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Speaker 1: You know.

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Speaker 2: One thing I remember too is there's a point in

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Speaker 2: time when J Unit was really touring internationally. I think

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Speaker 2: a lot of people in North America I might not

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Speaker 2: realize that there wasn't that many rappers or wrap crews

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Speaker 2: that were really international like that, because when I started

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Speaker 2: working with Kanye and we were going international a lot,

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Speaker 2: and I was already doing those overseas circuits as a DJ,

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Speaker 2: and then I was working with Ya and we were,

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Speaker 2: you know, going to Japan and Nigeria and anywhere. Everywhere

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Speaker 2: we went, G Unit had been. It was g Unit

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Speaker 2: eminem akon. There was a point in time where even

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Speaker 2: Hove hadn't started doing the international thing. Then he became international.

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Speaker 3: I was locked up, but Rihanna was overseas. She just

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Speaker 3: came out.

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Speaker 2: Yeah, yeah, but yeah, I was. I remember that. You

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Speaker 2: guys really went and hit the whole world in a

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Speaker 2: way that at that point in time, not not that

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Speaker 2: many artists that.

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Speaker 4: He did get sat.

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Speaker 5: Yeah, this is Turbulent's Tony and this the Boy Live

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Speaker 5: Jed Lenny Rot and.

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Speaker 6: Welcome to the Real Reports Show.

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Speaker 5: Make some Noise for DJ, A track Man, a track

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Speaker 5: and the build it.

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Speaker 3: We got the legendary a track in the building. Things

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Speaker 3: for coming yy man. We're doing make sure y'all like

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Speaker 3: Sham subscribed. We got one of the fastest growing shows

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Speaker 3: on the Value Her. We got to Yeah, hopefully we

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Speaker 3: get that plaque about to get that. Appreciate you and

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Speaker 3: you know what a track we we we we bring

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Speaker 3: different things like on our show, we have like a

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Speaker 3: mogul segment.

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Speaker 6: Okay when we talk to.

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Speaker 3: You know, all kind of mogul and stuff like that.

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Speaker 3: Like you too, because your mogul, you have a You're

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Speaker 3: not only a DJ, right yeah, you have a record label.

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Speaker 6: Not too many DJs have done it.

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Speaker 3: It who else DJs had a record.

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Speaker 5: Labels a lot, But it's all the success that this

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Speaker 5: guy right here might have had.

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Speaker 1: Maybe like that definitely it's.

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Speaker 6: On another level.

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Speaker 3: But what I'm saying to you guys is a lot

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Speaker 3: of uh DJs had like like albums like Clue, Yeah, Flex.

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Speaker 2: Well you know what it is, and we can get

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Speaker 2: into that too. But like I've bounced around like different

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Speaker 2: pockets of the DJ world, you know what I mean,

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Speaker 2: And like mixtape DJs is one thing, but I mean

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Speaker 2: I even bounced around between hip hop and electronic music

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Speaker 2: on the electronics side, it's more common for DJs to

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Speaker 2: have labels. Yeah, I mean, DJ has just become so broad,

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Speaker 2: you know what I mean that, Like there's certain DJs

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Speaker 2: that do the compilation album type of thing, like like

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Speaker 2: clue like you said, but you know.

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Speaker 6: You're talking about the electronic music because we are overseas.

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Speaker 7: Yeah, you know that's so big the world, Like when

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Speaker 7: we get in the music that we would never dance

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Speaker 7: to ever in my life no words, yeah yeah.

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Speaker 2: But the thing about that is because it has no words,

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Speaker 2: you can bring together like the whole planet, like and

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Speaker 2: people from every country, I will get down, you know

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Speaker 2: what I mean?

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Speaker 6: So how was it? How was it? Because torn for

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Speaker 6: us we love like going to your.

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Speaker 2: Right right, but even before, like I just want to

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Speaker 2: say thanks for having me here, big, my pleasure, my pleasure,

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Speaker 2: same to you, to say both both of you auely.

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Speaker 3: I appreciate that when you talk about electronic music. Was

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Speaker 3: it working with like a big, a big, a big

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Speaker 3: guy like Duck Sauce.

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Speaker 6: So Duck Sauce produced.

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Speaker 2: All right, So Duck Sauce is the it's kind of

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Speaker 2: a group name for myself and a guy by the

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Speaker 2: name of armand Van Helden, who's a legendary house house

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Speaker 2: music DJ. He also came up in New York, so

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Speaker 2: like in the mid to late nineties all the way

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Speaker 2: to two thousands. Arman Van Helden's one of the most

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Speaker 2: famous house music DJs. But he's kind of like me

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Speaker 2: in the sense that he grew up a hip hop

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Speaker 2: kid and then got into house music just from being

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Speaker 2: in clubs and stuff. But we kind of speak the

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Speaker 2: same language. Like when we met, we clicked. We're like

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Speaker 2: eleven twelve years apart. He's older than me, but we

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Speaker 2: kind of clicked because we both grew up in hip

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Speaker 2: hop and then make house music. So we got together

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Speaker 2: and around two thousand and nine we formed a kind

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Speaker 2: of a duo. That's another thing you see a lot

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Speaker 2: in house music, and EEDM is DJ's you know the

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Speaker 2: same wather like Daft Bunks a duo or like Basement Jacks,

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Speaker 2: the Chemical Brothers. There's groups like there's you know. Yeah,

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Speaker 2: So we formed Duck Sauce and we made music like

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Speaker 2: that as a duo, and in twenty ten we made

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Speaker 2: a record. The title of the song was Barbara Streisand

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Speaker 2: and that song, that song went crazy Yeah No, the

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Speaker 2: title song was Barbara Streis saying, and we didn't even

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Speaker 2: we didn't even think that much.

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Speaker 1: Of it was naming the song. Net that was a

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Speaker 1: good I was good.

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Speaker 2: Eventually got eventually it got to her. Look at that lot,

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Speaker 2: I'm told. But really it was just it was just

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Speaker 2: one of those like you know when you make a

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Speaker 2: record and and you don't even think that's gonna be

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Speaker 2: the one. You think it might be a B side.

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Speaker 2: It's just something that you may cash like just for fun.

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Speaker 2: It was one of those, but it had like a

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Speaker 2: contagious sort of catchiness to it. It ended up being

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Speaker 2: a record that charted and it was like number one

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Speaker 2: in twelve countries and something crazy.

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Speaker 6: I'm still gonna say. Always the one that says he

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Speaker 6: worked with I would to look it up. I would

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Speaker 6: have and said.

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Speaker 3: The soul is called it's all good, you know what

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Speaker 3: I mean. I don't know too much about the electronics.

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Speaker 3: Just give me to write on the hip hop side.

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Speaker 3: I do know you had kick cutting a lot of people.

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Speaker 3: I know for Kik Cuddy's record Day and Night was label. Yes,

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Speaker 3: that came out, So had that whole process all right?

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Speaker 2: So I founded this label, Fools Gold with a couple

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Speaker 2: of friends around two thousand and seven, and I had

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Speaker 2: just moved to New York. So I grew up in Montreal, Canada, Canada.

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Speaker 3: Yeah, you know, I was supposed to be for Montreal

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Speaker 3: when my family first came from Haiti bombs came to Montreal.

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Speaker 6: There's a lot of Haitius.

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Speaker 2: I know, I was gonna talk to you.

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Speaker 6: I found you could go.

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Speaker 3: I've been on tour all over Canada. I've been Sasatoon

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Speaker 3: Montreal to my man, Peter Jackson. I went on a

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Speaker 3: whole Peter Jackson, that's my man. And Montreal has the

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Speaker 3: best Haitian food.

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Speaker 2: That's for sure. Yes, Montreal, shout.

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Speaker 6: I tell you know about the Haitian food.

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Speaker 2: Yeah, yeah, I grew up with Haitians in Montreal for yeah.

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Speaker 6: Yeah.

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Speaker 1: Back to the Kik cutting that whole.

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Speaker 2: Okay. So, so I moved to New York. I had

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Speaker 2: already established myself as a DJ. I got known as

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Speaker 2: a battle DJ when I was younger. But I moved

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Speaker 2: to New York in two thousand and six. I started

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Speaker 2: this label called Fools Gold And that was the point

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Speaker 2: in time where like the scene around the DJs was

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Speaker 2: was changing and DJs were starting to play a lot

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Speaker 2: of different music, and DJs we was starting to branch

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Speaker 2: off and do their own thing, you know, the same

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Speaker 2: way that now you might hear about like a DIPLO

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Speaker 2: or a scrill X or you know, Calvin Harris, they

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Speaker 2: do their own thing. That was the point in time

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Speaker 2: where one DJ's were really coming into their own as DJs.

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Speaker 2: But two also the music that we were all playing

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Speaker 2: was changing. It was like the genres were coming down

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Speaker 2: and became very eclectic, and we were all just like

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Speaker 2: I say, week, I was connecting with a lot of

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Speaker 2: DJs at that point in time. We were all experimenting,

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Speaker 2: and there was even like this sort of like like

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Speaker 2: fun club music was coming back, you know how sometimes

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Speaker 2: club music will be kind of cheesy and not that exciting,

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Speaker 2: and then there's other time periods where club music is fun.

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Speaker 2: We started Fools Gold as DJs. It's a label run

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Speaker 2: by DJs. We speak to DJs first. If if other

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Speaker 2: people get down, that's cool, but we like our audience

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Speaker 2: is the DJs around the world, and real quickly we

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Speaker 2: found a lot of new music that was just different, exciting.

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Speaker 2: It was just you know, you probably remember if you

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Speaker 2: think of two thousand and six, two thousand and seven,

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Speaker 2: two thousand and eight, like everything was changing. It was

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Speaker 2: kind of a changing at the guards. So mind you,

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Speaker 2: we were just an independent label. You know, we didn't

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Speaker 2: have like a big machine, but we had a lot

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Speaker 2: of people's attention because people knew that we were tapped in.

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Speaker 2: So like the next thing, right, we were down with

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Speaker 2: It's a group called the Cool Kids that are still

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Speaker 2: down with Fools Gold from Chicago. They were doing some

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Speaker 2: new stuff, a couple of artists like Flostro, Damas Kids Sister.

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Speaker 2: It was just everything was different and new. So meanwhile,

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Speaker 2: at that point in time, I was DJing for Kanye,

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Speaker 2: So yeah, I tour It was so yeah, I toured

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Speaker 2: with with Kanye from two thousand and four.

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Speaker 6: I mean I didn't I didn't know.

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Speaker 1: It's let me ahead.

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Speaker 2: I got through all of that, right, So I was

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Speaker 2: touring with Ya and from basically from right after college dropout.

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Speaker 2: You know, I was involved with Late Registration. I just

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Speaker 2: scratches on on Gold Digger. I was involved with those

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Speaker 2: Common albums, yeah all right, you know Commons Record, Go,

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Speaker 2: Commons Record, Shy City. I scratched on that. And then

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Speaker 2: when when YA worked on Graduation, I helped out with

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Speaker 2: some of that stuff, the daft punk sample and then

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Speaker 2: you know, stronger that record. And so there's this guy,

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Speaker 2: Plain Patt. He was Kanye's an R, and Plain Pat

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Speaker 2: pretty much discovered Ki Kudi or he was definitely, you know,

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Speaker 2: the first person that helped connect some dots, shout out

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Speaker 2: to shout out to uh to the genius also who

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Speaker 2: you know really was probably the first person that that

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Speaker 2: you know, gave Cuddy time and day and gave him

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Speaker 2: some beats. But between Dot the Genius and playing Pat,

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Speaker 2: Cuddy was unknown. He was just working at the Babe

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Speaker 2: Store in New York, right and playing Pat, who I

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Speaker 2: knew from my work with Kanye because he was Kanye's

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Speaker 2: an R. He knew that I had this new label

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Speaker 2: that was that had the ear of people that understood

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Speaker 2: new stuff. So Cuddy was starting to make music and

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Speaker 2: it sounded like nothing else. It was just different. So

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Speaker 2: Pat sent me these two records, maybe two, maybe a

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Speaker 2: third one, I'm not sure. It was a while ago.

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Speaker 2: He definitely sent me Day and Night and that new

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Speaker 2: New and pretty much right away I was like, I

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Speaker 2: want to, you know, let's do a single on Fools Gold.

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Speaker 2: So we put out Day and Night and and and

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Speaker 2: we just built it even though we didn't have this

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Speaker 2: big machine no no dotor Genius produced. Shout out to

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Speaker 2: doctor Genius and shout out to Cuddy himself.

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Speaker 6: Diamond, right man.

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Speaker 2: So there's a there's a point when Cutty signed his

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Speaker 2: album deal. He signed to Motown Universal a couple of

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Speaker 2: months after that, and then they ended up by buying

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Speaker 2: that master and they whatever the I don't you know,

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Speaker 2: we don't have the plaque ourselves, but we got it

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Speaker 2: off the ground for that was like, it's huge. And

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Speaker 2: the thing that was really special with Day and Night

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Speaker 2: is there was a there was a remix because we

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Speaker 2: were talking about that E d M thing just a

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Speaker 2: minute ago, right, there was a remix by these Italian guys,

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Speaker 2: the Crookers. They were also on some different ship they

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Speaker 2: did exactly exactly. So that was one of those that

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Speaker 2: was a rare record exactly. There's a rare, rare record

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Speaker 2: where the original version was was popping off and making

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Speaker 2: its way in North America especially, and then the Crookers

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Speaker 2: remix was blowing up, especially overseas, so you had two

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Speaker 2: versions that were blowing up at the same time. And

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Speaker 2: but that was on fools gold.

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Speaker 3: Remember, because we was going overseas at the time, was everywhere.

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Speaker 3: You hear it, every club, but it was organic.

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Speaker 2: That's the thing that's special. We didn't have and we

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Speaker 2: didn't have a full school was like five people. We

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Speaker 2: didn't have like an overseas department or whatever. But we

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Speaker 2: just we just had people's ear.

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Speaker 6: That's what.

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Speaker 3: But this is how I feel because you don't murdered.

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Speaker 3: This is the thing with DJ's like him, DJ Snake.

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Speaker 2: Yeah that's my homie, damn Mouse.

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Speaker 6: You know what I'm saying.

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Speaker 3: Remember when we went to Snake, You've seen the crowd

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Speaker 3: and he'll have like millions of dollars of pyro and.

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Speaker 6: Fire put on the show. Another another big DJ. We meant, right,

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Speaker 6: That's what I'm saying. I told him murder he has

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Speaker 6: a big change on. This guy had the littlest chain on.

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Speaker 3: Yeah, since your guys get million of show, no jury, like, yeah,

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Speaker 3: it's crazy.

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Speaker 5: But back to my baby, he Mada. He had a

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Speaker 5: little change. Okay, I had the big change.

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Speaker 3: Yeah, that's at this level with the DJs. You know

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Speaker 3: what I'm saying. And the question I wanted to ask

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Speaker 3: you was like, how do you feel like being here

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Speaker 3: versus being overseas, because my experience is like, like I

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Speaker 3: remember that song We're hold On.

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Speaker 1: Yeah, listen when that used to come home, like.

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Speaker 3: We was overseen and like the vodka's flowing, like I

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Speaker 3: really felt free. Overseas people are still dancing while it

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Speaker 3: feels like in the US it's more Yo bottles.

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Speaker 2: Well, it's it's more to it than that. And by

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Speaker 2: the way, Bob Sinclair who made that record World hold On,

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Speaker 2: you know, we look at it kind of from the

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Speaker 2: outside from a North American perspective, and we just think, oh, yeah,

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Speaker 2: he makes house music, dance music. If it might seem

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Speaker 2: like we're all from different worlds, but I've I've become

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Speaker 2: good friends with Bob Sinclaire and this guy all he

267
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Speaker 2: wants to talk to you about is like DJ Premier

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Speaker 2: Records from the Night. He just wants to talk about.

