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Speaker 1: Quest Love Supreme is a production of iHeartRadio.

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Speaker 2: Supremo Supremo role called Supremo Shut, Supremo role called Supremo

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Speaker 2: Supremo role called Supremo Sun Supremo Role.

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Speaker 1: I'm an owner, not a GM. Yeah, joints creeping to

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Speaker 1: my d ms. Yeah, I represent freedom.

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Speaker 3: Yeah, Hey, Steve, what rhymes with the last corner?

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Speaker 2: Supremo role called Supremo Supremo role.

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Speaker 4: My name is Fante.

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Speaker 1: Yeah, I got my moisturizer.

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Speaker 4: Yeah, what time is it?

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Speaker 1: Yeah, grand Verbaiza.

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Speaker 2: Supremo Supremo role called Supremo Supremo role.

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Speaker 4: Call.

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Speaker 1: My name is Sugar. Yeah, where's my per diem?

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Speaker 5: Yeah?

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Speaker 6: Self sabotage. You're an asshole, hit Bill?

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Speaker 1: Yeah, you Number one is the border. Yeah, it's time

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Speaker 1: for tails.

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Speaker 2: Quarter Supremo roll Suprema.

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Speaker 1: So Supremo roll.

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Speaker 4: It's like em. Yeah, it's so nice. I've been talking

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Speaker 4: about the Latin quarter. Yeah, finally we got Paaradise.

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Speaker 7: Supremo roll Suprema So sure.

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Speaker 8: My name is Paradise. Yeah, I'm twice as nice. Yeah,

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Speaker 8: Lece skating on ice. Yeah, I can't say it twice.

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Speaker 7: Supremo Suprema So Supremo Roll Suprema, So supremo, Ro Supremo supremo.

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Speaker 9: Roll Wait there, man, that's what I mean, Malory.

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Speaker 1: Let's go chill. This is what they called the when

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Speaker 1: when you have like a special episode.

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Speaker 3: Well, no, no, but the this is the longest stretch

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Speaker 3: of finally getting to the tail ends of what the

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Speaker 3: show has been about for the last what seven seven years?

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Speaker 4: Seven years? Good luck?

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Speaker 1: Yes, Okay, there we go.

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Speaker 3: You know, we've been talking about or joking about the

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Speaker 3: Latin Quarter with every hip hop luminary that has made

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Speaker 3: their mark in this culture in the late eighties early nineties,

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Speaker 3: and we've heard many a tale of the Latin Quarter.

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Speaker 1: But as a walking Smithsonian pack.

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Speaker 3: Ratter pop culture hoarder, of course, you know that I

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Speaker 3: easily got excited about doing this particular episode of course,

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Speaker 3: Love Supreme, because you can't have any tales of the

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Speaker 3: Latin Quarter without our guest today. And you know, for

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Speaker 3: damn near five decades, our guest has been preserving, building,

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Speaker 3: shape shifting many a career in hip hop. But more

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Speaker 3: than that, he's embarking on what I would deem probably

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Speaker 3: his most important project, which is a proprietor of the

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Speaker 3: Universal Hip Hop Museum, yeah, and you know not to

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Speaker 3: mention he's an author. Currently your your show about your

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Speaker 3: collections in hip hop. Yes, hip Hop Treasures, which I

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Speaker 3: the fact that you just had to wherewithal to know

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Speaker 3: that this stuff was going to be value speaks of

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Speaker 3: your characters.

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Speaker 1: So and also, welcome to Team Supreme with us.

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Speaker 4: Yes people, what y Bill?

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Speaker 1: I'm back? Yeah, you're back where you been? Sorry to cigarettes.

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Speaker 3: Okay, no, for real, Welcome Paradise Gray to Claude, Paradise Gray,

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Speaker 3: the man that holds our history in his hands, to

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Speaker 3: request love Supreme.

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Speaker 1: So, uh, sir, have you ever heard of the Latin Quarter?

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Speaker 1: How are you did that?

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Speaker 8: I'm a absolutely fantabulous Okay, well real, this is a great,

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Speaker 8: great pleasure.

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Speaker 1: Thank you, thank you, thank you.

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Speaker 4: You look amazing. Well, I thank you.

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Speaker 1: Look, let's just beginning.

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Speaker 3: Where where does your hip hop journey start? Your very

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Speaker 3: first moment in which you're meeting the elements.

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Speaker 1: Of what hip hop is. I don't know if it's

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Speaker 1: hearing a patchy for the first.

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Speaker 8: Time, or my journey in hip hop started in my

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Speaker 8: mother's living room. You know, my mom was a supermom.

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Speaker 8: You know, she was the curator of all culture in

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Speaker 8: our household. You didn't touch the TV knob unless she

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Speaker 8: did it. You didn't listen to the radio unless she

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Speaker 8: programmed it. She was my program director, and every Friday

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Speaker 8: she would come home from work and go to the

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Speaker 8: record store around the corner from my house and come

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Speaker 8: in the house with a fistful of brand new forty fives.

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Speaker 8: And she introduced me to James Brown, George Clinton, sline

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Speaker 8: of Family Stuff, the Last Poets, Gil Scott, Heron, Marvin

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Speaker 8: Gaye A and goes on.

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Speaker 4: And on and on.

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Speaker 8: And then she used to play those records and cook

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Speaker 8: and clean the house while meet my brother and sister

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Speaker 8: sang and danced with her. And then every Saturday morning

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Speaker 8: we would watch Soul Train, and after it went off,

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Speaker 8: we would do our own Soul Train line in the

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Speaker 8: house because we had all the records that they just

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Speaker 8: had on TV already in the living room. So she

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Speaker 8: prepared me to be a DJ and a selector. And

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Speaker 8: the first two crates of records that I had when

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Speaker 8: I started DJing in the streets, I took it from

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Speaker 8: my mother's record collection, you know, really yes records, well two.

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Speaker 1: Crates the records.

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Speaker 4: I mean, I had a lot of the breakbeats right

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Speaker 4: from the door. You know what I mean?

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Speaker 8: Because my mom she listened to every genre of music,

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Speaker 8: you know what I'm saying, So she prepared me well.

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Speaker 8: So one day, growing up in the Bronxdale Projects, I

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Speaker 8: was going to the store and I heard this music

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Speaker 8: coming from beyond this door. There used to be a

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Speaker 8: laundry room, but a DJ that lived in my building.

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Speaker 8: His name was disco King Mario. Oh yes, okay, so

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Speaker 8: this was another address that should be remembered with fifteen

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Speaker 8: twenty sent a consider seventeen fifteen Bruckner Boulevard in the

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Speaker 8: Bronxdale Projects, and I heard the music coming from the door.

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Speaker 8: I cracked the door open and there he was disco

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Speaker 8: King Mario with two turntables and a Bozac mixer with

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Speaker 8: a knob, and he was playing a song I think

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Speaker 8: called Gotta Get a Nut, oh by a.

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Speaker 3: New Birth and then then yep, the infamous Yeah I

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Speaker 3: sold Can You Keep a Secret?

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Speaker 1: Drum breaking?

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Speaker 8: And then right I was standing there with my jaw like,

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Speaker 8: oh wow, what does he do to those records? Like

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Speaker 8: you know what I mean?

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Speaker 4: And he was like, man, come in and close the door.

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Speaker 8: I came in and I sat down and I was

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Speaker 8: surrounded by stacks and crates and equipment and speakers and records.

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Speaker 8: And you know, he uh had a bad habit of

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Speaker 8: when he DJ, he didn't put the record back in

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Speaker 8: the cover.

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Speaker 4: So his records was all over the place. They were dusty.

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Speaker 1: And because.

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Speaker 8: So, because my mother had conditioned me to wipe the

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Speaker 8: records and put them back in the sleeve, I systematically

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Speaker 8: started organizing Mario's records.

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Speaker 4: I was seven years old and I wiped them records.

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Speaker 8: You better not touch my record the floor okay, you

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Speaker 8: know what I mean, in horrible condition, And I said,

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Speaker 8: I came in with the kit you know they had

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Speaker 8: the alcohol in it, remember that with the velvet, and

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Speaker 8: wiped the record.

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Speaker 4: He loved it. I organized his crates and that began

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Speaker 4: my journey as a real DJ.

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Speaker 3: I want to do a slight sidebar because okay, so

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Speaker 3: as a family, we've been together for seven years, but

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Speaker 3: I don't even know your actual journeys. If we can

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Speaker 3: keep it under three minutes, like what was your first

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Speaker 3: hip hop moment?

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Speaker 10: I would say my first hip hop moment was my

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Speaker 10: uncle taking me to the Fresh Vest at the Greensboro

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Speaker 10: Coliseum in like eighty this was eighty five A six.

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Speaker 1: I was like six years old. Did you not hear

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Speaker 1: rap music before that?

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Speaker 4: Yeah?

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Speaker 1: I heard rap more did Okay?

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Speaker 3: So what was the most impact, like your first impactful?

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Speaker 3: Like me hearing rappers delight was like what is this?

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Speaker 3: I think probably the first we're talking just hearing the music.

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Speaker 3: It really wasn't rap. I mean it was like records

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Speaker 3: like you know, Nucleus, Jam on It and Rat.

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Speaker 1: It was those kinds of records.

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Speaker 10: Because my mother would take me with her to the

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Speaker 10: park and DJ's will be out playing those records.

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Speaker 5: You know he should have win last, but seeing it

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Speaker 5: and some bullshit, but not.

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Speaker 10: Seeing it, that was like that was It was eighty

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Speaker 10: five run, DMC, Fat Boys and Houdini and that was

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Speaker 10: just that was it for me.

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Speaker 1: It was done.

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Speaker 4: I knew what I want to be, all right? So

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Speaker 4: like you next?

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Speaker 1: Now, first of all, we're in d C. Or were

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Speaker 1: you in Philly?

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Speaker 4: In Atlanta, d C.

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Speaker 5: That's where I worked for fifteen years of my life.

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Speaker 5: But I mean, I feel like mine is more disconnected

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Speaker 5: through TV because I was babysat by the TV, so

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Speaker 5: it was through movies. It was Beach Street, it was

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Speaker 5: breaking one, breaking two, Breaking Book. I'm gonna tell my truth.

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Speaker 5: Breaking Boogloo was my ship man to Judge.

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Speaker 1: Okay, okay, I saw the movie three times when I

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Speaker 1: went to the theater. All right, Steve, Yeah?

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Speaker 4: Uh.

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Speaker 3: Besides, you know smoking with Snoop Dogg at the studio. Well, now,

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Speaker 3: did you want to tell.

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Speaker 1: Me you stole we from Snoop?

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Speaker 3: Yeah?

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Speaker 1: Okay, but he's so smoking right now.

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Speaker 11: I think I told that story when we interviewed Snoop.

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Speaker 11: But it was a Fat Boys and that first run

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Speaker 11: DMC album rock Box. And but the thing was, I

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Speaker 11: heard all this stuff at my Jewish summer camp where

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Speaker 11: there were no black people.

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Speaker 4: I didn't know what was going on or what.

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Speaker 11: I was listening to necessarily, but then you know, everything

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Speaker 11: happened in I guess high school breakdancing. I mean, you

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Speaker 11: can tell me what year was that was that first

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Speaker 11: run DMC album eighty three.

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Speaker 1: Wait, this is weird.

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Speaker 3: I'm noticing now, And you know, we should probably try

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Speaker 3: to get cool rock Ski on the show. That the

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Speaker 3: Fat Boys is actually a lot of people's first introduction

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Speaker 3: to hip hop, which is kind of crazy to me.

