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Speaker 1: From I Heeart Podcasts.

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Speaker 2: I Am five five Freddy and this is fifty years

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Speaker 2: of hip hop podcast series. The most cutting edge rap

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Speaker 2: label with our question deaf Jam Recordings.

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Speaker 1: It's worldwide.

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Speaker 2: Founded back in nineteen eighty four by Russell Simmons and

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Speaker 2: Rick Rubert, death Jam has given us major acts showing

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Speaker 2: enough one hundred percent superstars like Ll cool J, Beastie Boys,

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Speaker 2: Slick Rick, Public Enemy, Rihanna, Kanye West, and many more.

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Speaker 2: This is death Jam Recordings, hip hop's most iconic label.

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Speaker 1: SHAUTI das music industry executive.

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Speaker 3: I mean they're innovators of hip hop. You know, hip

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Speaker 3: hop wouldn't be where it is today if Russell Simmons,

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Speaker 3: you know, hadn't have had the.

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Speaker 4: Foresight to do what he did.

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Speaker 3: When you think about labels and genres of music, like,

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Speaker 3: to me, death Jam is to hip hop. It's what

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Speaker 3: Motown was to R and B music right for Black

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Speaker 3: Americans and so being able to break artists very early on.

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Speaker 4: Like a run DMC.

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Speaker 3: And I think what a large part of what death

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Speaker 3: Jam did not only just coming with great artists, death

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Speaker 3: Jam knew how to market the artists from a hip

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Speaker 3: hop perspective. And I think Russell Simmons and Death Jam

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Speaker 3: were responsible for making hip hop a global phenomenon is

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Speaker 3: if you remember when Run DMC, you know, we're at

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Speaker 3: the height of their career. They did that deal with Adidas.

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Speaker 3: We had never seen anything like that, or they did

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Speaker 3: these matchups with rock artists, like you never saw hip

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Speaker 3: hop infused with another genre and so that was like

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Speaker 3: brown breaking for the genre. And so they put hip

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Speaker 3: hop on global stage. That's what Russell Simmons did, and

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Speaker 3: you know he was one of the best to ever

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Speaker 3: do it.

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Speaker 2: Russell Simmons record executive and entrepreneur oh Rick Rubin, he.

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Speaker 5: Said it was earlier at Graffiti Rock, but I wouldn't

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Speaker 5: know him. Some kid comes up to me, some white kids, saying, oh,

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Speaker 5: I love rap. But then I the way I remember

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Speaker 5: meeting Rick Ruben was I heard the record It's.

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Speaker 4: Yours What's that?

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Speaker 5: And I Daddy Jason, I know, and Yaddy d brought

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Speaker 5: it and I was like, this made It's yours white

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Speaker 5: and it was him. It was Rick Rubin and played

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Speaker 5: me all the you know, for me, I was really

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Speaker 5: a B boy back then, Like the records I really

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Speaker 5: cared about and everything else was kind of like that

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Speaker 5: was commercial.

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Speaker 4: Like that was commercial.

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Speaker 5: Doc m S was part of Percent from the Heart

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Speaker 5: and it spoke to a hole in the market. Knowing

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Speaker 5: made record like that sound anything like that. And then

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Speaker 5: Rick had a drum machine full of beats. I mean

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Speaker 5: beat was a hit in my mind. And then I

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Speaker 5: started to manage him and the Beastie Boys, and then

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Speaker 5: we found Aloka at King ad Rock found Llokoo Jay's tape,

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Speaker 5: and then that was it. You know, that was the

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Speaker 5: beginning of he was gonna start. He was starting a label.

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Speaker 5: He had the logo Depth Jam, but he wanted to

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Speaker 5: start an independent label and he wanted me to be

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Speaker 5: his partner. I was gonna already make a deal for

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Speaker 5: Rush Records because we had so many artists that we

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Speaker 5: were such a big management company and hip hop. We

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Speaker 5: were patrolling that he might even save culture. But the

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Speaker 5: beats he made and the stuff he was doing was fascinating,

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Speaker 5: so I said, I just share with him, and I'll

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Speaker 5: still manage, and I'll just put money in his lapel.

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Speaker 4: We put in three five hundred dollars apiece I think we.

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Speaker 5: Put out I Need a Beat by and ad Rock

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Speaker 5: found him. It was a version of I need a beat,

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Speaker 5: but Rick reproduced it and well Darren was the first

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Speaker 5: def Jam record independent. Well, I didn't have any talent,

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Speaker 5: you know. I produced records that was artist street, that

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Speaker 5: was about ball. I wrapped on some records for the

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Speaker 5: fun of it, a couple one with l oh Cool

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Speaker 5: J and one with Jazzy J. But no, I never

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Speaker 5: had I still can't there they'll beat. I ain't never

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Speaker 5: been no rhythm, you know. I mean, but I could.

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Speaker 5: I really made good records, and people don't know that

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Speaker 5: I was produce. I like sometimes slip that in. I

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Speaker 5: made that record, I wrote that. But I can say

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Speaker 5: that sometimes good people, you know, like running See we

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Speaker 5: made two albums before we met RICRU and you know,

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Speaker 5: Larry Smith and I made those records and we made

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Speaker 5: them unique.

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Speaker 4: You know, there's some records we've made with MC, where's

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Speaker 4: the music said? And ten people begging me, we're gonna

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Speaker 4: play the base line ain't got no baby. That is itself.

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Speaker 4: The simplicity of that suck MC record was unique.

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Speaker 5: Taking the record and scratching on top of record in

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Speaker 5: a recording studio was never done.

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Speaker 4: We made Jam after J it was new, you know,

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Speaker 4: check off the ship we may know that for the job, and.

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Speaker 5: Yeah, I would saying that I produced a bunch of

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Speaker 5: records and I started producing records like Alison Williams.

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Speaker 4: She had a couple of hits, especially in Europe, but

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Speaker 4: it was me producing records.

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Speaker 5: I produced a Blue Magic album This is Perfect, and

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Speaker 5: Rick produced The Headless Horseman and a bunch of his

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Speaker 5: hit was Slayer.

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Speaker 4: My hit was Jukes Jones and Aliston and so I.

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Speaker 5: Spent a lot of time doing my choledge and he

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Speaker 5: spent a lot of time doing his challenge.

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Speaker 4: And then who was running the ship?

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Speaker 5: So I bore in the l A posse could make

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Speaker 5: LL's second album. They did a good job, very different

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Speaker 5: from what Rick would have made, right, but it was

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Speaker 5: all LL. The inspiration came from LL. So in a

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Speaker 5: record like I Need Love played, you know, it was

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Speaker 5: not something Rick would have made, and he kind of

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Speaker 5: you know, it showed, you know, we're becoming companied now

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Speaker 5: to manage the.

