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Speaker 1: From iHeart Podcasts.

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Speaker 2: I Am five five Freddy and this it's fifty years

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Speaker 2: of hip hop podcast series. It's now time to get

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Speaker 2: into hip hop's most beloved, embrace, cherished, and remembered period

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Speaker 2: known as the Golden Era. So this is loosely, let's say,

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Speaker 2: from the mid late eighties into the mid late nineties.

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Speaker 2: Many greats are gonna come on in a minute and

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Speaker 2: share their interpretation, their version, those artists that did it

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Speaker 2: for them, and all these significant things that made the

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Speaker 2: Golden Era what it is. This was an incredible growth

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Speaker 2: period for hip hop culture. The seeds, the roots, if

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Speaker 2: you've been plugged into this podcast, these previous episodes, those roots,

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Speaker 2: those things that went down in New York City, particularly

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Speaker 2: in the Bronx and Upper Manhattan.

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Speaker 1: Those roots went deep.

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Speaker 2: Yeah, they got to go really deep in the ground,

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Speaker 2: and then they begin to bear fruit. And this Golden

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Speaker 2: Era some of the best fruit, the molds were created.

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Speaker 2: Some of the most impactful artists solo and group, hit

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Speaker 2: the scene and exploded all over this entire planet. A

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Speaker 2: real fruitful period once again, the Golden Era, and I'm

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Speaker 2: talking about the producers and the visuals that went along

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Speaker 2: with these records. A very important point that I had

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Speaker 2: a heavy hand then. So I'm gonna chime in throughout

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Speaker 2: and drop little info about that.

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Speaker 1: You know, the music videos was real important, y'all.

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Speaker 2: But right now, let's take it back like an eight

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Speaker 2: track and let's get into the golden era.

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Speaker 3: Error.

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Speaker 1: Dan sharnis author and educator.

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Speaker 4: Let me tell you what a golden age is, all right,

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Speaker 4: here is the equation. It is the era of the

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Speaker 4: firsts that last, the golden era. Any golden age is

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Speaker 4: when we see the firsts that actually last.

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Speaker 1: So what do I mean by that?

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Speaker 4: Sugar Hill was the first record label to essentially make

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Speaker 4: its business based on hip hop, but they did not last.

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Speaker 1: Death Jam was the first hip hop.

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Speaker 4: Label by hip hop fans for hip hop fans, and

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Speaker 4: it lasted because it was that right, So when we

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Speaker 4: think about a golden era, look.

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Speaker 1: For the firsts that last.

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Speaker 4: The Source wasn't the very first hip hop magazine, but

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Speaker 4: it was the first that lasted. Run DMC weren't the

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Speaker 4: first hip hop stars really, but they were the first

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Speaker 4: that actually lasted on and on and on. Right, if

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Speaker 4: you want to talk about it, Tutionins, that's what I

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Speaker 4: look for. Golden era of hip hop to me thusly

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Speaker 4: begins around maybe eighty five, eighty six, eighty seven. For me,

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Speaker 4: it's more eighty seven because that is when hip hop

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Speaker 4: comes into its own as a musical form. Because before

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Speaker 4: then it sounded a lot like funk and R and B,

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Speaker 4: you know, especially if you listen to the early sugar

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Speaker 4: Hill records. But once Marley and Rick started making records

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Speaker 4: with pieces of other records, hip hop began not only

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Speaker 4: becoming its own, it began influencing other genres.

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Speaker 1: When did the Golden era end? Well, it ended when.

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Speaker 4: Sort of more people got access to this and it

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Speaker 4: became well moneyed. Right, So I think the end of

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Speaker 4: the Golden era for me probably is around the mid nineties.

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Speaker 4: I mean, you might even want to say, like the

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Speaker 4: depths of Tupac and Biggie probably, you know, are the

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Speaker 4: end of that first era, of that golden era of

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Speaker 4: hip hop. But then the Golden era yields to the

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Speaker 4: Platinum era, right then we have new criteria. The criteria

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Speaker 4: of the golden era also is not solely commercial. The

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Speaker 4: criteria of a golden era is just as much creative

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Speaker 4: based as it is commercially based. It's not about who's

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Speaker 4: hot it's also about who's doing some new who's blowing

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Speaker 4: people's wigs back, And I think that became less important

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Speaker 4: at least in mainstream hip hop to the late nineties.

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Speaker 4: Not saying that there weren't new things. I think also

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Speaker 4: that's when the center shifted. The South started to do

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Speaker 4: some really incredible stuff towards the end of the nineties

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Speaker 4: early two thousand.

