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Speaker 1: Quest Love Supreme is a production of iHeartRadio. What's Up.

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Speaker 2: It's June and that means it's Black Music Month, and

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Speaker 2: every year on Questlove Supreme and now The Quest Love Show,

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Speaker 2: we honor it by bringing you an episode every day

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Speaker 2: that celebrates black music, its history, and its impact. My

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Speaker 2: team and I have selected episodes from our archive that

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Speaker 2: we feel are specially relevant to the celebration, offering history,

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Speaker 2: insight a little fun along the way. So be on

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Speaker 2: the lookout for four brand new episodes throughout June, each

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Speaker 2: connected to the past president future of Black music. You're

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Speaker 2: going to highlight trail blazers, innovators, cultural conduits, and revolutionaries

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Speaker 2: whose word continues to shape the world around us. Happy June,

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Speaker 2: Happy Black Music Month.

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Speaker 3: Suprema So Sun Supremo roll call, Supreme Son Son Supremo,

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Speaker 3: roll called Suprema son Some Supremo roll called Suprema Son

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Speaker 3: So Suprema roll call.

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Speaker 2: I had a brilliant ro call Yeah for Curtis Blow.

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Speaker 2: But for some reason, you ain't never going.

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Speaker 4: To know it.

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Speaker 5: Oh Supremo Sun Sun Supremo, roll called Supremo Son Son

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Speaker 5: Supremo roll call.

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Speaker 1: My name is Sugar, Yeah, I love you.

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Speaker 6: All.

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Speaker 1: Yeah, but once and for all. Yeah, Baseball Supremo, Roll Supremo.

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Speaker 1: Suck some Supremo.

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Speaker 2: Roll call coming off the cuff.

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Speaker 1: Yeah, rummer words in English. Yeah, so why it doesn't

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Speaker 1: have to be so damned.

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Speaker 5: Supreme So Supremo roll call Suprema Son Supremo.

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Speaker 4: Roll calls em. Yeah what curt is blown?

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Speaker 7: Yeah?

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Speaker 4: If your hip hop, yeah, you should already know.

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Speaker 5: Ro call Suprema Son Sun Supremo ro Cal Supreme.

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Speaker 1: Can't believe my Supremo roll.

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Speaker 7: Call one, two, three, four hit it yeah now yeah,

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Speaker 7: I'm gonna spit it.

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Speaker 1: Supremo. Roll come come back, Suprema.

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Speaker 8: Son Sun Supremo, Roll cal Supremo Son Son Supremo. Roll

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Speaker 8: call Suprema Son Supremo roll call.

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Speaker 2: Right, ladies and gentlemen, this is Court Love Supreme. I

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Speaker 2: forgot the name of my own show. We are at iHeartRadio.

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Speaker 2: Thank you very much. We're here with Team Supreme. Unpaid

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Speaker 2: Bill and here is not here. You are not a

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Speaker 2: paid bill, you are a boss bill.

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Speaker 1: Wow. I knew what I was saying. I knew I

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Speaker 1: was just testing to see if you knew who you were.

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Speaker 2: Of course, we got a sugar Steve and we have

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Speaker 2: a laia with us on paid Bill right now is

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Speaker 2: doing his thing.

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Speaker 1: And Broadway, yeah yeah, whenever, whenever he's hit on Broadway,

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Speaker 1: he don't have time for us. No more.

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Speaker 2: Ladies and gentlemen, plain and simple. You know you hear

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Speaker 2: of kings and pioneers and people bragging about their status

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Speaker 2: and this culture. I'm sure you, ladies and gentlemen, uh

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Speaker 2: that the gentlemen that we're about to introduce is literally

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Speaker 2: the pioneer of this amazing art form that has made

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Speaker 2: trillions of dollars. What can I say, first rapper on

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Speaker 2: a major label, first rapper to get a gold plaque,

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Speaker 2: first rapper to cover a song, first rapper to make

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Speaker 2: a love ballot, first rabitatur overseas. I mean his production

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Speaker 2: credits looming large. I mean, for God's sakes, he produced

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Speaker 2: the record that was Jay Z's very first purchase of

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Speaker 2: a full hip hop album. Speaking of the Fat Boy's debut,

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Speaker 2: I mean, through this man like this is how we

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Speaker 2: know he was. He was the entry of Russell Simmons

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Speaker 2: into the world, a run into the world of full force,

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Speaker 2: into the professional world of Alison Williams, of the Great

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Speaker 2: Unhurled Larry Smith and his production credits. The aforementioned Fat Boys,

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Speaker 2: not to mention, gave Salaam Remy his first start in production.

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Speaker 2: Oh yes, a yeah, fourteen year old. Yes do we do?

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Speaker 2: We do our homework. Not to mention, Uh what I what?

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Speaker 2: I credit as one of the rare legit hip hop

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Speaker 2: movies about hip hop culture. This man is starred in

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Speaker 2: as a political activist working with anti apartheid Sun City Project,

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Speaker 2: not to mention organizing the King Celebrate holiday. There's so many,

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Speaker 2: so many credits. Oh Jesus, we for a lot of

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Speaker 2: us are entry to Bob Dylan and if our culture.

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Speaker 2: This dude, Yes, I'm pointing to the one and only

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Speaker 2: first rapper on Soul Tree. You know, Soul Tree means

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Speaker 2: everything to me, Ladies and gentlemen. I'm so honored to

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Speaker 2: have on Quest Love Supreme, the one and only Curtis.

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Speaker 1: Bloke. It's a Quest Love Supreme.

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Speaker 2: Thank you, Thank you man. Uh, this is a long

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Speaker 2: time coming. We have a gazillion questions. This this is

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Speaker 2: like a this show is such a it's nerd out

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Speaker 2: culture going awry. So it's it's just bear with us.

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Speaker 2: If we asked too many nerdy questions.

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Speaker 7: That that intro was so incredible. I mean you kind

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Speaker 7: of like had me shook there for I didn't know

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Speaker 7: I did so much stuff I was here. Yes, wait

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Speaker 7: a minute, I remember things.

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Speaker 2: We're we're literally about giving flowers where they're due.

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Speaker 7: Thank you, thank you, thank you so much.

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Speaker 1: Yeah, there's so much more that you're doing.

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Speaker 2: I've been known to make like fifteen minute intros and

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Speaker 2: then it's time to gorl. Right, So what I really

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Speaker 2: this is this is like one of our first chances

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Speaker 2: to interview someone that was there for the beginning of

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Speaker 2: hip hop culture before it came a professional business. So

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Speaker 2: I have so many questions about it's starting its formation

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Speaker 2: in the Bronx to like the parties and all those things. Well,

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Speaker 2: for those that don't know that listen to us that

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Speaker 2: are that are younger, where were you born?

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Speaker 7: I was born and raised in Harlem.

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Speaker 2: Okay, Harlem Worm Okay, yes, yes, sir, So could you

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Speaker 2: give us kind of a, I guess, a prototypical idea

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Speaker 2: of what the environment was when hip hop was just

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Speaker 2: a local block party thing, when it was just yes,

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Speaker 2: you know, like on a Saturday, let's let's pick a

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Speaker 2: Saturday in nineteen seventy eight, before it was a business.

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Speaker 1: Oh man, what was You probably go back before Sudny.

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Speaker 7: It's really amazing and it's a story that you know,

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Speaker 7: the energy and the vibe and the spirit that was

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Speaker 7: going around New York City the Five Boroughs during that

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Speaker 7: time was something that's so hard to explain. You really

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Speaker 7: had to be there to really understand that energy that

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Speaker 7: was happening. See, we were all like a group of

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Speaker 7: people who understood and really related and loved this culture

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Speaker 7: way before it became a culture. So it was just

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Speaker 7: like something new that we were trying to do and represent.

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Speaker 7: Of course, you had disco on this side of the fence,

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Speaker 7: and then you had R and B soul music, and

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Speaker 7: most of us grew up on soul music, and we

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Speaker 7: love James Brown and the Motown sound and the Isisley

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Speaker 7: Brothers and all of that stuff and soul music. We

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Speaker 7: started playing soul music when disco became the most prominent

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Speaker 7: thing that you heard on the radio. But if you

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Speaker 7: remember the Motown sound that we grew up on in

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Speaker 7: the sixties, the snare drum, we're talking music theory now.

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Speaker 7: The snare drum was on the one, two, three, and

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Speaker 7: the four pop pop pop boom babe, babe baby, you know,

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Speaker 7: and and then disco comes out and it went back

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Speaker 7: to the same four on the floor of the floor

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Speaker 7: there talking about the kick drum right, the boom boom

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Speaker 7: boom boom. So that beat for us wasn't like James Brown,

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Speaker 7: because James Brown, in between disco and motown, had a

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Speaker 7: musical revolution with the sound that we call boom.

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Speaker 1: Bat So the boom back, syncopated rhythms.

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Speaker 7: Syncopated rhythms, and the drummer, you know, Clyde Stubberfield, was incredible.

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Speaker 7: So as kids, when we heard this new sound, we

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Speaker 7: were like, we lost our minds. Everybody wanted to be

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Speaker 7: James Brown and dance like him. And uh, that's when

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Speaker 7: we started going down to the floor whenever we heard

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Speaker 7: the break because the break of the music was the

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Speaker 7: most important part of the song. That's when everyone did

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Speaker 7: their best dance moves. That's when we created the circle.

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Speaker 1: So people just literally wanted to wait for the breakdown, like.

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Speaker 7: Okay, that's what it was five, that's what it was

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Speaker 7: really going to get crazy And I'm talking in nineteen

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Speaker 7: seventy two, seventy three, So here comes cool Herk, the

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Speaker 7: DJ who understood this that the break was so very important,

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Speaker 7: and we were B boys and B girls because we

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Speaker 7: danced to the breaks that Cool Herk would play. And

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Speaker 7: he would play these funky, incredible songs like give It

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Speaker 7: Up a Turn It Loose, or getting Into Something by

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Speaker 7: the Isley Brothers, or or Listening by Baby Hughey or

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Speaker 7: Jimmy Cast has Just Begun, the Mexican you know, the

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Speaker 7: Melting Pot Apache, you know all these incredible songs. They

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Speaker 7: were soul music, but they were fast and it was

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Speaker 7: the same kind of tempo as disco music. It was

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Speaker 7: dance music. I call it obscure dance music. It was funk,

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Speaker 7: and we just lost our minds. So we represented and

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Speaker 7: created those circles around us, just like Saturday Night Fever,

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Speaker 7: you know the movie with John Travolta with the white

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Speaker 7: suit on. You creates this circle around him and pretty

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Speaker 7: soon somebody comes in the circle and they do a

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Speaker 7: competition and a battle, and the winner of that competition

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Speaker 7: was the most popular guy. He was the hero of

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Speaker 7: the story, right, And so that's what happened at the

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Speaker 7: Cool Hurt clubs. Around twelve one o'clock in the morning,

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Speaker 7: he played this give It Up a Turn and Loose,

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Speaker 7: and everybody was standing around waiting for the break. When

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Speaker 7: that break came, we went off. And that was hip

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Speaker 7: hop the first early days.

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Speaker 2: Now, God, now for that particular record that you gave

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Speaker 2: an example of, give It Up for Turn It Loose,

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Speaker 2: which that particular recording was made in nineteen sixty nine.

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Speaker 2: So even though James Brown himself was trying to keep

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Speaker 2: up with the trends of the day and make disco records,

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Speaker 2: you're basically saying that you guys never left those records alone.

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Speaker 1: So a song like Get on the.

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Speaker 2: Good Foot still had life way beyond it's nineteen seventy

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Speaker 2: two release, like It's still was something in seventy four,

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Speaker 2: seventy five, seventy six, as long as it had.

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Speaker 1: A funk break.

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Speaker 2: So did you guys look at the commercial music at

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Speaker 2: the time as kind of like how we look at

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Speaker 2: modern pop radio now, Like I don't listen to that.

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Speaker 1: I listened to No, it was cool. It was cool.

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Speaker 7: It was a you know, we you know, we listened

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Speaker 7: to it. It was on the radio, but.

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Speaker 1: Somebody was break dancing to like Stevie Wonders. I wish

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Speaker 1: you know.

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Speaker 7: No, it was more like, you know, the village people.

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Speaker 1: Why Okay? So like the commercial disco stuff, Okay.

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Speaker 7: Down a Summer and stuff like that, You're like, yo,

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Speaker 7: we want James Brown, you know what I mean? So,

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Speaker 7: so the hip hop became that rebellion to disco. I

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Speaker 7: call it, you know, ghetto disco.

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Speaker 2: Okay for those that been collecting tapes and and really

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Speaker 2: keeping up in sort of the early formation of what

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Speaker 2: hip hop was. The role that MC was once the

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Speaker 2: co star to who the DJ was? So can you

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Speaker 2: What I want to know is, and I've heard like

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Speaker 2: some of these.

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Speaker 1: Like DJ Hollywood tapes.

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Speaker 2: Right where in my mind he had an endless vocabulary,

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Speaker 2: an endless combination of rhymes that came up nowhere. Now,

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Speaker 2: I mean most of them season I know, really have

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Speaker 2: a good fifteen to twenty minute repertoire before they run

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Speaker 2: out of space and steam and you know, don't know

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Speaker 2: what to do. But he's his things seemed endless, Like

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Speaker 2: who was who in your mind were like the top five?

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Speaker 1: First of all? Who was the one? Was Hollywood?

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Speaker 2: The pioneer of the calling response rhyming k ice right

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Speaker 2: at least in the hip hop sins, I know there's

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Speaker 2: Jocko Henderson and all that stuff back, yes, of course,

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Speaker 2: of course, but who was in terms of hip hop

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Speaker 2: was DJ Hollywood first? Like where does Hollywood? And Eddie

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Speaker 2: Chiba and like all these other mcs that really weren't

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Speaker 2: making records.

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Speaker 7: Okay, so after herk okay, you have to see there

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Speaker 7: there there were two different kinds of crowds, Okay, first

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Speaker 7: and foremost, you know Flash Grandmass and Flash calls them

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Speaker 7: the shoe people and the sneaker people.

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Speaker 1: Oh okay, you know the sneaker people.

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Speaker 7: You know, we partied at the block parties and the

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Speaker 7: community centers, and the park jams and and and and

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Speaker 7: the the small around the way clubs, you know, like

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Speaker 7: three seventy one Disco Fever up in the Bronx and

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Speaker 7: places like that. But you know, Grandmaster Flash was so

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Speaker 7: very important to this transition from the DJ being the

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Speaker 7: focal point of the party. He controlled the music, He

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Speaker 7: controlled the ambiance, he controlled the lights, he controlled the

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Speaker 7: tempo of the songs he was playing. He hired, he

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Speaker 7: hired and fired the mcs. The mcs were first a

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Speaker 7: diamond dozen. All we did was we we we we

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Speaker 7: went to the house and we got the equipment and

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Speaker 7: took the equipment to the gig and set it up,

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Speaker 7: and at the end of the night we break it

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Speaker 7: down and carry it back to the house, and the

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Speaker 7: DJ would let us in free, you know.

