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Speaker 1: He is drinks chests, motherfucking podcast man.

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Speaker 2: He's a legends every queens rapper.

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Speaker 1: He ain't agreed as your boy in O r E.

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Speaker 1: He's a Miami hip pop pioneer put up as d

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Speaker 1: j e f N.

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Speaker 2: Together they drink it up with some of the biggest

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Speaker 2: players you know, me and the most professional unprofessional podcast

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Speaker 2: and your number one source for drunk drinks chans mother

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Speaker 2: fu Postquavery Days.

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Speaker 1: New Year's c that's his time for drink champs. Drink up, mother, mother?

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Speaker 1: What a it gonna be hoping to beat your boy

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Speaker 1: n A O n A What up his dj e

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Speaker 1: f N. This is the military crazy war. Yeah, you

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Speaker 1: have a drinks champs. Yep, you have a man. Ye.

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Speaker 1: When we started this show, we started this saying that

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Speaker 1: we wanted to give flowers to legends, to people who

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Speaker 1: are eye cars, people who came before us, people who

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Speaker 1: have knocked down the door for us. In many ways,

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Speaker 1: this show wouldn't exist without this brother right here. Absolutely,

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Speaker 1: this brother has lead. When you see so many people

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Speaker 1: with podcasts, so many people owe him flowers, so many

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Speaker 1: he was at one point everybody wanted to be in

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Speaker 1: front of the camera. They didn't want to be interviewing

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Speaker 1: the stars. He he's I did research and they said

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Speaker 1: in hip hop he pulled he pulled off the first

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Speaker 1: pull up interview where they come to you. He'd been

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Speaker 1: a competing with Easy Eating. We got to talk about that.

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Speaker 1: He's been everywhere. He's interviewed Tupac and he's a legend.

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Speaker 1: He's an icon, and he's a write book writer. He's

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Speaker 1: a producer. Bloody shot of them out and ant Passil

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Speaker 1: should be called his name. They don't check the wow.

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Speaker 1: He is an innovator. He's more. He's a reason why

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Speaker 1: we're here. In case you don't know what we're talking

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Speaker 1: about about. The one Holy I haven't been drinking, but

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Speaker 1: I'm gonna drink today because I am celebrating you. Listen, man,

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Speaker 1: I'm not gonna lie to you. Thank you. We do

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Speaker 1: research and every now and then, I, uh, I get like,

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Speaker 1: you know, blown back, right, and I've realized how much

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Speaker 1: uh your TV raps was for that time, right, And

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Speaker 1: then I started. Then I realized you produced one of

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Speaker 1: the very first MTV videos that was hip hop on MTV. Well,

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Speaker 1: I was.

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Speaker 3: I was directed mad videos. The first video I directed

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Speaker 3: a little before your TV rap started.

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Speaker 4: Was my philosophy for Kris.

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Speaker 1: Hold On because I don't don't want to, all right,

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Speaker 1: because I want the kid invest out Brooklyn to you, Yeah, yeah,

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Speaker 1: I want to. You just said your first video, this

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Speaker 1: is your first video? Correct that I directed? Direction directed?

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Speaker 3: Okay, so for making Wild Style, that was my film school,

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Speaker 3: I like to say.

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Speaker 1: Right, so so so let's let's let's let's lets let's

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Speaker 1: bring people to the beginning, right, got it? How did

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Speaker 1: you how did you camera? How did you like start

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Speaker 1: thinking that? Because music videos wasn't the thing at the time, No,

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Speaker 1: it was actually radio records and then so eventually it got.

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Speaker 3: It was to MTV that music videos really tolew up

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Speaker 3: on a national basis. Yeah, so how did you start?

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Speaker 1: Yes?

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Speaker 3: Okay, Well I've just written a memoir which is just

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Speaker 3: so many stories I've been just dying to share with

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Speaker 3: people because it's been more.

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Speaker 4: Than a blessing.

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Speaker 3: But I definitely started out with a mission. But I

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Speaker 3: came from some place so growing up around my people,

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Speaker 3: I had jazz musicians, my hops. If I had a

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Speaker 3: neclected group of friends, very intelligent young brothers that was

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Speaker 3: wanting changed.

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Speaker 4: You know what I'm saying.

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Speaker 3: Things were beginning to happen as they were coming up.

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Speaker 3: Max Roach was my godfather, godfather and my dad's childhood friends.

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Speaker 3: I used to pick up on a lot of the

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Speaker 3: game around these guys. They was mad hip it was

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Speaker 3: puffing cannabis.

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Speaker 1: Jazz was like the first hip hop if you think

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Speaker 1: about it, thank you, thank you.

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Speaker 4: And even in the beginning.

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Speaker 3: Of jazz, they would looked at as worse than gangster rats.

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Speaker 4: Just come on, now, let's get it.

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Speaker 3: Don't get it twisted talking racism, you know, one of

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Speaker 3: them things that go on. So this is developing in

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Speaker 3: the nineteen twenties, so this was the way a lot

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Speaker 3: of our culture have been pigeonholed and looked at. So

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Speaker 3: for me, get it having inspired and learning things what

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Speaker 3: I grew up around my pop's friends, Max Roach. You know,

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Speaker 3: these cats were incredible artists, but not always so they

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Speaker 3: used to I used to hear them complain about not

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Speaker 3: being able to control like what they were doing. So

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Speaker 3: they were just as highly intelligent as anybody we know,

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Speaker 3: but they imagine that in a time when you was

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Speaker 3: being held back. I want to start a label. I

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Speaker 3: want to do this. I want to write the article.

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Speaker 3: Now that you know the other folks that was, you know,

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Speaker 3: loving the culture was all bad.

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Speaker 4: But it's like, hey, I'd like to do this too,

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Speaker 4: So those things.

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Speaker 1: Kind of rubbed off. So growing up.

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Speaker 3: Being a wild kid and bed star doing you know whatever,

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Speaker 3: you know, how we come up and doing. I began

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Speaker 3: to you know, I used to cut school and go

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Speaker 3: to the library.

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Speaker 1: Okay, I was to school and went to a different

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Speaker 1: type of school school to get educated.

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Speaker 3: I would cut school and go to the museums in

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Speaker 3: New York City. That was like going to Disney Line.

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Speaker 3: I go to the Metropolitan Museum.

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Speaker 1: Win.

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Speaker 3: That was just mad curious man though right correct.

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Speaker 1: Back in the days in the schools they would give you.

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Speaker 3: Every month you got a different pass. We can get

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Speaker 3: on the trains and buses for free. I was just

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Speaker 3: entertained myself and travel around. At the same time, in

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Speaker 3: the seventies.

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Speaker 1: Graffiti was strong.

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Speaker 3: It was everywhere, and it was developing from just writing

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Speaker 3: your name wherever it needed to be, to the letters,

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Speaker 3: the characters, the cases began to evolve, and so I

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Speaker 3: began to Having looked a been in museums a lot

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Speaker 3: and looked at.

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Speaker 4: The work of pop artists.

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Speaker 3: Andy Wahall Lichtenstein Rauschenberg, like I just absorbed all of that.

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Speaker 3: I'm like, wait a minute, the stuff that we's doing

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Speaker 3: in the subway is very similar.

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Speaker 4: They inspired by the same stuff.

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Speaker 1: I didn't realize that that that was the connection.

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Speaker 3: So then I'm like, man, if I could figure out

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Speaker 3: a way to, you know, tell this story and just.

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Speaker 4: Get to some people that would listen to this.

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Speaker 3: This is before there was any appreciation hip hop is

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Speaker 3: still not even hip hop yet. It's just wild parties

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Speaker 3: going on. I begin to think, like, what is happening

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Speaker 3: there with the music, What's happening with this type of

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Speaker 3: visual art which is really evolving.

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Speaker 4: There's the former dance. This is a new culture.

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Speaker 3: If I could get to a position where I can

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Speaker 3: share that with people, you know, that would be a

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Speaker 3: jump off. Plus, I was interested in taking my work

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Speaker 3: from having done graffiti to getting into the gallery spaces,

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Speaker 3: and the idea was to make this film Wild Stops.

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Speaker 3: I had this idea to combine all of those things together.

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Speaker 3: That's the directing part. It comes from no that becomes

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Speaker 3: the first film. I collaborated with a guy named Charlie

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Speaker 3: ahearn Okay, and I pitched the idea to him.

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Speaker 1: He was so your brainchild.

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Speaker 3: To be clear, basically, the basic idea that Charlie was

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Speaker 3: with it.

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Speaker 4: He has seen Lee and Jonis's work and it.

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Speaker 1: All came out before b Street correct Wild Style is

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Speaker 1: the first, this is the this is the.

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Speaker 3: Face had some good elements in it. Now, there was

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Speaker 3: a lot of other movies that came out, Wrapping, Breaking, Breaking, two,

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Speaker 3: three four, it was all trash, you know what I'm saying, like,

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Speaker 3: let's just cash in on this. Harry Belafonte and them,

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Speaker 3: they produced that and they was they had good intention

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Speaker 3: and a lot of good heads is in that. But

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Speaker 3: they followed the blueprint that we laid down, which is

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Speaker 3: how the game goes. You know, copy from the best.

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Speaker 3: But basically me and this cat Charlie got collaborated, went

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Speaker 3: up to the Bronx together. I was up on that

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Speaker 3: there was this new music. I'm from the best style,

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Speaker 3: but no, you had to know what was going on uptown.

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Speaker 3: So I finally when I'm working with Charlie, we going

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Speaker 3: to research and then we start heading uptown Ecstasy Garage.

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Speaker 1: See I like it sounds like a place.

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Speaker 4: I like, no, this is.

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Speaker 5: Just to put it in perspective, like, yes, obviously pre internet,

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Speaker 5: like this is pre hip hop, this is definitely yeah.

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Speaker 1: So like you had to.

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Speaker 5: Like really go into these places, yes that you kind

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Speaker 5: of heard something was going on, to actually experience it.

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Speaker 3: The way the music really traveled back then was ya

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Speaker 3: a boombox and I always had a double cassette. So

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Speaker 3: if you, if you was blessed enough to get close

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Speaker 3: to it, your baby, run me a copy. That's what

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Speaker 3: them double concess Okay, man, I run off for ninety

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Speaker 3: minute whatever sixty tep for you. And then the music

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Speaker 3: spread and that's how the music really got it.

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Speaker 1: It was viral. That was the way to go perfection.

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Speaker 3: That was the origin, the origins of viral hand but

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Speaker 3: it was hand to hand, you know, really great vine

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Speaker 3: type of stuff. And so the idea was to put

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Speaker 3: all this stuff in the film and showcase it. And

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Speaker 3: that's the movie we made co while style. But I

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Speaker 3: learned a little bit about filmmaking because I was like,

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Speaker 3: you're like the co producer. And then what became when

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Speaker 3: I walked in, Y was playing some of the instrumentals

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Speaker 3: from the film.

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Speaker 4: I wanted to use your real music. I'm like, what

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Speaker 4: the hell is?

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Speaker 3: Everything was so underground, but We was connected with Theodore

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Speaker 3: and Flash and Charlie Chase and Tony Ton you know,

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Speaker 3: we was connected with the core of the scene. And

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Speaker 3: Charlie said, no, we can't use those records. And I said, okay,

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Speaker 3: I'm gonna go and make this music. So I pulled

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Speaker 3: together bass player, a drummer, you know, listen to some beats,

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Speaker 3: you know, and told them, YO, give me something like this.

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Speaker 3: And then Chris Stein from Blondie. Him and Kirsten Debbie

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Speaker 3: were the core of Blondie. I had hooked up with

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Speaker 3: them and other people on the downtown New York scene

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Speaker 3: and I would run these ideas by them and they

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Speaker 3: became supporters, looking out guidance, cooking, introducing me to people

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Speaker 3: like Andy Wall, etc.

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Speaker 1: Blondie record, Yeah.

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Speaker 3: That's what So that record rapture comes out of me, Yo,

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Speaker 3: this is what's going on new culture. That shouted me out,

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Speaker 3: shout it out, Flash, you know, say Freddy told me

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Speaker 3: everybody's fly by the way. It's the title of my memoir.

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Speaker 3: And it was just all love. But they really appreciated

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Speaker 3: shouted out what I was doing. You know, don't strain

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Speaker 3: your brain, pain and train. But nobody really knew who

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Speaker 3: I was at the time, but it really put the

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Speaker 3: spark in people like what is this all about?

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Speaker 1: And it just became a number one. Blondie was like

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Speaker 1: like the lady God got that that era description and yeah,

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Speaker 1: that's a real good description.

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Speaker 3: And in fact, Lady Gaga was on the club scene

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Speaker 3: coming up. My man Troy Carter brother out of Philly,

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Speaker 3: managed to end the beginning. Get the hell Carter is

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Speaker 3: a genius. You need to have him come through here.

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Speaker 5: He's just like Madonna was exposed as like they were

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Speaker 5: all in those club scenes.

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Speaker 1: Yeah, well you're mingling with the hip hop scene as well.

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Speaker 3: That's right, and you know, we was all tight. And

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Speaker 3: when she came on the scene. Mark Caimans, who produced

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Speaker 3: some of her first records, here, fabous, this is this

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Speaker 3: girl just in from d Detroit.

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Speaker 4: I'm working on her first records.

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Speaker 6: But Donna's from Detroit. Yes, oh really yeah, hoodie yeah

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Speaker 6: ye from mom Yeah, okay, you stole that on us.

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Speaker 6: You know you got you got Frank Ocean Blondie motherfucker.

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Speaker 4: Yeah, rapture, here you go.

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Speaker 1: No, you gotta go to raps.

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Speaker 3: Trying to find that one.

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Speaker 1: Yeah, there you go. Yes, now now you know you

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Speaker 1: don't know, but in New York City record was everywhere else.

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Speaker 1: I mean I was onhere you don't want to be.

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Speaker 3: Yeah, that's crazy, that's okay. But Number one records wild.

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Speaker 1: So how does this record coup about?

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Speaker 3: So basically, once again, in my pursuit to make connections

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Speaker 3: with people to get the movie made and connect and

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Speaker 3: to get things popping, and you know, with with with

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Speaker 3: my visual art and everything, we became really tight. And

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Speaker 3: I'm playing tapes for them, I'm running it down and

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Speaker 3: I'm seeing the comparison between what's developing in the Bronx

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Speaker 3: and the way the new wave and the punk rock

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Speaker 3: scene jumped off, because I just happened to catch on

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Speaker 3: to that early.

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Speaker 1: And I'm reading this is that's why what they're doing.

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Speaker 1: But that's kind of like what rat was doing, like

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Speaker 1: because they had the spikes, so people were mistaking it

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Speaker 1: for punk rock at first, right, like a black version

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Speaker 1: of punk rock.

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Speaker 3: That's exactly right, because those things was happening some people,

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Speaker 3: like when Flashing them got real wild, it was like.

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Speaker 4: A punk funk thing.

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Speaker 3: There was syenergy, but no, but they was also oh,

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Speaker 3: they was looking at what Rick James and then was

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Speaker 3: doing whatever, which was all good, but it was in

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Speaker 3: the air at that time. But basically they had told

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Speaker 3: me that they wanted to make some funkier music. I mean,

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Speaker 3: out of that new wave scene. They were literally like

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Speaker 3: the biggest group. They just went mainstream in a really

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Speaker 3: cool way, but they still was really about the underground

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Speaker 3: in downtown. I'm talking about Blinde and so they said

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Speaker 3: they was they wanted to do something a little more funky,

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Speaker 3: funkier music or whatever people could dance to. So then

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Speaker 3: they jetted to go to Cali or whatever to work

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Speaker 3: on their next album. When they came back, they called

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Speaker 3: me to come over to the crib. They said, man,

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Speaker 3: we want to check drop some of these new.

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Speaker 1: Tracks on you.

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Speaker 3: They played me a couple of songs and then they said, okay,

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Speaker 3: here's something a little different.

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Speaker 1: And then when they put.

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Speaker 3: It on, I'm like, you know, the singing part, I'm like, wow,

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Speaker 3: this is fly. And then when she starts rapping, I'm like, wow,

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Speaker 3: this is crazy.

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Speaker 4: I totally thought that.

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Speaker 3: This was just something they did in the studio, goofing,

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Speaker 3: just to let me hear, because they never said we're

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Speaker 3: gonna try to do a rap record or whatever whatever

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Speaker 3: serious and I thought just that they was playing around

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Speaker 3: in the studio. Here's a special little something just to

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Speaker 3: play for Freddy, you know whatever.

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Speaker 1: Whatever.

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Speaker 3: So I loved that, and that was so cool. That's

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Speaker 3: how I thought it was. It wasn't until two months

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Speaker 3: later I was in Paris for the first time after

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Speaker 3: my second art show in Italy, and I'm hanging out

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Speaker 3: actually with two members of the Talking Heads, and we

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Speaker 3: get into a cab on our way to a restaurant

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Speaker 3: and I hear this song in a cab.

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Speaker 1: I'm like, how does this cab driver like, no, it's

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Speaker 1: you right? No? How does he get a copy of

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Speaker 1: this suit hits the radio? Yeah?

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Speaker 3: Yeah, they said, Freddie, this is the next Blondie single.

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Speaker 3: This is the next Blondie single on a new album.

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Speaker 3: And I'm like, I never thought it was going to

299
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Speaker 3: be like a serious runner. I thought they was just

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Speaker 3: playing it goes on to be number one?

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Speaker 1: Did you think it was Maybe they might be looked

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Speaker 1: at as like a clowning parody of hip hop at

303
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Speaker 1: the time, No, hmm.

304
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Speaker 3: You know, I wasn't too concerned about that because rap,

305
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Speaker 3: I mean, probably the only thing most people had heard

306
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Speaker 3: at that time was rappers D light, so nobody was really.

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Speaker 5: Interestating backlash as well from within the culture.

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Speaker 4: Well yeah, for obvious reasons.

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Speaker 3: But in the country, mainstream people had no it was

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Speaker 3: a fun record.

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Speaker 4: People didn't know it was a real culture.

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Speaker 3: That's one of the things I wanted to show in

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Speaker 3: Wild Style, which is a part of what WildStar ends

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Speaker 3: up doing. It shows who we are because our decision

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Speaker 3: was to use all the artists, the musicians, the graffiti writers,

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Speaker 3: the breakdances, the b boys, girls to play themselves, you feel.

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Speaker 3: That was one of the concepts me and Charlie came

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Speaker 3: up with for the film.

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Speaker 4: But basically it.

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Speaker 3: Was a surprise to me that the record caught on.

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Speaker 1: The way it did.

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Speaker 3: I was like, Yo, it's cool that they did it,

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Speaker 3: that they shouted me out, They talked about things we

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Speaker 3: was doing, you know, they shout it out Flash.

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Speaker 4: It was just like things I told them.

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Speaker 1: I said, Yo.

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Speaker 3: As far as DJ's Flash is known for being, you know,

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Speaker 3: super fast with it, fly guys and Fly Girls is

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Speaker 3: how to scene.

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Speaker 1: You know, to people who represent put the she she

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Speaker 1: freaked it the artist.

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Speaker 3: Does yeah, exactly, put her own little spin on it.

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Speaker 1: And it just was a lot of love, you know

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Speaker 1: what I mean.

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Speaker 3: And so oh so the other interesting thing about the video.

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00:16:11,640 --> 00:16:14,080
Speaker 3: So I had told Flash to come through because you know,

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00:16:14,320 --> 00:16:16,680
Speaker 3: we're working on putting grand Master Flash by the way,

338
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Speaker 3: guys le.

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Speaker 4: Grandmaster Flash.

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Speaker 3: And so because we're still in production pre production on

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Speaker 3: make the movie Wild Style, and so ik new flashing them.

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Speaker 3: I say, yo, come through. This record just came out.

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Speaker 3: You know, you get a shout out, you know, shot

344
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Speaker 3: me on the record. Come through and be in the

345
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Speaker 3: video videos wasn't really a thing yet. And Flash says, Okay,

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Speaker 3: I'm coming. But he never shows up. It's only recently

347
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Speaker 3: that he's explaining to me that Sylvia was like, Yo,

348
00:16:45,240 --> 00:16:49,040
Speaker 3: don't you know, stay away from that whatever, Tylvia Robinson,

349
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Speaker 3: that Sugar Sugar Sugar Hill Records.

350
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Speaker 4: So Jean Michelle, that's my man too.

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Speaker 1: That we was all think, Joe Michelle even, yeah too much.

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Speaker 1: Stop me for one second, please remember that story. Right.

353
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Speaker 1: But the other day, I'm sitting there, right, I had

354
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Speaker 1: posted a picture with pun and I go to a

355
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Speaker 1: can forget. I think it was a sneakers stall and

356
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Speaker 1: the kid is just telling me and he's just asking

357
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Speaker 1: me about fun and I'm sitting there and all the

358
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Speaker 1: questions he's asking me. It was like normal questions. It

359
00:17:34,720 --> 00:17:37,080
Speaker 1: was like, you know, he's just my friend, like and

360
00:17:37,160 --> 00:17:40,720
Speaker 1: I realized he looked at pun as a superhero, and

361
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Speaker 1: I realized he is a superhero. He's my friend. What

362
00:17:46,520 --> 00:17:48,800
Speaker 1: I just said the other day, I say, I didn't

363
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Speaker 1: realize how dope mob Deep was because I was like

364
00:17:51,040 --> 00:17:54,800
Speaker 1: so much kind of like what you doing so not

365
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Speaker 1: with you. I'm watching documentaries on you, I'm watching interviews,

366
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Speaker 1: and you always like you have the coolest friends. Let

367
00:18:02,840 --> 00:18:05,159
Speaker 1: me just say that. Let me say that, right, But

368
00:18:05,440 --> 00:18:09,520
Speaker 1: therefore he's one of the coolest guys. But after this

369
00:18:09,600 --> 00:18:12,320
Speaker 1: guy asked me about one, I thought about you and

370
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Speaker 1: how you just said, Michelle, and you said it so notionalists.

371
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Speaker 1: But the thing about it is, here's the deal. This

372
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Speaker 1: is a person, this is this is a person for me.

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Speaker 1: I knew problem was a legend right when I'm when

374
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Speaker 1: I walked through, I knew it was something special about him.

375
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Speaker 1: I knew he was. It was different. He goes on

376
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Speaker 1: and becomes even more of a folk telle. More for

377
00:18:40,840 --> 00:18:42,520
Speaker 1: a legend, more for like you know what I'm saying,

378
00:18:42,560 --> 00:18:51,600
Speaker 1: like more for a story. In your situation with boskya

379
00:18:52,200 --> 00:18:57,400
Speaker 1: we only really have stories, right, Like he's the Jesus

380
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Speaker 1: that we actually got a picture of. Right, He's changed culture,

381
00:19:02,880 --> 00:19:07,720
Speaker 1: he's changed ship, and you were like you guys were

382
00:19:07,760 --> 00:19:08,960
Speaker 1: fucking tight as hell.

383
00:19:09,400 --> 00:19:14,200
Speaker 3: Like I'm getting in your business man, like it gets

384
00:19:14,240 --> 00:19:17,760
Speaker 3: even deeper in these pages that and everybody wanted to

385
00:19:18,359 --> 00:19:20,560
Speaker 3: people another one.

386
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Speaker 1: So how did you meet Boskia? How did this? And

387
00:19:24,080 --> 00:19:25,159
Speaker 1: let me let me get let me get let me

388
00:19:25,160 --> 00:19:29,439
Speaker 1: get you the first question. Sure? Sure? Did you know

389
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Speaker 1: how special he was when he was here?

390
00:19:33,440 --> 00:19:36,399
Speaker 3: In a way, yes, like the way you knew plumbing

391
00:19:36,480 --> 00:19:39,960
Speaker 3: special or somebody that you rock with. Did y'all become

392
00:19:40,119 --> 00:19:43,040
Speaker 3: like comrades in the game and you respect him, you

393
00:19:43,080 --> 00:19:46,080
Speaker 3: respect you and y'all trying to get it, get it popping.

394
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Speaker 4: It's like it really was just that.

395
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Speaker 1: But let me coach you for one second, super pun,

396
00:19:50,760 --> 00:19:53,600
Speaker 1: there was a heavy d there was a biggie before him.

397
00:19:53,760 --> 00:19:57,320
Speaker 1: There was there's no other before and there's happening to

398
00:19:57,359 --> 00:20:01,280
Speaker 1: be no other. So now this course is a little tougher.

399
00:20:01,320 --> 00:20:04,479
Speaker 3: I'm sorry, No, No, that's you're one hundred percent correct

400
00:20:04,520 --> 00:20:09,560
Speaker 3: because it's very few black artists that were able to

401
00:20:09,640 --> 00:20:13,280
Speaker 3: make the moves, particularly that gen made that we made,

402
00:20:13,680 --> 00:20:16,840
Speaker 3: and these were things what was so dope about connecting

403
00:20:16,880 --> 00:20:19,399
Speaker 3: with him? Like I told you, I cut school and

404
00:20:19,520 --> 00:20:24,000
Speaker 3: used to go to museums museums all over the city.

405
00:20:24,160 --> 00:20:27,760
Speaker 3: I got very familiar essentially with the history of art,

406
00:20:27,880 --> 00:20:30,439
Speaker 3: not like on a scholarly level, but a lot of

407
00:20:30,480 --> 00:20:34,000
Speaker 3: different genres of art I looked at in the museums.

408
00:20:34,280 --> 00:20:36,120
Speaker 4: I would look at books and read a little.

409
00:20:37,480 --> 00:20:37,960
Speaker 1: I got.

410
00:20:38,160 --> 00:20:41,840
Speaker 3: You know, it's an ongoing process, but I was like wow.

411
00:20:41,960 --> 00:20:45,520
Speaker 3: And then like reading about a certain painter or seeing

412
00:20:45,560 --> 00:20:48,040
Speaker 3: some work that you feel and then you could stand

413
00:20:48,119 --> 00:20:50,359
Speaker 3: right in front of it like in the museum, like

414
00:20:50,880 --> 00:20:53,640
Speaker 3: in the gallery first, and that was like, oh my god.

415
00:20:54,000 --> 00:20:57,159
Speaker 3: I felt like a connection to that. So when I

416
00:20:57,240 --> 00:21:00,960
Speaker 3: connect with people on the downtown in New York, like

417
00:21:01,240 --> 00:21:04,639
Speaker 3: Kristian Debbie from Blondie, Glenn O'Brien rest in Peace, there

418
00:21:04,680 --> 00:21:07,240
Speaker 3: was a whole bunch of cool people I connected with that.

419
00:21:07,320 --> 00:21:10,800
Speaker 3: I got plugged into that downtown scene. And Jean Michelle

420
00:21:10,800 --> 00:21:14,520
Speaker 3: shows up right around that same time. He had started

421
00:21:14,560 --> 00:21:18,040
Speaker 3: out doing these street little him and another cat named

422
00:21:18,080 --> 00:21:21,200
Speaker 3: al Diaz. Initially it was called same O and he

423
00:21:21,240 --> 00:21:24,720
Speaker 3: would tag up like the tag with same O with

424
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Speaker 3: a copyright symbol.

425
00:21:26,080 --> 00:21:27,080
Speaker 4: But he would write.

426
00:21:26,880 --> 00:21:30,879
Speaker 3: These little phrases like they would be checking people or

427
00:21:31,119 --> 00:21:35,360
Speaker 3: really make you think, like messages if you will, kind

428
00:21:35,359 --> 00:21:37,840
Speaker 3: of poetic, but he would be putting people in check,

429
00:21:37,920 --> 00:21:42,560
Speaker 3: like one I remember he was like same o, checking

430
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Speaker 3: those who are on the scene, trying to play art

431
00:21:46,680 --> 00:21:50,080
Speaker 3: with daddy's money, or little things like that that would

432
00:21:50,119 --> 00:21:52,080
Speaker 3: be like, oh, yeah, that's really.

433
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Speaker 1: What's going on.

434
00:21:53,640 --> 00:21:56,040
Speaker 3: Yeah, this would be little tags that would google it.

435
00:21:56,119 --> 00:21:58,520
Speaker 3: You'll see what these same old tags look like. And

436
00:21:58,560 --> 00:22:00,639
Speaker 3: he was just writing them, so there was very like

437
00:22:01,040 --> 00:22:03,159
Speaker 3: you would see them if he was moving through the village.

438
00:22:03,480 --> 00:22:04,920
Speaker 4: He would hit a few trains.

439
00:22:05,200 --> 00:22:07,800
Speaker 3: Him and his cat al Diz did it together. But

440
00:22:07,840 --> 00:22:11,879
Speaker 3: then Jean just you know, became like the he became

441
00:22:12,119 --> 00:22:14,879
Speaker 3: the face of it, so to speak. And so he

442
00:22:14,960 --> 00:22:17,639
Speaker 3: had did that for a while. But he also was

443
00:22:17,760 --> 00:22:20,440
Speaker 3: very creative. He was trying to figure things out and

444
00:22:20,880 --> 00:22:24,159
Speaker 3: thinking about being an artist. He was he was in

445
00:22:24,200 --> 00:22:26,080
Speaker 3: a band for a while. That was a cool thing

446
00:22:26,119 --> 00:22:28,720
Speaker 3: to be on that downtown scene, to be in a band.

447
00:22:30,400 --> 00:22:34,040
Speaker 3: So we meet and then it's like right away he's

448
00:22:34,240 --> 00:22:37,600
Speaker 3: very aware of art history because you know, coming up

449
00:22:37,600 --> 00:22:40,879
Speaker 3: in best style, I'm hanging. You know, I'm thugging, you

450
00:22:40,920 --> 00:22:43,040
Speaker 3: know what I'm saying. I'm doing this, that and the third.

451
00:22:43,240 --> 00:22:45,919
Speaker 3: But I'm just knowing about the art. Stuff was not

452
00:22:46,119 --> 00:22:48,280
Speaker 3: what I'm trying to kick with casts on the corner

453
00:22:48,400 --> 00:22:50,200
Speaker 3: whatever you hip hop niggas was in an artist at

454
00:22:50,200 --> 00:22:51,960
Speaker 3: that time, right, nobody in.

455
00:22:53,640 --> 00:22:54,240
Speaker 1: Band thing.

456
00:22:54,600 --> 00:22:57,400
Speaker 3: So when me and Jean connect and I'm like, yo,

457
00:22:57,840 --> 00:23:00,399
Speaker 3: he hood he from Haiti, He from Haiti. But you know,

458
00:23:00,600 --> 00:23:03,840
Speaker 3: we had similar backgrounds. Both our fathers was like accountants

459
00:23:03,880 --> 00:23:06,840
Speaker 3: and whatever. But he was like, you know, he basically

460
00:23:06,880 --> 00:23:09,439
Speaker 3: had left home. His pops wasn't with it, yo, you know,

461
00:23:09,760 --> 00:23:11,680
Speaker 3: and John just broke off. So he was in the

462
00:23:11,760 --> 00:23:15,600
Speaker 3: village making moves, bouncing around. And so when we connect,

463
00:23:15,800 --> 00:23:21,120
Speaker 3: it was like, yo, I know about Warhall, Jasper, John's Rosenberg,

464
00:23:21,560 --> 00:23:25,679
Speaker 3: all these artists, contemporary artists, abstract expressionists. I was like,

465
00:23:25,720 --> 00:23:28,240
Speaker 3: oh my god, this is incredible. Somebody like my age

466
00:23:28,400 --> 00:23:30,320
Speaker 3: who's up on this stuff. And we could talk about

467
00:23:30,359 --> 00:23:32,439
Speaker 3: this stuff. And so right away it was on a

468
00:23:32,440 --> 00:23:34,960
Speaker 3: similar mission in a similar part of town. We just

469
00:23:35,000 --> 00:23:37,679
Speaker 3: became tight because it wasn't too many brothers on the

470
00:23:37,760 --> 00:23:40,720
Speaker 3: scene at that time trying to make moves and right

471
00:23:40,760 --> 00:23:43,480
Speaker 3: away we linked up. I put I'm putting them on, yo.

472
00:23:43,600 --> 00:23:45,840
Speaker 3: It's this new kind of music going on uptown. Put

473
00:23:45,920 --> 00:23:48,000
Speaker 3: him on the hip hop well once again, it even

474
00:23:48,040 --> 00:23:52,600
Speaker 3: hip hop yet I'm tapping. I got cold crush tapes,

475
00:23:52,840 --> 00:23:55,560
Speaker 3: I got tastes. Was fantastic because I'm getting next to

476
00:23:55,560 --> 00:23:58,320
Speaker 3: the scene now, Yo, this is that new ship right here.

477
00:23:58,320 --> 00:24:01,800
Speaker 3: Because you couldn't hear this anywhere. You feel me, He

478
00:24:01,920 --> 00:24:03,879
Speaker 3: was like, I was like, oh yeah, man, you know.

479
00:24:04,320 --> 00:24:07,320
Speaker 3: And then we're making moves going to the downtown clubs.

480
00:24:07,359 --> 00:24:10,320
Speaker 3: That was a move, like the Mud Club and places

481
00:24:10,359 --> 00:24:13,080
Speaker 3: like that. We bouncing around the East Village downtown and

482
00:24:13,119 --> 00:24:16,600
Speaker 3: that's how it all got popping, and Sean Star begins

483
00:24:16,640 --> 00:24:19,679
Speaker 3: to rise, you know, like rather quickly, just being a

484
00:24:19,720 --> 00:24:20,879
Speaker 3: cool cat on the scene.

485
00:24:21,480 --> 00:24:23,880
Speaker 4: Then we as people see.

486
00:24:23,640 --> 00:24:26,479
Speaker 3: The things that I've done with the art thing, and

487
00:24:26,720 --> 00:24:30,160
Speaker 3: I'm opening and bringing other helping other graffiti casts as

488
00:24:30,200 --> 00:24:33,200
Speaker 3: me and Lee. The name starts to our names start

489
00:24:33,240 --> 00:24:36,119
Speaker 3: to ring a little bit. And then we're working on

490
00:24:36,240 --> 00:24:38,679
Speaker 3: Wild Style where we're gonna feature this so other casts

491
00:24:38,680 --> 00:24:42,440
Speaker 3: that's real official graffiti people. They start coming getting into

492
00:24:42,440 --> 00:24:45,919
Speaker 3: the mix too, because there's this opportunity now to like,

493
00:24:46,000 --> 00:24:50,000
Speaker 3: look at our work in galleries, so it's alternative type

494
00:24:50,040 --> 00:24:54,159
Speaker 3: galleries like the gallery in the South Bronx called Fashion Mota.

495
00:24:54,880 --> 00:24:57,480
Speaker 3: A gallery opened in the East Village really to show

496
00:24:57,560 --> 00:25:01,439
Speaker 3: our work exclusively called the Fun Gallery. And this changed

497
00:25:01,440 --> 00:25:04,280
Speaker 3: the whole game because it had been in Soho, which

498
00:25:04,320 --> 00:25:07,560
Speaker 3: was where the contemporary art scene was really popping. And

499
00:25:07,600 --> 00:25:11,040
Speaker 3: we shifted the whole game with our energy. And then

500
00:25:11,119 --> 00:25:15,720
Speaker 3: this gallery opened to show our work myself Futura Lead,

501
00:25:16,320 --> 00:25:20,520
Speaker 3: Crash Days Pink, and the scene caught fire like real

502
00:25:20,680 --> 00:25:24,160
Speaker 3: quick and it was a war come around you guys

503
00:25:24,200 --> 00:25:26,240
Speaker 3: in this ball hall began because you know, and then

504
00:25:26,400 --> 00:25:28,080
Speaker 3: one of the things I did, because I was such

505
00:25:28,080 --> 00:25:30,840
Speaker 3: a fan and dug his whole like just the whole

506
00:25:31,200 --> 00:25:33,680
Speaker 3: impact he had on culture and you know, the cool

507
00:25:33,720 --> 00:25:36,600
Speaker 3: factor going on, and to let people know that some

508
00:25:36,640 --> 00:25:40,520
Speaker 3: people doing graffiti was really hip to art history. I

509
00:25:40,600 --> 00:25:47,120
Speaker 3: did a train covered in Campbell soup cans Lee got

510
00:25:47,160 --> 00:25:49,560
Speaker 3: down on it with me. Was the idea I had

511
00:25:49,640 --> 00:25:51,960
Speaker 3: to to let them know that we was hip to

512
00:25:52,080 --> 00:25:54,040
Speaker 3: art history and that we was coming.

513
00:25:54,400 --> 00:25:57,400
Speaker 1: We was, you know, the move was on, you feel me, and.

514
00:25:57,320 --> 00:26:00,760
Speaker 3: It began to take. It began to you know, come

515
00:26:00,800 --> 00:26:02,840
Speaker 3: together in ways.

516
00:26:02,520 --> 00:26:05,199
Speaker 1: That you know, I mean, look at the impact to today,

517
00:26:05,280 --> 00:26:08,760
Speaker 1: Like we're in wind Wood right now, an.

518
00:26:08,640 --> 00:26:11,040
Speaker 5: Example of what that exactly?

519
00:26:11,200 --> 00:26:13,600
Speaker 1: Right, let me ask you, Like I said, I knew

520
00:26:13,600 --> 00:26:16,080
Speaker 1: problem with especially I didn't know how special he was.

521
00:26:16,119 --> 00:26:18,240
Speaker 1: I didn't know how legendary he was. I didn't know

522
00:26:18,240 --> 00:26:20,919
Speaker 1: how much he meant to the people till after he

523
00:26:20,960 --> 00:26:22,399
Speaker 1: passed away and I got to see it, and I

524
00:26:22,680 --> 00:26:24,840
Speaker 1: see the impact, and I got to realize that my

525
00:26:24,920 --> 00:26:28,600
Speaker 1: friend always belonged to the world. I thought he was

526
00:26:28,680 --> 00:26:30,800
Speaker 1: just my friend, you know what I'm saying, and like

527
00:26:30,920 --> 00:26:34,720
Speaker 1: for not But what we we got to do was

528
00:26:34,840 --> 00:26:37,119
Speaker 1: we got I got to do records for him. He

529
00:26:37,200 --> 00:26:39,200
Speaker 1: got to do records for me. And there's a bunch

530
00:26:39,200 --> 00:26:41,399
Speaker 1: of records tests laying around. You want to try the

531
00:26:41,440 --> 00:26:44,520
Speaker 1: watermelon mix, the watermelon selica mix, Please just try it

532
00:26:44,520 --> 00:26:48,040
Speaker 1: one time because you want to mix yourself, Like, try

533
00:26:48,080 --> 00:26:50,600
Speaker 1: to try the watermelon just one one drink, just one drink,

534
00:26:50,640 --> 00:26:53,920
Speaker 1: because you're going to turn into kool aid. So so

535
00:26:54,240 --> 00:26:57,000
Speaker 1: me and put we got a chance to do that, right.

536
00:26:58,040 --> 00:27:00,960
Speaker 1: Did you ever like be around Vosqua and be like,

537
00:27:01,080 --> 00:27:03,040
Speaker 1: man drove me some for me.

538
00:27:04,040 --> 00:27:07,720
Speaker 3: That's funny no, but but people ask all the time

539
00:27:07,760 --> 00:27:13,240
Speaker 3: because of the whole undisbelievable phenomenal success of everything. It's

540
00:27:13,320 --> 00:27:18,120
Speaker 3: really it's really like a remarkable thing, and the numbers

541
00:27:18,160 --> 00:27:22,600
Speaker 3: associated with his work, which is just insanity. People often

542
00:27:22,760 --> 00:27:28,040
Speaker 3: always ask, yo, you gotta ain't at work because you know, ridiculous.

543
00:27:28,119 --> 00:27:29,840
Speaker 1: I got a punt birse somewhere later around.

544
00:27:30,200 --> 00:27:34,399
Speaker 3: No, it's such a great comparative, you know, type of

545
00:27:34,440 --> 00:27:36,960
Speaker 3: situation you and pun, me and Jean and me and

546
00:27:37,040 --> 00:27:37,960
Speaker 3: other friends that were.

547
00:27:37,920 --> 00:27:39,119
Speaker 1: Artists, well artists.

548
00:27:39,160 --> 00:27:41,160
Speaker 3: Often times we do is they we give each other

549
00:27:41,240 --> 00:27:42,960
Speaker 3: work or just make a trade.

550
00:27:42,800 --> 00:27:43,840
Speaker 1: Like yo, man, I like that.

551
00:27:43,960 --> 00:27:46,240
Speaker 4: Yo, okay, I got you. You know what I'm saying.

552
00:27:46,320 --> 00:27:49,439
Speaker 3: So those kind of things is how we dealt with

553
00:27:49,480 --> 00:27:51,119
Speaker 3: each other in terms of the work or whatever.

554
00:27:52,200 --> 00:27:55,760
Speaker 4: But yeah, with Jean, like it was just a unique situation.

555
00:27:56,440 --> 00:27:59,840
Speaker 3: He had a sincere understanding of going forward in a

556
00:28:00,040 --> 00:28:02,879
Speaker 3: really hard way and it was such a unique individual.

557
00:28:03,200 --> 00:28:05,360
Speaker 3: Like you would cut his head in real wild kind

558
00:28:05,400 --> 00:28:07,920
Speaker 3: of ways, you know, dreadlocks.

559
00:28:07,359 --> 00:28:09,960
Speaker 4: Growing his he was hot top.

560
00:28:10,040 --> 00:28:12,080
Speaker 3: He would do real wild different things.

561
00:28:12,160 --> 00:28:14,320
Speaker 1: It looks so cool now, but did it look cool

562
00:28:14,359 --> 00:28:15,240
Speaker 1: back then? Yeah?

563
00:28:15,280 --> 00:28:18,520
Speaker 3: But sometimes like being that you know, you got the

564
00:28:18,600 --> 00:28:22,119
Speaker 3: ignorance that goes along with like racism and whatever. A

565
00:28:22,119 --> 00:28:24,760
Speaker 3: lot of people was real cool on the scene, but

566
00:28:24,880 --> 00:28:28,119
Speaker 3: sometimes we'd be making a move walking down certain areas.

567
00:28:28,119 --> 00:28:29,600
Speaker 4: This is before Soho or.

568
00:28:29,520 --> 00:28:29,879
Speaker 1: Any of that.

569
00:28:29,920 --> 00:28:32,919
Speaker 3: Downtown was anything like it is now, and people sometimes

570
00:28:32,960 --> 00:28:36,440
Speaker 3: seeing us, but particularly Jean, they cross on the other

571
00:28:36,480 --> 00:28:40,400
Speaker 3: side of the street his head. People dreadlocks were still

572
00:28:40,440 --> 00:28:42,480
Speaker 3: a new thing, but that's like a come on, what

573
00:28:42,680 --> 00:28:45,800
Speaker 3: you being so stupid? Then that becomes a style now

574
00:28:45,840 --> 00:28:48,440
Speaker 3: that people replicate all over the world, but at that

575
00:28:48,560 --> 00:28:50,840
Speaker 3: time it was really extreme. You really didn't see a

576
00:28:50,880 --> 00:28:54,080
Speaker 3: lot of that, but people would just react really negatively.

577
00:28:54,200 --> 00:28:56,520
Speaker 3: Jean told me sometimes he'd be getting on an elevator

578
00:28:56,840 --> 00:28:58,800
Speaker 3: and folks would see him and give, you know, like

579
00:28:59,000 --> 00:29:02,320
Speaker 3: get off. So that went on. Cabs wasn't trying to

580
00:29:02,320 --> 00:29:03,640
Speaker 3: pick us up. So it was a lot of like

581
00:29:04,120 --> 00:29:06,920
Speaker 3: stuff that we had to deal with more than what

582
00:29:07,000 --> 00:29:10,280
Speaker 3: years is this around. This is like the early eighties

583
00:29:10,360 --> 00:29:13,280
Speaker 3: essentially when it began to start popping for us, early

584
00:29:13,320 --> 00:29:16,400
Speaker 3: eighties going through. But it began to change because a

585
00:29:16,400 --> 00:29:18,560
Speaker 3: lot of the like the white guys that were cab drivers,

586
00:29:18,640 --> 00:29:21,960
Speaker 3: like they moved on and cab drivers, yellow cab javers

587
00:29:22,000 --> 00:29:23,160
Speaker 3: primarily became.

588
00:29:23,760 --> 00:29:26,000
Speaker 1: People of color and things changed.

589
00:29:26,560 --> 00:29:29,000
Speaker 3: But but definitely Jean, you know, it's just an incredible cat,

590
00:29:29,080 --> 00:29:30,760
Speaker 3: real cool. We had a lot of fun going to

591
00:29:30,800 --> 00:29:35,160
Speaker 3: clubs doing things. But uh, you know, he definitely just exploded,

592
00:29:35,200 --> 00:29:36,840
Speaker 3: which was amazing to see it happened.

593
00:29:37,280 --> 00:29:40,280
Speaker 1: It was was he like the because we hear other

594
00:29:40,760 --> 00:29:44,720
Speaker 1: and this is pure ignorance, correct question. All we hear

595
00:29:44,960 --> 00:29:49,680
Speaker 1: other black artists, but we don't hear other black cool artists,

596
00:29:49,760 --> 00:29:53,880
Speaker 1: right right. Was there other artists before him? Yeah? There was,

597
00:29:53,920 --> 00:29:54,160
Speaker 1: There was.

598
00:29:54,200 --> 00:29:57,080
Speaker 3: There was definitely other black artists because of the segregation,

599
00:29:57,240 --> 00:30:00,040
Speaker 3: and it was a black art scene for sure. That

600
00:30:00,120 --> 00:30:03,240
Speaker 3: goes back to the time of the Harlem Renaissance and

601
00:30:03,320 --> 00:30:04,960
Speaker 3: like and what have you. You know what I'm saying,

602
00:30:05,920 --> 00:30:11,760
Speaker 3: artists like Romar Beard and Jacob Lawrence. There's incredible black

603
00:30:11,840 --> 00:30:14,200
Speaker 3: artists that made incredible work. A part of the Harlem

604
00:30:14,280 --> 00:30:18,120
Speaker 3: Renaissance happening was black folks for the first time in

605
00:30:18,160 --> 00:30:20,520
Speaker 3: our history being in this in this country, and you

606
00:30:20,800 --> 00:30:21,920
Speaker 3: obviously know the history.

607
00:30:22,360 --> 00:30:24,200
Speaker 4: We was coming, we was migrating.

608
00:30:24,280 --> 00:30:26,280
Speaker 3: It was called a great migration from the South, and

609
00:30:26,720 --> 00:30:30,400
Speaker 3: still oppression after slavery ended, Black folks was like we

610
00:30:30,560 --> 00:30:33,040
Speaker 3: going north, were trying to get to Chicago. We're trying

611
00:30:33,040 --> 00:30:34,960
Speaker 3: to get to New York. Even though they probably raised

612
00:30:34,960 --> 00:30:36,960
Speaker 3: the prices on us. We were trying to get away

613
00:30:36,960 --> 00:30:38,040
Speaker 3: from all that pressure that we.

614
00:30:37,960 --> 00:30:38,600
Speaker 1: Were still under.

615
00:30:38,880 --> 00:30:41,920
Speaker 3: And I like to think that the celebration that went

616
00:30:42,000 --> 00:30:44,920
Speaker 3: on of kind of feeling free for the first time

617
00:30:45,200 --> 00:30:48,120
Speaker 3: that really created the Harlem Renaissance. So people began to

618
00:30:48,120 --> 00:30:51,120
Speaker 3: start writing intellectual stuff, you know.

619
00:30:52,040 --> 00:30:55,600
Speaker 4: Like Harlem Art Flourish and our flourish, you know.

620
00:30:55,640 --> 00:30:59,080
Speaker 3: Marcus Garvey, like we move in politics, like we really

621
00:30:59,200 --> 00:31:04,080
Speaker 3: exercising all the elements. And so they were artists, incredible

622
00:31:04,120 --> 00:31:06,680
Speaker 3: visual artists at that time, and there were writers like

623
00:31:06,760 --> 00:31:08,719
Speaker 3: Langston used like zor Neil Hurston.

624
00:31:08,880 --> 00:31:14,200
Speaker 1: There's a whole you know, why was the the artist

625
00:31:14,280 --> 00:31:17,760
Speaker 1: hip hop and breeze. That's a great.

626
00:31:17,640 --> 00:31:20,440
Speaker 3: Question, And I guess it's the cool factor.

627
00:31:21,040 --> 00:31:23,240
Speaker 4: This is so great to see all this chance.

628
00:31:23,400 --> 00:31:26,200
Speaker 1: You I'm trying to throw you. That's a bit of that.

629
00:31:26,600 --> 00:31:28,400
Speaker 4: But yeah, absolutely so was.

630
00:31:28,320 --> 00:31:31,560
Speaker 1: It was it back then? Was not seen embracing him

631
00:31:31,680 --> 00:31:34,680
Speaker 1: because I want to see sorry, I want to look

632
00:31:34,680 --> 00:31:38,040
Speaker 1: at it like you you are to go all right,

633
00:31:38,200 --> 00:31:41,440
Speaker 1: this this art and hip hop right, Yeah, hip hop

634
00:31:41,520 --> 00:31:45,520
Speaker 1: is art right correct, that's one man percept. But I

635
00:31:45,640 --> 00:31:48,600
Speaker 1: want to credit you. This is my opinion. This is

636
00:31:48,640 --> 00:31:50,760
Speaker 1: this is not bad saying. It's just me saying that

637
00:31:51,240 --> 00:31:54,000
Speaker 1: what the person who brong art into hip hop?

638
00:31:54,640 --> 00:31:58,520
Speaker 3: Yeah, I pulled that true because because now you see,

639
00:31:58,720 --> 00:31:59,480
Speaker 3: you see jay Z.

640
00:31:59,680 --> 00:32:01,680
Speaker 1: I had a conversation with jay Z for two minutes

641
00:32:01,760 --> 00:32:03,200
Speaker 1: and he was talking to me about art. I knew

642
00:32:03,200 --> 00:32:06,160
Speaker 1: nothing he was talking about, but I was saying so.

643
00:32:06,200 --> 00:32:10,680
Speaker 3: Once again, I was like, yep, because I did so

644
00:32:10,800 --> 00:32:13,440
Speaker 3: at that point in the game, clearly you're getting I'm

645
00:32:13,520 --> 00:32:16,080
Speaker 3: the kind of helping lay down the foundations of this.

646
00:32:16,720 --> 00:32:18,320
Speaker 4: And it's not too many people.

647
00:32:18,800 --> 00:32:22,120
Speaker 3: But in the conversations Jean and I would have, these

648
00:32:22,160 --> 00:32:25,440
Speaker 3: are things we would sometimes talk about. We knew that

649
00:32:26,480 --> 00:32:29,520
Speaker 3: we would eventually get it. It's just that we was

650
00:32:29,600 --> 00:32:32,560
Speaker 3: in position at a time. We was just way ahead.