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Speaker 3: But even jay Z said the very first hip hop

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Speaker 3: tape he ever brought was the Fat Boys. So it's

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Speaker 3: almost like because hip hop was kind of contributing, you know. Again,

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Speaker 3: my parents went to that ye Christian Berry, like, yeah,

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Speaker 3: you ain't listen to that whatever, But they had no

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Speaker 3: problems with me having the Fat Boys because they were

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Speaker 3: too funny.

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Speaker 1: It was funny. They were too funny to be threatening,

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Speaker 1: you know, whereas all right on paid Bill. Yeah, I

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Speaker 1: think the Fat Boys, I think Heavy D in the

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Speaker 1: early days, and.

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Speaker 3: Then like I came up in like the Vanilla Ice,

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Speaker 3: Teenage Munan.

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Speaker 1: Nina Turtles era, but then Ninja I did. But then

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Speaker 1: I know it's hard to say out loud.

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Speaker 3: I don't want I don't want to dismiss that because

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Speaker 3: only because LLLL and I were talking about this on tour. Well,

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Speaker 3: concerning Hammer and Vanilla Ice both selling ten million units,

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Speaker 3: like between Licensed to Ill, Hammer's second album and Vanilla Ice,

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Speaker 3: like those three records were the first three albums to

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Speaker 3: sell more than ten million units, and for a lot

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Speaker 3: of people that are in the hip hop now, like

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Speaker 3: that was their fat which then led them to everything else.

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Speaker 1: So I can't even be dismissive. I mean, I don't

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Speaker 1: like the mag goodness of.

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Speaker 4: X clan's first tour was with the Ghetto Boys and

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Speaker 4: Vanilla Ice. What what was that like? Man? One day

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Speaker 4: I was in my room.

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Speaker 8: We would go on stage, rock and bounce, you know,

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Speaker 8: so we didn't know what was going on with the

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Speaker 8: other we know, you know, Scarface and the Ghetto Boys

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Speaker 8: was one of our favorites. But the first time I

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Speaker 8: even heard the name, this beautiful girl was knocking on

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Speaker 8: my hotel room after the show opened the door. I

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Speaker 8: was like, wow, She was like, where's Vanilla Ice? I

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Speaker 8: was like, I don't know what chocolate is?

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Speaker 4: Right here? Babies, now we use it.

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Speaker 3: Because I know this is actually a subjective fact. If

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Speaker 3: that's such a thing in your opinion, When did hip

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Speaker 3: hop start? Because I keep hearing from many a person that, no, no,

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Speaker 3: it wasn't August nineteen seventy three. It was Da da

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Speaker 3: Da Da da da.

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Speaker 1: Honestly, who's gonna win this tug of war?

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Speaker 4: I have no idea, okay, but I will be honest.

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Speaker 8: August eleventh, nineteen seventy three is an arbitrary date, okay,

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Speaker 8: but we had to say it started somewhere. But I

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Speaker 8: believe that hip hop started when the first man walked.

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Speaker 8: Hip hop started when the first person rapped. Hip hop started,

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Speaker 8: when all the elements were developed hundreds, maybe even thousands

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Speaker 8: of years ago by our ancestors. For us to say

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Speaker 8: that we created hip hop from nothing in the Bronx

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Speaker 8: in nineteen seventy three is totally disrespectful to James Brown,

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Speaker 8: George Clinton, sline of family, Stone, pig Meat Malcolm, you

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Speaker 8: know what I'm saying. It's disrespectful to at Hotel Malik

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Speaker 8: el Shabaz, to Muhammad Ali, to the Black Arts movement,

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Speaker 8: a Mary Baraka, Sonya Sanchez, you know, to watch prophets,

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Speaker 8: the Last Poets, Gil Scott Heron, you know, the jubile Ayers,

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Speaker 8: Pigmy Malcolm.

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Speaker 1: You know, can I ask you so?

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Speaker 3: When I was a kid and I was eight years

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Speaker 3: old when Rappers Delight came out, and you know, for

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Speaker 3: a line's share of America, Rappers Delight was for a

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Speaker 3: lot of us our first hip hop experience.

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Speaker 1: We never heard of anything beforehand.

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Speaker 3: Even though I lived next door to a DJ, so

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Speaker 3: you know, I would hear like, let's dance to the

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Speaker 3: drummers beat and he had like two turns in, but

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Speaker 3: I thought he was a disco DJ, right, although he

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Speaker 3: wasn't scratching.

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Speaker 4: Before nineteen eighty three, every DJ was a disco dj.

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Speaker 8: Okay, if you was not a disco DJ in New York,

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Speaker 8: you wasn't making no money. And hip hop is the

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Speaker 8: bastard child of disco, funk, R and B, gospel, jazz

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Speaker 8: and everything that came before it, But it's closest related

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Speaker 8: to disco.

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Speaker 4: Think about it.

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Speaker 8: First rap record you said was important was What Delight.

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Speaker 8: It was a san but it was a disco record,

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Speaker 8: Good Times, you know what I'm saying. As matter of fact,

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Speaker 8: every record that came out in nineteen seventy nine was

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Speaker 8: a disco record that people was rapping over, with the

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Speaker 8: exception of Grand Master Flash and the Serious five Freedom,

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Speaker 8: but rapping and wait right, even Super Dune that all

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Speaker 8: of those are disco beats. You know what I'm saying.

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Speaker 8: Rapping and rocking the House that was a disco beat,

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Speaker 8: or you know King Tim the Third that was a

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Speaker 8: straight disco record.

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Speaker 4: If you look at the.

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Speaker 8: Video to the sugar Hill Gang and you turned the

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Speaker 8: volume down, you would not believe they was rapping.

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Speaker 4: They got silk shirts on with big old collars. You

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Speaker 4: know what I'm saying.

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Speaker 8: They wearing dress, slacks and slippery bottom shoes. It wasn't

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Speaker 8: no Adidas, it wasn't no Pumas. It wasn't you know,

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Speaker 8: no Nikes, no Gazelli's, no Kingos, none of that. If

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Speaker 8: you went in the club, our elders was in the

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Speaker 8: club with slippery bottom shoes, gators, jackets, and hats on.

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Speaker 4: That was it.

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Speaker 3: The question I'm asking you is that I'm under the

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Speaker 3: impression that this culture got its name only because it's

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Speaker 3: the very first two words that Wonder Mike says on

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Speaker 3: the very first hip hop record that anyone ever heard.

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Speaker 3: I would agree with that, yeah, because my parents used

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Speaker 3: to always be like, you better hip hop, your hands

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Speaker 3: in bed, you better hip hop, and this is hippity

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Speaker 3: hoppy and hip hip hop.

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Speaker 4: And then dad, you should do exactly the same thing, right.

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Speaker 1: So I was asking you, was were you guys even

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Speaker 1: calling it hip hop?

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Speaker 7: No?

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Speaker 1: Okay, I get it, no more than like the first

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Speaker 1: two words. And that's the thing.

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Speaker 3: Even I didn't know the song was called Rappers the Light.

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Speaker 3: The first day I brought it, I went to the store, like,

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Speaker 3: you got hip hop?

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Speaker 1: He's like, and he hands me a you know record.

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Speaker 11: What were they calling it?

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Speaker 4: Then?

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Speaker 8: Well, we was calling it jamming. We was you know,

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Speaker 8: we're gonna jam today, you know we're gonna go out.

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Speaker 1: We even call it rap music, the rap music. Well

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Speaker 1: because they called the song Rappers the Light.

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Speaker 3: Then it's like, oh my god, yeah, like Rappers of

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Speaker 3: Light contains a lot of the elements that we still

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Speaker 3: use now, like.

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Speaker 12: Writing, biting the label, label, ribbon off, the artists, the foundations.

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Speaker 8: But you know what those Sylvia Robinson does not get

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Speaker 8: as much credit as she deserves. You know, she was

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Speaker 8: the one that saw Hollywood and loved Bug Starsky in

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Speaker 8: Harlem and say, yo, this is important.

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Speaker 4: You know, do you know that little note?

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Speaker 8: First of all, Sylvia was the first hip hop mobile, yes, period,

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Speaker 8: you know. And second of all, she engineered this song

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Speaker 8: and mixed it.

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Speaker 1: I heard she played bass on it.

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Speaker 4: She probably did. I heard she got so much skills

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Speaker 4: and talents.

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Speaker 5: And are we to assume that her business acumen came

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Speaker 5: from like the men and the people that came before her.

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Speaker 8: The most to the business acumen came because she owned

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Speaker 8: seven labels.

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Speaker 1: I was just thinking she ran with Mars Levy.

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Speaker 3: If you know about Mars, like Mars Levy was the

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Speaker 3: Jewish night the word first YouTube was like, huh what

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Speaker 3: I heard?

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Speaker 1: Levy?

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Speaker 5: And I was like, Bill too young?

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Speaker 3: Mars Levy owned, uh, you know Roulette Records, read the

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Speaker 3: book Hitman for real.

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Speaker 1: Gangs that stuff. Can you just describe as visually as

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Speaker 1: you can.

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Speaker 3: What an average jam was like in the Bronx, like

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Speaker 3: sound wise, because you know we'll see you know, sort

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Speaker 3: of like not revisioned or you know, like people will

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Speaker 3: give their stories or tells of it.

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Speaker 1: But I want to know.

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Speaker 8: I have watched sue footage from nineteen eighty three really

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Speaker 8: of me and my crew DJ Playboy Paradise and the

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Speaker 8: Brothers three and my other rap group to throw Down

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Speaker 8: four in nineteen eighty three, and we're dancing, we're doing graffiti,

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Speaker 8: and we're DJing and rapping organically without Beach Street, you know,

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Speaker 8: without Hollywood. And one of these days I'm gonna screen

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Speaker 8: the footage that we found and then interview. Almost every

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Speaker 8: single one of my homies in video is still alive.

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Speaker 8: It's a miracle, yes, sir, but guess what the miracles

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Speaker 8: called hip hop? Every single one of my homies that

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Speaker 8: rap danced dig graffiti, except a few, very few.

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Speaker 4: Of us perished by natural causes or by murder.

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Speaker 8: But the friends of mine from Highbridge who didn't rat

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Speaker 8: and wasn't in hip hop man decimated.

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Speaker 3: Is what you witnessed in terms of any park gyms

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Speaker 3: you went to, was that the only existence of that

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Speaker 3: culture in that particular thing.

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Speaker 1: Or on a Sunday, could there be nine block parties happening?

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Speaker 4: You just good?

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Speaker 8: Well, the first block parties were live bands. We had

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Speaker 8: a lot of live bands in Highbridge, which is where

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Speaker 8: I moved after I moved from the Bronxdale projects. I

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Speaker 8: lived less than a mile from fifteen to twenty Sedject

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Speaker 8: considered okay and quite honestly, in their early years, there

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Speaker 8: was a lot of other teachers that were rocking simultaneously

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Speaker 8: with Cool Hurt, and before Cool Hurt, in my neighborhood,

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Speaker 8: we had a DJ named Pete DJ Jones.

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Speaker 1: So can you explain who DJ Jones is for our audience.

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Speaker 8: Yeah, Pete DJ Jones was a mobile DJ. He was

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Speaker 8: one of the top two mobile DJs in New York

383
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Speaker 8: City period. The other one was Grandmaster Flowers from Brooklyn,

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Speaker 8: hip hop's first grand Master. And a lot of people

385
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Speaker 8: may say, well I never heard of him, Yeah right,

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Speaker 8: I got one hundred fliers with him on the same

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Speaker 8: flyers with Hurricane Flash and Bam and all of them,

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Speaker 8: you know. And he opened for James Brown as a

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Speaker 8: DJ at Yankee Stadium in nineteen sixty eight. Oh wow,

390
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Speaker 8: So you know, hip hop just crushed August eleventh in

391
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Speaker 8: the Yankee Stadium. But Yankee Stadium has deeper history in

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Speaker 8: the Bronx, you know. And there's a lot like a

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Speaker 8: lot of people's say, well, Pete DJ Jones, he was

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Speaker 8: a disco DJ. Once again, we can't do that. He

395
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Speaker 8: mentored Hollywood Loved Buck Starsky, Curtis Blow, and grand Master Flash.