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Speaker 1: So that's your plus, that's your getting on the guest list.

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Speaker 7: And so you know, if we were nice to him,

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Speaker 7: or if he was nice to us and feeling good,

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Speaker 7: he would let us make announcements like, Yo, Joey, your

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Speaker 7: mom's outside is ten o'clock, you're gonna go, you know,

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Speaker 7: sound okay, Sam, your car is getting told, you know, okay?

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Speaker 7: And so Flash, you know, now herk played a whole song.

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Speaker 7: He had the most incredible playlist, all the songs I named,

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Speaker 7: and they were about twenty five to thirty songs, maybe

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Speaker 7: even fifty soul music in a club. And so Flash

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Speaker 7: understood that the most important part of this song that

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Speaker 7: he played was the break, because he knew all the

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Speaker 7: bee boys would go down to the floor and start

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Speaker 7: doing their best moves. Everyone got crazy and started yelling

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Speaker 7: and screaming, you know when the break came. And so

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Speaker 7: he wanted to try to find a way to extend

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Speaker 7: his break because the break was only fifteen twenty seconds long,

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Speaker 7: And so he got two copies of the same record,

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Speaker 7: and he started playing the break. Her would play a

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Speaker 7: whole song and you have to stand up waiting for

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Speaker 7: the break to come. Right, Flash went there. He just

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Speaker 7: started the break at the top of the song. You know,

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Speaker 7: he'd played a break, and when it got to the

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Speaker 7: end of the break, before the singing started coming back in,

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Speaker 7: he played the beginning of the break again. So he

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Speaker 7: actually extended this break and made it from fifteen twenty

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Speaker 7: seconds to three four minutes, right, So we had to

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Speaker 7: do more as MC's than make announcements.

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Speaker 9: So I have a question at the time, what was

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Speaker 9: the transition because are people then are we scratching yet?

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Speaker 1: Right?

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Speaker 7: He started scratching and oh he was very very fast

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Speaker 7: because you had to go from one turntable to the

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Speaker 7: other to catch the beat before it ended and got

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Speaker 7: to the whack part, right, And so he extended the

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Speaker 7: break and then shuts right.

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Speaker 1: Listen to the show. He'll get mad, Yes scratch, yes, yes,

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Speaker 1: we love you.

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Speaker 7: And so you know it was like DJs like that

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Speaker 7: that gave us the opportunity to shine. So we became

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Speaker 7: like instead of standing on the side of the turntables

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Speaker 7: just making announcements, we went out front and started rocking

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Speaker 7: the crowd and we had to do more, so we

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Speaker 7: started telling stories and rapping in rhythm and you know,

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Speaker 7: using crowd response, throw your hands in the air and

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Speaker 7: all of that stuff, and that's how you know, it

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Speaker 7: really came off. So Hollywood get into Hollywood. He was

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Speaker 7: a master at the crowd response, and he had a

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Speaker 7: Puerto Rican DJ by the name of DJ Junebuck Rest

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Speaker 7: in Peace and best DJ Iver saw in my life,

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Speaker 7: very fast, accurate, would keep the beat going for Hollywood,

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Speaker 7: and he was just tearing it up. When I saw

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Speaker 7: Hollywood at this club three seventy one, it blew my mind.

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Speaker 7: I never knew that there was something like this possible,

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Speaker 7: You know, that a guy could just take control of

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Speaker 7: an audience and have them eating out of the palm

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Speaker 7: of his hands, just by the way that he was

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Speaker 7: rapping in rhythm. First time I ever heard rhythmic rap

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Speaker 7: was DJ Hollywood. You know, of course, there are other

302
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Speaker 7: MC's before him, like KC, the Princess Soul JJ to

303
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Speaker 7: Disco King you had up in the Bronx with HERK

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Speaker 7: you had Coch He was the first MC up in

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Speaker 7: the Bronx, rock and just talking smack on the microphone,

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Speaker 7: you know, but Hollywood put it together with rhythmic chance

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Speaker 7: like throw your hands in the air and way. I'm like,

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Speaker 7: you just don't care. And if you got on clean underwear, somebody.

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Speaker 1: Say, oh yeah, yeah.

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Speaker 10: Everybody, you gotta say, oh yeah, you know I got

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Speaker 10: I don't commander, Yeah, mama got clean on the So

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Speaker 10: it's was that a Eureka moment for you?

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Speaker 7: Like it was a Eureka moment, you know? Just seeing

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Speaker 7: herk the first time I saw herk. It blew my mind,

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Speaker 7: just to the fact that he had this big, huge

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Speaker 7: Mungo's sound system and he was playing these songs that

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Speaker 7: I grew up with that I just thought that, you know,

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Speaker 7: give it up a turn and lose. It was my

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Speaker 7: favorite song and he played it loud and and everyone

320
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Speaker 7: went crazy. And then you had Grandmaster. Flash was another

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Speaker 7: one blew my mind with the speed on the turntables.

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Speaker 7: This guy had white gloves on with rings on and

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Speaker 7: they would just flashing, He's going to turntable. I saw

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Speaker 7: him at the Hotel Diplomat one time, and that was

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Speaker 7: just amazing to see how fast he was and keeping

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Speaker 7: that beat going. And it's real what we call turntablism.

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Speaker 7: This evolution of the turntable, the DJs and flash gave

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Speaker 7: us the opportunity along with Hollywood. Everyone mimicked Hollywood when

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Speaker 7: he came out. He blew my mind as well.

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Speaker 2: Did you guys ever venture out of the Burroughs? So

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Speaker 2: was there a thing of like, you know, was touring

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Speaker 2: for you back then, like Okay, I'm gonna do a

333
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Speaker 2: party in Queen's Or would Long Island be a part

334
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Speaker 2: of this folklore as well?

335
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Speaker 1: Staten Island even like new or was it just or

336
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Speaker 1: even newer?

337
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Speaker 2: Like were or did Burroughs just like stick to themselves

338
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Speaker 2: until rat became a business?

339
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Speaker 1: Well? Me, I was a traveler.

340
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Speaker 7: I went from Harlem, you know, I had fourteen years old,

341
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Speaker 7: fifteen years old, travel on that number four train riding

342
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Speaker 7: up to the Bronx, you know, to check out cool

343
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Speaker 7: Herk at the Executive Playhouse. And and it was scary.

344
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Speaker 1: You know.

345
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Speaker 7: That was during the time when Roots had came out,

346
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Speaker 7: Alex Haley's Roots, and so there was a lot of that,

347
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Speaker 7: you know, right straight out of the Civil rights movement,

348
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Speaker 7: and cats were like feeling themselves and there was a

349
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Speaker 7: lot of violence on that train. You know what I mean,

350
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Speaker 7: a lot of.

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Speaker 1: People you risked everything just to see men. It was worth.

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Speaker 2: That's why I want to know what makes that's the

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Speaker 2: one the one thing I didn't have, Like I had

354
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Speaker 2: strict parents that were just like, no, you ain't going

355
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Speaker 2: so whenever I hear like, uh, the generation after you

356
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Speaker 2: talk about the Latin quarter right right, and I'm like, yo,

357
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Speaker 2: y'all could.

358
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Speaker 1: Have y'all risking y'all lives to hear this, like you

359
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Speaker 1: might get stab shot, killed her. But I understand understand.

360
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Speaker 7: There were so many things u going around in the

361
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Speaker 7: community in New York City that was happening during that time.

362
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Speaker 7: And I'm telling you hip hop was like a saveror

363
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Speaker 7: you know, like like you know, we had the gangs,

364
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Speaker 7: the gangs like that that movie The Warriors was real.

365
00:21:10,480 --> 00:21:12,560
Speaker 7: There were a lot of gangs. I remember running home

366
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Speaker 7: from school, you know, in the early early seventies, because

367
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Speaker 7: all you had to do is say they coming and

368
00:21:18,840 --> 00:21:22,000
Speaker 7: were out, you know what I mean, you know, going

369
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Speaker 7: to the corner store from my mom. It's like, yo,

370
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Speaker 7: you want me to go to store rial.

371
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Speaker 1: Okay, I'm glad to know I'm not the only one

372
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Speaker 1: that would go to crazy And then you had for

373
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Speaker 1: toilet paper, and then then you had to map out.

374
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Speaker 7: You had the drug wars of the Bronx and Harlem

375
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Speaker 7: coming out of the Frank Lucas story American gangster, right,

376
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Speaker 7: you know when he went to jail, and I think

377
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Speaker 7: it was nineteen seventy four seventy five, they had a

378
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Speaker 7: big drug war. Everybody was fighting for his territory. So

379
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Speaker 7: there were a lot of murders and gunshots and all

380
00:21:53,600 --> 00:21:58,360
Speaker 7: around people were just dropping like flies, you know, So

381
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Speaker 7: it was kind of dangerous. It was dangerous living during

382
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Speaker 7: that time. So for me, you know, it was my savior.

383
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Speaker 7: I used to love to go to the club and

384
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Speaker 7: just you know, go to the speaker and stick my

385
00:22:09,680 --> 00:22:13,280
Speaker 7: head and the speaker and the base was rumbling all

386
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Speaker 7: the way through my toes and I just closed was

387
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Speaker 7: worth it. I closed my eyes and go off. And

388
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Speaker 7: that's hip hop.

389
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Speaker 1: He just told me the story of the first time

390
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Speaker 1: I ever went.

391
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Speaker 7: To a club, Like everyone has put your head in

392
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Speaker 7: the speaker and it just changes your life.

393
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Speaker 1: Yeah, yep.

394
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Speaker 2: What do you think hip hop culture would have been

395
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Speaker 2: if there was no blackout of nineteen seventy seven.

396
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Speaker 7: A lot of a lot of cats talk about that

397
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Speaker 7: because a lot of Equick equipment was obtained doing those

398
00:22:45,160 --> 00:22:50,080
Speaker 7: years doing that that that Blackout nineteen seventy seven. But

399
00:22:50,240 --> 00:22:53,920
Speaker 7: for me, it was more like, you know, we hit

400
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Speaker 7: the local bike store and I got like three bikes.

401
00:22:58,040 --> 00:23:02,040
Speaker 1: So you wanted to travel travel? I told you you

402
00:23:02,880 --> 00:23:05,919
Speaker 1: didn't want to do that train. Yeah, no more for

403
00:23:05,960 --> 00:23:06,359
Speaker 1: a train.

404
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Speaker 4: That's a long ride to the Bronx.

405
00:23:08,480 --> 00:23:09,480
Speaker 1: Yeah it is, it is.

406
00:23:10,040 --> 00:23:12,680
Speaker 7: But you know, just traveling around New York City was

407
00:23:12,680 --> 00:23:16,520
Speaker 7: was was special for me. I just thought that, you know,

408
00:23:16,560 --> 00:23:19,560
Speaker 7: I had cousins out in Queens and and and forty

409
00:23:19,640 --> 00:23:24,400
Speaker 7: Projects and and Cambria, and aunts and uncles all around Queens.

410
00:23:24,400 --> 00:23:26,880
Speaker 7: So you know, I used to spend my summers out

411
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Speaker 7: in Queens. Actually, you know how how how we all

412
00:23:29,320 --> 00:23:30,320
Speaker 7: used to go South Where.

413
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Speaker 1: I'm going to Atlanta? Where you going? I'm going North Carolina?

414
00:23:33,480 --> 00:23:35,960
Speaker 1: Where you going? Kim and Kirk, We're going to Queens.

415
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Speaker 1: So it's like another world probably.

416
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Speaker 9: You know.

417
00:23:41,400 --> 00:23:46,439
Speaker 7: And and if Suburbia.

418
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Speaker 1: That part of Queens okay, yeah yeah.

419
00:23:48,400 --> 00:23:53,480
Speaker 7: And so just spending my days out there whenever I could,

420
00:23:53,720 --> 00:23:55,879
Speaker 7: you know, having a lot of family out and Queens.

421
00:23:56,080 --> 00:23:59,560
Speaker 7: I hung out with with Russell Simmons, because I met

422
00:23:59,640 --> 00:24:04,280
Speaker 7: him in college and he was from Hollis, Queens. And

423
00:24:04,320 --> 00:24:07,440
Speaker 7: we opened up a club in nineteen seventy eight called

424
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Speaker 7: Disco Fever, I mean night Fever.

425
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Speaker 1: Disco Okay, okay, so wait you for that club.

426
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Speaker 7: And that was two hundred and first Street in Hollis Avenue,

427
00:24:19,240 --> 00:24:21,679
Speaker 7: and that's where I really got good as a DJ,

428
00:24:22,200 --> 00:24:25,159
Speaker 7: you know, DJing and the club and four year and

429
00:24:25,200 --> 00:24:29,720
Speaker 7: then we actually used propaganda and Russell started putting my

430
00:24:29,800 --> 00:24:32,880
Speaker 7: name on flies Queen's number one DJ, Curtis Blow.

431
00:24:33,119 --> 00:24:38,640
Speaker 2: Okay, So he built the folklore of Curtis Blow.

432
00:24:38,720 --> 00:24:42,600
Speaker 7: And Russell was a sociology major, you know, so he

433
00:24:42,840 --> 00:24:48,280
Speaker 7: understood about the masses and the spectrum and the different

434
00:24:48,320 --> 00:24:51,199
Speaker 7: movements of people and what they would like and stuff

435
00:24:51,240 --> 00:24:54,919
Speaker 7: like that. So he convinced me to let that propaganda happen.

436
00:24:55,119 --> 00:24:57,880
Speaker 2: So is he the one that talked you into Would

437
00:24:57,920 --> 00:25:01,679
Speaker 2: you say that your entry into hip is what really

438
00:25:01,680 --> 00:25:05,560
Speaker 2: put the focus on the MC as opposed to the DJ.

439
00:25:06,400 --> 00:25:11,560
Speaker 7: M No, because I think Hollywood did that. He was

440
00:25:11,640 --> 00:25:14,080
Speaker 7: actually the first king of rap.

441
00:25:14,160 --> 00:25:16,840
Speaker 1: He was so hot. He was the first guy that.

442
00:25:17,040 --> 00:25:21,679
Speaker 7: Charged five hundred dollars. Before that, we were making thirty

443
00:25:21,760 --> 00:25:26,159
Speaker 7: forty dollars a night MC's or you know, the the

444
00:25:27,000 --> 00:25:29,440
Speaker 7: popular ones were getting one hundred, one hundred and fifty

445
00:25:29,520 --> 00:25:32,200
Speaker 7: dollars a night. But Hollywood was the first to charge

446
00:25:32,200 --> 00:25:34,720
Speaker 7: five hundred. You want five hundred dollars.