651
00:32:33,080 --> 00:32:33,680
Speaker 1: And so.

652
00:32:35,680 --> 00:32:38,400
Speaker 3: What I think a part of what happened is which

653
00:32:38,440 --> 00:32:41,720
Speaker 3: was fascinating for me because most people know me from

654
00:32:41,760 --> 00:32:44,800
Speaker 3: what I've done, even though my foundation and background is

655
00:32:44,840 --> 00:32:48,440
Speaker 3: making art, exhibiting all of that stuff. Along with Jean

656
00:32:48,440 --> 00:32:51,520
Speaker 3: and these other people, I had other interests as well,

657
00:32:51,680 --> 00:32:54,200
Speaker 3: to work in film to work in music. Jean did

658
00:32:54,240 --> 00:32:57,720
Speaker 3: as well, and so Jean starred in a film called

659
00:32:57,760 --> 00:33:01,640
Speaker 3: Downtown Edy One. We talked about producing movies. We was

660
00:33:01,680 --> 00:33:05,040
Speaker 3: into foreign films. He turned me on the foreign films.

661
00:33:05,080 --> 00:33:05,880
Speaker 1: I turned him on.

662
00:33:05,880 --> 00:33:10,800
Speaker 3: This stuff like the surrealist films of Lewis Bounell, that

663
00:33:11,120 --> 00:33:14,320
Speaker 3: Salvador Dolly worked with them doing wild stuff on films.

664
00:33:14,320 --> 00:33:18,960
Speaker 1: So we was he everybody he was Yeah, it was

665
00:33:19,160 --> 00:33:21,880
Speaker 1: like a surrealist, but he was a brilliant guy. That was.

666
00:33:22,240 --> 00:33:24,400
Speaker 3: That was a big influence on what Andy because he

667
00:33:24,440 --> 00:33:27,800
Speaker 3: was the most famous artist until Andy, like he became

668
00:33:27,840 --> 00:33:32,880
Speaker 3: that that was a very specific thing and so damn,

669
00:33:32,920 --> 00:33:34,960
Speaker 3: these are the things that we were We were all

670
00:33:35,000 --> 00:33:39,000
Speaker 3: focused on, you know at the time, and uh, you know,

671
00:33:39,160 --> 00:33:42,720
Speaker 3: and Jean definitely we were. This is the part of

672
00:33:42,760 --> 00:33:45,000
Speaker 3: the thing that we shared. We were both aware of,

673
00:33:45,360 --> 00:33:48,760
Speaker 3: you know, how the game had been played, but being

674
00:33:49,160 --> 00:33:51,600
Speaker 3: artists of color, how to maneuver and how to make

675
00:33:51,680 --> 00:33:54,520
Speaker 3: moves into the scene. So we had that synergy like

676
00:33:54,800 --> 00:33:56,560
Speaker 3: that punk rock and that new wave thing was a

677
00:33:56,560 --> 00:33:59,200
Speaker 3: lot of people that were open that we connected with

678
00:33:59,600 --> 00:34:01,920
Speaker 3: that and saw what we were doing and looked at

679
00:34:01,960 --> 00:34:04,080
Speaker 3: it in the proper way. And that's how once again

680
00:34:04,160 --> 00:34:07,120
Speaker 3: some of the first shows and stuff began to happen,

681
00:34:07,320 --> 00:34:08,120
Speaker 3: you know what I'm saying.

682
00:34:08,320 --> 00:34:11,880
Speaker 5: And so it felt like the all of these, all

683
00:34:11,920 --> 00:34:15,759
Speaker 5: of these scenes are like the counterculture scenes of the

684
00:34:15,760 --> 00:34:18,440
Speaker 5: time that were correct, correct, correct, kind of they kind

685
00:34:18,440 --> 00:34:21,720
Speaker 5: of saw kinship and all being counterculture.

686
00:34:21,200 --> 00:34:23,720
Speaker 3: Absolutely, And that's the part of what I dug too,

687
00:34:24,200 --> 00:34:26,200
Speaker 3: even though I'm a little kid when I'm reading about

688
00:34:26,200 --> 00:34:29,640
Speaker 3: stuff that happened in the sixties, when Andy just popped

689
00:34:29,640 --> 00:34:30,120
Speaker 3: off and.

690
00:34:30,080 --> 00:34:33,120
Speaker 1: The Warhol, Andy Warholl were.

691
00:34:33,040 --> 00:34:36,279
Speaker 3: Talking about the sixties, we talk in rock and roll,

692
00:34:36,360 --> 00:34:40,080
Speaker 3: We talking that whole cultural revolution.

693
00:34:39,760 --> 00:34:40,359
Speaker 4: That went on.

694
00:34:40,800 --> 00:34:44,960
Speaker 3: Andy Andy controlled, he didn't control. Andy was like dominant

695
00:34:44,960 --> 00:34:47,520
Speaker 3: forcing that, and so looking at those other elements, and

696
00:34:47,520 --> 00:34:50,200
Speaker 3: plus they was having mad fun, we'd all look so

697
00:34:50,320 --> 00:34:53,759
Speaker 3: cool to us. So we definitely were inspired by that

698
00:34:53,920 --> 00:34:56,960
Speaker 3: and looking to do in some regards our version of that,

699
00:34:57,000 --> 00:34:59,359
Speaker 3: you know what I'm saying. And eventually when we began

700
00:34:59,440 --> 00:35:02,279
Speaker 3: to get it popped and Andy came around like yo,

701
00:35:02,400 --> 00:35:04,680
Speaker 3: y'all doing it, you know what I'm saying, and make

702
00:35:04,680 --> 00:35:08,040
Speaker 3: connections with him, it was an encouraging thing and it

703
00:35:08,280 --> 00:35:10,080
Speaker 3: just kind of continued to grow.

704
00:35:10,280 --> 00:35:15,520
Speaker 1: Now someone's the same question with Andy Warhol. Right, if

705
00:35:15,520 --> 00:35:20,400
Speaker 1: a person has Andy Warhol in the house, right, that

706
00:35:20,560 --> 00:35:24,360
Speaker 1: is like a safe that's that's like you know, you

707
00:35:24,360 --> 00:35:27,160
Speaker 1: shouldn't even have it in your house. Yeah, it's crazy. Now.

708
00:35:27,200 --> 00:35:29,440
Speaker 3: That's why once again the question that I get asked

709
00:35:29,480 --> 00:35:32,440
Speaker 3: about if I have Bosky, It's like, wow, it's an

710
00:35:32,480 --> 00:35:33,160
Speaker 3: awkward question.

711
00:35:33,360 --> 00:35:35,799
Speaker 1: I feel like you guys like stuff that he do.

712
00:35:36,200 --> 00:35:37,800
Speaker 1: That said because.

713
00:35:38,360 --> 00:35:41,080
Speaker 3: Because of the value, like like you got people that

714
00:35:41,200 --> 00:35:43,480
Speaker 3: have you know, when the art gets that crazy, you

715
00:35:43,560 --> 00:35:44,040
Speaker 3: have to have.

716
00:35:44,200 --> 00:35:47,280
Speaker 4: You have to secure it. It has to be ensured.

717
00:35:47,320 --> 00:35:49,480
Speaker 1: You want to you have to have next levels of.

718
00:35:49,800 --> 00:35:52,000
Speaker 4: You know, security.

719
00:35:52,440 --> 00:35:55,040
Speaker 3: Sometimes it's like like do you want to have you know,

720
00:35:55,080 --> 00:35:56,440
Speaker 3: you got to make sure everything is right.

721
00:35:56,520 --> 00:35:57,600
Speaker 4: It's crazy because.

722
00:35:57,400 --> 00:35:59,360
Speaker 1: Do you feel weird though that you're in certain country?

723
00:35:59,360 --> 00:36:02,840
Speaker 1: But do you feel weird that your friend's work is

724
00:36:02,880 --> 00:36:05,839
Speaker 1: so valuable and that you now you have maybe something

725
00:36:05,840 --> 00:36:08,400
Speaker 1: of value that but this was just your friend, you

726
00:36:08,440 --> 00:36:09,000
Speaker 1: know what it is?

727
00:36:09,440 --> 00:36:11,319
Speaker 3: It is you know, the whole thing about John, not

728
00:36:11,440 --> 00:36:16,200
Speaker 3: just that the whole way it's developed. It's just phenomenal

729
00:36:16,840 --> 00:36:20,120
Speaker 3: that his unfortunate, it's so unfortunate that his life was

730
00:36:20,160 --> 00:36:25,520
Speaker 3: so short. But that the effect continues and resonates at

731
00:36:25,520 --> 00:36:28,600
Speaker 3: a level that's just unprecedented, and that's so dope for

732
00:36:28,719 --> 00:36:33,200
Speaker 3: me twenty seven which unfortunately people talk about.

733
00:36:33,000 --> 00:36:35,320
Speaker 1: Twenty seven Club exactly. That's crazy.

734
00:36:36,560 --> 00:36:41,120
Speaker 5: Jimmy Hendricks, Jimmy Wyerson, Amy white House, someone just recently

735
00:36:41,239 --> 00:36:43,839
Speaker 5: just wow, passages I forget.

736
00:36:43,600 --> 00:36:46,240
Speaker 3: Because that's what a bunch of sixties once again iconic

737
00:36:46,280 --> 00:36:49,560
Speaker 3: people that just was happening and running things. Jim Morrison, right,

738
00:36:49,719 --> 00:36:54,680
Speaker 3: Jim Morrison, Jimmy Hendrix, Jannis Choplin, probably some others. So

739
00:36:54,719 --> 00:36:59,160
Speaker 3: it's just an unfortunate thing. But oh the other thing,

740
00:36:59,520 --> 00:37:01,759
Speaker 3: I lost the train of thought to answer something you

741
00:37:01,840 --> 00:37:05,080
Speaker 3: brought up before, which was brilliant. What I have noticed,

742
00:37:06,160 --> 00:37:09,440
Speaker 3: and it is when people get curious about Jean and

743
00:37:09,480 --> 00:37:14,320
Speaker 3: they lean in, they see that we had this close connection,

744
00:37:14,760 --> 00:37:16,960
Speaker 3: and once again, most people know me from you know,

745
00:37:17,200 --> 00:37:19,520
Speaker 3: being on TV, going TV raps this, that, and the

746
00:37:19,560 --> 00:37:22,640
Speaker 3: third not knowing a bunch about my art background, which

747
00:37:22,719 --> 00:37:25,200
Speaker 3: is all good. Then they go, oh, my goodness. And

748
00:37:25,280 --> 00:37:26,440
Speaker 3: so that got a lot.

749
00:37:26,280 --> 00:37:28,200
Speaker 4: Of hip hop folks curious.

750
00:37:28,200 --> 00:37:30,120
Speaker 3: People will run up on me, You're father, like I

751
00:37:30,160 --> 00:37:32,959
Speaker 3: was checking, you know, this cat out Sean Michelle whatever,

752
00:37:33,000 --> 00:37:34,640
Speaker 3: you know, it's hard to say his name at first.

753
00:37:34,640 --> 00:37:35,800
Speaker 3: Now people can say.

754
00:37:35,600 --> 00:37:36,560
Speaker 4: It, right, Yo.

755
00:37:36,640 --> 00:37:39,720
Speaker 3: I saw that, you know, y'all was hanging and everything

756
00:37:39,880 --> 00:37:42,360
Speaker 3: like what's up with that? And I'm like, well, and

757
00:37:42,440 --> 00:37:44,920
Speaker 3: I love that so much because I'm like, this is

758
00:37:44,920 --> 00:37:47,000
Speaker 3: one of the things once again, Jean and I wanted,

759
00:37:47,400 --> 00:37:50,399
Speaker 3: we wanted our people to connect with it. People coming

760
00:37:50,440 --> 00:37:52,160
Speaker 3: from where we're coming from the understand this.

761
00:37:52,600 --> 00:37:55,280
Speaker 4: And that has happened in great ways now.

762
00:37:55,520 --> 00:37:57,480
Speaker 3: So as far as black artists that I talked a

763
00:37:57,520 --> 00:37:59,880
Speaker 3: little bit about from the Harlem Renaissance or whatever, and

764
00:38:00,120 --> 00:38:02,880
Speaker 3: it was popping black artists all through time, they just

765
00:38:03,040 --> 00:38:08,040
Speaker 3: was kind of like everything largely was segregated. Now there's

766
00:38:08,080 --> 00:38:10,719
Speaker 3: a lot of younger black artists that are doing things

767
00:38:10,840 --> 00:38:15,719
Speaker 3: that are definitely making serious inroads. And because of the awareness,

768
00:38:16,160 --> 00:38:18,800
Speaker 3: more people are now looking at those older black artists

769
00:38:18,840 --> 00:38:22,360
Speaker 3: that didn't get the treatment from the museums exactly. So

770
00:38:22,560 --> 00:38:24,919
Speaker 3: now this has all happened within the last I say,

771
00:38:24,920 --> 00:38:27,960
Speaker 3: ten years, was where they decided, man, we have all

772
00:38:28,000 --> 00:38:30,520
Speaker 3: this work in the museum, but we don't have enough

773
00:38:30,520 --> 00:38:33,520
Speaker 3: from our Beard Jacob Lawrence and a bunch of other

774
00:38:33,719 --> 00:38:36,440
Speaker 3: very important artists that they should have been appreciation and

775
00:38:36,520 --> 00:38:38,400
Speaker 3: so that has happened now And.

776
00:38:38,560 --> 00:38:41,520
Speaker 1: That's another stupid question. It's not stupid.

777
00:38:42,040 --> 00:38:46,280
Speaker 3: Who painted the Good Times poster? Oh that's a great question,

778
00:38:46,360 --> 00:38:49,680
Speaker 3: by the way. That's an artist named Ernie Barnes. Ernie

779
00:38:49,680 --> 00:38:53,120
Speaker 3: actually was an NFL football player and sand and his

780
00:38:53,680 --> 00:38:56,800
Speaker 3: side thing was just doing He had this unique style

781
00:38:56,880 --> 00:39:00,680
Speaker 3: of doing them characters and then be and in Good

782
00:39:00,760 --> 00:39:04,120
Speaker 3: Times and Marvin Gaye's album I want to say, what's

783
00:39:04,200 --> 00:39:04,920
Speaker 3: going on?

784
00:39:05,000 --> 00:39:06,320
Speaker 1: What's going on? Made?

785
00:39:06,440 --> 00:39:08,040
Speaker 4: That's the cover. He did the cover art.

786
00:39:08,320 --> 00:39:11,839
Speaker 3: It made him iconic, and once again, I think he's

787
00:39:11,880 --> 00:39:15,640
Speaker 3: passed away, but there's a people now realizing his work

788
00:39:16,120 --> 00:39:18,440
Speaker 3: that that value and you know is.

789
00:39:19,120 --> 00:39:21,520
Speaker 1: And I think Eddie Murphy said he has the original

790
00:39:21,800 --> 00:39:24,799
Speaker 1: exactly believe it's eight million dollars or.

791
00:39:25,160 --> 00:39:27,160
Speaker 3: Once again, which is a reflection of the fact that

792
00:39:27,200 --> 00:39:29,160
Speaker 3: people are like, oh my god, this is an important

793
00:39:29,160 --> 00:39:32,360
Speaker 3: work of art. It was also connected to the TV

794
00:39:32,440 --> 00:39:36,640
Speaker 3: show to a great album. So that's another very good point,

795
00:39:36,840 --> 00:39:39,799
Speaker 3: like Ernie Bond's incredible incredible.

796
00:39:42,080 --> 00:39:46,120
Speaker 5: Yes, yes, real quick, I want to go back to

797
00:39:46,160 --> 00:39:49,920
Speaker 5: the making a wall style and yes, the place, the

798
00:39:49,960 --> 00:39:52,160
Speaker 5: time frame that is being made this is is this

799
00:39:52,320 --> 00:39:55,640
Speaker 5: pre Zulunation or Zolnation around this time as well.

800
00:39:55,680 --> 00:39:56,200
Speaker 4: Good question.

801
00:39:56,640 --> 00:39:59,759
Speaker 3: I think that's probably around the time because we like

802
00:40:00,239 --> 00:40:03,800
Speaker 3: we're doing this early eighties and a lot of that happened.

803
00:40:03,640 --> 00:40:06,359
Speaker 1: You know, this story about Zulu Nation and whatever and

804
00:40:06,400 --> 00:40:08,200
Speaker 1: bringing all the gangs together, coming.

805
00:40:08,000 --> 00:40:10,480
Speaker 3: To gang, the gangs coming together, so so the gang

806
00:40:10,520 --> 00:40:14,360
Speaker 3: thing kind of ends. That's a wind down late seventies,

807
00:40:14,520 --> 00:40:16,680
Speaker 3: like from Brooklyn. But that was kind of you know,

808
00:40:16,719 --> 00:40:21,520
Speaker 3: you look at the documentaries and so that they begin

809
00:40:21,880 --> 00:40:24,440
Speaker 3: after that, and as the parties grew.

810
00:40:24,320 --> 00:40:26,920
Speaker 1: You know, you would hear uh you know, you know,

811
00:40:26,960 --> 00:40:27,840
Speaker 1: the Zulu Nation.

812
00:40:27,760 --> 00:40:32,080
Speaker 3: Because BAM's name was growing as playing records at that

813
00:40:32,360 --> 00:40:34,520
Speaker 3: in that side of the Bronx and whatever. He was

814
00:40:34,560 --> 00:40:38,600
Speaker 3: strong and other groups around him, Soul Sonic and a

815
00:40:38,640 --> 00:40:40,480
Speaker 3: few other ike you see. You know, it was a

816
00:40:40,520 --> 00:40:46,239
Speaker 3: bunch of other things under that. But Yo, while Star

817
00:40:46,520 --> 00:40:49,920
Speaker 3: was like I would say, when we started making a

818
00:40:49,920 --> 00:40:52,960
Speaker 3: movie Rappers the Delight, I don't think have really even.

819
00:40:52,760 --> 00:40:53,719
Speaker 4: Come out that came out.

820
00:40:53,920 --> 00:40:56,000
Speaker 3: I don't think the time Charlie and I had begun

821
00:40:56,160 --> 00:40:58,520
Speaker 3: to really work on the film, there was some local

822
00:40:58,760 --> 00:41:01,360
Speaker 3: records that came out that I thought were very important,

823
00:41:01,480 --> 00:41:05,640
Speaker 3: like on the label called Enjoy like super rapping, and

824
00:41:06,360 --> 00:41:08,880
Speaker 3: then Spoony g. It was like a solo So there

825
00:41:08,880 --> 00:41:10,840
Speaker 3: were a few things that came out, but it was

826
00:41:10,880 --> 00:41:14,279
Speaker 3: sugar Hill the rappers d Light really opened a lot

827
00:41:14,360 --> 00:41:16,840
Speaker 3: of people up because they got it charted or like

828
00:41:16,880 --> 00:41:21,319
Speaker 3: across the country. Yes, that's one of the kind of

829
00:41:21,320 --> 00:41:24,040
Speaker 3: things he would do. Yeah, this is a good one,

830
00:41:24,080 --> 00:41:29,000
Speaker 3: same old But those of us who merely tolerate civilization

831
00:41:29,440 --> 00:41:32,200
Speaker 3: and you see these things and people were like, is

832
00:41:32,239 --> 00:41:35,399
Speaker 3: this some type of like a conceptual artist because most

833
00:41:35,520 --> 00:41:38,120
Speaker 3: everybody else was doing their names and tagging and had

834
00:41:38,160 --> 00:41:39,680
Speaker 3: their own style.

835
00:41:39,400 --> 00:41:40,680
Speaker 4: Of how they did their graffiti.

836
00:41:41,000 --> 00:41:43,680
Speaker 3: So it caught a lot of people once you if

837
00:41:43,719 --> 00:41:46,360
Speaker 3: you were tapped into the downtown scene and were very curious,

838
00:41:46,400 --> 00:41:50,120
Speaker 3: like who is this cat? And when he emerges and

839
00:41:50,200 --> 00:41:52,720
Speaker 3: we actually meet at this party, it's a great story

840
00:41:53,640 --> 00:41:56,400
Speaker 3: in my memoir. I meet these guys that have a

841
00:41:56,440 --> 00:42:00,400
Speaker 3: big loft, like and they're trying to create this like scene,

842
00:42:00,560 --> 00:42:03,560
Speaker 3: like this art scene, and they and me and Lee

843
00:42:03,640 --> 00:42:06,759
Speaker 3: connect with them and we painted these big class lead sheets.

844
00:42:07,200 --> 00:42:12,520
Speaker 3: Lee star and is he Puerto Rican?

845
00:42:12,760 --> 00:42:16,399
Speaker 1: Yes he is, He's Puerto Rican? Lee, Yes, he thought

846
00:42:16,440 --> 00:42:18,239
Speaker 1: it was him that's his name is mister Lee. Mister

847
00:42:19,600 --> 00:42:23,240
Speaker 1: he got yeah.

848
00:42:23,400 --> 00:42:26,239
Speaker 3: Now was like the pinnacle of graffiti. What he had

849
00:42:26,280 --> 00:42:28,560
Speaker 3: did that was like groundbreaking at that time.

850
00:42:29,120 --> 00:42:31,279
Speaker 4: Obviously, most graffiti really is on.

851
00:42:31,200 --> 00:42:34,680
Speaker 3: The size of trains, the letters, the characters are developing.

852
00:42:34,200 --> 00:42:35,719
Speaker 1: The colors. Lee paints on.

853
00:42:35,719 --> 00:42:38,880
Speaker 3: An entire handball card, the image of how.

854
00:42:38,719 --> 00:42:45,960
Speaker 1: It can you remember the story? Absolutely? I didn't realize

855
00:42:45,960 --> 00:42:49,400
Speaker 1: how racist people are. WHOA. I went to a handball

856
00:42:49,440 --> 00:42:50,960
Speaker 1: court the other day. Ship.

857
00:42:51,160 --> 00:42:51,359
Speaker 6: Oh.

858
00:42:51,440 --> 00:42:54,680
Speaker 1: My comments was now we really know you Puerto Rican.

859
00:42:54,800 --> 00:42:59,200
Speaker 1: I'm like, oh wow, it was the most racist black

860
00:42:59,239 --> 00:43:00,080
Speaker 1: people played him.

861
00:43:00,120 --> 00:43:01,160
Speaker 3: Ball to y'all.

862
00:43:01,440 --> 00:43:03,480
Speaker 1: But you know what the fun up Ship, well was

863
00:43:03,560 --> 00:43:05,759
Speaker 1: they did. They just attacked my Puerto Rican side, bro

864
00:43:06,160 --> 00:43:09,520
Speaker 1: like they destroyed me like they was like it was

865
00:43:09,560 --> 00:43:12,680
Speaker 1: like your only Puerto Ricans is going it was. It

866
00:43:12,719 --> 00:43:15,480
Speaker 1: was the coldest day in Miami. I saw in Miami

867
00:43:15,840 --> 00:43:19,319
Speaker 1: and I found out there was a handball I could

868
00:43:19,320 --> 00:43:26,920
Speaker 1: not exist. Was like this real Puerto Rican Ship. I'm like, damn,

869
00:43:27,320 --> 00:43:30,799
Speaker 1: I'm sorry, I'm sorry I had he said that.

870
00:43:30,840 --> 00:43:33,720
Speaker 3: He used to do pieces of my hand damn giant

871
00:43:33,760 --> 00:43:34,520
Speaker 3: handball card.

872
00:43:34,920 --> 00:43:36,399
Speaker 4: The image of how with the duck.

873
00:43:36,520 --> 00:43:39,200
Speaker 3: It was like, wow, nobody had did anything like that.

874
00:43:39,280 --> 00:43:41,360
Speaker 3: You know, I was up about twenty thirty feet, you know,

875
00:43:41,960 --> 00:43:44,839
Speaker 3: And so Lee was the master of the game. And

876
00:43:44,840 --> 00:43:48,080
Speaker 3: when I connected with him with these ideas once again

877
00:43:48,840 --> 00:43:51,359
Speaker 3: we said, he was like, let's get busy and do this,

878
00:43:51,400 --> 00:43:54,239
Speaker 3: and that led to us having an exhibit at a

879
00:43:54,239 --> 00:43:58,600
Speaker 3: gallery in Rome, very prestigious. Gas Crazy got our first

880
00:43:58,600 --> 00:44:01,200
Speaker 3: little item written up in the villa his voice and

881
00:44:01,239 --> 00:44:04,440
Speaker 3: this just Italian Ardealer had been seeing the work on

882
00:44:04,520 --> 00:44:06,640
Speaker 3: the trains and he was thinking, like I was, this

883
00:44:06,800 --> 00:44:07,120
Speaker 3: is like.

884
00:44:07,239 --> 00:44:09,000
Speaker 4: A next level of pop art.

885
00:44:09,200 --> 00:44:11,200
Speaker 3: And when he saw who we were and we had

886
00:44:11,560 --> 00:44:13,800
Speaker 3: I was standing in front of Lee's wall.

887
00:44:13,880 --> 00:44:15,000
Speaker 4: In fact, because Lee.

888
00:44:15,360 --> 00:44:18,080
Speaker 3: Along with being super super dope one of the best

889
00:44:18,120 --> 00:44:18,879
Speaker 3: that was doing it.

890
00:44:20,040 --> 00:44:21,800
Speaker 4: He was the.

891
00:44:22,840 --> 00:44:25,839
Speaker 3: He was the most warned graffiti artist in New York City.

892
00:44:25,920 --> 00:44:30,080
Speaker 3: They literally have like posters wanted by the by the

893
00:44:30,120 --> 00:44:32,520
Speaker 3: transit police at the time. It was like real serious.

894
00:44:32,560 --> 00:44:35,240
Speaker 3: So so so Lee had the kids. Part of his

895
00:44:35,320 --> 00:44:37,040
Speaker 3: part of the skill of being nice in the game

896
00:44:37,160 --> 00:44:40,000
Speaker 3: is not getting caught. So he was stealthy with it,

897
00:44:40,080 --> 00:44:42,759
Speaker 3: like super low key and out He's like, yo, you

898
00:44:42,920 --> 00:44:44,520
Speaker 3: go out and beat the face and you know, get

899
00:44:44,520 --> 00:44:46,839
Speaker 3: to get it popping like that, which I did, and

900
00:44:46,880 --> 00:44:49,720
Speaker 3: so that me standing in front of his wall telling

901
00:44:49,719 --> 00:44:52,320
Speaker 3: the story of who we are a little young kids

902
00:44:52,320 --> 00:44:53,880
Speaker 3: taking it from trains.

903
00:44:54,280 --> 00:44:54,520
Speaker 1: You know.

904
00:44:54,880 --> 00:44:58,520
Speaker 3: We inspired by the same stuff as Warhol, Roy, Lichtenstein,

905
00:44:58,680 --> 00:45:01,680
Speaker 3: whatever whatever. This is how this our dealer gave.

906
00:45:01,560 --> 00:45:03,680
Speaker 4: Us a show and that was huge.

907
00:45:03,880 --> 00:45:07,480
Speaker 1: He's like the original what's the British dude that's anonymous?

908
00:45:07,520 --> 00:45:11,600
Speaker 1: What was his name? The Wells is inspired by Least

909
00:45:12,480 --> 00:45:16,239
Speaker 1: there describing it that you guys get it well Banks? Yeah,

910
00:45:16,280 --> 00:45:18,239
Speaker 1: because Lee say he wants to meet Banks.

911
00:45:19,040 --> 00:45:23,879
Speaker 3: Yeah he's super low key, but he's no. But we

912
00:45:23,880 --> 00:45:27,000
Speaker 3: we exchanged, you know people, because he keeps it low

913
00:45:27,040 --> 00:45:31,640
Speaker 3: key but he definitely no. But you gotta you have

914
00:45:31,719 --> 00:45:33,560
Speaker 3: to reach the people that have engaged.

915
00:45:33,600 --> 00:45:35,480
Speaker 4: But what he's doing is so specific.

916
00:45:35,520 --> 00:45:38,680
Speaker 3: You have to respected gangst of all that because it

917
00:45:38,760 --> 00:45:43,360
Speaker 3: was brilliant. But I'm told he was inspired by Lee's

918
00:45:43,440 --> 00:45:47,479
Speaker 3: character in Wildstyle because whoa least character and Wild Style

919
00:45:47,560 --> 00:45:50,640
Speaker 3: is Zorrow. Essentially none of the other graph people know

920
00:45:50,680 --> 00:45:53,760
Speaker 3: who he is, which is inspired by how Lee actually

921
00:45:53,800 --> 00:45:54,279
Speaker 3: got down.

922
00:45:54,400 --> 00:45:55,640
Speaker 1: So that was weird.

923
00:45:56,040 --> 00:45:58,640
Speaker 3: The ideas of the story of Wild Style come from

924
00:45:58,680 --> 00:46:01,600
Speaker 3: things that were going on all around us, like we're

925
00:46:01,600 --> 00:46:03,319
Speaker 3: about to connect with the art scene.

926
00:46:03,320 --> 00:46:06,080
Speaker 4: We go to the art collective spot.

927
00:46:06,640 --> 00:46:09,520
Speaker 3: You know, Patty Asta plays the journalists coming to write

928
00:46:09,520 --> 00:46:12,760
Speaker 3: about us, and you know, so it captures that period

929
00:46:13,000 --> 00:46:15,880
Speaker 3: when the culture is just beginning to get taken serious

930
00:46:16,160 --> 00:46:18,239
Speaker 3: and looked at in a in a wait a minute,

931
00:46:18,280 --> 00:46:21,920
Speaker 3: what's going on here? What are you guys doing? And so, yeah,

932
00:46:21,960 --> 00:46:23,760
Speaker 3: so that was but it's.

933
00:46:23,560 --> 00:46:29,879
Speaker 5: So rough it almost feels like a documentary reality. That's exactly. Yeah, yeah, yeah,

934
00:46:30,040 --> 00:46:32,239
Speaker 5: it feels.

935
00:46:31,239 --> 00:46:34,520
Speaker 3: Sort of like a docu drama because we intentionally wanted

936
00:46:34,520 --> 00:46:37,480
Speaker 3: it to have an energy like that. Because all the

937
00:46:37,520 --> 00:46:39,920
Speaker 3: people that play the characters were really who they were,

938
00:46:40,000 --> 00:46:43,799
Speaker 3: so we gave them little direction, here's the idea of

939
00:46:43,840 --> 00:46:46,840
Speaker 3: what we want you to say, say it how you'd say.

940
00:46:48,200 --> 00:46:50,720
Speaker 3: And then you have people like Busy Bee, who literally

941
00:46:50,760 --> 00:46:51,400
Speaker 3: is like a start.

942
00:46:51,719 --> 00:46:53,239
Speaker 4: He steals every scene he's in.

943
00:46:53,520 --> 00:46:55,719
Speaker 3: So when me and Charlie are going to the parties,

944
00:46:55,800 --> 00:46:58,239
Speaker 3: constantly taking notes on who we want to put in

945
00:46:58,280 --> 00:47:02,520
Speaker 3: the movie, Busy's just had this most unique personality. In fact,

946
00:47:02,520 --> 00:47:04,720
Speaker 3: when we the first time we go to the Bronx

947
00:47:05,239 --> 00:47:07,720
Speaker 3: to start our research.

948
00:47:07,520 --> 00:47:08,439
Speaker 4: We go to a park.

949
00:47:08,480 --> 00:47:10,640
Speaker 3: It's called a valley way up in the North Bronx

950
00:47:11,239 --> 00:47:14,600
Speaker 3: and we walk in and we were checking things out.

951
00:47:14,800 --> 00:47:18,439
Speaker 3: It's me and this white dude, Charlie, and we walk

952
00:47:18,560 --> 00:47:21,200
Speaker 3: up on Busy and Busy kind of kind of what's

953
00:47:21,239 --> 00:47:24,040
Speaker 3: going on? And then Charlie is like, Hey, I'm Charlie.

954
00:47:24,239 --> 00:47:25,000
Speaker 4: This is Fred.

955
00:47:25,239 --> 00:47:28,200
Speaker 3: We're here to make a movie on the rap scene,

956
00:47:28,600 --> 00:47:31,359
Speaker 3: and Busy goes what Busy runs right up on the mic,

957
00:47:31,640 --> 00:47:32,640
Speaker 3: brings Charlie up.

958
00:47:32,880 --> 00:47:34,160
Speaker 4: Yo, y'all, he's here.

959
00:47:34,000 --> 00:47:38,000
Speaker 3: To make a movie about me, about him, about him,

960
00:47:38,480 --> 00:47:41,799
Speaker 3: And we became immediately connected because he's like, what's going on?

961
00:47:41,920 --> 00:47:44,400
Speaker 3: Like you just see no no kind of white folks

962
00:47:44,480 --> 00:47:45,560
Speaker 3: going out to the Bronx.

963
00:47:45,560 --> 00:47:48,399
Speaker 5: And that's in the Stick is the Stick Apart. You've

964
00:47:48,400 --> 00:47:50,120
Speaker 5: talked about this before. There's like the part where the

965
00:47:50,160 --> 00:47:53,120
Speaker 5: guys come up to like to rob y'all or something

966
00:47:53,120 --> 00:47:53,399
Speaker 5: in the.

967
00:47:53,440 --> 00:47:55,759
Speaker 3: Oh God, yeah, that's at one of the parties we

968
00:47:55,800 --> 00:47:59,000
Speaker 3: was at and this cat was on dust, big strong,

969
00:47:59,160 --> 00:48:02,319
Speaker 3: overly muscle bound cat and I'm looking at this cat

970
00:48:02,400 --> 00:48:07,080
Speaker 3: like this, this dude is crazy and and I'm like, Charlie,

971
00:48:07,080 --> 00:48:08,600
Speaker 3: you know, because this is you want to stick up

972
00:48:08,680 --> 00:48:10,719
Speaker 3: kids and all this is going on at this time

973
00:48:11,080 --> 00:48:14,040
Speaker 3: every time. You know how I used to get down,

974
00:48:14,160 --> 00:48:16,040
Speaker 3: and so going up to the Bronx, which is not

975
00:48:16,120 --> 00:48:18,759
Speaker 3: my territory, I'm constantly thinking this every time.

976
00:48:19,400 --> 00:48:20,840
Speaker 1: But you know what Busy told.

977
00:48:20,600 --> 00:48:23,080
Speaker 3: Me, and I'll get back to the to the to

978
00:48:23,120 --> 00:48:25,280
Speaker 3: the you know the big, big guy of a smoking dust.

979
00:48:25,520 --> 00:48:27,919
Speaker 3: Busy told me when we first walked up to him,

980
00:48:28,120 --> 00:48:31,560
Speaker 3: he thought we was the police, like the mod squad

981
00:48:31,640 --> 00:48:33,719
Speaker 3: or some ship like a like a like a.

982
00:48:33,680 --> 00:48:34,880
Speaker 1: Par typical box people.

983
00:48:35,560 --> 00:48:36,040
Speaker 4: We didn't.

984
00:48:36,080 --> 00:48:38,200
Speaker 3: We looked like, who's this white guy? Here's this black

985
00:48:38,239 --> 00:48:42,080
Speaker 3: guy with They gotta be undercovered. It's party, got to

986
00:48:42,080 --> 00:48:44,960
Speaker 3: be playing clothes cops. This is this can't be happening

987
00:48:45,400 --> 00:48:47,560
Speaker 3: and that and anyway. So we had this party one

988
00:48:47,640 --> 00:48:49,560
Speaker 3: night and this dude is walking around looking crazy.

989
00:48:49,560 --> 00:48:51,320
Speaker 4: He had his shirt off, he cocked diesel.

990
00:48:51,960 --> 00:48:54,440
Speaker 3: Everybody's moving out of his way. And this is at

991
00:48:54,480 --> 00:48:56,960
Speaker 3: a jam. So it's you know, people thugging it, but

992
00:48:57,080 --> 00:48:57,480
Speaker 3: jam is.

993
00:48:57,440 --> 00:48:58,040
Speaker 1: A party, guys.

994
00:48:58,120 --> 00:49:03,200
Speaker 3: Yeah, the whole night we did. You know, cats is down.

995
00:49:03,360 --> 00:49:05,160
Speaker 3: I remember Cold Crushes on the mic. You know, a

996
00:49:05,160 --> 00:49:08,600
Speaker 3: bunch of cast of characters, you know, typical uptown party

997
00:49:08,640 --> 00:49:10,640
Speaker 3: at that time. And I'm constantly going man, I hope

998
00:49:10,640 --> 00:49:13,480
Speaker 3: this cat don't lock onto us because this looks like

999
00:49:13,520 --> 00:49:16,239
Speaker 3: it'd be crazy. And then me and Charlie because Charlie

1000
00:49:16,280 --> 00:49:18,520
Speaker 3: would always have a camera and we're taking pictures. You

1001
00:49:18,520 --> 00:49:20,440
Speaker 3: know how, we did all the research, like you look

1002
00:49:20,480 --> 00:49:24,160
Speaker 3: into early history. Some of the earliest photos now are

1003
00:49:24,400 --> 00:49:27,760
Speaker 3: photos that Charlie and I took and making and making

1004
00:49:27,800 --> 00:49:31,279
Speaker 3: wild style and doing our research. At some point I

1005
00:49:31,640 --> 00:49:35,200
Speaker 3: look up and this cat locks onto us. It's really

1006
00:49:35,280 --> 00:49:38,840
Speaker 3: Charlie and I see this cat start sliding through the party,

1007
00:49:38,840 --> 00:49:42,719
Speaker 3: across the party, coming our way, going, yo, this is

1008
00:49:42,719 --> 00:49:43,760
Speaker 3: going to be dude.

1009
00:49:43,680 --> 00:49:45,799
Speaker 4: Six six everybody.

1010
00:49:45,960 --> 00:49:49,400
Speaker 3: Yeah, he looked he definitely dusted because he dude's moving

1011
00:49:49,480 --> 00:49:51,719
Speaker 3: kind of kind of crazy. It's like, the fuck is

1012
00:49:51,719 --> 00:49:54,520
Speaker 3: going on? And so I'm looking for something to get

1013
00:49:54,560 --> 00:49:57,400
Speaker 3: my hands on because I'm thinking, yo, it's about to

1014
00:49:57,440 --> 00:50:00,520
Speaker 3: go down for real. So he walks right up to us.

1015
00:50:01,160 --> 00:50:06,440
Speaker 3: He's standing there, and Charlie goes fred, I think he

1016
00:50:06,520 --> 00:50:12,640
Speaker 3: wants me to take his picture. The ship was super white, funny,

1017
00:50:13,000 --> 00:50:15,239
Speaker 3: and the dude looked at Charlie.

1018
00:50:16,719 --> 00:50:19,680
Speaker 1: And he just turned and slid off the ship. We

1019
00:50:19,760 --> 00:50:20,399
Speaker 1: must I.

1020
00:50:20,320 --> 00:50:23,520
Speaker 3: Mean, I'm like, I swear to God, like I felt

1021
00:50:23,520 --> 00:50:25,759
Speaker 3: like I didn't breathe for two minutes because I'm like, yo,

1022
00:50:25,800 --> 00:50:27,480
Speaker 3: this is about to go down. He about to hit

1023
00:50:27,520 --> 00:50:28,960
Speaker 3: my man. You know, I got to jump in it.

1024
00:50:29,040 --> 00:50:32,520
Speaker 3: But this dude looked crazy, you know. Anyway, that was

1025
00:50:32,600 --> 00:50:35,440
Speaker 3: just one of many that was you know, nothing really

1026
00:50:35,440 --> 00:50:36,840
Speaker 3: went down, which basically is.

1027
00:50:36,840 --> 00:50:38,799
Speaker 4: The whole thing.

1028
00:50:38,320 --> 00:50:42,359
Speaker 3: Everything was cool, and we made the movie, which still

1029
00:50:42,440 --> 00:50:50,239
Speaker 3: is like a remarkable thing. Hold lot said so once,

1030
00:50:50,280 --> 00:50:51,799
Speaker 3: Like I said, so. One of the things I did

1031
00:50:51,840 --> 00:50:55,640
Speaker 3: I made all the instrumental beats because with Charlie was

1032
00:50:55,680 --> 00:50:58,319
Speaker 3: like no, which I mentioned earlier, and so I went

1033
00:50:58,360 --> 00:51:01,879
Speaker 3: into the studio and made basically what I was considering

1034
00:51:02,400 --> 00:51:07,200
Speaker 3: like a record of breakbeats, about eleven tracks, all instrumental.

1035
00:51:07,840 --> 00:51:10,760
Speaker 3: Christine put all the different sound effects and the guitar

1036
00:51:10,920 --> 00:51:13,120
Speaker 3: ship to make it sound weird because I played him

1037
00:51:13,120 --> 00:51:14,080
Speaker 3: different breakbeats.

1038
00:51:14,400 --> 00:51:16,680
Speaker 4: Marti gras seven minutes, you know.

1039
00:51:16,680 --> 00:51:20,200
Speaker 3: Things of that nature that the DJ classics, classic shit.

1040
00:51:20,719 --> 00:51:25,080
Speaker 3: And then we used those tracks and we pressed up

1041
00:51:25,080 --> 00:51:27,640
Speaker 3: about one hundred pieces of vinyl and that's what each.

1042
00:51:27,560 --> 00:51:28,400
Speaker 4: DJ is cutting.

1043
00:51:28,400 --> 00:51:30,120
Speaker 1: So they were playing them in the film.

1044
00:51:30,200 --> 00:51:33,640
Speaker 3: Yeah, they literally playing them, and then that becomes our soundtrack.

1045
00:51:33,719 --> 00:51:36,799
Speaker 3: We record the Cold Crush, the Fantastic Busy in Them,

1046
00:51:37,239 --> 00:51:43,160
Speaker 3: Double Trouble, all rhyming in the movie that becomes our soundtrack.

1047
00:51:43,280 --> 00:51:43,960
Speaker 1: Before we get into it.

1048
00:51:44,040 --> 00:51:46,520
Speaker 5: But the reason why I went and asked about Zulu

1049
00:51:47,920 --> 00:51:51,520
Speaker 5: is because it sounds like when you made While Style,

1050
00:51:52,080 --> 00:51:55,760
Speaker 5: you kind of made a decision to bring these elements together.

1051
00:51:56,480 --> 00:51:58,720
Speaker 1: Later on everybody would package as hip hop.

1052
00:51:59,719 --> 00:52:03,720
Speaker 3: Yeah, well that's fun because not but later on.

1053
00:52:04,080 --> 00:52:08,000
Speaker 1: Hip hop, you know, corporate America. The industry comes in soups, in.

1054
00:52:08,040 --> 00:52:12,360
Speaker 5: Grabs rappers and kind of divides and conquers the culture

1055
00:52:12,400 --> 00:52:14,719
Speaker 5: and divides the elements. Again, very true, and we've been

1056
00:52:14,719 --> 00:52:16,480
Speaker 5: all ever since trying to hold it together.

1057
00:52:16,760 --> 00:52:17,280
Speaker 1: Very true.

1058
00:52:17,440 --> 00:52:19,960
Speaker 3: Wow, you definitely see it clearly.

1059
00:52:20,640 --> 00:52:22,319
Speaker 1: Yeah, so at least, you.

1060
00:52:22,200 --> 00:52:25,360
Speaker 3: Know, our attempt not that we could predict everything. We

1061
00:52:25,440 --> 00:52:27,200
Speaker 3: was just trying to represent it for what it was,

1062
00:52:27,280 --> 00:52:29,560
Speaker 3: based on that initial idea I had. I wanted to

1063
00:52:29,560 --> 00:52:32,319
Speaker 3: show this was all one thing, and I had this

1064
00:52:32,440 --> 00:52:35,640
Speaker 3: idea to make a film. Charlie was like, great, idea,

1065
00:52:35,960 --> 00:52:39,160
Speaker 3: let's make this film. We made that film and it

1066
00:52:39,280 --> 00:52:41,799
Speaker 3: kind of carved kind of an understanding of what the

1067
00:52:41,840 --> 00:52:46,359
Speaker 3: culture actually is. And Wild Style does that, and yeah,

1068
00:52:46,360 --> 00:52:49,360
Speaker 3: it was an incredible blessing, and then the way it

1069
00:52:49,480 --> 00:52:51,520
Speaker 3: spread around the world was something I could not have

1070
00:52:51,560 --> 00:52:55,279
Speaker 3: predicted that people of other languages would be. Yeah, man,

1071
00:52:55,320 --> 00:52:57,040
Speaker 3: that's that blew my mind.

1072
00:52:56,840 --> 00:52:58,560
Speaker 4: Because some of the first tours to Europe.

1073
00:52:58,800 --> 00:53:01,040
Speaker 3: We did the first tour of Europe, which was France,

1074
00:53:01,120 --> 00:53:04,520
Speaker 3: primarily about twenty or thirty of us, Yes, you know,

1075
00:53:05,000 --> 00:53:07,879
Speaker 3: we did that, and that they went crazy. That's still

1076
00:53:07,880 --> 00:53:09,879
Speaker 3: the second biggest market for hip hop in the world.

1077
00:53:10,480 --> 00:53:14,959
Speaker 3: And then we went to Japan the following year eighty three,

1078
00:53:15,160 --> 00:53:18,359
Speaker 3: about twenty about thirty of us Rock Steady Crew, Rap

1079
00:53:18,440 --> 00:53:21,439
Speaker 3: is Dgit whole shit. This is eighty eight, eighty three,

1080
00:53:21,520 --> 00:53:23,360
Speaker 3: eighty three, eighty three, when we go to we go

1081
00:53:23,400 --> 00:53:26,880
Speaker 3: to Europe in eighty two, we go to we go.

1082
00:53:26,840 --> 00:53:28,879
Speaker 4: To Japan in eighty three.

1083
00:53:29,120 --> 00:53:30,319
Speaker 1: Crazy told us about that.

1084
00:53:30,440 --> 00:53:33,000
Speaker 3: Yeah, crazy, that was an incredible trip and that plants

1085
00:53:33,040 --> 00:53:35,640
Speaker 3: to diseased. But we had no idea it was going

1086
00:53:35,719 --> 00:53:39,799
Speaker 3: to take like it did. It's still remarkable to this day. Yeah,

1087
00:53:40,120 --> 00:53:43,040
Speaker 3: I mean is global and global in every kind of

1088
00:53:43,080 --> 00:53:44,520
Speaker 3: way you can imagine.

1089
00:53:44,120 --> 00:53:47,120
Speaker 1: So, and sometimes represented even better in other countries.

1090
00:53:47,200 --> 00:53:48,640
Speaker 4: That's so true, you know.

1091
00:53:48,719 --> 00:53:50,680
Speaker 3: But you know what I find that I like is

1092
00:53:50,719 --> 00:53:53,200
Speaker 3: when you go to places where people it's like a

1093
00:53:53,320 --> 00:53:56,280
Speaker 3: level of poverty that, especially in New York.

1094
00:53:56,080 --> 00:53:58,480
Speaker 1: You don't see anymore. Like, you know, that's what it is.

1095
00:53:58,520 --> 00:54:01,759
Speaker 3: And these people, when you see the way it's applied

1096
00:54:01,840 --> 00:54:05,719
Speaker 3: and the way they adopted, it's like it reminds me

1097
00:54:05,800 --> 00:54:08,480
Speaker 3: of where it came from and how the Bronx was

1098
00:54:08,560 --> 00:54:13,160
Speaker 3: really bombed out. It was the most horrific ghetto on

1099
00:54:13,200 --> 00:54:16,160
Speaker 3: the planet because it was a poster child and from

1100
00:54:16,280 --> 00:54:19,240
Speaker 3: that Bronx, the way the Bronx in the seventies.

1101
00:54:19,280 --> 00:54:24,360
Speaker 1: When I'm researching you, that's when I found out that

1102
00:54:24,360 --> 00:54:29,240
Speaker 1: that it was actually landlords that was burning down their property. Yeah, apartment.

1103
00:54:29,640 --> 00:54:30,239
Speaker 1: I didn't know that.

1104
00:54:30,239 --> 00:54:33,640
Speaker 3: That's a big part that happened. It was a combination

1105
00:54:33,760 --> 00:54:35,600
Speaker 3: of things with people.

1106
00:54:35,440 --> 00:54:38,480
Speaker 1: The burnt down Bronx, But I didn't know that it

1107
00:54:38,520 --> 00:54:39,680
Speaker 1: was self inflicted.

1108
00:54:40,680 --> 00:54:42,320
Speaker 4: Listen, I you know what I'm saying, Like, I didn't.

1109
00:54:42,120 --> 00:54:43,560
Speaker 3: Know that a lot of it was a lot of

1110
00:54:43,600 --> 00:54:47,600
Speaker 3: it was because it was was they can get more

1111
00:54:48,200 --> 00:54:50,760
Speaker 3: and get out with the insurance money.

1112
00:54:50,920 --> 00:54:51,800
Speaker 1: I did not know that.

1113
00:54:51,920 --> 00:54:54,560
Speaker 4: So it's huge in the Bronx and it was rampant.

1114
00:54:54,560 --> 00:54:56,040
Speaker 3: They had people that was just like that's why it

1115
00:54:56,160 --> 00:54:58,560
Speaker 3: used the whole blocks in the South Bronx, but maybe

1116
00:54:58,600 --> 00:55:01,000
Speaker 3: one or two buildings left. It was just rubble. It

1117
00:55:01,040 --> 00:55:03,680
Speaker 3: was unbelievable. Looked like literally like bombs have been dropped.

1118
00:55:03,760 --> 00:55:06,680
Speaker 3: There's a famous I've seen I talk about in my

1119
00:55:06,800 --> 00:55:10,399
Speaker 3: book in the seventy seven Yeah, in the seventy seven

1120
00:55:10,440 --> 00:55:14,360
Speaker 3: World Series when the Yankees is playing seventy seven seventy

1121
00:55:14,360 --> 00:55:17,000
Speaker 3: seven Reggie Jackson, that hard show. I remember watching them

1122
00:55:17,000 --> 00:55:19,320
Speaker 3: born that. Yeah, you could see two or three fires

1123
00:55:19,360 --> 00:55:23,120
Speaker 3: glowing not far say wow, you go on YouTube and

1124
00:55:23,160 --> 00:55:26,960
Speaker 3: watch that. Wow, that's how the Bronx was burning for

1125
00:55:27,080 --> 00:55:29,759
Speaker 3: real and the gangs come out of that because it

1126
00:55:29,840 --> 00:55:30,239
Speaker 3: was like.