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Speaker 8: Get that, man, it's hip hop credentials.

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Speaker 1: Today or no.

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Speaker 8: He passed away a few years ago, but there's some

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Speaker 8: footage on it on YouTube with him stealing it speaking

400
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Speaker 8: with his own words. He was amazing dj. He was

401
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Speaker 8: great at mixing. He did not cut, he did not scratch,

402
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Speaker 8: he didn't do any of that. But he played breakbeats

403
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Speaker 8: two and he ushered in Hollywood Loved Buck Starsky Curtis Blow,

404
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Speaker 8: and grand Master Flash.

405
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Speaker 10: I wanted to ask, of Paradise, how does the DJ

406
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Speaker 10: somebody like Larry Levan, How did they someone like him

407
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Speaker 10: that played the Paradise Garage.

408
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Speaker 1: Was that in y'all's kind of radar at all time?

409
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Speaker 8: It well, it definitely was because we we loved disco

410
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Speaker 8: music and dance music and actually, you know, disco to us,

411
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Speaker 8: that word is what stops a lot of people from

412
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Speaker 8: understanding what we're talking about, because when we say disco,

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Speaker 8: it wasn't a genre of music. It was a place

414
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Speaker 8: to be tech. It was a disco tech. It was

415
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Speaker 8: the place where they played music at and when we

416
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Speaker 8: went to the clubs, the disco techts, they are a

417
00:24:23,160 --> 00:24:26,960
Speaker 8: shout to DC. We played Go Go too in the

418
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Speaker 8: beginning of hip hop, and a lot of Chuck Brown

419
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Speaker 8: and the Soul Searchers and a lot of those EU

420
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Speaker 8: and all of those guys. They contributed to the to

421
00:24:35,960 --> 00:24:39,160
Speaker 8: the creation of hip hop too. You know, a lot

422
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Speaker 8: of people from Philly contributed greatly to the creation of

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Speaker 8: hip hop and they don't get the credit for it.

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Speaker 4: You know what I'm saying.

425
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Speaker 8: The Juice Crew and Cold Chilling records that came out

426
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Speaker 8: with Rock, Sanne Chante, Bismarck, Big Daddy came in.

427
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Speaker 4: The Juice Crew that we know that started as pop

428
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Speaker 4: art in Philly, you understand, So exactly.

429
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Speaker 8: There's so you know, we migrated from the South and

430
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Speaker 8: we brought a lot of these things with us. There's

431
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Speaker 8: a rap group that was a gospel group in the

432
00:25:15,320 --> 00:25:18,760
Speaker 8: twenties and thirties named the Jubile Airs, who rapped with

433
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Speaker 8: the same cadence as the Sugarhill Gang.

434
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Speaker 4: Yep, you know. So if we.

435
00:25:23,440 --> 00:25:28,760
Speaker 8: Ignore our elders and ancestors and don't speak of their contributions,

436
00:25:28,840 --> 00:25:31,560
Speaker 8: they taught us hip hop. We learned hip hop from

437
00:25:31,640 --> 00:25:35,520
Speaker 8: our elders and ancestors, and if we eliminate them, then

438
00:25:35,560 --> 00:25:38,720
Speaker 8: we got to write for young people today to not

439
00:25:38,920 --> 00:25:43,399
Speaker 8: remember us or attribute our accomplishments to us. Because we

440
00:25:43,800 --> 00:25:47,679
Speaker 8: disrespect our ancestors, we deserve to be disrespected too.

441
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Speaker 11: So I'm trying to think of the proper way to

442
00:25:50,359 --> 00:25:53,280
Speaker 11: ask this question though. But is it because disco was

443
00:25:53,440 --> 00:25:57,000
Speaker 11: the current music of the time? Is that why it

444
00:25:57,160 --> 00:26:01,159
Speaker 11: became you know, let's say beginning of hip hop, it

445
00:26:01,280 --> 00:26:04,840
Speaker 11: was because disco is funky and disco is that shit?

446
00:26:05,440 --> 00:26:05,600
Speaker 4: Man?

447
00:26:07,119 --> 00:26:10,000
Speaker 8: Come on, one of the biggest greatest breakbeats in the world,

448
00:26:10,640 --> 00:26:11,560
Speaker 8: Frisco Disco.

449
00:26:12,840 --> 00:26:18,720
Speaker 4: Come on? Come on, you know Brown, Yes, you know

450
00:26:18,760 --> 00:26:21,080
Speaker 4: what I'm saying. Come on, where would hip hop be

451
00:26:21,280 --> 00:26:24,760
Speaker 4: without the Isley Brothers. You know what I'm saying.

452
00:26:25,320 --> 00:26:29,560
Speaker 8: We where would we be without Motown stacks votes, you

453
00:26:29,640 --> 00:26:32,240
Speaker 8: know what I'm saying. Mcfatten and white Head, all of

454
00:26:32,320 --> 00:26:36,320
Speaker 8: these guys were geniuses. We learned hip hop from them

455
00:26:37,359 --> 00:26:41,320
Speaker 8: and we remixed it, we sampled it. Hip Hop is

456
00:26:41,400 --> 00:26:48,080
Speaker 8: a sample of Afro indigenous culture worldwide. It's the best

457
00:26:48,359 --> 00:26:51,680
Speaker 8: of everything that ever existed. If you make a beat

458
00:26:52,320 --> 00:26:54,840
Speaker 8: that we like, we don't care if you're corny white

459
00:26:54,960 --> 00:26:55,640
Speaker 8: rock group.

460
00:26:55,440 --> 00:26:59,000
Speaker 4: With long hair. We didn't let it go that far,

461
00:26:59,320 --> 00:27:04,239
Speaker 4: but we love give me that. It's hip hop now.

462
00:27:04,920 --> 00:27:08,640
Speaker 8: Hip hop is a cultural and musical version of Star

463
00:27:08,800 --> 00:27:12,480
Speaker 8: Trek's Borg resistance is futile.

464
00:27:12,800 --> 00:27:20,880
Speaker 4: You will be assimilated new generation and after you, Yeah,

465
00:27:21,000 --> 00:27:21,760
Speaker 4: the things.

466
00:27:21,600 --> 00:27:24,760
Speaker 1: I learned about you? When do you say that?

467
00:27:24,960 --> 00:27:29,320
Speaker 3: Hip hop started making its uh sort of its trek

468
00:27:29,400 --> 00:27:34,520
Speaker 3: into nightclub culture where it starts as block party culture.

469
00:27:35,000 --> 00:27:41,280
Speaker 8: That's where Cool Hurt, the Zulu Nation, Grand Master Flash,

470
00:27:41,520 --> 00:27:45,119
Speaker 8: the l Brothers, Graham with the Theodore, That's where the

471
00:27:45,240 --> 00:27:46,560
Speaker 8: Disco Twins come in.

472
00:27:46,800 --> 00:27:50,560
Speaker 4: These guys took it to those places, you know what

473
00:27:50,640 --> 00:27:52,800
Speaker 4: I'm saying, And we.

474
00:27:53,080 --> 00:27:56,560
Speaker 8: Use disco records as break beats, come on, what would

475
00:27:56,640 --> 00:27:57,520
Speaker 8: hip hop be without?

476
00:27:58,000 --> 00:28:01,720
Speaker 4: I want to thank you having for all the you

477
00:28:01,800 --> 00:28:02,440
Speaker 4: know what I'm saying.

478
00:28:02,680 --> 00:28:06,320
Speaker 8: I mean just there was just some amazing music being

479
00:28:06,480 --> 00:28:11,879
Speaker 8: made by some of the greatest cultural geniuses who ever lived,

480
00:28:11,960 --> 00:28:14,560
Speaker 8: and we got to call them out and give them

481
00:28:14,680 --> 00:28:18,800
Speaker 8: credit for what they created. Bob James, are you kidding meet?

482
00:28:20,040 --> 00:28:25,119
Speaker 8: You know, we had amazing the meters. You know, we

483
00:28:25,280 --> 00:28:29,080
Speaker 8: had amazing teachers who taught us to beat and thank

484
00:28:29,200 --> 00:28:31,560
Speaker 8: god Jane Brown put it on the one baby.

485
00:28:32,880 --> 00:28:37,560
Speaker 3: Can you talk about any historic first that you've seen

486
00:28:37,600 --> 00:28:42,479
Speaker 3: in the first fave, pre pre Latin quarter of your

487
00:28:42,560 --> 00:28:45,240
Speaker 3: hip hop experiences as far as like shows are concerned

488
00:28:45,400 --> 00:28:48,080
Speaker 3: or not clubs you've been to or any of those things.

489
00:28:50,040 --> 00:28:54,520
Speaker 8: We hung out at the Fever, the Disco Fever, Halem World,

490
00:28:55,080 --> 00:28:59,400
Speaker 8: the Renni which was called the Renaissance Harlem World, I

491
00:28:59,480 --> 00:29:02,800
Speaker 8: mean the Disco Fever. The Fever was in the Bronx

492
00:29:02,960 --> 00:29:05,920
Speaker 8: right down the stairs, down the Joker stairs from my

493
00:29:06,040 --> 00:29:09,840
Speaker 8: community high Bridge. It was at around one hundred and

494
00:29:09,920 --> 00:29:13,840
Speaker 8: sixty seventh Street, not far from Yankee Stadium, right by

495
00:29:14,000 --> 00:29:15,160
Speaker 8: River Avenue.

496
00:29:15,240 --> 00:29:18,600
Speaker 1: So that's where you had to go to hear those

497
00:29:18,680 --> 00:29:20,520
Speaker 1: particular non main street.

498
00:29:20,560 --> 00:29:22,160
Speaker 8: So if you was open enough to go there, we

499
00:29:22,280 --> 00:29:24,680
Speaker 8: got everything we needed right in the street for free.

500
00:29:25,840 --> 00:29:27,600
Speaker 1: You know, we speak on it.

501
00:29:28,720 --> 00:29:32,400
Speaker 4: There was the pa L, the Police Athletic League.

502
00:29:33,160 --> 00:29:34,480
Speaker 1: Denzel always talks about that.

503
00:29:34,840 --> 00:29:38,000
Speaker 4: Yeah, there was a lot of venues.

504
00:29:38,280 --> 00:29:42,479
Speaker 8: We even had a disco called burger King, which basically

505
00:29:42,640 --> 00:29:44,040
Speaker 8: was a Burger King restaurant.

506
00:29:44,640 --> 00:29:47,520
Speaker 4: At night, one of the brothers that worked there would

507
00:29:47,560 --> 00:29:48,720
Speaker 4: move the tables.

508
00:29:48,400 --> 00:29:52,120
Speaker 8: And chairs and we would charge twenty five cents and

509
00:29:52,240 --> 00:29:54,600
Speaker 8: we would do hip hop parties in Burger.

510
00:29:54,440 --> 00:29:57,400
Speaker 1: King and nobody would be the wiser.

511
00:29:57,880 --> 00:30:01,280
Speaker 4: Nah, they cleaned it up and and you know, nobody

512
00:30:01,360 --> 00:30:03,239
Speaker 4: knew anything about it. You know, we did.

513
00:30:03,360 --> 00:30:07,200
Speaker 8: We used school yards, we used talent shows. We was

514
00:30:07,280 --> 00:30:10,120
Speaker 8: in the streets. You know, we did see the park.