447
00:25:34,600 --> 00:25:37,639
Speaker 1: But Hollywood at your partyment guaranteed, you know.

448
00:25:37,760 --> 00:25:39,600
Speaker 7: Oh yeah, it was pack You have a line around

449
00:25:39,640 --> 00:25:42,720
Speaker 7: the corner, you know. And so Kat started, you know,

450
00:25:42,760 --> 00:25:44,679
Speaker 7: trying to charge five hundred dollars a day.

451
00:25:44,680 --> 00:25:47,000
Speaker 1: They were like, shit, nigga, you made Hollywood.

452
00:25:55,200 --> 00:26:00,000
Speaker 2: So I guess technically your first single was Christmas Wrapping.

453
00:25:59,720 --> 00:26:01,560
Speaker 1: Correct, Yes, nineteen seventy nine.

454
00:26:01,600 --> 00:26:05,240
Speaker 2: Okay, so please, how did that come about? And how

455
00:26:05,280 --> 00:26:09,119
Speaker 2: did you avoid Sylvie Robinson and Enjoy? And also Bobby

456
00:26:09,200 --> 00:26:13,639
Speaker 2: Robinson Enjoy there's no relationship between the two, right, Like

457
00:26:13,680 --> 00:26:17,240
Speaker 2: they just both coincidentally have a name, right Robinson, So Enjoy,

458
00:26:17,320 --> 00:26:20,320
Speaker 2: Bobby Robinson and Sylvie Robinson were not related, correct.

459
00:26:20,119 --> 00:26:22,680
Speaker 7: Yeah, Bobby Robinson was from Harlem. He had that store

460
00:26:22,680 --> 00:26:26,880
Speaker 7: on one hundred and twenty fifth Street. Bobby Bobby's records, you know,

461
00:26:27,359 --> 00:26:30,600
Speaker 7: and he goes back to the to the forties and fifties.

462
00:26:31,040 --> 00:26:33,440
Speaker 7: You know, he has a lot of contacts. Everybody knows

463
00:26:33,520 --> 00:26:36,560
Speaker 7: him and soul music and R and B music, and

464
00:26:36,600 --> 00:26:40,280
Speaker 7: so you know during that time, of course, sugar Hill

465
00:26:40,320 --> 00:26:42,159
Speaker 7: Gang when they came out, Well, well let's give a

466
00:26:42,160 --> 00:26:44,440
Speaker 7: shout out to King Tim the third that was actually

467
00:26:44,480 --> 00:26:51,000
Speaker 7: the first personality. Jock, you're listening to the town, but

468
00:26:51,920 --> 00:26:57,800
Speaker 7: I'm gone and I am here, and so here comes

469
00:26:57,800 --> 00:27:00,520
Speaker 7: sugar Hill. Every bus, every car, every train and wanted

470
00:27:00,520 --> 00:27:02,240
Speaker 7: to play that Rappers Delight song.

471
00:27:03,119 --> 00:27:07,639
Speaker 1: I said it him. You don't stop the record.

472
00:27:07,840 --> 00:27:11,560
Speaker 7: Every taxi, every boom box, every record store was playing

473
00:27:11,560 --> 00:27:13,840
Speaker 7: at twenty four to seven. And so we were in

474
00:27:13,920 --> 00:27:17,760
Speaker 7: the studio in October and so we were trying to

475
00:27:17,760 --> 00:27:19,440
Speaker 7: get a record deal. I think I got my record

476
00:27:19,480 --> 00:27:22,680
Speaker 7: deal because Rappers Delight was so hot. We went to

477
00:27:22,760 --> 00:27:26,879
Speaker 7: twenty two different labels, though nice and everybody hated the

478
00:27:26,920 --> 00:27:29,400
Speaker 7: record except for two people. The first guy.

479
00:27:30,840 --> 00:27:31,119
Speaker 1: Liked it.

480
00:27:31,160 --> 00:27:33,760
Speaker 7: He wanted to sign it up, sign me up. So

481
00:27:34,119 --> 00:27:36,400
Speaker 7: he took it up the flagpole to the vice president

482
00:27:36,600 --> 00:27:39,160
Speaker 7: and president and they said no.

483
00:27:40,040 --> 00:27:42,520
Speaker 1: So label was that.

484
00:27:41,840 --> 00:27:46,960
Speaker 7: That was the guy's name was Corey Robbins. Okay, Now

485
00:27:47,040 --> 00:27:51,320
Speaker 7: Corey quit his job because of this, and he went

486
00:27:51,359 --> 00:27:54,480
Speaker 7: and started his own label, and two years later he

487
00:27:54,600 --> 00:27:59,600
Speaker 7: signed run DMC and the label is called Profile Records.

488
00:28:00,480 --> 00:28:03,840
Speaker 7: So the next guy is an English fellow, John Staines,

489
00:28:03,920 --> 00:28:07,359
Speaker 7: he's ain't on director for Mercury PolyGram Records over in

490
00:28:07,440 --> 00:28:11,080
Speaker 7: the UK in London. He said, we can recoup this

491
00:28:11,200 --> 00:28:14,639
Speaker 7: record in six months, let's sign them up. So actually,

492
00:28:15,520 --> 00:28:21,320
Speaker 7: actually I became a British artist really signed to a

493
00:28:21,440 --> 00:28:26,359
Speaker 7: company called Mercury Phonogram out in the UK and my

494
00:28:26,440 --> 00:28:29,120
Speaker 7: records came back to America on an import.

495
00:28:29,280 --> 00:28:32,200
Speaker 1: Wow. Crazy deal.

496
00:28:32,280 --> 00:28:33,960
Speaker 4: So they had you first and they knew you first.

497
00:28:34,080 --> 00:28:35,840
Speaker 7: Yes, so I was the first artist signed to a

498
00:28:35,880 --> 00:28:36,600
Speaker 7: major label.

499
00:28:36,680 --> 00:28:40,800
Speaker 1: So can I assume that you're in r was the

500
00:28:41,480 --> 00:28:43,960
Speaker 1: was the person that said why was the night before Christmas?

501
00:28:43,960 --> 00:28:47,280
Speaker 2: Before you interrupted them with that wait, hold that wait?

502
00:28:47,960 --> 00:28:54,200
Speaker 2: Was he was either twice the night that's him. Just

503
00:28:54,240 --> 00:28:56,360
Speaker 2: put two and two together. The guy was English and

504
00:28:56,480 --> 00:28:59,680
Speaker 2: you know, and that's those it's you know a lot

505
00:28:59,680 --> 00:29:02,800
Speaker 2: of the records. It's really weird, especially with your catalog,

506
00:29:04,040 --> 00:29:05,680
Speaker 2: a lot of your catalog.

507
00:29:05,720 --> 00:29:07,479
Speaker 1: And I hope I'm not opening up.

508
00:29:09,120 --> 00:29:14,000
Speaker 2: Well, hopefully the grace period is over. Even as I

509
00:29:14,040 --> 00:29:18,800
Speaker 2: was recapping your catalog, I didn't realize how much, in

510
00:29:18,840 --> 00:29:22,520
Speaker 2: particular the Bomb Squad when Public Enemy was making Nation

511
00:29:22,560 --> 00:29:26,640
Speaker 2: of Millions, used a lot of your records as the

512
00:29:26,680 --> 00:29:30,560
Speaker 2: basis for their rhythms, which I just found out today

513
00:29:30,600 --> 00:29:36,320
Speaker 2: that from the back Popular Demand album, one of those

514
00:29:36,320 --> 00:29:38,360
Speaker 2: songs is the basis for the Night to Living bass

515
00:29:38,360 --> 00:29:41,800
Speaker 2: Heads remix, which is weird. They could have just sampled

516
00:29:41,840 --> 00:29:44,440
Speaker 2: James Brown, but they were like, all right, let's sample

517
00:29:44,680 --> 00:29:47,360
Speaker 2: this meta like, let's sample Curtis Blow sampling James Brown

518
00:29:47,400 --> 00:29:48,920
Speaker 2: with the extra kicks in there and all that stuff.

519
00:29:48,960 --> 00:29:51,040
Speaker 1: So anyway, I'm falling in a rabbit hole.

520
00:29:51,680 --> 00:29:55,680
Speaker 2: But my point is, yeah, you were one of the

521
00:29:55,800 --> 00:30:01,400
Speaker 2: very first rappers to travel overseas. So what is that

522
00:30:01,520 --> 00:30:05,880
Speaker 2: like literally being the Trojan Horse or the the Neil Armstrong,

523
00:30:06,080 --> 00:30:09,440
Speaker 2: the or the flag I don't want to say Christopher

524
00:30:09,480 --> 00:30:13,400
Speaker 2: Columbus because I don't believe I'm just saying on Columbus

525
00:30:13,520 --> 00:30:18,960
Speaker 2: day right exactly, like to be the flag bear of

526
00:30:19,160 --> 00:30:21,120
Speaker 2: Like was there a resistance?

527
00:30:21,280 --> 00:30:23,120
Speaker 1: Was there? Or did you find that You're.

528
00:30:23,200 --> 00:30:25,280
Speaker 2: Like they were really more open because you also at

529
00:30:25,240 --> 00:30:27,320
Speaker 2: the top of the pops right right right?

530
00:30:27,400 --> 00:30:28,480
Speaker 1: Yes? What was that like?

531
00:30:29,120 --> 00:30:31,479
Speaker 7: Man, it's like a dream world.

532
00:30:32,320 --> 00:30:32,560
Speaker 1: You know.

533
00:30:32,920 --> 00:30:35,760
Speaker 7: I tell people this many at times that that my

534
00:30:35,880 --> 00:30:40,640
Speaker 7: life is like a dream world. It's hard to understand

535
00:30:40,720 --> 00:30:44,080
Speaker 7: reality when you when you're you know, in the right

536
00:30:44,080 --> 00:30:47,000
Speaker 7: place at the right time, and you know, big shout

537
00:30:47,000 --> 00:30:49,680
Speaker 7: out to Debbie Harry who actually flew me out to

538
00:30:49,720 --> 00:30:53,200
Speaker 7: the UK for a big, big, big, big press conference.

539
00:30:53,360 --> 00:30:56,520
Speaker 7: And you know, being on a major label that means

540
00:30:56,760 --> 00:30:59,040
Speaker 7: you know, major press, that means we have a major

541
00:30:59,120 --> 00:31:03,200
Speaker 7: office and every major city around the world. And being

542
00:31:03,240 --> 00:31:05,520
Speaker 7: a college student, you know, I want to work the system.

543
00:31:05,560 --> 00:31:07,959
Speaker 7: And so I went to the publicity department. I said, man,

544
00:31:08,040 --> 00:31:11,440
Speaker 7: send me everywhere. I want to travel all over right,

545
00:31:11,600 --> 00:31:13,880
Speaker 7: you know. And when I got there, I sat up

546
00:31:13,920 --> 00:31:16,400
Speaker 7: in the conference room and we had all the press

547
00:31:16,680 --> 00:31:21,720
Speaker 7: you know, lined up from print, magazines, newspapers, radio, television.

548
00:31:22,240 --> 00:31:25,760
Speaker 7: It was incredible and awesome to just be a part

549
00:31:25,800 --> 00:31:28,640
Speaker 7: of all of that stuff. And it was documented, you know,

550
00:31:28,760 --> 00:31:31,400
Speaker 7: this new thing called hip hop and I was representing this.

551
00:31:31,560 --> 00:31:34,120
Speaker 1: So was it tiring, like trying to explain to people

552
00:31:35,040 --> 00:31:38,280
Speaker 1: know what this was? No in the history of it. No.

553
00:31:38,280 --> 00:31:44,120
Speaker 7: No, being a communications major as I love to talk,

554
00:31:46,520 --> 00:31:49,440
Speaker 7: so and then it was so very very important, like

555
00:31:49,480 --> 00:31:52,640
Speaker 7: you said, you know, we had to actually you know,

556
00:31:52,760 --> 00:31:56,320
Speaker 7: be good on stage, you know, because that was very

557
00:31:56,440 --> 00:32:01,080
Speaker 7: very important to the success of the culture. When people

558
00:32:01,120 --> 00:32:03,880
Speaker 7: see you live on stage and during that time, if

559
00:32:03,880 --> 00:32:06,760
Speaker 7: you didn't have a good show, people the next day

560
00:32:06,800 --> 00:32:08,479
Speaker 7: would not go out and buy your record.

561
00:32:08,920 --> 00:32:09,120
Speaker 1: Right.

562
00:32:09,480 --> 00:32:12,680
Speaker 7: That's how you know the music business operated. You know,

563
00:32:13,160 --> 00:32:16,480
Speaker 7: you go out on tour and you sing your new song,

564
00:32:16,600 --> 00:32:19,880
Speaker 7: your new album, and then the next day everyone goes

565
00:32:19,920 --> 00:32:22,320
Speaker 7: and buys a record. This is how they support it.

566
00:32:23,080 --> 00:32:26,280
Speaker 7: And so going out there on stage for the first

567
00:32:26,360 --> 00:32:31,040
Speaker 7: times and seeing these audiences and the audiences seeing me

568
00:32:31,240 --> 00:32:33,400
Speaker 7: for the first time, or seeing hip hop for the

569
00:32:33,440 --> 00:32:36,400
Speaker 7: first time, a lot of that, you know, where's your band,

570
00:32:37,920 --> 00:32:39,720
Speaker 7: you know, but at the end of the show they're

571
00:32:39,720 --> 00:32:43,120
Speaker 7: all saying, oh, you know, and and it was so

572
00:32:43,400 --> 00:32:46,080
Speaker 7: very important for us to rock the house. And that

573
00:32:46,240 --> 00:32:50,880
Speaker 7: was key to you know, my experience and being in

574
00:32:50,960 --> 00:32:53,719
Speaker 7: New York City around the Five Boroughs, just you know,

575
00:32:53,800 --> 00:32:56,880
Speaker 7: playing the clubs and you know, like the night Fever

576
00:32:57,000 --> 00:33:00,760
Speaker 7: Disco and the Hotel Diplomat three seventy one, Skull Fever,

577
00:33:01,440 --> 00:33:04,600
Speaker 7: you know, the block parties and the park jams.

578
00:33:04,680 --> 00:33:06,040
Speaker 1: Just being.

579
00:33:07,640 --> 00:33:11,200
Speaker 7: Used to handling a microphone and mic control and MC

580
00:33:11,440 --> 00:33:15,120
Speaker 7: means my control, and it was so very important I

581
00:33:15,520 --> 00:33:18,080
Speaker 7: just thank God that I had that experience seven eight

582
00:33:18,160 --> 00:33:21,479
Speaker 7: years in the biz before I made my first record.