1127
00:55:30,160 --> 00:55:30,960
Speaker 4: Come on, it was nothing.

1128
00:55:31,000 --> 00:55:33,040
Speaker 1: It was like always worried in the Bronx and that

1129
00:55:33,120 --> 00:55:37,439
Speaker 1: was always like Arlen lu like you know a joke

1130
00:55:37,520 --> 00:55:40,160
Speaker 1: like burned down Bronx. But we didn't know that.

1131
00:55:40,480 --> 00:55:44,400
Speaker 3: Yeah, participate from the South Bronx. Yes, yes, that was

1132
00:55:44,440 --> 00:55:46,279
Speaker 3: really devastated for.

1133
00:55:46,320 --> 00:55:48,200
Speaker 1: Us from Queens. We just the Bronx was the Bronx

1134
00:55:48,920 --> 00:55:49,560
Speaker 1: talk for Brooklyn.

1135
00:55:49,560 --> 00:55:51,880
Speaker 3: I didn't really know over that later like years later.

1136
00:55:52,000 --> 00:55:52,720
Speaker 1: You know what I mean?

1137
00:55:52,880 --> 00:55:54,640
Speaker 5: And this is where hip hop is born out of them,

1138
00:55:54,680 --> 00:55:57,000
Speaker 5: Like did you watch the Rubble Kings documentary.

1139
00:55:57,200 --> 00:55:58,320
Speaker 4: I was so amazing.

1140
00:55:59,320 --> 00:56:01,760
Speaker 1: Yeah, largely, what do you why did you say largely

1141
00:56:01,800 --> 00:56:05,879
Speaker 1: and not totally in terms of hip hop out those

1142
00:56:06,120 --> 00:56:06,680
Speaker 1: Yeah yeah.

1143
00:56:06,560 --> 00:56:09,640
Speaker 3: Yeah, oh because the origins of hip hop or what

1144
00:56:09,840 --> 00:56:10,799
Speaker 3: leads to hip hop.

1145
00:56:10,880 --> 00:56:11,880
Speaker 1: This is a lot of people.

1146
00:56:11,960 --> 00:56:14,360
Speaker 3: Yeah, no question is look and people are entitled to

1147
00:56:14,400 --> 00:56:15,040
Speaker 3: their opinion.

1148
00:56:15,520 --> 00:56:16,800
Speaker 4: But this is what happened.

1149
00:56:17,000 --> 00:56:20,480
Speaker 1: Tell us this is what happens. Yes, there were.

1150
00:56:20,360 --> 00:56:23,000
Speaker 3: DJs, and it's wait before I go, I'm gonna get

1151
00:56:23,200 --> 00:56:24,319
Speaker 3: I'm gonna run this down.

1152
00:56:24,360 --> 00:56:26,759
Speaker 1: It's incredibly want to shot? You want to shot? You

1153
00:56:26,840 --> 00:56:30,879
Speaker 1: want to shot? Let's wait for big time, okay, because

1154
00:56:30,880 --> 00:56:34,040
Speaker 1: I feel like you're getting you know, no, listen.

1155
00:56:33,800 --> 00:56:35,960
Speaker 4: I've been waiting, you know. I wanted to get on

1156
00:56:36,080 --> 00:56:37,040
Speaker 4: here and sham.

1157
00:56:36,880 --> 00:56:39,640
Speaker 1: I'm sitting down like although I'm not to listen. I

1158
00:56:39,680 --> 00:56:43,120
Speaker 1: am in school right now. There stop. You know. You

1159
00:56:43,160 --> 00:56:45,600
Speaker 1: know what I can tell you what you know this is.

1160
00:56:45,760 --> 00:56:47,480
Speaker 4: This is a good one that I'm passionate about it.

1161
00:56:47,560 --> 00:56:49,200
Speaker 1: Okay, because obviously.

1162
00:56:48,960 --> 00:56:52,720
Speaker 3: There's dollar different stories there is about the Jamaica connection

1163
00:56:52,880 --> 00:56:53,799
Speaker 3: and whatever and.

1164
00:56:53,719 --> 00:56:54,399
Speaker 4: The dance hall.

1165
00:56:54,440 --> 00:56:56,920
Speaker 3: I'm deep into that since the seventies as well.

1166
00:56:57,000 --> 00:56:57,880
Speaker 4: Growing up in Brooklyn.

1167
00:56:57,920 --> 00:57:00,279
Speaker 3: You know I'm going to you know, hearing all them

1168
00:57:00,320 --> 00:57:05,279
Speaker 3: early dancehall records. But there were DJs that, damn there,

1169
00:57:05,360 --> 00:57:08,920
Speaker 3: go back to the late sixties that were mobile DJs.

1170
00:57:08,960 --> 00:57:12,439
Speaker 3: They wasn't cutting or scratching that they was mixing one

1171
00:57:12,480 --> 00:57:13,160
Speaker 3: record to the other.

1172
00:57:13,280 --> 00:57:15,400
Speaker 4: That was the big innovation.

1173
00:57:16,120 --> 00:57:20,560
Speaker 3: Everybody else had a record player going back seventies, going in,

1174
00:57:20,680 --> 00:57:23,360
Speaker 3: going for the back. You put four or five forty

1175
00:57:23,400 --> 00:57:25,840
Speaker 3: fives and the arm would swing, drop a record.

1176
00:57:25,880 --> 00:57:27,360
Speaker 1: It would play, and.

1177
00:57:27,240 --> 00:57:29,120
Speaker 3: That's how people listen to music.

1178
00:57:29,440 --> 00:57:30,520
Speaker 4: You understand what I'm saying.

1179
00:57:30,680 --> 00:57:33,880
Speaker 1: They lost the DJs, what they were considered DJs.

1180
00:57:33,960 --> 00:57:36,439
Speaker 3: No, you was just playing records, were just playing records. Now,

1181
00:57:36,640 --> 00:57:39,640
Speaker 3: the idea of the DJ what is that short for

1182
00:57:40,440 --> 00:57:41,080
Speaker 3: dis jockey?

1183
00:57:41,320 --> 00:57:42,880
Speaker 1: Thank you? Who was the.

1184
00:57:42,920 --> 00:57:47,000
Speaker 3: Disc jockey in those any time? Thank you? This is

1185
00:57:47,040 --> 00:57:52,520
Speaker 3: the real inspiration for what the dance hall DJs that

1186
00:57:52,720 --> 00:57:56,640
Speaker 3: sound system scene did in Jamaica and what these early

1187
00:57:56,720 --> 00:58:00,440
Speaker 3: DJs were doing here. They were emulating the black radio

1188
00:58:00,560 --> 00:58:03,720
Speaker 3: DJs like and because they was the ones talking kind

1189
00:58:03,760 --> 00:58:06,200
Speaker 3: of slick doing the talking over you had a little

1190
00:58:06,280 --> 00:58:09,520
Speaker 3: job talk slip slang. It was Jocko who was out

1191
00:58:09,520 --> 00:58:11,680
Speaker 3: of Philly in New York had a little slick shit

1192
00:58:12,080 --> 00:58:14,880
Speaker 3: kind of rhyming. When you look at the history going

1193
00:58:14,960 --> 00:58:20,360
Speaker 3: down to the scene in Memphis, Stacks Records, Pee Wee Markham,

1194
00:58:20,440 --> 00:58:23,480
Speaker 3: he was on the radio. Sly Stone, he was on

1195
00:58:23,520 --> 00:58:26,360
Speaker 3: the radio. That's how he built his name in San Francisco.

1196
00:58:26,800 --> 00:58:30,560
Speaker 3: So the big inspiration on the idea of a DJ

1197
00:58:30,800 --> 00:58:32,880
Speaker 3: is the disc jockey on the radio. They were the

1198
00:58:32,920 --> 00:58:36,080
Speaker 3: ones who played the music, had the flavor, talk that

1199
00:58:36,200 --> 00:58:39,240
Speaker 3: slick shit soundfly and play the records you wanted to hear.

1200
00:58:39,640 --> 00:58:44,520
Speaker 3: That's really who the DJs were inspired by because it's like, oh,

1201
00:58:44,560 --> 00:58:46,800
Speaker 3: this is like the radio he's playing, and you know,

1202
00:58:46,880 --> 00:58:49,560
Speaker 3: the beginning of people getting on the mic with like

1203
00:58:49,920 --> 00:58:51,960
Speaker 3: emulating what the radio.

1204
00:58:52,320 --> 00:58:54,240
Speaker 1: Records by talking over them and well just.

1205
00:58:54,200 --> 00:58:56,760
Speaker 3: Really bigging up who the DJ was and shouting him

1206
00:58:56,800 --> 00:58:59,880
Speaker 3: out and promoting him. That was what the original foundation

1207
00:59:00,280 --> 00:59:01,360
Speaker 3: was because even.

1208
00:59:01,200 --> 00:59:04,080
Speaker 1: In hip hop, the DJ was the man, way before.

1209
00:59:03,960 --> 00:59:06,800
Speaker 3: Thank you DJ was the man. He had the system,

1210
00:59:07,120 --> 00:59:08,120
Speaker 3: he bought the music.

1211
00:59:08,280 --> 00:59:10,360
Speaker 1: Colweys DJs didn't want to be better.

1212
00:59:10,560 --> 00:59:13,240
Speaker 3: Believe it, Okay, that was one hundred percent and that

1213
00:59:13,360 --> 00:59:17,320
Speaker 3: was a huge scene that developed like like through the seventies,

1214
00:59:17,320 --> 00:59:20,959
Speaker 3: like Herkle tell you Pete DJ Jones, the original grand

1215
00:59:21,000 --> 00:59:23,960
Speaker 3: Master of Flowers. My boy, it was a list of

1216
00:59:24,000 --> 00:59:27,360
Speaker 3: these cats. Queen's had, people like the Disco Twins, you know,

1217
00:59:28,360 --> 00:59:34,240
Speaker 3: the Infinity Machine, my boy Hassan and Ron Lawrence, Ron

1218
00:59:34,320 --> 00:59:36,280
Speaker 3: amen Ra who was one of the you know the

1219
00:59:36,360 --> 00:59:38,640
Speaker 3: hit Man Man Man. He's doing all them cool like

1220
00:59:39,200 --> 00:59:42,760
Speaker 3: AI clips now with people talking about hip hop, and

1221
00:59:42,800 --> 00:59:43,400
Speaker 3: he takes.

1222
00:59:43,160 --> 00:59:44,720
Speaker 4: The photos and make a move a little bit.

1223
00:59:45,360 --> 00:59:47,680
Speaker 3: They made a documentary a little over ten years ago

1224
00:59:47,840 --> 00:59:52,000
Speaker 3: called Founding Fathers that details, Yeah, it was only on

1225
00:59:52,200 --> 00:59:54,080
Speaker 3: it was on YouTube for a bunch of time. It's

1226
00:59:54,120 --> 00:59:57,920
Speaker 3: about to be on to b and the Founding Fathers

1227
00:59:57,960 --> 01:00:01,520
Speaker 3: really interviews and talks about this era of the game

1228
01:00:02,200 --> 01:00:03,240
Speaker 3: and these DJs.

1229
01:00:03,240 --> 01:00:06,080
Speaker 1: When we say found fallers, I just want to reiterate

1230
01:00:06,080 --> 01:00:07,960
Speaker 1: that we're talking about the founding fallows of hip hop.

1231
01:00:08,000 --> 01:00:11,000
Speaker 3: Correct, Well, that's what it implies, but it's really like

1232
01:00:11,360 --> 01:00:13,880
Speaker 3: it doesn't say that in the title, but percent right.

1233
01:00:14,360 --> 01:00:17,200
Speaker 3: But in terms of what led to that boom, what

1234
01:00:17,320 --> 01:00:21,320
Speaker 3: Herk did, once again is genius because he took that

1235
01:00:21,400 --> 01:00:24,760
Speaker 3: structure of the DJs that was mad popular all over

1236
01:00:24,800 --> 01:00:27,240
Speaker 3: the city, and then he brought something new to the table.

1237
01:00:27,600 --> 01:00:32,600
Speaker 3: With the breaks, through playing the breaks, picking up doing

1238
01:00:32,640 --> 01:00:35,840
Speaker 3: that like needle drop type of technique and flashing them

1239
01:00:35,880 --> 01:00:38,400
Speaker 3: will tell you they they got what he was trying

1240
01:00:38,440 --> 01:00:41,280
Speaker 3: to do. It was incredible, but they couldn't catch the

1241
01:00:41,320 --> 01:00:43,480
Speaker 3: beat all the time. And Flash went and did the

1242
01:00:43,560 --> 01:00:45,920
Speaker 3: research to figure out what turntake.

1243
01:00:46,040 --> 01:00:50,840
Speaker 4: But it was a researcher, but he did. He did

1244
01:00:50,880 --> 01:00:51,480
Speaker 4: research for.

1245
01:00:51,520 --> 01:00:54,560
Speaker 3: Every turntable until he found out that the Technique twelve

1246
01:00:54,640 --> 01:00:56,640
Speaker 3: hundred was the one that had.

1247
01:00:56,480 --> 01:00:58,120
Speaker 1: The direct drive.

1248
01:00:58,560 --> 01:01:01,520
Speaker 3: And then he Yeah, there was a drag before you

1249
01:01:01,600 --> 01:01:02,160
Speaker 3: got to.

1250
01:01:02,840 --> 01:01:06,400
Speaker 1: So we had Flash on here. Flash was amazing on.

1251
01:01:06,400 --> 01:01:10,600
Speaker 3: Here, Yeah, Grandmaster, Yeah, crazy legs on here.

1252
01:01:10,680 --> 01:01:16,240
Speaker 1: Yes, I seen that. And I feel like.

1253
01:01:17,880 --> 01:01:21,600
Speaker 3: All of them do say they credit her, Yeah, they

1254
01:01:21,680 --> 01:01:24,160
Speaker 3: credit him for what becomes hip hop, but just that

1255
01:01:24,240 --> 01:01:26,400
Speaker 3: a lot of them may not know. Flash will tell

1256
01:01:26,440 --> 01:01:29,959
Speaker 3: you about Pete DJ Jones and the DJs that made

1257
01:01:30,000 --> 01:01:31,120
Speaker 3: you want to be a DJ.

1258
01:01:31,880 --> 01:01:32,600
Speaker 4: It was a thing.

1259
01:01:32,840 --> 01:01:36,680
Speaker 3: I think was it herk on here or maybe Flash

1260
01:01:36,760 --> 01:01:37,320
Speaker 3: told the story?

1261
01:01:38,480 --> 01:01:38,880
Speaker 1: Had not her?

1262
01:01:39,000 --> 01:01:42,640
Speaker 3: I meant to say, kaz Or Flash told the story

1263
01:01:42,680 --> 01:01:45,600
Speaker 3: about if I'm not mistaken. When he went to battle.

1264
01:01:45,960 --> 01:01:48,520
Speaker 3: As soon as Pete DJ Jones turned his system on,

1265
01:01:48,920 --> 01:01:50,560
Speaker 3: he was like, yo, it's trying to pack up and

1266
01:01:50,600 --> 01:01:53,560
Speaker 3: go because these dudes not just was nice with the records,

1267
01:01:53,600 --> 01:01:55,200
Speaker 3: but they knew how to put the systems together.

1268
01:01:55,800 --> 01:01:57,000
Speaker 1: It took some it took.

1269
01:01:56,880 --> 01:02:00,200
Speaker 5: Bread, and you had to have some real tech gets

1270
01:02:00,240 --> 01:02:02,520
Speaker 5: the same thing in these eras, like you had to

1271
01:02:02,560 --> 01:02:04,880
Speaker 5: be able to have access to the equipment or a

1272
01:02:04,920 --> 01:02:05,920
Speaker 5: studio or whatever.

1273
01:02:06,000 --> 01:02:08,440
Speaker 3: As you noticed, the story goes the black Out of

1274
01:02:08,480 --> 01:02:12,439
Speaker 3: seventy seven when cats got their looting on a lot

1275
01:02:12,440 --> 01:02:15,520
Speaker 3: of Bronx. Cats got access to equipment because let's be real,

1276
01:02:15,600 --> 01:02:17,680
Speaker 3: the Bronx was the poorest borough in the city at

1277
01:02:17,680 --> 01:02:18,000
Speaker 3: that time.

1278
01:02:18,040 --> 01:02:18,840
Speaker 4: It took some money.

1279
01:02:18,920 --> 01:02:20,840
Speaker 3: A lot of times you hear stories about casts that

1280
01:02:20,880 --> 01:02:23,920
Speaker 3: have big sound systems and queens or whatever. Their parents

1281
01:02:24,280 --> 01:02:27,360
Speaker 3: spent two, three, four or five K. That's a lot

1282
01:02:27,360 --> 01:02:28,160
Speaker 3: of money there.

1283
01:02:32,680 --> 01:02:33,560
Speaker 1: That's incredible.

1284
01:02:33,640 --> 01:02:36,160
Speaker 3: When casts told the story, a lot of casts went

1285
01:02:36,200 --> 01:02:39,400
Speaker 3: to where the where the entertainment electronics stores was and

1286
01:02:39,480 --> 01:02:42,880
Speaker 3: got busy, got mixes, got real.

1287
01:02:42,680 --> 01:02:44,480
Speaker 4: Stuff for the first time, you know.

1288
01:02:44,680 --> 01:02:46,440
Speaker 1: And so that I was born in seventy seven, I

1289
01:02:46,440 --> 01:02:50,320
Speaker 1: helped that ship. It was me. It's my magic.

1290
01:02:52,160 --> 01:02:54,240
Speaker 3: So those are some of the incredible stories about how

1291
01:02:54,280 --> 01:02:57,640
Speaker 3: it really got built, but definitely what herk did was

1292
01:02:57,640 --> 01:02:59,320
Speaker 3: taken in another direction.

1293
01:03:00,040 --> 01:03:01,440
Speaker 4: Also, the other thing that's.

1294
01:03:01,240 --> 01:03:05,680
Speaker 3: Interesting about those DJs that I mentioned, the Flowers and

1295
01:03:05,720 --> 01:03:08,800
Speaker 3: the pet DJ Jones, there were there were clubs that

1296
01:03:08,920 --> 01:03:12,840
Speaker 3: came up in Manhattan where promoters would rent out like

1297
01:03:12,880 --> 01:03:16,040
Speaker 3: a restaurant and they would take the chairs out and

1298
01:03:16,080 --> 01:03:19,200
Speaker 3: they would promote that as a party for people coming

1299
01:03:19,200 --> 01:03:21,800
Speaker 3: from the burrows, not in the grill. No, this is

1300
01:03:21,800 --> 01:03:25,040
Speaker 3: way before the brill. This is like Nell Gwinns. I

1301
01:03:25,040 --> 01:03:26,960
Speaker 3: didn't go to these places. I'm still shorty, but I'm

1302
01:03:27,000 --> 01:03:30,200
Speaker 3: well aware of way before all of that.

1303
01:03:30,720 --> 01:03:35,280
Speaker 4: It's place before club it was. These were legit clubs too.

1304
01:03:35,320 --> 01:03:37,600
Speaker 3: But this is what once again turned the heat up

1305
01:03:37,760 --> 01:03:38,680
Speaker 3: on this whole.

1306
01:03:38,480 --> 01:03:39,200
Speaker 4: Idea of DJ.

1307
01:03:39,480 --> 01:03:42,400
Speaker 3: Your mobile DJs go from playing in the streets to

1308
01:03:42,520 --> 01:03:46,400
Speaker 3: getting high bodies promoters. Their names are getting bigger and

1309
01:03:46,440 --> 01:03:49,440
Speaker 3: bigger and bigger. They're the ones that's really developing this

1310
01:03:49,480 --> 01:03:50,360
Speaker 3: whole disco thing.

1311
01:03:50,640 --> 01:03:52,960
Speaker 1: Frankie Crocker, this is pre disco. You're saying, this is what?

1312
01:03:54,280 --> 01:03:57,080
Speaker 3: Then this is what Mexico and Frankie Krocker doesn't get

1313
01:03:57,160 --> 01:04:00,000
Speaker 3: enough credit. I go into him deep in my memoir

1314
01:04:00,200 --> 01:04:03,960
Speaker 3: because when he took over BLS FM. Most black people

1315
01:04:04,000 --> 01:04:05,479
Speaker 3: or most people listen to their.

1316
01:04:05,440 --> 01:04:06,680
Speaker 1: Music on AM.

1317
01:04:07,360 --> 01:04:12,120
Speaker 3: When Frankie Kraker takes control of BLS, it's stereo for

1318
01:04:12,160 --> 01:04:16,000
Speaker 3: the first time. In fact, when it was a big thing,

1319
01:04:16,400 --> 01:04:18,400
Speaker 3: when you would hear it at the speak like they

1320
01:04:18,400 --> 01:04:21,520
Speaker 3: would do the station ID, they would go w B

1321
01:04:22,280 --> 01:04:24,440
Speaker 3: L S. It would go from left speaker back to right.

1322
01:04:24,480 --> 01:04:27,280
Speaker 3: People would be like, oh my god, that's next level.

1323
01:04:27,640 --> 01:04:29,720
Speaker 3: And that made people want to go and get stereo

1324
01:04:29,800 --> 01:04:32,920
Speaker 3: systems because most people it wasn't about stereo. And so

1325
01:04:33,040 --> 01:04:38,240
Speaker 3: Frankie Kraker became the dominant DJ. His style was more smooth.

1326
01:04:38,360 --> 01:04:41,120
Speaker 3: He had like a suave kind of vibe. He drove

1327
01:04:41,160 --> 01:04:45,760
Speaker 3: a Rose Royce, you know. He was like on some player, suave, sophisticated.

1328
01:04:46,080 --> 01:04:49,200
Speaker 3: But he followed the DJs, these mobile DJs that I'm

1329
01:04:49,240 --> 01:04:52,160
Speaker 3: talking about, and he'd be at these parties. If he

1330
01:04:52,240 --> 01:04:55,080
Speaker 3: saw the DJ broke some record and the crowd went crazy,

1331
01:04:55,080 --> 01:04:58,280
Speaker 3: Frankie would put that record on BLS and he broke

1332
01:04:58,320 --> 01:05:00,760
Speaker 3: a lot of the acts that became the big disco.

1333
01:05:01,000 --> 01:05:03,760
Speaker 3: He was super duper dumb. He doesn't get enough props,

1334
01:05:04,000 --> 01:05:06,920
Speaker 3: but how influential he was because I'm listening. Then I'm

1335
01:05:06,960 --> 01:05:11,160
Speaker 3: hearing him promote the parties of these DJs. Next thing,

1336
01:05:11,200 --> 01:05:15,280
Speaker 3: you know, the records that he's breaking become hit records.

1337
01:05:15,480 --> 01:05:17,320
Speaker 3: You know what I'm saying, The records that are the

1338
01:05:17,360 --> 01:05:21,520
Speaker 3: foundations of disco. Frankie broke most of those records. He

1339
01:05:21,520 --> 01:05:23,040
Speaker 3: would interview the artists.

1340
01:05:22,760 --> 01:05:23,240
Speaker 1: On the radio.

1341
01:05:23,560 --> 01:05:26,680
Speaker 3: He was Frankie Hollywood cracker. That was his whole thing.

1342
01:05:26,840 --> 01:05:30,920
Speaker 3: He was real smooth, real fly, influential and so with

1343
01:05:31,040 --> 01:05:33,960
Speaker 3: his energy and everything, I'm telling you, that takes it

1344
01:05:34,120 --> 01:05:37,919
Speaker 3: over the top. Then it Then we get Studio fifty four.

1345
01:05:38,320 --> 01:05:40,880
Speaker 3: Then we got high end clubs. Because now it's a thing.

1346
01:05:43,440 --> 01:05:45,240
Speaker 3: I didn't go to study, but that was some ship

1347
01:05:45,280 --> 01:05:49,000
Speaker 3: where they invented. I'm still a short time, I ain't

1348
01:05:49,000 --> 01:05:51,560
Speaker 3: really deep in the mixed yet, but they would pick you.

1349
01:05:51,640 --> 01:05:54,120
Speaker 3: That's where that whole velvet rope things start, and they

1350
01:05:54,160 --> 01:05:56,400
Speaker 3: would diss a lot of people. I went up there

1351
01:05:56,440 --> 01:05:58,080
Speaker 3: once to just to watch it going because it was

1352
01:05:58,120 --> 01:05:58,640
Speaker 3: a scene.

1353
01:05:58,800 --> 01:06:02,200
Speaker 1: People would be crying in man, listen.

1354
01:06:01,920 --> 01:06:04,520
Speaker 3: It was the biggest thing in the media. To get

1355
01:06:04,600 --> 01:06:06,800
Speaker 3: up in there to get picked. That's where the whole

1356
01:06:06,880 --> 01:06:11,280
Speaker 3: rope thing started. James, when my ship got popping, and

1357
01:06:11,520 --> 01:06:14,560
Speaker 3: the mud Club did the reverse instead of the velvet rope.

1358
01:06:14,600 --> 01:06:17,439
Speaker 3: The mud Club had a little chain outside and when

1359
01:06:17,480 --> 01:06:19,080
Speaker 3: me and Sean Michelle rolled up.

1360
01:06:19,080 --> 01:06:22,000
Speaker 4: If you're like, oh, Freddy Jean, come right on in.

1361
01:06:22,480 --> 01:06:24,800
Speaker 3: You know, we had five or six cats with us.

1362
01:06:25,080 --> 01:06:27,880
Speaker 3: So that was our scene, which was a change from

1363
01:06:27,880 --> 01:06:33,240
Speaker 3: the whole Bougie's Studio fifty four, but that was super four.

1364
01:06:33,240 --> 01:06:35,959
Speaker 1: It was you. But it was like it was like yo, man,

1365
01:06:36,360 --> 01:06:41,080
Speaker 1: you know fab and they downtown, they got they got

1366
01:06:41,080 --> 01:06:43,280
Speaker 1: the white girls they were.

1367
01:06:44,280 --> 01:06:45,240
Speaker 4: That's all that was then.

1368
01:06:48,240 --> 01:06:54,720
Speaker 3: You know, opportunity equal opportunity, and you know we would

1369
01:06:54,720 --> 01:06:58,000
Speaker 3: have you know, we wasn't trying to discriminate.

1370
01:07:00,160 --> 01:07:02,880
Speaker 1: Girl. Then the other white girl, my friend Sundy d

1371
01:07:03,040 --> 01:07:08,760
Speaker 1: over there right. I thought he's a white people whisperer,

1372
01:07:09,160 --> 01:07:12,920
Speaker 1: was like at first, at first I thought it was embarrassing,

1373
01:07:15,120 --> 01:07:16,600
Speaker 1: and then I thought about it. I was like, yo,

1374
01:07:16,960 --> 01:07:20,120
Speaker 1: these white people like soon as he talks, they let

1375
01:07:20,120 --> 01:07:27,720
Speaker 1: their guard down around him, like he's he is a

1376
01:07:27,840 --> 01:07:33,480
Speaker 1: white person whisperer, I don't think relate to other Haitians related.

1377
01:07:37,440 --> 01:07:40,320
Speaker 1: That's crazy. Do you think do you do you think

1378
01:07:40,360 --> 01:07:41,520
Speaker 1: you're white people whisper?

1379
01:07:42,760 --> 01:07:47,520
Speaker 3: Well, well, you know at that time, that's mostly who

1380
01:07:47,640 --> 01:07:48,920
Speaker 3: was on the downtown scene.

1381
01:07:49,600 --> 01:07:53,280
Speaker 4: And you know, it was a crowd that was very open.

1382
01:07:53,360 --> 01:07:57,160
Speaker 3: That's the thing. Everybody in New York. You know, New

1383
01:07:57,240 --> 01:07:59,480
Speaker 3: York was really polarized back in the day. It's like

1384
01:07:59,520 --> 01:08:02,960
Speaker 3: if you you know, casting different neighborhoods, they didn't really

1385
01:08:03,000 --> 01:08:05,520
Speaker 3: intersect segregated in that way. Yeah, it was more or less.

1386
01:08:05,520 --> 01:08:08,560
Speaker 3: It's very segregated. You know, you could roll through different neighborhoods.

1387
01:08:08,960 --> 01:08:11,560
Speaker 3: It was a fight like you know, even when people

1388
01:08:11,760 --> 01:08:14,760
Speaker 3: like me and when we were sure he's going through Brownsville.

1389
01:08:14,240 --> 01:08:16,479
Speaker 4: Cast was check you, what's up. You have to get

1390
01:08:16,479 --> 01:08:17,760
Speaker 4: busy on some knuckle ship.

1391
01:08:18,040 --> 01:08:18,719
Speaker 1: You know what I'm saying.

1392
01:08:19,400 --> 01:08:22,200
Speaker 3: Yiggas don't know about the fifty two blocks for real,

1393
01:08:22,360 --> 01:08:23,880
Speaker 3: you know what I'm saying. You had to know how

1394
01:08:23,880 --> 01:08:26,320
Speaker 3: to handle your ship. And that's New York, you know.

1395
01:08:26,920 --> 01:08:29,479
Speaker 3: And so certain neighborhoods where you had tough you know,

1396
01:08:29,560 --> 01:08:32,320
Speaker 3: cast would get busy. And so that was the That

1397
01:08:32,400 --> 01:08:35,120
Speaker 3: was a dynamic on the downtown scene. It was very open.

1398
01:08:35,600 --> 01:08:37,880
Speaker 3: People was on some artist ship. It was different. It

1399
01:08:37,960 --> 01:08:40,960
Speaker 3: was so we even though me, Jean, a few other

1400
01:08:41,000 --> 01:08:44,320
Speaker 3: brothers were among the few people of color. The crowd,

1401
01:08:44,479 --> 01:08:46,920
Speaker 3: every all of them was like looked at us outcasts

1402
01:08:46,920 --> 01:08:49,760
Speaker 3: as well. You know, punk block, niggad shade heads.

1403
01:08:49,840 --> 01:08:51,280
Speaker 1: With CBGB popping out us.

1404
01:08:51,320 --> 01:08:53,439
Speaker 3: CBGB's was popping them up in there. You know what

1405
01:08:53,439 --> 01:08:55,479
Speaker 3: I'm saying, I'm making moves through all of them spot.

1406
01:08:55,280 --> 01:08:57,519
Speaker 1: And that's one of the first venues that was then.

1407
01:08:57,960 --> 01:09:01,760
Speaker 5: Yeah, but hip hop was was the first part to

1408
01:09:01,840 --> 01:09:02,479
Speaker 5: performing there.

1409
01:09:02,560 --> 01:09:03,719
Speaker 4: Okay that I missed.

1410
01:09:04,520 --> 01:09:06,719
Speaker 1: It wasn't like BC's and then like all the well the.

1411
01:09:06,600 --> 01:09:08,920
Speaker 3: Beasts, Yeah, they wasn't doing anything. I was around the

1412
01:09:08,960 --> 01:09:10,880
Speaker 3: b c's when they came up, Bacie Boys. You know

1413
01:09:10,920 --> 01:09:13,360
Speaker 3: what I'm saying. They was definitely had that punk rock energy.

1414
01:09:13,400 --> 01:09:15,760
Speaker 1: They were pu Originally they were a punk rock group.

1415
01:09:15,760 --> 01:09:17,720
Speaker 3: I thinks, well, they had a punk rock thing.

1416
01:09:17,800 --> 01:09:18,559
Speaker 4: They had a punk.

1417
01:09:18,439 --> 01:09:20,720
Speaker 3: Rock attitude, but they was mixing hip hop with it.

1418
01:09:21,000 --> 01:09:23,439
Speaker 3: The first record that I loved blew Up was was

1419
01:09:23,479 --> 01:09:26,559
Speaker 3: called Cookie Puss, which she probably never came out where

1420
01:09:26,560 --> 01:09:31,360
Speaker 3: they recorded this this TV commercial of for Carvel ice

1421
01:09:31,400 --> 01:09:35,639
Speaker 3: cream and they just sampled these ship. It made a wild, crazy,

1422
01:09:35,920 --> 01:09:37,720
Speaker 3: goofy record. It was a lot of fun, but it

1423
01:09:37,840 --> 01:09:41,280
Speaker 3: had a punk sensibility. But they was rapping, and that's

1424
01:09:41,320 --> 01:09:44,320
Speaker 3: a part of Russell's genius, seeing these white guys and

1425
01:09:44,400 --> 01:09:45,479
Speaker 3: thought this could work.

1426
01:09:45,880 --> 01:09:46,160
Speaker 1: You know.

1427
01:09:46,479 --> 01:09:48,920
Speaker 3: Rick Ruben stepped in to work with them, and that

1428
01:09:48,960 --> 01:09:51,080
Speaker 3: shit blew up way beyond. But we was all hanging

1429
01:09:51,080 --> 01:09:54,120
Speaker 3: in that same downtown scene at that time because some

1430
01:09:54,160 --> 01:09:57,519
Speaker 3: of the clubs that we frequented as different rap records

1431
01:09:57,520 --> 01:10:01,080
Speaker 3: are beginning to come out sugar Hill other doing things

1432
01:10:01,120 --> 01:10:04,960
Speaker 3: you know, hoo DEENI and whatever. The downtown clubs was

1433
01:10:05,000 --> 01:10:07,519
Speaker 3: spinning them, you know what I mean. They was beginning

1434
01:10:07,560 --> 01:10:10,000
Speaker 3: to get into that because the things we were doing,

1435
01:10:10,120 --> 01:10:14,280
Speaker 3: like like I curated an exhibit at the Mud Club,

1436
01:10:14,479 --> 01:10:16,400
Speaker 3: the same club I'm talking and.

1437
01:10:17,960 --> 01:10:20,639
Speaker 4: We did a show. Keith Herring had put me on.

1438
01:10:22,080 --> 01:10:23,600
Speaker 3: He said, Yo, the owner of the club wants you

1439
01:10:23,680 --> 01:10:24,799
Speaker 3: to curate a show which.

1440
01:10:24,600 --> 01:10:26,600
Speaker 1: Is a flex. Keith Herring is a flex right now.

1441
01:10:26,840 --> 01:10:28,840
Speaker 3: Yeah, that's my dad. He was a part of the

1442
01:10:28,880 --> 01:10:31,040
Speaker 3: whole team at that time. And he said, the owner,

1443
01:10:31,479 --> 01:10:33,920
Speaker 3: Keith is just starting to come up and we were

1444
01:10:33,960 --> 01:10:36,840
Speaker 3: super tight, and he asked me to curate a show

1445
01:10:36,880 --> 01:10:40,600
Speaker 3: which I did called Beyond Words, and I included a

1446
01:10:40,600 --> 01:10:43,759
Speaker 3: lot of these other graffiti artists I'm talking about Jean Michelle, Futurea,

1447
01:10:43,880 --> 01:10:46,639
Speaker 3: Crash Days, a few other people to show that.

1448
01:10:47,080 --> 01:10:48,360
Speaker 4: We moving into this scene.

1449
01:10:48,360 --> 01:10:50,720
Speaker 3: And the dude knew I was connected to this rap

1450
01:10:50,760 --> 01:10:51,960
Speaker 3: thing which is starting to bubble.

1451
01:10:52,200 --> 01:10:53,760
Speaker 4: He said, Yo, can you put something? Get some of

1452
01:10:53,800 --> 01:10:54,320
Speaker 4: them groups?

1453
01:10:54,320 --> 01:10:57,519
Speaker 3: So I got like Bam and Cold Crushing Busy. All

1454
01:10:57,520 --> 01:11:00,280
Speaker 3: of them came down to perform at the opening and

1455
01:11:00,320 --> 01:11:04,120
Speaker 3: that was a lot of people's first experience with hip

1456
01:11:04,120 --> 01:11:07,600
Speaker 3: hop culture on that downtown scene show was in.

1457
01:11:07,800 --> 01:11:09,400
Speaker 4: They was just yo, this is dope.

1458
01:11:09,520 --> 01:11:13,120
Speaker 3: They felt it beyond expectation, and then more and more

1459
01:11:13,120 --> 01:11:15,719
Speaker 3: people began to mess with it, and so that became

1460
01:11:16,439 --> 01:11:18,439
Speaker 3: a place where we began to do our things, so

1461
01:11:18,520 --> 01:11:21,080
Speaker 3: to speak, and people were open to this new thing

1462
01:11:21,240 --> 01:11:24,439
Speaker 3: coming on. There's a venue for the bill called hip hop.

1463
01:11:24,960 --> 01:11:28,360
Speaker 3: Yeah no, not totally yet.

1464
01:11:28,680 --> 01:11:30,680
Speaker 1: When do you hear it called hip hop? Like what

1465
01:11:30,840 --> 01:11:31,280
Speaker 1: is okay?

1466
01:11:31,360 --> 01:11:37,439
Speaker 3: So what happens is oh boy? And I elaborate thoroughly

1467
01:11:37,720 --> 01:11:41,840
Speaker 3: in my memory. There was no name for it officially,

1468
01:11:42,840 --> 01:11:46,879
Speaker 3: and looking at new wave and punk rock, those scenes

1469
01:11:46,880 --> 01:11:49,519
Speaker 3: were named and you could notice styles that are different.

1470
01:11:49,560 --> 01:11:50,240
Speaker 1: Groups like the.

1471
01:11:50,200 --> 01:11:53,800
Speaker 3: Sex Pistols, Clash and groups like that. The Dead Boys

1472
01:11:53,800 --> 01:11:56,400
Speaker 3: were punk rock, but then new waves like were like

1473
01:11:57,160 --> 01:11:59,120
Speaker 3: Blondie Talking Heads.

1474
01:11:58,800 --> 01:11:59,479
Speaker 1: Be fifty two.

1475
01:12:00,240 --> 01:12:03,960
Speaker 3: But these scenes were clearly defined, and they were being

1476
01:12:03,960 --> 01:12:10,320
Speaker 3: written about and further defined and explained and working on

1477
01:12:10,400 --> 01:12:13,040
Speaker 3: wild Style. As we were coming towards the end and

1478
01:12:13,080 --> 01:12:15,320
Speaker 3: going into post production, and I'm like, Charlie, what are

1479
01:12:15,320 --> 01:12:18,400
Speaker 3: we gonna call it? We had did an event. There

1480
01:12:18,400 --> 01:12:20,200
Speaker 3: were two events that well, it was an event that

1481
01:12:20,280 --> 01:12:23,519
Speaker 3: we did, which was because you know, I used to

1482
01:12:23,560 --> 01:12:26,000
Speaker 3: spit on the mica a little something something and we

1483
01:12:26,160 --> 01:12:29,280
Speaker 3: come together. It was the photos of Henry Schafon and

1484
01:12:29,320 --> 01:12:34,200
Speaker 3: Martha Cooper. Those were two the first official graffiti documentarians.

1485
01:12:34,200 --> 01:12:35,519
Speaker 1: They would photograph this stuff.

1486
01:12:35,800 --> 01:12:39,320
Speaker 3: The rock Steady Crew, a DJ from my block in Brooklyn,

1487
01:12:39,400 --> 01:12:42,240
Speaker 3: DJ Spy I got on the mic, and another cat

1488
01:12:42,280 --> 01:12:43,040
Speaker 3: that I brought.

1489
01:12:42,840 --> 01:12:44,360
Speaker 1: Into the scene named ramel Z.

1490
01:12:45,160 --> 01:12:48,160
Speaker 3: And this event we were gonna we were calling it

1491
01:12:48,320 --> 01:12:53,400
Speaker 3: graffiti rock. But Charlie and I were like, well that

1492
01:12:53,560 --> 01:12:54,920
Speaker 3: was the term we had used.

1493
01:12:55,080 --> 01:12:56,400
Speaker 4: We're like, what are we gonna call it?

1494
01:12:56,680 --> 01:13:02,080
Speaker 3: So every other rapper at the time, many rappers would

1495
01:13:03,120 --> 01:13:07,320
Speaker 3: in between rapping, they would and I used to consider

1496
01:13:07,360 --> 01:13:10,680
Speaker 3: it an opportunity to catch your breath and think of

1497
01:13:10,720 --> 01:13:12,920
Speaker 3: your next rhyme. They would go to the hip the

1498
01:13:12,960 --> 01:13:16,320
Speaker 3: hop hippie dibby divvy, you know you don't stop. That

1499
01:13:16,400 --> 01:13:19,040
Speaker 3: was a part of the like a break in between

1500
01:13:19,040 --> 01:13:21,439
Speaker 3: your rhymes, you throw your hands in the air, different

1501
01:13:21,479 --> 01:13:24,360
Speaker 3: things that a lot of the Foundation rappers would do.

1502
01:13:24,920 --> 01:13:28,360
Speaker 3: I told Charlie, I think we should use this term

1503
01:13:28,479 --> 01:13:32,559
Speaker 3: to define the whole scene because we because the scene

1504
01:13:32,560 --> 01:13:35,639
Speaker 3: we were trying to showcase in the film was the painting,

1505
01:13:36,560 --> 01:13:41,120
Speaker 3: was the music, the DJs and the dancing and every

1506
01:13:41,520 --> 01:13:43,920
Speaker 3: a lot of people were saying it, and so we

1507
01:13:44,000 --> 01:13:47,240
Speaker 3: helped push that into the mix as a way to

1508
01:13:47,280 --> 01:13:50,679
Speaker 3: describe what the movie was about. Because once again, seeing

1509
01:13:50,680 --> 01:13:53,080
Speaker 3: how Punk and New Way were written about, we were

1510
01:13:53,120 --> 01:13:58,439
Speaker 3: anticipating something similar, being that I had the instinct to

1511
01:13:58,520 --> 01:14:01,760
Speaker 3: connect with people were big supporters of us, that were

1512
01:14:01,840 --> 01:14:03,840
Speaker 3: the key principal people in that scene.

1513
01:14:04,520 --> 01:14:06,480
Speaker 4: And so that's essentially.

1514
01:14:06,080 --> 01:14:09,479
Speaker 3: How that began to help push to help nudge that

1515
01:14:09,680 --> 01:14:15,520
Speaker 3: into place, because to promote the film the first real descriptions,

1516
01:14:15,520 --> 01:14:19,160
Speaker 3: nobody was writing about this as a culture and in

1517
01:14:19,200 --> 01:14:22,600
Speaker 3: the promotional wild style, this is the beginning of it

1518
01:14:22,680 --> 01:14:26,200
Speaker 3: being seen as this broad picture as you know, together

1519
01:14:26,720 --> 01:14:31,280
Speaker 3: together the culture, the elements four or five whatever, people

1520
01:14:31,320 --> 01:14:34,680
Speaker 3: were determine and this is what it's called because it

1521
01:14:34,720 --> 01:14:38,640
Speaker 3: was so it's more organic. It's not like I named which. No,

1522
01:14:38,840 --> 01:14:41,640
Speaker 3: it was a name and a word, a phrase that

1523
01:14:41,720 --> 01:14:44,080
Speaker 3: was a part of the culture I like to consider.

1524
01:14:44,280 --> 01:14:47,160
Speaker 3: I just helped nudge it into place because we needed

1525
01:14:47,160 --> 01:14:50,840
Speaker 3: to tell the story, promote the film and what the

1526
01:14:50,880 --> 01:14:53,680
Speaker 3: film was about. And Wild Style was the beginning of that.

1527
01:14:54,240 --> 01:14:58,200
Speaker 3: Their initial stories were in The Village Voice and Downtown publications.

1528
01:14:58,400 --> 01:14:59,960
Speaker 4: The first time it was used in print.

1529
01:15:00,040 --> 01:15:03,960
Speaker 3: And this cat Michael Hoeman, who once again.

1530
01:15:03,760 --> 01:15:06,000
Speaker 1: He did a TV show early.

1531
01:15:06,439 --> 01:15:09,320
Speaker 3: But the but the but the but the goofy cornball

1532
01:15:09,439 --> 01:15:12,720
Speaker 3: suits that he had to deal with didn't allow it

1533
01:15:12,760 --> 01:15:15,800
Speaker 3: to go syndicate it and it was called Graffiti Rock.

1534
01:15:16,240 --> 01:15:18,920
Speaker 3: You've probably seen clips of it online where you see

1535
01:15:18,960 --> 01:15:22,920
Speaker 3: like coom o d and running them perform. It was

1536
01:15:23,080 --> 01:15:25,760
Speaker 3: and he's the host on it. He had the Gazel's on,

1537
01:15:25,960 --> 01:15:28,479
Speaker 3: you know. He he was somebody that I put on

1538
01:15:28,880 --> 01:15:31,280
Speaker 3: and he dived right in. He would manage the New

1539
01:15:31,360 --> 01:15:33,920
Speaker 3: York City Breakers, they were like the rivals to the

1540
01:15:34,000 --> 01:15:38,560
Speaker 3: rock STEADI crew. In an interview in an article in

1541
01:15:38,600 --> 01:15:42,759
Speaker 3: a Downtown paper called East Village, I he does a story.

1542
01:15:42,960 --> 01:15:43,920
Speaker 3: I had gotten his end.

1543
01:15:43,960 --> 01:15:44,400
Speaker 1: Let him know.

1544
01:15:44,439 --> 01:15:46,080
Speaker 4: Listen, we're gonna call it all this.

1545
01:15:46,240 --> 01:15:49,880
Speaker 3: We're beginning to promote the movie, this whole special section

1546
01:15:49,960 --> 01:15:53,000
Speaker 3: in the East Village. I was like several articles the

1547
01:15:53,040 --> 01:15:55,280
Speaker 3: first time this had ever happened about different aspects of

1548
01:15:55,320 --> 01:15:58,680
Speaker 3: the culture. Futura and Lee had art that was included

1549
01:15:58,800 --> 01:16:01,519
Speaker 3: in that issue. And Michael Holman does an interview with

1550
01:16:01,640 --> 01:16:04,040
Speaker 3: Bam Bada and uses that term for the first time

1551
01:16:04,160 --> 01:16:05,240
Speaker 3: in print.

1552
01:16:05,560 --> 01:16:07,320
Speaker 1: Vam Boda says it because that's what I know.

1553
01:16:08,000 --> 01:16:09,200
Speaker 4: Well, Michael is talking.

1554
01:16:09,320 --> 01:16:12,960
Speaker 3: Michael brings us truck in fact, to make it legit,

1555
01:16:13,240 --> 01:16:15,360
Speaker 3: to make me feel like I was on the right track.

1556
01:16:15,439 --> 01:16:16,320
Speaker 1: I called Bam.

1557
01:16:16,520 --> 01:16:19,080
Speaker 3: I said, Bam, I'm thinking that to promote the movie.

1558
01:16:19,280 --> 01:16:22,040
Speaker 3: We're thinking of using and Bam said, yes, I totally agree.

1559
01:16:22,080 --> 01:16:24,280
Speaker 3: So he agreed because we were like, look, we want

1560
01:16:24,320 --> 01:16:27,920
Speaker 3: to call it something on No Flyer that you see

1561
01:16:28,080 --> 01:16:31,280
Speaker 3: and the flyers and collections everywhere, No Flyer called it.

1562
01:16:31,280 --> 01:16:34,599
Speaker 3: It was no name. They were just promote who was rapping,

1563
01:16:34,880 --> 01:16:37,800
Speaker 3: who the DJ was? You know, those classic flyers by

1564
01:16:37,840 --> 01:16:40,200
Speaker 3: Phase two and Buddy Esquire and so many others.

1565
01:16:40,720 --> 01:16:41,960
Speaker 4: So we were like, what are we going to do

1566
01:16:42,000 --> 01:16:43,120
Speaker 4: and so that's how we help.

1567
01:16:43,360 --> 01:16:46,320
Speaker 1: So we're kind of saying that you can't up with

1568
01:16:46,360 --> 01:16:47,080
Speaker 1: the term hip hop.

1569
01:16:47,160 --> 01:16:49,760
Speaker 3: Oh no, no, no, I didn't come up with it.

1570
01:16:49,760 --> 01:16:51,640
Speaker 4: It was being used rappers.

1571
01:16:51,320 --> 01:16:54,000
Speaker 1: Was Cas told us. I forget who he said was

1572
01:16:54,160 --> 01:16:54,920
Speaker 1: saying it because.

1573
01:16:55,840 --> 01:16:58,479
Speaker 3: Yeah, okay, the first yeah, I tell that story grade.

1574
01:16:58,560 --> 01:17:02,439
Speaker 3: And there's another component where Flash says a girl he

1575
01:17:02,560 --> 01:17:06,320
Speaker 3: was dating back then her it was her brother going

1576
01:17:06,320 --> 01:17:13,360
Speaker 3: into the army. Flash says that she heard, but Flashes

1577
01:17:13,720 --> 01:17:14,760
Speaker 3: just as a little to it.

1578
01:17:15,520 --> 01:17:16,000
Speaker 1: This girl.

1579
01:17:16,120 --> 01:17:18,120
Speaker 4: It was this girl's brother and she.

1580
01:17:18,240 --> 01:17:21,040
Speaker 3: Was at the party and she started it first. Then

1581
01:17:21,200 --> 01:17:24,960
Speaker 3: Cowboy from the Furious get on and they both are

1582
01:17:25,080 --> 01:17:28,080
Speaker 3: just teasing him pop, you know, like the way they

1583
01:17:28,120 --> 01:17:31,200
Speaker 3: would do the marching drill sergeant type of thing, and

1584
01:17:31,280 --> 01:17:35,439
Speaker 3: Keith Cowboy really got it going first. And then then

1585
01:17:35,680 --> 01:17:38,960
Speaker 3: they say that love Bugs started utilizing it, you know,

1586
01:17:39,479 --> 01:17:43,360
Speaker 3: love Buck Stars original Stowsky, And then it became a

1587
01:17:43,439 --> 01:17:45,799
Speaker 3: thing where that was the thing you would hear often

1588
01:17:46,600 --> 01:17:48,840
Speaker 3: in between your rhymes, you know, something you could say

1589
01:17:48,840 --> 01:17:50,360
Speaker 3: and then you think of what you're gonna what you're

1590
01:17:50,360 --> 01:17:53,200
Speaker 3: gonna spit next. That's how the turn became popular.

1591
01:17:53,280 --> 01:17:55,240
Speaker 1: So like already there you just it's what I'm.

1592
01:17:55,080 --> 01:17:58,439
Speaker 4: Saying that I just said, let's let's use that because.

1593
01:17:58,240 --> 01:18:01,519
Speaker 3: It seems like everybody's like when people would talk about yo,

1594
01:18:01,600 --> 01:18:04,639
Speaker 3: I was at this jam, and I remember people would say,

1595
01:18:05,320 --> 01:18:07,720
Speaker 3: what kind of music? Because you still had DJs that

1596
01:18:07,880 --> 01:18:11,360
Speaker 3: just played music, and they'd be, no, it wasn't just

1597
01:18:11,439 --> 01:18:12,200
Speaker 3: like music.