515
00:30:10,640 --> 00:30:14,280
Speaker 8: You know, there was hundreds of parks all over the city,

516
00:30:14,360 --> 00:30:18,440
Speaker 8: from Brooklyn to Queens to Manhattan to the Bronx where

517
00:30:19,160 --> 00:30:21,840
Speaker 8: you know, DJs would just come bring their equipment out,

518
00:30:21,960 --> 00:30:23,360
Speaker 8: set up and get it cracking.

519
00:30:24,760 --> 00:30:25,600
Speaker 4: And it was illegal.

520
00:30:26,680 --> 00:30:30,880
Speaker 8: Everything about hip hop was illegal. We stole most of

521
00:30:30,960 --> 00:30:35,280
Speaker 8: our equipment in the first place. We were stealing ship

522
00:30:35,320 --> 00:30:38,360
Speaker 8: way before that. But that gave a lot of They

523
00:30:38,440 --> 00:30:40,400
Speaker 8: gave a lot of people who wasn't as bold or

524
00:30:40,400 --> 00:30:44,239
Speaker 8: as good thieves like we was an opportunity, but uh,

525
00:30:44,600 --> 00:30:46,680
Speaker 8: you know, we we brought our equipment out in the

526
00:30:46,800 --> 00:30:50,160
Speaker 8: park and we partied without a permit.

527
00:30:50,680 --> 00:30:54,160
Speaker 1: When you say we are you speaking? Were you associated

528
00:30:54,200 --> 00:30:55,840
Speaker 1: with Black Spades or like.

529
00:30:56,440 --> 00:30:58,920
Speaker 4: I was a Baby Spade when I lived in the.

530
00:31:01,360 --> 00:31:06,360
Speaker 8: The crew culture, the Black Spades, A lot of people

531
00:31:06,400 --> 00:31:08,520
Speaker 8: say they were a Black Spade, But the Black Spades

532
00:31:08,640 --> 00:31:12,160
Speaker 8: is from the sixties. Have you ever seen the movie

533
00:31:12,240 --> 00:31:16,120
Speaker 8: A Bronx Tail That was a story of the Black

534
00:31:16,200 --> 00:31:24,880
Speaker 8: Spades and the Bronxdale projects. They organized very similarly to

535
00:31:25,600 --> 00:31:28,920
Speaker 8: the US group on the West Coast, and very similarly

536
00:31:29,040 --> 00:31:32,320
Speaker 8: to the Black Panthers. It was out of necessity. The

537
00:31:32,440 --> 00:31:39,360
Speaker 8: white kids used to live right above where we was

538
00:31:39,600 --> 00:31:42,160
Speaker 8: in the suburbs. There was a couple of blocks that

539
00:31:42,280 --> 00:31:46,320
Speaker 8: separated the projects from the suburbs. And the white kids

540
00:31:46,400 --> 00:31:51,360
Speaker 8: were sons and nephews of Italian mobsters. And they wore

541
00:31:51,440 --> 00:31:55,800
Speaker 8: thelether coats like Phronsie with the collars, you know what

542
00:31:55,880 --> 00:31:58,640
Speaker 8: I'm saying. They had the grease hair bag, and they

543
00:31:58,720 --> 00:32:04,360
Speaker 8: had revolvers, chains, bats and switch blades, and they would

544
00:32:04,400 --> 00:32:07,480
Speaker 8: come down into our community and pray on us, beat

545
00:32:07,600 --> 00:32:09,800
Speaker 8: us up, and rob us and do whatever they wanted.

546
00:32:10,160 --> 00:32:13,280
Speaker 5: So the Black Spades, my dad is from New York

547
00:32:13,320 --> 00:32:15,480
Speaker 5: and he's about ten fifteen years your senior, and it

548
00:32:15,560 --> 00:32:17,360
Speaker 5: was different for them because they used to throw bottles

549
00:32:17,400 --> 00:32:19,960
Speaker 5: off the top of the of the buildings and hitting

550
00:32:19,960 --> 00:32:22,600
Speaker 5: the kids on the ground in Manhattan. So it was,

551
00:32:22,680 --> 00:32:24,960
Speaker 5: you know, it's interesting to hear the Bronx verst of

552
00:32:25,000 --> 00:32:25,600
Speaker 5: what was going on in.

553
00:32:25,600 --> 00:32:26,560
Speaker 9: The other boroughs.

554
00:32:26,760 --> 00:32:31,120
Speaker 8: So the Black Spades fought back against these white gangs

555
00:32:31,680 --> 00:32:36,800
Speaker 8: and pushed there but way up off us and the

556
00:32:36,960 --> 00:32:40,480
Speaker 8: crew got so big that it became the biggest black

557
00:32:40,600 --> 00:32:46,160
Speaker 8: gang in the Bronx. In Brooklyn, they had the Jolly

558
00:32:46,360 --> 00:32:53,680
Speaker 8: Stompers and the Tomahawks, and they were represented by the

559
00:32:53,800 --> 00:32:55,920
Speaker 8: Black gang in the movie The Warriors.

560
00:32:56,480 --> 00:32:59,520
Speaker 4: Okay, the group at the end that was.

561
00:32:59,600 --> 00:33:04,320
Speaker 8: The Tomahawks and Jolly Stumpers, which later were organized into

562
00:33:04,440 --> 00:33:07,920
Speaker 8: a black movement by my elder Sonny Carson in Brooklyn.

563
00:33:08,640 --> 00:33:13,280
Speaker 3: To your knowledge, because to my ears, when I'm listening

564
00:33:13,400 --> 00:33:18,840
Speaker 3: to Justice Doing Going Way Back or listening to Karaswan,

565
00:33:19,560 --> 00:33:20,520
Speaker 3: do the roll call.

566
00:33:20,440 --> 00:33:22,640
Speaker 8: Of like what the South Bronx like, all the names

567
00:33:22,680 --> 00:33:25,640
Speaker 8: and mc shann who did the roll call from Queens.

568
00:33:25,800 --> 00:33:27,840
Speaker 1: Well, that's why you get the bridge. You know what,

569
00:33:28,280 --> 00:33:30,600
Speaker 1: do the other girls have their own tails?

570
00:33:30,760 --> 00:33:33,440
Speaker 3: Hell to the year that just didn't have good marketers,

571
00:33:34,000 --> 00:33:35,840
Speaker 3: yeas the Bronx did exactly.

572
00:33:36,120 --> 00:33:39,480
Speaker 4: So who was first like Chicken on the egg.

573
00:33:40,880 --> 00:33:43,400
Speaker 3: Or I'm asking, like, you know, because I hear of

574
00:33:43,520 --> 00:33:46,360
Speaker 3: Queen's having a history that we don't hear about. I

575
00:33:46,400 --> 00:33:49,080
Speaker 3: don't know much about Brooklyn's history. I know about Grand

576
00:33:49,120 --> 00:33:50,240
Speaker 3: Master Flowers.

577
00:33:50,640 --> 00:33:53,880
Speaker 4: But my boya and there was a bunch of them.

578
00:33:54,440 --> 00:33:58,400
Speaker 8: And there's a DJ that moved from Brooklyn who used

579
00:33:58,400 --> 00:34:04,160
Speaker 8: to DJ Whip Flowers to the Bronxdale Projects who actually

580
00:34:04,280 --> 00:34:08,239
Speaker 8: predated Mario even but he wasn't a cutter or scratcher either.

581
00:34:08,320 --> 00:34:11,080
Speaker 8: But they they played break beats and they blended and

582
00:34:11,200 --> 00:34:15,399
Speaker 8: they did the things that were the predecessor. The DJ

583
00:34:15,640 --> 00:34:20,279
Speaker 8: culture is the foundation and the predecessor of hip hop

584
00:34:20,360 --> 00:34:23,840
Speaker 8: and rap music, and we really have to really do

585
00:34:23,960 --> 00:34:27,719
Speaker 8: a better job of shouting these people out and researching.

586
00:34:28,480 --> 00:34:31,399
Speaker 8: Me and my partner, Prime Minister Pete Knights from Third

587
00:34:31,440 --> 00:34:34,279
Speaker 8: Base mar Cole curator at the Hip Hop Museum, we

588
00:34:34,560 --> 00:34:38,400
Speaker 8: found the earliest flyer that we could find with the

589
00:34:38,480 --> 00:34:42,200
Speaker 8: words hip hop on the fly and the flyer was

590
00:34:42,239 --> 00:34:46,160
Speaker 8: from nineteen seventy nine and it was from Brooklyn.

591
00:34:49,000 --> 00:34:53,240
Speaker 4: So you see what I'm saying. So another battery exactly.

592
00:34:54,120 --> 00:35:02,160
Speaker 8: So there was many DJs, and include Eli Tubo, the

593
00:35:02,280 --> 00:35:06,279
Speaker 8: great legendary hip hop producer that produced Eric B and

594
00:35:06,400 --> 00:35:11,759
Speaker 8: Rock Kim you know, and engineered those sessions. He was

595
00:35:11,840 --> 00:35:15,880
Speaker 8: a popular DJ in Queens. Russell Simmons was a popular

596
00:35:16,000 --> 00:35:16,920
Speaker 8: DJ in Queens.

597
00:35:17,680 --> 00:35:19,120
Speaker 1: He actually knew how to DJ.

598
00:35:19,760 --> 00:35:22,440
Speaker 8: Yeah, he wasn't cutting and scratching, but they would dat.

599
00:35:22,560 --> 00:35:27,399
Speaker 8: Ralph McDaniel's from Video Music Box, very popular DJ.

600
00:35:28,280 --> 00:35:31,759
Speaker 3: Was Hollywood's Terrain in a nightclub only or was he

601
00:35:32,000 --> 00:35:32,960
Speaker 3: also a street DJ?

602
00:35:33,080 --> 00:35:34,680
Speaker 1: And is there a difference between.

603
00:35:35,920 --> 00:35:39,920
Speaker 3: Street block party culture versus nightclub cultures?

604
00:35:39,960 --> 00:35:42,600
Speaker 4: There Most of the time street DJs didn't make no money.

605
00:35:43,600 --> 00:35:48,560
Speaker 4: We did it for the popularity, for the culture, for

606
00:35:48,680 --> 00:35:50,120
Speaker 4: the love, you know.

607
00:35:50,640 --> 00:35:53,440
Speaker 8: But we spent way more money than we made, you know,

608
00:35:53,600 --> 00:35:56,840
Speaker 8: buying big speakers and records and turntables that was crazy

609
00:35:57,239 --> 00:35:59,840
Speaker 8: expensive on young people. That's why I was telling you

610
00:36:00,280 --> 00:36:03,800
Speaker 8: it was illegal, you know. Those that didn't steal. We

611
00:36:04,000 --> 00:36:07,320
Speaker 8: pieced our sound system together. I had one turntable. He

612
00:36:07,400 --> 00:36:10,040
Speaker 8: got one turntable, he got a mixer, he got some records.

613
00:36:10,080 --> 00:36:12,959
Speaker 8: This guy got a speaker. Somebody else had the power amp,

614
00:36:13,360 --> 00:36:15,879
Speaker 8: so we would form Voltron to even create hip hop.

615
00:36:16,640 --> 00:36:18,879
Speaker 3: How are those speakers being built? Do you have any

616
00:36:18,960 --> 00:36:22,800
Speaker 3: knowledge of is it as loud or Queen?

617
00:36:24,920 --> 00:36:29,840
Speaker 8: Yes, Herk had some monster speakers and he was running

618
00:36:29,880 --> 00:36:33,320
Speaker 8: through people in the Bronx until he ran into Breakout

619
00:36:33,400 --> 00:36:38,600
Speaker 8: and Barren with the Mighty Sasquatch sound system. So Herk

620
00:36:38,760 --> 00:36:41,560
Speaker 8: was killing him with the Herkalrre sound system. And then

621
00:36:41,600 --> 00:36:44,319
Speaker 8: he ran into the Mighty Sasquatch, so.