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Speaker 6: Gangs in the truck world.

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Speaker 2: Right, and parallels to be like Yo. But Jeru's album

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Speaker 2: Jerry the Damage, the first album you have the World

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Speaker 2: the World.

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Speaker 5: He's in the notes you don't understand music.

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Speaker 6: This is what people understand. Music bring back what memories?

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Speaker 3: Yes, so wow, And that that year when that dropped,

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Speaker 3: we was in the club like overseas, overseas party and

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Speaker 3: number one, you feel free overseas because it's less pistols.

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Speaker 3: So you're feeling like, all right, let's it's going to

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Speaker 3: be a physical somebody might pull a Knight for a

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Speaker 3: razo me.

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Speaker 2: But so to your question, what I would say is

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Speaker 2: the same way, even though hip hop traveled the world

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Speaker 2: and now house music travel the world and everything's everywhere now,

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Speaker 2: for a long period of time, the way that hip

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Speaker 2: hop was youth youth music in North America, you know,

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Speaker 2: in the nineties and two thousands, most if you find

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Speaker 2: a teenager somewhere, they're probably listening to, depending what period

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Speaker 2: of time, either fifty or whatever it might be, or

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Speaker 2: Fab or Lil Wayne or you know what I mean,

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Speaker 2: tang right, any of that, that fourteen year old in

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Speaker 2: Spain or in Italy, they were listening to house music

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Speaker 2: or techno or trance or whatever like. That's that was

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Speaker 2: always the youth music, or now I was always before

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Speaker 2: a long period of time, that was the music of

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Speaker 2: the youth, especially in Europe and even other places too.

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Speaker 2: But so that's why it's so big when you go

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Speaker 2: to Europe, is like that's just what they grew up with.

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Speaker 6: That's why I always liked who Kid because who Kid

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Speaker 6: was like always prepared.

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Speaker 3: For Yeah, he would know have like yeah big overseas records,

301
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Speaker 3: like for instance, afrobeats.

302
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Speaker 6: We was in London with this is one song that

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Speaker 6: came on. I forgot how it goes.

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Speaker 2: You know what I'm saying.

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Speaker 6: You know what I'm saying.

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Speaker 1: When you was in London, Yeah.

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Speaker 3: It was an afrobeat. It's like the club shut down

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Speaker 3: when that came on.

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Speaker 1: Yeah.

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Speaker 3: So when you go overseas and you hear different music,

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Speaker 3: it makes you open to the world for sure. So

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Speaker 3: for me, I had better times overseas partying in the US.

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Speaker 2: Yeah, for me, well, you know what I mean. There

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Speaker 2: definitely was a point in time where clubs in the

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Speaker 2: US became more about the bottle service and the sections

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Speaker 2: and all that, and that's not fun. I mean, there's

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Speaker 2: money that comes in that way. But like for me

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Speaker 2: as a DJ, I don't really like playing a club

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Speaker 2: that has a bottle section. I want people to be

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Speaker 2: on the dance floor, right And for you you might

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Speaker 2: be looking at it in a different way, but I'm

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Speaker 2: sure it's less fun too. But overseas it stayed a

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Speaker 2: little bit more about the music, and that festival culture

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Speaker 2: is really from Europe too. Now you find it in

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Speaker 2: North America too, and now even since the pandemic, but really,

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Speaker 2: like gradually in the last fifteen years or so, there's

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Speaker 2: a lot of clubs that opened up in North America

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Speaker 2: that are back to being about the music, so it's

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Speaker 2: less separated. But yeah, for a long time, I man,

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Speaker 2: I started going to Europe. My career started when I

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Speaker 2: was a teenager in ninety seven. Basically I started traveling

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Speaker 2: to DJ I I was fifteen. The way that my

333
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Speaker 2: career started, I won the DMC World Championships, scratching and

334
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Speaker 2: all that. No DMC, it's the most known DJ battle.

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Speaker 1: Right, so I said, this is out in Canada.

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Speaker 2: No, it's I mean the eliminations, Like the first round

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Speaker 2: that I did was in Canada. But that took me

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Speaker 2: to Italy, it took me to France, it took me

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Speaker 2: to the UK. But yeah, at the age of fifteen,

340
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Speaker 2: I mean, I came up idolizing DJ's like rock Raider

341
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Speaker 2: Rest in Peace. You know, you guys probably remember the

342
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Speaker 2: x Men, ex Executioners and a bunch of other DJs

343
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Speaker 2: like that. Obviously, Jazzy Jeff people like that, you know.

344
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Speaker 2: So I got on winning this big DJ battle and

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Speaker 2: from that point on, I started traveling. So already when

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Speaker 2: I was fifteen sixteen, I was going overseas to play.

347
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Speaker 2: I was going to Korea, I was going to the UK.

348
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Speaker 2: And even though at that point in time and the

349
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Speaker 2: beginning in my career, I was just a hip hop kid,

350
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Speaker 2: like I mentioned, like you said, I was traveling the

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Speaker 2: world and I was observing like, oh, in Asia they're

352
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Speaker 2: into this kind of music. Okay, in Europe there like this,

353
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Speaker 2: and really Europe's not just one thing. In the UK

354
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Speaker 2: they might like this, but then in France and it's

355
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Speaker 2: you know. And I was kind of picking up on that.

356
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Speaker 2: So many years later when I started expanding the styles

357
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Speaker 2: of music that I play and I started getting into

358
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Speaker 2: the house music thing and everything else, I was already

359
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Speaker 2: like absorbing that information for a while. And and but

360
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Speaker 2: I the fact that I started my career is so young,

361
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Speaker 2: it kind of put me in a position where there's

362
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Speaker 2: not that many people that can that know the roots

363
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Speaker 2: of DJing, the roots of hip hop, and like we're

364
00:18:43,800 --> 00:18:45,920
Speaker 2: like I could talk to Grandmaster Flash and you know

365
00:18:45,960 --> 00:18:46,720
Speaker 2: what I mean, yeah.

366
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Speaker 3: Yeah, but on some DJ so I could tell you,

367
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Speaker 3: like like the first house song that was playing like

368
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Speaker 3: back then in the clubs. Yeah, so I didn't even

369
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Speaker 3: know where it was because I was just hip hop

370
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Speaker 3: when I came on.

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Speaker 2: So okay, but I'll give you I'll give you an example.

372
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Speaker 2: So so my because my big thing over the years

373
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Speaker 2: has been to try to like connect the dots between

374
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Speaker 2: these different branches, because really all house and techno and

375
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Speaker 2: you know, e ed M and all of that and

376
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Speaker 2: hip hop, it's all branches that come from the same tree.

377
00:19:19,320 --> 00:19:21,239
Speaker 2: It all comes from Planet Rock, it all comes from

378
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Speaker 2: Africa and all of that. Right, So the you know,

379
00:19:24,480 --> 00:19:27,399
Speaker 2: we we remember like the sugar Hill and Planet Rock

380
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Speaker 2: kind of stuff. Sugar Hill that was disco and at

381
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Speaker 2: one point hip hop slowed down. I got to the

382
00:19:33,359 --> 00:19:35,359
Speaker 2: Run DMC thing and everything, and it became the hip

383
00:19:35,400 --> 00:19:38,879
Speaker 2: hop that we know. Shout out to Queens Queen, right, but.

384
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Speaker 6: Number one group in the world Run DMC.

385
00:19:42,200 --> 00:19:46,920
Speaker 2: You forget that, right, paved a way rights J recipes

386
00:19:47,240 --> 00:19:51,879
Speaker 2: but that right. But but it's it's a family tree.

387
00:19:52,119 --> 00:19:54,840
Speaker 2: So if you if you start with Planet Rock, and

388
00:19:54,880 --> 00:19:56,639
Speaker 2: you start with with the sugar Hill and that kind

389
00:19:56,680 --> 00:19:59,240
Speaker 2: of stuff. Hip hop went to one branch and house

390
00:19:59,320 --> 00:20:01,840
Speaker 2: and all that stuff into another branch. But that song

391
00:20:01,880 --> 00:20:05,080
Speaker 2: that you were just singing hot music by an artist

392
00:20:05,160 --> 00:20:08,760
Speaker 2: called Soho but he's also known as it's also known

393
00:20:08,760 --> 00:20:10,760
Speaker 2: as Pal Joey. Just to give you an example of

394
00:20:10,760 --> 00:20:14,800
Speaker 2: my but my thing about how hip hop and house

395
00:20:14,880 --> 00:20:18,480
Speaker 2: music are cousins. That dude that made that record, he

396
00:20:18,600 --> 00:20:23,080
Speaker 2: was making beats for for karas One and and so

397
00:20:23,119 --> 00:20:28,360
Speaker 2: it's always Yeah Joey. So it's it's always Pal Joey.

398
00:20:28,400 --> 00:20:30,680
Speaker 2: You know there's there's Yeah there's karas One Records where

399
00:20:30,680 --> 00:20:32,080
Speaker 2: he shouts him out when he made the beat.

400
00:20:32,560 --> 00:20:35,200
Speaker 6: So so step into the world.

401
00:20:35,320 --> 00:20:37,000
Speaker 2: No, he didn't make Step into the world. I think

402
00:20:37,000 --> 00:20:42,080
Speaker 2: I think Kris's brother made that made that Yeah, yeah on.

403
00:20:42,080 --> 00:20:43,040
Speaker 6: The show Real hip Hop.

404
00:20:43,160 --> 00:20:46,680
Speaker 3: Yeah, that's what I love about music and like DJ Yeah,

405
00:20:46,720 --> 00:20:48,719
Speaker 3: because I remember like going to parties with my man.

406
00:20:49,320 --> 00:20:50,960
Speaker 6: My best friend was a DJ.

407
00:20:51,240 --> 00:20:53,840
Speaker 3: So we used to go to Jamaica Avenue Hot Wax

408
00:20:54,359 --> 00:20:56,560
Speaker 3: and that was you know, there was no CDJs, there

409
00:20:56,640 --> 00:20:57,600
Speaker 3: was nothing, So.

410
00:20:57,600 --> 00:20:59,639
Speaker 6: You know we do these holy old parties. All of

411
00:20:59,680 --> 00:21:01,920
Speaker 6: them got shot up. You know what. My man got

412
00:21:01,920 --> 00:21:02,520
Speaker 6: ten crates.

413
00:21:02,720 --> 00:21:04,199
Speaker 2: Yeah, someone's got to help him.

414
00:21:04,280 --> 00:21:08,600
Speaker 3: Yeah, right, dunking after the shootouts, Crates Not nobody's leaving

415
00:21:08,600 --> 00:21:09,119
Speaker 3: it crates.

416
00:21:09,200 --> 00:21:10,920
Speaker 6: Yeah, and you got everything in there.

417
00:21:11,040 --> 00:21:14,359
Speaker 3: So that kind of made me musically inclined. So listening

418
00:21:14,400 --> 00:21:16,360
Speaker 3: to the old kind of music.

419
00:21:16,119 --> 00:21:18,080
Speaker 1: Right, did you see that Vinyl is so like I

420
00:21:18,160 --> 00:21:19,400
Speaker 1: think like they said a bill.

421
00:21:19,480 --> 00:21:21,280
Speaker 2: Yeah, I saw. I just saw that today.

422
00:21:21,800 --> 00:21:22,920
Speaker 1: I was surprised when I saw it.

423
00:21:23,040 --> 00:21:26,399
Speaker 5: Yeah, it's got there buying viny They buying them back as.

424
00:21:26,280 --> 00:21:29,320
Speaker 2: I said, Yeah, it's it's a bit of a different

425
00:21:30,000 --> 00:21:34,240
Speaker 2: thing where like people buy it almost like a collectible object.

426
00:21:34,400 --> 00:21:36,920
Speaker 5: Actually white are they buying it like just to hold it? Yeah,

427
00:21:37,240 --> 00:21:39,399
Speaker 5: DJs is not using.

428
00:21:38,760 --> 00:21:42,280
Speaker 2: Not as barely right. Everything's digital, whether it's whether it's

429
00:21:42,359 --> 00:21:45,840
Speaker 2: on the laptop with Torado or whether it's.

430
00:21:45,000 --> 00:21:48,760
Speaker 6: This murder DJ's got it easy now. Back in the day, listen.

431
00:21:48,920 --> 00:21:53,640
Speaker 3: Back in the days, twelve hundreds, Gemini mixer, party gets

432
00:21:53,640 --> 00:21:54,080
Speaker 3: shot up.

433
00:21:54,359 --> 00:21:55,680
Speaker 6: You got twelve.

434
00:21:55,359 --> 00:21:59,360
Speaker 3: Crates, we gotta carry nigga got a computer like said

435
00:21:59,480 --> 00:21:59,879
Speaker 3: the party, you.

436
00:22:03,800 --> 00:22:05,080
Speaker 6: Go fuck out of here.

437
00:22:05,119 --> 00:22:07,840
Speaker 3: I don't been into clubs with the best jays in

438
00:22:07,960 --> 00:22:13,800
Speaker 3: Jamaica Queens, grim Master, Vic, DJ Roughheads, gold Fingers, The

439
00:22:13,920 --> 00:22:17,960
Speaker 3: Rockaway twins, DJ dog Tome like, come on, bro, we

440
00:22:18,119 --> 00:22:22,520
Speaker 3: we were talking DJ jd Lorello from Merrick. This is

441
00:22:22,560 --> 00:22:26,440
Speaker 3: when people was doing blends, just before DJ clue, you

442
00:22:26,440 --> 00:22:28,080
Speaker 3: know what I'm saying, DJ, And then you know, you

443
00:22:28,119 --> 00:22:29,800
Speaker 3: got your twelve unders and then they got the needles

444
00:22:29,800 --> 00:22:30,200
Speaker 3: and all that.

445
00:22:30,320 --> 00:22:32,399
Speaker 6: My best friend was at DJ. We go to my

446
00:22:32,480 --> 00:22:34,040
Speaker 6: man's house. Rest in peace right now.

447
00:22:34,240 --> 00:22:37,600
Speaker 3: He got about one hundred crates right if you go

448
00:22:37,680 --> 00:22:41,000
Speaker 3: through a ship classics. Yeah, and this he was doing

449
00:22:41,000 --> 00:22:45,000
Speaker 3: this at fifteen. I never even knew that about you.

450
00:22:45,000 --> 00:22:49,320
Speaker 5: You think you think social media helped the game for

451
00:22:49,400 --> 00:22:50,959
Speaker 5: the DJs or hurt it a little bit?

452
00:22:51,000 --> 00:22:51,960
Speaker 1: What you think about.

453
00:22:51,680 --> 00:22:56,720
Speaker 2: It both both? I think. You know, now there's there's

454
00:22:56,720 --> 00:23:00,360
Speaker 2: a newer generation of DJs that are able to get

455
00:23:00,359 --> 00:23:04,200
Speaker 2: known off of social media, and I love seeing there's DJs.

456
00:23:04,359 --> 00:23:06,960
Speaker 2: There's young DJs that are honestly they're like eight, nine,

457
00:23:06,960 --> 00:23:08,880
Speaker 2: ten years old. Maybe their parents are hand them out.

458
00:23:09,400 --> 00:23:11,520
Speaker 2: They're learning how to scratch, and they're posting their videos

459
00:23:11,520 --> 00:23:15,840
Speaker 2: on TikTok and on reels. You know, that's a new

460
00:23:15,880 --> 00:23:18,200
Speaker 2: way to get known and there's a lot of information

461
00:23:18,520 --> 00:23:22,360
Speaker 2: that gets shared. But at the same time, that thing

462
00:23:22,440 --> 00:23:26,879
Speaker 2: with the phone and everybody trying to create these viral moments.