1598
01:18:12,479 --> 01:18:14,599
Speaker 4: It was one of them hibbitty hop joints.

1599
01:18:14,720 --> 01:18:17,799
Speaker 3: And you would know okay because they would be Typically

1600
01:18:17,840 --> 01:18:20,360
Speaker 3: you would hear it at any party where people was

1601
01:18:20,479 --> 01:18:23,360
Speaker 3: people was rapping it. Often you would somebody would do

1602
01:18:23,439 --> 01:18:27,200
Speaker 3: that oftentimes. So it became like a synonymous way to

1603
01:18:27,240 --> 01:18:30,360
Speaker 3: describe the kind of party it was makes sense, which

1604
01:18:30,479 --> 01:18:32,519
Speaker 3: was different than people that was just trying to be

1605
01:18:32,560 --> 01:18:36,200
Speaker 3: a disco type DJ, which was cool, but everybody wasn't

1606
01:18:36,240 --> 01:18:38,000
Speaker 3: with that or had somebody that would get on the

1607
01:18:38,000 --> 01:18:40,000
Speaker 3: mic and do that. I wasn't a thing with every DJ,

1608
01:18:40,600 --> 01:18:43,400
Speaker 3: but the Bronx Cats they made that a thing and

1609
01:18:43,479 --> 01:18:46,360
Speaker 3: it became the thing.

1610
01:18:46,640 --> 01:18:50,280
Speaker 1: So Ballpark figured real quick, how many white girls you take?

1611
01:18:50,320 --> 01:18:54,000
Speaker 1: You fuck out? Mash Man like like like, I mean,

1612
01:18:54,040 --> 01:18:56,799
Speaker 1: I mean, you know downtown, this is downtown. I mean.

1613
01:19:03,479 --> 01:19:05,280
Speaker 4: I don't, I don't kiss and tell.

1614
01:19:15,920 --> 01:19:20,000
Speaker 1: The culture this you see the culture man, like, well.

1615
01:19:19,840 --> 01:19:22,439
Speaker 3: Listen, speaking of I'm sorry but speaking to Sean Michelle.

1616
01:19:22,560 --> 01:19:26,439
Speaker 3: Please you may not know he dated Madonna, right correct?

1617
01:19:26,520 --> 01:19:33,160
Speaker 1: Yeah for a hot minute, that's that's hard date Jehan

1618
01:19:33,400 --> 01:19:34,320
Speaker 1: Haitian Puerto Rican?

1619
01:19:34,760 --> 01:19:39,400
Speaker 3: What Yes, John Haitian Puerto Rican. He's Hatian Puerto Rican,

1620
01:19:39,479 --> 01:19:41,240
Speaker 3: Haitian for his father's Haitian.

1621
01:19:45,840 --> 01:19:47,280
Speaker 1: Get out. I didn't know that.

1622
01:19:47,720 --> 01:19:51,680
Speaker 3: Yeah, I got so John spoke. He could speak a

1623
01:19:51,680 --> 01:19:54,280
Speaker 3: little Spanish.

1624
01:19:54,479 --> 01:20:03,519
Speaker 1: Oh he's knocking anything, yes, yeah, yeah, yeah. So like Madonna, man,

1625
01:20:03,720 --> 01:20:05,719
Speaker 1: I know we've touched on her a little Biteah yeah.

1626
01:20:06,320 --> 01:20:10,479
Speaker 1: Madonna is like I don't want to say the person

1627
01:20:10,520 --> 01:20:13,400
Speaker 1: that's invited to the cook out. I think she's actually

1628
01:20:13,439 --> 01:20:17,559
Speaker 1: bringing ingredients to the cook She's like bringing she's actually

1629
01:20:17,600 --> 01:20:20,519
Speaker 1: bringing her own version of three potato. That's a great description.

1630
01:20:20,840 --> 01:20:21,639
Speaker 4: That's a great discription.

1631
01:20:21,880 --> 01:20:25,360
Speaker 1: She's invited, she's in the kitchen prepare now.

1632
01:20:26,000 --> 01:20:30,080
Speaker 3: Like Madonna has several kids, and a couple of her

1633
01:20:30,160 --> 01:20:32,320
Speaker 3: kids which she's raised for quite a while.

1634
01:20:32,800 --> 01:20:33,479
Speaker 4: They're African.

1635
01:20:33,680 --> 01:20:44,000
Speaker 1: Yeah yeah, yeah, me and you. Yeah yeah, I'm trying

1636
01:20:44,000 --> 01:20:47,400
Speaker 1: to the same nigga. Okay, Big Daddy came to Madonna.

1637
01:20:47,439 --> 01:20:49,440
Speaker 1: He had the Leopards said was crazy.

1638
01:20:50,040 --> 01:20:52,720
Speaker 3: That was the sex Book. Yeah, oh my god, that

1639
01:20:52,840 --> 01:20:54,320
Speaker 3: was wow. I remember when that came out.

1640
01:20:54,520 --> 01:20:58,800
Speaker 1: Flowers Flowers, man, listen our show. It's about giving people

1641
01:20:58,840 --> 01:21:01,840
Speaker 1: flowers where they can smell them. Oh man, we've been

1642
01:21:01,840 --> 01:21:05,720
Speaker 1: waiting so they can tell them and we want to

1643
01:21:05,720 --> 01:21:14,559
Speaker 1: give yours better than the Grammy because it comes from

1644
01:21:14,640 --> 01:21:17,000
Speaker 1: this people and we your people, and we want to

1645
01:21:17,080 --> 01:21:18,400
Speaker 1: you know, let me just tell you something, man.

1646
01:21:18,439 --> 01:21:19,720
Speaker 4: I can't tell you how much I appreciate it.

1647
01:21:19,800 --> 01:21:24,240
Speaker 1: No, listen, if something man, just we've been we've been

1648
01:21:24,280 --> 01:21:26,519
Speaker 1: waiting to give it. We've been waiting for ten years,

1649
01:21:27,240 --> 01:21:33,720
Speaker 1: you know, and congratulations on ten years. But but let

1650
01:21:33,760 --> 01:21:36,400
Speaker 1: me just tell you something, man, like you made media

1651
01:21:36,479 --> 01:21:39,599
Speaker 1: fly man. You know what I mean a lot of people,

1652
01:21:40,280 --> 01:21:42,559
Speaker 1: you know, when you you look at people in the

1653
01:21:42,280 --> 01:21:46,280
Speaker 1: in the hood, they wanted to be the artist. They

1654
01:21:46,280 --> 01:21:48,600
Speaker 1: wanted to be the basketball player, they wanted to be

1655
01:21:48,800 --> 01:21:53,240
Speaker 1: the you know, even hockey player, football player, whatever whatever. Correct.

1656
01:21:53,280 --> 01:21:55,439
Speaker 1: They wanted to be an athlete or they want to

1657
01:21:55,439 --> 01:21:57,479
Speaker 1: be the artist. When you look at you in your career,

1658
01:21:57,920 --> 01:22:00,880
Speaker 1: you interview those people, you highlight those people, you show

1659
01:22:00,960 --> 01:22:03,800
Speaker 1: lighted that. You know, this is what you do. But

1660
01:22:03,880 --> 01:22:06,880
Speaker 1: this is this is the rewards of it. And you

1661
01:22:06,920 --> 01:22:10,240
Speaker 1: were just as cool or cooler and interview and for

1662
01:22:10,400 --> 01:22:14,000
Speaker 1: back then, you know, and you look at media now

1663
01:22:14,280 --> 01:22:18,599
Speaker 1: and wow, look look, look all of us are walking

1664
01:22:18,600 --> 01:22:21,519
Speaker 1: in your footstepsolutely, every last one of us. If you

1665
01:22:21,560 --> 01:22:25,840
Speaker 1: look at your favorite artist has now turned into media. Bro.

1666
01:22:26,360 --> 01:22:29,400
Speaker 1: And so you were doing that ship twenty five years ago, Bro,

1667
01:22:30,760 --> 01:22:34,800
Speaker 1: thirty thirty years thirty plus thirty. Yes, make.

1668
01:22:36,720 --> 01:22:38,640
Speaker 4: We're all we're all.

1669
01:22:41,960 --> 01:22:44,640
Speaker 1: Following your footsteps. You know what I'm saying and what

1670
01:22:44,720 --> 01:22:49,519
Speaker 1: you're doing. An excellent job, you j that's right. Yeah,

1671
01:22:49,640 --> 01:22:54,840
Speaker 1: he pronounces your name correct. I'm like I thought, I'm like,

1672
01:22:54,960 --> 01:23:01,120
Speaker 1: my bad did you ever think because honestly right, Uh,

1673
01:23:02,200 --> 01:23:04,760
Speaker 1: it was Ralph McDaniels. Yes, you better believe it.

1674
01:23:04,880 --> 01:23:07,519
Speaker 3: Video music box baby, Yes, I was locked in.

1675
01:23:08,160 --> 01:23:11,000
Speaker 1: And this is this is this is my friend, you know.

1676
01:23:11,720 --> 01:23:15,320
Speaker 1: And he always tells us, tells us sometimes he said,

1677
01:23:15,520 --> 01:23:18,000
Speaker 1: you know, New York, you guys were cocky, right, and

1678
01:23:18,040 --> 01:23:22,559
Speaker 1: I kind of don't realize it it's me yeah him.

1679
01:23:22,479 --> 01:23:25,640
Speaker 5: Yet Oh, because I'm coming from the perspective of.

1680
01:23:25,320 --> 01:23:29,040
Speaker 3: What you're well researched, you know a lot of his

1681
01:23:29,840 --> 01:23:30,599
Speaker 3: So let me break it down.

1682
01:23:30,640 --> 01:23:33,160
Speaker 1: So what I didn't realize is when we had a

1683
01:23:33,240 --> 01:23:37,800
Speaker 1: show like Ralph McDaniels, which is Video Music Box. It

1684
01:23:37,880 --> 01:23:39,280
Speaker 1: was on Channel nine or te.

1685
01:23:39,640 --> 01:23:43,880
Speaker 3: Was on in New York cable Saturdays. I believe, okay, yes,

1686
01:23:43,920 --> 01:23:47,360
Speaker 3: which is what I didn't know. And you you said

1687
01:23:47,400 --> 01:23:49,120
Speaker 3: it to me, He said to me, very very mean

1688
01:23:50,800 --> 01:23:53,080
Speaker 3: what you did say to me. And you were like, yo,

1689
01:23:53,240 --> 01:23:56,200
Speaker 3: you know we saw Video Music Box, but we had.

1690
01:23:56,080 --> 01:24:00,479
Speaker 1: To see it on VHS. Wow, you know what, how

1691
01:24:00,600 --> 01:24:06,040
Speaker 1: spoil we were as New Yorkers right point, and so

1692
01:24:07,840 --> 01:24:09,720
Speaker 1: I'm just talking about it. I'm like, damn, you know

1693
01:24:09,920 --> 01:24:13,560
Speaker 1: it only came on in a certain channel, you with

1694
01:24:14,479 --> 01:24:18,000
Speaker 1: a certain cable right on a certain cable station. And

1695
01:24:18,040 --> 01:24:21,680
Speaker 1: then we had the rest of the world that was VHS,

1696
01:24:21,720 --> 01:24:28,320
Speaker 1: which he just acted the sign. So these tapes were circulating, right,

1697
01:24:29,479 --> 01:24:31,679
Speaker 1: And I said, New York, We're so spoiled. We don't

1698
01:24:31,680 --> 01:24:34,080
Speaker 1: even know how special this is. Because this is on

1699
01:24:34,160 --> 01:24:38,240
Speaker 1: our public access. This is where look at me like that. No, no, no,

1700
01:24:39,439 --> 01:24:42,120
Speaker 1: the world looking at you, look at the world. But

1701
01:24:42,200 --> 01:24:46,000
Speaker 1: this is where Kermy de Frog comes on. This This

1702
01:24:46,080 --> 01:24:49,400
Speaker 1: is not the HBO cinemax, but you can see some

1703
01:24:49,439 --> 01:24:52,160
Speaker 1: tennis or something. No, this is this is the public.

1704
01:24:52,520 --> 01:24:54,720
Speaker 1: So I didn't realize how spoiled he was. And you

1705
01:24:54,760 --> 01:24:57,240
Speaker 1: said to me one day, yelled at me, and I

1706
01:24:57,320 --> 01:25:00,200
Speaker 1: was like, damn, he's right right. It was very mean

1707
01:25:00,240 --> 01:25:04,920
Speaker 1: to me, but you're my friend, all right. But now

1708
01:25:05,080 --> 01:25:11,919
Speaker 1: here comes MTV. Yes, MTV is a rock and roll station, MTV.

1709
01:25:12,240 --> 01:25:15,679
Speaker 1: I remember, I'm old enough to stay fuck y'all, fuck y'all,

1710
01:25:16,080 --> 01:25:18,080
Speaker 1: but I'm old enough to say you had a choice.

1711
01:25:18,080 --> 01:25:20,200
Speaker 1: At one point. You can say I want HBO on

1712
01:25:20,240 --> 01:25:24,200
Speaker 1: my cable, I want show Time, I want Centemax, and

1713
01:25:24,200 --> 01:25:28,679
Speaker 1: then you can say I want MTV. At first, when

1714
01:25:28,840 --> 01:25:33,040
Speaker 1: MTV first came on the cable network in New York City,

1715
01:25:33,080 --> 01:25:36,160
Speaker 1: I cannot speak for anywhere else, most people said no,

1716
01:25:36,680 --> 01:25:39,120
Speaker 1: right because it wasn't playing. It wasn't for us, it

1717
01:25:39,160 --> 01:25:43,040
Speaker 1: wasn't it wasn't. Initially we would take off our cable

1718
01:25:45,040 --> 01:25:49,200
Speaker 1: to access to public Access channel because that wasn't on.

1719
01:25:49,479 --> 01:25:51,679
Speaker 1: That was on local cable. That's the cable that comes

1720
01:25:51,720 --> 01:25:55,200
Speaker 1: with your apartment already, correct, So the cable that you

1721
01:25:55,240 --> 01:25:57,479
Speaker 1: pay for, you don't get Ralph McDaniel, So you had

1722
01:25:57,479 --> 01:26:03,320
Speaker 1: to unplug that. Wow did MTV drops? And then we

1723
01:26:03,360 --> 01:26:09,160
Speaker 1: get a show called yo, MTV, motherfucking rap. Yeah. Yeah,

1724
01:26:09,320 --> 01:26:14,360
Speaker 1: and this is real, this is real. Thank you because

1725
01:26:14,439 --> 01:26:17,120
Speaker 1: this is real, because this is me. I made my

1726
01:26:17,200 --> 01:26:20,800
Speaker 1: life do this. And then, like you know, I had

1727
01:26:20,840 --> 01:26:25,200
Speaker 1: cousins in Seattle, I had cousins in Florida, and cousins

1728
01:26:26,600 --> 01:26:31,120
Speaker 1: in South Carolina, North Carolina, so many places that I

1729
01:26:31,240 --> 01:26:35,240
Speaker 1: never could talk hip hop too. Maybe they got it,

1730
01:26:35,280 --> 01:26:36,840
Speaker 1: but by the time they got it, it was three

1731
01:26:36,880 --> 01:26:40,160
Speaker 1: months later and I was already on to another act

1732
01:26:40,240 --> 01:26:43,200
Speaker 1: or another such and such. Your own TV raps was

1733
01:26:43,200 --> 01:26:46,240
Speaker 1: the first time I got to speak to people in

1734
01:26:46,320 --> 01:26:52,559
Speaker 1: real time, meaning I saw Tupac's new video at the same.

1735
01:26:52,400 --> 01:26:56,519
Speaker 3: Time my cousin cousins, So y'all can talk about.

1736
01:26:56,360 --> 01:26:57,960
Speaker 1: It, so we can talk about it in real time.

1737
01:26:58,040 --> 01:26:58,240
Speaker 5: Wow.

1738
01:26:58,439 --> 01:27:03,640
Speaker 1: Wow, that was like the first So this is a

1739
01:27:03,680 --> 01:27:09,479
Speaker 1: degression one. Do you know how many lives you fucking jamed? Wow?

1740
01:27:09,800 --> 01:27:11,200
Speaker 4: You know it's a humbling.

1741
01:27:12,760 --> 01:27:15,639
Speaker 3: Feeling and when you realize it, and I just want

1742
01:27:15,720 --> 01:27:20,000
Speaker 3: to say, I mean, look, MTV at the time when

1743
01:27:20,000 --> 01:27:23,519
Speaker 3: it hit the incredible stretch, it wasn't a long stretch,

1744
01:27:23,720 --> 01:27:27,040
Speaker 3: but it was a pivotal stretch. It was in pivotal

1745
01:27:27,040 --> 01:27:31,200
Speaker 3: stretch for incredible artists, Emmerson, your first time seeing artists

1746
01:27:31,200 --> 01:27:36,080
Speaker 3: that defined a whole host of spaces. You saw them first,

1747
01:27:36,080 --> 01:27:38,200
Speaker 3: and I'm super honored that they stood next to me,

1748
01:27:38,720 --> 01:27:40,519
Speaker 3: and I kind of was the first time.

1749
01:27:40,320 --> 01:27:43,360
Speaker 1: You saw X, Y and Z and you think they

1750
01:27:43,439 --> 01:27:45,640
Speaker 1: reached out to you to hold the show because of

1751
01:27:45,680 --> 01:27:46,200
Speaker 1: wild style.

1752
01:27:46,720 --> 01:27:47,479
Speaker 4: That was a part of it.

1753
01:27:47,640 --> 01:27:50,519
Speaker 3: So there was a cat that I knew initially named

1754
01:27:50,520 --> 01:27:54,080
Speaker 3: Peter Dougherty who was on the downtown scene.

1755
01:27:54,360 --> 01:27:55,960
Speaker 4: He knew the moves I was making.

1756
01:27:56,280 --> 01:27:58,960
Speaker 3: He was at the mud Club show I told you about.

1757
01:27:59,320 --> 01:27:59,880
Speaker 1: He was a.

1758
01:28:01,520 --> 01:28:05,400
Speaker 3: Underground music, a fictionado, and he got a job to

1759
01:28:05,439 --> 01:28:08,960
Speaker 3: be a producer at MTV early on, so he would

1760
01:28:09,000 --> 01:28:11,280
Speaker 3: get tickets to a rock concert. I mean he took

1761
01:28:11,320 --> 01:28:15,479
Speaker 3: me to see like Judas Priests and he actually got

1762
01:28:15,479 --> 01:28:17,080
Speaker 3: me to see the Jackson five and it was on

1763
01:28:17,120 --> 01:28:20,160
Speaker 3: to it. So his name was Peter Doerty, and Peter

1764
01:28:20,320 --> 01:28:22,600
Speaker 3: knew what was going on. He was close enough to

1765
01:28:22,720 --> 01:28:25,559
Speaker 3: know this shit is bubbling. There was a few records

1766
01:28:25,560 --> 01:28:27,840
Speaker 3: had come out by this point that have gone goal,

1767
01:28:28,439 --> 01:28:32,439
Speaker 3: some run DMC shit and some Houdini and you know things.

1768
01:28:33,479 --> 01:28:35,320
Speaker 4: Curtis flow exactly.

1769
01:28:34,880 --> 01:28:37,519
Speaker 3: Things beginning the bubble, and he was in their ear

1770
01:28:37,880 --> 01:28:38,800
Speaker 3: to do a show.

1771
01:28:39,160 --> 01:28:40,439
Speaker 4: He used to mention it to me.

1772
01:28:40,479 --> 01:28:42,639
Speaker 3: I used to always be like, get out of here, man,

1773
01:28:42,680 --> 01:28:43,479
Speaker 3: Boom boom boom.

1774
01:28:43,720 --> 01:28:45,839
Speaker 4: Then he linked up with another kid at MTV.

1775
01:28:46,000 --> 01:28:51,080
Speaker 3: His name is Ted Demied. Yes, indeed, me and Ted

1776
01:28:51,200 --> 01:28:54,800
Speaker 3: became like super tight. He was the nephew of the

1777
01:28:54,840 --> 01:28:58,320
Speaker 3: Oscar Award winning director Jonathan Demi, who I became tight

1778
01:28:58,360 --> 01:29:01,719
Speaker 3: with later. Ted was a white kid from Long Island,

1779
01:29:01,800 --> 01:29:04,759
Speaker 3: grew up loving hip hop, really got it down. Pat

1780
01:29:05,200 --> 01:29:08,519
Speaker 3: Peter had seen the development. He was tapped in. They

1781
01:29:08,800 --> 01:29:12,960
Speaker 3: lobbied in, campaigned to get it hopping, and Peter was like,

1782
01:29:13,479 --> 01:29:15,760
Speaker 3: he's the guy that should host it. I was like, what,

1783
01:29:16,560 --> 01:29:19,040
Speaker 3: He's the guy that's in the raption video. There's this

1784
01:29:19,120 --> 01:29:20,160
Speaker 3: film Wild Style.

1785
01:29:20,200 --> 01:29:20,599
Speaker 1: He's in.

1786
01:29:20,720 --> 01:29:24,360
Speaker 3: He's connected, he's downtown. And so Peter was like kept

1787
01:29:24,360 --> 01:29:28,920
Speaker 3: telling me it was Peter's idea and got with Ted Demi.

1788
01:29:28,960 --> 01:29:32,200
Speaker 3: They were producers on the channel they wanted to do

1789
01:29:32,280 --> 01:29:36,120
Speaker 3: a show. Also, I must give props to a French chick,

1790
01:29:36,400 --> 01:29:39,800
Speaker 3: a black French woman named Sophie Bromley that had been

1791
01:29:40,160 --> 01:29:43,599
Speaker 3: in New York early on, hanging in the mix taking

1792
01:29:43,640 --> 01:29:46,639
Speaker 3: pictures of the very early stuff going to the fever,

1793
01:29:47,280 --> 01:29:50,960
Speaker 3: hooking up with you know, bam botty snapping. She goes

1794
01:29:51,000 --> 01:29:53,559
Speaker 3: back to Europe and MTV Europe actually does a show

1795
01:29:53,600 --> 01:29:56,519
Speaker 3: called Yo First, and Sophie host that for about a

1796
01:29:56,600 --> 01:29:58,240
Speaker 3: year or so. You can go on YouTube and see

1797
01:29:58,240 --> 01:29:59,639
Speaker 3: clips real attractive sister.

1798
01:29:59,680 --> 01:30:01,200
Speaker 1: She and she got.

1799
01:30:01,040 --> 01:30:03,960
Speaker 3: Friendly with mad people, so she knew so many people.

1800
01:30:04,040 --> 01:30:06,200
Speaker 3: Her vibe was just incredible. So they did that for

1801
01:30:06,240 --> 01:30:09,400
Speaker 3: about a year. Meanwhile, Peter is like, this is where

1802
01:30:09,400 --> 01:30:11,880
Speaker 3: it's born. This needs to happen here, and they were

1803
01:30:11,920 --> 01:30:15,479
Speaker 3: lobbying other executives. We should we gotta do this. Look

1804
01:30:15,600 --> 01:30:18,720
Speaker 3: like we're in boom boom boom. MTV was mirroring the

1805
01:30:18,800 --> 01:30:22,640
Speaker 3: way quote unquote pop radio was, which pretty much was

1806
01:30:22,680 --> 01:30:23,240
Speaker 3: all white.

1807
01:30:23,640 --> 01:30:25,120
Speaker 1: That was the rape radio was.

1808
01:30:25,240 --> 01:30:28,960
Speaker 3: Radio was very segregated in most places. So MTV was

1809
01:30:29,000 --> 01:30:33,000
Speaker 3: just mirroring what radio was. That was what they were

1810
01:30:33,040 --> 01:30:37,920
Speaker 3: basically doing. But these producers pushed and Peter was like,

1811
01:30:38,400 --> 01:30:41,400
Speaker 3: pitching me to be the host. And then he said, man,

1812
01:30:41,560 --> 01:30:45,040
Speaker 3: like we actually did a screen test, he said, if

1813
01:30:45,080 --> 01:30:48,240
Speaker 3: you if he knew I'm creative and I'm getting busy,

1814
01:30:48,680 --> 01:30:50,519
Speaker 3: he said, man, how would you want to do this?

1815
01:30:50,720 --> 01:30:54,320
Speaker 3: If we ever did get to do it. I was like, well,

1816
01:30:54,360 --> 01:30:56,720
Speaker 3: you know most of those VJs, you see them on

1817
01:30:56,920 --> 01:30:59,559
Speaker 3: for two three hours or whatever with some crazy goofy

1818
01:30:59,560 --> 01:31:02,240
Speaker 3: shit going on on the green screen behind him. I'm like, dude,

1819
01:31:02,240 --> 01:31:04,719
Speaker 3: I don't want to do that. That's why I said,

1820
01:31:04,840 --> 01:31:07,040
Speaker 3: I would feel more comfortable if I was in the

1821
01:31:07,080 --> 01:31:10,519
Speaker 3: street where artists is making their music in their basement,

1822
01:31:10,640 --> 01:31:13,559
Speaker 3: you know, on the corner. I'd be more comfortable there.

1823
01:31:14,200 --> 01:31:16,479
Speaker 3: And he said, okay, boom. That's why we did the

1824
01:31:16,520 --> 01:31:19,320
Speaker 3: little screen test where I kind of fake introduced a

1825
01:31:19,439 --> 01:31:21,719
Speaker 3: run dmc ll CUJ video.

1826
01:31:21,800 --> 01:31:23,120
Speaker 4: That was this little screen test.

1827
01:31:23,880 --> 01:31:25,960
Speaker 3: Next thing, I know, within a couple of weeks we

1828
01:31:25,960 --> 01:31:30,960
Speaker 3: were shooting the first episode and they bugged out and

1829
01:31:31,000 --> 01:31:34,240
Speaker 3: thought that the Nielsen ratings must have bugged out because

1830
01:31:34,280 --> 01:31:36,200
Speaker 3: it was the highest rated show that had the channel

1831
01:31:36,360 --> 01:31:40,599
Speaker 3: that had ever been on the channel. We've been saying, Wold,

1832
01:31:42,360 --> 01:31:44,559
Speaker 3: that shit took off like a rocket being you know,

1833
01:31:44,640 --> 01:31:47,040
Speaker 3: I was. At first it was a half hour, and

1834
01:31:47,080 --> 01:31:49,320
Speaker 3: then we went to an hour, and then they asked me,

1835
01:31:49,560 --> 01:31:52,439
Speaker 3: after about a year, did I want to host a

1836
01:31:52,560 --> 01:31:54,920
Speaker 3: daily version? And I used to watch a lot of

1837
01:31:55,040 --> 01:31:57,920
Speaker 3: MTV waiting to see a Michael Jackson video waiting for

1838
01:31:58,000 --> 01:32:01,120
Speaker 3: Princess Dove's Cry or the thing you really wanted to see,

1839
01:32:01,400 --> 01:32:04,120
Speaker 3: and then you'd be looking at these VJs. I felt like, Yo,

1840
01:32:04,160 --> 01:32:06,160
Speaker 3: you're corny. Fuck who are you?

1841
01:32:06,160 --> 01:32:08,040
Speaker 1: You know? Play my shit?

1842
01:32:08,120 --> 01:32:08,320
Speaker 5: You know?

1843
01:32:08,840 --> 01:32:11,120
Speaker 3: I mean, man, I don't want to be overexposed, you

1844
01:32:11,160 --> 01:32:13,200
Speaker 3: know what I'm saying. So they asked me if I

1845
01:32:13,240 --> 01:32:15,400
Speaker 3: wanted to do the Weekend. I said, nah, that's cool,

1846
01:32:15,880 --> 01:32:20,479
Speaker 3: and so Ted knew at Lover and Peter knew Doctor

1847
01:32:20,560 --> 01:32:21,599
Speaker 3: Dre because Doctor Dre.

1848
01:32:21,720 --> 01:32:24,720
Speaker 4: Was a producer. He produced just he produced a.

1849
01:32:24,720 --> 01:32:27,200
Speaker 3: Couple of records on Deaf Jam Real early on. I

1850
01:32:27,240 --> 01:32:29,040
Speaker 3: came remember the name of it now, but it was

1851
01:32:29,400 --> 01:32:32,080
Speaker 3: that had some eight o way base was crazy, and

1852
01:32:33,120 --> 01:32:38,040
Speaker 3: they put them together as the week as a week crew,

1853
01:32:38,160 --> 01:32:41,760
Speaker 3: like kind of like in a clubhouse like Aving Costello

1854
01:32:42,120 --> 01:32:45,519
Speaker 3: the week say, a weekend weekly, And I did there

1855
01:32:45,640 --> 01:32:48,479
Speaker 3: in the studio. It was in studio, and I was

1856
01:32:48,600 --> 01:32:52,080
Speaker 3: like running around mostly out here they're traveling, and that's

1857
01:32:52,120 --> 01:32:55,200
Speaker 3: what I was really fascinated, because I'm mad curious anyway,

1858
01:32:55,520 --> 01:32:58,240
Speaker 3: So as I hear now it's beginning to bubble in

1859
01:32:58,280 --> 01:32:59,880
Speaker 3: other places, I'm like, what are they making?

1860
01:33:00,360 --> 01:33:03,120
Speaker 4: Like the first time Yo m TV raps travel.

1861
01:33:03,240 --> 01:33:07,040
Speaker 3: It was to Miami to cover Luke Skywalker and the

1862
01:33:07,120 --> 01:33:08,120
Speaker 3: two Live crew.

1863
01:33:08,120 --> 01:33:08,640
Speaker 1: Talk about that.

1864
01:33:12,880 --> 01:33:15,960
Speaker 3: It's crazy, you know, this is the before South Beach

1865
01:33:16,040 --> 01:33:18,000
Speaker 3: got sexy. It was like a re It was like

1866
01:33:18,000 --> 01:33:21,360
Speaker 3: a retirement community as you if you remember old the

1867
01:33:21,400 --> 01:33:24,960
Speaker 3: folks sitting out in uh walking chairs and uh. But

1868
01:33:25,040 --> 01:33:27,400
Speaker 3: we went to Liberty City and I got to hang

1869
01:33:27,439 --> 01:33:29,479
Speaker 3: with Luke and he broke down what they were doing.

1870
01:33:30,080 --> 01:33:32,200
Speaker 3: I understood then, oh, this is just a lot of

1871
01:33:32,240 --> 01:33:34,519
Speaker 3: fun because I'm into lyrics, you know, I want bars

1872
01:33:34,560 --> 01:33:37,680
Speaker 3: and ship like that was once I saw how to

1873
01:33:37,760 --> 01:33:39,639
Speaker 3: get down spinning.

1874
01:33:39,680 --> 01:33:40,760
Speaker 1: It was just spending that ship.

1875
01:33:40,800 --> 01:33:50,679
Speaker 5: But I felt like it was it was there was.

1876
01:33:48,760 --> 01:33:51,160
Speaker 4: Yeah, so that's one hundred percent what they were doing.

1877
01:33:51,840 --> 01:33:54,679
Speaker 3: But I realized, like, this is a whole different thing,

1878
01:33:54,760 --> 01:33:57,920
Speaker 3: and it was fascinating to be able to showcase it

1879
01:33:58,400 --> 01:34:00,439
Speaker 3: and then to go to other cities. That was the

1880
01:34:00,479 --> 01:34:02,799
Speaker 3: biggest most exciting thing to me, to go to Houston

1881
01:34:02,880 --> 01:34:05,600
Speaker 3: interview the Ghetto Boys when Mine playing Tricks was the

1882
01:34:05,640 --> 01:34:08,800
Speaker 3: hottest record, you know, to catch be in San Francisco

1883
01:34:09,040 --> 01:34:12,360
Speaker 3: with Digital Underground, when you know the Humpty Hump and

1884
01:34:12,400 --> 01:34:12,800
Speaker 3: all that.

1885
01:34:12,880 --> 01:34:13,760
Speaker 1: Just just broke out.

1886
01:34:13,840 --> 01:34:17,000
Speaker 3: It was just the hangar on he Yeah, when I

1887
01:34:17,040 --> 01:34:19,280
Speaker 3: first interviewed he had they hadn't even put him in

1888
01:34:19,320 --> 01:34:21,880
Speaker 3: the mix yet, But then soon later he would be

1889
01:34:21,880 --> 01:34:24,599
Speaker 3: in the mix, and then I would interview him. The

1890
01:34:24,640 --> 01:34:27,040
Speaker 3: first interview I did with Tupac was when they were

1891
01:34:27,040 --> 01:34:33,280
Speaker 3: filming above the they were filming, Oh God, above them, No,

1892
01:34:33,520 --> 01:34:37,559
Speaker 3: not above the rim juice. I'm sorry, Bang, And we

1893
01:34:37,600 --> 01:34:39,680
Speaker 3: did something special because I'm in juice, I make a

1894
01:34:39,720 --> 01:34:43,479
Speaker 3: cameo Juice at the DJ scene. We filmed that interview

1895
01:34:43,560 --> 01:34:46,599
Speaker 3: and held it several months inuntil the film was ready

1896
01:34:46,720 --> 01:34:51,439
Speaker 3: so we could drop the special episode which we filmed

1897
01:34:51,439 --> 01:34:55,519
Speaker 3: on the set to help to promote that film. And

1898
01:34:55,760 --> 01:34:58,919
Speaker 3: that was just incredible stuff. So a lot of artists

1899
01:34:59,439 --> 01:35:02,639
Speaker 3: like Pac, like Dre Snoop oh Man, a long list

1900
01:35:02,640 --> 01:35:07,720
Speaker 3: of practically everybody super important made their television debut with

1901
01:35:08,120 --> 01:35:09,360
Speaker 3: me on Your MTV Raps.

1902
01:35:09,360 --> 01:35:11,160
Speaker 5: So it was real special and that was a catalyst

1903
01:35:11,240 --> 01:35:12,839
Speaker 5: to spread hip hop everywhere.

1904
01:35:14,200 --> 01:35:15,800
Speaker 3: Oh, this is the thing I've been meaning to say.

1905
01:35:17,320 --> 01:35:22,599
Speaker 3: The VHS tape thing is so special to me. People later,

1906
01:35:22,880 --> 01:35:25,799
Speaker 3: Your MTV Raps was one of the only shows MTV

1907
01:35:25,920 --> 01:35:30,120
Speaker 3: produced because MTV was franchised out in about six or

1908
01:35:30,160 --> 01:35:34,639
Speaker 3: seven other countries. It was MTV Europe, Brazil, Asia here

1909
01:35:34,760 --> 01:35:38,240
Speaker 3: there our show was the only show that was in

1910
01:35:38,360 --> 01:35:43,280
Speaker 3: all those other markets, but particularly in Europe. Like the

1911
01:35:43,320 --> 01:35:45,360
Speaker 3: first time I went to Africa, I went to Nigeria

1912
01:35:45,439 --> 01:35:50,400
Speaker 3: and I met some young Nigerians from affluent families, and

1913
01:35:50,439 --> 01:35:51,519
Speaker 3: they all recognized them.

1914
01:35:51,560 --> 01:35:53,559
Speaker 1: I'm like, what the hell is going on? How do

1915
01:35:53,640 --> 01:35:55,120
Speaker 1: you guys get it?

1916
01:35:55,360 --> 01:35:58,040
Speaker 3: Oh, we have the satellite thish, this is a this

1917
01:35:58,160 --> 01:36:01,960
Speaker 3: is twelve. Yes, we have a dish, which made me

1918
01:36:02,040 --> 01:36:05,439
Speaker 3: know like their people had paper, but they were able

1919
01:36:05,479 --> 01:36:08,360
Speaker 3: to pick up the European feed and they would make

1920
01:36:08,400 --> 01:36:11,559
Speaker 3: they were recording on VHS and sharing it with their

1921
01:36:11,600 --> 01:36:15,400
Speaker 3: friends like mixtapes, just like mixtapes. So sometimes I'll meet

1922
01:36:15,560 --> 01:36:19,599
Speaker 3: somebody brother be just so moved to tell me they

1923
01:36:19,640 --> 01:36:22,519
Speaker 3: had a relative or somebody would send them tapes of

1924
01:36:22,600 --> 01:36:24,960
Speaker 3: your TV raps and that's how they got tapped into

1925
01:36:24,960 --> 01:36:25,439
Speaker 3: the culture.

1926
01:36:25,520 --> 01:36:28,200
Speaker 4: That's mind blowing, fucking mind blowing.

1927
01:36:28,439 --> 01:36:31,120
Speaker 3: So that was like you said, going viral back then,

1928
01:36:31,560 --> 01:36:35,160
Speaker 3: but that the VHS tape and the cassette tape.

1929
01:36:35,400 --> 01:36:37,160
Speaker 1: Were critical to the culture.

1930
01:36:38,840 --> 01:36:42,320
Speaker 3: Should I remember speaking to Luke even uh, Well, this

1931
01:36:42,400 --> 01:36:44,880
Speaker 3: was pre DVD. Luke was putting out them videos and

1932
01:36:44,920 --> 01:36:46,360
Speaker 3: on wild parties.

1933
01:36:45,960 --> 01:36:48,840
Speaker 1: And then the Peep Show.

1934
01:36:49,000 --> 01:36:52,800
Speaker 3: Yes it'd be we'd be like, oh my god, Luke

1935
01:36:52,960 --> 01:36:55,480
Speaker 3: was x rated, but he was a brilliant businessman.

1936
01:36:56,520 --> 01:36:58,320
Speaker 1: We got to talk about when you went to Compton.

1937
01:36:59,240 --> 01:37:00,240
Speaker 4: Well once he again.

1938
01:37:00,360 --> 01:37:03,479
Speaker 3: So we had interviewed Easy on the show a few

1939
01:37:03,560 --> 01:37:06,400
Speaker 3: times when we won Easy and.

1940
01:37:06,240 --> 01:37:09,160
Speaker 4: Uh, they were great. Videos came out before it was

1941
01:37:09,200 --> 01:37:10,040
Speaker 4: Easy first.

1942
01:37:10,400 --> 01:37:12,280
Speaker 1: First people don't know that.

1943
01:37:12,200 --> 01:37:14,200
Speaker 3: They had been in the lab working on stuff, but

1944
01:37:14,280 --> 01:37:16,720
Speaker 3: I think the story goes it might have been draining them.

1945
01:37:16,760 --> 01:37:19,320
Speaker 3: That was like, yo, Easy, you should rap because Easy

1946
01:37:19,439 --> 01:37:21,720
Speaker 3: was bankrolling what they were doing. He's getting money on

1947
01:37:21,720 --> 01:37:23,160
Speaker 3: the street and it.

1948
01:37:23,240 --> 01:37:25,880
Speaker 1: Was his label. Ruthless was his label.

1949
01:37:25,800 --> 01:37:26,800
Speaker 4: Yeah exactly.

1950
01:37:26,920 --> 01:37:30,400
Speaker 3: So he was working on putting that together and so

1951
01:37:30,439 --> 01:37:32,960
Speaker 3: they got Easy to actually came on first and it

1952
01:37:33,040 --> 01:37:35,719
Speaker 3: worked right, So we it was one of the early

1953
01:37:35,840 --> 01:37:36,760
Speaker 3: videos that we had.

1954
01:37:36,840 --> 01:37:37,920
Speaker 1: I remember when your.

1955
01:37:37,880 --> 01:37:39,000
Speaker 4: TV rap takes off.

1956
01:37:39,360 --> 01:37:42,160
Speaker 3: So after you know, a few a month or so

1957
01:37:42,439 --> 01:37:45,160
Speaker 3: period of time, a couple of months, we'd go out

1958
01:37:45,160 --> 01:37:47,800
Speaker 3: to La you know, Ted was like listen, Easy's got

1959
01:37:47,840 --> 01:37:49,559
Speaker 3: this new group. We're gonna go out there and do

1960
01:37:49,600 --> 01:37:49,920
Speaker 3: a show.

1961
01:37:49,960 --> 01:37:53,920
Speaker 1: With him in La. When you say Ted, Ted.

1962
01:37:52,840 --> 01:37:55,080
Speaker 4: Demi was talking about Ted Demi. So I'm like, okay.

1963
01:37:55,160 --> 01:37:58,800
Speaker 3: Ethan was incredible with videos, were great, well produced. A

1964
01:37:58,840 --> 01:38:01,920
Speaker 3: good friend of mine named Kevin Swaying was the was

1965
01:38:01,960 --> 01:38:04,760
Speaker 3: the director of Brother from Cali who's produced.

1966
01:38:04,400 --> 01:38:05,439
Speaker 1: A million things, but.

1967
01:38:05,360 --> 01:38:07,679
Speaker 3: Back then he was cutting his tea for music videos

1968
01:38:07,960 --> 01:38:11,120
Speaker 3: as I was. And so we go out there to

1969
01:38:11,200 --> 01:38:13,920
Speaker 3: do this show with them. So we're in a new town.

1970
01:38:13,960 --> 01:38:16,360
Speaker 3: Now We're like okay. Because Ted we were in sync,

1971
01:38:16,680 --> 01:38:19,400
Speaker 3: we got to do something interesting because we were conscious

1972
01:38:19,400 --> 01:38:22,800
Speaker 3: of wanting to show the rest of the country this

1973
01:38:22,880 --> 01:38:26,599
Speaker 3: new group, this new area where I had been out

1974
01:38:26,600 --> 01:38:28,920
Speaker 3: in LA but mostly wes Hollywood, because I had had

1975
01:38:28,920 --> 01:38:32,320
Speaker 3: a big exhibit a couple of years prior at a

1976
01:38:32,400 --> 01:38:36,840
Speaker 3: really important contemporary gallery. Jean Michelle had been out there

1977
01:38:36,840 --> 01:38:40,840
Speaker 3: a year or two early showing with Gogosi in so

1978
01:38:41,479 --> 01:38:43,280
Speaker 3: Jean was like, you know, telling me about what it

1979
01:38:43,320 --> 01:38:44,160
Speaker 3: was like in LA, and.

1980
01:38:44,120 --> 01:38:45,160
Speaker 1: Then I got my chance.

1981
01:38:45,720 --> 01:38:48,400
Speaker 3: But now we're dealing with some with some hood ship

1982
01:38:48,439 --> 01:38:51,160
Speaker 3: which I had I knew nothing about. So the night

1983
01:38:51,200 --> 01:38:55,200
Speaker 3: before we go out to do the empty d NWA interview,

1984
01:38:55,640 --> 01:38:59,000
Speaker 3: Ted calls me in my room. He says, listen, everything

1985
01:38:59,080 --> 01:39:01,280
Speaker 3: is set up. What we're gonna do is we're gonna

1986
01:39:01,280 --> 01:39:03,000
Speaker 3: rent a truck, a flatbed truck.

1987
01:39:03,040 --> 01:39:04,040
Speaker 1: Oh it was a flat bed. I thought it was

1988
01:39:04,040 --> 01:39:04,960
Speaker 1: a pick of It was a flat bed.

1989
01:39:05,040 --> 01:39:06,960
Speaker 3: Yeah, it's like a big flat bed, a big truck.

1990
01:39:07,000 --> 01:39:09,280
Speaker 3: It had like, you know, rails around ship we could

1991
01:39:09,360 --> 01:39:11,840
Speaker 3: like it's like a hay ride type of without any Hey,

1992
01:39:12,160 --> 01:39:14,400
Speaker 3: we're gonna drive around. We're gonna meet with Easy. We're

1993
01:39:14,400 --> 01:39:16,679
Speaker 3: gonna meet here in Compton. We're gonna learn a little

1994
01:39:16,680 --> 01:39:19,280
Speaker 3: bit about Compton. Then we're gonna go to the swap

1995
01:39:19,360 --> 01:39:22,080
Speaker 3: meet where they get their little street gear in whatever,

1996
01:39:22,600 --> 01:39:24,559
Speaker 3: and then we're gonna ride out to Venice Beach. So

1997
01:39:24,600 --> 01:39:27,439
Speaker 3: I'm like, wow, we're gonna show people different spots in LA.

1998
01:39:28,000 --> 01:39:31,320
Speaker 3: We meet at the Welcome to a Compton sign and

1999
01:39:32,439 --> 01:39:34,120
Speaker 3: we tape the first episodes. This is where I meet

2000
01:39:34,120 --> 01:39:37,719
Speaker 3: the group for the first time. It's now Cube, it's uh,

2001
01:39:38,200 --> 01:39:40,000
Speaker 3: it's rand, it's yellow.

2002
01:39:40,120 --> 01:39:41,280
Speaker 4: You know, it's the whole thing.

2003
01:39:41,320 --> 01:39:46,080
Speaker 3: And a bunch of other cats, including the doc and

2004
01:39:47,560 --> 01:39:49,679
Speaker 3: the funny story I like to tell is I'm standing

2005
01:39:49,720 --> 01:39:53,160
Speaker 3: there and some cats roll up in a sixty four

2006
01:39:53,280 --> 01:39:55,880
Speaker 3: whatever once again. Oh and the night before Ted said,

2007
01:39:55,880 --> 01:39:58,160
Speaker 3: oh yeah, don't wear nothing black, don't wear nothing red,

2008
01:39:58,240 --> 01:39:59,040
Speaker 3: or don't wear that black.

2009
01:39:59,680 --> 01:40:00,720
Speaker 4: We knew nothing.

2010
01:40:00,439 --> 01:40:01,960
Speaker 1: About that, so we were in black.

2011
01:40:01,960 --> 01:40:04,200
Speaker 3: I didn't understand all this gang culture at that particular

2012
01:40:04,240 --> 01:40:07,120
Speaker 3: point in time, so whoy And when we get out there,

2013
01:40:07,200 --> 01:40:09,320
Speaker 3: n w A isn't all black. So I'm like, okay,

2014
01:40:09,400 --> 01:40:12,200
Speaker 3: yeah this is you know, we're all good. And I'm

2015
01:40:12,240 --> 01:40:15,599
Speaker 3: standing there and a car rolls up. It's like some

2016
01:40:15,680 --> 01:40:20,720
Speaker 3: casts in the sixty four, like Impalla and and and

2017
01:40:20,760 --> 01:40:23,120
Speaker 3: they kind of recognized me. So they're looking at me

2018
01:40:23,160 --> 01:40:26,080
Speaker 3: and I go like, hey, what's up? And Cube comes

2019
01:40:26,080 --> 01:40:28,120
Speaker 3: over to me. It's your fab Like, I just got

2020
01:40:28,120 --> 01:40:30,800
Speaker 3: to tell you, man, I'll hear if you do the

2021
01:40:30,880 --> 01:40:33,160
Speaker 3: peace sign like that.

2022
01:40:32,439 --> 01:40:33,479
Speaker 1: That's a gang sign.

2023
01:40:33,720 --> 01:40:35,760
Speaker 3: I was like, oh, he says, so we we have

2024
01:40:35,920 --> 01:40:37,000
Speaker 3: you have to do it this way.

2025
01:40:37,400 --> 01:40:39,040
Speaker 1: I was like, okay, which way you did it? You

2026
01:40:39,040 --> 01:40:39,280
Speaker 1: did it.

2027
01:40:39,320 --> 01:40:42,679
Speaker 4: This is like open hand cast, so you gotta.

2028
01:40:42,520 --> 01:40:43,320
Speaker 1: Do it this way, he said.

2029
01:40:43,320 --> 01:40:46,040
Speaker 3: He said this was because that was some some some

2030
01:40:46,040 --> 01:40:52,160
Speaker 3: some you know nothing, but the first hit time hearing

2031
01:40:52,280 --> 01:40:54,960
Speaker 3: any of this and not understanding how ill it is

2032
01:40:55,439 --> 01:40:57,920
Speaker 3: or what that culture is really all about. And that

2033
01:40:58,160 --> 01:41:01,439
Speaker 3: was the introduction, which then turns out to be a

2034
01:41:01,479 --> 01:41:04,760
Speaker 3: lot of people's favorite show because they get introduced to

2035
01:41:04,800 --> 01:41:05,280
Speaker 3: this group.

2036
01:41:05,680 --> 01:41:06,639
Speaker 1: We drive around.

2037
01:41:07,000 --> 01:41:09,920
Speaker 3: I always remember something that stuck with me because in

2038
01:41:10,000 --> 01:41:13,439
Speaker 3: between segments, Cube kept asking me, you're fab.

2039
01:41:13,800 --> 01:41:14,400
Speaker 1: I hadn't even.

2040
01:41:14,320 --> 01:41:16,479
Speaker 3: Listened to the record yet, by the way, to keep

2041
01:41:16,479 --> 01:41:18,840
Speaker 3: in mind, what's what's up with g rap?

2042
01:41:20,400 --> 01:41:21,880
Speaker 4: He's cool? G rap cool?

2043
01:41:21,960 --> 01:41:24,120
Speaker 1: And then he asked me again, you're fab, tell me

2044
01:41:24,120 --> 01:41:27,520
Speaker 1: something about it. And that's when you discovered that He's.

2045
01:41:27,640 --> 01:41:31,040
Speaker 3: When I later listened to the album. Mom was blown

2046
01:41:31,120 --> 01:41:33,960
Speaker 3: where they was going. It was like they was also

2047
01:41:34,040 --> 01:41:38,240
Speaker 3: inspired to go as hard as Public Enemy was going musically,

2048
01:41:38,280 --> 01:41:41,320
Speaker 3: which they was doing, but they was talking about this

2049
01:41:41,360 --> 01:41:43,080
Speaker 3: is where we're from, this is what's going on here.

2050
01:41:43,160 --> 01:41:48,320
Speaker 1: It blew my mind. Cube going to what is the

2051
01:41:48,400 --> 01:41:49,639
Speaker 1: Public Enemies producers?

2052
01:41:49,720 --> 01:41:55,240
Speaker 3: Yeah, you gets to New York. I'm the first person

2053
01:41:55,280 --> 01:41:58,320
Speaker 3: he called. I'm like, because we're tight. Now we got

2054
01:41:58,360 --> 01:42:01,800
Speaker 3: everybody numbers cool and not only that. Oh man, this

2055
01:42:01,840 --> 01:42:05,360
Speaker 3: is another good story. I had did an interview. Andy

2056
01:42:05,360 --> 01:42:08,800
Speaker 3: Walhol had had a magazine. It's called Interview Magazine.

2057
01:42:09,439 --> 01:42:10,840
Speaker 1: Wild. Okay, it's this.

2058
01:42:10,840 --> 01:42:13,360
Speaker 3: Story where and yeah, any Weell had a magazine, so

2059
01:42:13,400 --> 01:42:15,639
Speaker 3: I'm you know, I know Andy now and they would

2060
01:42:15,680 --> 01:42:19,120
Speaker 3: interview interesting people doing interesting stuff. It was a cool format,

2061
01:42:19,200 --> 01:42:22,480
Speaker 3: like a big news print. The photos were big, beautiful.

