul C was

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Speaker 1: with them early on, but through their next couple of albums,

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Speaker 1: most of them were you know, it was it's Prince

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Speaker 1: Paul and Farrell themselves making the beats. It's always interesting

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Speaker 1: to me to sort of wrap my head around how

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Speaker 1: involved a lot of these rappers were in the production

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Speaker 1: in ways that you know, we didn't know.

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Speaker 2: Yeah, it's it's interesting too. Like I always look at

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Speaker 2: Organized as the last disciple of Paul C. But to

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Speaker 2: my knowledge, and I could be mistaken, I don't think

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Speaker 2: that there's a released credit of like A Paul And

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Speaker 2: I know Paul was both an engineer who doubled as

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Speaker 2: a producer, but I don't know that on the first

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Speaker 2: self titled album, there's a policy credit.

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Speaker 1: Yeah, you know what, I don't actually don't remember those credits.

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Speaker 1: And I feel like, if you had to ask me

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Speaker 1: to place a bet, I'd say, yes, he's got a

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Speaker 1: credit on there. But that's only because that's what I think.

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Speaker 2: Like, I actually don't know one of those. You know,

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Speaker 2: there was another thing and you and I talked about

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Speaker 2: this before we got on. But like the reason why

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Speaker 2: I still love the interview even though that, you know,

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Speaker 2: I get to produce one of the best music podcast

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Speaker 2: period is you'd get these accounts of things that aren't

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Speaker 2: there anymore, right, And I'm always like my wife, I

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Speaker 2: annoy the hell out of her because we'll walk around

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Speaker 2: Philadelphia and I've only been here twenty five years, but

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Speaker 2: I'll talk about what was here before this new building

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Speaker 2: is here. And I really I like that, and I've

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Speaker 2: always wanted hip hop to have more of that, you know,

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Speaker 2: I'm always fascinated. Like just yesterday, I was in New

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Speaker 2: York and I was on thirty seventh Street and I'm like, man,

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Speaker 2: I remember being in D and D Studios and it's

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Speaker 2: a lost now and I wish I had taken a photo.

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Speaker 2: Like I know they're online, but I wish I had

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Speaker 2: taken a photo.

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Speaker 1: I feel you.

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Speaker 2: And Chuck was speaking about old venues and he said

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Speaker 2: something in passing of it's not there anymore. It's not

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Speaker 2: there anymore. And I just wanted you know, in your

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Speaker 2: journey and in your creative career, but also your fanhood

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Speaker 2: of all of this, like, are there certain venues that

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Speaker 2: you miss, you long for I wish you could have

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Speaker 2: been in. I know that's probably an obvious question.

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Speaker 1: So most of my performance history has been while I've

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Speaker 1: been living in LA So you know, one might think

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Speaker 1: that I would miss places in Chicago. I saw shows

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Speaker 1: in Chicago, but I never really performed there at the

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Speaker 1: beginning of my career. So like the knit In Factory

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Speaker 1: that was here in La, Like, it wasn't a great place.

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Speaker 1: It wasn't like it it was in Hollywood in like

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Speaker 1: a shopping center, like the same block is like the

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Speaker 1: Chinese Theater, so it was hard to get to and

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Speaker 1: hard to park and all of that. But I just

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Speaker 1: remember seeing some amazing shows there when I first moved here, like,

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Speaker 1: and I didn't have much to do, I didn't know

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Speaker 1: that many people, so like that was often a place

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Speaker 1: I would end up at I saw like jasone player,

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Speaker 1: like slick rick player somebody, you know what I'm saying,

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Speaker 1: and it'd be like, oh, this is this is so

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Speaker 1: dope to be able to see this. And that's that's

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Speaker 1: gone now. My favorite venue in the world, my favorite

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Speaker 1: venue to perform at, was this place in Portland, Oregon

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Speaker 1: called the Doug Fur Lounge. And there's a place that

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Speaker 1: was like connected to a hotel, but it was like

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Speaker 1: under the ground, so you wouldn't even have any idea

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Speaker 1: that there was like a big venue here, but they

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Speaker 1: it was under the ground, but it was huge. It

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Speaker 1: was like three hundred cap room that you walked downstairs