583
00:33:21,640 --> 00:33:27,000
Speaker 2: So in touring behind the single, especially mainstream, assuming that

584
00:33:27,080 --> 00:33:31,640
Speaker 2: you did tours with regular acts and whatnot. Yeah, okay,

585
00:33:31,800 --> 00:33:35,360
Speaker 2: so I know now, I mean especially with I mean

586
00:33:35,400 --> 00:33:39,160
Speaker 2: even in modern times like watching the Wu Tang series

587
00:33:39,160 --> 00:33:41,960
Speaker 2: that's on TV right now, and it's to the point

588
00:33:42,000 --> 00:33:44,720
Speaker 2: now where at least of this recording where like there

589
00:33:44,800 --> 00:33:49,560
Speaker 2: is a starting the tour and what I call like

590
00:33:49,680 --> 00:33:53,400
Speaker 2: wrapper problems, like with the monitors not working and you know,

591
00:33:53,560 --> 00:33:56,920
Speaker 2: the proper channels for the DJ and you know all

592
00:33:56,960 --> 00:34:01,760
Speaker 2: those things and the MIC's not working. Like how difficult

593
00:34:02,000 --> 00:34:04,920
Speaker 2: was it as far as like opening first of all,

594
00:34:04,960 --> 00:34:09,359
Speaker 2: like what mainstream bands were you touring with back during

595
00:34:09,400 --> 00:34:09,920
Speaker 2: this period?

596
00:34:10,160 --> 00:34:12,920
Speaker 1: Like who were you opening for in America at least?

597
00:34:13,200 --> 00:34:20,000
Speaker 7: Okay, people like Cool and Gang and the Gap Band

598
00:34:20,200 --> 00:34:26,920
Speaker 7: and Comfunction. I remember going on tour in nineteen eighty,

599
00:34:26,840 --> 00:34:30,239
Speaker 7: the All Platinum Tour with the Commodoores. The Commodores were

600
00:34:30,360 --> 00:34:33,640
Speaker 7: really really hot Lineo Richie had all those ballads and stuff,

601
00:34:33,680 --> 00:34:36,600
Speaker 7: and while we did about one hundred and twenty shows

602
00:34:36,640 --> 00:34:38,879
Speaker 7: around the country and they took me places I never

603
00:34:38,960 --> 00:34:44,160
Speaker 7: heard of before, like Tupelo, Mississippi, you know, and a

604
00:34:44,160 --> 00:34:47,400
Speaker 7: lot of college towns. It was incredible just being a

605
00:34:47,440 --> 00:34:51,560
Speaker 7: part of that tour and meeting people. And for me,

606
00:34:51,840 --> 00:34:54,480
Speaker 7: it was like, you know, I had this thing I

607
00:34:54,520 --> 00:34:57,680
Speaker 7: had to. It became a mission of mine to meet

608
00:34:57,719 --> 00:35:00,680
Speaker 7: my heroes that I grew up all though, so singers

609
00:35:01,280 --> 00:35:03,239
Speaker 7: that I that I listened to as a kid. I

610
00:35:03,320 --> 00:35:05,600
Speaker 7: just wanted to meet them and hug them. And so

611
00:35:05,680 --> 00:35:08,200
Speaker 7: I had again, my record company set it up. The

612
00:35:08,239 --> 00:35:12,680
Speaker 7: publicity department, Beverly Page. She set it up with people

613
00:35:12,719 --> 00:35:16,560
Speaker 7: like I met Aretha Franklin really over and she invited

614
00:35:16,600 --> 00:35:19,400
Speaker 7: me for lunch over at Hitsville Studio and we sat

615
00:35:19,440 --> 00:35:20,719
Speaker 7: and talked for an hour.

616
00:35:20,600 --> 00:35:22,560
Speaker 1: And you know, and this just talk about her rapping son.

617
00:35:22,920 --> 00:35:26,560
Speaker 1: Oh yeah, I'm sorry.

618
00:35:27,000 --> 00:35:29,759
Speaker 2: Like, if you if you have any dealings, if you're

619
00:35:29,760 --> 00:35:31,720
Speaker 2: in the Hip Found Nation and you have any dealings

620
00:35:31,719 --> 00:35:34,680
Speaker 2: with Theretha Franklin, trust me, her son's name's going to

621
00:35:34,719 --> 00:35:35,120
Speaker 2: come up.

622
00:35:36,280 --> 00:35:39,520
Speaker 1: I know. Yeah, my sister went to high school with him.

623
00:35:39,719 --> 00:35:43,080
Speaker 1: Really yeah, he's looking for a deal right now.

624
00:35:43,400 --> 00:35:46,280
Speaker 9: Wait, how earlier on was the Aretha meeting? Because I'm wondering,

625
00:35:46,320 --> 00:35:48,600
Speaker 9: I'm like, how did she know that she needed to

626
00:35:48,640 --> 00:35:49,920
Speaker 9: have a conversation.

627
00:35:49,520 --> 00:35:53,359
Speaker 1: Eighty one, nineteen eighty one. Uh, you can't understand he

628
00:35:53,560 --> 00:35:55,000
Speaker 1: was a start out the gate.

629
00:35:55,360 --> 00:35:58,840
Speaker 9: I understand especial Franklin to understand that as a whole number.

630
00:35:58,600 --> 00:36:01,560
Speaker 2: Lie Like well, especially with roller skating culture like really

631
00:36:01,600 --> 00:36:04,560
Speaker 2: hitting its zenith in like nineteen, like The Breaks. To me,

632
00:36:05,640 --> 00:36:08,640
Speaker 2: that song was tailored me for roller skating culture, like

633
00:36:08,680 --> 00:36:14,080
Speaker 2: between seventy eight Boom and eighty three at least roller

634
00:36:14,120 --> 00:36:16,480
Speaker 2: skating culture. So it was like, I feel as though

635
00:36:16,840 --> 00:36:19,600
Speaker 2: that's roller skating cultures would allow boogie music, Like The

636
00:36:19,640 --> 00:36:24,040
Speaker 2: Breaks wasn't a disco song, so it wasn't like but

637
00:36:24,080 --> 00:36:25,600
Speaker 2: it still had a groove to it that was like

638
00:36:25,680 --> 00:36:29,080
Speaker 2: disco but slower so and it made it easier to

639
00:36:29,320 --> 00:36:30,200
Speaker 2: navigate on skates.

640
00:36:30,280 --> 00:36:31,879
Speaker 4: Yeah, all levels, all levels.

641
00:36:31,640 --> 00:36:35,880
Speaker 2: And so yeah, they're like I don't recall, like we

642
00:36:35,920 --> 00:36:39,120
Speaker 2: went roller skating every Sunday in the summer of nineteen

643
00:36:39,200 --> 00:36:42,760
Speaker 2: eighty and The Breaks had to been played five times,

644
00:36:43,760 --> 00:36:48,200
Speaker 2: five six times, like without between like Curtis Blow and

645
00:36:48,239 --> 00:36:49,120
Speaker 2: Rick James, Like it.

646
00:36:49,080 --> 00:36:51,960
Speaker 1: Was like the battle of who owned roller skates?

647
00:36:52,400 --> 00:36:55,319
Speaker 2: So how important our relationships Because I also know that

648
00:36:56,120 --> 00:37:00,440
Speaker 2: it's kind of weird. I'm a soul trained expert. So

649
00:37:00,480 --> 00:37:04,600
Speaker 2: here's the thing about your particular episode. So when Don's

650
00:37:04,600 --> 00:37:08,919
Speaker 2: talking to you, and this is something that he's known

651
00:37:09,000 --> 00:37:12,440
Speaker 2: for every episode, he kind of lets in a snarky

652
00:37:12,560 --> 00:37:13,919
Speaker 2: thing like I'm an old guy.

653
00:37:13,960 --> 00:37:16,200
Speaker 1: I don't understand, but you know, the kids love it.

654
00:37:16,239 --> 00:37:16,840
Speaker 1: I don't get it.

655
00:37:16,880 --> 00:37:22,640
Speaker 2: Whatever, But I mean, at least the resistance. How much

656
00:37:23,840 --> 00:37:26,160
Speaker 2: resistance did you have to go, not only to get

657
00:37:26,160 --> 00:37:28,360
Speaker 2: your record deal, but like, what was it just like

658
00:37:28,440 --> 00:37:32,799
Speaker 2: for people not to see the future because people hate

659
00:37:32,880 --> 00:37:35,640
Speaker 2: change more than anything. Well, even if it's good for.

660
00:37:35,680 --> 00:37:38,480
Speaker 7: Them, there's a story behind that.

661
00:37:39,560 --> 00:37:39,759
Speaker 1: You know.

662
00:37:39,800 --> 00:37:43,000
Speaker 7: Again, it is nineteen eighty right, and I was just

663
00:37:43,040 --> 00:37:44,560
Speaker 7: coming off a tour in Europe.

664
00:37:44,880 --> 00:37:45,960
Speaker 1: Okay, I think I.

665
00:37:46,160 --> 00:37:49,240
Speaker 7: Did about thirty shows in thirty three days or something.

666
00:37:49,880 --> 00:37:55,920
Speaker 7: Monumental tour. But during that time, but nearly over in

667
00:37:56,000 --> 00:38:00,279
Speaker 7: Europe was the hottest thing on the press with the rest.

668
00:38:00,880 --> 00:38:05,399
Speaker 7: Everyone was talking about them and their show, their live show,

669
00:38:05,480 --> 00:38:09,799
Speaker 7: their lip singing. Okay, right, and it was like the

670
00:38:09,840 --> 00:38:12,319
Speaker 7: record company came to me, the promoters came to me,

671
00:38:12,360 --> 00:38:14,600
Speaker 7: Oh you can't lip sing. Make sure you don't lip sing.

672
00:38:14,640 --> 00:38:16,440
Speaker 7: I'm telling you they're gonna boo you and this and that.

673
00:38:16,840 --> 00:38:18,960
Speaker 7: We don't play that over here in Europe, and you

674
00:38:19,040 --> 00:38:22,840
Speaker 7: got to do an hour and a half, you know, right,

675
00:38:23,200 --> 00:38:27,160
Speaker 7: And so I'm like, okay, no problem. And you know

676
00:38:27,239 --> 00:38:30,360
Speaker 7: I'm made for that because I have a on every song,

677
00:38:30,680 --> 00:38:34,200
Speaker 7: most every song about the ten first ten singles I have.

678
00:38:34,320 --> 00:38:36,920
Speaker 7: The B side has an instrumental and I rap live.

679
00:38:37,600 --> 00:38:41,040
Speaker 7: You know, we call it half playback. So I got

680
00:38:41,080 --> 00:38:44,440
Speaker 7: through the tour. But when I came back to America

681
00:38:44,760 --> 00:38:48,640
Speaker 7: and I'm setting up for Soul Train, I'm sitting in

682
00:38:48,680 --> 00:38:51,920
Speaker 7: the makeup room and Irene Carr is sitting right there,

683
00:38:51,920 --> 00:38:54,200
Speaker 7: and at the forefront of my mind, I'm thinking about,

684
00:38:54,440 --> 00:38:56,759
Speaker 7: you know, Millie Vanilli and what's going on there. And

685
00:38:56,800 --> 00:38:59,520
Speaker 7: I know that, you know, they lip sing on Soul

686
00:38:59,560 --> 00:39:03,160
Speaker 7: Train their policy. So here comes down Cotney. Oh well,

687
00:39:03,280 --> 00:39:06,160
Speaker 7: the stage manager comes in with the microphone and microphones,

688
00:39:06,200 --> 00:39:09,880
Speaker 7: got this phony little plug, right, It's all right, you

689
00:39:09,880 --> 00:39:12,360
Speaker 7: gotta lip sing and make sure you know you you

690
00:39:12,560 --> 00:39:15,400
Speaker 7: word the words, you know your mouth the words just

691
00:39:15,520 --> 00:39:18,640
Speaker 7: like the song, and and and and be in rhythm.

692
00:39:20,520 --> 00:39:24,600
Speaker 7: I'm like, look, we're weird, right, I am not gonna

693
00:39:24,640 --> 00:39:27,479
Speaker 7: lip sing. That's not what I do. This is hip hop.

694
00:39:27,520 --> 00:39:29,560
Speaker 7: We do hip hop here. This is live I need

695
00:39:29,760 --> 00:39:32,319
Speaker 7: and plus I got crowd response. I need to say

696
00:39:32,360 --> 00:39:35,160
Speaker 7: these these words the crowd response and have the whole

697
00:39:35,200 --> 00:39:37,279
Speaker 7: audience answer back to me.

698
00:39:37,440 --> 00:39:38,000
Speaker 1: You know what I mean.

699
00:39:38,040 --> 00:39:39,000
Speaker 7: It's very important.

700
00:39:39,080 --> 00:39:39,839
Speaker 1: This is hip hop.

701
00:39:39,920 --> 00:39:43,160
Speaker 7: I'm not lip singing. And they were like, oh, Don

702
00:39:43,200 --> 00:39:45,200
Speaker 7: Cornelius came in, what do you mean You're not gonna

703
00:39:45,200 --> 00:39:47,920
Speaker 7: live sing. This is our rules, this is our policy.

704
00:39:48,000 --> 00:39:51,880
Speaker 7: They're just say, well, look, mister Cornelius, I'm going home.

705
00:39:54,560 --> 00:39:57,439
Speaker 7: How about that one? Irene Carroll looked at me like, boy,

706
00:39:57,520 --> 00:39:59,560
Speaker 7: you crazy, right?

707
00:40:00,200 --> 00:40:02,000
Speaker 1: And so because.

708
00:40:01,840 --> 00:40:05,200
Speaker 7: Isn't it everyone's dream to be on Soul Training. Yes, yes,

709
00:40:05,280 --> 00:40:07,239
Speaker 7: and and it was a big thing. But I did

710
00:40:07,400 --> 00:40:12,320
Speaker 7: not want to get the Europeans and and and and America.

711
00:40:12,480 --> 00:40:15,959
Speaker 7: Hasn't you know, gotten his news yet about Milli Vanilli yet,

712
00:40:16,160 --> 00:40:20,600
Speaker 7: Well you're predating and you mean stuff. I didn't want

713
00:40:20,640 --> 00:40:24,279
Speaker 7: to have that that reputation. So I was the first

714
00:40:24,360 --> 00:40:27,719
Speaker 7: artist to sing live the breaks on Soul Train. So

715
00:40:27,760 --> 00:40:30,520
Speaker 7: that's why Don comes out with snorky. You want to

716
00:40:30,560 --> 00:40:33,359
Speaker 7: know what everybody's making so much big fuss about this?

717
00:40:34,000 --> 00:40:34,560
Speaker 7: He said.

718
00:40:36,600 --> 00:40:39,960
Speaker 1: It was a little it wasn't like.