2062
01:42:22,479 --> 01:42:27,040
Speaker 3: It was like nothing was like it. And I was like, yo,

2063
01:42:27,439 --> 01:42:30,560
Speaker 3: let me reach out to them. I wanted to interview

2064
01:42:31,120 --> 01:42:32,760
Speaker 3: this new group because I had did a couple of

2065
01:42:32,800 --> 01:42:35,200
Speaker 3: interviews I did, and I did an I interviewed ll

2066
01:42:35,479 --> 01:42:36,080
Speaker 3: for interview.

2067
01:42:36,520 --> 01:42:37,280
Speaker 4: I did a few people.

2068
01:42:37,320 --> 01:42:39,400
Speaker 3: The first one I did was for Spike Lee for

2069
01:42:39,520 --> 01:42:41,800
Speaker 3: She's when She's got to have it came I'm in

2070
01:42:41,880 --> 01:42:42,719
Speaker 3: that for a second.

2071
01:42:43,320 --> 01:42:44,280
Speaker 1: Anyway.

2072
01:42:46,000 --> 01:42:48,440
Speaker 4: I interviewed n w A all of the group's.

2073
01:42:48,160 --> 01:42:51,720
Speaker 3: Members on the phone, and then we set up this

2074
01:42:51,880 --> 01:42:54,120
Speaker 3: photo shoot, which is happened in a few days later,

2075
01:42:54,520 --> 01:42:57,559
Speaker 3: and I talked to the photographer who's based out there,

2076
01:42:57,640 --> 01:43:00,400
Speaker 3: and I'm like, make sure you you know, these are

2077
01:43:00,439 --> 01:43:02,920
Speaker 3: the members of the group, you know, make sure this.

2078
01:43:03,800 --> 01:43:06,400
Speaker 3: So I set it all up and I talked to

2079
01:43:06,479 --> 01:43:09,360
Speaker 3: the photographer a little later. I go, so, how did

2080
01:43:09,360 --> 01:43:12,040
Speaker 3: it go? He said, he said, oh, fab, it went great.

2081
01:43:12,160 --> 01:43:13,920
Speaker 3: I go, so, so who was there again? And he

2082
01:43:14,000 --> 01:43:15,479
Speaker 3: runs down all the members of the group. I said,

2083
01:43:15,479 --> 01:43:19,280
Speaker 3: wait a minute, what about ice Cube? Are you sure,

2084
01:43:19,280 --> 01:43:21,880
Speaker 3: you sure. I can't believe what he's saying. He goes, yeah, fab,

2085
01:43:21,960 --> 01:43:25,240
Speaker 3: this is who was there? So Cube wasn't there. I

2086
01:43:25,240 --> 01:43:28,000
Speaker 3: couldn't understand why. And you didn't know he left the dude,

2087
01:43:28,040 --> 01:43:31,360
Speaker 3: he just left the group. I called Cube and he

2088
01:43:31,439 --> 01:43:35,559
Speaker 3: tells me. I'm like, yo, dude, really you left the group.

2089
01:43:36,960 --> 01:43:39,560
Speaker 3: This is that point, like the money wasn't right. He

2090
01:43:39,640 --> 01:43:43,600
Speaker 3: figured it out. Then the math wasn't mathing, and he

2091
01:43:43,760 --> 01:43:45,559
Speaker 3: was like yo, and he was trying to get his paper.

2092
01:43:45,640 --> 01:43:49,240
Speaker 3: It's all now we all know the stories documented.

2093
01:43:48,920 --> 01:43:50,879
Speaker 5: Like a consumer, we didn't know until we saw America's

2094
01:43:50,960 --> 01:43:53,200
Speaker 5: Most Wanted Like that's how I found out.

2095
01:43:53,200 --> 01:43:53,880
Speaker 1: I was like, what is this?

2096
01:43:54,120 --> 01:43:55,960
Speaker 3: So when he comes to New York, I'll know if

2097
01:43:55,960 --> 01:43:57,880
Speaker 3: you get called me and I'm I'm.

2098
01:43:57,760 --> 01:43:58,280
Speaker 1: Like, what's up.

2099
01:43:58,360 --> 01:43:59,720
Speaker 4: He's like, man, I can't work with.

2100
01:43:59,720 --> 01:44:01,599
Speaker 3: The squad man. That's the only one I can get

2101
01:44:01,640 --> 01:44:03,120
Speaker 3: busy with. I'm like, whoa.

2102
01:44:03,960 --> 01:44:05,520
Speaker 4: And then the rest is history.

2103
01:44:06,680 --> 01:44:10,840
Speaker 3: No vascinate all that ship South Hell and I'm like, wow, oh,

2104
01:44:10,880 --> 01:44:12,760
Speaker 3: you know what was incredible about that moment that I

2105
01:44:12,800 --> 01:44:16,639
Speaker 3: really loved Cube was the one that prominatly like water

2106
01:44:16,760 --> 01:44:19,679
Speaker 3: Jerry curl In beginning which was a big l a style.

2107
01:44:19,800 --> 01:44:22,479
Speaker 3: Black folks had the Jerry juice to Jerry Curl going on.

2108
01:44:23,600 --> 01:44:25,080
Speaker 4: When Cube did.

2109
01:44:24,880 --> 01:44:27,479
Speaker 3: His first performance at the Apollo, he.

2110
01:44:27,479 --> 01:44:28,439
Speaker 4: Shaved his head off.

2111
01:44:28,479 --> 01:44:33,200
Speaker 3: He came out with with with the bald and hallm

2112
01:44:33,240 --> 01:44:37,400
Speaker 3: went crazy. I'll never forget like how that hit so

2113
01:44:37,479 --> 01:44:39,880
Speaker 3: hard because everybody was used to seeing them like that

2114
01:44:40,280 --> 01:44:42,800
Speaker 3: and that was that ship. Like when that baldy hit,

2115
01:44:42,960 --> 01:44:44,720
Speaker 3: you know, that was a look right then, like that

2116
01:44:44,840 --> 01:44:47,960
Speaker 3: was that was official and uh and that was the

2117
01:44:47,960 --> 01:44:50,719
Speaker 3: beginning of him becoming like, you know, taking it to another.

2118
01:44:50,520 --> 01:45:00,639
Speaker 5: Level, crazy Jack. I'm gonna do our drinking game. Okay, drinking,

2119
01:45:01,200 --> 01:45:03,000
Speaker 5: so but he's your designated drinker.

2120
01:45:04,320 --> 01:45:08,240
Speaker 1: Sip if you want, you got wine. We got whatever

2121
01:45:08,280 --> 01:45:13,200
Speaker 1: you want, got go ahead, we got vodka. He said,

2122
01:45:13,200 --> 01:45:15,960
Speaker 1: he's the baka. See I told you man.

2123
01:45:17,800 --> 01:45:20,320
Speaker 5: You said it as you said it, all right, So

2124
01:45:20,960 --> 01:45:22,840
Speaker 5: here are the rules of the game. We're gonna give

2125
01:45:22,880 --> 01:45:27,960
Speaker 5: you two choices. You pick one the choices. We don't drink.

2126
01:45:28,000 --> 01:45:28,719
Speaker 5: Nobody drinks.

2127
01:45:29,680 --> 01:45:32,160
Speaker 1: But if you give the politically correct answer, which is

2128
01:45:32,560 --> 01:45:35,439
Speaker 1: either both you say I just this both or neither

2129
01:45:35,479 --> 01:45:38,920
Speaker 1: of them. Okay, we all love for both. Yeah, yeah,

2130
01:45:39,000 --> 01:45:40,880
Speaker 1: you say I love both of them, or I don't

2131
01:45:41,000 --> 01:45:43,320
Speaker 1: like both of them. We all drink.

2132
01:45:43,560 --> 01:45:45,519
Speaker 5: But this is really, this is not to just anybody's

2133
01:45:45,560 --> 01:45:49,000
Speaker 5: really for stories, anything that any of these choices bring

2134
01:45:49,080 --> 01:45:50,120
Speaker 5: up a story for you.

2135
01:45:50,120 --> 01:45:51,800
Speaker 1: Please give us the story. You know what I'm saying.

2136
01:45:51,840 --> 01:45:56,320
Speaker 4: Okay, okay, okay, the bathroom?

2137
01:45:58,880 --> 01:46:06,600
Speaker 1: Thank you? What'd you send it? As? Holy a million? No,

2138
01:46:06,720 --> 01:46:07,280
Speaker 1: I don't got it.

2139
01:46:07,320 --> 01:46:14,360
Speaker 5: You got it the picture?

2140
01:46:14,640 --> 01:46:21,559
Speaker 1: Yeah, that's it. Click above it. No, I don't see it.

2141
01:46:21,680 --> 01:46:25,559
Speaker 1: I see it you ready, Yeah, Dick, I don't see it.

2142
01:46:25,600 --> 01:46:30,200
Speaker 1: Let me get it. It's right to here, bros. Right, No,

2143
01:46:30,360 --> 01:46:36,839
Speaker 1: I don't see it. Oh, I see it now, my bad, bad, bad, ahead,

2144
01:46:37,520 --> 01:46:40,280
Speaker 1: I got it ready, don't forget that.

2145
01:46:40,360 --> 01:46:42,040
Speaker 3: I want to get on to talk about this.

2146
01:46:42,200 --> 01:46:45,840
Speaker 1: Absolutely. I haven't gotten that at all. Okay, yeah, absolutely,

2147
01:46:45,880 --> 01:46:50,960
Speaker 1: Biggie or big l WHOA your criteria.

2148
01:46:50,520 --> 01:46:54,400
Speaker 5: And it's your criteria and any stories with anybody as well.

2149
01:46:54,560 --> 01:46:57,920
Speaker 3: Because you knew you bet them both, big al I

2150
01:46:58,040 --> 01:47:01,720
Speaker 3: met briefly stripped club in the Bronx.

2151
01:47:01,360 --> 01:47:08,360
Speaker 1: Back then, Golden Lady, go, that's what you made Golden Lady. Okay,

2152
01:47:07,240 --> 01:47:09,519
Speaker 1: I feel my mom.

2153
01:47:09,400 --> 01:47:13,200
Speaker 4: Was there, yes, but I did a yo.

2154
01:47:13,360 --> 01:47:17,320
Speaker 3: MTV raps with the whole digging in the crates crew

2155
01:47:18,360 --> 01:47:21,920
Speaker 3: Show Business AG and them and the other brother that

2156
01:47:22,040 --> 01:47:27,440
Speaker 3: passed away with the with the with the on the turntables.

2157
01:47:28,800 --> 01:47:33,040
Speaker 3: One of the executioners, rock Raider, was there, and also.

2158
01:47:32,840 --> 01:47:35,760
Speaker 1: There was I'm glad you got scared for him too.

2159
01:47:36,640 --> 01:47:39,879
Speaker 3: I was big l but at that point I didn't.

2160
01:47:39,680 --> 01:47:40,320
Speaker 1: Know who he was.

2161
01:47:40,360 --> 01:47:44,080
Speaker 3: He was literally just getting on large. Professor was there.

2162
01:47:44,120 --> 01:47:47,400
Speaker 3: So the whole scene opens, everybody's digging in the crates

2163
01:47:47,439 --> 01:47:48,479
Speaker 3: because that was their thing.

2164
01:47:48,600 --> 01:47:50,640
Speaker 1: So we was like, yo, y'all, what up here? You know,

2165
01:47:50,680 --> 01:47:51,519
Speaker 1: how do my thing?

2166
01:47:51,880 --> 01:47:55,120
Speaker 3: We helped up here Show Business AG's laugh and homies

2167
01:47:55,200 --> 01:47:58,800
Speaker 3: digging in the crate recently, Yeah, one of my and

2168
01:47:58,880 --> 01:48:02,000
Speaker 3: so Big I'm like after later, I'm like, oh.

2169
01:48:01,960 --> 01:48:03,320
Speaker 1: My god, that's big out.

2170
01:48:04,200 --> 01:48:08,639
Speaker 3: So I love him, but I'm a little obviously Biggie

2171
01:48:08,640 --> 01:48:10,840
Speaker 3: got to produce a bit more, you know, I got

2172
01:48:10,880 --> 01:48:13,400
Speaker 3: to connect with Biggie. Put some blunts in the air.

2173
01:48:13,800 --> 01:48:18,360
Speaker 3: He was a he was a blunt chainsmoker. Yeah, well yeah,

2174
01:48:18,439 --> 01:48:20,960
Speaker 3: our gin. Of course we didn't engage at that point,

2175
01:48:21,000 --> 01:48:24,479
Speaker 3: but when we later met and connected, just the vibers, right,

2176
01:48:24,520 --> 01:48:27,640
Speaker 3: and then I do the whole interview with him, at

2177
01:48:27,680 --> 01:48:30,040
Speaker 3: the Bad Boy Officers, him and crag Mac. You know,

2178
01:48:30,439 --> 01:48:33,680
Speaker 3: that's his national television introduction.

2179
01:48:34,040 --> 01:48:39,559
Speaker 1: You know, wasn't that the time y'all introduced the Big

2180
01:48:39,600 --> 01:48:40,920
Speaker 1: Mac's that it.

2181
01:48:40,960 --> 01:48:42,760
Speaker 3: No, we into the Big Mac, but we're both in

2182
01:48:42,800 --> 01:48:45,479
Speaker 3: the office and but you know, but I asked Biggie

2183
01:48:45,560 --> 01:48:49,040
Speaker 3: a question because it was similar with referenced one of

2184
01:48:49,080 --> 01:48:53,639
Speaker 3: his rhymes. I was like, he said, sometimes the rap game,

2185
01:48:53,920 --> 01:48:56,519
Speaker 3: you know, was comparable to the crack game.

2186
01:48:57,200 --> 01:48:58,920
Speaker 1: And being that he had he was like.

2187
01:48:58,960 --> 01:49:02,439
Speaker 3: Yeah, you know, his answer was if I was flipping burgers.

2188
01:49:02,479 --> 01:49:04,080
Speaker 3: You know, if I was telling Burgers, then I would

2189
01:49:04,080 --> 01:49:07,360
Speaker 3: have been rapping about that. But one of the answers

2190
01:49:07,400 --> 01:49:11,080
Speaker 3: to that, that was a great moment with them, with

2191
01:49:11,200 --> 01:49:14,120
Speaker 3: them to Spittters Hot Spitters.

2192
01:49:14,160 --> 01:49:17,720
Speaker 1: Tupaca easy rest piece of both man.

2193
01:49:18,280 --> 01:49:21,880
Speaker 7: You met them both? Yeah, neither oh man, no question,

2194
01:49:22,160 --> 01:49:28,479
Speaker 7: that's so wow. Wow, I go it easy, Yeah, just

2195
01:49:28,520 --> 01:49:30,679
Speaker 7: because we look. I mean, I love them both.

2196
01:49:30,760 --> 01:49:32,760
Speaker 4: But had that.

2197
01:49:32,720 --> 01:49:36,479
Speaker 3: Connection and introduced the whole scene if I got But I.

2198
01:49:36,400 --> 01:49:39,080
Speaker 4: Loved the episode. We did your TV raps.

2199
01:49:39,160 --> 01:49:42,400
Speaker 3: You had it on earlier when I walked in and Tupac.

2200
01:49:43,040 --> 01:49:47,040
Speaker 3: That was the first time it was recorded because I knew,

2201
01:49:47,080 --> 01:49:49,000
Speaker 3: and it hadn't come out then, he hadn't become this,

2202
01:49:49,160 --> 01:49:51,120
Speaker 3: you know, the megastar in terms of you know.

2203
01:49:51,120 --> 01:49:51,960
Speaker 1: The movies and whatever.

2204
01:49:52,360 --> 01:49:55,400
Speaker 3: But I knew he had a Black Panther connection and

2205
01:49:55,479 --> 01:49:58,720
Speaker 3: found out and it's the first time he stated it.

2206
01:49:59,240 --> 01:50:06,120
Speaker 3: And Harlem, yeah, no, we were in LA because oh yeah, yeah, yeah, No.

2207
01:50:06,160 --> 01:50:08,400
Speaker 3: The Panther twenty one all happened.

2208
01:50:08,160 --> 01:50:10,160
Speaker 1: In New York when his mom was involved and.

2209
01:50:10,240 --> 01:50:12,679
Speaker 4: He was conceived. It's a crazy story.

2210
01:50:13,040 --> 01:50:16,960
Speaker 3: His mom was in and his the brother that was

2211
01:50:17,000 --> 01:50:19,360
Speaker 3: his father, they were both a part of the Black

2212
01:50:19,400 --> 01:50:21,559
Speaker 3: Panther twenty one and they were on trial.

2213
01:50:21,600 --> 01:50:23,080
Speaker 4: They were under heavy pressure.

2214
01:50:23,520 --> 01:50:27,360
Speaker 3: They had a moment together in the holding cell or

2215
01:50:27,400 --> 01:50:30,600
Speaker 3: whatever when the people that know that they break it

2216
01:50:30,640 --> 01:50:31,800
Speaker 3: all down because they was caught up in.

2217
01:50:31,800 --> 01:50:35,560
Speaker 4: The system for a while. That's how he was conceived.

2218
01:50:35,720 --> 01:50:39,120
Speaker 1: It's crazy. Yeah, So he came out of there.

2219
01:50:39,160 --> 01:50:42,080
Speaker 3: So when I asked him about that in that episode,

2220
01:50:42,439 --> 01:50:45,080
Speaker 3: and he says, he breaks that down, like I come

2221
01:50:45,080 --> 01:50:49,720
Speaker 3: from some you know, from some revolutionary stuff, like my

2222
01:50:49,800 --> 01:50:52,519
Speaker 3: mother was a panther, my father and they met he

2223
01:50:52,600 --> 01:50:54,840
Speaker 3: was a hustle on hundred thirty Fish Street and they

2224
01:50:54,880 --> 01:50:57,519
Speaker 3: got together, you know, where they was down trying to

2225
01:50:57,560 --> 01:50:59,360
Speaker 3: make revolution for real.

2226
01:51:00,720 --> 01:51:02,840
Speaker 1: Crazy, So that was a good moment. Smith and Western

2227
01:51:02,920 --> 01:51:04,519
Speaker 1: or m O P. M O P.

2228
01:51:06,080 --> 01:51:08,479
Speaker 3: I love Smith and Wesson too, but you know, being

2229
01:51:08,560 --> 01:51:11,280
Speaker 3: a Brooklyn cat the way m O P represents like they.

2230
01:51:11,200 --> 01:51:14,360
Speaker 1: Defined brown from Brooklyn one my time, Smith Wester is

2231
01:51:14,360 --> 01:51:14,800
Speaker 1: from Brooklyn.

2232
01:51:15,120 --> 01:51:16,599
Speaker 4: Oh yeah yeah, no, no doubt.

2233
01:51:16,720 --> 01:51:20,000
Speaker 3: I should be more specific and say Brownsville, very specific

2234
01:51:20,120 --> 01:51:23,439
Speaker 3: energy the way they articulated just the one. I feel like,

2235
01:51:23,520 --> 01:51:27,200
Speaker 3: what you know, like the best of Browns veil on

2236
01:51:27,280 --> 01:51:28,639
Speaker 3: some on some street, wild ship.

2237
01:51:28,680 --> 01:51:32,080
Speaker 1: They all my brothers too. Yeah, shut out all care

2238
01:51:32,160 --> 01:51:35,639
Speaker 1: rest one Ques or rock camp. Man, this is torture.

2239
01:51:35,800 --> 01:51:37,760
Speaker 1: I mean, come on, I mean, you know you drink

2240
01:51:38,200 --> 01:51:39,800
Speaker 1: if you if you don't want to pick, you know

2241
01:51:40,439 --> 01:51:44,920
Speaker 1: he drinks. Oh man, I'm sorry, yeah, thank you? Yeah yeah, yes,

2242
01:51:44,960 --> 01:51:46,680
Speaker 1: I don't want to know you don't want to pick?

2243
01:51:49,080 --> 01:51:50,400
Speaker 1: I think I think I mean you didn't have to

2244
01:51:50,479 --> 01:51:52,920
Speaker 1: remind him like that. Now we're gonna drink. No, thank you.

2245
01:51:53,000 --> 01:51:54,160
Speaker 4: I totally forgot the rules.

2246
01:51:54,200 --> 01:51:58,559
Speaker 3: I'm like, man, I want to have been said that, like, yeah,

2247
01:51:58,560 --> 01:52:01,519
Speaker 3: thank you, man, I would have been you know, I'm spazy.

2248
01:52:02,040 --> 01:52:04,519
Speaker 1: You don't want to do you want to shot one

2249
01:52:04,560 --> 01:52:11,640
Speaker 1: little piece on somewhere. You're dignating the whole hair. I

2250
01:52:11,720 --> 01:52:14,840
Speaker 1: love it, y'all be having all right?

2251
01:52:15,280 --> 01:52:18,679
Speaker 3: Okay, yeah, yeah, yeah, come have a shot A shop

2252
01:52:18,720 --> 01:52:20,400
Speaker 3: for bad man.

2253
01:52:21,160 --> 01:52:25,719
Speaker 1: All right, so much? You know I got take your shot? Yeah,

2254
01:52:25,800 --> 01:52:29,320
Speaker 1: took me. Thanks for reminding me of the rules of

2255
01:52:29,320 --> 01:52:30,400
Speaker 1: the game. All right.

2256
01:52:30,680 --> 01:52:35,800
Speaker 5: For Duke Ellanton or John Coltrane or John Coltrane, I

2257
01:52:35,840 --> 01:52:37,519
Speaker 5: can't you gotta take a shot.

2258
01:52:37,520 --> 01:52:40,640
Speaker 1: I take a shot. Cool cook, that's the killer. He

2259
01:52:40,800 --> 01:52:44,200
Speaker 1: likes the killer. Yeah, go ahead to drink it out,

2260
01:52:45,160 --> 01:52:51,280
Speaker 1: coolie rapper, slick rick Man to drink up. Oh damn.

2261
01:52:52,640 --> 01:52:54,720
Speaker 3: Damn, come on man, y'all y'all, have.

2262
01:52:54,800 --> 01:52:59,679
Speaker 1: You got any good stories with any of them? Once again?

2263
01:53:02,120 --> 01:53:05,680
Speaker 3: Well shit, yes, I mean I directed.

2264
01:53:06,400 --> 01:53:07,120
Speaker 4: Oh this is great.

2265
01:53:07,160 --> 01:53:09,840
Speaker 3: I love to tell people because at this point when

2266
01:53:09,840 --> 01:53:13,200
Speaker 3: I'm directing the director board. Yeah, so I directed about

2267
01:53:13,240 --> 01:53:18,800
Speaker 3: sixty or soul music videos. The first one my philosophy.

2268
01:53:19,400 --> 01:53:21,880
Speaker 3: Hype did his thing. He had a whole incredible style.

2269
01:53:22,000 --> 01:53:23,960
Speaker 4: So love Hype. Love to see that.

2270
01:53:23,960 --> 01:53:27,439
Speaker 3: That was incredible, very exciting period of just a lot

2271
01:53:27,520 --> 01:53:30,120
Speaker 3: of people learning how to use film. And once again,

2272
01:53:30,200 --> 01:53:33,720
Speaker 3: wild style was my introduction and I had these ideas.

2273
01:53:34,400 --> 01:53:36,479
Speaker 3: It was a period where I was frustrated with just

2274
01:53:36,560 --> 01:53:39,960
Speaker 3: making paintings, having shows one solo show a year, a

2275
01:53:40,000 --> 01:53:42,920
Speaker 3: couple of group shows. I had this experience making wild

2276
01:53:42,960 --> 01:53:46,000
Speaker 3: Style and I wanted to do something with film again,

2277
01:53:46,640 --> 01:53:49,519
Speaker 3: and that's why I wanted to direct the videos. I'm

2278
01:53:49,560 --> 01:53:51,640
Speaker 3: you know, I was trying to do a public enemy video.

2279
01:53:52,920 --> 01:53:53,679
Speaker 4: Job Records.

2280
01:53:53,720 --> 01:53:54,320
Speaker 1: The woman that.

2281
01:53:54,400 --> 01:53:58,439
Speaker 3: Ran the head of the whole, An r Anne Carley,

2282
01:53:58,760 --> 01:54:02,000
Speaker 3: had heard and hired me to do my philosophy video

2283
01:54:02,640 --> 01:54:03,479
Speaker 3: for a charras one.

2284
01:54:03,600 --> 01:54:04,800
Speaker 1: Oh he's the first video.

2285
01:54:05,640 --> 01:54:07,360
Speaker 3: Yes, and then I go on to direct the whole

2286
01:54:07,439 --> 01:54:12,519
Speaker 3: bunch of videos in that period, and I directed Rode

2287
01:54:12,560 --> 01:54:16,080
Speaker 3: to the Riches for Coolchie Rap Crazyright. And what I'm

2288
01:54:16,120 --> 01:54:18,800
Speaker 3: most proud of in terms of where we were in

2289
01:54:18,840 --> 01:54:23,040
Speaker 3: that time, the crack game was really going on, and

2290
01:54:23,080 --> 01:54:25,680
Speaker 3: the song is about the rise and fall of a

2291
01:54:25,720 --> 01:54:26,360
Speaker 3: crack dealer.

2292
01:54:27,000 --> 01:54:29,160
Speaker 4: This is like ninety two ish if.

2293
01:54:29,040 --> 01:54:32,320
Speaker 3: You will time frame wise, and you know I'm from

2294
01:54:32,360 --> 01:54:35,760
Speaker 3: these streets, so I know that story band. So I

2295
01:54:35,840 --> 01:54:38,680
Speaker 3: put that together and if you remember the video. What

2296
01:54:38,760 --> 01:54:40,760
Speaker 3: I was also proud is I'm the first video to

2297
01:54:40,760 --> 01:54:44,560
Speaker 3: put an image of Scarface that became a super iconic thing.

2298
01:54:44,920 --> 01:54:47,360
Speaker 3: And I'm a film nerd as well as the art nerd,

2299
01:54:47,400 --> 01:54:49,200
Speaker 3: like I noticed it and I was like, I went

2300
01:54:49,240 --> 01:54:51,320
Speaker 3: to see Scarface the first day to film over.

2301
01:54:51,480 --> 01:54:53,880
Speaker 1: I'm a Brian D. Palmer fan.

2302
01:54:54,480 --> 01:54:57,600
Speaker 3: Who's the director And actually it was Oliver Stone that

2303
01:54:57,640 --> 01:55:00,520
Speaker 3: wrote the screenplay. So I was like, unbelievable film. And

2304
01:55:00,520 --> 01:55:02,840
Speaker 3: then to see it become such a big thing and

2305
01:55:02,920 --> 01:55:08,440
Speaker 3: the culture was fantastic. So bang I direct that video

2306
01:55:08,760 --> 01:55:10,800
Speaker 3: once again, which is the story of the rise and

2307
01:55:10,880 --> 01:55:16,080
Speaker 3: fall of a crack dealer like the shop of that to.

2308
01:55:16,080 --> 01:55:17,560
Speaker 4: The Richards, cool gi rap.

2309
01:55:19,040 --> 01:55:22,040
Speaker 3: And another little piece of that story is there's a

2310
01:55:22,040 --> 01:55:25,040
Speaker 3: brother named George Jackson Rest in peace that was in jail.

2311
01:55:25,080 --> 01:55:27,480
Speaker 3: He got no no, no, not the black not the

2312
01:55:27,480 --> 01:55:32,640
Speaker 3: black panther. Okay, okay, that's okay, no no no. I

2313
01:55:32,680 --> 01:55:35,280
Speaker 3: love that because you know, it's funny. I used to

2314
01:55:35,360 --> 01:55:37,280
Speaker 3: think of that early on, but then as you got

2315
01:55:37,280 --> 01:55:37,560
Speaker 3: to know.

2316
01:55:37,560 --> 01:55:38,960
Speaker 1: George, he looked at who he was.

2317
01:55:39,280 --> 01:55:42,760
Speaker 3: George was a brother from Harlem that went to Harvard

2318
01:55:42,760 --> 01:55:46,600
Speaker 3: on a football scholarship and worked his way into into Hollywood.

2319
01:55:47,280 --> 01:55:49,880
Speaker 3: And I think he worked on he might have had

2320
01:55:49,920 --> 01:55:53,080
Speaker 3: something to do with Crushcrew. He was hanging around doing

2321
01:55:53,120 --> 01:55:57,360
Speaker 3: things with Richard Pryor, and then he came he being there.

2322
01:55:57,400 --> 01:55:58,240
Speaker 1: He was from Harlem.

2323
01:55:58,720 --> 01:56:01,920
Speaker 3: He had this idea to make a gangster film and

2324
01:56:02,000 --> 01:56:07,160
Speaker 3: the film George came to me to assist with. There's

2325
01:56:07,160 --> 01:56:11,120
Speaker 3: a film called New Jack City. I'm an associal producer

2326
01:56:11,240 --> 01:56:15,000
Speaker 3: on that film.

2327
01:56:16,160 --> 01:56:16,960
Speaker 1: Thank you, Thank you.

2328
01:56:17,400 --> 01:56:21,760
Speaker 3: The story was actually based on the Nicky Bonds story

2329
01:56:22,120 --> 01:56:26,000
Speaker 3: heroin Whatever, but that's set in the nineteen seventies. George

2330
01:56:26,040 --> 01:56:28,440
Speaker 3: didn't want to set the film in the seventies. He

2331
01:56:28,560 --> 01:56:32,480
Speaker 3: wanted to set it which was current day. Current day,

2332
01:56:32,600 --> 01:56:36,160
Speaker 3: which was the early nineties when Nwjack swing is bubbling

2333
01:56:36,240 --> 01:56:39,080
Speaker 3: and about to explode. So he wanted to do a

2334
01:56:39,120 --> 01:56:42,520
Speaker 3: contemporary scene. And he knew I was tapped in. When

2335
01:56:42,600 --> 01:56:46,200
Speaker 3: George comes to meet with me to talk about this film,

2336
01:56:46,200 --> 01:56:49,240
Speaker 3: which I didn't know anything about, I'm finishing the rough

2337
01:56:49,280 --> 01:56:55,040
Speaker 3: cut of the Kougi Rap video okay, road to the Riches.

2338
01:56:55,360 --> 01:56:57,560
Speaker 3: And when I show him the video, if you remember,

2339
01:56:57,600 --> 01:57:00,480
Speaker 3: there's an undercover. There's a dude that's in Kouji Rap Crew.

2340
01:57:00,760 --> 01:57:03,960
Speaker 3: He starts off. They scrambling on the street, you know,

2341
01:57:04,160 --> 01:57:06,840
Speaker 3: like real, you know, real grimy Howard used to be

2342
01:57:06,960 --> 01:57:09,880
Speaker 3: hand in hand, you know, the jumbos and whatever. Then

2343
01:57:10,000 --> 01:57:12,480
Speaker 3: we see them he's the boss now in the in

2344
01:57:12,520 --> 01:57:14,920
Speaker 3: the office and whatever. And there's this cat that I

2345
01:57:15,160 --> 01:57:19,040
Speaker 3: that you see several times through the video that pulls

2346
01:57:19,080 --> 01:57:22,320
Speaker 3: out as the cops rush in. His man was was

2347
01:57:22,400 --> 01:57:25,760
Speaker 3: undercover and he may and you see you go back

2348
01:57:25,760 --> 01:57:26,280
Speaker 3: and watch.

2349
01:57:26,120 --> 01:57:27,200
Speaker 1: The Road to the Richards video.

2350
01:57:27,680 --> 01:57:30,680
Speaker 3: When George watches the video, He's like, oh my god,

2351
01:57:30,880 --> 01:57:34,440
Speaker 3: this is the idea in the movie which I see

2352
01:57:34,800 --> 01:57:39,840
Speaker 3: and is the cop you know, infiltrating Nino Brown's organization.

2353
01:57:40,440 --> 01:57:42,760
Speaker 3: When George had this, put this in front of me

2354
01:57:42,840 --> 01:57:46,480
Speaker 3: and he had gotten his brother Sadly, he passed not

2355
01:57:46,640 --> 01:57:49,920
Speaker 3: long ago Barry Michael Cooper, who was from Harlem, but

2356
01:57:50,080 --> 01:57:53,320
Speaker 3: he was nice with the words. His word game was crazy.

2357
01:57:53,400 --> 01:57:57,200
Speaker 3: And Barry had written a couple of articles and being

2358
01:57:57,640 --> 01:58:01,200
Speaker 3: he was from Harlem, like writers that was connected to

2359
01:58:01,360 --> 01:58:04,720
Speaker 3: our scene. Our culture at that time hadn't emerged yet

2360
01:58:04,760 --> 01:58:09,200
Speaker 3: with a strong voice. And George was highly educated.

2361
01:58:08,760 --> 01:58:10,120
Speaker 4: But he was from these streets too.

2362
01:58:10,400 --> 01:58:13,440
Speaker 3: When he saw a couple of articles Barry had written,

2363
01:58:13,440 --> 01:58:15,800
Speaker 3: and that in fact, one of the very first articles

2364
01:58:15,840 --> 01:58:20,120
Speaker 3: on the crack epidemic, about to happen. Think it might

2365
01:58:20,160 --> 01:58:23,440
Speaker 3: have been a spin magazine. George was like, this brother

2366
01:58:23,520 --> 01:58:26,400
Speaker 3: can write this script. And George got burried to write

2367
01:58:26,440 --> 01:58:30,680
Speaker 3: the screenplay for New Jack City. And after he saw

2368
01:58:30,720 --> 01:58:33,880
Speaker 3: the video, I came on as a producer to help

2369
01:58:33,920 --> 01:58:38,360
Speaker 3: the flavor, like the jewry, you know, Wesley's clothes, Like

2370
01:58:38,640 --> 01:58:41,960
Speaker 3: I was hovering over all of those departments, getting the

2371
01:58:42,120 --> 01:58:44,680
Speaker 3: fourth finger ring right, getting the right jewelry right at

2372
01:58:44,720 --> 01:58:48,120
Speaker 3: different times as they was rising, you know, the suits,

2373
01:58:48,160 --> 01:58:49,880
Speaker 3: and that was phenomenal.

2374
01:58:50,120 --> 01:58:53,320
Speaker 1: So that's crazy, makes some.

2375
01:58:53,400 --> 01:58:55,560
Speaker 3: Change exactly exactly.

2376
01:58:56,760 --> 01:58:59,200
Speaker 1: I love it. Christopher moment.

2377
01:58:59,480 --> 01:59:02,320
Speaker 4: Yeah, yeah, that was.

2378
01:59:04,760 --> 01:59:05,080
Speaker 1: Listen.

2379
01:59:05,120 --> 01:59:07,280
Speaker 3: I remember when we were shooting that scene New Jack

2380
01:59:07,400 --> 01:59:11,280
Speaker 3: City where Wesley stabs Christopher Wims and I never liked

2381
01:59:11,280 --> 01:59:16,000
Speaker 3: you anyway, pretty motherfucker that ship. Every time we shot,

2382
01:59:16,320 --> 01:59:18,560
Speaker 3: there's moments when you're on a set, if you got

2383
01:59:18,680 --> 01:59:19,360
Speaker 3: actors at.

2384
01:59:19,240 --> 01:59:22,400
Speaker 4: That level, when they do that, the whole crew is like.

2385
01:59:22,400 --> 01:59:26,240
Speaker 3: No, everybody is everybody has stopped doing what they do

2386
01:59:26,280 --> 01:59:29,200
Speaker 3: in the watch, like yo, he's doing his thing. And

2387
01:59:29,240 --> 01:59:31,320
Speaker 3: when he did that ship, it was so crazy. I

2388
01:59:31,360 --> 01:59:34,120
Speaker 3: was like what, I never like you went like just

2389
01:59:34,200 --> 01:59:36,200
Speaker 3: to stab a nigga, like in the hand like that,

2390
01:59:36,440 --> 01:59:38,040
Speaker 3: like you like your crew was ship.

2391
01:59:38,680 --> 01:59:38,880
Speaker 1: You know.

2392
01:59:39,720 --> 01:59:43,480
Speaker 3: That was the dynamic. Let me tell you another listen,

2393
01:59:43,520 --> 01:59:46,840
Speaker 3: let me tell you another interesting dynamic about that. And

2394
01:59:46,960 --> 01:59:49,600
Speaker 3: this was my role on that film, being that I

2395
01:59:49,680 --> 01:59:52,120
Speaker 3: know what time it was and George wanted to the

2396
01:59:52,240 --> 01:59:55,720
Speaker 3: archetypes were people in the game and the thing the

2397
01:59:55,840 --> 02:00:00,440
Speaker 3: model for Nino Brown in our heads and this me

2398
02:00:00,600 --> 02:00:03,120
Speaker 3: that no, you know, it's what I'm in brought on

2399
02:00:03,160 --> 02:00:03,360
Speaker 3: to do.

2400
02:00:04,200 --> 02:00:05,240
Speaker 4: Was Big Daddy came.

2401
02:00:06,520 --> 02:00:08,680
Speaker 3: It was that was the model in terms of the

2402
02:00:08,800 --> 02:00:09,320
Speaker 3: art type.

2403
02:00:11,080 --> 02:00:11,920
Speaker 4: We can see that.

2404
02:00:11,960 --> 02:00:12,360
Speaker 1: I see.

2405
02:00:12,440 --> 02:00:14,920
Speaker 3: It was a character in the way his the way

2406
02:00:14,960 --> 02:00:17,320
Speaker 3: he would do his wrap thing and uh, some of

2407
02:00:17,360 --> 02:00:20,520
Speaker 3: his early videos boom, so we you know, I see

2408
02:00:20,720 --> 02:00:23,640
Speaker 3: was definitely you know, so I'm bringing all these names

2409
02:00:24,880 --> 02:00:25,560
Speaker 3: to the table.

2410
02:00:25,960 --> 02:00:27,240
Speaker 1: But we had.

2411
02:00:27,200 --> 02:00:31,080
Speaker 3: Audition Kane, he was incredible, but we had heard.

2412
02:00:30,840 --> 02:00:32,760
Speaker 4: About this brother that was it was.

2413
02:00:32,920 --> 02:00:36,120
Speaker 3: I think it was, Oh my god, was it not

2414
02:00:36,400 --> 02:00:39,520
Speaker 3: No Better? What was the movie? Wesley debuts and it

2415
02:00:39,600 --> 02:00:44,680
Speaker 3: might have been White Up. No, i'mna be mad at myself,

2416
02:00:46,400 --> 02:00:47,080
Speaker 3: That's what I'm thinking.

2417
02:00:47,240 --> 02:00:48,000
Speaker 1: Was it Mo Better?

2418
02:00:48,080 --> 02:00:49,160
Speaker 4: Wesley's first film?

2419
02:00:49,200 --> 02:00:52,080
Speaker 3: I think he was about to start shooting all the time.

2420
02:00:53,760 --> 02:00:56,280
Speaker 1: Bobcats Wildcats.

2421
02:00:57,520 --> 02:00:58,560
Speaker 4: No what I'm talking about.

2422
02:00:58,600 --> 02:01:01,640
Speaker 3: No, not that this was specifically a Spike Lee film.

2423
02:01:08,200 --> 02:01:09,120
Speaker 4: I think it was Younger Fever.

2424
02:01:10,120 --> 02:01:16,480
Speaker 3: And George had had, you know, had gotten like a

2425
02:01:16,520 --> 02:01:18,440
Speaker 3: line on this guy. He said, Yo, there's this actor,

2426
02:01:18,640 --> 02:01:21,800
Speaker 3: young actor, Wesley Snipes. He's about to be and he's

2427
02:01:21,920 --> 02:01:24,240
Speaker 3: just shot this next this new Spike lead film I

2428
02:01:24,240 --> 02:01:28,160
Speaker 3: believe was Jungle Fever. He said, I think this could

2429
02:01:28,200 --> 02:01:32,600
Speaker 3: be our Nino Brown. And we went to the after

2430
02:01:32,720 --> 02:01:35,440
Speaker 3: party for Spike's film and I meet him for the

2431
02:01:35,480 --> 02:01:38,480
Speaker 3: first time. He had been in another film about baseball.

2432
02:01:38,520 --> 02:01:40,240
Speaker 3: He was playing a baseball player, but it didn't really

2433
02:01:40,240 --> 02:01:43,320
Speaker 3: blow up. It was like, I think it was major

2434
02:01:43,400 --> 02:01:48,520
Speaker 3: League thinks that as he was Willie May's Hayes his character.

2435
02:01:49,440 --> 02:01:54,000
Speaker 3: And so we now, George, we're very aware of the

2436
02:01:54,160 --> 02:01:58,960
Speaker 3: dynamic amongst us of the dark skin and the light skin,

2437
02:01:59,760 --> 02:02:03,880
Speaker 3: and and something was happening at that time with Michael

2438
02:02:04,000 --> 02:02:08,360
Speaker 3: Jordan with Wesley Snipes. It was like the dark skin

2439
02:02:08,520 --> 02:02:12,800
Speaker 3: now is emerging as an alternative, you know, getting some

2440
02:02:13,040 --> 02:02:16,440
Speaker 3: shine and some legit. Bobby Brown was on fire and

2441
02:02:16,520 --> 02:02:18,840
Speaker 3: about to explode. So we were like, you know what,

2442
02:02:19,240 --> 02:02:22,560
Speaker 3: as opposed to going the way Hollywood made typical one.

2443
02:02:22,800 --> 02:02:25,920
Speaker 3: Somebody a little lighter, brighter, you know, curly here like that,

2444
02:02:26,280 --> 02:02:27,840
Speaker 3: like you know whatever. We were like, we want to

2445
02:02:27,880 --> 02:02:30,040
Speaker 3: go to complete opposite. This was something that George and

2446
02:02:30,120 --> 02:02:34,080
Speaker 3: I were very like, okay, that makes sense. So the

2447
02:02:34,200 --> 02:02:38,120
Speaker 3: first time we go to meet Wesley, I remember, we

2448
02:02:38,320 --> 02:02:40,880
Speaker 3: now knew we know this. We knew this is gonna

2449
02:02:40,920 --> 02:02:43,240
Speaker 3: be fire right the film like what we're putting together,

2450
02:02:43,320 --> 02:02:44,480
Speaker 3: got Teddy Riley putting.

2451
02:02:44,280 --> 02:02:45,160
Speaker 1: The soundtrack together.

2452
02:02:45,480 --> 02:02:50,240
Speaker 3: We is, yeah, oh my god, telling myselfday Tuesday, Yeah,

2453
02:02:50,920 --> 02:02:51,840
Speaker 3: tell Teddy.

2454
02:02:52,120 --> 02:02:52,680
Speaker 4: Tell Teddy.

2455
02:02:52,760 --> 02:02:53,480
Speaker 1: I talked about this.

2456
02:02:54,160 --> 02:02:56,160
Speaker 3: He gonna light up because I'm in the studio like

2457
02:02:56,240 --> 02:03:00,600
Speaker 3: I'm hovering over like boom boom boom, and we we go.

2458
02:03:01,120 --> 02:03:03,760
Speaker 4: We pulled Wesley to the side, and you know.

2459
02:03:03,800 --> 02:03:06,440
Speaker 3: He's auditioning everything like he's incredible, Like you know, he's

2460
02:03:06,840 --> 02:03:08,680
Speaker 3: he can do it, like he can cry and the

2461
02:03:08,760 --> 02:03:11,000
Speaker 3: scene that we need, he can do that whole shit,

2462
02:03:11,080 --> 02:03:14,880
Speaker 3: Like he's a whole acting package. So we said Wesley, like, yo, man,

2463
02:03:15,040 --> 02:03:17,320
Speaker 3: like I'm telling him. I said, man, you, I said,

2464
02:03:17,480 --> 02:03:19,360
Speaker 3: this film is really going to make you a star.

2465
02:03:20,320 --> 02:03:23,800
Speaker 3: He said, no, fab that's not gonna happen. Man, I said,

2466
02:03:23,800 --> 02:03:26,520
Speaker 3: what do you mean Because we saw it. He says,

2467
02:03:27,360 --> 02:03:33,960
Speaker 3: I'm too dark, and I was like, wow, I remember

2468
02:03:34,240 --> 02:03:36,920
Speaker 3: George and I both laughed because that was exactly why

2469
02:03:37,080 --> 02:03:38,040
Speaker 3: we knew it was going.

2470
02:03:38,000 --> 02:03:41,800
Speaker 4: To happen, because we felt the tempo this was coming

2471
02:03:41,880 --> 02:03:42,760
Speaker 4: now and the.

2472
02:03:42,920 --> 02:03:47,440
Speaker 3: Gangster but still like attractive with a dangerous sexy. We

2473
02:03:47,680 --> 02:03:50,640
Speaker 3: had the whole shit mapped out like what we needed

2474
02:03:50,680 --> 02:03:53,160
Speaker 3: this character like to be, you know what I'm saying,

2475
02:03:53,680 --> 02:03:56,000
Speaker 3: and shit worked and Wesley blew up. It was just

2476
02:03:56,200 --> 02:03:59,400
Speaker 3: beautiful to see it all explode bigger, even bigger than

2477
02:03:59,560 --> 02:04:01,800
Speaker 3: I think. You know, I didn't know people was we

2478
02:04:01,920 --> 02:04:03,600
Speaker 3: see it was, you know, bullets was going.

2479
02:04:03,760 --> 02:04:05,120
Speaker 1: It was that weekend.

2480
02:04:05,160 --> 02:04:09,440
Speaker 3: It was quite a sensation. That was a long story.

2481
02:04:09,880 --> 02:04:10,440
Speaker 3: That was great.

2482
02:04:10,720 --> 02:04:11,320
Speaker 1: Thank you, Jim.

2483
02:04:12,360 --> 02:04:15,480
Speaker 3: That reallyed to me being a producer on New Jack City.

2484
02:04:15,680 --> 02:04:19,160
Speaker 1: Miles Davis or lowis armstrong man. Y'all got a drink, man,

2485
02:04:20,480 --> 02:04:21,640
Speaker 1: I'll drink.

2486
02:04:21,840 --> 02:04:25,320
Speaker 3: So yes, Miles I met because of him and Max

2487
02:04:25,440 --> 02:04:29,200
Speaker 3: Roach were tight and Max was a big fan of

2488
02:04:29,280 --> 02:04:31,560
Speaker 3: all the hip hop stuff as it was just beginning

2489
02:04:31,640 --> 02:04:36,680
Speaker 3: to emerge, and so uh he was really into it

2490
02:04:37,400 --> 02:04:41,080
Speaker 3: and as was Miles. Like I like to say, Max,

2491
02:04:41,840 --> 02:04:45,160
Speaker 3: Max Max Roach, who was the drummer that was my godfather.

2492
02:04:45,960 --> 02:04:47,720
Speaker 3: If I didn't if we didn't talk about him earlier,

2493
02:04:48,320 --> 02:04:51,360
Speaker 3: and he was tight with Miles and Miles and they

2494
02:04:51,400 --> 02:04:54,200
Speaker 3: would talk about different things going on. Miles was you know,

2495
02:04:54,320 --> 02:04:56,760
Speaker 3: he switched from the classic jazz and went into the

2496
02:04:57,160 --> 02:04:57,880
Speaker 3: jazz rock.

2497
02:04:58,480 --> 02:05:01,160
Speaker 4: And they were very they're very they a very open minded.

2498
02:05:01,320 --> 02:05:05,960
Speaker 1: And so is it true that Louis Armstrong asked for

2499
02:05:06,200 --> 02:05:07,040
Speaker 1: a week card.

2500
02:05:07,880 --> 02:05:11,160
Speaker 3: Yeah, that's in my film, Yeah, in my in the

2501
02:05:11,240 --> 02:05:15,440
Speaker 3: documentary I made about the Week Yeah, this is legit. Yeah,

2502
02:05:15,480 --> 02:05:17,520
Speaker 3: the documentary I made for this ship.

2503
02:05:17,880 --> 02:05:18,080
Speaker 1: Yeah.

2504
02:05:18,400 --> 02:05:21,520
Speaker 3: Yeah, so it's yeah, now it's legal. But Louis, it

2505
02:05:21,640 --> 02:05:23,480
Speaker 3: was such great logic in that moment in the.

2506
02:05:23,520 --> 02:05:24,600
Speaker 1: Sixties he asked for that.

2507
02:05:26,120 --> 02:05:28,360
Speaker 4: It was known among many people.

2508
02:05:28,600 --> 02:05:30,720
Speaker 1: He said that you could get a gun license.

2509
02:05:31,000 --> 02:05:32,160
Speaker 4: That's in that film.

2510
02:05:32,200 --> 02:05:36,200
Speaker 1: That's exactly what he said. Yes, makes so much, doesn't

2511
02:05:36,320 --> 02:05:36,640
Speaker 1: thank you?

2512
02:05:37,800 --> 02:05:43,480
Speaker 3: Telling his manager his manager was yeah, his manager's Yes.

2513
02:05:43,680 --> 02:05:47,120
Speaker 3: His manager was a real deal gangster that they were

2514
02:05:47,160 --> 02:05:50,160
Speaker 3: super tight and he was able to the gangsters controlled

2515
02:05:50,200 --> 02:05:52,560
Speaker 3: a lot of the music industry and what have you.

2516
02:05:52,920 --> 02:05:55,040
Speaker 4: And Louis manager was he was.

2517
02:05:55,040 --> 02:05:55,680
Speaker 1: The real deal.

2518
02:05:56,000 --> 02:05:58,920
Speaker 3: He sold a letter they didn't write the letter, but

2519
02:05:59,000 --> 02:06:02,480
Speaker 3: he wrote what Louis Armstrong would do. He would record

2520
02:06:03,880 --> 02:06:08,000
Speaker 3: how he felt. There's hours of him just expressing himself.

2521
02:06:08,720 --> 02:06:11,600
Speaker 3: And this was one of the things that he had

2522
02:06:11,680 --> 02:06:15,600
Speaker 3: talked about numerous times about why they pressuring me for

2523
02:06:15,720 --> 02:06:19,720
Speaker 3: this plan which is virtually basically harmless and I should

2524
02:06:19,960 --> 02:06:22,000
Speaker 3: telling his manager in a sense, which I think it

2525
02:06:22,120 --> 02:06:24,680
Speaker 3: was a letter if I'm not mistaken, But there's tape

2526
02:06:24,720 --> 02:06:28,200
Speaker 3: to him talking about the about the illogical nature of

2527
02:06:28,360 --> 02:06:32,520
Speaker 3: cannabis being criminalized and him kind of being pressured when

2528
02:06:33,240 --> 02:06:35,840
Speaker 3: which is what my whole film, Grasses Green it gets into.