622
00:36:44,440 --> 00:36:47,880
Speaker 1: The loudier system, the louderier base that like you would win.

623
00:36:48,080 --> 00:36:48,719
Speaker 4: I tell you why.

624
00:36:49,280 --> 00:36:52,360
Speaker 8: There was a DJ by the name of DJ smoke

625
00:36:52,600 --> 00:36:57,399
Speaker 8: or DJ Smoky in the Bronx not far from where

626
00:36:57,480 --> 00:36:58,040
Speaker 8: Herk was.

627
00:36:58,320 --> 00:37:02,640
Speaker 4: Who was DJing and popular at the same time HRK was.

628
00:37:03,160 --> 00:37:07,680
Speaker 8: He played break beats and he had his version of

629
00:37:07,800 --> 00:37:12,400
Speaker 8: bee Boys, which were called Smoka Trons. Had Dj Smokey

630
00:37:12,719 --> 00:37:15,680
Speaker 8: been able to defeat Herk, we would be calling the

631
00:37:15,920 --> 00:37:20,520
Speaker 8: bee Boys and break dancers Smoka Trons today because it

632
00:37:20,680 --> 00:37:24,920
Speaker 8: was the same thing, right, Smokey battle hirk On numerous occasions.

633
00:37:25,680 --> 00:37:29,200
Speaker 8: He lost every time because every time he'd set up

634
00:37:29,239 --> 00:37:32,000
Speaker 8: his equipment, Herk would turn the knobs on him and

635
00:37:32,200 --> 00:37:32,759
Speaker 8: blow them out.

636
00:37:32,800 --> 00:37:33,719
Speaker 4: You couldn't even hear them.

637
00:37:34,680 --> 00:37:36,400
Speaker 1: So what constitutes a battle?

638
00:37:36,600 --> 00:37:39,680
Speaker 3: Like do you guys choose a ground and then this

639
00:37:39,760 --> 00:37:41,319
Speaker 3: guy sets up his speakers over there?

640
00:37:41,440 --> 00:37:44,880
Speaker 1: This guy says, speakers over there is Jamaica styles in

641
00:37:44,960 --> 00:37:46,480
Speaker 1: like five minutes you and five hours.

642
00:37:47,360 --> 00:37:50,399
Speaker 4: It depends. It just depends. Like hirking them. They ain't

643
00:37:50,440 --> 00:37:53,400
Speaker 4: have no rules. You'd be in the park jamming and

644
00:37:53,520 --> 00:37:55,520
Speaker 4: they come and they set up they shit right across

645
00:37:55,560 --> 00:37:55,759
Speaker 4: from you.

646
00:37:56,040 --> 00:37:56,960
Speaker 1: Oh, disrespect you.

647
00:37:57,040 --> 00:37:59,040
Speaker 8: They just turned the knobs up and you can't even

648
00:37:59,080 --> 00:38:02,759
Speaker 8: hear your headphones. And you got to pack your ship

649
00:38:02,880 --> 00:38:07,400
Speaker 8: and leave with your tail between your legs.

650
00:38:08,040 --> 00:38:09,520
Speaker 1: Yes, that's what you mean.

651
00:38:12,560 --> 00:38:16,960
Speaker 8: When when Hirk started battling Grand Master Flash, Flash had

652
00:38:17,000 --> 00:38:19,839
Speaker 8: a great sound system too, plus he was a way

653
00:38:19,960 --> 00:38:25,040
Speaker 8: better DJ, So Hurt had to recruit one of my

654
00:38:25,640 --> 00:38:30,279
Speaker 8: favorite mentors and DJs of all time, the Grand Imperial

655
00:38:30,480 --> 00:38:34,320
Speaker 8: dj JC, which most people never heard of because he

656
00:38:34,440 --> 00:38:37,640
Speaker 8: left the Bronx and moved to Yonkers at an early age,

657
00:38:37,719 --> 00:38:42,279
Speaker 8: but him and Grand Mix of d x T were

658
00:38:42,440 --> 00:38:45,279
Speaker 8: the two best DJs back in the day period, hands down,

659
00:38:45,400 --> 00:38:45,880
Speaker 8: no question.

660
00:38:46,400 --> 00:38:48,600
Speaker 1: That was literally, what'll going to be my next questions?

661
00:38:48,719 --> 00:38:50,239
Speaker 4: Like, you know why what?

662
00:38:50,680 --> 00:39:01,680
Speaker 8: Because they related to you, they were both drummersids.

663
00:38:58,320 --> 00:38:58,840
Speaker 1: Off the books.

664
00:39:05,840 --> 00:39:08,960
Speaker 3: Can you talk about your relationship with I'm about to

665
00:39:08,960 --> 00:39:14,560
Speaker 3: say Lou Adler h Lou Waters, the owner of the

666
00:39:15,440 --> 00:39:20,120
Speaker 3: infamous Latin Quarter nightclub by that point, how did you

667
00:39:20,960 --> 00:39:25,080
Speaker 3: bring your vision admission to the Latin Quarter Nightclub?

668
00:39:25,840 --> 00:39:29,760
Speaker 4: First of all, I never met Lou Walters, Barbara Walter's.

669
00:39:29,360 --> 00:39:31,759
Speaker 1: Father, right, I know he owned the spot, so I

670
00:39:31,800 --> 00:39:32,160
Speaker 1: didn't know.

671
00:39:32,600 --> 00:39:35,719
Speaker 4: Right, But the guy that bought it off of the

672
00:39:35,840 --> 00:39:40,840
Speaker 4: people that brought it off of them is my people.

673
00:39:42,760 --> 00:39:45,640
Speaker 8: I first went to Latin Quarters with the Awesome Two

674
00:39:46,160 --> 00:39:52,560
Speaker 8: DJ Teddy Ted and Special K. Yeah, and actually Donald B.

675
00:39:53,400 --> 00:39:56,520
Speaker 8: The Awesome two was Special K and Donald B with

676
00:39:56,800 --> 00:40:02,120
Speaker 8: DJ Teddy Ted Okay, So they were on WHBIM, the

677
00:40:02,200 --> 00:40:05,600
Speaker 8: same radio station made popular by the Supreme Team UH

678
00:40:05,719 --> 00:40:09,759
Speaker 8: and UH surch Use missed the Magic and they would

679
00:40:10,160 --> 00:40:15,360
Speaker 8: have a show that they played rap music Saturday nights,

680
00:40:16,200 --> 00:40:22,000
Speaker 8: four o'clock in the morning and they would play anything, demos, mixtapes.

681
00:40:22,040 --> 00:40:23,960
Speaker 8: They didn't care if you send it to 'em they

682
00:40:24,000 --> 00:40:27,200
Speaker 8: would play it. So I went down. I was promoting

683
00:40:27,280 --> 00:40:30,240
Speaker 8: records at the time. I was working with Russell Simmons

684
00:40:30,280 --> 00:40:33,480
Speaker 8: and Rush Productions and Early Death Jam, and I would

685
00:40:33,560 --> 00:40:36,719
Speaker 8: promote records and I would listen to their radio show

686
00:40:37,080 --> 00:40:39,240
Speaker 8: and they wasn't playing the stuff that I was promoting.

687
00:40:39,960 --> 00:40:42,480
Speaker 8: So I was called a request line over and over

688
00:40:42,600 --> 00:40:45,080
Speaker 8: trying to get them to answer, and they never answered

689
00:40:45,080 --> 00:40:49,120
Speaker 8: the request line. So me being me, I got on

690
00:40:49,239 --> 00:40:51,680
Speaker 8: the train and went up there, knocked on the door,

691
00:40:51,840 --> 00:40:54,560
Speaker 8: introduced myself and I said, why don't try to answer

692
00:40:54,600 --> 00:40:56,960
Speaker 8: the request line. They said, oh, well, cause we ain't

693
00:40:56,960 --> 00:41:00,360
Speaker 8: got nobody to do it. I rolled my SLA, was up,

694
00:41:00,360 --> 00:41:01,480
Speaker 8: went and sat down and then.

695
00:41:01,400 --> 00:41:05,279
Speaker 1: You do now it is organize their records off the floor.

696
00:41:06,000 --> 00:41:09,839
Speaker 4: Know what that organized? Organized the call to people who

697
00:41:09,920 --> 00:41:10,560
Speaker 4: were calling in.

698
00:41:11,480 --> 00:41:13,840
Speaker 8: And what we did was we were able to filter

699
00:41:14,000 --> 00:41:16,880
Speaker 8: out all the horrible stuff that they was playing and

700
00:41:17,000 --> 00:41:20,560
Speaker 8: started playing the most requested stuff. But anyway, they got

701
00:41:20,640 --> 00:41:23,719
Speaker 8: a gig working at the Latin Quarters on Tuesday nights

702
00:41:24,120 --> 00:41:27,840
Speaker 8: and they called it Celebrity Tuesdays, and they invited me

703
00:41:28,280 --> 00:41:30,600
Speaker 8: to come to the club to be a judge. It

704
00:41:30,760 --> 00:41:34,279
Speaker 8: was like showtime at the Apollo for Rappers. You know,

705
00:41:34,920 --> 00:41:37,600
Speaker 8: you get stuff thrown at you, you get booed right

706
00:41:37,680 --> 00:41:40,279
Speaker 8: on stage, you get a bottle like he ever was

707
00:41:40,320 --> 00:41:40,840
Speaker 8: one second.

708
00:41:40,960 --> 00:41:45,440
Speaker 3: So, but the thing is is like how open is

709
00:41:45,520 --> 00:41:51,200
Speaker 3: the establishment to this culture coming into to play?

710
00:41:51,440 --> 00:41:58,359
Speaker 8: Because well, a very interesting and wonderful Jewish man bought

711
00:41:58,440 --> 00:41:59,160
Speaker 8: the Latin Quarter.

712
00:41:59,640 --> 00:42:05,120
Speaker 4: Okay, his name was Mike Goldberg, and he was a hustler.

713
00:42:05,760 --> 00:42:10,320
Speaker 13: You know what I'm saying, say Steve, Mike, sorry everybody,

714
00:42:13,400 --> 00:42:16,600
Speaker 13: But the Lant Quarter was Mike Goldberg's train set.

715
00:42:17,560 --> 00:42:19,640
Speaker 4: It was his play thing, his playground.

716
00:42:20,360 --> 00:42:20,520
Speaker 6: You know.

717
00:42:20,719 --> 00:42:26,759
Speaker 8: He was a multi millionaire that managed the magician David Copperfield,

718
00:42:27,480 --> 00:42:31,000
Speaker 8: who would making twenty million a year on Vegas a loon.

719
00:42:31,800 --> 00:42:34,120
Speaker 8: So this is just a side thing. Yeah, okay, this

720
00:42:34,320 --> 00:42:37,000
Speaker 8: is a side thing. And Mike would just be all

721
00:42:37,120 --> 00:42:38,759
Speaker 8: up in it. He would go stand in front of

722
00:42:38,840 --> 00:42:41,120
Speaker 8: the box office and collect the money himself.

723
00:42:41,160 --> 00:42:43,000
Speaker 4: Don't even let you put it in there to the lady.

724
00:42:43,239 --> 00:42:44,520
Speaker 4: He's standing there, and give me.

725
00:42:44,680 --> 00:42:47,439
Speaker 8: You know, he'd got a fistful of money.

726
00:42:47,560 --> 00:42:48,240
Speaker 1: Sorry everybody.

727
00:42:50,160 --> 00:42:52,759
Speaker 4: Hey, he just had so much fun doing it, you

728
00:42:52,880 --> 00:42:53,520
Speaker 4: know what I'm saying.