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Speaker 1: into and it was decorated like like a log cabin

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Speaker 1: almost like there was like these wood logs that were

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Speaker 1: on the sides of the walls. And not only did

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Speaker 1: that add an aesthetic, it was really dope for making

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Speaker 1: the room sound good too, the way that it's soaked

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Speaker 1: up the sound. And it was just my favorite favorite

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Speaker 1: venue in the world. And it's gone now. But that's

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Speaker 1: that's what happens. Especially in the pandemic. We lost so

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Speaker 1: many of the rooms that are the size that I

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Speaker 1: like to play that you know, I like a three

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Speaker 1: hundred to five hundred cap room that either shut down

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Speaker 1: because they couldn't have shows anymore, or Live Nation swooped

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Speaker 1: in and bought up plenty of them. So they're different

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Speaker 1: now even when you do get the chance to go

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Speaker 1: back and perform there.

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Speaker 2: And I only kind of put that together on the

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Speaker 2: fan side recently, but I miss some of those those spaces.

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Speaker 2: I miss places. I notice it because I live in

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Speaker 2: a part of Philadelphia and I'm often on the street

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Speaker 2: South Street that is still where there's a couple of clubs,

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Speaker 2: and you know, I'm regularly walking by. I think where

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Speaker 2: you perform when you're in town. Milk Boy, yep there,

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Speaker 2: And I just remember all the different marquis you used

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Speaker 2: to look at, just like step in and see who's

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Speaker 2: coming up if you didn't have a city paper, And

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Speaker 2: a lot of those are gone, and it's it's one

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Speaker 2: of those things like bars open late that we just

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Speaker 2: lost with the pandemic.

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Speaker 1: Man, there was a period.

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Speaker 2: Of time in two thousand and eight where I was

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Speaker 2: brought in to possibly do a memoir with Eazymo B

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Speaker 2: And they were like, yo, you know the woman who

371
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Speaker 2: hooked it up, Nikiah Hicks, who I think is very

372
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Speaker 2: much part of the Young Dolph pr camp and shout

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Speaker 2: out to Nikia if she happens to hear this. But

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Speaker 2: she was like, come up to Times Square and spend

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Speaker 2: an evening with Ezimo in the studio. And I didn't

376
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Speaker 2: think much of it. I mean, like, I respected him,

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Speaker 2: I'd interviewed him, but I was like, I don't know

378
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Speaker 2: if this book is viable because he's not He's not

379
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Speaker 2: Chuck d he's not out there speaking all the time.

380
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Speaker 2: He's not a front facing exact pop Yeah, you know

381
00:19:57,520 --> 00:20:00,679
Speaker 2: exactly and you know heads no, but not everyone does.

382
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Speaker 2: But I went to the studio and he had a

383
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Speaker 2: bunch of Heinekens and I don't typically drink on the job,

384
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Speaker 2: but that was kind of a spec job. So we

385
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Speaker 2: had a few beers and it was the first time

386
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Speaker 2: in my life somebody showed me not like a tutorial,

387
00:20:11,119 --> 00:20:14,639
Speaker 2: but he was triggering samples off the sp twelve hundred,

388
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Speaker 2: and it was just fun to watch his delight, Like

389
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Speaker 2: he didn't really want to talk to me, which only

390
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Speaker 2: spoke to my consternation about the book. But watching this

391
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Speaker 2: man's delight, and then at the very end of the night,

392
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Speaker 2: you know, I needed to catch my train back to

393
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Speaker 2: Philly on my bus, he was like, do you know

394
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Speaker 2: what this studio was? And he goes, this is Unique Studios.