2529
02:06:37,520 --> 02:06:37,720
Speaker 1: Yeah.

2530
02:06:41,480 --> 02:06:42,840
Speaker 4: Yeah, it was heavy duty.

2531
02:06:42,640 --> 02:06:46,640
Speaker 3: Pressure that they targeted people in the music game, and

2532
02:06:46,720 --> 02:06:49,160
Speaker 3: they knew Louis and other people that got pressured the

2533
02:06:49,280 --> 02:06:51,919
Speaker 3: most for this plant that never killed anybody.

2534
02:06:52,520 --> 02:06:54,840
Speaker 4: And Louis was you know, it was real. He was

2535
02:06:54,960 --> 02:06:57,880
Speaker 4: well renowned and we believe and.

2536
02:06:57,960 --> 02:07:01,320
Speaker 3: The research I did with other like cannabis experts, when

2537
02:07:01,320 --> 02:07:03,800
Speaker 3: because he sometimes referred to it as a golden lead,

2538
02:07:05,400 --> 02:07:08,440
Speaker 3: I've been looking for his connection. Really knew how to

2539
02:07:08,560 --> 02:07:12,120
Speaker 3: cultivate cannabis for the flower. When we was coming up,

2540
02:07:12,200 --> 02:07:15,160
Speaker 3: most people just smoked everything. Damn there, you didn't know like,

2541
02:07:15,960 --> 02:07:18,280
Speaker 3: you know, it's when the weed got got that sticky

2542
02:07:18,320 --> 02:07:21,600
Speaker 3: stuff on it. That's the flower giving you like the

2543
02:07:21,760 --> 02:07:25,880
Speaker 3: real state of the art in in cannabis, you know,

2544
02:07:26,680 --> 02:07:29,560
Speaker 3: like a sativa like an indica. We believe that's what

2545
02:07:29,720 --> 02:07:31,200
Speaker 3: Louis had a direct line on it.

2546
02:07:32,320 --> 02:07:35,280
Speaker 1: So his weed was consistently great. Louis had Branson back then.

2547
02:07:39,960 --> 02:07:43,880
Speaker 1: I loved that part of your documentary. Yeah, Branson and

2548
02:07:44,120 --> 02:07:47,040
Speaker 1: BIG's on film, and that's probably two of the last

2549
02:07:47,520 --> 02:07:50,280
Speaker 1: filmed people in the listen. Branson is my boy.

2550
02:07:50,360 --> 02:07:54,200
Speaker 3: It was really hard work to get Branson and the

2551
02:07:54,320 --> 02:07:57,200
Speaker 3: day we were initially were shooting him, he stood up

2552
02:07:57,240 --> 02:08:00,400
Speaker 3: my whole crew and I'm like, I got made people

2553
02:08:00,520 --> 02:08:06,400
Speaker 3: my DP Malik Sai. These are feature level cinematographers, you know,

2554
02:08:06,520 --> 02:08:07,160
Speaker 3: brother in the gang.

2555
02:08:07,240 --> 02:08:07,640
Speaker 1: That's what I mean.

2556
02:08:07,720 --> 02:08:11,720
Speaker 3: He was just he was Hype, Hype Williams name cinematographer

2557
02:08:12,280 --> 02:08:15,280
Speaker 3: coming up. They designed that that look of what Hype

2558
02:08:15,400 --> 02:08:18,520
Speaker 3: was doing. But uh yeah, that was heavy. That was

2559
02:08:18,600 --> 02:08:20,640
Speaker 3: heavy pressure. Said let me, let me, let me just

2560
02:08:20,680 --> 02:08:21,600
Speaker 3: say something that we're here.

2561
02:08:23,280 --> 02:08:25,360
Speaker 1: I tell the famous story of one time I was

2562
02:08:25,440 --> 02:08:29,880
Speaker 1: drunk on one hundred and twenty fourth Street. This is

2563
02:08:29,960 --> 02:08:34,040
Speaker 1: the first, Uh, I believe it's Fruits of Life. And

2564
02:08:34,200 --> 02:08:37,800
Speaker 1: we were we were drinking. We were drinking, I mean Harlem.

2565
02:08:37,840 --> 02:08:42,560
Speaker 1: Obviously I live in Jersey, but I was I was,

2566
02:08:43,440 --> 02:08:46,920
Speaker 1: I was drunk, but I was sober enough to know

2567
02:08:48,360 --> 02:08:50,800
Speaker 1: if I get if I make it to Branson Block, yeah,

2568
02:08:51,000 --> 02:08:54,800
Speaker 1: I'm safe. Uh No, I tell the story. And Branson

2569
02:08:54,880 --> 02:08:58,360
Speaker 1: recently that co signing story, right, I went, he's been

2570
02:08:58,400 --> 02:08:59,680
Speaker 1: on a part, right he did.

2571
02:08:59,840 --> 02:09:00,440
Speaker 6: He did.

2572
02:09:01,240 --> 02:09:03,600
Speaker 1: Let me break it down because there's a part of

2573
02:09:03,680 --> 02:09:06,080
Speaker 1: this story that's super missing. Wow. No, it's with me.

2574
02:09:06,320 --> 02:09:08,760
Speaker 1: And I'm telling Jada Kiss this. Jada Kiss knows exactly

2575
02:09:08,840 --> 02:09:13,760
Speaker 1: what it is. Okay, I'm sitting there in Harlem. I

2576
02:09:13,920 --> 02:09:16,640
Speaker 1: drink tager Bone. This is tager bone fancy.

2577
02:09:16,360 --> 02:09:17,920
Speaker 3: We had that tagle Bonejack.

2578
02:09:18,200 --> 02:09:20,880
Speaker 1: So I'm one hundred and twenty four form Foods of Life.

2579
02:09:22,560 --> 02:09:25,560
Speaker 1: I live in Jersey. I'm on my way ahead of Jersey,

2580
02:09:25,640 --> 02:09:27,840
Speaker 1: and I'm like, I can't make this. There's no way.

2581
02:09:28,440 --> 02:09:30,320
Speaker 1: I don't even want to, like risk my life, Like

2582
02:09:30,520 --> 02:09:32,800
Speaker 1: my life is too important. So I go to the

2583
02:09:32,840 --> 02:09:36,400
Speaker 1: savings place in the world that I think, you know

2584
02:09:36,440 --> 02:09:39,520
Speaker 1: what the saving places in the world was at that moment,

2585
02:09:41,080 --> 02:09:44,680
Speaker 1: was Branson bl Wow, I drove my car to Branching

2586
02:09:44,880 --> 02:09:47,880
Speaker 1: Block and this is I love the fact that he

2587
02:09:48,440 --> 02:09:53,400
Speaker 1: co signed my story about I want to reiterate how

2588
02:09:53,520 --> 02:09:57,240
Speaker 1: important this man is in our community and is to

2589
02:09:57,440 --> 02:10:02,120
Speaker 1: the cannabis lifestyle legend. He's legend. There was at times

2590
02:10:02,160 --> 02:10:06,480
Speaker 1: where right now in New York City, if you go

2591
02:10:06,560 --> 02:10:09,840
Speaker 1: to certain restaurants, just stick up kids outside of these restaurants.

2592
02:10:10,280 --> 02:10:12,200
Speaker 1: If you go to a certain spots, just stick up

2593
02:10:12,240 --> 02:10:16,480
Speaker 1: kids outside of this spot. Branson has so much love

2594
02:10:16,920 --> 02:10:23,000
Speaker 1: and so much power that you can walk into Branson

2595
02:10:23,080 --> 02:10:26,600
Speaker 1: and Red Man would be behind it the thing pause,

2596
02:10:27,520 --> 02:10:31,680
Speaker 1: sucking on a lottipop. They had the best lottipops at

2597
02:10:31,720 --> 02:10:34,840
Speaker 1: this time. This is just just chill.

2598
02:10:35,640 --> 02:10:36,680
Speaker 4: That's the Japanese can.

2599
02:10:37,520 --> 02:10:41,080
Speaker 1: They had the Japanese candy that. Seriously, you will go

2600
02:10:41,240 --> 02:10:44,560
Speaker 1: back there. You go use the bathroom, Biggie Smalls will

2601
02:10:44,560 --> 02:10:48,400
Speaker 1: be coming out the bathroom, I kid you not. For us,

2602
02:10:50,280 --> 02:10:56,720
Speaker 1: Branson created an experience. It wasn't about going to buy.

2603
02:10:58,080 --> 02:11:03,240
Speaker 1: But I come from means I'm literally almost an hour

2604
02:11:03,280 --> 02:11:05,760
Speaker 1: and a half with traffic, and it's always traffic in

2605
02:11:05,840 --> 02:11:09,600
Speaker 1: New York City. I would come from Queen's ninety seven

2606
02:11:09,640 --> 02:11:12,240
Speaker 1: DA thirty fifty seventh Avenue and go all the way

2607
02:11:12,800 --> 02:11:16,240
Speaker 1: wow to the tri barrow. And guess what. I would

2608
02:11:16,320 --> 02:11:21,560
Speaker 1: not leave Branson when I saw him in your documentary.

2609
02:11:22,360 --> 02:11:24,760
Speaker 1: I saw how comfortable he was, and I know he's

2610
02:11:24,800 --> 02:11:27,640
Speaker 1: not comfortable with entertainment. There's so many people who make

2611
02:11:27,680 --> 02:11:30,280
Speaker 1: him up. That's so true. There's so many people would

2612
02:11:30,280 --> 02:11:33,720
Speaker 1: pick him up, and he's always like, took the back.

2613
02:11:34,520 --> 02:11:36,480
Speaker 1: So I want to I want to reiterate this part

2614
02:11:36,520 --> 02:11:39,920
Speaker 1: of the story. That the reason why I parked at

2615
02:11:39,960 --> 02:11:44,200
Speaker 1: Branson and I pulled up, I had a six hundred.

2616
02:11:44,280 --> 02:11:47,720
Speaker 1: This is the brand new six hundred. Ben Jada Kisson

2617
02:11:47,760 --> 02:11:48,840
Speaker 1: knew the story. Jady Kiss.

2618
02:11:49,000 --> 02:11:50,040
Speaker 4: I was like, Yo, where did you go?

2619
02:11:50,280 --> 02:11:52,400
Speaker 1: Because I was drinking with Jada Kiss. That's the reason

2620
02:11:52,440 --> 02:11:57,480
Speaker 1: why he was there with me. But I went and

2621
02:11:57,560 --> 02:11:59,600
Speaker 1: I parked the car and I just looked at the

2622
02:11:59,680 --> 02:12:02,440
Speaker 1: first person that I know I saw in Branson, and

2623
02:12:02,560 --> 02:12:05,880
Speaker 1: I was like, yo, I can't drive. I gave the

2624
02:12:06,000 --> 02:12:08,360
Speaker 1: kid my key. Is that the kid that had to

2625
02:12:08,400 --> 02:12:10,960
Speaker 1: have the dreads? No, No, you talking about Eddie, you

2626
02:12:11,000 --> 02:12:15,240
Speaker 1: talk about Okay? You know that that that was that

2627
02:12:15,400 --> 02:12:18,680
Speaker 1: was that was that was his people inside. This was

2628
02:12:18,680 --> 02:12:21,080
Speaker 1: the people from the block. How much? What's how much?

2629
02:12:21,360 --> 02:12:25,400
Speaker 1: Branson had love and block? I knew anybody who knew him,

2630
02:12:26,200 --> 02:12:28,680
Speaker 1: I was good with. I gave this guy my key, Bro,

2631
02:12:29,320 --> 02:12:31,640
Speaker 1: I don't know him from nowhere. I gave him my

2632
02:12:31,800 --> 02:12:37,840
Speaker 1: key and I called what we called o J. This

2633
02:12:38,000 --> 02:12:41,280
Speaker 1: is New York Shire. That was that was that.

2634
02:12:46,160 --> 02:12:46,720
Speaker 4: Back in the day.

2635
02:12:46,760 --> 02:12:50,960
Speaker 1: And I went and I went home, and I woke

2636
02:12:51,040 --> 02:12:53,200
Speaker 1: up and I had no worries in the world. I

2637
02:12:53,560 --> 02:12:56,200
Speaker 1: promise you. I went right back to the same block

2638
02:12:56,280 --> 02:12:59,200
Speaker 1: and everything was good. Kid was sitting there, waven be like, yo,

2639
02:12:59,240 --> 02:13:03,440
Speaker 1: you're good, Like, yeah, that was the right thing you did.

2640
02:13:03,520 --> 02:13:05,240
Speaker 1: You couldn't have made it to whatever the fuck you?

2641
02:13:06,240 --> 02:13:09,680
Speaker 1: And what I'm trying to say to you is Branson.

2642
02:13:09,800 --> 02:13:13,160
Speaker 1: When Branson answered this story, yeah, he answered it as

2643
02:13:13,360 --> 02:13:17,520
Speaker 1: if it was the respect for me. I have to

2644
02:13:17,840 --> 02:13:21,280
Speaker 1: I have to take that away. This is a modest cat.

2645
02:13:21,400 --> 02:13:25,440
Speaker 1: So that's yeah, he's the modest, humble guy. There was

2646
02:13:25,560 --> 02:13:32,000
Speaker 1: a reason I went to that block. He that was

2647
02:13:32,080 --> 02:13:37,760
Speaker 1: the safest block in America. Bro Branson sold you triangle bags.

2648
02:13:37,800 --> 02:13:39,960
Speaker 1: And I've seen that when you was and then I've

2649
02:13:40,000 --> 02:13:42,680
Speaker 1: seen you. You actually went on that podcast. You showed

2650
02:13:42,720 --> 02:13:43,440
Speaker 1: the envelope on.

2651
02:13:43,480 --> 02:13:45,480
Speaker 4: The I made how to weave back.

2652
02:13:45,560 --> 02:13:48,600
Speaker 1: You used to look. Yeah, but let me just describe

2653
02:13:48,720 --> 02:13:52,320
Speaker 1: you because you also in your documentary you said sixty

2654
02:13:52,480 --> 02:13:54,640
Speaker 1: over sixty rappers shout it out brands.

2655
02:13:54,720 --> 02:13:56,840
Speaker 4: Yes, right, he had to tell you put together.

2656
02:13:57,240 --> 02:14:00,879
Speaker 1: So let me tell you why, Gush. You come from Queens,

2657
02:14:03,080 --> 02:14:08,560
Speaker 1: you come from Staten Island, you come from Jersey, you

2658
02:14:08,680 --> 02:14:11,000
Speaker 1: come from anywhere in the world. And then with those

2659
02:14:11,080 --> 02:14:13,640
Speaker 1: three blocks, because he did not only have that one block,

2660
02:14:14,080 --> 02:14:18,920
Speaker 1: he had all these other blocks. I would buy my butt,

2661
02:14:20,480 --> 02:14:25,080
Speaker 1: bring some champagne, and I would sit there a Queens dude. Wow,

2662
02:14:26,160 --> 02:14:28,960
Speaker 1: I get my car washed out there. That's that old

2663
02:14:28,960 --> 02:14:32,560
Speaker 1: school hall. Let me tell you something, there has never

2664
02:14:32,720 --> 02:14:37,040
Speaker 1: been experience like Branson. So when I kept I just

2665
02:14:37,160 --> 02:14:39,920
Speaker 1: kept rewinding your documentary just looking at that because this

2666
02:14:40,000 --> 02:14:41,840
Speaker 1: is the first time that he talked and he was

2667
02:14:41,920 --> 02:14:46,480
Speaker 1: still humble. So I'm going to brag for him. I'm

2668
02:14:46,520 --> 02:14:50,040
Speaker 1: a brag for him. Branson, bro, we all owe you

2669
02:14:50,200 --> 02:14:54,280
Speaker 1: a lot. You gave us a sense of safety and

2670
02:14:54,480 --> 02:14:59,160
Speaker 1: sense of comfortability like we couldn't even get about. I'm

2671
02:14:59,160 --> 02:15:02,400
Speaker 1: speaking on for all rappers to feel you. We couldn't

2672
02:15:02,440 --> 02:15:05,680
Speaker 1: get that comfortability in our own hood because people would

2673
02:15:05,760 --> 02:15:07,960
Speaker 1: judge us. But for that block, I don't know what

2674
02:15:08,120 --> 02:15:11,000
Speaker 1: he did to that block. Loved him.

2675
02:15:11,680 --> 02:15:14,320
Speaker 4: It's just so beautiful to hear you articulated like that.

2676
02:15:14,600 --> 02:15:17,720
Speaker 1: That's something I got to get. Listen. I love it.

2677
02:15:18,240 --> 02:15:22,520
Speaker 3: And when I moved up to Harlem in the early

2678
02:15:22,600 --> 02:15:25,920
Speaker 3: two thousands, I got really tight with Eddie and he

2679
02:15:25,960 --> 02:15:28,920
Speaker 3: would tell me how they got down and the way

2680
02:15:29,000 --> 02:15:32,400
Speaker 3: Branson numerous times they would he would have cookouts and

2681
02:15:32,520 --> 02:15:36,800
Speaker 3: he would buy food, the real classic Harlem stuff that

2682
02:15:37,000 --> 02:15:38,480
Speaker 3: went down that you hear about.

2683
02:15:38,600 --> 02:15:40,040
Speaker 1: You know Branson did that.

2684
02:15:40,200 --> 02:15:43,480
Speaker 3: He cut He's cut from that cloth of those cats

2685
02:15:43,560 --> 02:15:47,520
Speaker 3: from that seventies era. He didn't go that direction, obviously,

2686
02:15:47,960 --> 02:15:51,080
Speaker 3: but he treated people like that. He was super tight

2687
02:15:51,560 --> 02:15:54,280
Speaker 3: with another Harlem legend. Rest in peace, my man Vaughn.

2688
02:15:54,400 --> 02:15:58,120
Speaker 3: Zip Zip had one hundred and eighteenth Street the same

2689
02:15:58,240 --> 02:16:00,040
Speaker 3: way they took care a whole bit.

2690
02:16:00,160 --> 02:16:02,879
Speaker 1: Zips club zip cod.

2691
02:16:02,960 --> 02:16:04,320
Speaker 4: Yes, zip Code came later.

2692
02:16:04,480 --> 02:16:07,480
Speaker 3: Yes, indeed, he got an incredible fly club in Harlem.

2693
02:16:07,920 --> 02:16:10,680
Speaker 3: He managed Mike Tyson for a minute, along with my

2694
02:16:10,920 --> 02:16:15,680
Speaker 3: dear friend Jimmy Rosemand you know aka Jimmy Ah.

2695
02:16:16,160 --> 02:16:17,680
Speaker 1: Yeah, you know that's my man.

2696
02:16:17,760 --> 02:16:22,360
Speaker 3: But So Branson had that classic Harlem get down that

2697
02:16:22,600 --> 02:16:26,200
Speaker 3: really unfortunately, you know, nothing lasts forever. But that's a

2698
02:16:26,280 --> 02:16:28,840
Speaker 3: big I think a big part of the reason why

2699
02:16:28,920 --> 02:16:31,040
Speaker 3: he had Why the block shows you just was the

2700
02:16:31,120 --> 02:16:32,800
Speaker 3: way that went down is just unbelievable.

2701
02:16:32,800 --> 02:16:35,000
Speaker 1: But just think about it. If I'm telling you, listen, listen,

2702
02:16:35,120 --> 02:16:36,119
Speaker 1: I'm smacking.

2703
02:16:37,280 --> 02:16:38,040
Speaker 4: Drunk out of it.

2704
02:16:38,440 --> 02:16:42,320
Speaker 1: But I still I knew enough to say, I know

2705
02:16:42,480 --> 02:16:45,040
Speaker 1: where's safe. Act I'm already in Harlem one hundred and

2706
02:16:45,080 --> 02:16:48,240
Speaker 1: twenty four and I believe correct me if I'm wrong.

2707
02:16:48,240 --> 02:16:49,879
Speaker 1: I believe Branston was one hundred and fifty.

2708
02:16:50,080 --> 02:16:54,720
Speaker 3: Yeah, it was Satan one Fitch spot is right down

2709
02:16:54,760 --> 02:16:55,440
Speaker 3: the block, right.

2710
02:16:55,680 --> 02:16:59,000
Speaker 1: That's how I get the Branson fish sandwich.

2711
02:16:59,440 --> 02:17:02,199
Speaker 4: And then I go, yes, yeah, yeah.

2712
02:17:02,160 --> 02:17:04,160
Speaker 1: Yeah, yeah, what's that famous fish.

2713
02:17:04,800 --> 02:17:09,440
Speaker 3: It's famous fifth yes, and Saint Nick.

2714
02:17:09,879 --> 02:17:11,320
Speaker 1: It's the best fish in the world.

2715
02:17:11,360 --> 02:17:11,920
Speaker 4: Get the fries.

2716
02:17:12,040 --> 02:17:17,480
Speaker 1: That's the only thing. Yeah, Miami, I need to understand

2717
02:17:17,560 --> 02:17:18,560
Speaker 1: where fish like that?

2718
02:17:19,280 --> 02:17:21,840
Speaker 4: Yes, I need that's the Southern thing.

2719
02:17:21,959 --> 02:17:27,080
Speaker 3: So it's mostly fried pogis and whities, this is what's typical.

2720
02:17:27,080 --> 02:17:27,720
Speaker 1: In New York.

2721
02:17:28,000 --> 02:17:30,160
Speaker 4: And then some fries, you know what I mean, a

2722
02:17:30,240 --> 02:17:30,800
Speaker 4: few other.

2723
02:17:30,720 --> 02:17:34,920
Speaker 3: Size but it's mainly like fried whitings and fried pogies. Yes, yes,

2724
02:17:35,000 --> 02:17:37,360
Speaker 3: it's typical what you're getting most fishing. They might have

2725
02:17:37,440 --> 02:17:38,440
Speaker 3: a red snapper here and there.

2726
02:17:39,200 --> 02:17:42,880
Speaker 1: What is it what I got? I have one spot

2727
02:17:42,959 --> 02:17:47,320
Speaker 1: that I love here. It's in the hood snap snappers.

2728
02:17:50,640 --> 02:17:57,320
Speaker 1: That's what I think, my New York niggas. Listen, lit,

2729
02:17:57,360 --> 02:18:00,240
Speaker 1: I got New York fish out here, and like we're now,

2730
02:18:00,680 --> 02:18:02,280
Speaker 1: I me just like it.

2731
02:18:03,959 --> 02:18:06,240
Speaker 3: I'm sorry for jumping like it was just an anxiety moment.

2732
02:18:06,320 --> 02:18:12,760
Speaker 3: So so Branson, because he's exactly how you described classic hustling.

2733
02:18:12,840 --> 02:18:15,320
Speaker 3: I'm not trying to be telling everything. I'm not trying

2734
02:18:15,360 --> 02:18:17,600
Speaker 3: to that's so much a weird part of the culture

2735
02:18:17,640 --> 02:18:22,039
Speaker 3: now casts is ready to tell everything. Branson is cut

2736
02:18:22,120 --> 02:18:25,400
Speaker 3: from that classic cloth of you don't talk nobody talking,

2737
02:18:25,959 --> 02:18:30,880
Speaker 3: classic real, classic hustling street shit. And so that's I

2738
02:18:30,959 --> 02:18:33,000
Speaker 3: think a part of why he was like I had

2739
02:18:33,040 --> 02:18:35,400
Speaker 3: said all this up because I also told Branson, look, man,

2740
02:18:36,280 --> 02:18:38,600
Speaker 3: I had no idea I would get into the cannabis business.

2741
02:18:38,959 --> 02:18:41,800
Speaker 3: But just really that is a part of how this happened,

2742
02:18:42,040 --> 02:18:44,959
Speaker 3: because I said, man, listen, I'm going to meet these people. Brandson,

2743
02:18:45,040 --> 02:18:48,040
Speaker 3: you basically created a brand without realizing you created a

2744
02:18:48,120 --> 02:18:51,320
Speaker 3: brand because over sixty rappers, including Biggie, which I use

2745
02:18:51,400 --> 02:18:54,360
Speaker 3: in my film and mentioned a bunch of others rapped

2746
02:18:54,360 --> 02:18:57,640
Speaker 3: about Yo, I got a jar from Branson. I'm uptown

2747
02:18:57,760 --> 02:18:58,360
Speaker 3: with that brand.

2748
02:18:58,640 --> 02:19:01,480
Speaker 1: People in one second, because let me just say something.

2749
02:19:02,400 --> 02:19:05,720
Speaker 1: When you say jaw jar is different, because something you

2750
02:19:05,800 --> 02:19:10,440
Speaker 1: broke down in your documentary is his twenties was in triangle, correct,

2751
02:19:10,760 --> 02:19:13,160
Speaker 1: and his fifties was in brown bags.

2752
02:19:13,640 --> 02:19:15,920
Speaker 3: Okay, but no he I think he might have had

2753
02:19:15,959 --> 02:19:18,920
Speaker 3: two sizes of triangles because I remember sometimes it's like

2754
02:19:18,959 --> 02:19:19,800
Speaker 3: a twenties no, no.

2755
02:19:19,879 --> 02:19:22,440
Speaker 1: Because sometimes I had tosstic and sometimes he had the green.

2756
02:19:22,920 --> 02:19:29,040
Speaker 1: Somebody he said he had the brown. Okay, I love you.

2757
02:19:29,760 --> 02:19:35,200
Speaker 1: I might have been likened to bring twenty t isssue there,

2758
02:19:35,480 --> 02:19:37,920
Speaker 1: like because I'm going to take a ship and it's

2759
02:19:37,959 --> 02:19:42,720
Speaker 1: going down that serious. I'm dead serious. Yeah, I loved

2760
02:19:42,760 --> 02:19:46,280
Speaker 1: it so much. That's so they had to hit a

2761
02:19:46,360 --> 02:19:49,800
Speaker 1: tosstick in the twenties. Then he had any the green

2762
02:19:49,959 --> 02:19:52,279
Speaker 1: in the twenties as well, but then the brown bags

2763
02:19:52,280 --> 02:19:54,360
Speaker 1: of the fifties, and then if you had a jaw

2764
02:19:54,640 --> 02:19:56,880
Speaker 1: that was like was one fifty or more?

2765
02:19:57,160 --> 02:19:59,360
Speaker 4: Yeah, if it's about it was. That was a jaw

2766
02:19:59,360 --> 02:20:01,280
Speaker 4: a quarter or like a half ounce.

2767
02:20:01,320 --> 02:20:02,840
Speaker 1: It was. I ain't gonna lie to you. I don't know.

2768
02:20:03,120 --> 02:20:04,600
Speaker 4: It was between the two and one of them.

2769
02:20:04,879 --> 02:20:08,199
Speaker 1: Yeah, that was when you was a baller, like exactly.

2770
02:20:08,240 --> 02:20:13,600
Speaker 3: That's what they called the rapper, which is the way

2771
02:20:13,640 --> 02:20:14,960
Speaker 3: you would hear it referenced you.

2772
02:20:15,160 --> 02:20:17,680
Speaker 4: You had some paper and you knew you he was.

2773
02:20:17,840 --> 02:20:22,960
Speaker 3: He had the most consistent, high quality cannabis that you

2774
02:20:23,040 --> 02:20:23,440
Speaker 3: can get.

2775
02:20:23,720 --> 02:20:26,200
Speaker 4: It was really like a dispensary.

2776
02:20:29,320 --> 02:20:31,560
Speaker 1: I'm gonna get. I'll never tell this story. I gotta

2777
02:20:31,600 --> 02:20:40,200
Speaker 1: tell the story. Capone gets locked up poems like Juli

2778
02:20:41,240 --> 02:20:45,560
Speaker 1: Kbone was like, yo, you know, I need some bud

2779
02:20:45,720 --> 02:20:49,440
Speaker 1: you know what I mean? Like them, But he's like, nah,

2780
02:20:50,080 --> 02:20:53,840
Speaker 1: I want that. I want that band. Was like I

2781
02:20:55,680 --> 02:21:01,760
Speaker 1: I go up down about everything that I need. Then

2782
02:21:01,800 --> 02:21:09,360
Speaker 1: I buy everything. Component I don't know. I don't know

2783
02:21:09,560 --> 02:21:14,080
Speaker 1: to wrap ship up for jail niggas. What the fuck? Okay, okay, okay,

2784
02:21:14,360 --> 02:21:16,199
Speaker 1: I don't know how to do this ship. He tells

2785
02:21:16,280 --> 02:21:19,440
Speaker 1: me to go meet the girl, Meet the girl, give

2786
02:21:19,480 --> 02:21:25,560
Speaker 1: it a bar. I don't wrap the ship. Hit me

2787
02:21:25,720 --> 02:21:28,320
Speaker 1: like man, that ship ripped his ship up. Oh ship

2788
02:21:29,240 --> 02:21:32,720
Speaker 1: the triangles. I got good. God, okay, I got like

2789
02:21:32,840 --> 02:21:36,880
Speaker 1: ten of them. She had to stop the ship. Whoa, whoa,

2790
02:21:37,040 --> 02:21:39,879
Speaker 1: whoa whoa. He's like, Yo, why you ain't wrapping up?

2791
02:21:39,920 --> 02:21:42,959
Speaker 1: I'm like, what the fuck nigga like to buy?

2792
02:21:44,560 --> 02:21:46,160
Speaker 4: He didn't know where it was actually going to go.

2793
02:21:46,280 --> 02:21:49,959
Speaker 1: I'm sure to that is that my problem? Like I'm

2794
02:21:50,000 --> 02:21:52,920
Speaker 1: paying for it. I'm wow, wow. And but when I

2795
02:21:53,040 --> 02:21:56,480
Speaker 1: tell you, when I tell you, Jesus, every that whole

2796
02:21:56,560 --> 02:22:01,240
Speaker 1: week was like he was the man, like he had

2797
02:22:01,280 --> 02:22:07,080
Speaker 1: the whole jail brands. Yes, yes, this this out. It's

2798
02:22:07,120 --> 02:22:11,600
Speaker 1: allegedly anyway, No, it's not allegedly. Was his name?

2799
02:22:11,680 --> 02:22:12,800
Speaker 4: He assistently had that.

2800
02:22:15,120 --> 02:22:21,000
Speaker 1: Had I had a person like fab a person like me,

2801
02:22:21,440 --> 02:22:25,240
Speaker 1: person like us, have we knew that you could legalize

2802
02:22:25,280 --> 02:22:29,600
Speaker 1: this shit eventually? Yeah, Like this guy was the first

2803
02:22:29,720 --> 02:22:33,640
Speaker 1: of everything. Branston Like, I'm just being honest, like like

2804
02:22:34,320 --> 02:22:39,680
Speaker 1: he's my friend, I love him. I don't want to

2805
02:22:39,680 --> 02:22:43,160
Speaker 1: say that he doesn't want this props. I just I

2806
02:22:43,280 --> 02:22:45,080
Speaker 1: want to say what you said. He's from that old

2807
02:22:45,120 --> 02:22:47,840
Speaker 1: school where it's like you don't claim this ship, but

2808
02:22:48,000 --> 02:22:50,640
Speaker 1: I gotta claim this. I gotta be cocky for him. Bro,

2809
02:22:51,200 --> 02:22:53,680
Speaker 1: this is the first time, like I would be stressed out.

2810
02:22:53,720 --> 02:22:56,040
Speaker 1: This is like therapy for me going to Branston. Like

2811
02:22:56,160 --> 02:22:58,800
Speaker 1: I would go there and I would just chill, I

2812
02:22:58,920 --> 02:23:01,840
Speaker 1: mean by myself, like a queen's dude chilling in the Harlem.

2813
02:23:02,480 --> 02:23:06,680
Speaker 1: What a fucking six hundred bins parked outside, sitting there, rolling,

2814
02:23:06,879 --> 02:23:09,720
Speaker 1: arguing with Eddie, arguing with it. Because I argue with

2815
02:23:09,879 --> 02:23:13,880
Speaker 1: Eddie like yeah, man, shut up, man. He's like, man,

2816
02:23:13,920 --> 02:23:17,080
Speaker 1: your queen's niggas come over here, get your car wash.

2817
02:23:17,520 --> 02:23:19,600
Speaker 1: I'll get my car was I'm sitting there. It was

2818
02:23:19,680 --> 02:23:23,440
Speaker 1: a great experience. Bro. There has been nothing like that.

2819
02:23:23,640 --> 02:23:27,040
Speaker 1: And and God blessed me Branston, because I know he

2820
02:23:27,120 --> 02:23:29,400
Speaker 1: probably gonna watch this and be like, damn you, you

2821
02:23:29,480 --> 02:23:34,480
Speaker 1: went too far. But they have Every dispensary in California

2822
02:23:34,560 --> 02:23:41,960
Speaker 1: has been yeah, yeah, and what you presented like they

2823
02:23:42,080 --> 02:23:44,240
Speaker 1: come and you get chilled. You can roll up, you

2824
02:23:44,320 --> 02:23:47,520
Speaker 1: can buy some candy, and you can sit outside and chill.

2825
02:23:50,000 --> 02:23:53,120
Speaker 1: He's a real pioneer. So I'm sorry, Branston. I'm sorry,

2826
02:23:53,160 --> 02:23:55,760
Speaker 1: but I had to give your flowers because I heard

2827
02:23:56,320 --> 02:23:59,600
Speaker 1: I said this story. He responded, but he responded in

2828
02:23:59,680 --> 02:24:02,320
Speaker 1: the so much of a humble way, and I was like, nah, bro,

2829
02:24:02,640 --> 02:24:05,160
Speaker 1: the reason why I parked there because I knew you

2830
02:24:05,240 --> 02:24:07,320
Speaker 1: the respect that they have for you, and I knew

2831
02:24:07,360 --> 02:24:09,360
Speaker 1: the respect that they had that I always come in

2832
02:24:09,400 --> 02:24:11,840
Speaker 1: there to see you so real right there, and I

2833
02:24:11,920 --> 02:24:15,960
Speaker 1: got to give a branch in the spot. So you

2834
02:24:16,400 --> 02:24:19,200
Speaker 1: not only got branding to speak, but a person who

2835
02:24:19,320 --> 02:24:23,160
Speaker 1: managed me and if in both its bigs, yes, yes, yes,

2836
02:24:23,360 --> 02:24:26,920
Speaker 1: and you got bigs to speak. I was blown away

2837
02:24:27,160 --> 02:24:29,360
Speaker 1: to sitting back. It was like because and you got

2838
02:24:29,400 --> 02:24:32,119
Speaker 1: Bigginess speak about cannabis. And not only that, Biggs got

2839
02:24:32,160 --> 02:24:33,280
Speaker 1: convicted of cannabis.

2840
02:24:33,400 --> 02:24:35,360
Speaker 3: Well he sort of referenced that I didn't want to

2841
02:24:35,400 --> 02:24:38,480
Speaker 3: go expend expend too much on that, but I'm gonna

2842
02:24:38,480 --> 02:24:41,280
Speaker 3: say that that was part of the dynamic in terms

2843
02:24:41,360 --> 02:24:45,320
Speaker 3: of the injustices that too many people have had to

2844
02:24:45,400 --> 02:24:48,560
Speaker 3: go through for this plant, which is basically a harmulous

2845
02:24:48,879 --> 02:24:52,560
Speaker 3: medicinal plant that has been going back to the nineteen

2846
02:24:52,640 --> 02:24:55,840
Speaker 3: thirties that I illustrate, they just whipped it into a frenzy.

2847
02:24:55,920 --> 02:25:02,760
Speaker 3: They lied, They created this cannabis conspiracy film like reaf

2848
02:25:02,800 --> 02:25:07,480
Speaker 3: for Madness, and they people to the core and got

2849
02:25:07,840 --> 02:25:11,080
Speaker 3: cannabis criminalized and then targeted people.

2850
02:25:11,320 --> 02:25:13,600
Speaker 4: So Biggs was one of the victims of that.

2851
02:25:14,480 --> 02:25:16,400
Speaker 1: Wasn't it a guy who killed his whole family or

2852
02:25:16,440 --> 02:25:18,600
Speaker 1: something like that, and they said it was before we

2853
02:25:19,080 --> 02:25:20,080
Speaker 1: and he was a stohistic.

2854
02:25:20,200 --> 02:25:22,480
Speaker 4: Yeah, but thank you. The guy was a schizophrenic.

2855
02:25:22,800 --> 02:25:24,840
Speaker 3: But they whipped it and made it seem like this

2856
02:25:25,040 --> 02:25:27,480
Speaker 3: was a cannabis So that was a part of the

2857
02:25:27,879 --> 02:25:31,280
Speaker 3: of the lies that they used to whip and get

2858
02:25:31,600 --> 02:25:36,440
Speaker 3: congressmen to like criminalize cannabis in nineteen thirty seven. And

2859
02:25:37,160 --> 02:25:40,800
Speaker 3: which was always the guy's name was yeah, but the

2860
02:25:40,879 --> 02:25:43,280
Speaker 3: guy's name, but it was only because people of color

2861
02:25:44,240 --> 02:25:46,840
Speaker 3: were using it and as well as Spanish ber they

2862
02:25:46,920 --> 02:25:49,000
Speaker 3: even gave it the name. That's why people in the

2863
02:25:49,080 --> 02:25:52,800
Speaker 3: cannabis business never used serious. People that get this don't

2864
02:25:52,920 --> 02:25:55,320
Speaker 3: use the term marijuana because.

2865
02:25:55,040 --> 02:25:55,960
Speaker 1: That was invented.

2866
02:25:56,800 --> 02:25:59,920
Speaker 3: It was invented by the people that went that went

2867
02:26:00,080 --> 02:26:03,199
Speaker 3: to criminalize cannabis to make it sound Mexican. That word

2868
02:26:03,240 --> 02:26:07,400
Speaker 3: did not exist for the plant in Mexican society, so

2869
02:26:07,520 --> 02:26:10,920
Speaker 3: they got marijuana like Tijuana.

2870
02:26:10,760 --> 02:26:12,520
Speaker 1: You know, just checking my film.

2871
02:26:12,680 --> 02:26:14,240
Speaker 4: So there's real serious.

2872
02:26:14,000 --> 02:26:18,000
Speaker 3: Racism when you dig in to how they targeted certain

2873
02:26:18,080 --> 02:26:22,440
Speaker 3: people and we were victimized largely for that and.

2874
02:26:22,520 --> 02:26:33,760
Speaker 1: The people around the guana yeah go ahead, Yeah.

2875
02:26:33,800 --> 02:26:36,000
Speaker 3: That became a nickname for it. So those are all

2876
02:26:36,080 --> 02:26:38,480
Speaker 3: things that they used to get cannabis criminalized.

2877
02:26:38,920 --> 02:26:40,080
Speaker 1: But cannabis is.

2878
02:26:40,160 --> 02:26:43,560
Speaker 4: Largely medicine, and that's the thing that we now know

2879
02:26:43,800 --> 02:26:44,160
Speaker 4: more of.

2880
02:26:44,920 --> 02:26:49,240
Speaker 3: When you get especially good cannabis, there's medicinal value. And

2881
02:26:49,720 --> 02:26:52,760
Speaker 3: once scientists really looked at the plant and studied it

2882
02:26:52,879 --> 02:26:57,640
Speaker 3: and understood there's these various cannabinoids different components, began to

2883
02:26:57,800 --> 02:27:03,480
Speaker 3: isolate the and be like, oh, this really heals pain.

2884
02:27:03,600 --> 02:27:08,360
Speaker 3: It takes the inflesh in inflammation away. And it's the

2885
02:27:08,520 --> 02:27:12,920
Speaker 3: medical usage of the plant that have broken down all

2886
02:27:13,000 --> 02:27:18,200
Speaker 3: these lives and states like California, Colorado, which were out

2887
02:27:18,280 --> 02:27:22,200
Speaker 3: front in terms of going medical first. Then all the

2888
02:27:22,320 --> 02:27:24,840
Speaker 3: lies that it's going to just the gateway drug blom

2889
02:27:24,959 --> 02:27:28,200
Speaker 3: book come on. What has created Taking people to a

2890
02:27:28,840 --> 02:27:35,480
Speaker 3: opioid crisis was legally pushed, you know, the oxycodone and

2891
02:27:35,959 --> 02:27:40,440
Speaker 3: the whole opioid thing. Cannabis has helped so many people

2892
02:27:41,040 --> 02:27:44,520
Speaker 3: and that's what changed a lot of the negative perception.

2893
02:27:45,080 --> 02:27:46,760
Speaker 4: It's usually medical first.

2894
02:27:46,840 --> 02:27:49,440
Speaker 3: A couple of years and then people got look, it's

2895
02:27:49,520 --> 02:27:51,680
Speaker 3: helped me with this it's helped me admit that it

2896
02:27:51,800 --> 02:27:53,880
Speaker 3: helps people with pain issues. So a lot of these

2897
02:27:53,920 --> 02:27:56,800
Speaker 3: things are in the process, and you know, I happen

2898
02:27:56,840 --> 02:27:59,800
Speaker 3: to make a film talking about this, showing this his

2899
02:28:00,040 --> 02:28:03,160
Speaker 3: to read the music connection from the jazz people to

2900
02:28:03,200 --> 02:28:03,959
Speaker 3: the hip hop people.

2901
02:28:04,080 --> 02:28:05,200
Speaker 1: Snoop gave it up for me.

2902
02:28:05,720 --> 02:28:09,280
Speaker 3: I got my man, you know, uh be real, be

2903
02:28:09,400 --> 02:28:12,360
Speaker 3: real from Cyprus and and then really speaking about the plant.

2904
02:28:12,400 --> 02:28:15,960
Speaker 1: That's the only part I like, be real to the

2905
02:28:16,360 --> 02:28:21,119
Speaker 1: the the Mount Rushmore and he was like him, Snoop,

2906
02:28:21,720 --> 02:28:26,560
Speaker 1: mav Well, that was yeah, that was like your I'm

2907
02:28:27,120 --> 02:28:35,080
Speaker 1: my invisible I'm with I was like, damn, nigga, I've

2908
02:28:35,080 --> 02:28:38,840
Speaker 1: been here for years. That's what you know. You clearly

2909
02:28:42,480 --> 02:28:44,359
Speaker 1: but segue into into your product.

2910
02:28:44,560 --> 02:28:48,480
Speaker 3: So basically once again loving cannabis growing up my dad,

2911
02:28:48,840 --> 02:28:53,560
Speaker 3: all those jazz guys with bigger fictionados. It's actually my

2912
02:28:53,760 --> 02:28:57,280
Speaker 3: business partner, Ron Samuel where I.

2913
02:28:59,040 --> 02:29:01,160
Speaker 1: He was. He's from Cali. He's a brother that was

2914
02:29:01,200 --> 02:29:01,920
Speaker 1: in the game.

2915
02:29:03,200 --> 02:29:06,279
Speaker 3: In cannabis, seriously moving packs around.

2916
02:29:06,680 --> 02:29:09,360
Speaker 4: You know, he was in the game, hustling doing this thing.

2917
02:29:09,800 --> 02:29:11,000
Speaker 4: But he sorted.

2918
02:29:12,160 --> 02:29:14,600
Speaker 1: The legal business opening up and he wanted to dive in.

2919
02:29:15,360 --> 02:29:17,879
Speaker 3: But being that had he had, he had got caught

2920
02:29:17,959 --> 02:29:20,840
Speaker 3: up in the system, had you know, spent a little time.

2921
02:29:21,280 --> 02:29:22,840
Speaker 4: They forbid, which.

2922
02:29:22,640 --> 02:29:25,000
Speaker 3: Are the people that really pioneered it, They forbid you

2923
02:29:25,120 --> 02:29:26,920
Speaker 3: in a lot of these states to be able to

2924
02:29:27,000 --> 02:29:28,640
Speaker 3: get into too the business.

2925
02:29:28,840 --> 02:29:30,959
Speaker 1: So he was fussing to have a background.

2926
02:29:30,720 --> 02:29:33,280
Speaker 3: Correct and you've been convicted and you know, felling me

2927
02:29:33,360 --> 02:29:36,200
Speaker 3: whatever it may be, so boom. His whole thing was

2928
02:29:37,040 --> 02:29:39,320
Speaker 3: I want to be a part of this. And he

2929
02:29:39,480 --> 02:29:41,880
Speaker 3: was going to the conventions thinking, you know, this is

2930
02:29:41,959 --> 02:29:45,040
Speaker 3: going back ten or so years as it became a

2931
02:29:45,160 --> 02:29:48,000
Speaker 3: medical thing and a big business in California. How could

2932
02:29:48,000 --> 02:29:49,360
Speaker 3: I be a part of this because I know this,

2933
02:29:49,480 --> 02:29:53,560
Speaker 3: I've done this. And we had a conversation one day.

2934
02:29:53,680 --> 02:29:57,240
Speaker 3: This is back like I think about twenty sixteen, twenty seventeen.

2935
02:29:57,280 --> 02:29:58,400
Speaker 1: He said, Yo, I figured it out.

2936
02:29:58,879 --> 02:30:01,520
Speaker 3: I'm going to start a consulting to see company and

2937
02:30:01,920 --> 02:30:04,480
Speaker 3: I'm going to call it forty acres and a greenhouse.

2938
02:30:05,360 --> 02:30:07,280
Speaker 3: And so the idea was to play off for like

2939
02:30:07,400 --> 02:30:11,080
Speaker 3: the forty acres, which really didn't get I was given

2940
02:30:11,160 --> 02:30:12,480
Speaker 3: and taken away and.

2941
02:30:12,760 --> 02:30:14,879
Speaker 1: That was a that was the idea.

2942
02:30:15,000 --> 02:30:18,040
Speaker 3: That and to get into the game and you be

2943
02:30:18,160 --> 02:30:20,600
Speaker 3: a be a consultant because all these all these business

2944
02:30:20,640 --> 02:30:23,000
Speaker 3: guys are getting in that really don't know cannabis. He's

2945
02:30:23,000 --> 02:30:25,400
Speaker 3: the cat that did it all up and down Cali

2946
02:30:25,560 --> 02:30:31,279
Speaker 3: Humbo grows, you know, moving packs of serious, high quality cannabis.

2947
02:30:31,480 --> 02:30:33,840
Speaker 3: And so when he said that, we I just cracked

2948
02:30:33,920 --> 02:30:35,720
Speaker 3: up and I was like, oh, what a great idea,

2949
02:30:36,160 --> 02:30:38,880
Speaker 3: what a great name for the for the company.

2950
02:30:39,640 --> 02:30:42,520
Speaker 4: And this this is my business part in the cannabis.

2951
02:30:42,680 --> 02:30:45,600
Speaker 3: Brother name Ron Samuel, who's been in the game a

2952
02:30:45,640 --> 02:30:47,480
Speaker 3: long time, he wanted to He said, I'm gonna start

2953
02:30:47,480 --> 02:30:49,920
Speaker 3: a consultancy company called it forty acres in a greenhouse.

2954
02:30:50,480 --> 02:30:52,720
Speaker 3: And I said, that's great. And in the conversation we

2955
02:30:53,120 --> 02:30:55,000
Speaker 3: cracking up and talking, I'm like, but wait a minute.

2956
02:30:55,200 --> 02:30:56,440
Speaker 1: You know, black folks made.

2957
02:30:56,920 --> 02:31:00,959
Speaker 3: Jazz records and bigged up the plant back then. Then

2958
02:31:02,000 --> 02:31:04,920
Speaker 3: reggae artists did the same thing, Peter Tosh saying about

2959
02:31:04,959 --> 02:31:07,640
Speaker 3: legalized it over forty plus years ago. And then in

2960
02:31:08,040 --> 02:31:11,480
Speaker 3: my artists that I introduced to the country Snoop, you

2961
02:31:11,600 --> 02:31:15,480
Speaker 3: know Redman method Man. All these cats were the modern

2962
02:31:15,560 --> 02:31:19,680
Speaker 3: day proponents making big hit records about the plant. What

2963
02:31:19,840 --> 02:31:23,040
Speaker 3: a great way to do a documentary. And that was

2964
02:31:23,120 --> 02:31:25,360
Speaker 3: when it was like, Man, I have music, I'll be

2965
02:31:25,400 --> 02:31:27,480
Speaker 3: able to show, like get the hip hop people to talk,

2966
02:31:27,840 --> 02:31:31,080
Speaker 3: I'll get the historical footage of the jazz people doing it.

2967
02:31:31,400 --> 02:31:32,680
Speaker 3: But then I knew I was going to have to

2968
02:31:32,720 --> 02:31:35,560
Speaker 3: focus on the criminal justice side of all the people

2969
02:31:35,640 --> 02:31:38,680
Speaker 3: that have gone to prison and lives have been upside down.

2970
02:31:38,800 --> 02:31:40,240
Speaker 1: And that's how you discovered be Noble.

2971
02:31:40,680 --> 02:31:43,920
Speaker 4: Well, how I discovered how b Noble came to be.

2972
02:31:44,520 --> 02:31:47,760
Speaker 3: The story that I chose to focus on to illustrate

2973
02:31:48,240 --> 02:31:51,400
Speaker 3: just the unfair, just harshness.

2974
02:31:50,959 --> 02:31:52,320
Speaker 4: Of this criminal justice system.

2975
02:31:52,800 --> 02:31:55,959
Speaker 3: Was a brother from Louisiana that was given a thirteen

2976
02:31:56,040 --> 02:32:00,360
Speaker 3: year sentence for two joints worth of cannabis. He was

2977
02:32:00,400 --> 02:32:03,360
Speaker 3: in just seven. His name was Bernard Noble. So all

2978
02:32:03,440 --> 02:32:07,360
Speaker 3: people that were fighting two joints of cannabis crazy, A

2979
02:32:07,400 --> 02:32:10,400
Speaker 3: couple of grams, a couple of grahams of cannabis in

2980
02:32:10,440 --> 02:32:12,000
Speaker 3: his pocket, this is what it came out to. So

2981
02:32:12,240 --> 02:32:15,080
Speaker 3: basically enough to roll two joints, we break it down

2982
02:32:15,120 --> 02:32:16,200
Speaker 3: to two joints, but it was.

2983
02:32:16,200 --> 02:32:17,040
Speaker 1: Just a little bit of week.

2984
02:32:17,440 --> 02:32:21,080
Speaker 3: You maybe could have rolled like one blood, but basically

2985
02:32:22,240 --> 02:32:24,440
Speaker 3: some shit like that, right, two point whatever grams and

2986
02:32:24,560 --> 02:32:27,360
Speaker 3: this is just illustrates how a lot of the prison

2987
02:32:27,440 --> 02:32:30,720
Speaker 3: system still works. Unfortunately in certain states they're looking to

2988
02:32:30,800 --> 02:32:32,720
Speaker 3: put people in prison just to make money off that

2989
02:32:32,840 --> 02:32:34,279
Speaker 3: prison industrial complex.