729
00:42:53,600 --> 00:42:58,040
Speaker 8: So one night I decided, like the celebrity tuesdays that

730
00:42:58,160 --> 00:43:00,600
Speaker 8: the Awesome Too was doing was cool, but it wasn't

731
00:43:00,719 --> 00:43:04,840
Speaker 8: packing the club, you know what I mean. And it

732
00:43:05,000 --> 00:43:06,919
Speaker 8: was nothing like what was going on at the club

733
00:43:07,000 --> 00:43:09,680
Speaker 8: on Fridays and Saturdays. So we used to go to

734
00:43:09,800 --> 00:43:13,040
Speaker 8: forty second Street to the kung Fu house called Sinny

735
00:43:13,160 --> 00:43:15,480
Speaker 8: forty second and we used to get three Kung Fu

736
00:43:15,640 --> 00:43:19,279
Speaker 8: movies for five dollars, you know, and you get like

737
00:43:19,719 --> 00:43:23,000
Speaker 8: three movies, popcorn, hot dog, and.

738
00:43:23,080 --> 00:43:25,440
Speaker 4: A drink ten bucks, you know.

739
00:43:25,680 --> 00:43:28,359
Speaker 8: So we all hung out down there watching Bruce Lee,

740
00:43:28,560 --> 00:43:32,919
Speaker 8: Jackie Chan, you know, the Shaw Brothers movies. And that's

741
00:43:32,960 --> 00:43:36,360
Speaker 8: why hip hop became so synonymous with Kung Ko movies

742
00:43:36,400 --> 00:43:40,080
Speaker 8: in those early days, because it was all concentrated right there.

743
00:43:40,760 --> 00:43:43,680
Speaker 8: So I come out to Kung Fu movie and I said,

744
00:43:43,760 --> 00:43:46,360
Speaker 8: let me see what's going on at the club, because

745
00:43:46,360 --> 00:43:47,080
Speaker 8: I've never been there on.

746
00:43:47,120 --> 00:43:48,120
Speaker 4: A Friday or Saturday.

747
00:43:48,680 --> 00:43:52,439
Speaker 8: So I go to the club. There's a Jamaican after

748
00:43:52,600 --> 00:43:58,399
Speaker 8: work dance party and it's so packed that you can't

749
00:43:58,400 --> 00:44:03,400
Speaker 8: even walk around in the club, and the floor was

750
00:44:03,920 --> 00:44:10,200
Speaker 8: undulating with sex and bass. The bass was turned up

751
00:44:10,360 --> 00:44:13,520
Speaker 8: so much sex that if you stood on the dance floor,

752
00:44:13,880 --> 00:44:15,840
Speaker 8: you would probably be dancing without moving.

753
00:44:16,960 --> 00:44:18,200
Speaker 4: It was just undulating.

754
00:44:18,280 --> 00:44:21,320
Speaker 8: It was like watching the matrix, you know, that singing

755
00:44:21,400 --> 00:44:24,600
Speaker 8: and zion at the end. That's what it looked like

756
00:44:24,680 --> 00:44:28,120
Speaker 8: to me. I was like, there's no place in hip

757
00:44:28,160 --> 00:44:32,239
Speaker 8: hop that you can go and have this experience where

758
00:44:33,200 --> 00:44:36,440
Speaker 8: every party's on the dance floor and all the dudes

759
00:44:36,840 --> 00:44:37,919
Speaker 8: are dancing with women.

760
00:44:39,880 --> 00:44:40,040
Speaker 4: You know.

761
00:44:40,760 --> 00:44:44,600
Speaker 8: So it gave me the idea of epiphany that this

762
00:44:44,760 --> 00:44:47,600
Speaker 8: could be an actual hip hop dance club.

763
00:44:48,520 --> 00:44:48,680
Speaker 5: You know.

764
00:44:49,440 --> 00:44:51,840
Speaker 8: We were going to those clubs and my man was

765
00:44:51,880 --> 00:44:54,680
Speaker 8: talking about Larry Levon and those DJs and stuff. There

766
00:44:54,800 --> 00:44:57,960
Speaker 8: was another movement of freestyle dancing that was going on

767
00:44:58,080 --> 00:45:01,839
Speaker 8: in New York at the time, around eighty five eighty six.

768
00:45:02,320 --> 00:45:05,759
Speaker 8: People wasn't break dancing in New York no more. All

769
00:45:05,840 --> 00:45:08,759
Speaker 8: the rock STEADI Crew, the Dynamic Breakers, all those dudes

770
00:45:08,880 --> 00:45:12,040
Speaker 8: was on tour in Europe, China and Japan. They was

771
00:45:12,160 --> 00:45:14,560
Speaker 8: rocking over there, but nobody was in the club b

772
00:45:14,719 --> 00:45:17,560
Speaker 8: Boy no more in nineteen eighty five eighty six. So

773
00:45:17,719 --> 00:45:20,479
Speaker 8: the new style was the style that they was doing,

774
00:45:21,040 --> 00:45:27,640
Speaker 8: dancing to disco and dancing to club music. They went

775
00:45:27,760 --> 00:45:30,440
Speaker 8: back in time to win the Latin quarter was the

776
00:45:30,560 --> 00:45:36,200
Speaker 8: Cotton Club, and they borrowed the old dancers from Sammy

777
00:45:36,280 --> 00:45:41,960
Speaker 8: Davis Jr. The Nicholas Brothers and Cab Callaway and they

778
00:45:42,160 --> 00:45:46,120
Speaker 8: modernized those dances and danced hip hop with it.

779
00:45:46,840 --> 00:45:47,680
Speaker 4: If you look at.

780
00:45:49,160 --> 00:45:52,040
Speaker 8: The way Salt and Pepper danced store, if you look

781
00:45:52,080 --> 00:45:55,239
Speaker 8: at epmds you got the Chill video, you know. If

782
00:45:55,239 --> 00:45:57,760
Speaker 8: you look at Big Daddy Kane to see Schoob and Scrap,

783
00:45:58,360 --> 00:46:00,160
Speaker 8: you know what I mean. You look at Houdini and

784
00:46:00,280 --> 00:46:04,800
Speaker 8: you see got the Ice and the Kango Kid and

785
00:46:05,120 --> 00:46:08,719
Speaker 8: the young Jermaine Duprie. Those were the dancers that were

786
00:46:08,800 --> 00:46:12,400
Speaker 8: being done in the Latin Quarters. The ghosts of the

787
00:46:12,560 --> 00:46:16,120
Speaker 8: Cotton Club was reborn in the dancing at Latin Quarters.

788
00:46:16,400 --> 00:46:19,080
Speaker 8: And we had a group called the Iou Dancers and

789
00:46:19,200 --> 00:46:24,000
Speaker 8: the jac Dancers and the Jason Dances. Was Buddha Stretch

790
00:46:24,520 --> 00:46:29,280
Speaker 8: who went from dancing at the Latin Quarter to choreographing

791
00:46:29,600 --> 00:46:30,960
Speaker 8: Michael Jackson's.

792
00:46:30,520 --> 00:46:33,800
Speaker 4: Remember the Time video and being the lead dancer in

793
00:46:33,960 --> 00:46:34,440
Speaker 4: that video.

794
00:46:35,120 --> 00:46:38,480
Speaker 8: You know, because those doing that Egyptian style, all those

795
00:46:38,880 --> 00:46:42,080
Speaker 8: interesting dance styles were coming out of the Latin Quarter,

796
00:46:42,360 --> 00:46:48,560
Speaker 8: you know. So fifteen year old Queen Latifa was working

797
00:46:48,600 --> 00:46:51,520
Speaker 8: at Burger King in New Jersey. When she decided to

798
00:46:51,600 --> 00:46:55,080
Speaker 8: go to the Latin Quarter to do dancing and she

799
00:46:55,239 --> 00:46:57,640
Speaker 8: saw MC light for FUM, it was like, oh my god,

800
00:46:57,719 --> 00:46:58,320
Speaker 8: I want to do that.

801
00:46:59,640 --> 00:47:01,400
Speaker 4: So that's how the club was.

802
00:47:01,920 --> 00:47:05,479
Speaker 1: When do you mark the grand opening of the Latin Quarter?

803
00:47:06,480 --> 00:47:09,480
Speaker 4: Well, in my era, the one that that I did,

804
00:47:09,960 --> 00:47:13,000
Speaker 4: that's called you know that made it be renamed.

805
00:47:13,080 --> 00:47:15,759
Speaker 1: Yeah, it's not calling the Latin I know, it's a history.

806
00:47:15,800 --> 00:47:18,320
Speaker 1: I just spent. Like the name of your parties was

807
00:47:18,600 --> 00:47:19,000
Speaker 1: was called?

808
00:47:19,440 --> 00:47:20,719
Speaker 4: It was LQ.

809
00:47:21,000 --> 00:47:22,960
Speaker 1: Well, I'll just say the LQ. When do you consider

810
00:47:23,040 --> 00:47:24,680
Speaker 1: the LQ period of the Latin.

811
00:47:24,520 --> 00:47:27,200
Speaker 8: I say, no tricks in eighty six is time to

812
00:47:27,280 --> 00:47:31,960
Speaker 8: build because by eighty six rap music had blown up internationally.

813
00:47:32,760 --> 00:47:35,040
Speaker 8: And if you went to the Latin Quarter on the weekend,

814
00:47:35,440 --> 00:47:40,120
Speaker 8: Curtis blow Run, DMC, the Fat Boys, Houdini, all of

815
00:47:40,200 --> 00:47:42,520
Speaker 8: them would be hanging out there because they were my friends,

816
00:47:42,800 --> 00:47:44,160
Speaker 8: and I would let them in free and give them

817
00:47:44,239 --> 00:47:47,319
Speaker 8: drink tickets. You know, so all the hip hop would

818
00:47:47,360 --> 00:47:51,640
Speaker 8: convene there. But I couldn't put Melly Mel on stage

819
00:47:52,000 --> 00:47:54,160
Speaker 8: to do a show. He would get on stage. Even

820
00:47:54,239 --> 00:47:57,120
Speaker 8: though he would get on stage and do a little

821
00:47:57,160 --> 00:48:01,200
Speaker 8: impromptu stuff, and he was at actually the catalysts that

822
00:48:01,320 --> 00:48:04,359
Speaker 8: help turn it into the Golden Ebra hip hop because

823
00:48:04,360 --> 00:48:05,279
Speaker 8: he was the filter.

824
00:48:05,960 --> 00:48:07,800
Speaker 1: If these legends.

825
00:48:08,040 --> 00:48:12,279
Speaker 3: And I mean, you know, I understand that one year

826
00:48:12,320 --> 00:48:14,759
Speaker 3: here also to represent the opening of a museum, which

827
00:48:14,840 --> 00:48:17,080
Speaker 3: is like, hey, you preserve the culture. But I mean

828
00:48:17,160 --> 00:48:20,480
Speaker 3: even you have to admit that hip hop is very

829
00:48:20,560 --> 00:48:24,520
Speaker 3: big on this sort of disposable adult culture and like

830
00:48:24,680 --> 00:48:27,560
Speaker 3: the youth run it and once you hit a certain

831
00:48:27,640 --> 00:48:30,480
Speaker 3: age then it's like all right, well that was then.

832
00:48:30,560 --> 00:48:33,759
Speaker 8: But that's because of the record labels man and the

833
00:48:33,920 --> 00:48:38,000
Speaker 8: music industry. When when black artists and hip hop get older,

834
00:48:38,360 --> 00:48:41,279
Speaker 8: you got pay him. They know the game. They're not

835
00:48:41,400 --> 00:48:44,040
Speaker 8: seventeen eighteen years old. You're not gonna just run some

836
00:48:44,200 --> 00:48:45,920
Speaker 8: bull crap contract on them.