719
00:40:40,239 --> 00:40:42,400
Speaker 7: And I was shocked because I looked at him like

720
00:40:43,440 --> 00:40:44,319
Speaker 7: I didn't know you did.

721
00:40:46,200 --> 00:40:46,560
Speaker 4: Right.

722
00:40:47,080 --> 00:40:49,840
Speaker 2: So by this point, was Run your DJ? On this

723
00:40:49,920 --> 00:40:50,600
Speaker 2: initial Run?

724
00:40:51,000 --> 00:40:53,160
Speaker 1: Yes? Yes, yeah?

725
00:40:53,440 --> 00:40:56,440
Speaker 7: Oh but no no, no, no, after that, after the

726
00:40:56,640 --> 00:41:00,319
Speaker 7: before the Commondoer's tour. Here's a story about Run was

727
00:41:00,320 --> 00:41:04,200
Speaker 7: my DJ before the Commodore's tour All Platinum tour. So

728
00:41:04,520 --> 00:41:07,440
Speaker 7: Run was out playing basketball with this guy down the

729
00:41:07,440 --> 00:41:12,719
Speaker 7: block named Jason Mizelle. Right, So he breaks his arm

730
00:41:12,800 --> 00:41:16,480
Speaker 7: playing basketball, and so I'm like, yo, we gotta go

731
00:41:16,560 --> 00:41:17,120
Speaker 7: on tour.

732
00:41:17,280 --> 00:41:17,480
Speaker 1: Man.

733
00:41:18,280 --> 00:41:20,520
Speaker 7: I was asking his dad. His dad's no, you can't

734
00:41:20,600 --> 00:41:22,239
Speaker 7: go out onto please Dad, let me go.

735
00:41:22,400 --> 00:41:22,839
Speaker 1: Let me go.

736
00:41:22,920 --> 00:41:24,680
Speaker 7: He said no, no, you got to stay in school.

737
00:41:24,680 --> 00:41:27,319
Speaker 7: He said no, please dad, let me go on to you. Look,

738
00:41:27,360 --> 00:41:29,920
Speaker 7: you got one arm, you can't DJ. Yes, I can't

739
00:41:29,920 --> 00:41:33,880
Speaker 7: look back right right. And so he didn't get to

740
00:41:33,920 --> 00:41:36,399
Speaker 7: go and he stayed home. So when I got back

741
00:41:36,440 --> 00:41:40,399
Speaker 7: off a tour about about four months later, that's when

742
00:41:40,719 --> 00:41:45,280
Speaker 7: I heard that he started a group called Run DMC

743
00:41:46,360 --> 00:41:50,319
Speaker 7: with his fellas that were up in the attic practicing

744
00:41:50,400 --> 00:41:54,600
Speaker 7: and hanging out with him. And so the story is,

745
00:41:54,680 --> 00:41:58,160
Speaker 7: if if Run didn't break his arm, there would be

746
00:41:58,239 --> 00:41:58,960
Speaker 7: no run DMC.

747
00:42:00,320 --> 00:42:01,839
Speaker 1: He had just been your DJ. Yeah.

748
00:42:02,239 --> 00:42:04,279
Speaker 2: If Russell didn't have enough pool to be like dad,

749
00:42:04,320 --> 00:42:07,160
Speaker 2: I'll take care of him. Like was Russell also traveling

750
00:42:07,160 --> 00:42:07,800
Speaker 2: with you at.

751
00:42:07,640 --> 00:42:09,879
Speaker 7: The non Dad was running the show?

752
00:42:10,000 --> 00:42:10,680
Speaker 1: Yeah? Yeah, dad.

753
00:42:10,760 --> 00:42:14,919
Speaker 7: Dad was very powerful. He bought Run the Turntables.

754
00:42:15,280 --> 00:42:18,600
Speaker 9: Three brothers right like Danny Russell and run right. And

755
00:42:19,200 --> 00:42:22,360
Speaker 9: this is because I was getting okay, yeah, okay, I

756
00:42:22,400 --> 00:42:23,120
Speaker 9: was wondering.

757
00:42:22,960 --> 00:42:26,360
Speaker 7: Russell's the middle child and Joey is the run the youngest.

758
00:42:26,440 --> 00:42:28,839
Speaker 7: Can I ask you a question that explain so much

759
00:42:30,080 --> 00:42:31,279
Speaker 7: Russell's the middle child? Oh?

760
00:42:31,360 --> 00:42:35,520
Speaker 1: Yeah, you gotta make yourself distinct. What's your question about touring?

761
00:42:35,600 --> 00:42:38,399
Speaker 9: Because I know, since you were the first to ever

762
00:42:38,480 --> 00:42:41,320
Speaker 9: tour like this internationally, there had to be like some mistakes.

763
00:42:41,360 --> 00:42:42,120
Speaker 4: There had to be like some.

764
00:42:42,120 --> 00:42:44,120
Speaker 9: Moments where you and you and Russell were like, okay,

765
00:42:44,120 --> 00:42:46,000
Speaker 9: so we're not going to do this like that again.

766
00:42:46,120 --> 00:42:48,640
Speaker 9: Like there were just so many new things to you guys,

767
00:42:48,640 --> 00:42:50,120
Speaker 9: Like did you even know about writers?

768
00:42:50,120 --> 00:42:52,120
Speaker 4: Did you know? Like what didn't you know that you

769
00:42:52,200 --> 00:42:52,680
Speaker 4: learned in.

770
00:42:52,640 --> 00:42:57,359
Speaker 7: Your first Yes, I had to learn it all.

771
00:42:57,560 --> 00:43:02,319
Speaker 1: I learned it all. Fly. Oh it was incredible.

772
00:43:02,600 --> 00:43:07,960
Speaker 7: I was I was the most sought after live act

773
00:43:08,200 --> 00:43:12,720
Speaker 7: because it was just me and my DJ, just two people,

774
00:43:13,040 --> 00:43:15,680
Speaker 7: two people, two turntables in a microphone.

775
00:43:16,040 --> 00:43:19,080
Speaker 9: Really yes, so not the first to start the entourage,

776
00:43:19,840 --> 00:43:21,880
Speaker 9: right right, So you easy to work with.

777
00:43:22,520 --> 00:43:29,520
Speaker 7: But then Russell in eighty one, Oh boy, yeah, so

778
00:43:29,600 --> 00:43:33,280
Speaker 7: here he comes with Larry Smith. Larry Smith was playing bass,

779
00:43:33,719 --> 00:43:37,920
Speaker 7: play bass on the breaks and Christmas rap and.

780
00:43:37,160 --> 00:43:40,560
Speaker 1: So Larry Smith produced Orange Crust was the band for

781
00:43:40,920 --> 00:43:42,640
Speaker 1: all those for Christmas rap.

782
00:43:42,800 --> 00:43:45,319
Speaker 7: No no, no, no, no, no, not Orange Crushed. That

783
00:43:45,360 --> 00:43:51,000
Speaker 7: came after Russell took forty thousand dollars of my money

784
00:43:52,080 --> 00:43:54,720
Speaker 7: and bought all his band and he gave it to Larry.

785
00:43:54,760 --> 00:43:57,799
Speaker 7: Larry bought the band equipment and they said, all right,

786
00:43:57,800 --> 00:44:01,319
Speaker 7: you're going out with the band. I'm like, what, how

787
00:44:01,360 --> 00:44:05,160
Speaker 7: could you do that? I didn't okay this? He said, way, Hey,

788
00:44:07,080 --> 00:44:10,640
Speaker 7: I'm the manager.

789
00:44:10,800 --> 00:44:14,400
Speaker 2: You built Larry Larry uh Smith's career.

790
00:44:15,280 --> 00:44:21,200
Speaker 7: Well, I got to give props to him because he

791
00:44:21,280 --> 00:44:27,759
Speaker 7: was excellent musician, incredible producer. You know. I remember many

792
00:44:27,760 --> 00:44:30,239
Speaker 7: of the nights we sat up and talked about, you know,

793
00:44:30,960 --> 00:44:34,360
Speaker 7: my sound and trying to get a sound that was

794
00:44:34,400 --> 00:44:39,480
Speaker 7: in between James Brown and Chic and Larry was the man.

795
00:44:39,560 --> 00:44:40,719
Speaker 1: He was definitely the man.

796
00:44:40,760 --> 00:44:44,040
Speaker 2: I love him so who worked on like Christmas wrapping

797
00:44:44,120 --> 00:44:45,239
Speaker 2: and rapping blow.

798
00:44:45,000 --> 00:44:47,600
Speaker 7: And yeah, that was Larry. Larry was on the base.

799
00:44:48,400 --> 00:44:53,319
Speaker 7: But you had John Trope, I was on guitar. And

800
00:44:53,360 --> 00:44:58,040
Speaker 7: we had Jimmy Braylile who actually went on to become

801
00:44:58,080 --> 00:45:05,040
Speaker 7: a Len drum an drum programmer, and he was on drums.

802
00:45:05,120 --> 00:45:08,080
Speaker 7: And you know, so during that time, you know, we

803
00:45:08,120 --> 00:45:11,280
Speaker 7: recorded in the studio like the seventies, in the sixties,

804
00:45:11,280 --> 00:45:13,680
Speaker 7: it was a live band, you know what I mean,

805
00:45:13,760 --> 00:45:16,520
Speaker 7: And and and we had to rehearse and you know,

806
00:45:16,920 --> 00:45:19,839
Speaker 7: let's play it one more time and record it and

807
00:45:19,880 --> 00:45:21,120
Speaker 7: hopefully it would come out.

808
00:45:21,160 --> 00:45:24,400
Speaker 6: Okay, I'm sorry, And we do White Guy in the

809
00:45:24,440 --> 00:45:28,560
Speaker 6: Corner As a question, Yes, John Tropia.

810
00:45:28,719 --> 00:45:29,680
Speaker 1: Yeah, the guitarist.

811
00:45:29,760 --> 00:45:32,560
Speaker 6: Yes, so was he the guitar He's a to me,

812
00:45:32,600 --> 00:45:36,439
Speaker 6: he's the famous jazz guitarist, right and.

813
00:45:35,880 --> 00:45:39,360
Speaker 7: He's on the breaks. Wow, that's his work, that's his

814
00:45:40,040 --> 00:45:41,880
Speaker 7: his work on the break.

815
00:45:43,840 --> 00:45:50,640
Speaker 2: Run DMC stuff that was not well Edie did Martinez,

816
00:45:51,560 --> 00:45:53,000
Speaker 2: Eddie Martinez Eddie.

817
00:45:53,719 --> 00:45:57,840
Speaker 6: Wow, No, I need to process. I'm not schooling on anything,

818
00:45:57,360 --> 00:46:00,040
Speaker 6: but I don't know too much about about him, I

819
00:46:00,160 --> 00:46:01,120
Speaker 6: just I have a few records.

820
00:46:01,160 --> 00:46:03,799
Speaker 4: You know, he don't get blown away easily, but it

821
00:46:03,880 --> 00:46:04,440
Speaker 4: is Curtis.

822
00:46:04,880 --> 00:46:08,640
Speaker 7: That's just so really yeah, unexpected, it was unexpected name yeah, yeah,

823
00:46:08,640 --> 00:46:12,480
Speaker 7: but he's a legend, definitely a legend. And you know,

824
00:46:12,800 --> 00:46:17,399
Speaker 7: I remember seeing him in the studio because of my producer, JB.

825
00:46:17,560 --> 00:46:20,560
Speaker 7: Moore was also a guitar player, and he couldn't do

826
00:46:20,600 --> 00:46:24,160
Speaker 7: the guitars right the way we wanted it and the

827
00:46:24,200 --> 00:46:27,560
Speaker 7: way he wanted it actually, and so when John came

828
00:46:27,600 --> 00:46:28,839
Speaker 7: in and played.

829
00:46:28,560 --> 00:46:38,760
Speaker 11: It perfect, perfect rhythm, and it was just immaculate drives.

830
00:46:39,880 --> 00:46:42,920
Speaker 2: So for your first album, like, whose idea was it

831
00:46:42,960 --> 00:46:44,560
Speaker 2: to do? Like taking care of business?

832
00:46:46,680 --> 00:46:46,960
Speaker 9: Girl?

833
00:46:47,200 --> 00:46:48,839
Speaker 4: What's the other one? That the slow one?

834
00:46:48,880 --> 00:46:50,480
Speaker 1: That's like all.

835
00:46:53,120 --> 00:46:54,359
Speaker 7: Fine that girl.

836
00:46:55,520 --> 00:46:57,800
Speaker 2: People don't even credit that as the first love ballot.

837
00:46:58,000 --> 00:47:00,239
Speaker 2: So it's like for you, you were making in a

838
00:47:00,280 --> 00:47:03,600
Speaker 2: format that was palatable. The radio was like Frankie Crocker

839
00:47:03,640 --> 00:47:05,120
Speaker 2: in your mind, like okay was.

840
00:47:05,239 --> 00:47:08,120
Speaker 1: The label saying we need something that you know right? Well?

841
00:47:08,560 --> 00:47:10,839
Speaker 7: It was all by design, of course, you know, we

842
00:47:10,880 --> 00:47:14,800
Speaker 7: wanted to you know, have a fusion with other forms

843
00:47:14,800 --> 00:47:17,439
Speaker 7: of music because it was so brand new, this thing

844
00:47:17,560 --> 00:47:21,399
Speaker 7: hip hop and rap, you know, so why not rap

845
00:47:21,440 --> 00:47:24,040
Speaker 7: over a rock and roll song? Why not have a

846
00:47:24,520 --> 00:47:26,680
Speaker 7: reggae rap? Or I was the first to do a

847
00:47:26,719 --> 00:47:30,400
Speaker 7: country in Western rap, that Way Out West song. You know,

848
00:47:31,120 --> 00:47:34,360
Speaker 7: you know we we we just tried to be different

849
00:47:34,480 --> 00:47:36,279
Speaker 7: and tried to give something new.

850
00:47:37,000 --> 00:47:37,719
Speaker 1: Was a limit, man.

851
00:47:38,719 --> 00:47:41,200
Speaker 9: I feel in retrospect, though, do you see how like

852
00:47:41,360 --> 00:47:43,160
Speaker 9: free you were in that moment, Because I feel like

853
00:47:43,160 --> 00:47:45,840
Speaker 9: a lot of EMC's today out the gate couldn't just

854
00:47:45,840 --> 00:47:47,800
Speaker 9: say I'm producing that in this different genre.

855
00:47:47,840 --> 00:47:49,799
Speaker 4: I'm like, they won't they wi be allowed to?