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Speaker 4: Process more than to make it.

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Speaker 5: Rick, although he was always going to be one of

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Speaker 5: the great produced of all time, he was off making

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Speaker 5: heavy metal. So we separated at that time and that's

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Speaker 5: when we started to really I think depth Jem started

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Speaker 5: to really excel, because that's when we started to become up.

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Speaker 4: Machine.

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Speaker 2: Music producer Rick Rubin and music manager and producer Russell

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Speaker 2: Simmons co founded Depth Jam Records, only to become creators

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Speaker 2: of hip hop's most prominent record label. Russell Simmons, a

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Speaker 2: young black kid from Queens, New York, would be a

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Speaker 2: part of designing the blueprint to commercial success in rap music.

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Speaker 2: LL cool J actor, rapper, entrepreneur considered one of the

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Speaker 2: best to ever do it.

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Speaker 4: It's funny, you know when it first started.

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Speaker 2: You know, first of all, I went I went up

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Speaker 2: to Rick Storm, you know, saying went up in the dorm.

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Speaker 2: Ad Rock had played, you know, the Beast of Boys

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Speaker 2: had played my demo team for Rick Rubin.

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Speaker 4: Ad Rock actually programmed to beat on my first song,

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Speaker 4: I Need to Beat.

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Speaker 2: Rick Rubin produced it like spectacularly, did a great job,

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Speaker 2: add kind of program the programming. Jason Jay did the

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Speaker 2: cut and but before that we did a song called

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Speaker 2: catch This Break. We went over to Russell's office and

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Speaker 2: it's so funny, had an office like one secretary of him,

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Speaker 2: and he's in there and we played.

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Speaker 4: The demo for him.

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Speaker 2: He's like, ah, the same old sound like the Churcher's

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Speaker 2: three so like a Samuel' fak. So me and Rick

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Speaker 2: looked at each other and was like, oh yeah, so

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Speaker 2: we were back in the studio. Made I Need a Beat.

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Speaker 2: When he earned I Need a Beat, he was like okay, yeah,

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Speaker 2: And they decided to make their own record because they

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Speaker 2: were labeled, because Rick was having problems getting money from

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Speaker 2: Party Times street Wide because remember he just had a

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Speaker 2: production deal with them, he didn't have a label. So

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Speaker 2: we did that and the rest was history. Ashannaz music

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Speaker 2: executive and founder of the Heirs Agency.

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Speaker 6: Russell Simmons is what we call the godfather of hip hop. Ambitious,

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Speaker 6: brilliant man from Queens where I'm from Queen's get the

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Speaker 6: money from Queens who started a record label with his

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Speaker 6: friend and their college dorm. They laid the foundation for

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Speaker 6: what the business of music or hip hop music looks

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Speaker 6: like for generations and generations and generations. They were visionaries

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Speaker 6: and understood the value of hip hop and built a

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Speaker 6: business that millions and billions and billions of people are

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Speaker 6: benefiting from today.

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Speaker 1: Shahim read music journalists.

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Speaker 7: Wow, when you think about deaths, then you got to

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Speaker 7: say that to me, that's the most started label out there, right.

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Speaker 4: I mean, you.

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Speaker 7: Definitely got other labels, But to me, Russell Simmons and

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Speaker 7: with Willman, they they loved the blueprint for everything that's

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Speaker 7: going on, as far as having your label, as far

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Speaker 7: as having superstar artists, as far as putting the power

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Speaker 7: into the artist's hands, as far as putting up the

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Speaker 7: power into your hands as an executive. These are guys

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Speaker 7: that started one of the most powerful entities and most

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Speaker 7: one of the most influential entities, and all of them,

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Speaker 7: not just hip hop, but black culture period. When you

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Speaker 7: look at everything that spawned off from Death Damn Death,

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Speaker 7: Promy Jan clothing behind it, you know, just everything. And

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Speaker 7: these are guys who they were selling rapports out of

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Speaker 7: Rick Willman is DRM well olegend.

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Speaker 4: Rick Wilvern went on.

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Speaker 7: To be a super successful and impactful producer. Russell is

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Speaker 7: one of our great success stories as black people. When

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Speaker 7: you look at this is this is a kid from Queen's.

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Speaker 2: Fat Joe, recording artists, Bronx, hip hop legend and author

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Speaker 2: me and you.

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Speaker 8: Wouldn't have a job if it wasn't for Russell Simmons

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Speaker 8: because he took hip hop to the next level. Of

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Speaker 8: where you could actually make a living and pay bills.

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Speaker 8: And so before that we had the underground rappers to

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Speaker 8: Drammaster kaz is that this step he made it mainstream.

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Speaker 8: He wasn't closed minded. He had run DMC, work with

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Speaker 8: Walk this Way. You know, they signed the Beastie Boys,

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Speaker 8: They invent the Death Jab Records to where that is

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Speaker 8: the prototype for all record labels and boutiques like you know,

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Speaker 8: like a terror squad, like a rocketfeller, like a rough Riders.

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Speaker 8: So so deaf on this, you know. He showed us

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Speaker 8: how to be entrepreneurs. He showed us how to get

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Speaker 8: to the back. He taught us how to dream, be

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Speaker 8: and be visionary and be creatives, to imagine that we

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Speaker 8: can be bigger than we ever be in our life.

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Speaker 8: And so I personally have never made one dollar with

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Speaker 8: Russell Simmons. I have never done business with him, but

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Speaker 8: to this day I attribute my success to Russell Simmons,

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Speaker 8: and she showed us away.

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Speaker 2: Curtis Bloom, legendary rapper and hip hop's first rap superstar.

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Speaker 7: Oh Def Dam became the label that Russell and I

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Speaker 7: dreamed about when we were in college. During that time

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Speaker 7: are related to a movie The Star Wars the Jedi Knights.

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Speaker 7: See that was the name of the basketball team at

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Speaker 7: City College, the Jedi Knights, and so we all became

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Speaker 7: Jedi Knights, and we went to those movies and I

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Speaker 7: was Curtis sky Walker.

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Speaker 4: We had an.

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Speaker 7: Obie Wan Canobe. His name was Bob Loane Russell. Funny story,

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Speaker 7: we called Russell c three Bo because he was always talking.