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Speaker 2: I'm going to disagree with my friend Dan charn It's

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Speaker 2: just a bit on his description right here.

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Speaker 1: Sugar Hill Records.

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Speaker 2: They were more about rap. It really wasn't hip hop

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Speaker 2: culture just yet. They was really just trying to get

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Speaker 2: a buck. They played an important role, but this really

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Speaker 2: wasn't hip hop, you know what I mean.

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Speaker 1: They were a rap.

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Speaker 2: Label, and the ideas that became hip hop were still

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Speaker 2: being formed at that point in time, but it was

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Speaker 2: soon going to hit and hit hard.

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Speaker 1: Also, Dan good point about the platinum error.

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Speaker 2: Ralph McDaniels, co creator of New York's pioneering show Video

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Speaker 2: Music Box and currently the hip hop coordinator for the

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Speaker 2: Queen's Public Library.

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Speaker 5: There was definitely a shift from the eighties to the

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Speaker 5: nineties and hip hop because I think that the environment

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Speaker 5: was different or the environment was affecting what was happening.

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Speaker 5: You know, when you have pract at all these different

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Speaker 5: in the government, you know, Reagan, Reaganomics and all this

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Speaker 5: type of stuff happening, it changes, you know, how people react.

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Speaker 5: Kids are getting locked up for crazy numbers, you know,

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Speaker 5: in the eighties, and you know it's just a fight.

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Speaker 5: It's a war going on outside with the police and

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Speaker 5: the community. You know, you're gonna be like, your perspective

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Speaker 5: on things is a lot different, you know, and your

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Speaker 5: way you where you talk about it on music or

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Speaker 5: talk about it in general, in the corner or in

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Speaker 5: the barbershop.

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Speaker 6: You got a different feeling about.

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Speaker 5: You got a little edge on your shoulder by the

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Speaker 5: time the nineties come because you got your ass beat.

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Speaker 2: Quite too often, kid capri because in the eighties it

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Speaker 2: was more conscious. You had trib court, quest care rest,

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Speaker 2: one rock Chimp, Big Daddy King. Due to speaker conscious rap.

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Speaker 2: When the nineties came, it became two things. It became

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Speaker 2: dressed up rap and it became gangst the rap one

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Speaker 2: made more money than the other because sex, violence and drugs.

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Speaker 2: Self right, I'm.

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Speaker 7: Telling you conscious and you're a kid from the other you.

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Speaker 1: Shut up here because you ain't see no other way out.

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Speaker 2: You go about what you live through and what you

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Speaker 2: live through your conscious conscious talk that you're saying, is

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Speaker 2: it conducive to what you're living? So you don't want

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Speaker 2: to hear that, even though it's the right thing to

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Speaker 2: listen to. You don't want to hear that. You want

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Speaker 2: to hear what's conducive to you. The Gangster Fat Joe is.

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Speaker 3: When Nasty Nas was born. You know, Nasty Nas came out.

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Speaker 3: It's like sneaking Uzzi on the island in my only jacket,

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Speaker 3: lining with it, you know, NAS, just like that defining

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Speaker 3: moment where I tell you where DMC shifted the sound.

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Speaker 3: NAS shifted the sound and made it so that you

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Speaker 3: had to really be lyrical if you wanted to survive

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Speaker 3: in that era.

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Speaker 6: It was no more playing games.

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Speaker 3: I remember I was terrified because I was out before

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Speaker 3: NAS and nine Flow Joe. It's crazy because every time

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Speaker 3: I hang out with Nas Nas, I'm.

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Speaker 8: Not y'all slow Joe to them was dope.

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Speaker 3: But if you listen to my lyrics, I was saying,

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Speaker 3: like boss it, check it, watch how I wreck it?

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Speaker 8: Like my lyrics was trash man.

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Speaker 3: And it's like when NAS came out, it was like, Wow,

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Speaker 3: it shifted the whole game. But at the same time,

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Speaker 3: it maybe step my game up. You know, I had

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Speaker 3: to study him and everybody was dropping lyrics.

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Speaker 8: Cougie Rap, all of them. To step my lyrics up.

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Speaker 3: Otherwise I knew I wouldn't survive that era of hip hop.

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Speaker 8: And so that's when that shift came.

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Speaker 3: When Nas came out, that was the shift that changed

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Speaker 3: the sound. And then we got like intelligent hustlers like

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Speaker 3: a Jay Z talking.