856
00:47:50,160 --> 00:47:52,920
Speaker 7: Well, here's the thing. I always wanted to be a singer,

857
00:47:53,840 --> 00:47:59,480
Speaker 7: and I remember singing those singing songs that every album

858
00:47:59,480 --> 00:48:03,479
Speaker 7: I'm put on the singing But listen, folks, it took

859
00:48:03,560 --> 00:48:06,240
Speaker 7: me a couple of weeks to do those.

860
00:48:18,960 --> 00:48:24,799
Speaker 2: So in eighty three, uh in Philadelphia, Uh, Party Time record, Yes,

861
00:48:25,000 --> 00:48:27,960
Speaker 2: which of course you know, well you would know that

862
00:48:28,640 --> 00:48:32,879
Speaker 2: Tracy Lee like try to bring try to bring that back.

863
00:48:33,280 --> 00:48:36,759
Speaker 2: So that was the first time I ever heard Full

864
00:48:36,800 --> 00:48:40,160
Speaker 2: Force on record. So how did you how did you

865
00:48:40,200 --> 00:48:42,040
Speaker 2: hook up with those guys as far as like did

866
00:48:42,040 --> 00:48:42,960
Speaker 2: they produce that record?

867
00:48:42,960 --> 00:48:45,239
Speaker 1: Were they just a band? Or like what was how

868
00:48:45,320 --> 00:48:45,799
Speaker 1: did you guys.

869
00:48:46,719 --> 00:48:49,480
Speaker 7: They became producers after that because we sat in the

870
00:48:49,480 --> 00:48:53,040
Speaker 7: studio and talked about you know, uh JB. Moore and

871
00:48:53,120 --> 00:48:55,600
Speaker 7: Robert Ford and what they were doing on my stuff

872
00:48:55,640 --> 00:48:58,000
Speaker 7: and how they wanted to do the same thing but

873
00:48:58,120 --> 00:49:01,279
Speaker 7: differently more funkier or more creative.

874
00:49:02,239 --> 00:49:02,520
Speaker 1: Uh.

875
00:49:02,560 --> 00:49:06,160
Speaker 7: So they were incredible. I met them through JB. Moore

876
00:49:06,160 --> 00:49:11,600
Speaker 7: and Robert Ford and very very very talented musicians and singers,

877
00:49:11,640 --> 00:49:14,319
Speaker 7: and it was incredible just to be a part of that.

878
00:49:14,400 --> 00:49:17,080
Speaker 7: But the Go Go song, talk about it, Trouble for Wow,

879
00:49:17,560 --> 00:49:21,480
Speaker 7: Trouble that was EU you So here it is on

880
00:49:21,840 --> 00:49:25,040
Speaker 7: my birthday, I turned twenty one years old. I had

881
00:49:25,040 --> 00:49:28,520
Speaker 7: the number one record in the country, and so I'm

882
00:49:28,560 --> 00:49:31,719
Speaker 7: going down to play the Capitol Center down in d C.

883
00:49:32,680 --> 00:49:35,480
Speaker 7: So I had my band, remember the Orange Crushed band.

884
00:49:35,520 --> 00:49:38,279
Speaker 7: I ain't got ten Bali's and oh man, we got

885
00:49:38,719 --> 00:49:40,080
Speaker 7: eight eight nine pieces.

886
00:49:40,160 --> 00:49:40,719
Speaker 1: Right.

887
00:49:40,800 --> 00:49:44,560
Speaker 7: We rolled down into the Capital Center and I'm headlining

888
00:49:45,040 --> 00:49:48,760
Speaker 7: this concert and they have all these local bands there

889
00:49:49,480 --> 00:49:51,799
Speaker 7: and I didn't know what they were, you know what

890
00:49:51,840 --> 00:49:53,960
Speaker 7: it was. So I'm walking the spot.

891
00:49:54,000 --> 00:49:54,480
Speaker 1: I'm here.

892
00:49:57,200 --> 00:50:00,920
Speaker 7: First time, that first time I'm here in gog Tell

893
00:50:00,960 --> 00:50:06,520
Speaker 7: me you were you the whole crowd is going crazy.

894
00:50:06,560 --> 00:50:08,600
Speaker 7: I'm saying, oh, I'm about to tear this.

895
00:50:10,880 --> 00:50:11,080
Speaker 1: Right.

896
00:50:12,000 --> 00:50:14,080
Speaker 7: So they were going crazy and it was a band

897
00:50:14,080 --> 00:50:18,960
Speaker 7: called Trouble Funk. Then another band came on, you Freeze right.

898
00:50:19,080 --> 00:50:27,960
Speaker 7: They went on the same thing, and the crowd is

899
00:50:27,960 --> 00:50:30,880
Speaker 7: going crazy again, even more crazy. So I'm like, wow,

900
00:50:31,000 --> 00:50:34,520
Speaker 7: Chuck Brown was it? Oh my god, right the Godfather.

901
00:50:34,640 --> 00:50:37,120
Speaker 7: He comes out and tears up the spot too. So

902
00:50:37,200 --> 00:50:39,800
Speaker 7: it's my turn. So I locked.

903
00:50:39,360 --> 00:50:43,680
Speaker 1: It, let me music up.

904
00:50:45,480 --> 00:50:48,640
Speaker 7: I throw on Christmas Wrapping. Were playing Christmas Wrapping. The

905
00:50:48,760 --> 00:50:51,840
Speaker 7: band is tight, clean and everything, but the crowd is

906
00:50:51,920 --> 00:50:59,680
Speaker 7: like this looking at us like I'm like, oh my gosh,

907
00:50:59,680 --> 00:51:01,840
Speaker 7: I'm we better get to the breaks and you know

908
00:51:01,960 --> 00:51:05,279
Speaker 7: quick on this one here, right, So I'm speeding through

909
00:51:05,280 --> 00:51:07,560
Speaker 7: the set and then we throw on the brakes. Clap

910
00:51:07,640 --> 00:51:10,279
Speaker 7: your hands there were right, right, and then like.

911
00:51:13,000 --> 00:51:15,040
Speaker 1: Still right. Number one record in country.

912
00:51:15,080 --> 00:51:18,319
Speaker 7: And so that night I got my butt tore up

913
00:51:18,800 --> 00:51:21,960
Speaker 7: three or four different times. And for me it was

914
00:51:22,040 --> 00:51:24,640
Speaker 7: like my mom's always said that you can't beat them,

915
00:51:24,719 --> 00:51:25,120
Speaker 7: join them.

916
00:51:25,400 --> 00:51:26,120
Speaker 1: Hell yeah.

917
00:51:26,280 --> 00:51:28,880
Speaker 7: So I got all that numbers.

918
00:51:29,000 --> 00:51:30,000
Speaker 1: Nice. Nice.

919
00:51:30,360 --> 00:51:33,319
Speaker 7: Next year, I called my boys sugar.

920
00:51:33,000 --> 00:51:36,080
Speaker 1: Bear and Sugar Band playing party.

921
00:51:36,440 --> 00:51:41,759
Speaker 7: We did party time damn. Okay, yeah, okay, and it's

922
00:51:41,840 --> 00:51:45,640
Speaker 7: just wonderful to have them in the studio just doing

923
00:51:45,680 --> 00:51:46,399
Speaker 7: that thing live.

924
00:51:46,480 --> 00:51:48,760
Speaker 4: And how many pieces in the studio in that moment?

925
00:51:49,000 --> 00:51:51,320
Speaker 7: Oh yeah, it was like seven eight pieces.

926
00:51:52,120 --> 00:51:54,120
Speaker 9: Yeah, and so you were the first for that too,

927
00:51:54,120 --> 00:51:57,200
Speaker 9: I'm guessing the first to do a Go Go collap.

928
00:51:57,040 --> 00:52:01,839
Speaker 2: Well, because Flashing them did they did a live version. Well,

929
00:52:02,680 --> 00:52:06,480
Speaker 2: they actually signed Trouble Funk two records. The first live

930
00:52:06,920 --> 00:52:10,040
Speaker 2: Go Go that I've heard it was Trouble Funk Live

931
00:52:10,200 --> 00:52:10,960
Speaker 2: on Sugar Hills.

932
00:52:11,040 --> 00:52:13,200
Speaker 1: So the Robinson's got there early on that.

933
00:52:13,560 --> 00:52:19,319
Speaker 7: And then actually actually the first sample loop right was

934
00:52:19,400 --> 00:52:22,360
Speaker 7: on the song if I Ruled the World, and and

935
00:52:22,719 --> 00:52:26,040
Speaker 7: the sample was Trouble Funk you know that Pump Pump

936
00:52:26,040 --> 00:52:36,480
Speaker 7: Pump push. I took the percussion part and laid it

937
00:52:36,600 --> 00:52:38,320
Speaker 7: under if I Rule the World.

938
00:52:43,040 --> 00:52:47,359
Speaker 2: Okay, Okay, how did that feel for you to have

939
00:52:47,480 --> 00:52:51,160
Speaker 2: that song come back and for people to learn that

940
00:52:51,239 --> 00:52:54,279
Speaker 2: you're you know, you're the origin of of of.

941
00:52:54,160 --> 00:52:58,560
Speaker 1: That particular song, because that's all means so much to fans.

942
00:52:58,600 --> 00:53:08,839
Speaker 12: And he got better harmonies okay, you know it was

943
00:53:09,120 --> 00:53:10,600
Speaker 12: just you and Alison Williams.

944
00:53:10,800 --> 00:53:18,759
Speaker 1: Actually right, that's Alison singing yes, yes, yes, yes, and

945
00:53:18,880 --> 00:53:20,520
Speaker 1: Audrey Wheeler Yes.

946
00:53:21,640 --> 00:53:24,399
Speaker 4: Yes, yes, yes, and harmonies were better.

947
00:53:27,680 --> 00:53:29,160
Speaker 1: It was awesome.

948
00:53:29,200 --> 00:53:32,080
Speaker 7: It's it's the ultimate inflattery to to hear your song

949
00:53:32,120 --> 00:53:35,319
Speaker 7: on the radio that you recorded some time ago. I

950
00:53:35,400 --> 00:53:37,719
Speaker 7: remember when Sony sent me the tape. They sent me

951
00:53:37,719 --> 00:53:41,680
Speaker 7: a cassette tape, and it was awesome. I sat there

952
00:53:41,680 --> 00:53:45,280
Speaker 7: and played the tape in my car for about three hours,

953
00:53:45,719 --> 00:53:47,600
Speaker 7: kept rewinding and rewinding it.

954
00:53:48,200 --> 00:53:48,400
Speaker 12: You know.

955
00:53:48,560 --> 00:53:51,120
Speaker 7: It was like, Oh my god, that's gotta be Laurence Hill.

956
00:53:51,600 --> 00:53:54,520
Speaker 1: That's gotta be Laurence Hill. You know. So I called

957
00:53:54,560 --> 00:53:54,960
Speaker 1: them back.

958
00:53:55,000 --> 00:53:58,160
Speaker 7: I said, look, Sony, you guys got a big, major, major,

959
00:53:58,239 --> 00:54:00,920
Speaker 7: monster hit on you. You better put all your promotion in

960
00:54:01,000 --> 00:54:05,520
Speaker 7: this because this is going platinum. It went triple platinum.

961
00:54:05,640 --> 00:54:08,040
Speaker 9: Yeah, Now, did you think that we're too close or

962
00:54:08,760 --> 00:54:10,120
Speaker 9: the same thing?

963
00:54:10,160 --> 00:54:12,160
Speaker 7: You heard it, but I didn't hear it. I didn't

964
00:54:12,200 --> 00:54:15,840
Speaker 7: hear that song. Like like I sat and you know,

965
00:54:15,920 --> 00:54:18,040
Speaker 7: listened to if I the World because I feel like the.

966
00:54:18,080 --> 00:54:20,600
Speaker 9: Checks are the same, like that song that's played more

967
00:54:20,640 --> 00:54:23,319
Speaker 9: than the World right about next to close.

968
00:54:23,440 --> 00:54:26,320
Speaker 7: It was. It was huge, yet one song of the

969
00:54:26,400 --> 00:54:29,080
Speaker 7: year I think in nineties something Jesus Christ.

970
00:54:29,080 --> 00:54:31,680
Speaker 2: I forgot about Next Day Christ.

971
00:54:35,560 --> 00:54:37,640
Speaker 9: That song like the song that you get annoyed because

972
00:54:37,640 --> 00:54:38,640
Speaker 9: it just played all the time.

973
00:54:39,719 --> 00:54:40,759
Speaker 1: That the dance work.

974
00:54:40,880 --> 00:54:42,880
Speaker 2: You know, as a DJ, I need that song. So

975
00:54:42,920 --> 00:54:48,320
Speaker 2: I get it. I know, uh, I don't want to

976
00:54:48,320 --> 00:54:50,759
Speaker 2: skip eighty four. And I know that your involvement in

977
00:54:50,800 --> 00:54:53,640
Speaker 2: the King celebration thing, yes, it was important. Can you

978
00:54:53,640 --> 00:54:56,080
Speaker 2: tell the story. I've heard the story about you personally

979
00:54:56,480 --> 00:54:57,920
Speaker 2: like Prince funding miss.

980
00:54:57,719 --> 00:54:59,640
Speaker 4: Is this celebrates yeah King?

981
00:54:59,719 --> 00:55:02,600
Speaker 1: Yes, So how did the idea come to be?

982
00:55:03,360 --> 00:55:06,560
Speaker 7: Well, I got a phone call from Dexter Scott King,

983
00:55:07,320 --> 00:55:17,799
Speaker 7: Martin Luther King's son, and it was incredible. Here he goes, hello, Curtis,

984
00:55:18,600 --> 00:55:22,680
Speaker 7: this is Dexter Scott King and I'm the son of

985
00:55:22,840 --> 00:55:26,480
Speaker 7: Martin Luther King. And he sounds like I want you

986
00:55:26,560 --> 00:55:27,800
Speaker 7: to produce.

987
00:55:27,440 --> 00:55:28,919
Speaker 1: A song about my fall.

988
00:55:30,880 --> 00:55:36,719
Speaker 7: So no, no, I hung up on him, right. I

989
00:55:36,760 --> 00:55:38,239
Speaker 7: thought it was a prank. He called me back. I

990
00:55:38,320 --> 00:55:41,600
Speaker 7: hung on him again. So the third time I listened

991
00:55:41,640 --> 00:55:43,640
Speaker 7: to him, I was like, well, he's got to be real.

992
00:55:43,719 --> 00:55:48,320
Speaker 7: He's calling three times. So we got together, became good friends.

993
00:55:48,680 --> 00:55:51,360
Speaker 7: To another guy, Philip Jones, who was the other producer

994
00:55:51,400 --> 00:55:54,320
Speaker 7: on the set, and I went to back to Mercury

995
00:55:54,400 --> 00:56:01,040
Speaker 7: PolyGram and convinced them to sponsor this song, and uh

996
00:56:01,440 --> 00:56:05,080
Speaker 7: they paid for the studio and I called all the

997
00:56:05,200 --> 00:56:09,680
Speaker 7: artists it was no one said no. So the idea

998
00:56:09,800 --> 00:56:11,840
Speaker 7: was to use all the people that weren't in We

999
00:56:12,000 --> 00:56:14,160
Speaker 7: Are the World right.