463
00:23:27,359 --> 00:23:29,399
Speaker 2: It's to a point where that's a little bit artificial.

464
00:23:30,000 --> 00:23:31,960
Speaker 2: You know, people are sort of forgetting that just the

465
00:23:32,080 --> 00:23:35,240
Speaker 2: feel of being at a party and just dancing to

466
00:23:35,280 --> 00:23:37,399
Speaker 2: the music and not worrying about, oh, is someone going

467
00:23:37,440 --> 00:23:40,080
Speaker 2: to see me on such and such a story tomorrow,

468
00:23:40,400 --> 00:23:44,080
Speaker 2: what should I film this, asking for requests all that stuff.

469
00:23:44,119 --> 00:23:45,480
Speaker 2: It's a little bit like, yo, you got to put

470
00:23:45,480 --> 00:23:49,440
Speaker 2: the phone down. I just enjoy yourself. So it helps

471
00:23:49,480 --> 00:23:53,120
Speaker 2: in terms of exposure, but it hurts in the way

472
00:23:53,160 --> 00:23:57,080
Speaker 2: that it just feels artificial. It feels like the feelings

473
00:23:57,119 --> 00:24:00,280
Speaker 2: not quite the same. Yeah, yeah, some of.

474
00:24:00,240 --> 00:24:01,800
Speaker 6: The biggest festivals you did, because I.

475
00:24:01,800 --> 00:24:07,000
Speaker 2: Know, yeah man, I mean I played the first Coachella ever.

476
00:24:07,080 --> 00:24:09,840
Speaker 2: I played Coachella a bunch of times, but yeah, cello,

477
00:24:10,080 --> 00:24:13,040
Speaker 2: yeah I played. I played it a bunch of ninety

478
00:24:13,119 --> 00:24:15,520
Speaker 2: nine I believe ninety nine. Yeah, I was like, I

479
00:24:15,560 --> 00:24:18,760
Speaker 2: was like seventeen. It was a raid, really, it was

480
00:24:18,800 --> 00:24:20,800
Speaker 2: just it was just a party in the desert, and

481
00:24:20,840 --> 00:24:23,240
Speaker 2: then they built into this, they built it into this thing,

482
00:24:23,760 --> 00:24:25,639
Speaker 2: and then I've got to play it many times since,

483
00:24:25,920 --> 00:24:28,480
Speaker 2: whether it be solo, a trax, set or duck sauce

484
00:24:28,560 --> 00:24:32,080
Speaker 2: or collaborative stuff. But yeah, that when I played a

485
00:24:32,080 --> 00:24:34,119
Speaker 2: bunch of times and lollaplouos, I played a bunch of

486
00:24:34,160 --> 00:24:39,480
Speaker 2: times and yeah, but overseas, I was like that.

487
00:24:39,080 --> 00:24:42,400
Speaker 6: Yeah, I mean, but he's seventeen years old. That's That's

488
00:24:42,400 --> 00:24:42,880
Speaker 6: what I'm saying.

489
00:24:42,880 --> 00:24:46,200
Speaker 3: What gives you the drive in the smarts to win

490
00:24:46,280 --> 00:24:50,800
Speaker 3: your first big battle contest worldwide at fifteen years old?

491
00:24:51,040 --> 00:24:54,240
Speaker 5: Motivate it is great, man. Yeah, it's like a worldwide

492
00:24:54,359 --> 00:24:56,440
Speaker 5: on me. Yeah yeah, yeah, oh yeah's crazy.

493
00:24:56,520 --> 00:24:56,720
Speaker 1: I was.

494
00:24:56,840 --> 00:24:59,159
Speaker 2: Yeah, I was going up against you know DJ's that

495
00:24:59,160 --> 00:25:03,920
Speaker 2: were France, UK, Japan, whatever. So, like I mentioned, I

496
00:25:03,920 --> 00:25:06,840
Speaker 2: grew up in Montreal. I got an older brother. We're

497
00:25:06,960 --> 00:25:09,880
Speaker 2: super tight. We still make music together. My brother Dave.

498
00:25:09,960 --> 00:25:13,600
Speaker 2: Anybody that knows my stuff, you know. He's also in

499
00:25:13,640 --> 00:25:16,920
Speaker 2: a band called Chromeo. They're well known for their music too,

500
00:25:17,320 --> 00:25:20,240
Speaker 2: but if you no, they live in New York too.

501
00:25:23,920 --> 00:25:26,439
Speaker 2: When we were growing up, we were just fans of

502
00:25:26,520 --> 00:25:28,679
Speaker 2: hip hop, fans of the music. We would go to

503
00:25:28,680 --> 00:25:32,320
Speaker 2: the record store. By the final study the liner notes,

504
00:25:32,520 --> 00:25:35,880
Speaker 2: see who produced what? Oh you know, what's who's havocs engineer?

505
00:25:36,040 --> 00:25:37,919
Speaker 2: Or who makesed that Pete Rock thing or that, like

506
00:25:37,960 --> 00:25:40,320
Speaker 2: just trying, you know what I mean, Oh, what's this feature?

507
00:25:40,320 --> 00:25:42,359
Speaker 2: Who's big noise? Like just looking stuff up, you know.

508
00:25:43,200 --> 00:25:46,199
Speaker 2: And so we're just students of the game. Grew up

509
00:25:46,200 --> 00:25:49,600
Speaker 2: in Montreal idolizing this music. My brother wrote graffiti too.

510
00:25:49,680 --> 00:25:52,040
Speaker 2: He would come down in New York and get into that.

511
00:25:52,119 --> 00:25:54,080
Speaker 2: Actually we had family and Queens, so he would stay

512
00:25:54,080 --> 00:25:58,560
Speaker 2: in Queens and you know, hey, I live in Brooklyn now.

513
00:26:05,040 --> 00:26:09,080
Speaker 2: But basically we both fell in love with hip hop

514
00:26:09,320 --> 00:26:11,560
Speaker 2: and to the point where, like if you think about

515
00:26:11,640 --> 00:26:14,480
Speaker 2: nineties hip hop too, like it's more than music. It

516
00:26:14,520 --> 00:26:17,000
Speaker 2: gave you like a code of how to live your

517
00:26:17,040 --> 00:26:20,160
Speaker 2: life onside, right, you know what I mean. And as

518
00:26:20,160 --> 00:26:23,680
Speaker 2: a kid that was from the outside of it, from Montreal,

519
00:26:24,400 --> 00:26:27,439
Speaker 2: I feel like we both paid like extra attention to it.

520
00:26:27,440 --> 00:26:29,679
Speaker 2: We would buy the magazines, whether it's The Source or

521
00:26:29,760 --> 00:26:32,600
Speaker 2: XXCEL or even before that ego Trip on the Go,

522
00:26:33,280 --> 00:26:36,560
Speaker 2: wrap pages all of that and absorb all that information.

523
00:26:37,080 --> 00:26:39,280
Speaker 2: And we were just passionate. And my brother was making

524
00:26:39,320 --> 00:26:42,000
Speaker 2: beats and I was scratching and djaying, and he was

525
00:26:42,080 --> 00:26:43,920
Speaker 2: kind of like my coach because he was a couple

526
00:26:43,960 --> 00:26:46,960
Speaker 2: of years older. So I'd be practicing every day coming

527
00:26:47,000 --> 00:26:50,480
Speaker 2: home from school and learning my scratches and learning these routines.

528
00:26:51,000 --> 00:26:53,880
Speaker 2: And at that point in time, especially if you were

529
00:26:53,880 --> 00:26:59,520
Speaker 2: into scratching and whatnot, there was these videotapes of the

530
00:26:59,600 --> 00:27:01,440
Speaker 2: d ms TA Battle. Like I mentioned, there's a couple

531
00:27:01,440 --> 00:27:03,159
Speaker 2: other ones, but that was the main ones. You go

532
00:27:03,200 --> 00:27:05,919
Speaker 2: to the record store by these VHS tapes and just

533
00:27:06,359 --> 00:27:10,200
Speaker 2: watch those DJ routines, watch rock Raider and DJ Noise

534
00:27:10,280 --> 00:27:14,240
Speaker 2: and Cubert and all these incredible DJs and study them.

535
00:27:14,320 --> 00:27:17,040
Speaker 2: And there was a point in time where I felt

536
00:27:17,040 --> 00:27:19,080
Speaker 2: like I was ready to enter a battle myself, because

537
00:27:19,080 --> 00:27:23,480
Speaker 2: it's you know, that was what I watched was battles.

538
00:27:23,720 --> 00:27:26,520
Speaker 2: So once I got and I got good pretty fast.

539
00:27:26,560 --> 00:27:28,399
Speaker 2: After two years, I was like, all right, I'm ready,

540
00:27:28,920 --> 00:27:30,440
Speaker 2: and I won a world championship.

541
00:27:31,080 --> 00:27:34,920
Speaker 3: Since you talk about battles, Yeah, give me your top

542
00:27:35,320 --> 00:27:38,639
Speaker 3: five hip hop DJs and then we're gonna go to

543
00:27:38,720 --> 00:27:39,440
Speaker 3: other jobs.

544
00:27:39,440 --> 00:27:42,360
Speaker 6: But give me your top five hip hop DJs and.

545
00:27:42,440 --> 00:27:44,520
Speaker 3: I'll give you my top five all right if you

546
00:27:44,560 --> 00:27:48,640
Speaker 3: want them talk.

547
00:27:49,480 --> 00:27:55,359
Speaker 2: All I like, you crazy to go my top five

548
00:27:55,720 --> 00:27:59,560
Speaker 2: in no order, just five, just five, all right? DJ

549
00:27:59,640 --> 00:28:04,160
Speaker 2: Crazy He won? He won, like all the craziest battles

550
00:28:04,240 --> 00:28:06,440
Speaker 2: around the scene. We were in the crew together, so

551
00:28:06,480 --> 00:28:08,720
Speaker 2: we were kind of like, all right, we're both killing ship.

552
00:28:08,760 --> 00:28:10,520
Speaker 2: We're not going to go against each other, and we're

553
00:28:10,520 --> 00:28:14,440
Speaker 2: gonna so shut out my man Crazy. Yeah he beat

554
00:28:14,440 --> 00:28:14,760
Speaker 2: me once.

555
00:28:14,800 --> 00:28:15,240
Speaker 6: Be all right.

556
00:28:16,960 --> 00:28:19,760
Speaker 2: I'm gonna say Jazzy Jeff, he's he's big bro for life.

557
00:28:19,800 --> 00:28:22,240
Speaker 2: He laid down the blueprint. He even laid down the

558
00:28:21,960 --> 00:28:25,800
Speaker 2: blueprint of how to go from battles to having a

559
00:28:25,960 --> 00:28:31,359
Speaker 2: career as a solo DJ, to producing to everything. I

560
00:28:31,400 --> 00:28:34,320
Speaker 2: mean those who know no, but I think nowadays I

561
00:28:34,400 --> 00:28:36,440
Speaker 2: want to make sure people know that Jesse Jeff is

562
00:28:36,600 --> 00:28:36,960
Speaker 2: the king.

563
00:28:37,119 --> 00:28:41,080
Speaker 1: Are you talking about j Jeff will Smith. I'm just

564
00:28:41,200 --> 00:28:42,240
Speaker 1: for people that don't know.

565
00:28:42,280 --> 00:28:44,160
Speaker 2: They're right. They might know him from it or even

566
00:28:44,280 --> 00:28:51,280
Speaker 2: just being you might not know he's the Illness DJ.

567
00:28:51,400 --> 00:28:53,520
Speaker 2: All right, so we got Crazy, we got Jazzy Jeff.

568
00:28:54,000 --> 00:28:57,000
Speaker 2: I'm gonna say, my man, Jay Rock from the Beat Junkies.

569
00:28:57,120 --> 00:28:58,440
Speaker 2: I don't know if you know the Beat Junkies in

570
00:28:58,600 --> 00:28:58,760
Speaker 2: l A.

571
00:28:58,920 --> 00:29:02,760
Speaker 1: Yeah, was that the right melody?

572
00:29:02,800 --> 00:29:02,920
Speaker 6: Man?

573
00:29:03,000 --> 00:29:03,600
Speaker 2: I'm not sure, but.

574
00:29:10,000 --> 00:29:10,680
Speaker 6: J Rock.

575
00:29:13,600 --> 00:29:15,760
Speaker 2: I'm gonna say premiere, even though he's a little more

576
00:29:15,800 --> 00:29:19,800
Speaker 2: known for his production, but Premiere scratches will always be

577
00:29:20,120 --> 00:29:22,920
Speaker 2: the funkiest scratches on any record. Everybody always wanted to

578
00:29:23,000 --> 00:29:26,160
Speaker 2: have the DJ premiere scratch on the record, right, And

579
00:29:26,520 --> 00:29:29,040
Speaker 2: that's Big bro To, So shout out to him. And

580
00:29:29,080 --> 00:29:32,280
Speaker 2: then the fifth name that I'll say if I'm still

581
00:29:32,320 --> 00:29:36,320
Speaker 2: thinking within hip hop, I'm gonna say Rock Rader Rest

582
00:29:36,360 --> 00:29:41,200
Speaker 2: in Peace. And he was a mentor team yeah you know, yeah, Okay,

583
00:29:41,200 --> 00:29:43,360
Speaker 2: go ahead, yeah, go ahead, all right.

584
00:29:43,440 --> 00:29:47,200
Speaker 3: First, I gotta go with Yes. I'm gonna tell you

585
00:29:47,200 --> 00:29:50,880
Speaker 3: what I'm gonna tell you. I felt like Jazz Jeffers

586
00:29:50,880 --> 00:29:53,680
Speaker 3: slept On because Will Smith was more of a commercial rap, right,

587
00:29:53,760 --> 00:29:55,920
Speaker 3: I say, that's more like a hardcore wrapper.

588
00:29:56,120 --> 00:29:58,720
Speaker 6: Yeah. So for me, I'm gonna go with Queens.

589
00:29:58,720 --> 00:30:01,200
Speaker 3: I'm gonna go with gim Master Jay because he set

590
00:30:01,280 --> 00:30:04,400
Speaker 3: trends with no laces, you know what I mean.

591
00:30:04,560 --> 00:30:07,160
Speaker 6: He was they just set trends.

592
00:30:07,960 --> 00:30:10,360
Speaker 2: So next he made everyone want to be Next.

593
00:30:10,960 --> 00:30:13,320
Speaker 6: I'm gonna go Terminator X.

594
00:30:14,240 --> 00:30:17,600
Speaker 3: I gotta go with Terminator X just you never can

595
00:30:17,640 --> 00:30:20,640
Speaker 3: forget Terminator X. He got the big glasses, fight the

596
00:30:20,720 --> 00:30:22,600
Speaker 3: power he scratched. That's what I'm telling you. When the

597
00:30:22,680 --> 00:30:25,960
Speaker 3: DJ was more in the eighties, DJ.

598
00:30:25,920 --> 00:30:27,840
Speaker 2: Was they were up on stage with the rappers.

599
00:30:27,840 --> 00:30:31,720
Speaker 3: They were saying Terminator X. He was always quiet. He

600
00:30:31,800 --> 00:30:34,480
Speaker 3: never said ship. He was like the scary motherfucking nigga

601
00:30:34,480 --> 00:30:35,760
Speaker 3: in the back or something, you know what I mean.