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Speaker 7: He was a talker. He was the Blonnie Stone. Russell

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Speaker 7: was a great communicator. And so during those times when

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Speaker 7: we figure it out and Star Wars, you know that

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Speaker 7: part of they talk about the planet All Duron. That's

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Speaker 7: where the home base of the Jedi Knights, and so

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Speaker 7: our dream of success was going to All do We're

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Speaker 7: trying to get to all Doroon. So that was our mission.

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Speaker 7: You know, success was all garnt for us, and Russell

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Speaker 7: did it. We all owe him gratitude and a big

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Speaker 7: thanks and give him his flowers because he did it.

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Speaker 7: He made it happen. Along with le Or Cohen and

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Speaker 7: also Rick Rubin, they took this idea, this dream, this wish,

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Speaker 7: and it made it a reality. I remember Russell going

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Speaker 7: over to the Grammys and protesting the Grammys with picted

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Speaker 7: signs and all that, trying to say we need a

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Speaker 7: rap category, you know, we need a wrap award, you know,

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Speaker 7: and stuff that fighting when it was unheard of, and

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Speaker 7: they put this man out. You know, now you see

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Speaker 7: him front row. He's sitting at the Grammys, right and

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Speaker 7: the Oscars and all that. So man, you made it, Russell,

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Speaker 7: you did it. My hat goes off to you all

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Speaker 7: the wrong babies.

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Speaker 1: How sea is?

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Speaker 6: I think LLL from the perspective of you know, deaf

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Speaker 6: jam and hip hop, I think he showed what the

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Speaker 6: commercial viability of hip hop was. I think you know,

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Speaker 6: his you know, the songs, the record sales, radio airplay,

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Speaker 6: like all of those things, I think showed what commercial

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Speaker 6: success looked like for hip hop. There were hip hop

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Speaker 6: artists obviously before him, but I think he was the

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Speaker 6: first to have like massive global commercial success and that

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Speaker 6: was important because I think again, like that said, the

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Speaker 6: tone for what the future of hip hop looked like

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Speaker 6: from a commercially viable standpoint, from a you know, not

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Speaker 6: just developing you know, these successful you know rappers, but

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Speaker 6: also building businesses and establishing careers and employees being able

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Speaker 6: to see their families. Like it wasn't just the success

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Speaker 6: of LLL himself and what that looked like for the

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Speaker 6: rap community or the rap genre. But it was also

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Speaker 6: like it built a sustainable business that allowed, you know again,

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Speaker 6: allowed for a murder ink to exist, allowed for a

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Speaker 6: death row to exist, and all of the employees and

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Speaker 6: people that came from those companies to have thriving jobs

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Speaker 6: and legacies for years and years and years to come.

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Speaker 2: LLL Cool jet Rick was had a very specific taste

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Speaker 2: and he also was able to translate the things that

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Speaker 2: me or my friends would want him to do. So

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Speaker 2: I'd be like, yo, Rick, I would hum a beating

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Speaker 2: and he would play the bat. I would tell him,

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Speaker 2: you'll do it like this, and he would do it.

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Speaker 2: So he was really expressing a lot of my stuff,

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Speaker 2: my ideas, and then he would take my ideas and

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Speaker 2: he would make the better.

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Speaker 4: He would enhance them as a producer and take them

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Speaker 4: to another level. And that's how it was. It was crazy.

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Speaker 4: It was a math.

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Speaker 1: Russell Simmons hellow Pool.

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Speaker 5: Jay was when most sounds and Boltless, I mean run

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Speaker 5: used to always say that's the guy at the best

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Speaker 5: vocless and he was young both his next generation that

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Speaker 5: not not only he was the first one that really

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Speaker 5: I think that I worked with that really spoke to

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Speaker 5: the recording generations. Run remember was a rapper before they

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Speaker 5: were rap records. Was DJ Run from Curtis Flow that

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Speaker 5: just goes done and Curdy Flow. So they all came

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Speaker 5: from the ballroom and the performing art. Ello pool J

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Speaker 5: was a recording art. He heard records to make him

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Speaker 5: make a record. They heard tape to make them make

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Speaker 5: their performances and eventually their record. So Old Cool J

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Speaker 5: for me was the first artist that I mad July

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Speaker 5: Foe percent to the next generation, the first generation of

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Speaker 5: hip hop as a recording art.

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Speaker 4: Ll cool J.

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Speaker 2: I mean I made ten platinum albums in a row.

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Speaker 2: Be that's pretty good for coming for an independent label.

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Speaker 2: Have an artist come out and make ten platinum albums

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Speaker 2: in a row. At that time, it wasn't gonna be

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Speaker 2: no number one spect It was hip hop. This was

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Speaker 2: rap music. It was no pop radio play. There was

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Speaker 2: no you know, you get a little bit of airplayer

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Speaker 2: on the weekend. And I made ten number one albums

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Speaker 2: in a row. So that's a big, big important thing

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Speaker 2: for the LABE from a label side. Now in terms

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Speaker 2: of hip hop showing people that you could be legitimately

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Speaker 2: and I say this would humility, but that you could

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Speaker 2: really be a rap star, like like I showed people

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Speaker 2: how to be a rap star be there was no

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Speaker 2: real rap stars before me.

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Speaker 4: They were except for run DMC as a group.

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Speaker 2: And it was a little different because my thing struck

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Speaker 2: a little different chord because I struck the teen heartthrob

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Speaker 2: chord and the like the cultural rhyming chord.

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Speaker 4: It was a little different, right.

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Speaker 2: So I'm like, I'm on the cover with new addition,

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Speaker 2: you know what I'm saying, Like I'm you know, I'm

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Speaker 2: on magazines with new addition.

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Speaker 4: I'm on magazines with Michael Jackson.

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Speaker 2: So you have to think about it, like like you

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Speaker 2: have to think about it like that. So and then

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Speaker 2: what I did was I showed people that you could

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Speaker 2: have emotional intelligence. I introduced like it was guys who

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Speaker 2: wrapped the females on records before, you know, like introducing

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Speaker 2: the love thing to the game, like before I made

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Speaker 2: I Need Love and before I started really embracing the

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Speaker 2: females even on my B sides, like I want you

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Speaker 2: on the other side of the B side of dangerous

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Speaker 2: dudes weren't comfortable with that and that was a whole

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Speaker 2: dimension of hip hop that was not open. The only

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Speaker 2: one that would dabble in it a little bit more

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Speaker 2: would be Spoony G. But he was still keeping it.

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Speaker 2: He wasn't He was never allowing himself to be vulnerable.

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Speaker 2: So so I really like opened up the world of

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Speaker 2: you know, love, the idea of love being introduced to hip.

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Speaker 4: Hop like I did that.