2990
02:32:34,360 --> 02:32:37,760
Speaker 1: All you know, all that nonsense that state that this

2991
02:32:38,040 --> 02:32:40,680
Speaker 1: guy's for a joint. Thank you, thank you, thank you.

2992
02:32:40,879 --> 02:32:44,880
Speaker 3: Listen when Bernard Noble, which is the brother's name, we

2993
02:32:45,040 --> 02:32:47,800
Speaker 3: interview his family because I'm covering the jazz scene in

2994
02:32:47,920 --> 02:32:50,600
Speaker 3: my film, and Louis Armstrong, who's a big part of

2995
02:32:50,640 --> 02:32:53,760
Speaker 3: my film, as you've seen, is from Louisiana. That's where

2996
02:32:53,800 --> 02:32:56,640
Speaker 3: jazz is boring, so we covering that. But then we

2997
02:32:56,840 --> 02:32:59,800
Speaker 3: interview his family, his mom and sisters. They break down,

2998
02:33:00,160 --> 02:33:02,879
Speaker 3: really a sad moment. He's still in prison.

2999
02:33:03,040 --> 02:33:06,320
Speaker 1: And those are the ones that you were there. That's

3000
02:33:06,360 --> 02:33:08,800
Speaker 1: his family. I'm in the it's all three girls.

3001
02:33:09,320 --> 02:33:12,840
Speaker 3: Yeah, it's the mother and his three sisters, I believe

3002
02:33:12,840 --> 02:33:16,040
Speaker 3: two or three sisters. Really sad moment that illustrates what

3003
02:33:16,200 --> 02:33:18,920
Speaker 3: this has done to families. Over two joints for the week,

3004
02:33:19,200 --> 02:33:22,119
Speaker 3: his case had become celebrated and a lot of people

3005
02:33:22,160 --> 02:33:25,520
Speaker 3: were campaigning illustrated. In fact, Weis had did a show

3006
02:33:25,640 --> 02:33:28,640
Speaker 3: called Weedkett and that's how I had first seen this

3007
02:33:28,840 --> 02:33:31,920
Speaker 3: episode this his story. A couple of years before, they

3008
02:33:32,000 --> 02:33:34,280
Speaker 3: had a show called Weedicket on Vice TV.

3009
02:33:34,800 --> 02:33:35,360
Speaker 1: I didn't see that.

3010
02:33:35,400 --> 02:33:41,080
Speaker 3: It's like an Indian guy that hosted different topics around cannabis.

3011
02:33:41,280 --> 02:33:41,640
Speaker 1: What was it?

3012
02:33:41,800 --> 02:33:45,199
Speaker 3: What was it about this particular episode of this show

3013
02:33:45,240 --> 02:33:48,480
Speaker 3: which would do all different types of cannabis coverage, did

3014
02:33:48,520 --> 02:33:51,640
Speaker 3: a show on this brother that was in prison. I

3015
02:33:51,720 --> 02:33:55,120
Speaker 3: remember them talking to his kids and maybe having you

3016
02:33:55,240 --> 02:33:57,280
Speaker 3: maybe heard him on the phone. He might have called in.

3017
02:33:57,600 --> 02:34:00,440
Speaker 3: But when you hear how much we and how much

3018
02:34:00,480 --> 02:34:02,280
Speaker 3: time he got, it was just unbelievable. So I was like,

3019
02:34:02,360 --> 02:34:04,280
Speaker 3: that's the story I'm going to focus on in the film.

3020
02:34:04,800 --> 02:34:08,040
Speaker 3: But after I interviewed the family, about a week later,

3021
02:34:08,280 --> 02:34:10,800
Speaker 3: I got a call that he had because the people

3022
02:34:10,840 --> 02:34:15,280
Speaker 3: were campaigning on his behalf, that he finally got a

3023
02:34:15,560 --> 02:34:18,840
Speaker 3: parole and he'd be coming home in a couple of weeks.

3024
02:34:19,080 --> 02:34:21,600
Speaker 3: So we fly back to Louisiana to capture that moment,

3025
02:34:22,320 --> 02:34:23,080
Speaker 3: and when he.

3026
02:34:23,160 --> 02:34:26,200
Speaker 1: Comes out, he says, man, I didn't know what was

3027
02:34:26,280 --> 02:34:26,640
Speaker 1: going on.

3028
02:34:26,879 --> 02:34:33,120
Speaker 4: There's people in there for less weed Like, he's just

3029
02:34:33,200 --> 02:34:33,840
Speaker 4: blowing my mind.

3030
02:34:33,879 --> 02:34:36,240
Speaker 3: I mean, I interviewed the former prosecutors that said I

3031
02:34:36,240 --> 02:34:39,520
Speaker 3: couldn't do that anymore looking at how unjust there's certain

3032
02:34:39,600 --> 02:34:42,560
Speaker 3: towns in some of these states the money is made

3033
02:34:42,720 --> 02:34:44,960
Speaker 3: from this local prison which they got to keep full.

3034
02:34:45,480 --> 02:34:48,959
Speaker 3: And this goes back to a film made a Duvene

3035
02:34:49,080 --> 02:34:52,280
Speaker 3: made a documentary also on Netflix called The Thirteenth, which

3036
02:34:52,360 --> 02:34:54,920
Speaker 3: is about the Thirteenth Amendment, which was supposedly the ending

3037
02:34:54,959 --> 02:34:57,520
Speaker 3: of slavery, but it shows how the prison system still

3038
02:34:57,920 --> 02:34:59,959
Speaker 3: manages to enslave people and has.

3039
02:35:00,120 --> 02:35:01,240
Speaker 1: Working for slave wages.

3040
02:35:01,760 --> 02:35:04,800
Speaker 3: And it was like this business, this big business unfortunately,

3041
02:35:05,040 --> 02:35:08,640
Speaker 3: like publicly traded private prisons, you know, you know what.

3042
02:35:09,240 --> 02:35:11,039
Speaker 4: So that motivated me to do a.

3043
02:35:11,120 --> 02:35:13,840
Speaker 3: Brand in the brother's name and we work with him,

3044
02:35:15,320 --> 02:35:17,960
Speaker 3: and we made a connection with this company, Curely, which

3045
02:35:18,520 --> 02:35:20,000
Speaker 3: is really big cannabis company.

3046
02:35:20,600 --> 02:35:23,680
Speaker 4: And so we've we've been in the numerous states the.

3047
02:35:23,840 --> 02:35:26,400
Speaker 3: Non states already, right correct, Yeah, we've been.

3048
02:35:26,360 --> 02:35:26,840
Speaker 1: Up to nine.

3049
02:35:27,280 --> 02:35:29,360
Speaker 3: And this was our initial product, which is a two

3050
02:35:29,520 --> 02:35:33,280
Speaker 3: joint pre roll which reflexed read he got popped for

3051
02:35:34,000 --> 02:35:35,280
Speaker 3: little stuff you mentioned that.

3052
02:35:36,440 --> 02:35:38,920
Speaker 1: Yeah, this is I'm sorry, I get you so this

3053
02:35:39,000 --> 02:35:42,200
Speaker 1: is yeah, I'm taking that.

3054
02:35:42,440 --> 02:35:46,440
Speaker 3: No, No, like we got you, we got you covered

3055
02:35:46,560 --> 02:35:50,040
Speaker 3: and I got you know yeah, no, we got you covered.

3056
02:35:50,080 --> 02:35:53,480
Speaker 3: And the flower is really incredible, like from really high

3057
02:35:53,560 --> 02:35:56,920
Speaker 3: quality flower that the company has been making sure as

3058
02:35:57,000 --> 02:35:59,960
Speaker 3: a premier brand with a compelling story. I mean, come on,

3059
02:36:00,160 --> 02:36:03,000
Speaker 3: Cannabis is big business, but a lot of brands is

3060
02:36:03,080 --> 02:36:06,320
Speaker 3: just like colorful packaging. And my weed's better than yours.

3061
02:36:07,120 --> 02:36:11,520
Speaker 3: Our weed is killer incredible. Plus we're doing something giving

3062
02:36:11,600 --> 02:36:15,920
Speaker 3: back and raising awareness about these issues which people are

3063
02:36:16,000 --> 02:36:19,440
Speaker 3: still in prison. Like it's while cannabis is a multi

3064
02:36:19,480 --> 02:36:22,680
Speaker 3: billion dollar growing business, there's still states where people are

3065
02:36:22,760 --> 02:36:27,920
Speaker 3: still in prison like Bernard could technically still be in jail.

3066
02:36:28,000 --> 02:36:31,600
Speaker 1: Now. You know, you only just seven. So we're going

3067
02:36:31,680 --> 02:36:33,960
Speaker 1: to finish quick time with Slim. Yeah.

3068
02:36:34,320 --> 02:36:36,240
Speaker 3: And by the way, we started another new brand called

3069
02:36:36,320 --> 02:36:38,080
Speaker 3: Jungle Girl, which is only in New York but just

3070
02:36:38,160 --> 02:36:43,080
Speaker 3: a female focus cannabis product. Here as sister named Natalie

3071
02:36:43,120 --> 02:36:45,600
Speaker 3: from Calli who has a fashion brand called j.

3072
02:36:47,160 --> 02:36:49,760
Speaker 4: Oh No No No. Anybody can smoke it. But what

3073
02:36:50,320 --> 02:36:51,640
Speaker 4: we learned in the in the.

3074
02:36:51,680 --> 02:36:54,760
Speaker 3: Cannabis scene, particularly people people a lot of people that are.

3075
02:36:54,720 --> 02:36:59,959
Speaker 1: New don't get bathroom breaks. I love our casual Its.

3076
02:37:02,200 --> 02:37:04,760
Speaker 3: What we learned in the business since we've been doing

3077
02:37:04,840 --> 02:37:08,039
Speaker 3: this now for like a few years now, a lot

3078
02:37:08,120 --> 02:37:11,920
Speaker 3: of women are now getting comfortable. People, a new audience

3079
02:37:12,000 --> 02:37:14,400
Speaker 3: is getting comfortable with cannabis, and a lot of the

3080
02:37:14,520 --> 02:37:17,160
Speaker 3: chicks can't roll because if you think about it, it

3081
02:37:17,280 --> 02:37:19,039
Speaker 3: takes some time to learn how to prepare and.

3082
02:37:19,040 --> 02:37:19,840
Speaker 1: Put a joint together.

3083
02:37:20,280 --> 02:37:24,840
Speaker 3: So pre rolls, particularly for women, are very easy access.

3084
02:37:25,200 --> 02:37:26,800
Speaker 1: And that's a pack of pre rolls.

3085
02:37:27,200 --> 02:37:30,080
Speaker 3: Yeah, there's a five pack of little kind of nice, medium,

3086
02:37:30,160 --> 02:37:34,440
Speaker 3: small joints. And we have various like vibrant, you know,

3087
02:37:35,920 --> 02:37:38,800
Speaker 3: euphoric and different kind of things. So we're not trying

3088
02:37:38,840 --> 02:37:41,199
Speaker 3: to get into all the wild names.

3089
02:37:40,920 --> 02:37:42,440
Speaker 1: Of various strains.

3090
02:37:42,840 --> 02:37:45,000
Speaker 3: People want to feel a certain way without making it

3091
02:37:45,120 --> 02:37:48,400
Speaker 3: too complicated. So this has taken off really well in

3092
02:37:48,560 --> 02:37:50,800
Speaker 3: New York. Were in a bunch of dispensaries with Jungle

3093
02:37:50,879 --> 02:37:54,560
Speaker 3: Girl and the b Noble brand. You know, we're expanding

3094
02:37:54,720 --> 02:37:59,440
Speaker 3: and it's just really been an incredible run, you know,

3095
02:37:59,560 --> 02:38:02,840
Speaker 3: helping it inform people about these aspects of cannabis. Like

3096
02:38:03,000 --> 02:38:05,080
Speaker 3: just to keep in mind that a lot of people

3097
02:38:05,160 --> 02:38:08,960
Speaker 3: have suffered as a lot of states legalized. You're supposed

3098
02:38:08,959 --> 02:38:11,520
Speaker 3: to be able to expunge your criminal record and stuff.

3099
02:38:11,600 --> 02:38:14,160
Speaker 3: I mean even when I made Grascus Greener, I didn't

3100
02:38:14,200 --> 02:38:16,920
Speaker 3: realize that people could get kicked out of public housing.

3101
02:38:17,520 --> 02:38:20,360
Speaker 3: A lot of stuff was still in cannabis in New

3102
02:38:20,480 --> 02:38:23,320
Speaker 3: York up until we went a completely adult use and

3103
02:38:23,959 --> 02:38:25,800
Speaker 3: I get heavy on that in my film.

3104
02:38:25,840 --> 02:38:29,080
Speaker 4: I didn't realize what the cannabis laws actually were like.

3105
02:38:29,280 --> 02:38:31,040
Speaker 5: So a lot of and some of the companies that

3106
02:38:31,080 --> 02:38:33,080
Speaker 5: are benefiting off of it being legal, or these huge

3107
02:38:33,120 --> 02:38:34,879
Speaker 5: corporations Larborough.

3108
02:38:35,320 --> 02:38:36,520
Speaker 1: No, not yet.

3109
02:38:36,760 --> 02:38:39,400
Speaker 3: Well, the company that we did this licensing deal with,

3110
02:38:39,640 --> 02:38:41,440
Speaker 3: Currely did literally big.

3111
02:38:41,640 --> 02:38:43,200
Speaker 4: They're very big there in many states.

3112
02:38:43,240 --> 02:38:47,760
Speaker 3: They started medically, hence the name Cure Leaf Curing, but

3113
02:38:47,920 --> 02:38:50,240
Speaker 3: they really wanted to step up and represent a brand

3114
02:38:50,280 --> 02:38:53,480
Speaker 3: that was speaking to this issue because when you understand cannabis,

3115
02:38:53,800 --> 02:38:56,680
Speaker 3: a lot of people's lives have been jammed up. You

3116
02:38:56,760 --> 02:38:59,040
Speaker 3: know a lot of people that who we know, like

3117
02:38:59,080 --> 02:39:00,879
Speaker 3: when I go to just Spend Series in New York,

3118
02:39:01,200 --> 02:39:04,280
Speaker 3: which has one of the most like progressive cannabis like

3119
02:39:05,440 --> 02:39:10,039
Speaker 3: rules or regulations and stuff like that, and the OCM,

3120
02:39:10,240 --> 02:39:12,640
Speaker 3: the Office of Cannabis Management, A lot of people that

3121
02:39:12,800 --> 02:39:15,800
Speaker 3: got first on the list for dispensaries had did time

3122
02:39:15,879 --> 02:39:16,600
Speaker 3: that got caught up.

3123
02:39:16,600 --> 02:39:17,640
Speaker 1: It was seriously.

3124
02:39:18,760 --> 02:39:20,959
Speaker 4: Oh yeah, mostly you know, I mean it's.

3125
02:39:20,840 --> 02:39:23,520
Speaker 3: White folks as well, but mostly they was pressuring us,

3126
02:39:23,959 --> 02:39:26,320
Speaker 3: whereas in the white neighborhoods kids were smoking just as

3127
02:39:26,400 --> 02:39:29,360
Speaker 3: much we Popo wasn't doing stopping first and running down

3128
02:39:29,400 --> 02:39:31,520
Speaker 3: on them in the same way. So the hint as

3129
02:39:31,560 --> 02:39:33,720
Speaker 3: a hint you have so many people getting jammed up.

3130
02:39:35,520 --> 02:39:41,080
Speaker 3: They really structured the legislation, particularly this state representative, Crystal

3131
02:39:41,160 --> 02:39:42,400
Speaker 3: People Stokes out of Buffalo.

3132
02:39:42,760 --> 02:39:45,959
Speaker 4: She fought hard for the legislation that we have and.

3133
02:39:46,440 --> 02:39:49,480
Speaker 3: Whereas if Governor Cromo tried to chop up pieces of

3134
02:39:49,560 --> 02:39:51,560
Speaker 3: the bill, she was like, no, we got to have

3135
02:39:51,680 --> 02:39:54,080
Speaker 3: it like this, and then finally he signed it.

3136
02:39:54,680 --> 02:39:56,080
Speaker 4: So that's how people get on like that.

3137
02:39:56,480 --> 02:39:59,200
Speaker 3: Other states have talked about helping people, but it never

3138
02:39:59,320 --> 02:40:02,840
Speaker 3: really came to fruition, you know what I mean that

3139
02:40:02,959 --> 02:40:05,680
Speaker 3: they helped as many people as they said they wanted to.

3140
02:40:06,360 --> 02:40:08,280
Speaker 3: But New York there's a lot of people that you know,

3141
02:40:08,760 --> 02:40:14,160
Speaker 3: have dispensaries now giving it a go, and player they.

3142
02:40:18,480 --> 02:40:26,240
Speaker 1: Be noble baby fat boys or beastie boys mm hmm boys,

3143
02:40:29,240 --> 02:40:32,920
Speaker 1: Jay Z or Big Daddy Kane. I can't touch that.

3144
02:40:33,879 --> 02:40:36,200
Speaker 3: Y'all got to drink up, love them both to death.

3145
02:40:40,760 --> 02:40:42,959
Speaker 3: Big Daddy Kane is from not far from where I'm

3146
02:40:42,959 --> 02:40:43,800
Speaker 3: from in bed style.

3147
02:40:43,959 --> 02:40:45,560
Speaker 4: You know, I'm from Hancock.

3148
02:40:46,560 --> 02:40:48,920
Speaker 3: Lewis and Garby used to be Lewis and Sumner and

3149
02:40:49,400 --> 02:40:51,840
Speaker 3: Kane is from Lewis about four or.

3150
02:40:51,800 --> 02:40:54,840
Speaker 4: Five blocks away. Yeah, big daddy.

3151
02:40:57,080 --> 02:40:58,720
Speaker 3: He was on one of the first episodes of your

3152
02:40:58,920 --> 02:41:05,520
Speaker 3: TV raps as well Him Rock Him Yes, okay, Charlie

3153
02:41:05,600 --> 02:41:11,120
Speaker 3: Chase or read Alert. Wow wow men, I can't do

3154
02:41:11,360 --> 02:41:12,800
Speaker 3: neither one of the I love both of them.

3155
02:41:14,920 --> 02:41:15,120
Speaker 1: Man.

3156
02:41:15,600 --> 02:41:19,280
Speaker 3: Wow, this list is murder. But y'all gonna get drunk.

3157
02:41:19,440 --> 02:41:24,800
Speaker 3: That's no I'm cool now.

3158
02:41:24,840 --> 02:41:30,800
Speaker 1: I'm just saying yeah, yeah, yeah, yeah. They knocked it back.

3159
02:41:31,240 --> 02:41:34,680
Speaker 4: Drink champs are serious, you know.

3160
02:41:39,560 --> 02:41:45,120
Speaker 1: Debbie Harry or Cydy lap Oh man, you know I

3161
02:41:45,200 --> 02:41:47,160
Speaker 1: love Cyndy La. Gotta get my shot ready.

3162
02:41:47,200 --> 02:41:52,760
Speaker 3: Debbie Harry is Debbie Harry's family, so you know, love it,

3163
02:41:52,920 --> 02:41:58,359
Speaker 3: love love me some. Debbie Harry, b Street of wallstof

3164
02:41:58,640 --> 02:42:03,800
Speaker 3: I mean, come on, y'all, wow, the first, the best,

3165
02:42:03,840 --> 02:42:04,919
Speaker 3: the original.

3166
02:42:05,520 --> 02:42:07,400
Speaker 1: DMC or E P M D. You know I ain't

3167
02:42:07,440 --> 02:42:08,120
Speaker 1: touching none of that.

3168
02:42:10,840 --> 02:42:13,000
Speaker 3: I directed one of the e PM's early videos. I

3169
02:42:13,080 --> 02:42:20,599
Speaker 3: directed Strictly Business, Strictly.

3170
02:42:20,360 --> 02:42:25,640
Speaker 1: Business, E P M D. Okay, Nas or L L COJ.

3171
02:42:26,760 --> 02:42:29,120
Speaker 3: I directed one of the early when of Nas is

3172
02:42:29,160 --> 02:42:35,520
Speaker 3: the early videos which one One Love, Yes, One Love.

3173
02:42:36,720 --> 02:42:37,440
Speaker 1: Did you know that?

3174
02:42:37,680 --> 02:42:37,720
Speaker 3: No?

3175
02:42:37,840 --> 02:42:39,800
Speaker 1: I did know that. That's great man.

3176
02:42:40,200 --> 02:42:44,680
Speaker 3: Yeah. I literally filmed in his apartment in Queensbridge. His

3177
02:42:44,879 --> 02:42:47,200
Speaker 3: moms were still up in that apartment. Nas was just

3178
02:42:47,280 --> 02:42:50,640
Speaker 3: beginning to take off. But I shot the scenes right

3179
02:42:50,720 --> 02:42:51,400
Speaker 3: in that apartment.

3180
02:42:51,440 --> 02:42:53,360
Speaker 1: So let's tell us about that, all right. So you

3181
02:42:53,760 --> 02:42:56,360
Speaker 1: get the call from Faith. No no, no, no, no.

3182
02:42:56,720 --> 02:42:59,560
Speaker 3: I know Faith going way back, it would happen often,

3183
02:42:59,600 --> 02:43:02,320
Speaker 3: which was a really a blessing. I'm hosting your MTV raps,

3184
02:43:02,360 --> 02:43:06,400
Speaker 3: so Nas once again makes his national television debut with

3185
02:43:06,560 --> 02:43:09,880
Speaker 3: me on your MTV raps. Of course, the buzz was phenomenal,

3186
02:43:10,360 --> 02:43:13,039
Speaker 3: you know. I of course heard like, you know, Live

3187
02:43:13,080 --> 02:43:16,560
Speaker 3: at the Barbecue actually had happened already, I think, so

3188
02:43:16,640 --> 02:43:18,640
Speaker 3: I'm not sure about that one, but definitely Live at

3189
02:43:18,680 --> 02:43:22,400
Speaker 3: the Barbecue. And then this buzz about this incredible phenomenon

3190
02:43:22,640 --> 02:43:25,960
Speaker 3: that you know, and listening, I'm like, unbelievable, this is incredible.

3191
02:43:26,360 --> 02:43:30,640
Speaker 3: So then boom he comes through to do the show,

3192
02:43:31,080 --> 02:43:34,040
Speaker 3: and I really had, you know, I was looking at

3193
02:43:34,080 --> 02:43:37,400
Speaker 3: his videos and a couple of things the first ones

3194
02:43:37,440 --> 02:43:41,600
Speaker 3: that came out, and I just felt like his personality

3195
02:43:42,320 --> 02:43:46,080
Speaker 3: was so held back in a way, and I wanted

3196
02:43:46,200 --> 02:43:48,320
Speaker 3: I knew like I wanted to get a chance to

3197
02:43:48,360 --> 02:43:51,720
Speaker 3: work with him because I wanted to bring more him out.

3198
02:43:51,879 --> 02:43:54,520
Speaker 3: I felt like I saw it because even sometimes in

3199
02:43:54,640 --> 02:43:58,360
Speaker 3: talking to him, initially he would talk, he'd be real

3200
02:43:58,680 --> 02:44:01,960
Speaker 3: laid back and like but then it right, he'd be like, yo,

3201
02:44:02,200 --> 02:44:03,520
Speaker 3: but so and so and boom boom boom.

3202
02:44:03,520 --> 02:44:07,119
Speaker 4: I'd be like, Oh, okay, that's sort of thing in there.

3203
02:44:07,120 --> 02:44:09,360
Speaker 3: If you know now you talking about when you really

3204
02:44:09,360 --> 02:44:11,760
Speaker 3: get him going, he'll come out of it. So I

3205
02:44:11,840 --> 02:44:15,400
Speaker 3: knew I wanted to And then when so when we

3206
02:44:15,680 --> 02:44:19,160
Speaker 3: did the interview on your MTV raps, he was They

3207
02:44:19,280 --> 02:44:21,240
Speaker 3: told me the story, how, Yo, man, I can't believe

3208
02:44:21,280 --> 02:44:23,320
Speaker 3: I'm sitting here with you. This is this was no,

3209
02:44:23,480 --> 02:44:27,880
Speaker 3: this is actually On the part of the interview, he says, man, like,

3210
02:44:28,480 --> 02:44:30,560
Speaker 3: my pop took me to see wild Style like when

3211
02:44:30,600 --> 02:44:32,720
Speaker 3: I was ten, and I can't believe I'm sitting here

3212
02:44:32,800 --> 02:44:36,280
Speaker 3: talking to you and dah and so then he's asking

3213
02:44:36,320 --> 02:44:38,840
Speaker 3: me questions in between. I told him, oh, I directed this,

3214
02:44:39,160 --> 02:44:40,800
Speaker 3: I did that, He said, Yo, man, I want to

3215
02:44:40,840 --> 02:44:41,280
Speaker 3: work with you.

3216
02:44:42,000 --> 02:44:43,599
Speaker 1: And so that's how that started.

3217
02:44:43,320 --> 02:44:45,920
Speaker 3: Right there, because he realized other things I made, like

3218
02:44:46,000 --> 02:44:47,920
Speaker 3: I did just to get a just to get a

3219
02:44:47,959 --> 02:44:51,840
Speaker 3: rep of course, but I also did yeah, just getting

3220
02:44:53,120 --> 02:44:59,000
Speaker 3: as bad and rode to the riches for g wrap

3221
02:44:59,080 --> 02:45:02,240
Speaker 3: those is real now of storytelling. That that's you know,

3222
02:45:02,720 --> 02:45:05,920
Speaker 3: I knew I could could handle that, and so yeah.

3223
02:45:06,120 --> 02:45:08,880
Speaker 5: Well it's full circle being that he used whilst all

3224
02:45:08,959 --> 02:45:10,119
Speaker 5: in the project too.

3225
02:45:10,600 --> 02:45:12,640
Speaker 4: It was just connection was incredible.

3226
02:45:12,920 --> 02:45:15,920
Speaker 3: Plus being at his father was a jazz musician, I

3227
02:45:16,000 --> 02:45:19,840
Speaker 3: could sense that sensibility in his whole attitude and flow.

3228
02:45:20,400 --> 02:45:22,879
Speaker 3: And then as you learn more later, that was shooting

3229
02:45:23,080 --> 02:45:24,480
Speaker 3: fact as Pops used to live.

3230
02:45:24,400 --> 02:45:28,600
Speaker 1: Near me in Harlem. Olu Dara is his dad who's

3231
02:45:28,640 --> 02:45:29,199
Speaker 1: a really.

3232
02:45:29,320 --> 02:45:34,760
Speaker 3: Renowned you know, horn sax player, and his dad introduced

3233
02:45:34,840 --> 02:45:37,039
Speaker 3: him to a whole lot of you know, conscious stuff,

3234
02:45:37,120 --> 02:45:39,880
Speaker 3: and you know, it just it was just perfectly. It

3235
02:45:39,959 --> 02:45:44,080
Speaker 3: worked out perfectly. He made a young prodigy. And so

3236
02:45:45,240 --> 02:45:47,480
Speaker 3: that song One Love was like a script. I mean,

3237
02:45:47,560 --> 02:45:49,880
Speaker 3: it's perfect the construct of that song.

3238
02:45:50,000 --> 02:45:52,280
Speaker 1: You suggested you film that or they called you.

3239
02:45:52,720 --> 02:45:55,120
Speaker 3: Well, when I met Nasa and I told them things

3240
02:45:55,200 --> 02:45:57,760
Speaker 3: I made, and he said, oh you know you made

3241
02:45:57,879 --> 02:45:58,560
Speaker 3: just to get a rep.

3242
02:45:58,640 --> 02:46:00,440
Speaker 1: You did. Wow, you know I want to work with you.

3243
02:46:00,600 --> 02:46:04,400
Speaker 3: My philosophy every because the videos the only MTV at

3244
02:46:04,440 --> 02:46:08,280
Speaker 3: a point started putting the director's name up mostly you

3245
02:46:08,400 --> 02:46:11,880
Speaker 3: didn't know and then you know you, people didn't know

3246
02:46:11,920 --> 02:46:14,600
Speaker 3: who directed was, but the MTV started doing that, so

3247
02:46:14,640 --> 02:46:17,560
Speaker 3: it was really a good look. People got to know Williams,

3248
02:46:17,640 --> 02:46:21,039
Speaker 3: you know fab or this one Lionel Martin. Different people

3249
02:46:21,120 --> 02:46:23,800
Speaker 3: were directed and it was people begin to pay attention.

3250
02:46:23,959 --> 02:46:25,600
Speaker 4: But with NASA's thing, it was perfect.

3251
02:46:25,640 --> 02:46:26,720
Speaker 1: I was like, oh man, I got this.

3252
02:46:27,520 --> 02:46:31,800
Speaker 3: And the hard thing was the casting and something that

3253
02:46:31,879 --> 02:46:34,440
Speaker 3: I'm really flattered about with the one Love video is

3254
02:46:36,000 --> 02:46:40,879
Speaker 3: hyped to the scene in Belly, which was very kid,

3255
02:46:41,320 --> 02:46:46,280
Speaker 3: the young kids sitting down in a bench and so yeah,

3256
02:46:46,560 --> 02:46:50,000
Speaker 3: and they recreated a scene very similar with Na sitting

3257
02:46:50,080 --> 02:46:52,400
Speaker 3: on the bench talking to this young want to be

3258
02:46:52,560 --> 02:46:53,800
Speaker 3: thug type cat.

3259
02:46:54,240 --> 02:46:54,879
Speaker 4: The problem I.

3260
02:46:54,879 --> 02:46:57,720
Speaker 3: Would often have with music videos, the budgets wasn't enough

3261
02:46:58,160 --> 02:47:01,440
Speaker 3: for me to really hire actors, so oftentimes I would

3262
02:47:01,480 --> 02:47:03,960
Speaker 3: have to run out and try to find somebody that

3263
02:47:04,080 --> 02:47:07,160
Speaker 3: can be the character that I needed. So I know,

3264
02:47:07,360 --> 02:47:09,800
Speaker 3: I need this young kid for this scene that I

3265
02:47:09,920 --> 02:47:13,240
Speaker 3: have in my mind, I'm riding around. I don't know

3266
02:47:13,280 --> 02:47:14,880
Speaker 3: where I'm going to find this kid. But we was

3267
02:47:14,959 --> 02:47:18,160
Speaker 3: in Harlem one day and I saw this kid, this

3268
02:47:18,360 --> 02:47:20,640
Speaker 3: is before cell phones, was really mad.

3269
02:47:22,000 --> 02:47:22,400
Speaker 1: Comment.

3270
02:47:23,400 --> 02:47:26,240
Speaker 3: These two young kids on the corner with a with

3271
02:47:26,400 --> 02:47:30,720
Speaker 3: a with a house phone, a Courtland's house phone, fronting

3272
02:47:30,879 --> 02:47:34,119
Speaker 3: like like brick on the brick phone. Yeah, not as

3273
02:47:34,160 --> 02:47:36,600
Speaker 3: big as a brick, but the same idea. I got

3274
02:47:36,640 --> 02:47:39,680
Speaker 3: a cell phone and it was fronting like and they

3275
02:47:39,800 --> 02:47:43,560
Speaker 3: really was swagged out. They was like thirteen ish and

3276
02:47:43,680 --> 02:47:45,879
Speaker 3: so I drove by and I seen these two kids

3277
02:47:45,959 --> 02:47:48,120
Speaker 3: on the corner. I said, yo, I told my man,

3278
02:47:48,160 --> 02:47:50,320
Speaker 3: I said, yo, spin back around, let me run over

3279
02:47:50,840 --> 02:47:53,760
Speaker 3: and hollered this young shorty right here. So I rolled

3280
02:47:53,840 --> 02:47:55,520
Speaker 3: up on him, you know, and just like I'm back.

3281
02:47:55,600 --> 02:47:57,920
Speaker 3: He was trying to be thugged out, but I'm like.

3282
02:47:58,000 --> 02:48:00,480
Speaker 1: Hey, how you doing, shorty? We on what your name?

3283
02:48:00,560 --> 02:48:01,080
Speaker 1: What you doing?

3284
02:48:01,879 --> 02:48:04,880
Speaker 3: So we had a little conversation with him, and as

3285
02:48:04,920 --> 02:48:06,600
Speaker 3: I'm talking to him, I said, yo, I think this

3286
02:48:06,800 --> 02:48:09,200
Speaker 3: kid can do that because he was trying to be

3287
02:48:09,360 --> 02:48:11,959
Speaker 3: like a lot older. He had a real hard rock

3288
02:48:12,080 --> 02:48:16,760
Speaker 3: swagger and boom. I got his mom's number and I

3289
02:48:16,879 --> 02:48:19,080
Speaker 3: reached out and booming and that made it happen.

3290
02:48:19,640 --> 02:48:22,760
Speaker 4: So that's the kid that's on the plays that whole Yeah.

3291
02:48:23,280 --> 02:48:27,440
Speaker 1: You know, dad, that's all. I can't remember the lyric,

3292
02:48:27,560 --> 02:48:29,360
Speaker 1: but he's like.

3293
02:48:30,840 --> 02:48:33,880
Speaker 3: I would go when I come back home, nobody's out

3294
02:48:33,920 --> 02:48:36,680
Speaker 3: for short. He do roll in two phillies together and

3295
02:48:36,840 --> 02:48:39,959
Speaker 3: the bridgerie called him hu and you know, the whole

3296
02:48:40,120 --> 02:48:42,959
Speaker 3: thing and ship, and the kid played the ship off lovely.

3297
02:48:43,280 --> 02:48:45,440
Speaker 3: You know, I wear a bulletproof or pack of you know.

3298
02:48:45,560 --> 02:48:47,600
Speaker 3: He was that he had that whole ship that I

3299
02:48:47,720 --> 02:48:51,640
Speaker 3: need care. Caught him on the corner bee and got

3300
02:48:51,720 --> 02:48:52,560
Speaker 3: him to play that cat.

3301
02:48:52,680 --> 02:49:03,840
Speaker 1: I talked to him from Queensbridge. But so in the

3302
02:49:04,000 --> 02:49:08,160
Speaker 1: scenes when NaNs, you know, I do the whole shooting

3303
02:49:08,280 --> 02:49:10,480
Speaker 1: scene and whatever those was real.

3304
02:49:10,959 --> 02:49:13,880
Speaker 3: Those was the real Queensbridge cats, Like people was really

3305
02:49:13,920 --> 02:49:17,200
Speaker 3: playing themselves. Then I do the jail scene, you know,

3306
02:49:17,320 --> 02:49:19,720
Speaker 3: and I bust a bunch of them cats out to this.

3307
02:49:19,920 --> 02:49:21,680
Speaker 4: We found a local like.

3308
02:49:21,720 --> 02:49:24,560
Speaker 3: A local jail that looked like an old style prison,

3309
02:49:24,720 --> 02:49:27,040
Speaker 3: had tears and ship, and that's where we did the

3310
02:49:27,160 --> 02:49:31,360
Speaker 3: jail scene where his man that's writing him is in jail,

3311
02:49:31,560 --> 02:49:31,760
Speaker 3: you know.

3312
02:49:32,400 --> 02:49:33,320
Speaker 1: So that was fun to do.

3313
02:49:33,400 --> 02:49:35,640
Speaker 4: That video because it was the song was perfect.

3314
02:49:35,920 --> 02:49:37,960
Speaker 1: I just had to put the right. Don't one kind

3315
02:49:38,000 --> 02:49:40,960
Speaker 1: of like made a song like that prior to that? Right? No,

3316
02:49:41,720 --> 02:49:42,720
Speaker 1: I don't think. I don't think.

3317
02:49:42,840 --> 02:49:44,959
Speaker 4: I think everyone not with that level.

3318
02:49:45,040 --> 02:49:46,720
Speaker 3: I mean I would like to think so people like

3319
02:49:46,840 --> 02:49:50,720
Speaker 3: I think people tried to be like cinematic and tell

3320
02:49:50,800 --> 02:49:51,240
Speaker 3: a story.

3321
02:49:51,400 --> 02:49:53,360
Speaker 1: But that was my thing. I knew I could handle it.

3322
02:49:53,640 --> 02:49:55,360
Speaker 1: But not only was to telling the story he was

3323
02:49:55,480 --> 02:50:02,880
Speaker 1: he was telling a story for right now, for a

3324
02:50:03,000 --> 02:50:04,640
Speaker 1: person that's in jail.

3325
02:50:04,879 --> 02:50:06,600
Speaker 3: Oh you mean in terms of the the way that

3326
02:50:08,480 --> 02:50:12,360
Speaker 3: he wrote, man, No, listen, it's beyond yeah.

3327
02:50:12,720 --> 02:50:14,520
Speaker 1: It was yeah, man.

3328
02:50:14,879 --> 02:50:16,480
Speaker 3: So let me tell you another thing we did. There

3329
02:50:16,600 --> 02:50:20,000
Speaker 3: was a cat in the directing game that came up

3330
02:50:20,120 --> 02:50:23,600
Speaker 3: under me, brother from Brooklyn, name named Black. Name is

3331
02:50:23,680 --> 02:50:27,440
Speaker 3: Brian LeVar. That was my man, and he got on

3332
02:50:27,640 --> 02:50:29,400
Speaker 3: you know, he was the PA on some videos, but

3333
02:50:29,480 --> 02:50:31,720
Speaker 3: I saw he had flavor. He was a real deal

3334
02:50:31,800 --> 02:50:36,039
Speaker 3: cat out of Bushwick, Brooklyn. So he worked his way

3335
02:50:36,160 --> 02:50:39,080
Speaker 3: up to where I knew it was time for him

3336
02:50:39,160 --> 02:50:43,240
Speaker 3: to get a shot directed. So I'm setting up and

3337
02:50:43,400 --> 02:50:48,520
Speaker 3: developing everything to shoot the video for One Love Ye.

3338
02:50:51,480 --> 02:50:55,720
Speaker 1: Bring Back. This is Philly Blunt beautifully Road. It was Boris.

3339
02:51:03,400 --> 02:51:06,120
Speaker 1: Oh he eat is chicken and fries. That's it. That's so,

3340
02:51:06,560 --> 02:51:07,280
Speaker 1: and he's a vegan.

3341
02:51:08,360 --> 02:51:13,560
Speaker 3: So basically else I'm preparing. I'm preparing to do the

3342
02:51:13,640 --> 02:51:16,480
Speaker 3: one Love video and Nas calls me and says, Yo,

3343
02:51:17,280 --> 02:51:19,200
Speaker 3: I want you to do this other video I want

3344
02:51:19,240 --> 02:51:22,480
Speaker 3: to drop. It's a remix to the World Is Yours.

3345
02:51:23,160 --> 02:51:24,360
Speaker 3: He wants me to do that too.

3346
02:51:24,480 --> 02:51:27,240
Speaker 1: But you know, I'm like, man, this is a lot so.

3347
02:51:27,440 --> 02:51:30,840
Speaker 3: But my man, who was like my right hand on

3348
02:51:31,000 --> 02:51:35,200
Speaker 3: doing videos, he was assistant director, like he learned the

3349
02:51:35,440 --> 02:51:40,120
Speaker 3: entire game and wanted to direct. So I basically got

3350
02:51:40,400 --> 02:51:44,280
Speaker 3: him to direct the remix to the World Is Yours.

3351
02:51:45,480 --> 02:51:48,400
Speaker 4: And what we came up with. What I told my

3352
02:51:48,480 --> 02:51:52,039
Speaker 4: man we should do is I said, listen, because the box.

3353
02:51:51,920 --> 02:51:55,160
Speaker 3: Was really popular, and like, you need to note it

3354
02:51:56,600 --> 02:51:58,840
Speaker 3: now exactly. You call it up and you could pick

3355
02:51:58,879 --> 02:52:01,640
Speaker 3: the number you did late at night, the video would.

3356
02:52:01,440 --> 02:52:01,840
Speaker 1: Come right on.

3357
02:52:02,480 --> 02:52:05,720
Speaker 3: So I said, listen, come up with a story in

3358
02:52:05,800 --> 02:52:10,160
Speaker 3: the video with it is a kid that a character.

3359
02:52:10,360 --> 02:52:11,879
Speaker 4: We'll both cast him together.

3360
02:52:12,200 --> 02:52:15,000
Speaker 3: I'll make sure he's right, and then at the end

3361
02:52:15,040 --> 02:52:17,480
Speaker 3: of whatever you come up with, this kid is going

3362
02:52:17,520 --> 02:52:21,200
Speaker 3: to run away to get away from like Popo or

3363
02:52:21,240 --> 02:52:25,640
Speaker 3: something like some setup he had with the popo was

3364
02:52:25,760 --> 02:52:27,640
Speaker 3: raising like a gate.

3365
02:52:27,800 --> 02:52:29,800
Speaker 4: And dude got away and he ran.

3366
02:52:30,959 --> 02:52:33,600
Speaker 3: And that cat who ran we worked it all out

3367
02:52:33,640 --> 02:52:36,240
Speaker 3: with the same outfit and everything is the kid that

3368
02:52:36,400 --> 02:52:38,440
Speaker 3: you see in the beginning of the One Love video

3369
02:52:39,080 --> 02:52:41,920
Speaker 3: running and this is a kid that plays that whole

3370
02:52:42,040 --> 02:52:45,279
Speaker 3: character in jail whatever that Nasa is writing the letters

3371
02:52:45,320 --> 02:52:48,520
Speaker 3: to and you see the kid run. The video opens

3372
02:52:48,879 --> 02:52:51,680
Speaker 3: with him running and the police jump out and they

3373
02:52:51,760 --> 02:52:54,000
Speaker 3: lock him down. The Nasa is in the project window

3374
02:52:54,040 --> 02:52:57,720
Speaker 3: and he's like damn. And that's so we the whole

3375
02:52:57,800 --> 02:53:00,440
Speaker 3: idea of doing that. We saw that on the box

3376
02:53:01,000 --> 02:53:03,440
Speaker 3: you could play both videos and the video would go

3377
02:53:03,560 --> 02:53:07,000
Speaker 3: from the world is your depending. Dude would be running

3378
02:53:07,200 --> 02:53:10,080
Speaker 3: when the same outfit, and then when One Love comes on,

3379
02:53:10,440 --> 02:53:14,480
Speaker 3: that's the same cat he running and then Booma gets him.

3380
02:53:14,480 --> 02:53:19,160
Speaker 1: He says, Yo, what up kid? No sh rush When

3381
02:53:19,240 --> 02:53:23,720
Speaker 1: the cops came to my crib time looking back and.

3382
02:53:23,800 --> 02:53:27,080
Speaker 3: Done, Puss, congratulations, you know you got a son by

3383
02:53:27,120 --> 02:53:33,160
Speaker 3: that point. By that point, you seeing him in jail

3384
02:53:33,280 --> 02:53:35,080
Speaker 3: now readognized his letters.

3385
02:53:35,360 --> 02:53:39,680
Speaker 1: I think that is genius.

3386
02:53:39,840 --> 02:53:41,680
Speaker 4: That was a moment I was so proud of.

3387
02:53:42,080 --> 02:53:44,960
Speaker 3: And my man got to direct, and now he was

3388
02:53:45,040 --> 02:53:47,240
Speaker 3: in the game because now he'd have made his first video.

3389
02:53:47,400 --> 02:53:49,160
Speaker 4: He went on to do a lot of He did

3390
02:53:49,200 --> 02:53:49,760
Speaker 4: a lot of ship.

3391
02:53:49,879 --> 02:53:51,840
Speaker 3: In fact, he did a video for Big Al you know,

3392
02:53:52,320 --> 02:53:54,000
Speaker 3: and he got his he got his ship on them.

3393
02:53:54,160 --> 02:53:57,200
Speaker 3: He's still in the film game. My man, my man, black,

3394
02:53:57,280 --> 02:53:57,600
Speaker 3: what up?

3395
02:53:57,640 --> 02:53:57,879
Speaker 6: Black?

3396
02:53:59,640 --> 02:53:59,879
Speaker 1: Yeah?

3397
02:54:00,040 --> 02:54:01,840
Speaker 4: Yeah, man, So that's a fun story.

3398
02:54:03,160 --> 02:54:08,000
Speaker 1: Yeah, yes, yes, yes, speak time. Oh yeah, please all right?

3399
02:54:08,320 --> 02:54:11,680
Speaker 1: Scene or Zephyr, Oh man, you're gonna have to drink

3400
02:54:11,720 --> 02:54:13,320
Speaker 1: on that. Hold up both for the cast.

3401
02:54:13,840 --> 02:54:15,880
Speaker 3: I mean, Zephy is one of the stars of Wild Style.

3402
02:54:17,240 --> 02:54:19,800
Speaker 3: The scene is incredible. Man, my man, seeing from the

3403
02:54:19,920 --> 02:54:20,360
Speaker 3: v X.

3404
02:54:21,280 --> 02:54:23,200
Speaker 1: Yes, eighties or nineties hip hop?

3405
02:54:23,800 --> 02:54:30,000
Speaker 4: Wow, wow, damn n, y'all gotta drink.

3406
02:54:30,040 --> 02:54:33,160
Speaker 1: I love them both eighties and nineties. How y'all.

3407
02:54:33,160 --> 02:54:34,760
Speaker 4: I'm so cruel with these company.

3408
02:54:34,800 --> 02:54:35,119
Speaker 3: I can't.

3409
02:54:35,120 --> 02:54:38,600
Speaker 1: It's hard to shoot on nothing. Cocaine section over there,

3410
02:54:39,320 --> 02:54:43,320
Speaker 1: you shot on anything over here? Drink look for this one.

3411
02:54:43,720 --> 02:54:45,640
Speaker 1: No I did that. You get to put it? Look.

3412
02:54:45,680 --> 02:54:56,720
Speaker 1: Look I'm waiting for come on all right, basket or

3413
02:54:56,760 --> 02:55:00,440
Speaker 1: Warhol Oh man, these.

3414
02:55:00,360 --> 02:55:02,360
Speaker 4: Every time there's people that I really love, like.

3415
02:55:02,959 --> 02:55:08,400
Speaker 5: Bro, he said, Haiti night.

3416
02:55:11,760 --> 02:55:14,760
Speaker 1: I love both of them, man, you say both ball

3417
02:55:14,959 --> 02:55:16,800
Speaker 1: man and yes.

3418
02:55:16,800 --> 02:55:20,640
Speaker 3: Yes recipes, Yes, the recipes of both.

3419
02:55:20,480 --> 02:55:26,640
Speaker 1: Of them, man, both of my homies right there, all right?

3420
02:55:26,800 --> 02:55:31,359
Speaker 5: The Ramones or Agnostic Front, Oh wow, definitely the Ramones.

3421
02:55:32,480 --> 02:55:35,440
Speaker 1: I know Queen's right cool, the Ramones. I think they

3422
02:55:35,600 --> 02:55:39,040
Speaker 1: was just right. Really, yes, they from Queens. You don't

3423
02:55:39,040 --> 02:55:42,160
Speaker 1: watch the Entourage. I mean it's been a long time.

3424
02:55:42,360 --> 02:55:44,160
Speaker 1: They showed the Ramote being from Queen.

3425
02:55:44,160 --> 02:55:45,880
Speaker 3: I think they definitely was from Queens. Yeah, they was

3426
02:55:45,959 --> 02:55:51,199
Speaker 3: definitely New York casts. Interesting rock and roll high school.

3427
02:55:51,560 --> 02:55:56,320
Speaker 1: Talking about that. So Queens was b X. Wow, don't

3428
02:55:56,360 --> 02:56:01,400
Speaker 1: say both man, Wow, to go back to you, I mean,

3429
02:56:01,400 --> 02:56:03,840
Speaker 1: I'm from Brooklyn, so you should be Queens.

3430
02:56:04,320 --> 02:56:04,840
Speaker 4: Yeah, neither.

3431
02:56:05,000 --> 02:56:05,280
Speaker 3: I can't.

3432
02:56:06,800 --> 02:56:09,039
Speaker 1: Yeah, I can't ship on.

3433
02:56:09,160 --> 02:56:12,039
Speaker 3: Queens qualified queens.

3434
02:56:13,120 --> 02:56:14,560
Speaker 4: In the boogie down Bronx.

3435
02:56:14,920 --> 02:56:15,200
Speaker 5: You know.

3436
02:56:16,720 --> 02:56:18,760
Speaker 1: Grandma's a flash or cor work.

3437
02:56:19,400 --> 02:56:20,640
Speaker 3: Y'all gotta drink, man.

3438
02:56:20,600 --> 02:56:22,400
Speaker 1: Jesus Chris, one of them be.

3439
02:56:22,920 --> 02:56:24,280
Speaker 4: We're not gonna be able to be here with you,

3440
02:56:24,440 --> 02:56:28,080
Speaker 4: right found man, y'all gotta come with some crazy ship.

3441
02:56:28,160 --> 02:56:30,520
Speaker 4: You should have some some people that were certifying.

3442
02:56:31,959 --> 02:56:34,440
Speaker 1: Kill us over there? All right? Oh, we gotta drink.

3443
02:56:34,480 --> 02:56:39,640
Speaker 1: Guys are the Dominican and uh oh my god, cypricill

3444
02:56:39,760 --> 02:56:42,760
Speaker 1: or House of Pain. Oh man, neither man. I love

3445
02:56:42,800 --> 02:56:45,400
Speaker 1: both of them guys too. Man, So you say both

3446
02:56:45,440 --> 02:56:49,879
Speaker 1: of both ship? Yeah, yeah, same crew.

3447
02:56:50,400 --> 02:56:53,600
Speaker 3: That's what I'm saying basically, I mean, come on, I

3448
02:56:53,680 --> 02:56:57,160
Speaker 3: gott drink both of them debuted your TV baps.

3449
02:56:57,879 --> 02:57:06,119
Speaker 1: Relaxed Sonny mann't even oh drink yo, This drink Champs

3450
02:57:06,400 --> 02:57:07,320
Speaker 1: is real. I see that.

3451
02:57:07,680 --> 02:57:10,240
Speaker 3: Yeah, they're playing over here when we take the pictures

3452
02:57:10,280 --> 02:57:11,200
Speaker 3: like we can at Bernie's.

3453
02:57:11,959 --> 02:57:16,160
Speaker 4: Okay, what an experience you guys.

3454
02:57:18,320 --> 02:57:20,440
Speaker 1: N y C Breakers of rock Steady Crew.