602
00:30:36,480 --> 00:30:41,320
Speaker 3: Then I definitely gotta go thinking about I would say

603
00:30:41,400 --> 00:30:44,200
Speaker 3: D Nice, yeah, because D Nice was he was DJing

604
00:30:44,240 --> 00:30:46,560
Speaker 3: for k Iris one until he came out with.

605
00:30:46,640 --> 00:30:47,720
Speaker 2: His name is D Nice.

606
00:30:48,520 --> 00:30:50,640
Speaker 6: I like that record. I just wasn't used to him.

607
00:30:50,520 --> 00:30:56,360
Speaker 3: Being a rapper right there. And then he think little

608
00:30:56,360 --> 00:30:57,320
Speaker 3: state number five because I.

609
00:30:57,280 --> 00:31:00,240
Speaker 6: Got four right, I think the three man? Get you

610
00:31:00,240 --> 00:31:03,600
Speaker 6: gone fo Yeah, I said, I said, what about?

611
00:31:03,600 --> 00:31:05,880
Speaker 2: What about? What about DJ scratch with E P M

612
00:31:05,960 --> 00:31:09,680
Speaker 2: d oh yes, increble and he and he toured with

613
00:31:09,720 --> 00:31:12,520
Speaker 2: bustuf time because I want to put scratches like my

614
00:31:12,720 --> 00:31:15,120
Speaker 2: scratch unable mentions. So you didn't just put him.

615
00:31:14,960 --> 00:31:17,160
Speaker 6: In here because I said, I said, I said, Master

616
00:31:17,240 --> 00:31:19,080
Speaker 6: J Terminator.

617
00:31:18,760 --> 00:31:23,480
Speaker 1: X, Eric b okay scratch, scratch, Yeah, I.

618
00:31:23,480 --> 00:31:26,920
Speaker 6: Gotta give it to scratch. Oh no ho whoa.

619
00:31:26,960 --> 00:31:29,280
Speaker 3: I love scratch, but I gotta give it to cut

620
00:31:29,280 --> 00:31:31,480
Speaker 3: Mass to see RECTI peach cut Mas to see that.

621
00:31:31,680 --> 00:31:32,720
Speaker 1: He came back in the day.

622
00:31:33,560 --> 00:31:37,880
Speaker 3: Come on, niggeh the flat Top chain and all that, okay,

623
00:31:37,880 --> 00:31:40,280
Speaker 3: because you got to think for me, the DJs was

624
00:31:40,320 --> 00:31:41,680
Speaker 3: as fly as the rappers that there.

625
00:31:41,720 --> 00:31:43,600
Speaker 1: Well, I feel like or mister C.

626
00:31:43,800 --> 00:31:49,640
Speaker 6: You mean, I mean I was lost.

627
00:31:49,760 --> 00:31:50,920
Speaker 2: We lost too many letters.

628
00:31:53,120 --> 00:31:55,840
Speaker 3: But mister C when he was doing High ninety seven

629
00:31:55,920 --> 00:31:57,960
Speaker 3: at that point, he was killing radio.

630
00:31:57,880 --> 00:32:00,720
Speaker 6: That the back in the day she was playing and

631
00:32:00,800 --> 00:32:01,040
Speaker 6: all that.

632
00:32:01,320 --> 00:32:03,600
Speaker 3: But I remember him being with Big Daddy came back

633
00:32:03,640 --> 00:32:06,480
Speaker 3: and how the d J kind of looked like the

634
00:32:06,520 --> 00:32:09,200
Speaker 3: drug dealer to Eric B. Come on that nigga look

635
00:32:09,240 --> 00:32:12,360
Speaker 3: at as much juryous fucking rock Ken.

636
00:32:13,120 --> 00:32:16,320
Speaker 5: Mister Rep so hard for Brooklyn he got meant to

637
00:32:16,360 --> 00:32:18,080
Speaker 5: Mister C used to go so odd.

638
00:32:18,200 --> 00:32:19,640
Speaker 2: Yeah, brook I mean, I.

639
00:32:19,600 --> 00:32:22,840
Speaker 6: Mean he DJ Big Daddy came and he found.

640
00:32:22,960 --> 00:32:25,760
Speaker 2: Big Yeah, and you know what, Rest in peace to

641
00:32:25,800 --> 00:32:27,959
Speaker 2: Clark Camp.

642
00:32:27,600 --> 00:32:29,400
Speaker 1: That's why we got to have the top.

643
00:32:33,160 --> 00:32:34,600
Speaker 6: Was my sneaker addict.

644
00:32:34,920 --> 00:32:38,640
Speaker 3: Yeah, man, definitely, that's why we get DJs like you

645
00:32:38,680 --> 00:32:41,080
Speaker 3: on here. So we talked about these classic moments because

646
00:32:41,080 --> 00:32:44,520
Speaker 3: it's like, Yo, the DJs meant so much back then.

647
00:32:45,360 --> 00:32:46,200
Speaker 6: The Lord said, be.

648
00:32:49,800 --> 00:32:51,240
Speaker 1: We mentioned them before. We definitely got to.

649
00:32:53,280 --> 00:32:54,200
Speaker 6: Got to say rest in peace.

650
00:32:54,280 --> 00:32:58,320
Speaker 1: Case you ain't lying about yes.

651
00:32:58,560 --> 00:33:01,360
Speaker 3: You got your you got your different DJs that are

652
00:33:01,440 --> 00:33:04,080
Speaker 3: old history, you know what I mean. Yeah, but like

653
00:33:04,120 --> 00:33:07,360
Speaker 3: when you hear a track and like loud Mouse and

654
00:33:07,440 --> 00:33:11,720
Speaker 3: DJ Snake, and I'm always thinking overseas even who Kid

655
00:33:12,040 --> 00:33:14,040
Speaker 3: like who Kids loves it overseas.

656
00:33:14,120 --> 00:33:16,440
Speaker 6: I love the US too, waiting like doing.

657
00:33:16,960 --> 00:33:17,840
Speaker 2: I just got back from it.

658
00:33:18,160 --> 00:33:19,720
Speaker 1: I got back from the place like home.

659
00:33:19,960 --> 00:33:21,920
Speaker 2: I got back from Europe on Monday. I was there

660
00:33:21,960 --> 00:33:23,320
Speaker 2: for ten days doing a little tour.

661
00:33:23,640 --> 00:33:24,120
Speaker 6: We went.

662
00:33:24,800 --> 00:33:28,080
Speaker 2: I went to Poland, I went to to to Paris,

663
00:33:28,280 --> 00:33:30,000
Speaker 2: and then I went in the south of France to

664
00:33:30,160 --> 00:33:32,600
Speaker 2: like in the Alps, close to Geneva, and then I

665
00:33:32,800 --> 00:33:36,640
Speaker 2: had something in Stockholm too, So I did those Yeah,

666
00:33:36,680 --> 00:33:40,320
Speaker 2: Sweden love it? Yeah, man, you like the food.

667
00:33:40,960 --> 00:33:41,600
Speaker 6: I love the food.

668
00:33:42,160 --> 00:33:43,840
Speaker 2: I love the food. I don't understand why people say

669
00:33:43,840 --> 00:33:44,440
Speaker 2: I don't like the food.

670
00:33:44,480 --> 00:33:46,280
Speaker 6: It feels like it's more. I don't know, it's more.

671
00:33:46,440 --> 00:33:49,840
Speaker 2: I feel like, yeah, yeah, you for sure that the

672
00:33:50,000 --> 00:33:51,040
Speaker 2: ingredients are more fresh.

673
00:33:51,440 --> 00:33:54,280
Speaker 6: What's up spot in Australia, we love we addicted.

674
00:33:53,920 --> 00:34:08,160
Speaker 2: To They got that Perry Perry That's right, I feel

675
00:34:08,560 --> 00:34:11,640
Speaker 2: But I feel like you you're like you're so like the

676
00:34:11,760 --> 00:34:15,080
Speaker 2: ultimate hype man, like your energy and what you bring

677
00:34:15,680 --> 00:34:19,240
Speaker 2: to the live show. As you know, with that voice

678
00:34:19,239 --> 00:34:22,080
Speaker 2: that you have, it's not that it's not very different

679
00:34:22,080 --> 00:34:24,160
Speaker 2: from a DJ, you know what I mean, You're kind

680
00:34:24,160 --> 00:34:26,359
Speaker 2: of you're you're almost like a DJ.

681
00:34:26,520 --> 00:34:29,839
Speaker 1: Like we're probably like taking over partys DJ.

682
00:34:29,960 --> 00:34:30,520
Speaker 6: That's what I.

683
00:34:32,960 --> 00:34:35,319
Speaker 3: Used to do that with my man Ruffians, I said,

684
00:34:35,840 --> 00:34:38,320
Speaker 3: I come from a real hip hop background, you know

685
00:34:38,360 --> 00:34:40,279
Speaker 3: what I'm saying. Like, I can tell you fifties first

686
00:34:40,280 --> 00:34:43,479
Speaker 3: freestyle of my man like we used to be down

687
00:34:43,520 --> 00:34:47,000
Speaker 3: there mixed records that new Wu Tang instrumentals used to

688
00:34:47,000 --> 00:34:50,160
Speaker 3: come out. I wasn't the best DJ. I was just

689
00:34:50,160 --> 00:34:52,719
Speaker 3: just playing around. I could put a blend together with

690
00:34:52,800 --> 00:34:55,359
Speaker 3: my man Roughians. Gold Fingers they was, you know, they

691
00:34:55,440 --> 00:34:58,040
Speaker 3: was the nice one, super fly they like they all

692
00:34:58,080 --> 00:35:00,040
Speaker 3: could kill a club, you know what I mean. And

693
00:35:00,160 --> 00:35:01,520
Speaker 3: then it was a little more special.

694
00:35:01,239 --> 00:35:02,440
Speaker 2: Because Fingers incredible.

695
00:35:02,440 --> 00:35:04,840
Speaker 3: I'm gonna give you. I'm gonna give you a perfect example.

696
00:35:04,920 --> 00:35:08,000
Speaker 3: Rest in peace, Mysticy not Master.

697
00:35:08,040 --> 00:35:12,120
Speaker 6: Still still alive. Shout to him too, you know, chat

698
00:35:12,239 --> 00:35:20,759
Speaker 6: with a knife was actually look so with that look

699
00:35:20,920 --> 00:35:24,160
Speaker 6: So with that being said, with Misteric he didn't even

700
00:35:24,200 --> 00:35:26,839
Speaker 6: know and rest of Peace, I called him, were talking

701
00:35:26,880 --> 00:35:28,640
Speaker 6: on the phone, and he didn't know about.

702
00:35:28,440 --> 00:35:32,520
Speaker 3: The gap being okay, yeah, share of troubles. That's like

703
00:35:32,560 --> 00:35:37,040
Speaker 3: the south Side anthem, many more than others. Like every

704
00:35:37,080 --> 00:35:40,120
Speaker 3: time grand Master Vic used to come on, like so

705
00:35:40,840 --> 00:35:42,719
Speaker 3: I was like grand Master Victim.

706
00:35:42,560 --> 00:35:44,080
Speaker 6: Yeah you hear that.

707
00:35:44,160 --> 00:35:45,719
Speaker 2: It's like, oh my god, Okay.

708
00:35:45,880 --> 00:35:49,480
Speaker 3: People start paying homage grand Master Vic projects, you know

709
00:35:49,520 --> 00:35:51,000
Speaker 3: what I mean, even wrong G.

710
00:35:51,840 --> 00:35:52,400
Speaker 2: Of course I.

711
00:35:52,400 --> 00:35:55,120
Speaker 1: Don't know murder no about ron G man the mixtapes

712
00:35:55,160 --> 00:35:55,480
Speaker 1: and all that.

713
00:35:57,160 --> 00:35:58,440
Speaker 3: No, I know, you know, but I didn't know if

714
00:35:58,440 --> 00:36:01,480
Speaker 3: you know about ron G number ten though, was a

715
00:36:01,520 --> 00:36:03,839
Speaker 3: class that was the one to me if you ever

716
00:36:03,920 --> 00:36:05,960
Speaker 3: go back and you could. Ron G had plenty of

717
00:36:06,320 --> 00:36:09,480
Speaker 3: dope tapes, but ron G number ten was like a

718
00:36:09,560 --> 00:36:12,160
Speaker 3: drug dealer's anthem. People on the block, all the drug

719
00:36:12,480 --> 00:36:15,160
Speaker 3: ron G number ten that's what was playing. That was

720
00:36:15,160 --> 00:36:18,799
Speaker 3: a blend era before DJ Clue came shout the clue too, yep,

721
00:36:18,800 --> 00:36:20,560
Speaker 3: because he's one of them. Do he changed the game?

722
00:36:20,880 --> 00:36:23,920
Speaker 3: It was they went from mixtapes because I'm still listening

723
00:36:24,040 --> 00:36:26,319
Speaker 3: to the Dirty Harry and all them.

724
00:36:26,640 --> 00:36:29,480
Speaker 2: Yeah yeah, I'm still listening to yeah.

725
00:36:29,320 --> 00:36:31,640
Speaker 3: Serious And then when I go overseas, it's a whole

726
00:36:31,680 --> 00:36:33,839
Speaker 3: nother element of music.

727
00:36:34,040 --> 00:36:36,840
Speaker 2: Of course, of course, but that yeah, ron G changed

728
00:36:36,840 --> 00:36:39,680
Speaker 2: the game with those blends. He influenced the production, so

729
00:36:39,719 --> 00:36:42,440
Speaker 2: I feel like him and then could compete with the

730
00:36:42,440 --> 00:36:43,960
Speaker 2: blends too, and the next thing, you know, you got

731
00:36:44,280 --> 00:36:47,839
Speaker 2: I didn't you gotta Yeah, we gotta talk about.

732
00:36:47,280 --> 00:36:49,279
Speaker 1: You watching right now that you think people sleeping on

733
00:36:50,239 --> 00:36:50,840
Speaker 1: the cool.

734
00:36:50,640 --> 00:36:52,759
Speaker 2: Kids for sure? Like I mentioned them earlier, they're from

735
00:36:52,880 --> 00:36:57,319
Speaker 2: Chicago and they just starting in the blog era, like

736
00:36:57,520 --> 00:36:59,520
Speaker 2: even a little before that, like from like two thousand

737
00:36:59,560 --> 00:37:01,919
Speaker 2: and six, so up until now, they just they set

738
00:37:01,960 --> 00:37:05,480
Speaker 2: trends all the time, and from the beats of the

739
00:37:05,560 --> 00:37:07,960
Speaker 2: rhymes to style, they changed, they changed the way a

740
00:37:07,960 --> 00:37:11,640
Speaker 2: whole generation dressed them. Shout out to Chris Krack, he's

741
00:37:11,680 --> 00:37:14,720
Speaker 2: on my label, Full's Bold. Yeah, there's a whole bunch

742
00:37:14,760 --> 00:37:17,919
Speaker 2: for sure. But I think what's cool about hip hop

743
00:37:18,000 --> 00:37:22,359
Speaker 2: now is like it's so broad that it's probably like

744
00:37:22,920 --> 00:37:26,719
Speaker 2: ten twelve different lanes of types of rappers, you know

745
00:37:26,760 --> 00:37:28,680
Speaker 2: what I mean? Like I think we can we could

746
00:37:28,719 --> 00:37:31,520
Speaker 2: sit here and reminisce about how how great the nineties was,

747
00:37:31,520 --> 00:37:33,680
Speaker 2: and at the end of the day, that's that that's

748
00:37:33,719 --> 00:37:36,359
Speaker 2: the era that shaped me. But I love the fact

749
00:37:36,440 --> 00:37:40,640
Speaker 2: that now you can have so many different types of

750
00:37:40,880 --> 00:37:45,880
Speaker 2: rappers that coexist and they find their fan base just

751
00:37:45,920 --> 00:37:46,720
Speaker 2: directly online.