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Speaker 1: I did, oh man, so many memories.

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Speaker 2: I was definitely deep in the mix at that time

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Speaker 2: and seeing all this go down first hands. Let me

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Speaker 2: tell you my little story about me Rick Rubin for

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Speaker 2: the first time. I was at the Roxy one night

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Speaker 2: back in the early eighties and a record came on

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Speaker 2: which really made me freeze in my steps. It was

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Speaker 2: the record was It's yours right, Tiga Rock, And I'm.

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Speaker 4: Like, what is this record? Right?

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Speaker 2: So I go up to the DJ and I said, yo, man,

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Speaker 2: like what is this? Like what he says, Yo, it's

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Speaker 2: this new record is yours? I said, who made this?

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Speaker 2: And he pointed to this group He said, this guy

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Speaker 2: over here, And I saw several people over there and this,

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Speaker 2: you know, several black folks and this white guy.

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Speaker 1: And I was like, who who?

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Speaker 4: And he was like this guy right here, straight up.

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Speaker 4: It was the white guy.

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Speaker 1: And I went over and I introduced myself. It was

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Speaker 1: Rick Rubin, and Rick was really cool.

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Speaker 2: And it was like I told him who I was,

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Speaker 2: you know, he knew who I was, and he invited

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Speaker 2: me to his dorm room at m YU University, a

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Speaker 2: small dorm room with his little small bed and a

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Speaker 2: DJ turntable set up and a drum machine and boom.

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Speaker 2: I definitely saw the beginning of deaf jam records, and

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Speaker 2: it was brilliant the way Rick.

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Speaker 1: And Russell linked up with each other because.

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Speaker 2: Rick had a you know, understood like you know, pop

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Speaker 2: music and the formula of making a tight four minute

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Speaker 2: record like a record because rappers at that time, some

358
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Speaker 2: of the first rap records came out, people would wrap

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Speaker 2: it for ten and fifteen minutes. And Rick had a

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Speaker 2: sense of how to shape this into something that was

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Speaker 2: a much tighter, more condensed, explosive basically hit records that

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Speaker 2: could that could work on radio and work everywhere else.

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Speaker 2: It was pretty amazed at the seed beginnings of at

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Speaker 2: and where Rick.

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Speaker 1: And Russell took it to Russell Simmons.

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Speaker 9: Well, of it was hip hop, but you know, I

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Speaker 9: met people who inspired me to Quincy Jones to the world.

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Speaker 9: They tried to remind me that it was nothing new

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Speaker 9: when music doing the same thing when evolved, reminded me

370
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Speaker 9: of the jazz era Loui Ro you know, okay, here

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Speaker 9: black music doing it again.

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Speaker 4: And they gave me perspective and you know.

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Speaker 5: Instead of being you know, cocky and young, they gave

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Speaker 5: me another perspective, which I was cocky and young, but

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Speaker 5: they gave me another perspective that how I fit in history.

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Speaker 5: Quincy Jones took me the Beastie Boys, Fellow Pool, Jay

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Speaker 5: Tela Robbs, Run DMC. I'm trying to think that Rick

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Speaker 5: was bit but he joined us about Christal Champaign took

379
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Speaker 5: it all out.

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Speaker 4: He wanted to know. It was late about eighty five.

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Speaker 5: I remember playing turn on the radio and run DMC

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Speaker 5: record played, and Quincy's got my House and get ready

383
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Speaker 5: to go to Dinner played in the demo for Orange

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Speaker 5: Juice Jones walking into Ain't I had just produced.

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Speaker 4: We went to Dinner, But all Rush Band took a

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Speaker 4: lot of art.

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Speaker 5: Again, there were so many that were pioneers and had

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Speaker 5: records on a different label.

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Speaker 4: So remember we met Big Daddy Kane and Eric p

390
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Speaker 4: and rocked him and.

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Speaker 5: We managed the Day of Soul and tried for a

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Speaker 5: quest and we managed and we rushed management with all

393
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Speaker 5: of that depth.

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Speaker 4: Jem felt like all of that too, because we're all family,

395
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Speaker 4: all wore Dept. JM jacket. It was the cultural movement.

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Speaker 5: We were part of a family and the Slick Rakes

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Speaker 5: and you know Big Daddy Kane where you know, they

398
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Speaker 5: were the same right even though we couldn't. And I

399
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Speaker 5: never felt as a manager, I never felt any different

400
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Speaker 5: between those who are my label and those who I

401
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Speaker 5: just managed.

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Speaker 1: Well.

403
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Speaker 5: My family, the Rush family was expensive and plenty. Joels

404
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Speaker 5: fed all of them and he inspired me so many

405
00:21:51,240 --> 00:21:54,800
Speaker 5: ways because he gave me for respective and that helped

406
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Speaker 5: me a little bit over the years a lot over

407
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Speaker 5: the years.

408
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Speaker 2: Grant was It Dead or pioneering hip hop DJ credited

409
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Speaker 2: as the inventor of the scratching technique.

410
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Speaker 7: Not only is in Russell and Rick Rudman. One of

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Speaker 7: the ultimates is such stories, but you could just look

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Speaker 7: at them for inspiration. Man, Like, there's a lot of

413
00:22:15,200 --> 00:22:18,400
Speaker 7: people that want to do stuff and that could actually

414
00:22:18,480 --> 00:22:21,240
Speaker 7: do it, but it's scared to do it. And there's

415
00:22:21,280 --> 00:22:25,480
Speaker 7: people that can actually do it. They're not scared to

416
00:22:25,560 --> 00:22:29,520
Speaker 7: do it, but they're too stubborn or too proud to

417
00:22:29,600 --> 00:22:33,480
Speaker 7: team up with somebody. These people form the team. And

418
00:22:33,600 --> 00:22:37,400
Speaker 7: when you look at the death Jam family tree, there

419
00:22:37,480 --> 00:22:40,119
Speaker 7: was a record label, there was also a management team.