3455
02:57:21,200 --> 02:57:24,000
Speaker 3: Oh man, definitely rock Steady Crew. Okay, I was afraid

3456
02:57:24,160 --> 02:57:26,080
Speaker 3: say both of them. I mean respect to New York

3457
02:57:26,080 --> 02:57:28,400
Speaker 3: City Breakers, but rock Steady Crew for sure. Baby, come on,

3458
02:57:29,440 --> 02:57:30,920
Speaker 3: we made history together here.

3459
02:57:31,680 --> 02:57:35,920
Speaker 1: It's your favorite. It's done wild style baby.

3460
02:57:37,000 --> 02:57:40,080
Speaker 5: Wu tang Oh wait wait hold up? So NYC Breakers

3461
02:57:40,080 --> 02:57:42,080
Speaker 5: were not at all washed all? I don't know, No,

3462
02:57:42,600 --> 02:57:44,600
Speaker 5: just just Rocksteady, rock Steady Okay.

3463
02:57:44,520 --> 02:57:47,760
Speaker 3: Yeah, Wu Tang or n w A, oh man, I

3464
02:57:47,840 --> 02:57:52,800
Speaker 3: can't mess with that, y'all.

3465
02:57:52,879 --> 02:57:55,840
Speaker 1: Come up with these on such another man's shop, bro

3466
02:57:56,480 --> 02:57:59,360
Speaker 1: Colombian and Dominican section of Idea. They come up with

3467
02:57:59,400 --> 02:58:02,120
Speaker 1: the questions what y'all is? Yo?

3468
02:58:02,320 --> 02:58:04,320
Speaker 4: That's why point y'all out? Oh my good.

3469
02:58:05,959 --> 02:58:10,640
Speaker 1: Man, how you how did you do this? We did?

3470
02:58:10,760 --> 02:58:11,879
Speaker 1: We did? They on that day?

3471
02:58:12,440 --> 02:58:17,680
Speaker 3: A Rahap City or video music box, Video music box

3472
02:58:18,400 --> 02:58:19,480
Speaker 3: come one percent?

3473
02:58:20,640 --> 02:58:24,440
Speaker 1: All right, here we go. Last one loyalty or respect?

3474
02:58:25,879 --> 02:58:30,959
Speaker 3: Wow, I mean both are essential ship both for mandatory,

3475
02:58:31,160 --> 02:58:32,720
Speaker 3: so just so we got to do both.

3476
02:58:33,320 --> 02:58:35,400
Speaker 1: I like it, but I want to get on it

3477
02:58:35,440 --> 02:58:37,320
Speaker 1: because grow Oh cool? What the fuck?

3478
02:58:37,400 --> 02:58:37,520
Speaker 3: Man?

3479
02:58:37,600 --> 02:58:42,879
Speaker 1: You don't even both for mandatory. Yeah he's been around.

3480
02:58:43,360 --> 02:58:44,800
Speaker 3: Yeah, No, I've definitely been around.

3481
02:58:44,840 --> 02:58:45,640
Speaker 1: And those are those are.

3482
02:58:47,200 --> 02:58:48,640
Speaker 4: That's foundational right there?

3483
02:58:49,920 --> 02:58:50,480
Speaker 1: You need both?

3484
02:58:50,720 --> 02:58:53,040
Speaker 4: Lord, man, you know what's incredible?

3485
02:58:54,400 --> 02:58:58,760
Speaker 3: DJ Premier it was this twenty nineteen, right before the pandemic.

3486
02:58:59,360 --> 02:59:03,160
Speaker 3: So my film drops on for twenty and twenty nineteen,

3487
02:59:03,480 --> 02:59:05,640
Speaker 3: Grass is Greener my documentary on Netflix.

3488
02:59:06,160 --> 02:59:09,119
Speaker 1: Over too many people viewed my joint. It was crazy.

3489
02:59:09,200 --> 02:59:10,920
Speaker 3: I'm sure a lot more said that was numbers I

3490
02:59:11,000 --> 02:59:15,160
Speaker 3: got back. Then DJ Premier called me up because so

3491
02:59:15,240 --> 02:59:21,080
Speaker 3: I did. I did two videos, well, I did just

3492
02:59:21,160 --> 02:59:23,400
Speaker 3: to get a rap and then I did another video

3493
02:59:23,480 --> 02:59:26,480
Speaker 3: for Guru and a French rapper. That was a real pivotal,

3494
02:59:26,920 --> 02:59:31,040
Speaker 3: pioneering French rapper that opened up the scene named EMC Solar,

3495
02:59:31,800 --> 02:59:33,000
Speaker 3: not the other empty Soular.

3496
02:59:33,160 --> 02:59:36,600
Speaker 4: That was the one that was involved with Guru to

3497
02:59:36,720 --> 02:59:37,680
Speaker 4: us and that was.

3498
02:59:37,680 --> 02:59:40,880
Speaker 3: Another I'm talking about the original one in my book

3499
02:59:42,120 --> 02:59:44,960
Speaker 3: in Guru's album though, So hit me out the story

3500
02:59:45,160 --> 02:59:47,360
Speaker 3: I'm getting too. That's the story I'm telling you. This

3501
02:59:47,560 --> 02:59:53,280
Speaker 3: is French Guru, I'm sorry, French EMC solo and the

3502
02:59:53,440 --> 02:59:56,280
Speaker 3: song is called lobiena Lamar. It was on that Jazmine

3503
02:59:56,280 --> 03:00:01,720
Speaker 3: Tag record. I direct that video and so yeah, the

3504
03:00:02,280 --> 03:00:05,320
Speaker 3: shot I shot it in Paris. It was the idea

3505
03:00:05,360 --> 03:00:07,200
Speaker 3: of the video, which was a you know, being in

3506
03:00:07,240 --> 03:00:09,280
Speaker 3: past I used to. I fell asleep on the Paris

3507
03:00:09,360 --> 03:00:11,680
Speaker 3: metro once and woke up and I was like, man,

3508
03:00:12,000 --> 03:00:14,480
Speaker 3: wouldn't this be amazing? Like I like if you was

3509
03:00:14,520 --> 03:00:16,360
Speaker 3: on the train in New York and you woke up

3510
03:00:16,400 --> 03:00:18,520
Speaker 3: and he was in Paris or vice versa, because the

3511
03:00:18,560 --> 03:00:19,240
Speaker 3: subways are so.

3512
03:00:19,360 --> 03:00:21,720
Speaker 1: Similar, Like, but you're gonna wake up neckad in New York,

3513
03:00:24,280 --> 03:00:25,640
Speaker 1: New York, You're gonna wake.

3514
03:00:25,560 --> 03:00:27,680
Speaker 4: Up neck know you want to try it? You know

3515
03:00:27,720 --> 03:00:28,840
Speaker 4: how you just doze off.

3516
03:00:30,600 --> 03:00:32,320
Speaker 1: Those off are different from one of us.

3517
03:00:32,360 --> 03:00:35,280
Speaker 3: Know, you're right, you know you're doing to change, Yeah,

3518
03:00:35,720 --> 03:00:37,920
Speaker 3: and you just it's amazing how you can go to

3519
03:00:38,000 --> 03:00:40,000
Speaker 3: sleep on the train pack with people, but if you

3520
03:00:40,120 --> 03:00:42,480
Speaker 3: ride the subway in New York, that's something you can do.

3521
03:00:43,080 --> 03:00:45,320
Speaker 3: And I had this would have this like a vision

3522
03:00:45,400 --> 03:00:46,160
Speaker 3: of this happening.

3523
03:00:46,520 --> 03:00:47,160
Speaker 1: So the way that.

3524
03:00:47,320 --> 03:00:52,800
Speaker 3: Video opens that video for that song, Guru gets a

3525
03:00:52,920 --> 03:00:55,480
Speaker 3: call from MC Solar. He runs down the New York

3526
03:00:55,520 --> 03:00:58,800
Speaker 3: City subway, he comes out of the Paris Metro and

3527
03:00:58,879 --> 03:00:59,240
Speaker 3: they run.

3528
03:00:59,320 --> 03:01:01,920
Speaker 1: We run all over Paris filming them do this song together.

3529
03:01:02,680 --> 03:01:02,840
Speaker 8: Uh.

3530
03:01:03,040 --> 03:01:05,760
Speaker 1: So I was like, you know, a really really uh

3531
03:01:06,360 --> 03:01:07,400
Speaker 1: But anyway, so.

3532
03:01:07,440 --> 03:01:10,720
Speaker 3: I did two videos that and the just to get

3533
03:01:10,720 --> 03:01:13,560
Speaker 3: a wrap and so Primo calls me and he says, listen, man,

3534
03:01:13,959 --> 03:01:17,199
Speaker 3: there was a legal fight with this other Solar person

3535
03:01:17,480 --> 03:01:21,240
Speaker 3: and we got back the rights or all the other

3536
03:01:21,320 --> 03:01:24,560
Speaker 3: materials that Google when he passed. This dude had hold

3537
03:01:24,760 --> 03:01:27,440
Speaker 3: held on to everything and Primo and his family, so

3538
03:01:27,520 --> 03:01:28,840
Speaker 3: you know, you know, you know the half on that.

3539
03:01:29,240 --> 03:01:31,200
Speaker 3: So Primo is like, listen, man, I got this one

3540
03:01:31,320 --> 03:01:35,400
Speaker 3: track and I created a new bee for it. It's

3541
03:01:35,480 --> 03:01:38,800
Speaker 3: called Family and Loyalty this track.

3542
03:01:39,240 --> 03:01:40,879
Speaker 1: And uh, the most recent.

3543
03:01:41,440 --> 03:01:44,520
Speaker 3: This is the most recent, you know. I yeah, it's

3544
03:01:44,560 --> 03:01:48,080
Speaker 3: a real good. So the idea was in the hook

3545
03:01:48,120 --> 03:01:51,400
Speaker 3: of the song Diamonds. It is a reference to like

3546
03:01:51,560 --> 03:01:57,080
Speaker 3: diamonds in forever, like you know, yes, diamonds are forever,

3547
03:01:57,879 --> 03:02:01,200
Speaker 3: like like he's just like lawyer, see thank you.

3548
03:02:01,440 --> 03:02:02,360
Speaker 1: Thank you, thank you.

3549
03:02:02,879 --> 03:02:05,879
Speaker 3: So it's this whole thing about diamonds, and I'm like, man,

3550
03:02:06,000 --> 03:02:08,640
Speaker 3: how do I deal with this without being like a

3551
03:02:08,720 --> 03:02:11,560
Speaker 3: gratuitous bling bling kind of thing? But how do I

3552
03:02:11,640 --> 03:02:14,360
Speaker 3: address these diamonds? So I came up with this concept

3553
03:02:15,200 --> 03:02:20,039
Speaker 3: which the video opens with the reading of Guru's will,

3554
03:02:20,920 --> 03:02:25,320
Speaker 3: and in his will, this lawyer states and Guru's will

3555
03:02:25,879 --> 03:02:30,120
Speaker 3: these raw diamonds were given to him by an African prince,

3556
03:02:30,959 --> 03:02:33,960
Speaker 3: and Guru's son, Primo was like, his son has to

3557
03:02:34,040 --> 03:02:34,320
Speaker 3: be in it.

3558
03:02:34,720 --> 03:02:37,520
Speaker 1: Sons like a young man now twenty two, twenty whatever.

3559
03:02:38,160 --> 03:02:42,240
Speaker 3: And basically the concept of the video is when his

3560
03:02:42,320 --> 03:02:46,240
Speaker 3: son gets these diamonds, I shoot him going around Harlem

3561
03:02:46,760 --> 03:02:49,200
Speaker 3: cast selling t search on the street, go to this

3562
03:02:49,360 --> 03:02:52,120
Speaker 3: juice barn one forty fifth and they bless the people

3563
03:02:52,200 --> 03:02:55,440
Speaker 3: with these raw diamonds, like on some gratitude shit. So

3564
03:02:55,600 --> 03:02:57,520
Speaker 3: it's a whole nother way of dealing with the stones

3565
03:02:57,520 --> 03:02:59,119
Speaker 3: and stuff. Anyway, it was a fun video.

3566
03:03:00,280 --> 03:03:03,200
Speaker 1: Ja Cole is also on that. Thanks for remembering, Yes,

3567
03:03:04,040 --> 03:03:07,000
Speaker 1: Jacle that's from the newer game, the newer Gang Star Joint.

3568
03:03:07,240 --> 03:03:12,280
Speaker 3: Yeah yeah, Jacole, we go down to North Carolina and

3569
03:03:12,760 --> 03:03:15,680
Speaker 3: I shoot Jacole. Anyway, it was just such a special

3570
03:03:16,800 --> 03:03:20,560
Speaker 3: vibe that guru and artist that I work with, and

3571
03:03:21,120 --> 03:03:23,480
Speaker 3: here's a song, you know, like a new song.

3572
03:03:23,640 --> 03:03:25,480
Speaker 4: So it was a real privilege to.

3573
03:03:25,560 --> 03:03:29,040
Speaker 3: Do that video, which felt like videos back in the nineties,

3574
03:03:29,120 --> 03:03:31,160
Speaker 3: like I did it real rough running gun.

3575
03:03:31,600 --> 03:03:40,000
Speaker 1: You know, and uh yeah, anyway, thank you, thank you man.

3576
03:03:40,080 --> 03:03:43,120
Speaker 3: I can't thank you enough man, because it's been so

3577
03:03:43,240 --> 03:03:47,840
Speaker 3: much fun waiting no no, no, not your turn.

3578
03:03:47,959 --> 03:03:53,880
Speaker 1: This is your house, thank you your place. You know

3579
03:03:56,840 --> 03:04:00,320
Speaker 1: the fact that black media is to control of black

3580
03:04:00,440 --> 03:04:06,040
Speaker 1: media or hip hop, it's take control of hip hop

3581
03:04:06,120 --> 03:04:09,480
Speaker 1: media and me and I think could like sit back

3582
03:04:09,600 --> 03:04:12,680
Speaker 1: and say that, you know, we kind of like I

3583
03:04:12,879 --> 03:04:18,640
Speaker 1: was trying to do that, but when we spoke about that,

3584
03:04:19,000 --> 03:04:25,000
Speaker 1: it's always been about what you've done for us, and

3585
03:04:25,160 --> 03:04:28,720
Speaker 1: that's meaning like put hip hop first. Yes, you know,

3586
03:04:28,959 --> 03:04:32,440
Speaker 1: in my running club, we have something called run first, right,

3587
03:04:32,959 --> 03:04:37,160
Speaker 1: run first, run first, my running club, right right, But

3588
03:04:37,800 --> 03:04:42,240
Speaker 1: in life it's always been hip hop first. Hip Hop

3589
03:04:42,320 --> 03:04:47,280
Speaker 1: has always been the catalyst to get us to the

3590
03:04:47,400 --> 03:04:53,960
Speaker 1: next place. Thank you so much, thank you. I just

3591
03:04:54,400 --> 03:05:05,400
Speaker 1: want to thank you because hip hop it's really brung

3592
03:05:05,560 --> 03:05:11,879
Speaker 1: us to the fucking forefront of everything in life, beyond

3593
03:05:12,000 --> 03:05:13,320
Speaker 1: my expectations. Really.

3594
03:05:13,680 --> 03:05:16,920
Speaker 3: Yeah, it's a thrill and a blessing that you know,

3595
03:05:17,160 --> 03:05:19,720
Speaker 3: just seriously to be kicking it like all, kept it,

3596
03:05:20,320 --> 03:05:22,920
Speaker 3: keep it real, basic and organic, and I'm still my

3597
03:05:23,080 --> 03:05:26,959
Speaker 3: mind is blown that just continues in such an incredible way,

3598
03:05:27,080 --> 03:05:30,240
Speaker 3: especially not just I mean, everything has gone on here,

3599
03:05:30,240 --> 03:05:32,720
Speaker 3: I see how real it is. But once again, like

3600
03:05:32,760 --> 03:05:34,720
Speaker 3: I said earlier, you see how it's touched people.

3601
03:05:34,520 --> 03:05:37,920
Speaker 1: Around the world. You know, it's like the world it

3602
03:05:38,040 --> 03:05:38,800
Speaker 1: really is, man.

3603
03:05:39,160 --> 03:05:41,680
Speaker 3: And that's one of the sad things in a sense,

3604
03:05:41,800 --> 03:05:45,160
Speaker 3: because we're in a culture now that technologically has completely

3605
03:05:45,320 --> 03:05:49,000
Speaker 3: changed and things happen at hyper speed literally from the

3606
03:05:49,120 --> 03:05:53,240
Speaker 3: technology that's coming into play, every other weakest in the

3607
03:05:53,320 --> 03:05:55,920
Speaker 3: AI advancement and this is happening and more and more

3608
03:05:55,959 --> 03:05:59,440
Speaker 3: people getting to do these things. But at the same time,

3609
03:05:59,520 --> 03:06:02,280
Speaker 3: it's like I think one of the reasons hip hop

3610
03:06:02,640 --> 03:06:08,440
Speaker 3: was able to develop so incredibly is because the aspirations

3611
03:06:08,480 --> 03:06:10,600
Speaker 3: were so real and so humble, like I'm just trying

3612
03:06:10,640 --> 03:06:12,520
Speaker 3: to be somebody. I'm trying to be nice on my block.

3613
03:06:12,840 --> 03:06:15,640
Speaker 3: It wasn't completely motivated by how much money you wanted

3614
03:06:15,720 --> 03:06:18,600
Speaker 3: to have and just an exaggeration and riches. Just really

3615
03:06:18,640 --> 03:06:21,440
Speaker 3: trying to be somebody, really trying to stand up and say, yo, baby,

3616
03:06:21,800 --> 03:06:24,640
Speaker 3: check me out, like I'm really here and I'm gonna

3617
03:06:24,640 --> 03:06:25,480
Speaker 3: break it down to in the.

3618
03:06:25,560 --> 03:06:29,720
Speaker 1: Fly is way possible. Props was a currency completely and so.

3619
03:06:30,080 --> 03:06:32,600
Speaker 3: All of that, I think the roots went down really deep,

3620
03:06:33,400 --> 03:06:36,640
Speaker 3: and that's I think significant to where it has.

3621
03:06:37,120 --> 03:06:38,199
Speaker 4: Blossomed so much fruit.

3622
03:06:38,360 --> 03:06:41,959
Speaker 3: That's so continuous, and this thing when it seems kind

3623
03:06:42,000 --> 03:06:46,199
Speaker 3: of flat, it'll switch up on you in real unexpected way, which.

3624
03:06:46,000 --> 03:06:48,440
Speaker 1: Is that's optimistic, man, I hope that to be true.

3625
03:06:48,560 --> 03:06:50,000
Speaker 4: Well, it's been consistent for me.

3626
03:06:50,040 --> 03:06:52,400
Speaker 3: There's been many times, and you know, I've been involved

3627
03:06:52,440 --> 03:06:54,160
Speaker 3: for quite a while when it seems like it's kind

3628
03:06:54,200 --> 03:06:56,080
Speaker 3: of flat, it's kind of corny, it's kind of whatever,

3629
03:06:56,680 --> 03:06:58,480
Speaker 3: and then there's a whole new energy. That's why I

3630
03:06:58,520 --> 03:07:01,320
Speaker 3: don't just difference was like a lot of times old

3631
03:07:01,360 --> 03:07:04,800
Speaker 3: it heads just you know, try to say people mumbling

3632
03:07:05,080 --> 03:07:07,520
Speaker 3: or just skinny jeans. And you know, I get that

3633
03:07:07,680 --> 03:07:11,119
Speaker 3: because people lock into the error when when they emerge

3634
03:07:11,160 --> 03:07:14,160
Speaker 3: what they hear. But you got to remain open minded,

3635
03:07:14,320 --> 03:07:17,280
Speaker 3: which is what I forced myself to do. Like I'm

3636
03:07:17,320 --> 03:07:20,320
Speaker 3: not going crazy over every little thing that gets made,

3637
03:07:20,320 --> 03:07:23,520
Speaker 3: but I'm examining and listening. I want to understand, like,

3638
03:07:23,879 --> 03:07:26,520
Speaker 3: you know, what's motivating some of the things that go on.

3639
03:07:26,760 --> 03:07:28,320
Speaker 3: You know, I've always been curious about that.

3640
03:07:29,200 --> 03:07:32,400
Speaker 5: Yeah, my only concern with it is the is confusing

3641
03:07:32,560 --> 03:07:37,360
Speaker 5: what the overcorporatization of it versus what the real art is. Like,

3642
03:07:37,879 --> 03:07:41,360
Speaker 5: don't let the corporate push convince you that this is

3643
03:07:41,440 --> 03:07:44,000
Speaker 5: what it is. When ye let your heart tell you

3644
03:07:44,400 --> 03:07:45,800
Speaker 5: what the heart is. You know what I'm saying, that's

3645
03:07:45,879 --> 03:07:47,000
Speaker 5: that's I don't know if that makes sense.

3646
03:07:47,080 --> 03:07:48,119
Speaker 4: No, it makes a lot of sense.

3647
03:07:48,200 --> 03:07:52,360
Speaker 3: But along that line, the way the dissemination of music

3648
03:07:52,440 --> 03:07:58,840
Speaker 3: now is so completely different with DSPs. I mean, anybody

3649
03:07:58,920 --> 03:08:01,400
Speaker 3: can post something on YouTube right now. I mean, it's

3650
03:08:01,520 --> 03:08:03,760
Speaker 3: kind of amazing. You you know, it doesn't make sure

3651
03:08:03,879 --> 03:08:06,280
Speaker 3: you guarantee you you know what I mean. So the

3652
03:08:06,400 --> 03:08:10,560
Speaker 3: democratization is there, but it's also like, you know, you

3653
03:08:10,680 --> 03:08:12,600
Speaker 3: know it's it's a it's a it's a whole new

3654
03:08:12,720 --> 03:08:17,840
Speaker 3: landscape of stuff that's more open like those companies that

3655
03:08:17,920 --> 03:08:18,440
Speaker 3: had control.

3656
03:08:18,520 --> 03:08:20,680
Speaker 1: That's no more. I want, I want to take a

3657
03:08:20,720 --> 03:08:23,480
Speaker 1: quick advantage of homing of ours. Scam come over here

3658
03:08:23,520 --> 03:08:25,480
Speaker 1: really quick, just really quick to show your face. So

3659
03:08:26,240 --> 03:08:28,400
Speaker 1: because of the art aspect that you bring to everything

3660
03:08:28,440 --> 03:08:30,160
Speaker 1: you brought to hip hop. He's the guy that created

3661
03:08:30,200 --> 03:08:34,280
Speaker 1: our logo. This is scam off, you know, scam. Yes,

3662
03:08:34,480 --> 03:08:37,640
Speaker 1: but he did the album cover for beach Rhyme and

3663
03:08:37,720 --> 03:08:41,040
Speaker 1: Life for Trype called Quest, the Eminem artwork, amongst a

3664
03:08:41,080 --> 03:08:43,480
Speaker 1: lot more. I always use those two beach rybes in

3665
03:08:43,560 --> 03:08:47,960
Speaker 1: light which one is that? That's the man as well

3666
03:08:48,959 --> 03:08:52,959
Speaker 1: tracks with Eminem and many a damn wow.

3667
03:08:52,920 --> 03:08:55,720
Speaker 3: Tips a good buddy of mine. Man and him connect

3668
03:08:55,760 --> 03:08:59,720
Speaker 3: all that's amazing. Congratulations, that's one of your images.

3669
03:09:00,080 --> 03:09:01,879
Speaker 1: I just want to shut out because he's he has

3670
03:09:02,600 --> 03:09:06,440
Speaker 1: that's that's yours. What's what's what's on the show to now? Okay,

3671
03:09:07,640 --> 03:09:11,000
Speaker 1: yeah he's and he's from here from Miami Herald City.

3672
03:09:11,920 --> 03:09:15,360
Speaker 4: Yeah yeah yeah, Mario bro Yes, yes, man, that's well.

3673
03:09:15,400 --> 03:09:17,760
Speaker 1: I love the logo, man, this is that's really fun.

3674
03:09:17,840 --> 03:09:19,920
Speaker 1: It helped us. We have an iconic logo and this

3675
03:09:20,040 --> 03:09:21,960
Speaker 1: is definitely wow. Congratulations.

3676
03:09:22,360 --> 03:09:27,680
Speaker 3: Yes, yeah, this is a great logo, great great, great branding.

3677
03:09:28,000 --> 03:09:32,280
Speaker 1: Yeah you know, yes for pleasure man. Yeah, so this

3678
03:09:32,320 --> 03:09:34,800
Speaker 1: has been iconic. Man, man, thank you man.

3679
03:09:35,120 --> 03:09:37,440
Speaker 4: I was so I'm the one that this is so great.

3680
03:09:37,480 --> 03:09:40,440
Speaker 4: You guys got such great energy one time.

3681
03:09:40,600 --> 03:09:43,120
Speaker 1: This is your house. Thank you so much. I will

3682
03:09:43,160 --> 03:09:44,680
Speaker 1: be back. I appreciate it so much.

3683
03:09:45,360 --> 03:09:46,880
Speaker 3: I used to feel so bad. I know, people on

3684
03:09:46,959 --> 03:09:49,240
Speaker 3: your team hit me up a few times and I

3685
03:09:49,440 --> 03:09:51,840
Speaker 3: just liked. You know, the last few times I was

3686
03:09:51,920 --> 03:09:56,080
Speaker 3: in this neckative Woods Miami was to go on the

3687
03:09:56,160 --> 03:09:59,240
Speaker 3: reggae cruise like the people that promote that and put

3688
03:09:59,320 --> 03:10:03,840
Speaker 3: that together. Yeah, the Marley's and what I want to

3689
03:10:04,800 --> 03:10:06,640
Speaker 3: Oh no, man, this is be in the hogh Seas

3690
03:10:07,080 --> 03:10:08,119
Speaker 3: with all that great reggae.

3691
03:10:08,160 --> 03:10:09,680
Speaker 4: It's that's a big reggae he you know.

3692
03:10:09,720 --> 03:10:11,520
Speaker 3: I directed all the most of the mostly all the

3693
03:10:11,600 --> 03:10:12,879
Speaker 3: shava ranks this video.

3694
03:10:12,879 --> 03:10:13,440
Speaker 1: The fuck out.

3695
03:10:14,040 --> 03:10:16,680
Speaker 3: Yes I did shiploaded and I was deep into that

3696
03:10:16,760 --> 03:10:23,600
Speaker 3: scene trailer loaded girls, mister loving man, slow and sex scene. Yes, yes, yes,

3697
03:10:23,760 --> 03:10:25,879
Speaker 3: I did all most of the shoppers about by at

3698
03:10:25,920 --> 03:10:28,640
Speaker 3: least five videos for Shaba at the same time.

3699
03:10:28,520 --> 03:10:33,480
Speaker 1: I was out there. I'm sure he was great.

3700
03:10:33,720 --> 03:10:38,120
Speaker 3: Great over here, man, I was deeply immersed in that

3701
03:10:38,280 --> 03:10:40,760
Speaker 3: dance sall scene because we would cover it on your

3702
03:10:40,920 --> 03:10:43,720
Speaker 3: TV raps. But coming up in Brooklyn, I was around like,

3703
03:10:44,400 --> 03:10:47,360
Speaker 3: you know, from back when the Posse's was popping and

3704
03:10:47,480 --> 03:10:50,160
Speaker 3: I'm hearing, you know, the earliest dancehall people.

3705
03:10:50,280 --> 03:10:51,040
Speaker 4: I was tuned in.

3706
03:10:51,680 --> 03:10:53,640
Speaker 3: So when I got to work with Shaba, I was

3707
03:10:53,840 --> 03:10:55,800
Speaker 3: able to go to Jamaica for the first time and

3708
03:10:55,920 --> 03:10:57,800
Speaker 3: meet some of the Illis cats, you know, and really

3709
03:10:57,840 --> 03:11:01,200
Speaker 3: get immersed in the ghetto culture. You know, Willie, I

3710
03:11:01,400 --> 03:11:04,040
Speaker 3: God and Bogo like I was moving with them cats

3711
03:11:04,560 --> 03:11:07,520
Speaker 3: in jungle and because once again I'm coming down there,

3712
03:11:07,520 --> 03:11:10,000
Speaker 3: I'm a super cat. He was coming off the stage

3713
03:11:10,080 --> 03:11:13,640
Speaker 3: performing that sting. He introduced me to Willi. I got

3714
03:11:13,680 --> 03:11:16,520
Speaker 3: him and Bogo that's a Roses crew. And so we

3715
03:11:16,680 --> 03:11:19,119
Speaker 3: became tight because the next time I would come back

3716
03:11:19,120 --> 03:11:21,279
Speaker 3: to Jamaica, Kingston go to House Alio.

3717
03:11:21,640 --> 03:11:23,520
Speaker 1: I see Willie, he said, Man, people.

3718
03:11:23,400 --> 03:11:26,080
Speaker 3: Calling me from everywhere if I'm London to see me

3719
03:11:26,200 --> 03:11:29,200
Speaker 3: with you, I'm like, whoa. So we got tight and

3720
03:11:29,240 --> 03:11:32,640
Speaker 3: I'd hang with those cats quite que quite seriously, that

3721
03:11:32,760 --> 03:11:33,959
Speaker 3: was a fun experience. Man.

3722
03:11:34,800 --> 03:11:37,800
Speaker 1: The book comes out, What's yes.

3723
03:11:39,160 --> 03:11:42,199
Speaker 3: March tenth, everybody's fly and bookstores.

3724
03:11:46,680 --> 03:11:48,720
Speaker 1: So do we take a shot for the book? Just

3725
03:11:49,000 --> 03:11:54,440
Speaker 1: one shot? I was, but we gotta let you choose

3726
03:11:54,800 --> 03:11:59,080
Speaker 1: what we got here. What's that is? Mamajuana Dominican? What

3727
03:11:59,280 --> 03:12:01,720
Speaker 1: is that? That's some hip made in a bathtobe. You

3728
03:12:01,760 --> 03:12:04,400
Speaker 1: can do a religious ceremony, or you can enjoy your drink.

3729
03:12:04,480 --> 03:12:07,000
Speaker 1: I want baby, go with this. You're gonna go fireball.

3730
03:12:07,240 --> 03:12:14,720
Speaker 1: I wouldn't suggest that you want that. I talk about it.

3731
03:12:14,879 --> 03:12:15,240
Speaker 1: You want to.

3732
03:12:17,280 --> 03:12:20,560
Speaker 4: I'm gonna just take a little bit. I'm thank you

3733
03:12:20,640 --> 03:12:23,000
Speaker 4: so much. I just want to taste it.

3734
03:12:23,360 --> 03:12:25,040
Speaker 1: What is that? Okay? All right? All right, all right,

3735
03:12:25,080 --> 03:12:29,440
Speaker 1: so you you got to body? I got I got

3736
03:12:29,920 --> 03:12:30,560
Speaker 1: a Runners drink.

3737
03:12:30,600 --> 03:12:34,080
Speaker 4: I'm taking this, don't you?

3738
03:12:35,480 --> 03:12:37,920
Speaker 1: Yeah? You do me under the bus.

3739
03:12:39,120 --> 03:12:41,199
Speaker 4: I just thought the story behind it was so dope.

3740
03:12:41,280 --> 03:12:43,320
Speaker 4: I mean, I want to take something that.

3741
03:12:43,440 --> 03:12:46,640
Speaker 1: Runners is just with but hold on, holdt me, just

3742
03:12:46,680 --> 03:12:53,920
Speaker 1: take me and I'm a partner right here. Yes, we

3743
03:12:54,120 --> 03:12:57,360
Speaker 1: love hip hop, man, absolutely. I might love the more

3744
03:12:57,959 --> 03:13:01,720
Speaker 1: fashionable part of hip hop. He might love the grittiest

3745
03:13:01,800 --> 03:13:04,000
Speaker 1: part of hip hop, but me and him have the

3746
03:13:04,120 --> 03:13:07,560
Speaker 1: same exact passion. And when we know that we have

3747
03:13:07,879 --> 03:13:12,480
Speaker 1: fucking Freddy, we were so excited. We both like, I

3748
03:13:12,640 --> 03:13:16,119
Speaker 1: love the fact that no matter where we at in life,

3749
03:13:17,040 --> 03:13:21,320
Speaker 1: we always come together and say, this is what we

3750
03:13:21,480 --> 03:13:24,720
Speaker 1: want to do. Wow. And when we have a person

3751
03:13:24,840 --> 03:13:28,960
Speaker 1: like you, we want to salute you, we want to

3752
03:13:29,040 --> 03:13:31,520
Speaker 1: respect you, and we want to let the people know

3753
03:13:33,560 --> 03:13:37,280
Speaker 1: how much you should be honored. And we are going

3754
03:13:37,360 --> 03:13:40,920
Speaker 1: to honor you. And we are honoring you. Everybody here,

3755
03:13:42,320 --> 03:13:45,080
Speaker 1: We sincerely, this is this is real ship, bro. Like

3756
03:13:45,920 --> 03:13:51,200
Speaker 1: I came home you know to watch your own TV raps. Wow,

3757
03:13:52,840 --> 03:13:58,520
Speaker 1: and that ship that shit changed the culture, changed lives, man,

3758
03:13:59,080 --> 03:14:05,720
Speaker 1: And I will never ever in my life not respect that.

3759
03:14:06,080 --> 03:14:08,360
Speaker 1: So you don't have to take a shot if they

3760
03:14:08,400 --> 03:14:08,880
Speaker 1: don't want to.

3761
03:14:10,520 --> 03:14:11,279
Speaker 4: I'm tasting.

3762
03:14:13,680 --> 03:14:14,280
Speaker 1: That's what I do.

3763
03:14:14,400 --> 03:14:18,760
Speaker 3: I'm gonna taste some cinnamon whiskey. The brand is fire.

3764
03:14:18,840 --> 03:14:21,119
Speaker 3: But take the mother the fact that people.

3765
03:14:24,800 --> 03:14:30,000
Speaker 1: How you the guy stop taping, Yo, just taste good.

3766
03:14:30,080 --> 03:14:32,560
Speaker 4: It's like I told you, like like mouthwash.

3767
03:14:34,879 --> 03:14:38,960
Speaker 1: They call them drinks li coure that you mix with

3768
03:14:41,120 --> 03:14:48,720
Speaker 1: it tastes good. They give you the means yea more

3769
03:14:48,800 --> 03:14:52,480
Speaker 1: time on your yeah. Let me tell you something, man,

3770
03:14:53,000 --> 03:14:55,280
Speaker 1: thank you so much, thank you for what you did,

3771
03:14:55,560 --> 03:15:00,760
Speaker 1: because I want you to on a Sunday, on a Sunday,

3772
03:15:01,000 --> 03:15:05,400
Speaker 1: on a Sunday, I want you to open up it's

3773
03:15:05,520 --> 03:15:11,760
Speaker 1: called black Internet is open it up and it's gonna

3774
03:15:11,760 --> 03:15:16,720
Speaker 1: be fifteen million podcasts if you could look at it.

3775
03:15:17,879 --> 03:15:23,360
Speaker 1: And I want you to say to the y'all, owe

3776
03:15:23,440 --> 03:15:28,080
Speaker 1: me flowers. Because the first black media that made it

3777
03:15:28,240 --> 03:15:37,920
Speaker 1: cool national worldwide. You said Germany, you mentioned Italy. Yeah,

3778
03:15:38,840 --> 03:15:42,160
Speaker 1: God bless me. That's that's the reason why I said

3779
03:15:42,200 --> 03:15:45,119
Speaker 1: that story earlier with Rolf McDaniels, with Rob m daniels,

3780
03:15:45,120 --> 03:15:47,560
Speaker 1: we were so cocky, we were so but it was

3781
03:15:47,760 --> 03:15:53,840
Speaker 1: really only just New York. You had the chance to

3782
03:15:53,959 --> 03:15:59,640
Speaker 1: do MTV and broadcasting. You made black people all over

3783
03:15:59,680 --> 03:16:04,520
Speaker 1: the world world be seen. And I will always salute

3784
03:16:04,560 --> 03:16:07,000
Speaker 1: you for that. Man, hip hop in general, hip hop,

3785
03:16:07,760 --> 03:16:10,160
Speaker 1: thank you man. You just you just fab five for

3786
03:16:12,320 --> 03:16:22,039
Speaker 1: on the planetop. But I want to tell you face

3787
03:16:22,080 --> 03:16:25,200
Speaker 1: to face, man, man, we love you and God bless you,

3788
03:16:25,360 --> 03:16:25,879
Speaker 1: Thank you man.

3789
03:16:26,280 --> 03:16:30,480
Speaker 3: You guys man, this is definitely one of my top

3790
03:16:30,720 --> 03:16:34,440
Speaker 3: hip hop media experiences. Yes, because you guys are so

3791
03:16:34,600 --> 03:16:38,520
Speaker 3: passionate I've watched salute on ten years in the game,

3792
03:16:38,720 --> 03:16:39,960
Speaker 3: like you can feel it.

3793
03:16:40,080 --> 03:16:41,279
Speaker 1: It's and even.

3794
03:16:41,080 --> 03:16:44,480
Speaker 3: Everybody in the room that's down, I've heard people clapping.

3795
03:16:44,560 --> 03:16:46,360
Speaker 3: I get to see everybody up in the building.

3796
03:16:46,959 --> 03:16:48,039
Speaker 1: This is really special.

3797
03:16:48,200 --> 03:16:50,600
Speaker 3: You guys are doing it so salute to doing something

3798
03:16:50,720 --> 03:16:57,040
Speaker 3: so real and definitely carrying on like literally the baton

3799
03:16:57,240 --> 03:16:58,240
Speaker 3: in terms of realness.

3800
03:16:58,920 --> 03:16:59,320
Speaker 1: This is it.

3801
03:16:59,560 --> 03:17:02,600
Speaker 4: I mean, you don't fake this ship. That's why people

3802
03:17:02,879 --> 03:17:04,360
Speaker 4: try you guys.

3803
03:17:09,320 --> 03:17:22,119
Speaker 1: Yes, yes, uh h you on like white people's shows.

3804
03:17:23,720 --> 03:17:27,400
Speaker 1: And I said, this is squad because it's like, all right, cool,

3805
03:17:27,400 --> 03:17:30,640
Speaker 1: I've seen what what like MV like my man, I mean,

3806
03:17:30,879 --> 03:17:33,680
Speaker 1: man like certain like when I was watching your interviews

3807
03:17:33,760 --> 03:17:36,200
Speaker 1: that I watched black and I watched and I was,

3808
03:17:36,240 --> 03:17:38,199
Speaker 1: you know, I'm trying to you know, trying to be official,

3809
03:17:38,200 --> 03:17:39,880
Speaker 1: you know what I'm saying. But when I see you

3810
03:17:40,440 --> 03:17:41,960
Speaker 1: and I'm like, yo, you know how to do that?

3811
03:17:42,240 --> 03:17:45,600
Speaker 1: But think about this is your gift, my brother, in

3812
03:17:45,800 --> 03:17:47,880
Speaker 1: just in case you don't know, you know how to

3813
03:17:48,040 --> 03:17:52,320
Speaker 1: move in difference audiences. You know how to move a

3814
03:17:52,360 --> 03:17:56,000
Speaker 1: different our gifts. Man, that's a real gift, bro, Like,

3815
03:17:56,160 --> 03:18:00,320
Speaker 1: don't don't downplay that, like, don't ever like ignow is that,

3816
03:18:00,440 --> 03:18:03,200
Speaker 1: Like I was watching you because I want to do

3817
03:18:03,320 --> 03:18:05,960
Speaker 1: my job, but I'm like, I'm looking at it. I'm like,

3818
03:18:06,280 --> 03:18:09,480
Speaker 1: that's not something that you have to teach that to yourself, right,

3819
03:18:09,600 --> 03:18:14,720
Speaker 1: That comes from Yeah, my bad, that's a false sense

3820
03:18:14,800 --> 03:18:19,640
Speaker 1: of of of learning. Right. So it's like I adapt

3821
03:18:19,680 --> 03:18:23,760
Speaker 1: to every room that I'm in, right, no matter what.

3822
03:18:23,920 --> 03:18:24,680
Speaker 1: Woman that I'm in.

3823
03:18:25,840 --> 03:18:29,560
Speaker 8: Prison allowed us the time to like read things, study things,

3824
03:18:29,600 --> 03:18:32,000
Speaker 8: and sting like that. So it's like, if I'm in

3825
03:18:32,080 --> 03:18:35,320
Speaker 8: a peaceful room, I'm peaceful. If I'm in a room

3826
03:18:35,400 --> 03:18:39,680
Speaker 8: on some bullshit, then I'm with that too. If I'm

3827
03:18:39,760 --> 03:18:42,160
Speaker 8: on a room, that's that's If I'm in a room

3828
03:18:42,240 --> 03:18:45,560
Speaker 8: that's about progression, then that's what we're talking about.

3829
03:18:45,800 --> 03:18:46,440
Speaker 1: That's what we're on.

3830
03:18:48,320 --> 03:18:54,440
Speaker 8: Adaptation, adaptation, right, being able to adapt, that's the way

3831
03:18:54,480 --> 03:18:55,080
Speaker 8: you stay here.

3832
03:18:56,480 --> 03:18:59,520
Speaker 1: We ain't always gonna be hot nigga, be like, oh

3833
03:18:59,560 --> 03:19:01,120
Speaker 1: you watch stuff. You old nigga.

3834
03:19:01,160 --> 03:19:04,840
Speaker 8: You ain't who you used to be. But that don't

3835
03:19:04,879 --> 03:19:07,600
Speaker 8: define you. You still gotta you still got to be

3836
03:19:07,640 --> 03:19:09,920
Speaker 8: able to turn those corners. So being able to adapt

3837
03:19:10,000 --> 03:19:12,000
Speaker 8: to the times, to be able to adapt to climate,

3838
03:19:12,080 --> 03:19:13,080
Speaker 8: to be able to adapt.

3839
03:19:12,840 --> 03:19:15,720
Speaker 4: To the wounds that we're in. No nigga, that's me.

3840
03:19:16,360 --> 03:19:19,880
Speaker 1: But I mean that's not normal. Like you, you're a

3841
03:19:19,959 --> 03:19:23,240
Speaker 1: genius man, like trust me. Like I I was, I

3842
03:19:23,400 --> 03:19:27,520
Speaker 1: was taking a jog this morning. Well my boy Henry,

3843
03:19:28,440 --> 03:19:31,119
Speaker 1: and I was watching all your interviews, watching it all,

3844
03:19:31,520 --> 03:19:34,039
Speaker 1: and I was like, Yo, this dude is mad smart

3845
03:19:35,000 --> 03:19:39,000
Speaker 1: like and it made me mad that six years ago

3846
03:19:39,480 --> 03:19:41,320
Speaker 1: people well that's all they were saying, Oh, you're a

3847
03:19:41,360 --> 03:19:44,520
Speaker 1: street dude, your doug dude. And I'm looking at your

3848
03:19:44,600 --> 03:19:47,600
Speaker 1: progress to where you're at. I'm like, yo, man, you

3849
03:19:47,760 --> 03:19:49,000
Speaker 1: you're a smart dude. Bro.

3850
03:19:49,200 --> 03:19:52,720
Speaker 8: Me being a street nigga is smart is a footnote

3851
03:19:52,760 --> 03:19:55,840
Speaker 8: in my life. Bro, that's a little that's a small

3852
03:19:55,920 --> 03:19:57,440
Speaker 8: part of my life. I look, you know what I'm saying.

3853
03:19:57,959 --> 03:20:00,039
Speaker 1: Look that ain't.

3854
03:20:02,200 --> 03:20:04,040
Speaker 8: That ain't gonna be ever be something that I denied.

3855
03:20:04,120 --> 03:20:05,720
Speaker 8: That ain't ever gonna be something that I'm ashamed of.

3856
03:20:05,920 --> 03:20:07,800
Speaker 8: That where I come from, what I come from, what

3857
03:20:07,879 --> 03:20:13,120
Speaker 8: I've been through the issues that I had. Yeah, but

3858
03:20:13,280 --> 03:20:16,840
Speaker 8: that also helped define you, right, because what you've been

3859
03:20:16,920 --> 03:20:19,120
Speaker 8: through helped shopping you in a certain way to make

3860
03:20:19,200 --> 03:20:19,840
Speaker 8: you who you are.

3861
03:20:20,120 --> 03:20:21,840
Speaker 4: Right, whatever it's meant to be will be.

3862
03:20:22,840 --> 03:20:25,960
Speaker 1: So it's like, yeah, I've been through prisons, I've been

3863
03:20:26,000 --> 03:20:33,480
Speaker 1: through wars, I've been through I've been through extreme violent situations. Right,

3864
03:20:36,000 --> 03:20:36,800
Speaker 1: l L told me this.

3865
03:20:37,360 --> 03:20:39,680
Speaker 8: L L told me say, Yo, don't let your past

3866
03:20:39,680 --> 03:20:43,200
Speaker 8: failures handcuffed. M hmm, I said what you mean? He said,

3867
03:20:44,120 --> 03:20:48,080
Speaker 8: Then you might drop a white album. It won't sell,

3868
03:20:48,720 --> 03:20:52,720
Speaker 8: But the fuck that keep going? Nigga act like act

3869
03:20:52,800 --> 03:20:55,000
Speaker 8: like you did. Nigga, act like you just went platinum.

3870
03:20:56,200 --> 03:20:58,880
Speaker 8: Don't let your past failures and that and that that

3871
03:21:00,120 --> 03:21:02,320
Speaker 8: that's attributed to every angle of life.

3872
03:21:02,480 --> 03:21:04,280
Speaker 1: If you didn't been in prison, you've been in the street.

3873
03:21:04,360 --> 03:21:07,480
Speaker 8: Like just because you started one way, that doesn't determine

3874
03:21:07,520 --> 03:21:12,400
Speaker 8: how you finish. So what we've been involved in this,

3875
03:21:12,760 --> 03:21:15,560
Speaker 8: that don't mean that we can't put our suits on

3876
03:21:15,720 --> 03:21:18,039
Speaker 8: and sit in these rooms and talk to these.

3877
03:21:17,959 --> 03:21:23,600
Speaker 1: People about life and build on some progress. They don't

3878
03:21:23,680 --> 03:21:23,920
Speaker 1: mean that.

3879
03:21:25,000 --> 03:21:26,480
Speaker 4: It don't mean that at all, my nigga.

3880
03:21:27,000 --> 03:21:30,800
Speaker 1: You know, Man, I can't thank you enough.

3881
03:21:30,920 --> 03:21:32,200
Speaker 4: Man, I thank you.

3882
03:21:32,400 --> 03:21:34,200
Speaker 1: Man. I wanted to give your flowers.

3883
03:21:34,240 --> 03:21:35,840
Speaker 8: Man, thank you for thank you for giving me my

3884
03:21:35,879 --> 03:21:38,560
Speaker 8: motherfucking flowers. I never had too many flowers.

3885
03:21:42,240 --> 03:21:43,800
Speaker 1: And fog.

3886
03:21:43,959 --> 03:21:45,560
Speaker 8: I want to put you on somethingcause I'm here. I'm

3887
03:21:45,600 --> 03:21:49,480
Speaker 8: down here for the weekend because a friend of mine

3888
03:21:49,560 --> 03:21:54,039
Speaker 8: is just open up a restaurant in Miami and.

3889
03:21:57,280 --> 03:21:57,560
Speaker 3: It is.

3890
03:21:59,080 --> 03:22:02,520
Speaker 1: Probably gonna be the the top restaurant in the city.

3891
03:22:02,760 --> 03:22:03,280
Speaker 1: Talk about it.

3892
03:22:03,720 --> 03:22:09,080
Speaker 8: It's called Nouveau. Shout out to my people, Ebony Caro,

3893
03:22:09,360 --> 03:22:13,039
Speaker 8: shout out the wrong. Shout out to Yandy because she's

3894
03:22:13,080 --> 03:22:16,480
Speaker 8: involved with that. It was yes, big grand opening last night.

3895
03:22:16,720 --> 03:22:18,320
Speaker 8: And this is why I'm down here. We out here

3896
03:22:18,440 --> 03:22:21,160
Speaker 8: celebrating that. You seeing what I'm saying is it's in

3897
03:22:21,240 --> 03:22:24,320
Speaker 8: one what Okay? So it's right here, right here there,

3898
03:22:24,760 --> 03:22:26,840
Speaker 8: right here. It's new Veau.

3899
03:22:27,360 --> 03:22:28,040
Speaker 4: What I'm telling you.

3900
03:22:28,120 --> 03:22:29,840
Speaker 1: The food is good? You like y'all?

3901
03:22:29,959 --> 03:22:31,200
Speaker 4: Come on, I've been right now.

3902
03:22:32,280 --> 03:22:37,000
Speaker 1: Yeah, we can do that, absolutely, absolutely, you can do that.

3903
03:22:37,120 --> 03:22:43,640
Speaker 1: All right, he can do that? Hey you do that? Yes,

3904
03:22:44,080 --> 03:22:44,760
Speaker 1: take the picture.

3905
03:22:50,040 --> 03:22:53,360
Speaker 5: Drink Champs is a Drink Champs ll C production hosts

3906
03:22:53,440 --> 03:22:55,120
Speaker 5: and executive producers n O.

3907
03:22:55,320 --> 03:22:56,520
Speaker 4: R E and d J. E.

3908
03:22:56,760 --> 03:22:57,000
Speaker 1: F N.

3909
03:22:58,200 --> 03:23:02,320
Speaker 5: Listen to Drink Champs on Apple Podcast, Amazon Music, Spotify,

3910
03:23:02,600 --> 03:23:06,240
Speaker 5: or wherever you get your podcasts. Thanks for joining us

3911
03:23:06,280 --> 03:23:08,880
Speaker 5: for another episode of Drink Champs, hosted by Yours Truly

3912
03:23:09,040 --> 03:23:11,560
Speaker 5: dj E f N and n O r E. Please

3913
03:23:11,600 --> 03:23:13,800
Speaker 5: make sure to follow us on all our socials that's

3914
03:23:13,879 --> 03:23:17,439
Speaker 5: at Drink Champs across all platforms at the Real noriagon

3915
03:23:17,560 --> 03:23:21,440
Speaker 5: ig at Noriega on Twitter, mine is at Who's Crazy

3916
03:23:21,600 --> 03:23:24,920
Speaker 5: on ig at dj E f N on Twitter, and

3917
03:23:25,000 --> 03:23:27,400
Speaker 5: most importantly, stay up to date with the latest releases,

3918
03:23:27,840 --> 03:23:29,480
Speaker 5: news and merch by going

3919
03:23:29,520 --> 03:23:31,000
Speaker 1: To drink Champs dot com