752
00:37:46,880 --> 00:37:50,960
Speaker 1: It's yes, I just.

753
00:37:50,920 --> 00:37:52,680
Speaker 2: Think there's too much music that comes out.

754
00:37:52,840 --> 00:37:55,680
Speaker 1: Because because much because it's so easy because of social media.

755
00:37:56,080 --> 00:37:56,800
Speaker 6: Too much music.

756
00:37:56,840 --> 00:37:58,839
Speaker 3: But what I love about the music now is it's

757
00:37:58,880 --> 00:38:01,120
Speaker 3: so much lanes. Like day I might want to do.

758
00:38:01,120 --> 00:38:03,760
Speaker 6: Old school yeah Bird or flag yeh.

759
00:38:05,840 --> 00:38:09,840
Speaker 8: Fucking I don't know anybody, and then one day I

760
00:38:09,920 --> 00:38:13,040
Speaker 8: might want to do you know, the ratchet ship, like

761
00:38:13,200 --> 00:38:16,879
Speaker 8: fucking Pool Shike stand Because I'm listening to that, I'm

762
00:38:16,880 --> 00:38:20,080
Speaker 8: not Key Glock and sexy Red she want to fuck with?

763
00:38:20,400 --> 00:38:24,319
Speaker 3: That beat is take Key for real? When no matter,

764
00:38:24,400 --> 00:38:27,560
Speaker 3: that's what sexy Red is just ratchet. It's good music,

765
00:38:27,640 --> 00:38:29,759
Speaker 3: you know what I'm saying, Like take Key on the beat,

766
00:38:29,800 --> 00:38:32,160
Speaker 3: It's always the beat for me. So when I take

767
00:38:32,239 --> 00:38:33,919
Speaker 3: Key on the beat and then she got key Glock

768
00:38:34,000 --> 00:38:36,680
Speaker 3: on it, so to me, Key Glock is still up

769
00:38:36,719 --> 00:38:38,800
Speaker 3: there with Dolph. He's like holding his own. So I

770
00:38:38,880 --> 00:38:41,439
Speaker 3: might want to listen to some Whyian ship, and then

771
00:38:41,480 --> 00:38:44,360
Speaker 3: I might go to all the dead rappers, Pop Smoke,

772
00:38:45,000 --> 00:38:51,440
Speaker 3: Nipsey Tube, hoop biggie, my mind just be all over now.

773
00:38:51,560 --> 00:38:55,399
Speaker 2: So I like the fact that at the same at

774
00:38:55,400 --> 00:39:01,160
Speaker 2: the same slice of time, you could have like all

775
00:39:01,200 --> 00:39:04,440
Speaker 2: the all the stuff that Alchemist is producing, right and

776
00:39:04,480 --> 00:39:05,960
Speaker 2: the earth shout out to out.

777
00:39:06,280 --> 00:39:07,239
Speaker 6: He's another day.

778
00:39:07,680 --> 00:39:10,600
Speaker 2: Yeah, he's a legend. And and you know, it's amazing

779
00:39:10,640 --> 00:39:12,359
Speaker 2: that he's kind of at the biggest point of his

780
00:39:12,400 --> 00:39:14,520
Speaker 2: career now because we all remember the stuff he was

781
00:39:14,560 --> 00:39:16,000
Speaker 2: doing twenty five years ago.

782
00:39:16,239 --> 00:39:18,719
Speaker 6: He's doing a record album with right now.

783
00:39:19,160 --> 00:39:22,160
Speaker 2: Yeah, but the stuff that he's doing with with with

784
00:39:22,239 --> 00:39:25,439
Speaker 2: the Earl or like Surf Gang Mike, artists like that.

785
00:39:25,719 --> 00:39:29,239
Speaker 2: You got that pocket, you got like VS and like

786
00:39:29,440 --> 00:39:33,120
Speaker 2: I swear Veso and the Detroit guys. You got Kodak

787
00:39:33,160 --> 00:39:35,960
Speaker 2: doing his own thing. You got you know, all the

788
00:39:36,080 --> 00:39:38,960
Speaker 2: la stuff that's been popping, you know. I like all

789
00:39:39,000 --> 00:39:41,080
Speaker 2: the artists that Kendrick put on that last album, like

790
00:39:41,160 --> 00:39:44,840
Speaker 2: as Chik and people like that right album. But so

791
00:39:46,640 --> 00:39:48,920
Speaker 2: you know, all those different pockets and then the ratchet

792
00:39:48,960 --> 00:39:52,080
Speaker 2: stuff too, like you said, and and and the Memphis

793
00:39:52,120 --> 00:39:54,360
Speaker 2: Ship and all that, like that can all co exist.

794
00:39:54,360 --> 00:39:56,160
Speaker 2: There's a period of time where I think everybody was

795
00:39:56,160 --> 00:39:58,520
Speaker 2: trying to work with the same producer and everybody's trying

796
00:39:58,560 --> 00:40:00,880
Speaker 2: to make the same kind of record. But now everybody

797
00:40:00,920 --> 00:40:06,080
Speaker 2: can do their own individual thing and that's dope. But

798
00:40:06,640 --> 00:40:11,160
Speaker 2: the flip side of that is, as a DJ, I'll

799
00:40:11,160 --> 00:40:14,560
Speaker 2: tell you there's less records that bring everyone together. There's

800
00:40:15,160 --> 00:40:17,640
Speaker 2: way it's way harder to find, you know what I mean,

801
00:40:17,760 --> 00:40:20,960
Speaker 2: Like the way like put it through. Like I think

802
00:40:21,040 --> 00:40:23,000
Speaker 2: some of these artists and not not not saying the

803
00:40:23,000 --> 00:40:25,240
Speaker 2: ones that just named, but some of the current rap artists,

804
00:40:25,239 --> 00:40:27,520
Speaker 2: because they can just go straight to their audience and

805
00:40:27,560 --> 00:40:31,439
Speaker 2: their niche, they're a little bit less three dimensional because

806
00:40:31,480 --> 00:40:35,839
Speaker 2: when you think about the way that in the height

807
00:40:35,880 --> 00:40:37,279
Speaker 2: of you guys and stuff and the height of g

808
00:40:37,400 --> 00:40:41,160
Speaker 2: unit but also like a like a NAS record would

809
00:40:41,200 --> 00:40:43,440
Speaker 2: be lyrical for the heads, but it would be in

810
00:40:43,480 --> 00:40:46,279
Speaker 2: the clubs too. The girls liked it, the guys liked it,

811
00:40:47,080 --> 00:40:50,400
Speaker 2: you know, the beat heads liked it. It was for everyone,

812
00:40:50,440 --> 00:40:54,000
Speaker 2: whereas now lyrical is one thing, the club is one thing,

813
00:40:54,400 --> 00:40:56,040
Speaker 2: the girls is one thing, right, you know what I mean?

814
00:40:56,520 --> 00:40:59,520
Speaker 1: But who's making it trying to put it all together.

815
00:40:59,160 --> 00:41:05,240
Speaker 2: Right, because it's sense like Kanye at his height, Wayne

816
00:41:05,400 --> 00:41:10,440
Speaker 2: at his height, because that's even after you you guys

817
00:41:10,480 --> 00:41:12,840
Speaker 2: era in a sense, they were still making records that

818
00:41:12,920 --> 00:41:15,720
Speaker 2: ticked many of those boxes. It's a little bit harder

819
00:41:15,760 --> 00:41:18,160
Speaker 2: to find those records now that for me as a DJ,

820
00:41:18,280 --> 00:41:20,480
Speaker 2: where at any record I know, I'd be like, Yo,

821
00:41:20,520 --> 00:41:22,640
Speaker 2: this is the record of the year, Like this is like,

822
00:41:22,680 --> 00:41:27,000
Speaker 2: what's what's the biggie hypnotize of of last year? It's

823
00:41:27,040 --> 00:41:31,280
Speaker 2: harder to find those, you know what I mean. Yeah,

824
00:41:31,440 --> 00:41:33,600
Speaker 2: I mean there's a point in time where I started

825
00:41:33,640 --> 00:41:34,760
Speaker 2: messing around with house music.

826
00:41:37,920 --> 00:41:40,360
Speaker 1: Of course, Yeah, I.

827
00:41:40,400 --> 00:41:42,520
Speaker 6: Think it's.

828
00:41:43,920 --> 00:41:44,840
Speaker 1: I think it's the artist.

829
00:41:44,880 --> 00:41:45,960
Speaker 6: I don't think I think.

830
00:41:46,360 --> 00:41:48,520
Speaker 5: I think it's I think like you said, they can't

831
00:41:49,200 --> 00:41:50,360
Speaker 5: they know I got this audience.

832
00:41:51,680 --> 00:41:54,359
Speaker 1: They they already would be they rocking me. I'm cool,

833
00:41:54,960 --> 00:42:00,320
Speaker 1: don't That's whatduction?

834
00:42:00,480 --> 00:42:04,400
Speaker 3: Because like back like like in the nineties, eighties and

835
00:42:04,520 --> 00:42:07,000
Speaker 3: early two thousands, it be a beat like you hear

836
00:42:07,200 --> 00:42:10,799
Speaker 3: a beat like method Man, what was that?

837
00:42:11,200 --> 00:42:13,319
Speaker 2: How high? Bring the pain?

838
00:42:14,120 --> 00:42:18,640
Speaker 3: Yeah? Bring the one personal have that beat? You know what,

839
00:42:18,719 --> 00:42:21,800
Speaker 3: biggie who shot you? It was like one person. You'll

840
00:42:21,800 --> 00:42:24,400
Speaker 3: never hear a beat like that again, you know what

841
00:42:24,440 --> 00:42:28,240
Speaker 3: I mean. It's different Like when I say dons effects.

842
00:42:28,080 --> 00:42:30,880
Speaker 5: I get what you say. Nowadays, do it and do

843
00:42:30,960 --> 00:42:32,560
Speaker 5: a lot of beats, do sound familia.

844
00:42:33,280 --> 00:42:36,080
Speaker 2: There's just too much of everything. There's incredible producers. Now

845
00:42:36,080 --> 00:42:37,399
Speaker 2: there's producers that are doing some.

846
00:42:37,360 --> 00:42:39,359
Speaker 1: Ship shut out the Great John and the Beat by

847
00:42:39,400 --> 00:42:39,680
Speaker 1: the way.

848
00:42:40,440 --> 00:42:44,960
Speaker 3: Yeah, I'm just saying that EPMD you got, I know,

849
00:42:44,960 --> 00:42:47,839
Speaker 3: when certain things came on, it was just.

850
00:42:47,800 --> 00:42:53,520
Speaker 2: Like yeah, god right, yeah. Look, every every generation has

851
00:42:53,600 --> 00:42:56,400
Speaker 2: their classics, and people that are just going to the

852
00:42:56,400 --> 00:43:00,320
Speaker 2: club now they're twenty years old, they'll they'll hear it

853
00:43:00,400 --> 00:43:02,839
Speaker 2: might be Osama's son or someone like that, and they'll

854
00:43:02,880 --> 00:43:04,560
Speaker 2: hear that record be like, oh, that's my ship or

855
00:43:04,600 --> 00:43:07,840
Speaker 2: the Obviously Cardi and Uzi are super important to the

856
00:43:07,880 --> 00:43:10,640
Speaker 2: last five ten years, right, so if a Cardi recond

857
00:43:10,640 --> 00:43:12,439
Speaker 2: comes down, people will be like yo, that Like they'll

858
00:43:12,480 --> 00:43:14,920
Speaker 2: react the same way as maybe reacted.

859
00:43:15,440 --> 00:43:17,000
Speaker 1: You got to thinking the jay Z.

860
00:43:19,160 --> 00:43:21,480
Speaker 5: It's just the same way we felt about back then

861
00:43:21,840 --> 00:43:23,879
Speaker 5: how these young people feel about right now.

862
00:43:25,040 --> 00:43:27,160
Speaker 3: But a lot of music is mike a wave music

863
00:43:27,320 --> 00:43:29,719
Speaker 3: like you could play do you.

864
00:43:29,200 --> 00:43:31,560
Speaker 5: That's to us though, as I'm realizing now, that's to

865
00:43:31,680 --> 00:43:34,319
Speaker 5: us because you realize how the older you remember, the

866
00:43:34,320 --> 00:43:35,920
Speaker 5: older generation used to hate.

867
00:43:35,760 --> 00:43:38,239
Speaker 2: On right, they would be like what they talk about

868
00:43:38,440 --> 00:43:38,880
Speaker 2: the same.

869
00:43:38,840 --> 00:43:41,040
Speaker 1: Real hip hop. They talk about streets the same real

870
00:43:41,120 --> 00:43:41,480
Speaker 1: hip hop.

871
00:43:41,520 --> 00:43:44,279
Speaker 5: Because they got away from the hip then they was

872
00:43:44,320 --> 00:43:46,760
Speaker 5: a little mad at at that time they wasn't respecting

873
00:43:46,800 --> 00:43:47,399
Speaker 5: the street music.

874
00:43:47,440 --> 00:43:48,960
Speaker 6: Of course, all I'm saying.

875
00:43:48,760 --> 00:43:51,600
Speaker 3: Is this as a DJ, right, yeah, we're not just

876
00:43:51,640 --> 00:43:54,719
Speaker 3: talking about hip hop when we go to Queen's clubs. Right,

877
00:43:55,960 --> 00:43:58,520
Speaker 3: you could play hip hop music like when we was

878
00:43:58,520 --> 00:44:01,160
Speaker 3: going to the Hole in the World, but it was

879
00:44:01,200 --> 00:44:04,600
Speaker 3: a time with Nigga. You better have that jamaking ready,

880
00:44:04,680 --> 00:44:12,000
Speaker 3: you better have this ready like that that. Sorry, we

881
00:44:12,120 --> 00:44:19,160
Speaker 3: can't say that was every block party. And baby, we

882
00:44:19,320 --> 00:44:22,359
Speaker 3: know that Rekie could play somewhere overseas.

883
00:44:22,800 --> 00:44:23,720
Speaker 6: It's still knock.

884
00:44:23,960 --> 00:44:27,920
Speaker 7: Yeah, the difference is too much you have.

885
00:44:29,640 --> 00:44:32,319
Speaker 3: But still as a DJ, you know you still have

886
00:44:32,440 --> 00:44:33,600
Speaker 3: to have your ship together.

887
00:44:33,760 --> 00:44:36,319
Speaker 2: Yep, yep, you gotta. You gotta be able to shut

888
00:44:36,360 --> 00:44:38,480
Speaker 2: up at that party. You might you might think it's

889
00:44:38,480 --> 00:44:40,520
Speaker 2: gonna be one style and you show up and like

890
00:44:40,560 --> 00:44:43,400
Speaker 2: you said, they might want reggae, they might want old school,

891
00:44:43,800 --> 00:44:48,160
Speaker 2: they might want some regional ship. As we we like

892
00:44:48,960 --> 00:44:50,799
Speaker 2: us DJs, we need to be able to, like we

893
00:44:50,840 --> 00:44:53,640
Speaker 2: was overseas, get there and flip their formula.

894
00:44:53,560 --> 00:44:56,360
Speaker 3: Shout to DJ Robbie Rob not to disrespect him, but

895
00:44:56,400 --> 00:44:57,360
Speaker 3: we went overseas.

896
00:44:57,480 --> 00:45:00,400
Speaker 1: You sound like you're about to disrespect I'm just.

897
00:45:00,440 --> 00:45:02,560
Speaker 6: Say you like now.