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Speaker 8: That reasonable doubt. So that's when I think the shift came.

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Speaker 2: Yeah, fat Joe, but I want you to know, baby

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Speaker 2: Flow Joe was my joint. You came hard, you came strong,

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Speaker 2: and even though you whether it wasn't crazy lyricool with it,

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Speaker 2: you had an incredible image at the time that was

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Speaker 2: much needed in hip hop, and that was important.

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Speaker 1: DJ MV radio personality and host of the Breakfast Club.

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Speaker 9: And I never want to dis anybody from any eraror

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Speaker 9: but it was I don't want to say it was

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Speaker 9: easier because I'm not a rapp up, but I would

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Speaker 9: say lyrically the nineties in two thousands, especially nineties and

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Speaker 9: two thousands, they challenged themselves a lot more. I would

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Speaker 9: think that's from leaders like NAS, leaders like whole leaders,

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Speaker 9: like you know, gangsta leaders like you know, Biggie you

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Speaker 9: know who challenged that that wordplay.

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Speaker 1: Shahimrie music journalists.

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Speaker 9: It was a shift in the culture, you know, like

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Speaker 9: in the early in the late eighties and early nineties,

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Speaker 9: it was a lot more afrocentric. You know, you will

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Speaker 9: see people with the African mid dyings and you had

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Speaker 9: to get your African mid dying from from jenega Ave

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Speaker 9: or bull t Street and Win twin Ish Dreaming the Harbum.

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Speaker 6: Even inn W eight they had.

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Speaker 9: A record called Express Yourself and Prime Time Public Enemy,

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Speaker 9: Prime Time Here Arrest want Boogie Down production. Even though

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Speaker 9: Boogie Down production, they would spend that gangster and stuff too.

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Speaker 9: But you know, when the Chronic came out, definitely that

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Speaker 9: gangst the music started getting popular. I don't think ice

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Speaker 9: Cube gets enough.

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Speaker 7: Credit for what he did.

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Speaker 9: I think people sleeping on what Q did with America's

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Speaker 9: Most Wanted Death Certificate, two of the greatest albums ever made.

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Speaker 9: But for somebody to come back to back with those

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Speaker 9: and kill out will as well. You know, Q was

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Speaker 9: on the fourfront him. It was just the hardest shift

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Speaker 9: to the stream slight when the nineties start coming. Like

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Speaker 9: you had hard stuff in the eighties though, but it

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Speaker 9: it was just more prevalent in the nineties, man, And

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Speaker 9: I think that is because the Tylerson was gone through,

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Speaker 9: you know, practice some bubbling in the eighties, and look

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Speaker 9: what happened like in the nineties and turning the nineties

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Speaker 9: you had knew Jack City, like it got really serious.

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Speaker 1: Without a doubt following my man Shahim. It's really important.

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Speaker 1: Aspect of the Golden Era was the diversity.

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Speaker 2: I mean, so many groups, so many artists coming from

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Speaker 2: different places, different parts of the country, you know what

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Speaker 2: I'm saying, bringing different flavors, different styles. I'm talking gangster, conscious,

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Speaker 2: somewhat humorous, you know, with a sense of humor. We

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Speaker 2: had that jazzy flavor. And once again, that conscious flavor

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Speaker 2: was real important, real strong at a time like we

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Speaker 2: really needed to kind of see and hear what my

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Speaker 2: man kars Won had to say with my philosophy a video.

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Speaker 2: I was proud to direct his debut, you know, ex clan,

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Speaker 2: you know what I'm saying. And of course like public enemy,

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Speaker 2: fighting the power so necessary. And then once again I

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Speaker 2: just want to you know, toot my own horn, because

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Speaker 2: a key part of all this once again kicking off

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Speaker 2: in nineteen eighty eight, as this golden era is really

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Speaker 2: really raging, Yo, MTV raps, you know, play the key

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Speaker 2: part because radio still was not on hip hop at

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Speaker 2: the time, and so we felt out mission that your

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Speaker 2: MTV rap, realizing that we were the largest window into

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Speaker 2: the culture, was to represent to the fullest and show

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Speaker 2: what was really happening in a diverse and an interesting way,

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Speaker 2: because it couldn't just.

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Speaker 1: Be us showing what was going on in New York.

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Speaker 2: So we were looking and aggressively given given light to

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Speaker 2: those flavors that were.

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Speaker 1: Coming from different states around the country.

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Speaker 2: Sir mixed a lot rapper songwriting record producer.