837
00:48:45,800 --> 00:48:47,120
Speaker 1: No more, damn.

838
00:48:47,360 --> 00:48:49,880
Speaker 8: So when it came that, yeah, we're all economics, they're like,

839
00:48:50,120 --> 00:48:53,279
Speaker 8: you know what, y're old, We're not paying y'all. You know,

840
00:48:53,719 --> 00:48:57,840
Speaker 8: kick rocks and kind of the way that that I

841
00:48:58,480 --> 00:49:01,920
Speaker 8: really transform here pop at the Latin Quarter was for

842
00:49:02,080 --> 00:49:02,880
Speaker 8: the same reasons.

843
00:49:02,960 --> 00:49:03,879
Speaker 4: It was economics.

844
00:49:04,680 --> 00:49:08,200
Speaker 8: I had Mellie mal Houdini run DMC in the club,

845
00:49:08,239 --> 00:49:09,440
Speaker 8: but I couldn't put him on stage.

846
00:49:09,520 --> 00:49:13,320
Speaker 3: So if if Grandmaster Flash in the Furious Five wanted

847
00:49:13,360 --> 00:49:14,200
Speaker 3: to perform.

848
00:49:13,960 --> 00:49:17,280
Speaker 1: At the Latin Quarter, I would have gave him the stage.

849
00:49:17,480 --> 00:49:19,680
Speaker 4: Great gladly passed them to Mic.

850
00:49:19,920 --> 00:49:20,920
Speaker 1: Okay, you know what I mean.

851
00:49:24,320 --> 00:49:28,680
Speaker 4: They getting arena money now, they were no club money

852
00:49:28,760 --> 00:49:30,879
Speaker 4: no more, you know what I'm saying.

853
00:49:31,120 --> 00:49:35,680
Speaker 8: So so so I put biz Monkey on stage, Roxanne Schaan,

854
00:49:35,760 --> 00:49:39,960
Speaker 8: Te mc shan, Big Daddy, Kane, Salt and Pepper Kid

855
00:49:40,080 --> 00:49:43,440
Speaker 8: and play ep m D Eric Ben rocked him, stets

856
00:49:43,480 --> 00:49:46,000
Speaker 8: of Sonic, just Dice care us one.

857
00:49:46,640 --> 00:49:49,600
Speaker 4: They was all hungry and they weren't They didn't have

858
00:49:49,680 --> 00:49:50,280
Speaker 4: record deals.

859
00:49:50,920 --> 00:49:53,400
Speaker 8: You rocked the Latin Quarter on a Friday or Saturday,

860
00:49:53,440 --> 00:49:54,840
Speaker 8: you had a record deal Monday morning.

861
00:49:56,880 --> 00:49:59,280
Speaker 4: Not that A and R's was in the crowd. Russell

862
00:49:59,320 --> 00:50:00,640
Speaker 4: Simmons is in the crowd.

863
00:50:01,280 --> 00:50:05,520
Speaker 8: Tom Silverman is in the crowd, Fred Maneo is in

864
00:50:05,640 --> 00:50:09,160
Speaker 8: the crowd. Aaron Fuchs is in the crowd. You know,

865
00:50:09,280 --> 00:50:12,640
Speaker 8: they knew where the bread was buttered, and they knew

866
00:50:12,719 --> 00:50:15,120
Speaker 8: that if they did not show up, that they were

867
00:50:15,160 --> 00:50:16,879
Speaker 8: going to miss out on the next big hit.

868
00:50:17,520 --> 00:50:20,200
Speaker 3: Okay, without the threat of getting hit with a lawsuit

869
00:50:20,280 --> 00:50:24,960
Speaker 3: anytime I mentioned these two names. Can you clarify to

870
00:50:25,080 --> 00:50:28,480
Speaker 3: me what exactly is Aaron Fuchs's role in hip hop?

871
00:50:29,040 --> 00:50:32,600
Speaker 3: Because I know of him only when I see a

872
00:50:32,600 --> 00:50:34,600
Speaker 3: relatigious situation happening.

873
00:50:34,600 --> 00:50:38,960
Speaker 8: Right on Tough City Records. He was an independent record

874
00:50:39,520 --> 00:50:43,400
Speaker 8: owner at the time when we started Latin Quarters, the

875
00:50:43,640 --> 00:50:46,759
Speaker 8: majors hadn't come in and dominated and buy out all

876
00:50:46,840 --> 00:50:51,680
Speaker 8: the independent labels. But because all these new artists were

877
00:50:51,760 --> 00:50:56,480
Speaker 8: emerging every week, the majors was getting wiped out, and

878
00:50:56,800 --> 00:50:59,479
Speaker 8: they say, you know what we better get in this game.

879
00:51:00,080 --> 00:51:05,640
Speaker 8: You had Jive RCA, Fourth and Broadway, Columbia, you know,

880
00:51:05,920 --> 00:51:10,680
Speaker 8: start to actually recruit and sign these artists, and we

881
00:51:10,880 --> 00:51:15,720
Speaker 8: replaced the whole generation of artists because of economics and sound.

882
00:51:16,280 --> 00:51:19,000
Speaker 8: You know, the new artists at Latin Quarters they started

883
00:51:19,080 --> 00:51:23,680
Speaker 8: making hip hop dance music. And if Red Alert who

884
00:51:23,800 --> 00:51:26,759
Speaker 8: was my DJ on Friday nights or Chuck Chillout, who

885
00:51:26,880 --> 00:51:29,600
Speaker 8: was my DJ on Saturday nights, if they played your

886
00:51:29,680 --> 00:51:32,800
Speaker 8: music in the Latin Quarter and the IOU and JC

887
00:51:33,040 --> 00:51:36,920
Speaker 8: dancers didn't rush the dance floor and start tearing it up,

888
00:51:37,320 --> 00:51:38,640
Speaker 8: you might not hear your record again.

889
00:51:39,320 --> 00:51:42,280
Speaker 4: So people changed the sound. They made it more up tempo.

890
00:51:42,560 --> 00:51:45,080
Speaker 8: We went a little more James Brown heavy, a lot

891
00:51:45,160 --> 00:51:48,400
Speaker 8: more boomed back, and you know a lot of new

892
00:51:48,520 --> 00:51:49,680
Speaker 8: artists started emerging.

893
00:51:50,040 --> 00:51:52,719
Speaker 1: Okay, so we also live in a time now. Now,

894
00:51:52,800 --> 00:51:56,520
Speaker 1: we live in a time where it's really hard to

895
00:51:57,600 --> 00:51:59,799
Speaker 1: break a new artist out.

896
00:52:00,320 --> 00:52:03,040
Speaker 3: Like you know, as a DJ, I'll play if I

897
00:52:03,080 --> 00:52:07,279
Speaker 3: think something is dope, I'm gonna play it, and you'll

898
00:52:07,360 --> 00:52:10,319
Speaker 3: clearly see an energy shift where it's like I don't

899
00:52:10,400 --> 00:52:13,319
Speaker 3: know this song, so let me go to bathroom or whatever,

900
00:52:13,440 --> 00:52:15,000
Speaker 3: and then it will wind up being a hit later,

901
00:52:15,160 --> 00:52:16,680
Speaker 3: you know, once.

902
00:52:16,520 --> 00:52:18,759
Speaker 1: It goes through the system, if they pay for it

903
00:52:18,840 --> 00:52:22,200
Speaker 1: to go through the system. But you know, to hear

904
00:52:22,320 --> 00:52:22,800
Speaker 1: me tell it.

905
00:52:23,840 --> 00:52:27,200
Speaker 3: A lot of what we consider just the classic bread

906
00:52:27,239 --> 00:52:32,680
Speaker 3: and butter basic food groups of hip hop nightly are

907
00:52:32,800 --> 00:52:35,160
Speaker 3: just getting debuted, like play.

908
00:52:35,000 --> 00:52:36,840
Speaker 1: Top Building for the first time and the audience is

909
00:52:36,920 --> 00:52:41,200
Speaker 1: going crazy. But you had to how how okay?

910
00:52:41,320 --> 00:52:46,000
Speaker 4: So how are you telling me that a.

911
00:52:46,200 --> 00:52:49,560
Speaker 3: Def jam rep can go up to the booth to

912
00:52:50,560 --> 00:52:54,960
Speaker 3: red alert and be like, hey, rock this join like

913
00:52:55,080 --> 00:52:57,719
Speaker 3: there's no because people do that to me a lot.

914
00:52:57,880 --> 00:53:00,200
Speaker 3: Thank God for like the system of Sarato now where

915
00:53:00,200 --> 00:53:02,560
Speaker 3: it's like, you know, I don't my hard drive them,

916
00:53:02,680 --> 00:53:05,200
Speaker 3: like I can't immediately play it. I don't like playing

917
00:53:05,280 --> 00:53:06,399
Speaker 3: some unless I hear it first.

918
00:53:06,840 --> 00:53:08,280
Speaker 4: Right, Well, we had.

919
00:53:09,719 --> 00:53:12,960
Speaker 8: A great sound system in the DJ booth, and you

920
00:53:13,040 --> 00:53:15,839
Speaker 8: could bang something and listen to it in the DJ

921
00:53:16,040 --> 00:53:19,440
Speaker 8: booth without playing it out to the house. But what

922
00:53:19,600 --> 00:53:22,120
Speaker 8: I mean more or less, it's like if DMC walks

923
00:53:22,160 --> 00:53:23,919
Speaker 8: in the club and say, yo, this is our new ship,

924
00:53:24,560 --> 00:53:25,879
Speaker 8: you know you're going to give it a chance.

925
00:53:26,040 --> 00:53:30,440
Speaker 4: But if if if MC butter Butt come in with it, you.

926
00:53:30,440 --> 00:53:34,080
Speaker 1: Know whatever, And you know who who Audio two is?

927
00:53:34,840 --> 00:53:35,680
Speaker 4: I did or is it?

928
00:53:35,880 --> 00:53:38,239
Speaker 8: I hated the Audio two at the time, but I

929
00:53:38,360 --> 00:53:41,160
Speaker 8: loved them as human beings, as people, but they had

930
00:53:41,320 --> 00:53:42,160
Speaker 8: horrible music.

931
00:53:42,320 --> 00:53:43,240
Speaker 4: I like Cherries.

932
00:53:43,640 --> 00:53:46,279
Speaker 1: I was gonna say, I was going to say, let

933
00:53:46,320 --> 00:53:47,080
Speaker 1: me take Cherries.

934
00:53:47,200 --> 00:53:52,000
Speaker 4: Was the A side? No, No, the A side was.

935
00:53:52,320 --> 00:53:55,840
Speaker 8: Making it that was produced by Daddy, right, okay, you know,

936
00:53:56,200 --> 00:53:59,840
Speaker 8: and the B side was Top Villain and it was it.

937
00:54:00,000 --> 00:54:04,399
Speaker 4: It was only like about two minutes in the beginning, right.

938
00:54:04,920 --> 00:54:08,759
Speaker 8: So what happened was Matt Robinson Milk's dad, who owned

939
00:54:08,800 --> 00:54:14,400
Speaker 8: First Priority Music record label. He had every DJ in

940
00:54:14,520 --> 00:54:18,759
Speaker 8: New York playing Make It Funky except one cool DJ,

941
00:54:18,920 --> 00:54:24,360
Speaker 8: Red Alert, and my partner rests in peace to Robert

942
00:54:24,440 --> 00:54:29,920
Speaker 8: Lamma Carson aka Procesess, an ex. He was Nat Robinson's

943
00:54:29,960 --> 00:54:33,160
Speaker 8: good friend for years and years, so he would always

944
00:54:33,880 --> 00:54:36,040
Speaker 8: come in Paradise, please get ready to.