898
00:45:02,640 --> 00:45:04,360
Speaker 3: But he thought he was gonna go overseas and do

899
00:45:04,440 --> 00:45:06,960
Speaker 3: all that American ship that she was out the window.

900
00:45:08,760 --> 00:45:13,520
Speaker 3: Different ship, afro beats, you know what I'm saying, Different

901
00:45:13,560 --> 00:45:16,920
Speaker 3: ship when you go other places. And he learned this lesson,

902
00:45:17,000 --> 00:45:18,799
Speaker 3: like you ain't gonna say, yo, when you come over

903
00:45:18,840 --> 00:45:22,000
Speaker 3: here for your first time coming overseas, you can't just

904
00:45:22,040 --> 00:45:24,719
Speaker 3: think the American records are gonna rock for you.

905
00:45:24,760 --> 00:45:26,439
Speaker 6: I haven't seen that who Kid.

906
00:45:26,480 --> 00:45:28,759
Speaker 3: I always give it to who Kid because who Kid

907
00:45:28,840 --> 00:45:32,120
Speaker 3: will have the world hold DG like how he know?

908
00:45:32,560 --> 00:45:35,319
Speaker 6: Yeah, that's one of his joints. That's that's his joy.

909
00:45:39,200 --> 00:45:42,120
Speaker 3: That's what I'm saying for DJ. You gotta be prepared

910
00:45:42,120 --> 00:45:43,240
Speaker 3: because what's the worst feeling.

911
00:45:44,280 --> 00:45:47,680
Speaker 5: Throw a record on and people come on, nobody moving,

912
00:45:47,840 --> 00:45:49,759
Speaker 5: but you want that ship. You know.

913
00:45:49,840 --> 00:45:53,000
Speaker 2: One thing I remember too is there's a point in

914
00:45:53,080 --> 00:45:57,839
Speaker 2: time when g Unitt was really touring internationally. I think

915
00:45:58,320 --> 00:46:00,680
Speaker 2: a lot of people in North America might not realized

916
00:46:00,680 --> 00:46:04,120
Speaker 2: that there wasn't that many rappers or wrap crews that

917
00:46:04,160 --> 00:46:09,279
Speaker 2: were really international like that. Because when I started working

918
00:46:09,320 --> 00:46:13,040
Speaker 2: with Kanye and we were going international a lot, and

919
00:46:13,160 --> 00:46:16,000
Speaker 2: I was already doing those overseas circuits as a DJ,

920
00:46:16,120 --> 00:46:17,600
Speaker 2: and then I was working with Ya and we were,

921
00:46:18,040 --> 00:46:23,200
Speaker 2: you know, going to Japan and Nigeria and anywhere. Everywhere

922
00:46:23,239 --> 00:46:26,279
Speaker 2: we went, G Unit had been. It was g Unit

923
00:46:26,440 --> 00:46:30,000
Speaker 2: eminem akon. There was a point in time where even

924
00:46:30,120 --> 00:46:34,239
Speaker 2: Hove hadn't started doing the international thing. Then he became international.

925
00:46:35,239 --> 00:46:38,279
Speaker 3: I was locked up, but Rihanna was overseas when she

926
00:46:38,440 --> 00:46:39,040
Speaker 3: just came out.

927
00:46:38,960 --> 00:46:45,640
Speaker 2: She was yeah, yeah, but yeah, I was. I remember that.

928
00:46:46,160 --> 00:46:49,880
Speaker 2: You guys really went and hit the whole world in

929
00:46:49,880 --> 00:46:51,799
Speaker 2: a way that at that point in time, not not

930
00:46:51,880 --> 00:46:53,080
Speaker 2: that many artists story.

931
00:46:53,200 --> 00:46:58,120
Speaker 3: My story is crazy. I remember opening up for Cash

932
00:46:59,400 --> 00:47:04,360
Speaker 3: Okay Wayne, Lil Wayne was he was young, he was

933
00:47:04,440 --> 00:47:08,279
Speaker 3: on stage like rich already these niggas. Was had all

934
00:47:08,320 --> 00:47:11,319
Speaker 3: of the fucking props flying up on the stage, a

935
00:47:11,360 --> 00:47:12,520
Speaker 3: million girls fire.

936
00:47:12,560 --> 00:47:15,760
Speaker 2: I'm like, oh Ship, shout out many Fresh, that's.

937
00:47:15,600 --> 00:47:21,840
Speaker 3: My man, whole cash money come on you.

938
00:47:22,120 --> 00:47:24,000
Speaker 1: Pastor what what's next for ah track?

939
00:47:26,040 --> 00:47:26,279
Speaker 6: Question?

940
00:47:29,880 --> 00:47:31,520
Speaker 1: I got what's next for a trick?

941
00:47:31,680 --> 00:47:34,359
Speaker 2: So I got a couple of different projects. That's one

942
00:47:34,360 --> 00:47:37,080
Speaker 2: thing with DJs too, is we collaborate a lot, right,

943
00:47:37,200 --> 00:47:39,719
Speaker 2: So I mentioned my brother, me and him have a

944
00:47:39,760 --> 00:47:42,600
Speaker 2: project we're doing together called the Brothers Macklevich. That's our

945
00:47:42,640 --> 00:47:45,560
Speaker 2: last name, Macklevich. So Brothers Macklevich were dropping a couple

946
00:47:45,560 --> 00:47:49,200
Speaker 2: of songs with that, and we do we go on

947
00:47:49,239 --> 00:47:53,080
Speaker 2: the road, we do some some gigs like that. I'm

948
00:47:53,080 --> 00:47:55,399
Speaker 2: working on a new EP myself, but I'm always doing

949
00:47:55,440 --> 00:48:00,319
Speaker 2: remixes and collaborations without the DJs, and I'm working. I'm

950
00:48:00,320 --> 00:48:02,400
Speaker 2: working on a new kind of concept of like a

951
00:48:02,440 --> 00:48:04,200
Speaker 2: new live thing that I'm gonna bring out on the

952
00:48:04,239 --> 00:48:06,959
Speaker 2: road probably in a year or so. But I'm really

953
00:48:07,040 --> 00:48:11,520
Speaker 2: just always churning out like the way that now a

954
00:48:11,560 --> 00:48:13,560
Speaker 2: lot of the music industry is kind of coming around

955
00:48:13,640 --> 00:48:17,759
Speaker 2: to doing singles and EPs rather than just albums. Us

956
00:48:17,800 --> 00:48:20,279
Speaker 2: the DJs, we've been doing that for years. DJs is

957
00:48:20,320 --> 00:48:23,400
Speaker 2: all singles and EPs. So I'm just churning out a

958
00:48:23,400 --> 00:48:26,720
Speaker 2: bunch of music, keeping Fools Gold going. I got another

959
00:48:27,560 --> 00:48:33,520
Speaker 2: there you go, you gotta say fools and I got

960
00:48:33,560 --> 00:48:36,239
Speaker 2: another label called a Track and Friends. That's again that

961
00:48:36,360 --> 00:48:39,520
Speaker 2: singles because Fools Gold is more projects. A track and

962
00:48:39,560 --> 00:48:44,160
Speaker 2: Friends is house music singles. We do parties that are

963
00:48:44,280 --> 00:48:46,479
Speaker 2: that are branded as a track and Friends. So even

964
00:48:46,560 --> 00:48:48,479
Speaker 2: just this weekend, I got an a Tracking Friends event

965
00:48:48,520 --> 00:48:51,240
Speaker 2: in l A week after that, I got one in Miami.

966
00:48:51,440 --> 00:48:55,000
Speaker 2: I'm gonna do one in London this summer. So just

967
00:48:55,239 --> 00:48:57,080
Speaker 2: building that and just keeping it going.

968
00:49:00,200 --> 00:49:00,600
Speaker 6: All night.

969
00:49:01,000 --> 00:49:03,920
Speaker 5: All people want to I love It's you made a

970
00:49:03,920 --> 00:49:05,880
Speaker 5: bunch of money off this year, right, Do you still

971
00:49:05,880 --> 00:49:06,239
Speaker 5: love it?

972
00:49:06,280 --> 00:49:07,240
Speaker 6: Do you still yes?

973
00:49:08,000 --> 00:49:10,880
Speaker 2: Yes? Of course. It was never for the money, and

974
00:49:10,920 --> 00:49:13,279
Speaker 2: it's in there's a ton of stuff I could have

975
00:49:13,280 --> 00:49:15,520
Speaker 2: done for money that I passed on if it didn't

976
00:49:15,520 --> 00:49:19,480
Speaker 2: feel authentic to me. I'm still like I got into

977
00:49:19,600 --> 00:49:22,160
Speaker 2: it because I was telling you, like as a young

978
00:49:22,760 --> 00:49:25,520
Speaker 2: you know, thirteen fourteen year old in Canada falling in

979
00:49:25,560 --> 00:49:28,440
Speaker 2: love with the music and trying to understand listening to

980
00:49:28,480 --> 00:49:31,440
Speaker 2: records by the Beastie Boys in Farside and Day Last Soul,

981
00:49:31,520 --> 00:49:34,400
Speaker 2: Try called quest what are these samples? How did they

982
00:49:34,440 --> 00:49:38,000
Speaker 2: make this beat? That passion? That's still why I do it.

983
00:49:38,080 --> 00:49:40,839
Speaker 2: And then there's a point in time where I went

984
00:49:40,960 --> 00:49:44,480
Speaker 2: from being the student to also being in a position

985
00:49:44,520 --> 00:49:46,640
Speaker 2: where I could put other people on. So that's even

986
00:49:46,680 --> 00:49:49,400
Speaker 2: the Kit Cutti. Thing that we talked about Danny Brown,

987
00:49:49,440 --> 00:49:51,520
Speaker 2: who you got to talk to Danny.

988
00:49:52,560 --> 00:49:55,200
Speaker 6: I found one of the nicest yo.

989
00:49:55,560 --> 00:49:57,520
Speaker 2: You were early on Daniel Brown.

990
00:49:58,960 --> 00:50:01,960
Speaker 3: Danny Brown got ba He's man. He's a machine. He'll

991
00:50:02,000 --> 00:50:03,520
Speaker 3: sit in front of the computer, used to be in

992
00:50:03,560 --> 00:50:05,440
Speaker 3: my house. He won't even leave the studio.

993
00:50:05,560 --> 00:50:07,880
Speaker 2: He'll record himself, record twelve grades.

994
00:50:07,960 --> 00:50:09,440
Speaker 6: You know, you record himself.

995
00:50:09,600 --> 00:50:11,839
Speaker 2: He will record to any kind of beat you you

996
00:50:11,840 --> 00:50:14,640
Speaker 2: give him the sound of like a water dripping from

997
00:50:14,680 --> 00:50:16,960
Speaker 2: a faucet, He'll find a way to flow around that.

998
00:50:17,120 --> 00:50:17,279
Speaker 6: Yeah.

999
00:50:17,560 --> 00:50:19,839
Speaker 3: Tell you one thing, Cutty wasn't playing when Jim Joe

1000
00:50:20,080 --> 00:50:22,480
Speaker 3: he do with that record, motherfucker, that's.

1001
00:50:22,360 --> 00:50:25,920
Speaker 2: My record right, hold on a seconds.

1002
00:50:27,560 --> 00:50:30,439
Speaker 6: I don't like like cut him a couple of times.

1003
00:50:30,480 --> 00:50:32,360
Speaker 2: I was about to say I'm about to go on

1004
00:50:32,400 --> 00:50:36,439
Speaker 2: tour with Cuddy. When you say you're still cool with Yeah, Yeah,

1005
00:50:36,440 --> 00:50:38,279
Speaker 2: that's my bro. That's my bro.

1006
00:50:39,160 --> 00:50:41,640
Speaker 6: He cond tour forever. He got hit records, YEA and

1007
00:50:41,760 --> 00:50:43,280
Speaker 6: Night that had to go Diamond.

1008
00:50:44,960 --> 00:50:49,120
Speaker 2: He's got probably a dozen classics. So in May, I'm

1009
00:50:49,120 --> 00:50:51,440
Speaker 2: going on the tour with Kit, Cuddy and m I

1010
00:50:51,520 --> 00:50:54,160
Speaker 2: A and Big Boy from Outcast. So sure will be

1011
00:50:55,760 --> 00:50:58,520
Speaker 2: name name, the city will be there, so that's dope.

1012
00:50:58,760 --> 00:51:01,719
Speaker 3: Yeah, yeah, because you gotta remember day and night. I

1013
00:51:01,840 --> 00:51:06,880
Speaker 3: remember like being overseas that had to be played every

1014
00:51:06,920 --> 00:51:08,879
Speaker 3: club at least ten times a night.

1015
00:51:09,440 --> 00:51:11,880
Speaker 2: Yeah, and in every type of club. I'm always a

1016
00:51:11,920 --> 00:51:14,319
Speaker 2: fan of records that are just like that stand out,

1017
00:51:14,360 --> 00:51:19,680
Speaker 2: that don't sound like anything else. Like there's there's hits

1018
00:51:19,719 --> 00:51:24,080
Speaker 2: and classics that sound like their era, that sound like

1019
00:51:24,600 --> 00:51:27,240
Speaker 2: other stuff that comes out, but the ones that really

1020
00:51:27,320 --> 00:51:31,319
Speaker 2: really survive the decades are the ones that sound like

1021
00:51:31,360 --> 00:51:34,520
Speaker 2: nothing else. You know. I'm always just I'm always looking

1022
00:51:34,520 --> 00:51:37,360
Speaker 2: for stuff that's kind of left the center, a little weird,

1023
00:51:37,480 --> 00:51:39,560
Speaker 2: a little you know, stuff that doesn't really fit in

1024
00:51:39,600 --> 00:51:42,120
Speaker 2: the box, because I know that that has the potential

1025
00:51:42,719 --> 00:51:46,160
Speaker 2: to reach even more people. You know. But I feel

1026
00:51:46,160 --> 00:51:48,840
Speaker 2: like even just like both of you as artists have

1027
00:51:48,920 --> 00:51:51,759
Speaker 2: always been clever and like figuring out ways to stand out,

1028
00:51:51,800 --> 00:51:53,920
Speaker 2: because you the way that you would always do the

1029
00:51:54,239 --> 00:51:56,680
Speaker 2: wrap up records for every year, Like I feel like

1030
00:51:56,800 --> 00:52:00,200
Speaker 2: that's like that's almost like a thought that a j

1031
00:52:00,280 --> 00:52:02,360
Speaker 2: would have, like what can I do? What can I

1032
00:52:02,480 --> 00:52:06,680
Speaker 2: do that's different? That can you notice? Yeah, just kind

1033
00:52:06,719 --> 00:52:10,040
Speaker 2: of every year have people talking, Yeah, what what year

1034
00:52:10,120 --> 00:52:11,120
Speaker 2: did you start?

1035
00:52:11,160 --> 00:52:14,440
Speaker 5: What was the first started in two thousand and fourteen?

1036
00:52:14,719 --> 00:52:16,640
Speaker 5: Okay fourteen.

1037
00:52:16,880 --> 00:52:19,759
Speaker 2: Yeah, that's something in DJ would do the same way

1038
00:52:19,840 --> 00:52:22,359
Speaker 2: DJ would think of a bland. You were like, all right,

1039
00:52:22,800 --> 00:52:24,440
Speaker 2: what can I do? That's that's not gonna be like

1040
00:52:24,480 --> 00:52:25,040
Speaker 2: everybody else's.

1041
00:52:25,280 --> 00:52:27,040
Speaker 5: It's gonna keep it going, shut out the mad skills

1042
00:52:27,040 --> 00:52:28,239
Speaker 5: because I know he's gonna.