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Speaker 10: LL was probably for a long time like my face.

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Speaker 10: I used to try to mimic them.

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Speaker 6: You know, you get in the you get in the mirror.

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Speaker 10: And be like, you can rearrange, but you don't have

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Speaker 10: the brains to arrange grass paddle fulls.

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Speaker 6: You try to mimic them, a kid, I'm like, nah,

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Speaker 6: I can't.

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Speaker 10: His delivery was sinister, and the way they rolled all

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Speaker 10: the bottomn out out of his voice, so it sounded

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Speaker 10: like menacing character in a movie.

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Speaker 6: Yeah. So I'm gonna say the late eighties, early nineties

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Speaker 6: that was to me.

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Speaker 10: And I know, I'm shooting myself in the foot, Like,

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Speaker 10: well wait a minute, you peeked out after that. I'm like, yeah,

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Speaker 10: but I I'm sorry. I'm a hip hop fan first,

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Speaker 10: and and I toured with them.

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Speaker 6: Guys. Man, it's it's I'm looking up. I'm out on

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Speaker 6: the road with Chuck d Ice, T E. P. M. D.

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Speaker 6: Eric being Rock Kim. I'm like, well, actually, Eric B

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Speaker 6: what not with us?

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Speaker 1: It was just rock him.

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Speaker 10: But especially when I met rock Kim man, he actually

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Speaker 10: asked me a question about publishing.

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Speaker 6: I'm like, rock Kim just asked me.

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Speaker 10: I'm like, wow, he does, Rock Kim, you know what

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Speaker 10: I mean. So I gave him what he needed. I

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Speaker 10: gave him a phone number, and I hope he got

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Speaker 10: his paper because that's the goat man.

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Speaker 1: Hakeem Green rapper and cannabis enthusiasts.

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Speaker 11: My golden erab hip hop would be eighty six to

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Speaker 11: nineteen ninety, No tricks in eighty six time, nineteen eighty

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Speaker 11: eighties great, the greatest year in hip hop.

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Speaker 1: You gotta slick Rick Krris one get our productions. You're

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Speaker 1: publican and me.

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Speaker 11: You got x clan, you got just got so much,

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Speaker 11: got so much, Got Big Daddy Kane, who was my

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Speaker 11: favorite rapper in nineteen eighty eight eighty eight, the greatest

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Speaker 11: year of hip hop. Kane was my favorite rapper in

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Speaker 11: nineteen eighty eight. You had so much awareness and consciousness

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Speaker 11: in it. It was still so pure in the approach

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Speaker 11: of it and the integrity of it. We were having

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Speaker 11: fun with it, we were learning from it. That was

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Speaker 11: just it was everything I would say prior to that,

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Speaker 11: like the foundation of it, Like it's set. The model

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Speaker 11: is set, the mode you never want to take away

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Speaker 11: from anything before that or anything after. But for me

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Speaker 11: nineteen eighty six to nineteen ninety and plus eighty seven,

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Speaker 11: I went to college. So you know, when you're growing

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Speaker 11: up as a as a man, you know in New

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Speaker 11: York City, you know, it's like that's the soundtrack crossing

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Speaker 11: over into manhood. So that's why those MC especially me

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Speaker 11: so much to me. Chris Chuck a rock him, I'm

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Speaker 11: gonna throw ll in there, Cuji rap Slick rick Man

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Speaker 11: brother Jay who doesn't get enough credit.

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Speaker 1: Kawhime rapper and record producer.

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Speaker 12: Golden eras from nineteen eighty six to nineteen ninety two.

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Speaker 12: And I firm on that because from eighty six to

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Speaker 12: ninety two it was DNA making. The things that were

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Speaker 12: made in eighty six to ninety two is the current

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Speaker 12: DNA of hip hop. It was the time we started

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Speaker 12: seeing the jewelry. It was the time we started putting

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Speaker 12: fashion forward. It was the time we started incorporating samples.

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Speaker 12: It was a time where lyrics got out of message

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Speaker 12: wraps and party raps and started getting extremely lyrical, like

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Speaker 12: the precursors to the extremely lyrical people they keep on.

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Speaker 12: You know, they want to give it to like Rock Him,

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Speaker 12: and I understand that, but you cannot forget and Tela Rock.

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Speaker 12: They were the precursors. They were the spark that lit

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Speaker 12: the cool g rap in, the Rock Him flame that

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Speaker 12: spawned modern rap. Rap never was the same after nineteen

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Speaker 12: eighty six, ra be for President my melody. It never

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Speaker 12: was the same, and all rappers followed them O D.