395
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Speaker 2: This is what he owned it from my understanding, and

396
00:20:36,000 --> 00:20:38,680
Speaker 2: he sense it's closed down, but it's where Miles Davis

397
00:20:38,680 --> 00:20:41,919
Speaker 2: recorded his last era of material. And he took me

398
00:20:41,960 --> 00:20:46,360
Speaker 2: into a room because Moby produced the last the Doubop album,

399
00:20:46,880 --> 00:20:50,359
Speaker 2: the Miles album with wrapping his fundamental on it. And

400
00:20:50,400 --> 00:20:51,600
Speaker 2: he took me in the room. He goes, I don't

401
00:20:51,680 --> 00:20:53,639
Speaker 2: use this room anymore because this is where my career

402
00:20:53,720 --> 00:20:56,919
Speaker 2: kind of really took flight. And the last person to really,

403
00:20:57,160 --> 00:20:58,680
Speaker 2: you know, spend a lot of time in this room

404
00:20:58,680 --> 00:21:01,200
Speaker 2: was Miles and he had the to that room. And

405
00:21:01,240 --> 00:21:02,960
Speaker 2: we're in the middle of Times Square, even in two

406
00:21:02,960 --> 00:21:06,240
Speaker 2: thousand and eight. I mean, real estate is unfathomable. And

407
00:21:06,480 --> 00:21:08,239
Speaker 2: there was dust and there were old plaques and there

408
00:21:08,240 --> 00:21:10,320
Speaker 2: were things, you know, old equipment, and I think of

409
00:21:10,359 --> 00:21:13,160
Speaker 2: that all the time. I'm always fascinated, not as a creator,

410
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Speaker 2: but as you know, a writer when I'm in these

411
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Speaker 2: studios of just like, who else recorded here? What else

412
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Speaker 2: was done here? And what are we doing as a culture.

413
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Speaker 1: To keep exactly to preserve, don't we do a I mean,

414
00:21:29,400 --> 00:21:33,200
Speaker 1: you know, preservation honestly takes money. But two things. One

415
00:21:33,720 --> 00:21:35,320
Speaker 1: we got to do a better job of it too.

416
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Speaker 1: That is part of the reason why I like to

417
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Speaker 1: interview legends is because at least getting these stories in

418
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Speaker 1: some easily digestible digital medium that's labeled correctly and people

419
00:21:49,800 --> 00:21:52,119
Speaker 1: know that they're coming to to get some history is

420
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Speaker 1: at least one way to preserve the stories, even if

421
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Speaker 1: we don't have the money to preserve the places.

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Speaker 2: Such so beautifully said, and I think of your work

423
00:22:03,560 --> 00:22:05,720
Speaker 2: like I think of you talking to Prince Paul and

424
00:22:05,800 --> 00:22:09,880
Speaker 2: him referencing in Deaylav referencing Calliope Studios, which is long gone.

425
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Speaker 2: And I'm the type of weirdo that at eleven thirty

426
00:22:12,240 --> 00:22:15,120
Speaker 2: at night will sit at my kitchen table and try

427
00:22:15,119 --> 00:22:17,960
Speaker 2: to get like a screenshot, you know, try to get

428
00:22:18,000 --> 00:22:19,800
Speaker 2: like a Google image of what did it look like?

429
00:22:19,840 --> 00:22:22,040
Speaker 2: Because I've heard about it. What did the doors that

430
00:22:22,119 --> 00:22:24,320
Speaker 2: Daylau walked into to make me feet and hus and

431
00:22:24,359 --> 00:22:27,040
Speaker 2: look like? And we need that because you absolutely get

432
00:22:27,080 --> 00:22:28,760
Speaker 2: that with the Beatles, and you get that with Abbey Roads.

433
00:22:28,800 --> 00:22:30,359
Speaker 2: So on that note, and I don't mean to make

434
00:22:30,400 --> 00:22:33,679
Speaker 2: it all about studios, But you know, to end you

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00:22:33,800 --> 00:22:37,199
Speaker 2: as a creator, like, what is the one place, be

436
00:22:37,280 --> 00:22:40,439
Speaker 2: it a venue or as a studio, what is the

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00:22:40,480 --> 00:22:42,439
Speaker 2: one landmark? And it doesn't have to be gone, but

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Speaker 2: that you haven't touched or used that you would like

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00:22:45,480 --> 00:22:46,520
Speaker 2: to on your list.

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Speaker 1: I don't see this happening, But if for some reason

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00:22:52,119 --> 00:22:57,480
Speaker 1: I was able to do something at the Apollo that

442
00:22:57,720 --> 00:23:01,280
Speaker 1: to me seems like like I, I would probably freak out.