1043
00:52:28,640 --> 00:52:35,000
Speaker 2: That's the whole yea and him cool, Yeah, he just

1044
00:52:35,000 --> 00:52:37,000
Speaker 2: wanted he want to know, he.

1045
00:52:37,040 --> 00:52:38,239
Speaker 1: Just wanted to grant me something like that.

1046
00:52:38,360 --> 00:52:40,440
Speaker 2: Yeah, for like a spoken word album, because he made

1047
00:52:40,560 --> 00:52:42,840
Speaker 2: he made a different type of album. It's it's poetry

1048
00:52:42,840 --> 00:52:44,960
Speaker 2: and it talks about it's some real like.

1049
00:52:45,280 --> 00:52:51,799
Speaker 6: Murder with the God.

1050
00:52:54,920 --> 00:52:59,160
Speaker 5: He even acknowledged that he recognized that wrap up is murder.

1051
00:52:59,239 --> 00:53:00,160
Speaker 5: Murder kind of took that.

1052
00:53:08,840 --> 00:53:11,279
Speaker 3: How do you feel about the technology? Like how said

1053
00:53:11,840 --> 00:53:15,600
Speaker 3: the Crates. That's say, let me give you a scenario.

1054
00:53:15,960 --> 00:53:20,000
Speaker 3: You got your computer, fucking your DJ and somebody spilled

1055
00:53:20,000 --> 00:53:20,680
Speaker 3: some ship on it.

1056
00:53:20,960 --> 00:53:21,240
Speaker 6: Fry.

1057
00:53:23,600 --> 00:53:25,239
Speaker 2: You gotta be ready. You gotta have like the flask

1058
00:53:25,280 --> 00:53:29,879
Speaker 2: drive in your pocket something. But yeah, I mostly play

1059
00:53:29,920 --> 00:53:32,680
Speaker 2: off the flask drives. Now it's even more portable. I

1060
00:53:32,680 --> 00:53:35,719
Speaker 2: show up with my headphones, plug my ship in, let's go.

1061
00:53:35,920 --> 00:53:38,279
Speaker 3: So you think that's like the equipment is better now,

1062
00:53:38,719 --> 00:53:40,520
Speaker 3: like the mixes and you know how they got like

1063
00:53:40,560 --> 00:53:41,799
Speaker 3: the echo chambers.

1064
00:53:41,440 --> 00:53:46,399
Speaker 2: In there's you can do more with the equipment. Now,

1065
00:53:47,920 --> 00:53:50,799
Speaker 2: you can do more effects and loops. And I'm a

1066
00:53:50,880 --> 00:53:52,880
Speaker 2: DJ that does tricks, Like I told you guys, I

1067
00:53:52,920 --> 00:53:57,000
Speaker 2: started with scratching and you know DJ battles. So all

1068
00:53:57,040 --> 00:54:01,600
Speaker 2: the new equipment that has all the technology, it just

1069
00:54:01,640 --> 00:54:03,759
Speaker 2: gives me ideas. I'll be like, oh shit, I'm gonna

1070
00:54:03,800 --> 00:54:05,839
Speaker 2: have a loop on this one, and I'm gonna have

1071
00:54:05,880 --> 00:54:08,360
Speaker 2: this other thing underneath and then the drum beat, and

1072
00:54:08,400 --> 00:54:10,840
Speaker 2: I'll just come up with crazy tricks with with all

1073
00:54:10,920 --> 00:54:14,479
Speaker 2: all the gear that I get. But I do think

1074
00:54:14,520 --> 00:54:17,920
Speaker 2: that when it was just two turntables and a mixer

1075
00:54:18,239 --> 00:54:21,200
Speaker 2: and no effects and and and just vinyl and the

1076
00:54:21,239 --> 00:54:24,320
Speaker 2: ten crates that you talked about, you had to get

1077
00:54:24,320 --> 00:54:27,280
Speaker 2: creative and you had to Everything that you were doing

1078
00:54:27,600 --> 00:54:31,520
Speaker 2: was really use just from your hands to to the

1079
00:54:31,600 --> 00:54:34,760
Speaker 2: to the vinyl and to those faders and and there's

1080
00:54:34,760 --> 00:54:41,440
Speaker 2: no no way to cheat it. Tomi Gemini, Yep, you know.

1081
00:54:43,120 --> 00:54:46,640
Speaker 5: When it when it comes to artist, like as far

1082
00:54:46,680 --> 00:54:50,200
Speaker 5: as you looking for to sign what you look for.

1083
00:54:50,440 --> 00:54:52,080
Speaker 2: Well, it's kind of like the thing I was saying,

1084
00:54:52,080 --> 00:54:57,280
Speaker 2: where like it needs to stand out. You know, maybe

1085
00:54:57,320 --> 00:55:00,399
Speaker 2: there's other you know, because a fool's goal. I wear

1086
00:55:00,560 --> 00:55:02,719
Speaker 2: many hats like you know, but I'll be I'll be

1087
00:55:02,760 --> 00:55:04,040
Speaker 2: the A and R the same way that I will

1088
00:55:04,160 --> 00:55:06,560
Speaker 2: organize the events the same whatever. So if I'm putting

1089
00:55:06,560 --> 00:55:09,200
Speaker 2: my an R hat on, there's probably other an rs

1090
00:55:09,239 --> 00:55:11,879
Speaker 2: out there that are better at finding the quick hit,

1091
00:55:12,360 --> 00:55:15,839
Speaker 2: finding the thing that will hit the charts now. But

1092
00:55:15,880 --> 00:55:18,440
Speaker 2: I just I just try to find stuff that that

1093
00:55:18,440 --> 00:55:20,959
Speaker 2: that stands out because I think that stands the test

1094
00:55:21,000 --> 00:55:23,600
Speaker 2: of time more. And there'll be stuff that I'm excited

1095
00:55:23,600 --> 00:55:26,760
Speaker 2: about where I'll think about the different pockets of DJs

1096
00:55:26,800 --> 00:55:29,400
Speaker 2: that I could try and reach with with those records.

1097
00:55:29,440 --> 00:55:32,359
Speaker 2: So the standing out thing is important. I mean, there's

1098
00:55:32,360 --> 00:55:34,160
Speaker 2: so many artists that I've been involved with that are

1099
00:55:34,280 --> 00:55:38,200
Speaker 2: just their characters, you know. They they got that extra

1100
00:55:38,239 --> 00:55:42,320
Speaker 2: little thing to them.

1101
00:55:40,760 --> 00:55:43,680
Speaker 6: And the standing out keeps you torn. That's just torn.

1102
00:55:43,719 --> 00:55:44,719
Speaker 6: Now he's torn.

1103
00:55:44,760 --> 00:55:48,520
Speaker 2: He's still look at the road.

1104
00:55:48,560 --> 00:55:50,440
Speaker 6: Yeah, Brown, he's still torn.

1105
00:55:50,880 --> 00:55:52,520
Speaker 3: Just like when we go overseas and we running the

1106
00:55:52,600 --> 00:55:57,520
Speaker 3: j rud of damage Ye or Boys to Men or

1107
00:55:57,600 --> 00:55:58,560
Speaker 3: Kris One.

1108
00:55:58,719 --> 00:56:02,760
Speaker 6: We ran in the blouse, that's.

1109
00:56:03,760 --> 00:56:05,520
Speaker 2: In the house.

1110
00:56:07,640 --> 00:56:12,759
Speaker 3: Yeah, yeah, that's why we bring DJs with you.

1111
00:56:12,920 --> 00:56:15,360
Speaker 6: Like I looked at you as just d M d J.

1112
00:56:15,600 --> 00:56:18,399
Speaker 3: I didn't know you was like in the hip hop

1113
00:56:18,520 --> 00:56:21,840
Speaker 3: like because I looked at him with Fool's Gold record,

1114
00:56:22,280 --> 00:56:23,560
Speaker 3: you know what I mean? And I thought I looked

1115
00:56:23,600 --> 00:56:25,160
Speaker 3: at him like on the E d M side, because

1116
00:56:25,160 --> 00:56:27,840
Speaker 3: you know he's like there with Diplo and you know

1117
00:56:28,000 --> 00:56:30,400
Speaker 3: so so when he tells me these hip hop stories

1118
00:56:30,400 --> 00:56:32,560
Speaker 3: and how he was cutting out, I'm like, man, I

1119
00:56:32,560 --> 00:56:34,320
Speaker 3: gotta gotta go around.

1120
00:56:34,400 --> 00:56:37,520
Speaker 1: He look like you work with Kanye. What's going on?

1121
00:56:38,000 --> 00:56:42,680
Speaker 3: Not even the Kanye to me? So win a DJ

1122
00:56:42,840 --> 00:56:49,239
Speaker 3: tournament at fifteen worldwide, you got to be. I was

1123
00:56:49,239 --> 00:56:52,000
Speaker 3: in the party. I told you my best friend was

1124
00:56:52,000 --> 00:56:52,480
Speaker 3: a DJ.

1125
00:56:53,680 --> 00:56:55,080
Speaker 6: I had this. I know how it is.

1126
00:56:55,000 --> 00:56:57,800
Speaker 3: When you bought you go to your your storm Montreal

1127
00:56:58,280 --> 00:57:01,320
Speaker 3: and you know something WU tangers about. Like I remember

1128
00:57:01,320 --> 00:57:03,759
Speaker 3: when they came out with a double album back then.

1129
00:57:03,880 --> 00:57:08,920
Speaker 3: Yeah it was an instrumental album too. Remember when that

1130
00:57:08,960 --> 00:57:10,160
Speaker 3: came When that came out.

1131
00:57:10,239 --> 00:57:13,680
Speaker 2: Come on, when Cuban Links came out. Nothing sounded like that.

1132
00:57:15,800 --> 00:57:19,919
Speaker 2: With that come and nothing sounded like that.

1133
00:57:21,840 --> 00:57:22,160
Speaker 6: Label?

1134
00:57:22,200 --> 00:57:23,080
Speaker 1: What do you think about that?

1135
00:57:23,640 --> 00:57:28,640
Speaker 2: I mean, I have an independent label. I'm very pro independent. Certainly,

1136
00:57:28,680 --> 00:57:31,360
Speaker 2: if there's an artist that's making records that are just

1137
00:57:31,960 --> 00:57:36,960
Speaker 2: made for radio that need to hit those international departments

1138
00:57:37,000 --> 00:57:39,640
Speaker 2: that are the majors, can still do that like no

1139
00:57:39,680 --> 00:57:43,640
Speaker 2: one else. But everything else, I think at this point

1140
00:57:43,800 --> 00:57:48,560
Speaker 2: it's it's it's independent because especially now that you know

1141
00:57:48,600 --> 00:57:50,160
Speaker 2: what I was going to say the other thing I

1142
00:57:50,200 --> 00:57:51,720
Speaker 2: was going to add to when you ask what I

1143
00:57:51,760 --> 00:57:54,280
Speaker 2: look for with the artists that I might want to sign,

1144
00:57:55,080 --> 00:57:57,880
Speaker 2: I think now it's also important to have artists that

1145
00:57:57,920 --> 00:58:00,680
Speaker 2: are clever with the own marketing and that know how

1146
00:58:00,720 --> 00:58:04,240
Speaker 2: to how to go and find an audience. You know,

1147
00:58:04,360 --> 00:58:08,000
Speaker 2: it's for better for worse. It's it's not just about

1148
00:58:08,040 --> 00:58:09,600
Speaker 2: the music anymore.

1149
00:58:10,320 --> 00:58:12,320
Speaker 1: Social media, you got to have a following.

1150
00:58:12,440 --> 00:58:14,120
Speaker 2: And I'm not saying I'm looking for someone that knows

1151
00:58:14,160 --> 00:58:16,920
Speaker 2: how to do a TikTok dance, but it might be

1152
00:58:17,520 --> 00:58:19,400
Speaker 2: they might not even look at it as marketing. But

1153
00:58:19,480 --> 00:58:21,800
Speaker 2: sometimes you hear someone's name, you see the way that

1154
00:58:21,840 --> 00:58:23,640
Speaker 2: they look, the way they address, the way the way

1155
00:58:23,680 --> 00:58:25,720
Speaker 2: they get their friend to do their artwork and everything

1156
00:58:25,840 --> 00:58:31,439
Speaker 2: just it just stands out even visually. Yeah, that too,

1157
00:58:31,800 --> 00:58:34,720
Speaker 2: they're not jumping on every tent, every trend every six months.

1158
00:58:34,760 --> 00:58:36,760
Speaker 2: It's just you know what I mean like that that

1159
00:58:36,760 --> 00:58:41,160
Speaker 2: that consistency is important too. So so what we're saying

1160
00:58:41,240 --> 00:58:45,960
Speaker 2: just now about the independent thing. You know, every project

1161
00:58:46,040 --> 00:58:49,120
Speaker 2: now should be marketed in its own way. There's no

1162
00:58:49,240 --> 00:58:51,280
Speaker 2: longer just one way to do things. And I think

1163
00:58:51,280 --> 00:58:53,600
Speaker 2: a lot of the majors stayed in that sort of

1164
00:58:53,640 --> 00:58:56,600
Speaker 2: cookie cutter thing where they just those departments are doing

1165
00:58:56,640 --> 00:58:58,920
Speaker 2: they're trying to fit you in the same old, same

1166
00:58:59,000 --> 00:59:02,040
Speaker 2: mold as an artists they put out the previous quarter.

1167
00:59:02,640 --> 00:59:07,040
Speaker 2: But the indies they'll they'll custom tailor and and they'll

1168
00:59:07,040 --> 00:59:09,400
Speaker 2: go straight to their audience and sell them the vinyl

1169
00:59:09,480 --> 00:59:13,760
Speaker 2: and and do the and take take the email addresses

1170
00:59:13,800 --> 00:59:16,280
Speaker 2: from the tour pre sale and use that for the

1171
00:59:16,320 --> 00:59:19,680
Speaker 2: marketing on the album rollout, and that it's just more

1172
00:59:20,240 --> 00:59:24,560
Speaker 2: it's it's more involved in more custom tailor.

1173
00:59:24,640 --> 00:59:27,320
Speaker 3: I feel like like artists now that like like a

1174
00:59:27,360 --> 00:59:29,640
Speaker 3: talent creator. You'll never be on the radio and be

1175
00:59:29,680 --> 00:59:33,240
Speaker 3: a young boy. You'll never hear Danny Brown on the

1176
00:59:33,320 --> 00:59:35,800
Speaker 3: radio with these guys a touring, Yes, making money. It's

1177
00:59:36,160 --> 00:59:36,800
Speaker 3: different right now.

1178
00:59:37,040 --> 00:59:42,960
Speaker 2: Yes, yeah, it is different. And and I think that

1179
00:59:42,960 --> 00:59:47,400
Speaker 2: that is where the culture is now, is like sure,

1180
00:59:47,400 --> 00:59:49,360
Speaker 2: if a record gets on the radio, will hit another

1181
00:59:49,960 --> 00:59:53,400
Speaker 2: another plateau in numbers. But there's a lot of artists

1182
00:59:53,400 --> 00:59:56,200
Speaker 2: that are on the radio that can't really sell out

1183
00:59:56,840 --> 01:00:00,880
Speaker 2: the garden, right. Maybe they can do New York in

1184
01:00:01,120 --> 01:00:03,720
Speaker 2: LA or maybe their hometown, but you you know, you

1185
01:00:04,160 --> 01:00:07,120
Speaker 2: put them in in Madison, Wisconsin, and it's not it's

1186
01:00:07,160 --> 01:00:10,800
Speaker 2: not moving like that. But the artists that have their

1187
01:00:10,840 --> 01:00:14,000
Speaker 2: audience and that are and maybe they you know, maybe

1188
01:00:14,040 --> 01:00:16,040
Speaker 2: the YouTube shit is popping or whatever it is, but

1189
01:00:16,080 --> 01:00:18,480
Speaker 2: they're you know, they're they're going straight to their audience.