1000
00:56:14,560 --> 00:56:14,799
Speaker 2: And so.

1001
00:56:17,360 --> 00:56:22,880
Speaker 7: Houston Whitney said yes, and uh Stephanie Mills said yes, man,

1002
00:56:22,880 --> 00:56:26,200
Speaker 7: no with Ricky it was incredible.

1003
00:56:26,320 --> 00:56:27,040
Speaker 1: You give us one note?

1004
00:56:27,040 --> 00:56:30,719
Speaker 2: Who was the one artist is like mm, yeah, I'll

1005
00:56:30,719 --> 00:56:32,400
Speaker 2: make it and then didn't know.

1006
00:56:32,760 --> 00:56:36,279
Speaker 7: Everyone said yeah, it was incredible. It's such a meaningful song,

1007
00:56:37,000 --> 00:56:40,000
Speaker 7: you know. To be a part of that, and it was.

1008
00:56:40,080 --> 00:56:42,000
Speaker 7: It was a lot of fun to make, you know.

1009
00:56:43,440 --> 00:56:43,560
Speaker 4: Uh.

1010
00:56:43,840 --> 00:56:46,400
Speaker 7: So, so the record company did not want to pay.

1011
00:56:46,239 --> 00:56:49,120
Speaker 1: For the video the music video, okay, so.

1012
00:56:50,520 --> 00:56:55,040
Speaker 7: Uh dexter dex went and and and got with Prince

1013
00:56:56,160 --> 00:56:59,440
Speaker 7: and asked Prince when he paid for it. And he

1014
00:56:59,520 --> 00:57:01,399
Speaker 7: calls me up and said, Prince said he's gonna put

1015
00:57:01,440 --> 00:57:05,480
Speaker 7: up ninety thousand dollars for his music video. And I

1016
00:57:05,600 --> 00:57:09,880
Speaker 7: was like, oh my gosh, yes it did. And Prince

1017
00:57:09,920 --> 00:57:13,480
Speaker 7: and I became friends after that. I mean, he was

1018
00:57:13,560 --> 00:57:17,240
Speaker 7: really really a nice guy. I forgot and you know me,

1019
00:57:17,320 --> 00:57:19,960
Speaker 7: I'm trying to, you know, hang out with all the

1020
00:57:20,000 --> 00:57:22,360
Speaker 7: stars that I could. And so I went back to

1021
00:57:22,400 --> 00:57:23,800
Speaker 7: my record company and said, ook o.

1022
00:57:23,840 --> 00:57:26,200
Speaker 1: Something for me and Prince. We got to do something together.

1023
00:57:26,560 --> 00:57:29,680
Speaker 7: So they did Beverly Page. She hooked up this picture

1024
00:57:30,200 --> 00:57:33,880
Speaker 7: autograph session with me and Prince. I think we were

1025
00:57:33,920 --> 00:57:37,160
Speaker 7: in Detroit somewhere, and the club was packed. There's a

1026
00:57:37,240 --> 00:57:45,080
Speaker 7: line outside of all these women, right, and so Prince

1027
00:57:45,160 --> 00:57:49,000
Speaker 7: signs about fifteen hundred autographs and takes about fifteen hundred

1028
00:57:49,080 --> 00:57:53,360
Speaker 7: pictures and me, I took about ten pictures.

1029
00:57:53,360 --> 00:57:56,960
Speaker 1: Really, he was a big he was superstar. People loved him. Man,

1030
00:57:57,000 --> 00:58:02,120
Speaker 1: what a great guy. Wow, yep, yep. Still uncharacteristic of them. Yeah,

1031
00:58:02,120 --> 00:58:02,720
Speaker 1: you never know.

1032
00:58:04,000 --> 00:58:11,280
Speaker 2: Working on the Crush Groove sound movie, Yes, well obviously

1033
00:58:11,720 --> 00:58:14,040
Speaker 2: you know we know that's based on the life of

1034
00:58:14,120 --> 00:58:18,400
Speaker 2: Russell Simmons. But how was that experience for you in general?

1035
00:58:19,280 --> 00:58:21,640
Speaker 7: Well, it was it was a lot of hard work.

1036
00:58:21,680 --> 00:58:24,000
Speaker 7: I'll tell you the truth, because during that time I

1037
00:58:24,120 --> 00:58:28,360
Speaker 7: was a producer, and so I was producing the Fat

1038
00:58:28,400 --> 00:58:34,480
Speaker 7: Boys second album and producing my America album with If

1039
00:58:34,520 --> 00:58:36,880
Speaker 7: I Row the World on it, and also the Crush

1040
00:58:36,920 --> 00:58:40,160
Speaker 7: Groove soundtrack. So I was producing three albums at one

1041
00:58:40,280 --> 00:58:42,360
Speaker 7: time and had deadlines and all that. So I was

1042
00:58:42,360 --> 00:58:44,560
Speaker 7: going to three different studios every day.

1043
00:58:45,080 --> 00:58:45,280
Speaker 12: You know.

1044
00:58:45,400 --> 00:58:47,000
Speaker 1: It was hard work, hard work.

1045
00:58:46,800 --> 00:58:48,200
Speaker 7: And then I had to wake up at six in

1046
00:58:48,240 --> 00:58:50,880
Speaker 7: the morning to get on film set, you know, to

1047
00:58:50,960 --> 00:58:53,880
Speaker 7: do the movie. And it was a lot of work.

1048
00:58:53,960 --> 00:58:56,439
Speaker 7: As a matter of fact, I kind of like took

1049
00:58:56,800 --> 00:58:57,400
Speaker 7: a break.

1050
00:58:58,040 --> 00:58:58,240
Speaker 1: You know.

1051
00:58:58,240 --> 00:59:00,600
Speaker 7: The last thing I did was a Martin Luther King song,

1052
00:59:01,280 --> 00:59:03,560
Speaker 7: and then I took a break for about five years.

1053
00:59:04,480 --> 00:59:06,400
Speaker 7: Didn't go into the studio, couldn't go in.

1054
00:59:06,520 --> 00:59:09,080
Speaker 1: Too much working. It was too much because he didn't

1055
00:59:09,080 --> 00:59:11,840
Speaker 1: produce the third Fat Boys record. No, what was it like?

1056
00:59:12,160 --> 00:59:14,640
Speaker 1: Just man, Well, were you managing them at the time

1057
00:59:14,720 --> 00:59:15,600
Speaker 1: or just not using them.

1058
00:59:15,800 --> 00:59:18,080
Speaker 7: Their manager was a guy by the name of Charlie

1059
00:59:18,080 --> 00:59:24,080
Speaker 7: Stetler from Right Right and he also manages Scribbles, DJ

1060
00:59:24,200 --> 00:59:28,440
Speaker 7: Scribbles and Doctor Dre and ed Lover from your MTV raps.

1061
00:59:28,880 --> 00:59:32,080
Speaker 7: But Charlie was their manager and they were signed to

1062
00:59:32,120 --> 00:59:35,560
Speaker 7: Suture Records and Mars Levy it was it was.

1063
00:59:35,800 --> 00:59:37,040
Speaker 1: Marsh Levy on Sutra.

1064
00:59:37,320 --> 00:59:45,880
Speaker 7: Yeah, oh wow, oh yeah, yo.

1065
00:59:46,480 --> 00:59:47,680
Speaker 1: That explains a lot.

1066
00:59:47,720 --> 00:59:51,080
Speaker 2: I never thought after Rule Records and the hit Man Book,

1067
00:59:51,120 --> 00:59:54,000
Speaker 2: I thought mars Levy.

1068
00:59:54,720 --> 01:00:00,360
Speaker 1: You got hit Man, like is not good book is

1069
01:00:00,400 --> 01:00:04,520
Speaker 1: hit Man? You know right sleeve owns Sutra.

1070
01:00:04,800 --> 01:00:08,280
Speaker 7: But they were some good guys man, you know from Brooklyn,

1071
01:00:08,400 --> 01:00:12,520
Speaker 7: good Fellas and None the Fat Boys, you know.

1072
01:00:12,600 --> 01:00:20,840
Speaker 2: Those guys man Jesus Christ. Yeah, Like for me, that

1073
01:00:21,000 --> 01:00:27,640
Speaker 2: album managed you captured their their humor spirit in a

1074
01:00:27,680 --> 01:00:32,800
Speaker 2: way that you know, hip hop hadn't seen before. And

1075
01:00:33,320 --> 01:00:36,720
Speaker 2: especially that first record like that. I think everyone that's

1076
01:00:37,080 --> 01:00:39,480
Speaker 2: of my age now like that was their first experience,

1077
01:00:39,520 --> 01:00:44,840
Speaker 2: either that or the run DMC record. But yeah, just producing,

1078
01:00:45,400 --> 01:00:47,880
Speaker 2: I mean, how hard was it trying to explain like

1079
01:00:48,520 --> 01:00:51,520
Speaker 2: they don't need music and just beat the culture beatboxing?

1080
01:00:51,600 --> 01:00:54,000
Speaker 2: And how how did you manage it? How many takes

1081
01:00:54,000 --> 01:00:57,200
Speaker 2: would it take to get like those songs?

1082
01:00:57,800 --> 01:01:00,440
Speaker 1: They were great in the studio. It was awesome them.

1083
01:01:01,040 --> 01:01:04,280
Speaker 7: What is on the record that humor that that that

1084
01:01:04,280 --> 01:01:10,560
Speaker 7: that genuine personality comes through? Because I just you know,

1085
01:01:10,680 --> 01:01:18,320
Speaker 7: let the record button go and I remember buff rest

1086
01:01:18,360 --> 01:01:20,040
Speaker 7: in peace. He said one time he said.

1087
01:01:19,960 --> 01:01:22,520
Speaker 1: Yo yo yo, Kurt Man, Yo yo, All I want.

1088
01:01:22,440 --> 01:01:27,400
Speaker 7: Is a call. He got two houses and all of

1089
01:01:27,440 --> 01:01:31,720
Speaker 7: this stuff. Man, and these guys were incredible and they

1090
01:01:31,800 --> 01:01:36,480
Speaker 7: love music. I found out as a producer. The basic

1091
01:01:36,640 --> 01:01:41,560
Speaker 7: job of a producer is to make people's dreams come true.

1092
01:01:41,720 --> 01:01:41,960
Speaker 1: You know.

1093
01:01:42,000 --> 01:01:45,040
Speaker 7: You take them around a basis and bring them home

1094
01:01:45,920 --> 01:01:48,160
Speaker 7: and when you get home, you know you have that

1095
01:01:48,200 --> 01:01:51,160
Speaker 7: finished product. And that's our job.

1096
01:01:51,760 --> 01:01:53,960
Speaker 2: Well, how where was it letting a fourteen year old

1097
01:01:54,080 --> 01:01:57,480
Speaker 2: produce you because salam Remy got to start as a

1098
01:01:57,520 --> 01:01:58,560
Speaker 2: fourteen year old kid.

1099
01:01:59,560 --> 01:02:04,800
Speaker 7: Well, like, he had the tracks, you know, and I

1100
01:02:04,840 --> 01:02:06,840
Speaker 7: wanted to give him a shot. His dad was a

1101
01:02:06,920 --> 01:02:09,960
Speaker 7: very good friend. He worked at the record company. He

1102
01:02:10,040 --> 01:02:14,960
Speaker 7: was one of the promoters promotion department. He actually introduced

1103
01:02:14,960 --> 01:02:16,800
Speaker 7: me to his son and said, you know, he's got

1104
01:02:16,800 --> 01:02:19,440
Speaker 7: some good stuff. And I said, well, I'll give him

1105
01:02:19,440 --> 01:02:19,760
Speaker 7: a shot.

1106
01:02:19,800 --> 01:02:21,040
Speaker 1: How about that? You know.

1107
01:02:21,640 --> 01:02:25,560
Speaker 7: So he did the back by Popularity the Man song,

1108
01:02:26,200 --> 01:02:30,960
Speaker 7: you know, and that was great. He actually asked Molly

1109
01:02:31,040 --> 01:02:33,760
Speaker 7: mar to do the scratches on it, and Mally came

1110
01:02:33,880 --> 01:02:37,560
Speaker 7: down to the studio really because of his kid, and

1111
01:02:37,680 --> 01:02:40,680
Speaker 7: got on the record and started scratching and wow, the

1112
01:02:40,720 --> 01:02:41,480
Speaker 7: rest is history.

1113
01:02:42,000 --> 01:02:42,720
Speaker 1: It's crazy.

1114
01:02:43,440 --> 01:02:45,560
Speaker 2: So, at the end of the day, what do you

1115
01:02:45,600 --> 01:02:50,320
Speaker 2: want your legacy to be? As far as your I mean,

1116
01:02:50,360 --> 01:02:53,240
Speaker 2: you've done so many things to be first of this

1117
01:02:53,320 --> 01:02:55,760
Speaker 2: and first of that, like where do you see the

1118
01:02:56,560 --> 01:03:00,040
Speaker 2: history of hip hop as far as like preserving it

1119
01:03:00,160 --> 01:03:03,520
Speaker 2: and those types of things like how do you want

1120
01:03:03,520 --> 01:03:05,560
Speaker 2: to see the culture preserved?

1121
01:03:06,320 --> 01:03:11,080
Speaker 1: Well, what do you think of rap today? That question?