420
00:22:40,480 --> 00:22:44,359
Speaker 7: You understand, like they manage leaders of the New School,

421
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Speaker 7: trip or Request and from that, the family tree that

422
00:22:48,320 --> 00:22:51,439
Speaker 7: they have is nothing but hall of fame. It's like

423
00:22:52,119 --> 00:22:55,359
Speaker 7: death Jam, you can't really say enough. And when you

424
00:22:55,400 --> 00:22:59,160
Speaker 7: look at the catalog that they have from LL Cool

425
00:22:59,240 --> 00:23:05,120
Speaker 7: J Slick with Public Enemy, Rick Ross red Man, that's

426
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Speaker 7: that man, the Rockefeller Record Label, jay Z and everything

427
00:23:09,920 --> 00:23:16,679
Speaker 7: that he did after reasonable doubt, Kanye West, job Role Science,

428
00:23:16,720 --> 00:23:22,679
Speaker 7: he Murder, and DMX with Rough Fridays. These guys not

429
00:23:22,840 --> 00:23:26,760
Speaker 7: only did they make and again, this is something that

430
00:23:27,040 --> 00:23:31,320
Speaker 7: we keep talking about, is that it's something special when

431
00:23:31,359 --> 00:23:36,960
Speaker 7: you're making classic music, but it's also extra extra special

432
00:23:37,480 --> 00:23:42,640
Speaker 7: when you're making classic music and you're implementing a business infrastructure.

433
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Speaker 7: Like they showed us not just how to get it

434
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Speaker 7: as artists, but how to get it as businessmen and

435
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Speaker 7: business women.

436
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Speaker 1: A Shana is I.

437
00:23:52,000 --> 00:23:55,680
Speaker 6: Think deaf Jam any any relation to def Jam being

438
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Speaker 6: an artist or an employee. It's a badge of honor.

439
00:23:58,480 --> 00:24:02,280
Speaker 6: It's a club, a community, a college. It's almost like

440
00:24:02,520 --> 00:24:07,160
Speaker 6: pledging if you were a part of Death Jam then

441
00:24:07,520 --> 00:24:10,600
Speaker 6: or now, it's a badge of honor for the music business.

442
00:24:10,600 --> 00:24:14,640
Speaker 6: It represents a certain level of excellence, It represents a

443
00:24:14,640 --> 00:24:20,359
Speaker 6: certain purity, a certain attachment to the culture or or

444
00:24:20,400 --> 00:24:23,879
Speaker 6: not even attachment, symbolism that you're a culture creator, like

445
00:24:24,240 --> 00:24:26,439
Speaker 6: you are driving.

446
00:24:25,920 --> 00:24:26,800
Speaker 4: The culture forward.

447
00:24:26,840 --> 00:24:30,800
Speaker 6: Death Jam was the leader in driving the culture forward

448
00:24:30,960 --> 00:24:33,520
Speaker 6: and being a part of it in any way, be

449
00:24:33,560 --> 00:24:36,360
Speaker 6: it you know, as a musician, as an artist, as

450
00:24:36,359 --> 00:24:39,080
Speaker 6: an executive, meant that you were a part of a

451
00:24:39,119 --> 00:24:40,919
Speaker 6: team that was driving culture forward.

452
00:24:41,760 --> 00:24:44,600
Speaker 3: Das it was just their flavor. Like for example, when

453
00:24:44,640 --> 00:24:47,439
Speaker 3: I worked in New York, Damn had this Christmas party

454
00:24:47,480 --> 00:24:50,040
Speaker 3: every year, like they always had their hand on the

455
00:24:50,080 --> 00:24:50,960
Speaker 3: pulse of the culture.

456
00:24:51,280 --> 00:24:52,920
Speaker 4: Everybody always wanted to go to.

457
00:24:52,880 --> 00:24:55,520
Speaker 3: The Deaf Jam parties and the Deaf Jam vents because

458
00:24:55,760 --> 00:24:57,480
Speaker 3: they know how to do it on the big scale.

459
00:24:58,000 --> 00:25:01,000
Speaker 3: And I have to shout out one of my former mentors,

460
00:25:01,320 --> 00:25:03,880
Speaker 3: Kevin Lyles, who used to be president of Death Jam Records.

461
00:25:03,920 --> 00:25:07,960
Speaker 3: Like if Kevin hosted an event at a music conference,

462
00:25:08,359 --> 00:25:12,520
Speaker 3: you knew all the like cool people were gonna be there,

463
00:25:12,560 --> 00:25:13,800
Speaker 3: like all the actors.

464
00:25:13,880 --> 00:25:15,920
Speaker 4: He brought people in from other worlds.

465
00:25:15,920 --> 00:25:18,879
Speaker 3: Like they mixed fashion and hip hop and art, and

466
00:25:19,000 --> 00:25:21,119
Speaker 3: you had all the cool people. And that was to me,

467
00:25:21,359 --> 00:25:26,800
Speaker 3: that was really utilizing hip hop in a way that

468
00:25:26,880 --> 00:25:29,200
Speaker 3: hadn't been done before. That's when we really knew that

469
00:25:29,280 --> 00:25:32,879
Speaker 3: hip hop was currency, right, hip hop was big business,

470
00:25:32,920 --> 00:25:35,160
Speaker 3: and so that's when you started seeing a lot of

471
00:25:35,480 --> 00:25:40,440
Speaker 3: you know, sneaker brands and spirit brands and other people

472
00:25:40,480 --> 00:25:43,119
Speaker 3: want to collaborate with these artists because death Jam not

473
00:25:43,160 --> 00:25:45,000
Speaker 3: only was good with the music, but again they were

474
00:25:45,000 --> 00:25:47,280
Speaker 3: good with the marketing and promotions. And so that's something

475
00:25:47,280 --> 00:25:49,400
Speaker 3: that we always looked to and I was like, how

476
00:25:49,400 --> 00:25:52,000
Speaker 3: do they do it? Like they mixed the world together,

477
00:25:52,080 --> 00:25:55,359
Speaker 3: and they really they have to shape what culture looks

478
00:25:55,400 --> 00:25:58,720
Speaker 3: like for us to this day, because again, the culture

479
00:25:58,720 --> 00:26:01,760
Speaker 3: and the currency is music, fashion, in sports, it's entertainment.

480
00:26:01,800 --> 00:26:03,760
Speaker 3: But Death Jam was really at the forefront of that,

481
00:26:04,640 --> 00:26:08,040
Speaker 3: putting their artists in other rooms that people in the

482
00:26:08,080 --> 00:26:10,399
Speaker 3: genre hadn't necessarily been exposed to before.

483
00:26:10,720 --> 00:26:11,760
Speaker 4: I think Snoop.

484
00:26:11,480 --> 00:26:13,480
Speaker 3: Dogg does a great job of it now and how

485
00:26:13,480 --> 00:26:17,320
Speaker 3: he's expanded his brand, but early on, I don't think

486
00:26:17,359 --> 00:26:19,840
Speaker 3: anybody did it like death Jam in terms of being

487
00:26:19,880 --> 00:26:23,080
Speaker 3: able to cross collaborate and bring those worlds together. And

488
00:26:23,119 --> 00:26:26,080
Speaker 3: so that was what was cool. It was like going

489
00:26:26,119 --> 00:26:28,560
Speaker 3: to a deaf Jam event. You just felt like, Wow,

490
00:26:28,880 --> 00:26:29,600
Speaker 3: this is the culture.