1190
01:00:19,000 --> 01:00:21,920
Speaker 2: They're reaching people everywhere and they can go overseas two

1191
01:00:22,120 --> 01:00:26,320
Speaker 2: And yeah, I think and and I'm I'm more a

1192
01:00:26,360 --> 01:00:30,240
Speaker 2: fan of that approach because the other thing that just

1193
01:00:30,240 --> 01:00:32,760
Speaker 2: to sort of connect the dots is like when I

1194
01:00:32,840 --> 01:00:34,720
Speaker 2: came on the scene, even when I was just doing

1195
01:00:34,800 --> 01:00:37,040
Speaker 2: hip hop, like ninety seven is when I won that

1196
01:00:37,040 --> 01:00:40,920
Speaker 2: that big DJ battle ninety seven, who's also we mentioned

1197
01:00:40,920 --> 01:00:42,960
Speaker 2: Lord Syr Rest in Peace because I went on the

1198
01:00:43,000 --> 01:00:46,080
Speaker 2: Stretch and Bobido radio show that year too, like shout

1199
01:00:46,080 --> 01:00:48,760
Speaker 2: out to Stretch and Bob. Ninety seven was a period

1200
01:00:48,800 --> 01:00:51,440
Speaker 2: of time where in hip hop there was a revival

1201
01:00:51,520 --> 01:00:55,120
Speaker 2: of that indie thing, Rockets Records and groups like Company

1202
01:00:55,200 --> 01:00:58,400
Speaker 2: Flow and Dilated Peoples and non Fiction and.

1203
01:00:58,320 --> 01:00:59,160
Speaker 6: All of that.

1204
01:00:59,720 --> 01:01:03,320
Speaker 2: You know, it was it was. There was indie labels

1205
01:01:03,600 --> 01:01:06,880
Speaker 2: Stone Throw that's still a big label now, and they

1206
01:01:06,880 --> 01:01:09,400
Speaker 2: got known. They got even more known when they put

1207
01:01:09,440 --> 01:01:12,040
Speaker 2: out the Mad Lip Stuff and Mad Villain with MF.

1208
01:01:12,080 --> 01:01:15,640
Speaker 2: Doom and all that. Like that sort of alternative, independent

1209
01:01:15,720 --> 01:01:19,360
Speaker 2: side of hip hop. That's that's what I was into

1210
01:01:19,400 --> 01:01:22,040
Speaker 2: when I came on the scene. And that's what like

1211
01:01:22,160 --> 01:01:24,760
Speaker 2: just going to Fat Beats and looking at all the

1212
01:01:24,800 --> 01:01:27,760
Speaker 2: records on the wall and being like, yo, I want

1213
01:01:27,760 --> 01:01:32,320
Speaker 2: to do this. Like that taught me a certain ethos

1214
01:01:32,360 --> 01:01:34,840
Speaker 2: of you know, if you and your friends are doing

1215
01:01:34,880 --> 01:01:38,040
Speaker 2: some cool shit and your friends got making music and

1216
01:01:38,040 --> 01:01:40,919
Speaker 2: it's and it's different, you could just put the ship

1217
01:01:40,960 --> 01:01:45,200
Speaker 2: out yourself, right And and I learned that by going

1218
01:01:45,200 --> 01:01:47,479
Speaker 2: to Fat Beats and by listening to Stretch and Bob,

1219
01:01:47,560 --> 01:01:51,080
Speaker 2: and by listening to these independent artists that were just

1220
01:01:51,440 --> 01:01:56,400
Speaker 2: doing some different shit and and and they knew how

1221
01:01:56,400 --> 01:01:57,720
Speaker 2: to get to their audience already.

1222
01:01:57,720 --> 01:02:00,520
Speaker 1: Then you know he was fifty.

1223
01:02:00,560 --> 01:02:01,600
Speaker 6: I never knew he was fifteen.

1224
01:02:01,880 --> 01:02:04,320
Speaker 2: Yeah, I'm forty three now, so it's been a minute.

1225
01:02:04,360 --> 01:02:06,640
Speaker 6: That's crazy. Thirteen years old, that's crazy.

1226
01:02:06,640 --> 01:02:08,120
Speaker 1: That's dope, that's super dope.

1227
01:02:08,160 --> 01:02:10,439
Speaker 6: Ye appreciate you have to stay on the crazy.

1228
01:02:10,600 --> 01:02:16,280
Speaker 2: DJ I had. I had to say, yo, because if

1229
01:02:16,280 --> 01:02:17,000
Speaker 2: you as.

1230
01:02:16,800 --> 01:02:19,720
Speaker 1: Soon as you asked, my man, I'm gonna tell you.

1231
01:02:19,840 --> 01:02:27,760
Speaker 3: Look, I'm I looked still circle one bow wow dj DJs.

1232
01:02:28,240 --> 01:02:32,880
Speaker 3: He was like seven eight years old, like yeah, like

1233
01:02:33,000 --> 01:02:37,080
Speaker 3: ten probably like so depending on how tull you.

1234
01:02:37,200 --> 01:02:40,120
Speaker 2: Was, and I looked I looked eleven when I.

1235
01:02:40,040 --> 01:02:43,480
Speaker 3: Was That's what I'm saying. So just set you know,

1236
01:02:43,560 --> 01:02:45,160
Speaker 3: back then you had to call for everything.

1237
01:02:45,960 --> 01:02:49,120
Speaker 1: Yeah, so did you have to stay on the casey sometimes?

1238
01:02:49,120 --> 01:02:50,360
Speaker 1: And you know it correct?

1239
01:02:51,720 --> 01:02:54,080
Speaker 2: He's right. And if you go to YouTube and you

1240
01:02:54,120 --> 01:02:56,720
Speaker 2: look up nineteen ninety seven eight track d m C,

1241
01:02:57,040 --> 01:02:59,080
Speaker 2: you'll see the video of me winning this battle and

1242
01:02:59,120 --> 01:03:04,520
Speaker 2: I look like a child. He's gonna put it in. Yeah,

1243
01:03:04,520 --> 01:03:10,120
Speaker 2: it's all good when I'm at yo. That's that's that's

1244
01:03:10,160 --> 01:03:13,640
Speaker 2: where it all started for me. And yeah, I used

1245
01:03:13,680 --> 01:03:15,560
Speaker 2: to have to travel with you know, I would go

1246
01:03:15,600 --> 01:03:18,400
Speaker 2: to some of my gigs. And the bouncer wouldn't let

1247
01:03:18,440 --> 01:03:20,680
Speaker 2: me in, and that was the DJ, and I would

1248
01:03:20,720 --> 01:03:22,240
Speaker 2: have you know what I mean. I'd be like, I

1249
01:03:22,280 --> 01:03:24,440
Speaker 2: am djaying, and they'd be like, I'm not letting you

1250
01:03:24,440 --> 01:03:30,080
Speaker 2: in kids, and you still milk, And then they would

1251
01:03:30,080 --> 01:03:32,120
Speaker 2: have to send out the promoter, and the promoter when

1252
01:03:32,440 --> 01:03:34,680
Speaker 2: bouncer would get into an argument, the bouncer would be like, yo,

1253
01:03:34,720 --> 01:03:37,040
Speaker 2: if the cops come in and they see him, that's

1254
01:03:37,080 --> 01:03:40,360
Speaker 2: on me. A lot of gigs when I was first

1255
01:03:40,360 --> 01:03:42,480
Speaker 2: starting out, they would just have me wait, like in

1256
01:03:42,480 --> 01:03:47,040
Speaker 2: the manager's office, the club manager's office, wait for it

1257
01:03:47,120 --> 01:03:48,960
Speaker 2: for it to be time for my set. All right,

1258
01:03:49,000 --> 01:03:50,520
Speaker 2: come up, do my little thing.

1259
01:03:51,160 --> 01:03:53,280
Speaker 1: All right, come back. That's crazy.

1260
01:03:53,320 --> 01:03:55,280
Speaker 2: But I was just so passionate. That's you know.

1261
01:03:56,680 --> 01:03:59,800
Speaker 1: Yeah, that's when you know you super dope.

1262
01:04:00,200 --> 01:04:00,680
Speaker 2: You think.

1263
01:04:02,000 --> 01:04:04,480
Speaker 3: So real DJ right here. You know, I thought it

1264
01:04:04,520 --> 01:04:08,600
Speaker 3: was just you know, of course fools records.

1265
01:04:08,640 --> 01:04:09,240
Speaker 6: We know you for that.

1266
01:04:09,560 --> 01:04:12,280
Speaker 3: That's legendary label. I didn't know you. You know, the

1267
01:04:12,360 --> 01:04:16,120
Speaker 3: DJ battles back at fifteen. Yeah, learned something new every day.

1268
01:04:16,600 --> 01:04:21,600
Speaker 2: Man, That's what's up. But that that's again, it's also

1269
01:04:21,640 --> 01:04:23,960
Speaker 2: that thing about being students of the game, about just

1270
01:04:24,120 --> 01:04:27,320
Speaker 2: wanting to understand how these records were made and where

1271
01:04:27,320 --> 01:04:29,760
Speaker 2: the samples were from, and knowing about your freestyles and

1272
01:04:29,800 --> 01:04:32,560
Speaker 2: your freestyles and the mixtapes. Man, when you guys came

1273
01:04:32,600 --> 01:04:35,720
Speaker 2: out with that run of mixtapes, no one was touching that,

1274
01:04:36,400 --> 01:04:39,120
Speaker 2: you know, and and and you know, you could people

1275
01:04:39,200 --> 01:04:43,560
Speaker 2: could look at it now as marketing or this or that,

1276
01:04:43,680 --> 01:04:47,040
Speaker 2: but like it was, it was just like the best,

1277
01:04:47,160 --> 01:04:51,280
Speaker 2: like those like fifty Cents the Future and and and

1278
01:04:51,280 --> 01:04:55,720
Speaker 2: and come on, man, that was better than the albums

1279
01:04:55,760 --> 01:04:56,400
Speaker 2: that were coming out.

1280
01:04:56,480 --> 01:04:59,919
Speaker 6: That's what I'm saying, like nostalgic, nostalgic moments, Like I said,

1281
01:05:00,160 --> 01:05:02,840
Speaker 6: going to Jamaica Avenue. Yeah, you're going to the Bootlegger

1282
01:05:02,920 --> 01:05:04,080
Speaker 6: every mixtape.

1283
01:05:03,640 --> 01:05:04,200
Speaker 2: The rootleg.

1284
01:05:04,600 --> 01:05:08,760
Speaker 3: Yeah, like I said, our best friend was the DJ Ruffians.

1285
01:05:09,440 --> 01:05:11,640
Speaker 3: He'll go to Hot Wax. What record is there? What

1286
01:05:11,800 --> 01:05:14,640
Speaker 3: instrumentals is there? Because remember you had your A side

1287
01:05:14,640 --> 01:05:17,480
Speaker 3: B side instrumental albums all of that, you know, so

1288
01:05:17,560 --> 01:05:20,640
Speaker 3: that that was dupe because people wanted the instrumentals too. Yeah,

1289
01:05:20,680 --> 01:05:22,520
Speaker 3: and it was like you know, now you get everything

1290
01:05:22,560 --> 01:05:24,440
Speaker 3: on your phone, it's not a special nor more you

1291
01:05:24,520 --> 01:05:25,720
Speaker 3: have to get on the dollar bend.

1292
01:05:25,880 --> 01:05:27,880
Speaker 2: Yeah, you know what I'm saying you had to choose

1293
01:05:27,960 --> 01:05:29,160
Speaker 2: no really also.

1294
01:05:29,480 --> 01:05:30,760
Speaker 1: Had to get those instruments.

1295
01:05:31,040 --> 01:05:34,440
Speaker 2: You know, you had to choose which records you were

1296
01:05:34,480 --> 01:05:36,360
Speaker 2: buying that week because no one had enough money to

1297
01:05:36,360 --> 01:05:39,360
Speaker 2: buy everything that came out, So maybe you might just

1298
01:05:39,440 --> 01:05:41,840
Speaker 2: have enough money in your pocket to buy three twelve inches.

1299
01:05:41,880 --> 01:05:43,520
Speaker 2: And you're like, all right, am I getting this Pete

1300
01:05:43,600 --> 01:05:47,520
Speaker 2: Rock and Seales smooth and this you know, uh tribe

1301
01:05:47,520 --> 01:05:50,120
Speaker 2: and this far side thing, But damn this Rakwon thing

1302
01:05:50,200 --> 01:05:52,240
Speaker 2: is kind of different and cool or damn Meth the

1303
01:05:52,320 --> 01:05:54,800
Speaker 2: man red Man, how hot? Damn sul and that one's

1304
01:05:54,800 --> 01:05:56,480
Speaker 2: got an a cappella. If I buy that, I can

1305
01:05:56,600 --> 01:05:59,200
Speaker 2: use the a cappella to do a blend. So you're

1306
01:05:59,240 --> 01:06:01,200
Speaker 2: just sitting there, You're like, got enough record money for

1307
01:06:01,240 --> 01:06:01,920
Speaker 2: three records?

1308
01:06:03,280 --> 01:06:05,000
Speaker 6: So Okay, I didn't.

1309
01:06:05,600 --> 01:06:05,880
Speaker 1: I didn't.

1310
01:06:06,760 --> 01:06:10,840
Speaker 6: It wasn't was still was still the records. Yeah, I

1311
01:06:10,960 --> 01:06:14,920
Speaker 6: had that cracked money. Give me can you instrumental?

1312
01:06:17,320 --> 01:06:21,960
Speaker 3: You made the right enough, but we were happy to

1313
01:06:22,000 --> 01:06:22,360
Speaker 3: have you in.

1314
01:06:22,480 --> 01:06:24,640
Speaker 2: Thanks ship.

1315
01:06:24,760 --> 01:06:26,560
Speaker 6: I learned a lot of ship about the culture.

1316
01:06:26,880 --> 01:06:29,400
Speaker 3: I looked a lot of ship about DJing, loked a

1317
01:06:29,440 --> 01:06:30,960
Speaker 3: lot of shout the fools goes record.

1318
01:06:31,000 --> 01:06:32,080
Speaker 6: You want to shout anything out.

1319
01:06:32,360 --> 01:06:35,720
Speaker 2: Yeah, I mean you said that you got coming, but

1320
01:06:35,840 --> 01:06:39,560
Speaker 2: I got coming. The tour with Key, all these releases

1321
01:06:39,600 --> 01:06:43,160
Speaker 2: on Fools, Gold and A tracking friends, brothers, Maclevich. We're

1322
01:06:43,160 --> 01:06:45,720
Speaker 2: gonna do up more Duck Sauce soon. In the meantime,

1323
01:06:46,360 --> 01:06:47,480
Speaker 2: my joints.

1324
01:06:48,320 --> 01:06:53,360
Speaker 1: Definitely eight tracking the buildings records.

1325
01:06:53,400 --> 01:06:54,000
Speaker 6: You know what it is.

1326
01:06:54,000 --> 01:06:56,320
Speaker 3: We're doing it big and we don't do everything with

1327
01:06:56,440 --> 01:07:00,400
Speaker 3: everybody else. Do make sure you're like share subscribed report.

1328
01:07:00,480 --> 01:07:02,640
Speaker 3: You know the vibes man, you're out

1329
01:07:08,080 --> 01:07:08,120
Speaker 1: H