1122
01:03:11,640 --> 01:03:14,600
Speaker 7: Well, you know, there's there's a project we're working on

1123
01:03:14,720 --> 01:03:18,200
Speaker 7: called the Universal Hip Hop Museum where we want to

1124
01:03:18,280 --> 01:03:21,320
Speaker 7: document this history and put it in a brick and

1125
01:03:21,360 --> 01:03:24,000
Speaker 7: mortar location where the whole world can come and visit

1126
01:03:24,080 --> 01:03:26,840
Speaker 7: and see and be a part of it. And just

1127
01:03:27,840 --> 01:03:33,520
Speaker 7: you know, the many stories, the many uh lives, and

1128
01:03:33,760 --> 01:03:38,080
Speaker 7: the many careers and and the so much talent that

1129
01:03:38,480 --> 01:03:41,520
Speaker 7: has been a part of this way of life that

1130
01:03:41,920 --> 01:03:44,400
Speaker 7: it needs to be documented. It needs to be stored

1131
01:03:44,560 --> 01:03:48,280
Speaker 7: and cherished and supported in one place, and we're doing that,

1132
01:03:48,400 --> 01:03:50,680
Speaker 7: working on that right now. So you can go to

1133
01:03:50,840 --> 01:03:53,800
Speaker 7: u h h M dot org to find out more

1134
01:03:53,800 --> 01:03:57,440
Speaker 7: information about the Universal Hip Hop Museum. But as for me,

1135
01:03:58,040 --> 01:04:01,360
Speaker 7: I want people to remember me as as a guy

1136
01:04:01,440 --> 01:04:06,880
Speaker 7: who actually was a big part of practical study, so

1137
01:04:07,080 --> 01:04:10,600
Speaker 7: very important even in music. Whatever it is that you

1138
01:04:10,640 --> 01:04:15,680
Speaker 7: want to do in life, I think that practical study

1139
01:04:15,840 --> 01:04:18,800
Speaker 7: is very important. You go and do your research in

1140
01:04:18,840 --> 01:04:23,400
Speaker 7: that field of whatever it is. Doctor lawyer, businessman, rapper, singer,

1141
01:04:25,000 --> 01:04:28,640
Speaker 7: DJ doesn't matter. Study the history of it, and within

1142
01:04:28,720 --> 01:04:34,960
Speaker 7: that history, find out someone who was successful and study

1143
01:04:35,000 --> 01:04:37,960
Speaker 7: the steps that they took to achieve that success, and

1144
01:04:38,000 --> 01:04:42,400
Speaker 7: then repeat those steps, mimic those steps, and then I

1145
01:04:42,440 --> 01:04:46,320
Speaker 7: guarantee you also will achieve success.

1146
01:04:46,560 --> 01:04:49,000
Speaker 9: So do you think then, basically, since you were the

1147
01:04:49,040 --> 01:04:51,400
Speaker 9: first in so many situations, Because I'm thinking as you're speaking,

1148
01:04:51,480 --> 01:04:53,280
Speaker 9: I'm like Curtis Blow is sitting next to us. He

1149
01:04:53,320 --> 01:04:55,520
Speaker 9: was the first person to get a major endorsement deal, right,

1150
01:04:56,200 --> 01:04:59,680
Speaker 9: nineteens are just bloomer endorsement deals. Basically, it seems like

1151
01:05:00,080 --> 01:05:03,360
Speaker 9: it should be a part of the education matriculation of

1152
01:05:03,360 --> 01:05:06,560
Speaker 9: an MC right to have a Curtis Blow education since

1153
01:05:07,520 --> 01:05:10,360
Speaker 9: you were reverse right, I mean there are other classes

1154
01:05:10,400 --> 01:05:10,800
Speaker 9: on others.

1155
01:05:10,920 --> 01:05:14,000
Speaker 7: Well, I'm a big, avid supporter of education.

1156
01:05:14,280 --> 01:05:14,720
Speaker 1: Education.

1157
01:05:15,040 --> 01:05:18,480
Speaker 7: Education is the key to success, is the key to

1158
01:05:18,600 --> 01:05:22,160
Speaker 7: getting out of the ghetto. Research, you know, bring the

1159
01:05:23,040 --> 01:05:26,600
Speaker 7: classroom into the culture, and the culture into the classroom.

1160
01:05:27,080 --> 01:05:31,280
Speaker 7: Very important doing your research, like I said, and we

1161
01:05:31,560 --> 01:05:36,520
Speaker 7: as rappers just speaking on rap, you know, the oratory,

1162
01:05:36,800 --> 01:05:41,040
Speaker 7: we are orators, we are communicators. So I majored in

1163
01:05:41,080 --> 01:05:44,840
Speaker 7: communications and studied the greatest orators of our time like

1164
01:05:44,920 --> 01:05:49,000
Speaker 7: Barbara Jordan and Winston Churchill and Martin Luther King, Malcolm X.

1165
01:05:49,040 --> 01:05:51,479
Speaker 7: And I found out that we have all of these

1166
01:05:51,560 --> 01:05:55,400
Speaker 7: options and windows that we can open, doors that we

1167
01:05:55,440 --> 01:06:00,720
Speaker 7: can open as the orators of this culture, like for instance,

1168
01:06:01,400 --> 01:06:11,160
Speaker 7: public speaking politics. You have broadcasting, you know, uh, television, radio, broadcasting, journalism.

1169
01:06:11,520 --> 01:06:15,640
Speaker 1: Uh, here's one for your preaching. I've got you our

1170
01:06:15,760 --> 01:06:17,720
Speaker 1: father Walker, you're.

1171
01:06:18,240 --> 01:06:23,120
Speaker 7: Correct ordained minister and and so and so you know,

1172
01:06:23,200 --> 01:06:26,160
Speaker 7: and study your all. Studying all of the great orators

1173
01:06:26,160 --> 01:06:29,040
Speaker 7: of our time, I found out that the most passionate

1174
01:06:30,000 --> 01:06:34,000
Speaker 7: of the speakers, the oratory or the orators were the

1175
01:06:34,040 --> 01:06:37,520
Speaker 7: preachers and the reverence. You know, many of those speeches

1176
01:06:37,560 --> 01:06:40,000
Speaker 7: like Martin Luther King and Malcolm X. You know that

1177
01:06:40,680 --> 01:06:43,840
Speaker 7: gave me the fortitude and and the will and want

1178
01:06:43,920 --> 01:06:47,320
Speaker 7: to take it to the next level in this field.

1179
01:06:47,400 --> 01:06:51,480
Speaker 7: And as an MC, that means that you're a master

1180
01:06:51,840 --> 01:06:55,360
Speaker 7: of the ceremony. It doesn't matter what the ceremony is.

1181
01:06:55,640 --> 01:06:58,160
Speaker 7: You can be on the street corner and a circle

1182
01:06:58,280 --> 01:07:00,800
Speaker 7: full of twenty people. You can you at a club,

1183
01:07:01,080 --> 01:07:03,800
Speaker 7: you can be at a block party or a park jam.

1184
01:07:03,880 --> 01:07:06,040
Speaker 7: You can be at a community center. You can be

1185
01:07:06,080 --> 01:07:10,320
Speaker 7: at a concert with five people or twenty thousand. You know,

1186
01:07:11,280 --> 01:07:14,200
Speaker 7: you can be at a bar mitzvah, you know, wherever

1187
01:07:14,200 --> 01:07:22,320
Speaker 7: it is. I've played a couple of bar mins for

1188
01:07:22,600 --> 01:07:27,680
Speaker 7: in my time. Yes, yes, and you know so that

1189
01:07:27,840 --> 01:07:32,160
Speaker 7: is the story. You are a master of any ceremony.

1190
01:07:32,240 --> 01:07:34,600
Speaker 9: I don't know anybody who has used their communications degree

1191
01:07:34,640 --> 01:07:36,760
Speaker 9: to the levels that you have. In this moment, I

1192
01:07:36,800 --> 01:07:38,800
Speaker 9: just realized that I was like all my life, I

1193
01:07:38,880 --> 01:07:41,240
Speaker 9: think as a communications major, I was like, maybe I

1194
01:07:41,240 --> 01:07:42,520
Speaker 9: should have did business and something like that.

1195
01:07:42,560 --> 01:07:45,040
Speaker 4: But now that you've broken it down like that, No, you.

1196
01:07:45,120 --> 01:07:47,600
Speaker 7: Got some windows, you got some communication.

1197
01:07:47,720 --> 01:07:49,160
Speaker 1: You're literally I.

1198
01:07:49,120 --> 01:07:50,200
Speaker 9: Am, but I you know, you got to have some

1199
01:07:50,280 --> 01:07:53,680
Speaker 9: multiple hustles, as you know yourself as a former radio host.

1200
01:07:54,400 --> 01:07:55,240
Speaker 1: Yes, yes, I.

1201
01:07:55,200 --> 01:07:57,760
Speaker 7: Just want to stay away from politics these days.

1202
01:08:00,120 --> 01:08:03,880
Speaker 2: More people like you, you know, and in front of

1203
01:08:03,920 --> 01:08:07,640
Speaker 2: the masses. You know, what can I say? Wait, I

1204
01:08:07,680 --> 01:08:11,800
Speaker 2: want to mention that the please I totally forgot. I'm

1205
01:08:11,800 --> 01:08:14,320
Speaker 2: still caring in the history, I totally forgot. So yeah,

1206
01:08:14,360 --> 01:08:17,599
Speaker 2: the hip Hop Nutcracker explained to me this project, like how.

1207
01:08:18,120 --> 01:08:22,719
Speaker 7: Wow, Well, the hip Hop Nutcracker is a modernized version

1208
01:08:22,920 --> 01:08:28,960
Speaker 7: of the classic Tchaikovsky's incredible classical music. We are now

1209
01:08:29,640 --> 01:08:33,240
Speaker 7: uh doing hip hop dance and break dancing and and

1210
01:08:33,240 --> 01:08:37,960
Speaker 7: and ballet and and and uh bringing the story uh

1211
01:08:38,160 --> 01:08:42,120
Speaker 7: to the masses with the the culture of hip hop

1212
01:08:42,200 --> 01:08:46,479
Speaker 7: in the forefront. And so it's a new modernized version.

1213
01:08:46,600 --> 01:08:51,120
Speaker 7: Is really something that every family should see is doing

1214
01:08:51,120 --> 01:08:54,559
Speaker 7: the holiday season, you know, when when when love is

1215
01:08:54,560 --> 01:08:56,880
Speaker 7: in the air and everyone's hugging on each other and

1216
01:08:56,920 --> 01:08:58,760
Speaker 7: trying to thank each other for putting up with you

1217
01:08:59,120 --> 01:09:01,960
Speaker 7: all year long. You know, just go out and have

1218
01:09:02,000 --> 01:09:10,479
Speaker 7: a great time seeing this classic, classic rendition of Chaikovsky's hit.

1219
01:09:11,000 --> 01:09:14,200
Speaker 2: But so like all the songs are filtered through hip hop,

1220
01:09:14,240 --> 01:09:17,559
Speaker 2: so there's like trap versions of the sugar Plum song.

1221
01:09:22,760 --> 01:09:25,800
Speaker 1: Thing thing thing I might need to do that.

1222
01:09:26,040 --> 01:09:28,759
Speaker 7: It's incredible because we have a DJ who is actually

1223
01:09:28,760 --> 01:09:32,880
Speaker 7: playing beats under this classic music, and we have an

1224
01:09:32,960 --> 01:09:36,320
Speaker 7: electric violinist who's doing their things. But the creators of

1225
01:09:36,720 --> 01:09:39,320
Speaker 7: Jennifer Weber want to give her a shout out. She's

1226
01:09:39,400 --> 01:09:44,960
Speaker 7: also the choreographer and director and Michael Fittterson Uh put

1227
01:09:44,960 --> 01:09:49,639
Speaker 7: together this piece that is a great, great holiday family

1228
01:09:49,880 --> 01:09:53,880
Speaker 7: fun classic. So it's it's it's a it's it's a

1229
01:09:53,960 --> 01:09:58,800
Speaker 7: show that everyone needs to see. All ages, all races

1230
01:09:58,920 --> 01:10:03,720
Speaker 7: don't matter. It's incredible. It's it's really a good look

1231
01:10:03,760 --> 01:10:07,240
Speaker 7: for hip hop and a good look for music in general.

1232
01:10:08,200 --> 01:10:11,000
Speaker 1: That's good. I mean for you being on the forefront of.

1233
01:10:12,520 --> 01:10:16,240
Speaker 2: One of the first hip hop ballets, and I mean

1234
01:10:16,280 --> 01:10:18,680
Speaker 2: you were there when hip hop was in stadiums with

1235
01:10:18,720 --> 01:10:19,360
Speaker 2: the Fresh Fest.

1236
01:10:19,400 --> 01:10:20,960
Speaker 1: And to go from there all the way.

1237
01:10:20,800 --> 01:10:25,679
Speaker 2: To to where we are now, that's that's quite a journey.

1238
01:10:25,760 --> 01:10:27,639
Speaker 2: We thank you for coming on the show.

1239
01:10:27,960 --> 01:10:30,479
Speaker 7: Yeah, I thank you for having me, you know, and

1240
01:10:31,160 --> 01:10:33,080
Speaker 7: a big shout out to all the dancers who are

1241
01:10:33,080 --> 01:10:36,559
Speaker 7: part of that because we have so much talent that's

1242
01:10:36,600 --> 01:10:37,040
Speaker 7: out there.

1243
01:10:37,120 --> 01:10:37,320
Speaker 1: You know.

1244
01:10:37,479 --> 01:10:41,840
Speaker 7: These young dancers are coming out, you know, from all

1245
01:10:41,880 --> 01:10:47,759
Speaker 7: over the world, and they have so much mad flavor,

1246
01:10:48,000 --> 01:10:52,280
Speaker 7: so many different styles from power moves to you know,

1247
01:10:52,400 --> 01:10:57,880
Speaker 7: to to the wave to pop locking. You know, it's

1248
01:10:57,920 --> 01:11:01,400
Speaker 7: incredible to see how it's all look together and how

1249
01:11:01,479 --> 01:11:05,400
Speaker 7: Jennifer whoever did this thing and the choreography is incredible.

1250
01:11:05,920 --> 01:11:06,200
Speaker 12: Wow.

1251
01:11:06,840 --> 01:11:07,799
Speaker 1: Oh thank you.

1252
01:11:08,240 --> 01:11:10,800
Speaker 9: Can I thank John and your wife Shirley too, because

1253
01:11:10,800 --> 01:11:12,280
Speaker 9: this has been like a year and a half in

1254
01:11:12,320 --> 01:11:17,320
Speaker 9: the work. We're here, like thank you, Shirley, thank you,

1255
01:11:17,040 --> 01:11:17,400
Speaker 9: Thank you.

1256
01:11:23,120 --> 01:11:26,439
Speaker 2: Well, ladies and gentlemen on behalf of the crew, the

1257
01:11:26,520 --> 01:11:31,360
Speaker 2: Team Supreme, Unpaid, Bill Boss, Bill Sugar, Steven Laia, This

1258
01:11:31,400 --> 01:11:32,679
Speaker 2: of course, Love, thank you very much.

1259
01:11:33,400 --> 01:11:35,880
Speaker 6: Uh whose formats for?

1260
01:11:35,960 --> 01:11:42,200
Speaker 1: Did you? Did you pleasure? I know them? We are

1261
01:11:42,240 --> 01:11:44,559
Speaker 1: stopping right here, you know this, of course, Love Supreme.

1262
01:11:44,600 --> 01:11:45,760
Speaker 1: We'll see you on the next one round.

1263
01:11:45,760 --> 01:11:47,439
Speaker 7: Thank you.

1264
01:12:06,240 --> 01:12:10,680
Speaker 1: For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1265
01:12:11,080 --> 01:12:12,799
Speaker 1: or wherever you listen to your favorite shows.