491
00:26:29,680 --> 00:26:30,080
Speaker 4: This is it.

492
00:26:30,160 --> 00:26:32,600
Speaker 3: This is where we all want to be. Athletes want

493
00:26:32,640 --> 00:26:35,280
Speaker 3: to be artists. Artists want to be athletes. And it

494
00:26:35,280 --> 00:26:38,280
Speaker 3: was nothing to like look up and seeing an NFL

495
00:26:38,400 --> 00:26:42,240
Speaker 3: player or NBA star or seeing death Jam artists participate

496
00:26:42,280 --> 00:26:45,320
Speaker 3: in NBA All Star Weekend. Like they really started a

497
00:26:45,320 --> 00:26:47,680
Speaker 3: lot of that from a cultural perspective, and I think

498
00:26:47,720 --> 00:26:51,400
Speaker 3: that really also helped catapult the genre to a global

499
00:26:51,440 --> 00:26:54,240
Speaker 3: status and put us in other worlds and in corporate

500
00:26:54,280 --> 00:26:56,080
Speaker 3: America and making these big.

501
00:26:55,880 --> 00:26:57,520
Speaker 4: Deals that we hadn't seen that before.

502
00:26:57,640 --> 00:27:01,040
Speaker 3: So that was Russell, That was you know, Rick, that

503
00:27:01,240 --> 00:27:05,320
Speaker 3: was Kevin Laws, all those folks, Ronnie coll and Tracy Waypool's,

504
00:27:05,359 --> 00:27:07,440
Speaker 3: all those folks who worked over there, like they really

505
00:27:07,520 --> 00:27:10,200
Speaker 3: had the blueprint down for like how to work records,

506
00:27:10,240 --> 00:27:12,840
Speaker 3: but also how to market them and how to bring

507
00:27:12,880 --> 00:27:15,320
Speaker 3: the culture together to how a good time and to

508
00:27:15,359 --> 00:27:17,840
Speaker 3: make good money and to make good records.

509
00:27:17,840 --> 00:27:22,960
Speaker 2: Ed Lover, rapper, actor, radio personality, and former.

510
00:27:22,840 --> 00:27:23,879
Speaker 1: MTV v J.

511
00:27:24,359 --> 00:27:28,560
Speaker 10: Oh my God, it's that deaf Jam is everything. There

512
00:27:28,640 --> 00:27:30,560
Speaker 10: was a time and if you wasn't on deaf Jam,

513
00:27:30,640 --> 00:27:33,359
Speaker 10: you wasn't really on the label. And even though Running

514
00:27:33,400 --> 00:27:36,200
Speaker 10: It was on Profile, it was almost like they were

515
00:27:36,200 --> 00:27:39,280
Speaker 10: on deaf Jam because that was Russell's brother. And I

516
00:27:39,320 --> 00:27:41,480
Speaker 10: think for Russell, of them got a lot of credit

517
00:27:41,480 --> 00:27:44,280
Speaker 10: because they did manage Running D for a while. And

518
00:27:44,320 --> 00:27:48,800
Speaker 10: I think Russell and Rick Rubin, the music that they

519
00:27:48,800 --> 00:27:51,679
Speaker 10: were able to create. The stuff that Rick Rubin was

520
00:27:51,720 --> 00:27:54,879
Speaker 10: able to create as a producer is still unmatched to

521
00:27:54,920 --> 00:27:58,560
Speaker 10: this day. Russell's business acumen learning on the fly. It's

522
00:27:58,600 --> 00:28:01,720
Speaker 10: not like he's you know, he's a graduate of Wharton

523
00:28:01,800 --> 00:28:05,160
Speaker 10: School of Business. But it's just a street wise, dope,

524
00:28:05,640 --> 00:28:08,600
Speaker 10: dope dude that was smart enough to see that Rick

525
00:28:08,760 --> 00:28:12,520
Speaker 10: was doing something or going somewhere and made Deaf Jam

526
00:28:12,560 --> 00:28:16,200
Speaker 10: Records and it is probably the most important hip hop

527
00:28:16,280 --> 00:28:19,359
Speaker 10: label ever because everybody else wanted to have.

528
00:28:19,240 --> 00:28:20,639
Speaker 4: A label because of Death Name.

529
00:28:21,080 --> 00:28:24,399
Speaker 10: You know, Tommy Boy put out a lot of dance records,

530
00:28:24,560 --> 00:28:29,000
Speaker 10: Electro Funk Records, Sleeping Bag, everybody put out a lot

531
00:28:29,040 --> 00:28:33,200
Speaker 10: of different kinds of music. Death Jam for a long

532
00:28:33,240 --> 00:28:36,480
Speaker 10: time was strictly hip hop before they started dabbling into

533
00:28:36,880 --> 00:28:40,400
Speaker 10: R and B. That was just like the ultimate hip

534
00:28:40,440 --> 00:28:42,640
Speaker 10: hop label. Dude, I can't tell you what year it was,

535
00:28:42,680 --> 00:28:45,520
Speaker 10: but I remember when they gave me a deaf Jam jacket,

536
00:28:46,120 --> 00:28:48,920
Speaker 10: like they gave me a deaf damn jacket. That jacket

537
00:28:49,520 --> 00:28:52,760
Speaker 10: was that was part of the club. If you had

538
00:28:52,800 --> 00:28:55,200
Speaker 10: a death Jam jacket which your name on it, Oh

539
00:28:55,240 --> 00:28:55,880
Speaker 10: my god.

540
00:28:56,400 --> 00:28:56,680
Speaker 7: Wow.

541
00:28:57,000 --> 00:28:59,720
Speaker 10: So deaf Jam for us was everything, and especially from

542
00:28:59,800 --> 00:29:03,240
Speaker 10: us from Queens because it was Russell. He's from Hollands,

543
00:29:03,280 --> 00:29:07,600
Speaker 10: He's from out Oot, so that's what made it even bigger.

544
00:29:08,040 --> 00:29:10,160
Speaker 10: And my sister used to work at deaf Jam at

545
00:29:10,200 --> 00:29:13,560
Speaker 10: the front desk, and so it's all full circle. Man.

546
00:29:13,640 --> 00:29:17,400
Speaker 10: Deaf Jam meant everything to us. It was the premier

547
00:29:18,000 --> 00:29:21,120
Speaker 10: hip hop label, the premier label. The best of the

548
00:29:21,160 --> 00:29:22,200
Speaker 10: best were on deaf Jam.