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00:23:01,560 --> 00:23:05,320
Speaker 1: I would probably freak out, yeah, like like just being

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00:23:05,359 --> 00:23:08,880
Speaker 1: able to be on that stage and see what it's

445
00:23:08,960 --> 00:23:14,199
Speaker 1: like to see out into that room from that stage.

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00:23:13,960 --> 00:23:18,560
Speaker 2: I walk by. I spent a few nights staying on

447
00:23:18,560 --> 00:23:20,840
Speaker 2: one hundred and twenty fifth Street, and every time, you know,

448
00:23:21,040 --> 00:23:24,439
Speaker 2: I talked about Marquees, but every time walking by, the

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00:23:24,480 --> 00:23:27,760
Speaker 2: Apollo is still a place and I can say I've

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00:23:27,800 --> 00:23:30,320
Speaker 2: never been inside, which is pathetic because I've been invited

451
00:23:30,320 --> 00:23:34,240
Speaker 2: to shows there, but it still makes, you know, still

452
00:23:34,240 --> 00:23:36,639
Speaker 2: gives me goosebumps, just knowing the history and knowing the

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00:23:36,640 --> 00:23:38,879
Speaker 2: power of a building in a way that you know,

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00:23:38,920 --> 00:23:42,720
Speaker 2: I live in Philadelphia, you know, I walk by Independence

455
00:23:42,760 --> 00:23:47,119
Speaker 2: Hall every single day. Frankly I don't get from other places,

456
00:23:47,119 --> 00:23:48,919
Speaker 2: but knowing how much I love music. So that's a

457
00:23:48,920 --> 00:23:52,640
Speaker 2: great answer. I wasn't necessarily expecting that, but I hope

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00:23:53,040 --> 00:23:54,360
Speaker 2: that manifests maybe over time.

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Speaker 1: I mean, you know, it seems like it would take

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00:23:56,560 --> 00:23:59,159
Speaker 1: some sort of serious pivot on my part to end

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00:23:59,280 --> 00:24:03,399
Speaker 1: up there. But you know that, like in a dream scenario,

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00:24:03,680 --> 00:24:05,880
Speaker 1: like wow, that would be awesome.

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00:24:06,040 --> 00:24:08,840
Speaker 2: You know, it would the one thing I'm trying to

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00:24:08,920 --> 00:24:12,960
Speaker 2: learn right now and being part of this organization, I

465
00:24:13,200 --> 00:24:15,320
Speaker 2: really try to take key because I know Amir speaking

466
00:24:15,359 --> 00:24:17,679
Speaker 2: to all of us in the podcast, you know, like

467
00:24:17,760 --> 00:24:20,159
Speaker 2: every listener, every viewer, but he's like, you know, dream

468
00:24:20,280 --> 00:24:23,639
Speaker 2: boldly and you know, don't make yourself you know, I'm

469
00:24:23,680 --> 00:24:25,080
Speaker 2: trying to take heed to those things when he's like,

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00:24:25,080 --> 00:24:27,800
Speaker 2: don't make yourself feel small, just like vision it and

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00:24:27,840 --> 00:24:30,119
Speaker 2: so man, I like that. That's a great place to

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00:24:30,400 --> 00:24:33,040
Speaker 2: h and you know, once again, the chuck the episode,

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00:24:33,760 --> 00:24:35,800
Speaker 2: I gotta say from the inside, we've talked about it

474
00:24:35,840 --> 00:24:39,520
Speaker 2: so many times, different ideas, different things. I'm happy it

475
00:24:39,560 --> 00:24:41,240
Speaker 2: happened when it did. It was so right that it

476
00:24:41,280 --> 00:24:44,280
Speaker 2: was in person, and what sounds like both of us

477
00:24:44,320 --> 00:24:46,479
Speaker 2: look for is more in the series.

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Speaker 1: Absolutely.

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00:24:47,400 --> 00:24:50,960
Speaker 2: Okay, wait, man, We'll have a great video shoot this weekend,

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00:24:51,000 --> 00:24:52,520
Speaker 2: and we'll do this again real.

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00:24:52,400 --> 00:25:14,080
Speaker 1: Soon, Yes we will. Couslup shows a production of iHeart

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Speaker 1: Grading