945
00:54:36,080 --> 00:54:38,960
Speaker 4: Play that record? Man, where gotta play it? You know?

946
00:54:40,560 --> 00:54:42,840
Speaker 4: You know they're right there, They're almost there. They just

947
00:54:42,960 --> 00:54:43,720
Speaker 4: need Red Alert.

948
00:54:44,600 --> 00:54:48,319
Speaker 8: And I wasn't feeling milking kids myself, so I wasn't

949
00:54:48,360 --> 00:54:52,560
Speaker 8: pushing red I do not ask Red Alert to play

950
00:54:52,680 --> 00:54:55,160
Speaker 8: anything because you will get embarrassed.

951
00:54:55,760 --> 00:54:58,200
Speaker 4: Red Alert is unbiable.

952
00:54:58,640 --> 00:55:00,080
Speaker 1: I was just about to ask that you.

953
00:55:00,120 --> 00:55:05,040
Speaker 8: Cannot offer Red Alert no drugs, no women, no money.

954
00:55:05,800 --> 00:55:08,239
Speaker 8: Red Alert had the most integrity.

955
00:55:08,440 --> 00:55:13,399
Speaker 1: But if he said no, no said are you right

956
00:55:14,480 --> 00:55:16,080
Speaker 1: there now? Where? Okay?

957
00:55:16,160 --> 00:55:19,239
Speaker 4: He don't care. He wouldn't play Bam bodis record. And

958
00:55:19,320 --> 00:55:20,040
Speaker 4: he was a zulu.

959
00:55:21,120 --> 00:55:23,640
Speaker 8: If he wasn't feeling it, he ain't playing it, you

960
00:55:23,760 --> 00:55:27,000
Speaker 8: know what I mean, no matter how much peer pressure come.

961
00:55:27,680 --> 00:55:30,920
Speaker 8: So Nat Robinson came one day and he was like, Paradise,

962
00:55:31,040 --> 00:55:32,600
Speaker 8: please get ready to play it, man.

963
00:55:32,960 --> 00:55:37,040
Speaker 4: We got this people listening for it, you know, and

964
00:55:37,560 --> 00:55:38,799
Speaker 4: it'll take us over the hunt.

965
00:55:38,880 --> 00:55:39,200
Speaker 1: Please.

966
00:55:39,880 --> 00:55:42,600
Speaker 8: I was like, I took the record in the in

967
00:55:42,680 --> 00:55:44,959
Speaker 8: the DJ boot before Red Alert got to the club,

968
00:55:45,760 --> 00:55:48,600
Speaker 8: and I was just dropping the needle all over the record,

969
00:55:48,680 --> 00:55:51,680
Speaker 8: like there gotta be something that's playable on this, and

970
00:55:51,840 --> 00:55:54,840
Speaker 8: I flipped it over to the B side and I

971
00:55:54,920 --> 00:55:56,320
Speaker 8: couldn't believe my ears.

972
00:56:01,360 --> 00:56:03,840
Speaker 4: I was like, oh my god, this is dope.

973
00:56:04,560 --> 00:56:05,919
Speaker 1: The initial thing was it's dope.

974
00:56:06,239 --> 00:56:10,520
Speaker 3: It's dope, okay with time out pause of the thing. Now,

975
00:56:10,600 --> 00:56:14,800
Speaker 3: when I heard it, it was such an unorthodox song.

976
00:56:15,280 --> 00:56:18,319
Speaker 3: Lady B premiereda in Philadelphia, so I'm certain whatever Red

977
00:56:18,400 --> 00:56:19,160
Speaker 3: Alert was doing.

978
00:56:19,080 --> 00:56:22,840
Speaker 1: She co signed it. Next it is an unusual song,

979
00:56:23,080 --> 00:56:23,560
Speaker 1: yes it is.

980
00:56:24,360 --> 00:56:26,040
Speaker 4: That's why How did you see the light? You know

981
00:56:26,120 --> 00:56:27,959
Speaker 4: what made me love that song?

982
00:56:28,120 --> 00:56:33,360
Speaker 8: Milk is Chilling spending uncounted hours in the studio with

983
00:56:33,520 --> 00:56:34,080
Speaker 8: Rick Rubin.

984
00:56:35,560 --> 00:56:36,160
Speaker 4: Rick Rubin.

985
00:56:36,280 --> 00:56:38,560
Speaker 8: If you look at the early records that he produced,

986
00:56:38,640 --> 00:56:42,920
Speaker 8: it doesn't say produced by Rick Rubin, it says reduced

987
00:56:42,960 --> 00:56:48,200
Speaker 8: by Rick Rubin. And Milk Is Chilling was bare bones, raw,

988
00:56:48,560 --> 00:56:51,760
Speaker 8: uncut hip hop that I was used to from being

989
00:56:51,960 --> 00:56:55,759
Speaker 8: a street DJ in the Bronx. That it reminded me

990
00:56:55,880 --> 00:56:58,640
Speaker 8: of a street jam and somebody put a beat on

991
00:56:59,120 --> 00:57:02,640
Speaker 8: and somebody it's sellaneus MC came running out the crowd

992
00:57:03,080 --> 00:57:04,840
Speaker 8: and put it down on the mic. It was so

993
00:57:05,120 --> 00:57:08,480
Speaker 8: catchy and so sing songie. I knew it was to

994
00:57:08,600 --> 00:57:11,600
Speaker 8: hit the first time I heard it, so I gave

995
00:57:11,680 --> 00:57:14,560
Speaker 8: it to my house DJ DJ Roman. He played it

996
00:57:14,600 --> 00:57:17,040
Speaker 8: about five or six times before Red Alert even got

997
00:57:17,080 --> 00:57:19,040
Speaker 8: to the club on the Latin quart.

998
00:57:18,840 --> 00:57:19,680
Speaker 1: Of sound system.

999
00:57:20,240 --> 00:57:24,440
Speaker 4: That beat hit so hard. Right.

1000
00:57:24,960 --> 00:57:28,000
Speaker 8: So Red Alert shows up after coming off with Kiss FM.

1001
00:57:28,280 --> 00:57:31,840
Speaker 8: He's headed for the DJ booth. I'm like ecstatic. I

1002
00:57:31,920 --> 00:57:35,800
Speaker 8: go running over to him with two copies of this

1003
00:57:36,040 --> 00:57:36,800
Speaker 8: record and I.

1004
00:57:36,840 --> 00:57:39,000
Speaker 4: Was like, yo, Red, Yo, you gotta check this out.

1005
00:57:39,600 --> 00:57:43,480
Speaker 8: And he snatched it out of my hand and threw

1006
00:57:43,520 --> 00:57:46,520
Speaker 8: it across the room and it smashed on the wall.

1007
00:57:46,920 --> 00:57:50,120
Speaker 8: He was like, Yo, this cit is a Frisbee. I

1008
00:57:50,200 --> 00:57:52,720
Speaker 8: wish y'all was stopped coming at me with this frisbees man.

1009
00:57:52,760 --> 00:57:53,960
Speaker 8: I told him I'm not playing it.

1010
00:57:54,000 --> 00:57:57,080
Speaker 4: I don't like it. I was like, Red, why you

1011
00:57:57,200 --> 00:57:57,400
Speaker 4: do me?

1012
00:57:57,560 --> 00:58:00,600
Speaker 8: Like? I was like, dud ever tell you to play

1013
00:58:00,640 --> 00:58:02,959
Speaker 8: something that's whack. He was like no, but I don't

1014
00:58:03,080 --> 00:58:04,920
Speaker 8: like that. I said, you ain't even hear it yet.

1015
00:58:05,640 --> 00:58:07,840
Speaker 8: So when he went to go to the DJ booth,

1016
00:58:08,080 --> 00:58:10,320
Speaker 8: I beat him to the booth and I made sure

1017
00:58:10,360 --> 00:58:13,760
Speaker 8: that the last thing that played was Top Villain was

1018
00:58:13,920 --> 00:58:16,160
Speaker 8: Top Villain. I put it on and he walked into

1019
00:58:16,240 --> 00:58:19,360
Speaker 8: booth and the crowd was going banana. They were bouncing

1020
00:58:19,440 --> 00:58:22,520
Speaker 8: all over the place to it, and I walked away

1021
00:58:22,840 --> 00:58:24,200
Speaker 8: and I said, Yo, that's yours.

1022
00:58:26,040 --> 00:58:29,000
Speaker 4: And you know, I tell the story that after that

1023
00:58:29,120 --> 00:58:31,640
Speaker 4: they started banging it. It was a big hit. Milk

1024
00:58:32,160 --> 00:58:37,040
Speaker 4: tells the story. Yo, Dice, he still hates it. He

1025
00:58:37,160 --> 00:58:39,400
Speaker 4: still don't play it. He might have played it a

1026
00:58:39,480 --> 00:58:42,400
Speaker 4: couple of times for you after that, but he still

1027
00:58:42,440 --> 00:58:45,480
Speaker 4: hate us. Still. Yep, that's what all that says. I

1028
00:58:45,640 --> 00:58:45,960
Speaker 4: love that.

1029
00:58:47,240 --> 00:58:50,320
Speaker 14: Okay, QLs listeners, this is where we're cutting it. Please

1030
00:58:50,360 --> 00:58:52,320
Speaker 14: come back next week or check your podcast for you

1031
00:58:52,440 --> 00:58:55,520
Speaker 14: for part two of our Gains Studio conversation with Paradise Gray.

1032
00:58:56,120 --> 00:58:58,520
Speaker 14: In that episode, he speaks more about the glory years

1033
00:58:58,520 --> 00:59:01,320
Speaker 14: of the Latin Quarter, his action of hip hop artifacts,

1034
00:59:01,560 --> 00:59:02,400
Speaker 14: and so much more.

1035
00:59:03,040 --> 00:59:05,920
Speaker 10: Thank you for listening to Quest Love Supreme. This podcast

1036
00:59:06,120 --> 00:59:09,440
Speaker 10: is hosted by a Mere Quest Love, Thomas and boss

1037
00:59:09,520 --> 00:59:13,440
Speaker 10: Man Like Here, Saint Clair, So Black, Andy Black Myself,

1038
00:59:13,640 --> 00:59:19,080
Speaker 10: Fontidelo Fonte, Goldman, Sugar, Steve Mandell, and Unpaid Bill Sherman

1039
00:59:19,400 --> 00:59:22,760
Speaker 10: The executive producers are Amir Quest, Love Thompson.

1040
00:59:22,480 --> 00:59:25,280
Speaker 1: Sean g and The Unbothered Brian Calho.

1041
00:59:25,760 --> 00:59:30,120
Speaker 10: Produced by Britney Benjamin, My Dog Cousin, Jake Pam My

1042
00:59:30,240 --> 00:59:33,919
Speaker 10: Motherfucking Man and Like he Is Saint Clair My Work Wife,

1043
00:59:34,480 --> 00:59:38,240
Speaker 10: Edited by Alex Conroy. Produced for iHeart by Noel Brown

1044
00:59:38,320 --> 00:59:43,480
Speaker 10: and Mike Johns. Audio engineering by Graham Gibson aka Double

1045
00:59:43,560 --> 00:59:45,640
Speaker 10: G at Iheart's La Studio.

1046
00:59:46,240 --> 00:59:48,800
Speaker 1: Thank you for tuning in. Check us out next week.

1047
00:59:52,840 --> 00:59:59,200
Speaker 1: What's Up Supreme is a production of iHeart Radio. For

1048
00:59:59,320 --> 01:00:03,520
Speaker 1: more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1049
01:00:04,000 --> 01:00:05,680
Speaker 1: or wherever you listen to your favorite shows.