549
00:29:22,440 --> 00:29:23,320
Speaker 1: I shun it is.

550
00:29:24,080 --> 00:29:26,560
Speaker 6: I think it's safe to say that deaf Jam was

551
00:29:26,760 --> 00:29:31,080
Speaker 6: at the forefront of disruptive marketing for sure, things like

552
00:29:31,160 --> 00:29:35,520
Speaker 6: street teams, things like you know, merch, you know brand

553
00:29:35,640 --> 00:29:38,280
Speaker 6: The deaf Damn jacket was something that you know, people

554
00:29:38,280 --> 00:29:43,200
Speaker 6: would pay for back then, massive billboards and just kind

555
00:29:43,240 --> 00:29:49,000
Speaker 6: of over the top, like grassroots street marketing is the

556
00:29:49,080 --> 00:29:52,320
Speaker 6: deaf Jam way. And I definitely think it influenced how

557
00:29:53,200 --> 00:29:56,960
Speaker 6: not just record companies, but how any brand who wanted

558
00:29:57,000 --> 00:30:00,200
Speaker 6: to reach that hip hop community began to mark it

559
00:30:00,520 --> 00:30:02,680
Speaker 6: after seeing the way Death Jam.

560
00:30:02,760 --> 00:30:05,760
Speaker 1: Marketed Shaheim Weed music journalists.

561
00:30:05,960 --> 00:30:10,160
Speaker 7: They've empowered so many greats from our culture that have

562
00:30:10,240 --> 00:30:13,760
Speaker 7: empowered other people. And it's the gift that keeps on giving.

563
00:30:14,840 --> 00:30:19,560
Speaker 7: You know, so many women that work that Death Jam,

564
00:30:19,600 --> 00:30:23,040
Speaker 7: so many young people that work that Death Jam. And

565
00:30:23,080 --> 00:30:27,320
Speaker 7: it's not just the music. Music. Music is fantastic. You

566
00:30:27,400 --> 00:30:30,680
Speaker 7: look at the Death Jam catalog and it's it's in

567
00:30:30,800 --> 00:30:35,040
Speaker 7: this classic's young jeezy, you know, it's inless classes. But

568
00:30:35,120 --> 00:30:38,960
Speaker 7: you gotta also look at the people and what it

569
00:30:39,080 --> 00:30:43,920
Speaker 7: meant Like Death Jam meant us as young even though

570
00:30:44,000 --> 00:30:47,480
Speaker 7: Rick Ruben was white, right, it just meant like us

571
00:30:47,520 --> 00:30:52,560
Speaker 7: as young rebels doing what we wanted to do. And

572
00:30:52,640 --> 00:30:56,280
Speaker 7: it wasn't reckless. It wasn't reckless. These guys were successful.

573
00:30:56,320 --> 00:30:59,120
Speaker 7: It wasn't like, oh, we just gonna give these young kids.

574
00:30:59,560 --> 00:31:02,040
Speaker 7: Let's see what these young kids do with tens of

575
00:31:02,040 --> 00:31:06,680
Speaker 7: millions of dollars. Nah, they pulled their money together the

576
00:31:07,120 --> 00:31:10,280
Speaker 7: Soul records, and then when he started getting all of

577
00:31:10,320 --> 00:31:13,640
Speaker 7: the millions of dollars, they started doing like all of

578
00:31:13,680 --> 00:31:16,400
Speaker 7: these other businesses across Rick Rubin. He stepped away from

579
00:31:16,400 --> 00:31:19,360
Speaker 7: death Gym and he started doing his own thing. And

580
00:31:19,400 --> 00:31:23,120
Speaker 7: then it was more like Russell Simmons, Kevin Lows and

581
00:31:23,160 --> 00:31:25,760
Speaker 7: le Or Cohen that was doing it. Then you know

582
00:31:25,880 --> 00:31:28,680
Speaker 7: later Mike Kayser and Julie and all of these people.

583
00:31:29,000 --> 00:31:32,160
Speaker 7: But this is a young young black kid from from

584
00:31:32,720 --> 00:31:37,560
Speaker 7: queens Man, Russell, and he built the empire like this

585
00:31:37,640 --> 00:31:42,400
Speaker 7: is This is the stuff that has influenced every executive

586
00:31:42,440 --> 00:31:45,760
Speaker 7: in the game. They've all looked at Russell Simmons at

587
00:31:45,800 --> 00:31:47,880
Speaker 7: a point, I don't care what, I don't care who

588
00:31:47,920 --> 00:31:48,480
Speaker 7: you are.

589
00:31:48,720 --> 00:31:49,680
Speaker 4: Black, all white.

590
00:31:50,800 --> 00:31:54,200
Speaker 7: Everybody that came up after Russell had to look at

591
00:31:54,240 --> 00:31:56,320
Speaker 7: this man as being one of the blue prints.

592
00:31:56,520 --> 00:31:59,320
Speaker 1: Russell Simmons, we had office all over the wall.

593
00:31:59,760 --> 00:32:03,640
Speaker 4: We have offices today, my office gutshtout I was talking about.

594
00:32:03,640 --> 00:32:05,080
Speaker 4: We're in thirteen eleven countries.

595
00:32:05,840 --> 00:32:08,560
Speaker 5: They're a deaf jem office in almost every World Asian country,

596
00:32:08,960 --> 00:32:11,920
Speaker 5: eleven ten of the countries of East Asian we have

597
00:32:11,960 --> 00:32:14,880
Speaker 5: two officers in America, but jen of the eleven countries

598
00:32:14,880 --> 00:32:17,000
Speaker 5: are in East Asia. They're a deaf Gym office in

599
00:32:17,080 --> 00:32:20,560
Speaker 5: every country, and hip hop is prominent in every country.

600
00:32:20,640 --> 00:32:23,240
Speaker 5: The biggest show in China called The Wrap of China

601
00:32:23,720 --> 00:32:28,120
Speaker 5: one show, first episode, a billion people going. They're only

602
00:32:28,160 --> 00:32:31,280
Speaker 5: three hundred million in America. So the impact of hip

603
00:32:31,280 --> 00:32:34,480
Speaker 5: hop globally, deaf Gym has been there as part of

604
00:32:34,520 --> 00:32:36,160
Speaker 5: the staying the taste.

605
00:32:37,600 --> 00:32:38,640
Speaker 4: So it had a good impact.

606
00:32:38,720 --> 00:32:41,240
Speaker 5: You know, it was alone when we were doing what

607
00:32:41,280 --> 00:32:44,400
Speaker 5: we were doing international, and it was kind of alone

608
00:32:44,400 --> 00:32:46,400
Speaker 5: we were doing in America for a very long time

609
00:32:46,680 --> 00:32:51,920
Speaker 5: because we saw the artists as not disposable. We sought

610
00:32:51,960 --> 00:32:55,920
Speaker 5: them as as great artists with long term possibility, and

611
00:32:55,960 --> 00:32:58,240
Speaker 5: the labels thought them as twelve inch autist that would

612
00:32:58,240 --> 00:33:02,400
Speaker 5: make a recorded We'd get the next records in somebody else.

613
00:33:03,640 --> 00:33:09,440
Speaker 5: We built album and careers, We managed images. We took

614
00:33:09,480 --> 00:33:12,080
Speaker 5: the people who made the mean seriously and that's what

615
00:33:12,200 --> 00:33:15,320
Speaker 5: made Rush Management special, and that's what made Death Damn

616
00:33:15,400 --> 00:33:19,000
Speaker 5: special too. That same mentality, Now, whoja not here for

617
00:33:19,040 --> 00:33:20,840
Speaker 5: this single I need a beat, but for the album

618
00:33:20,920 --> 00:33:22,000
Speaker 5: Radio and Run.

619
00:33:22,040 --> 00:33:25,440
Speaker 4: DMC was an album, not a record with.

620
00:33:25,520 --> 00:33:28,520
Speaker 5: An artist that would be here for years, and so

621
00:33:28,640 --> 00:33:31,160
Speaker 5: we had that lead good luck, good watching to see

622
00:33:31,200 --> 00:33:32,520
Speaker 5: that crystal clear to me.

623
00:33:32,600 --> 00:33:36,720
Speaker 4: But it was at the time very different thinking.

624
00:33:37,520 --> 00:33:41,040
Speaker 2: Man, so many amazing memories, so much incredible work, does

625
00:33:41,200 --> 00:33:45,239
Speaker 2: so many major doors broken down, kicked in, opened up

626
00:33:45,320 --> 00:33:48,440
Speaker 2: wide to let us in, made by Deaf jam.

627
00:33:48,400 --> 00:33:50,960
Speaker 1: And one of the most important groups is Public Enemy.

628
00:33:51,080 --> 00:33:56,000
Speaker 2: The impact the voice that conscious hip hop hit so

629
00:33:56,280 --> 00:33:57,080
Speaker 2: hard at.

630
00:33:56,920 --> 00:33:57,920
Speaker 1: A critical time.

631
00:33:58,400 --> 00:34:00,840
Speaker 2: And I was honored to get the show that stuff

632
00:34:01,040 --> 00:34:04,000
Speaker 2: on my show, your MTV raps. But it was amazing

633
00:34:04,080 --> 00:34:07,960
Speaker 2: to have Rick Rubin tell me one day how Public Enemy.

634
00:34:08,239 --> 00:34:09,719
Speaker 1: Rick had heard a little.

635
00:34:09,560 --> 00:34:12,000
Speaker 2: Bit of a demo that they used on their college

636
00:34:12,080 --> 00:34:16,560
Speaker 2: radio station. And Rick Rubin, for almost an entire year

637
00:34:17,320 --> 00:34:21,560
Speaker 2: called Chuck d relentlessly to try to get him to

638
00:34:21,719 --> 00:34:25,040
Speaker 2: come in and make an album. And Chuck, who was

639
00:34:25,120 --> 00:34:28,440
Speaker 2: probably about twenty one at the time, felt like he

640
00:34:28,560 --> 00:34:31,359
Speaker 2: was actually too old because LLLL had just hit and

641
00:34:31,680 --> 00:34:35,200
Speaker 2: ll hit the game hard at sixteen seventeen years old,

642
00:34:35,440 --> 00:34:40,359
Speaker 2: you know what I'm saying. But Rick's persistence with what

643
00:34:40,760 --> 00:34:45,160
Speaker 2: Public Enemy became and Chuck said, man, okay, give me

644
00:34:45,239 --> 00:34:48,120
Speaker 2: this budget and step back and let us do our thing.

645
00:34:48,920 --> 00:34:50,840
Speaker 4: And that's the story behind Public Enemy.

646
00:34:51,000 --> 00:34:54,880
Speaker 2: Once again, impactful group and the message that they had

647
00:34:55,080 --> 00:34:57,440
Speaker 2: a lot of people would not have been ready to

648
00:34:57,520 --> 00:35:00,560
Speaker 2: get down and to push a group like that message

649
00:35:00,600 --> 00:35:03,799
Speaker 2: so strong and so clear. Once again, another tribute to

650
00:35:03,840 --> 00:35:08,120
Speaker 2: what def JM did, thankfully and Rick Rubins just you know,

651
00:35:08,440 --> 00:35:12,319
Speaker 2: instincts and intuition to like let Public Enemy go and

652
00:35:12,360 --> 00:35:16,600
Speaker 2: do what they did. Fight the power. On the next

653
00:35:16,680 --> 00:35:19,640
Speaker 2: episode of the fifty Years of Hip Hop podcast series,

654
00:35:19,960 --> 00:35:23,560
Speaker 2: The Shipping Hill Gangs, Rap is Delight had the first

655
00:35:23,640 --> 00:35:26,879
Speaker 2: music video, but it wasn't until six years later when

656
00:35:26,960 --> 00:35:31,239
Speaker 2: MTV Network's first show dedicated entirely to rap music hit

657
00:35:31,320 --> 00:35:31,760
Speaker 2: the screen.

658
00:35:32,560 --> 00:35:33,600
Speaker 4: Y'all know what that is.

659
00:35:34,040 --> 00:35:36,480
Speaker 2: This next episode is going to remind this so the

660
00:35:36,560 --> 00:35:39,960
Speaker 2: first rap video to make its way into MTV's rotation

661
00:35:40,719 --> 00:35:43,360
Speaker 2: run DMC's Rock Box, and that was also back in

662
00:35:43,440 --> 00:35:46,399
Speaker 2: nineteen eighty four. And the journey of a show that

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Speaker 2: launched as an experiment only to become and hit and

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Speaker 2: you know I'm talking about yo. This episode has been

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Speaker 2: executive produced by Dolly S. Bishop, hosted and produced by

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Speaker 2: your Boy Fab five Freddy, Produced by Aaron A.

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Speaker 1: King Howard.

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Speaker 2: Edit mixed sound by Dwayne Crawford, music scoring by Trey Jones,

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Speaker 2: Talent booking by Nicole Spence,