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Speaker 12: Tela Rock Blueprint and nobody want to ever mention it.

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Speaker 12: That's the funny thing. But like you listen to even

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Speaker 12: LL being super lyrical. If you listen to LL style

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Speaker 12: on my radio and Rock the Bell which ushers in

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Speaker 12: the Golden Era as well, especially Rock the bells ushers

295
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Speaker 12: in the Golden era. His whole flow is on Tila Rock.

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Speaker 12: It's yours, It's it's one hundred percent. You could flow

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Speaker 12: for flow. It's the same thing and that lyrical thing

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Speaker 12: even up to and so I say I stop at

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Speaker 12: maybe early ninety three because the mission statement was always

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Speaker 12: the same from eighty six to ninety three. Be yourself,

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Speaker 12: be different, but at the same time stick to your

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Speaker 12: core vibe, but be able to be as diverse as

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Speaker 12: possible on a record, like be able to rap about love,

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Speaker 12: be able to tell a story, be able to make

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Speaker 12: up you know, some people made pop records. Be able

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Speaker 12: to do a pop record, be able to do a

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Speaker 12: message record. Every album from eighty six to ninety two

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Speaker 12: had those elements in the album that showed that the

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Speaker 12: rapper was a diverse writer and showed diverse experiences. After

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Speaker 12: ninety two, it was just about the genre that you

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Speaker 12: present gangster pop, you know.

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Speaker 1: What I'm saying.

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Speaker 2: It just became the box most definitely kwalme Haha, Komo

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Speaker 2: d and Tela Rock. Those are two important artists to mention,

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Speaker 2: particularly because CuMo D and Tela Rock they were part

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Speaker 2: of a group called the Treacherous Three with another member,

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Speaker 2: La Sunshine. They go back to the first wave of

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Speaker 2: hip hop coming out of the Bronx and then CuMo D.

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Speaker 2: He was able to make that transition into the second wave.

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Speaker 2: You know what I'm saying with you know with Go

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Speaker 2: See the Doctor and Wow Wow West and those were

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Speaker 2: some of the early videos. Once again we got to

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Speaker 2: play on Yo MTV Rap, so once again you got

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Speaker 2: to see it and hear big part of the Golden Era,

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Speaker 2: and once again Teyla Rock with his record It's Yours

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Speaker 2: produced by Rick Rubin. We're gonna get into this on

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Speaker 2: the next episode, y'all, but Tela Rock It's Yours. That

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Speaker 2: song is the beginning of Deaf Jam Records, the Eights

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Speaker 2: Rapper record producer.

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Speaker 13: The Golden Era for me, Okay, I'm gonna go seven

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Speaker 13: years eighty eight to ninety five because I can't lead

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Speaker 13: ninety five out eighty eight to ninety five, because that's

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Speaker 13: when we had the most variety of types of artists,

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Speaker 13: sounds of music, and everybody was still.

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Speaker 9: Doing their own thing and not necessarily conforming to what

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Speaker 9: the labels would try to make them do. So there

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00:19:32,640 --> 00:19:35,399
Speaker 9: was still a lot of creative freedom in that time period.

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Speaker 9: It wasn't until kind of like post ninety five or

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Speaker 9: write in the middle of ninety five where there had

340
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Speaker 9: to be a formula. If you wanted to be on

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Speaker 9: the radio, it had to be this, It had to

342
00:19:45,920 --> 00:19:47,440
Speaker 9: sound like this, it had to have this in it,

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Speaker 9: this element. You started to see that shift and so

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Speaker 9: a lot of us sell victim to that because we

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Speaker 9: didn't want to be left out in the call where

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Speaker 9: everybody wanted to kick their record. So it's like, well,

347
00:20:01,240 --> 00:20:04,200
Speaker 9: they was telling me, if I don't have a joint,

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Speaker 9: you know, with some singing on it, I'm not.

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Speaker 2: Gonna get on the radio. And if I don't get

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00:20:08,000 --> 00:20:10,119
Speaker 2: on the radio, I'm not gonna have a deal. So

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Speaker 2: you saw a lot of artists trying to trying to

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Speaker 2: conform to that eighty to ninety five. I'm gonna take

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Speaker 2: a seven year span, you know. My man master age

354
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Speaker 2: right here and once again another music video I got

355
00:20:21,119 --> 00:20:24,600
Speaker 2: to direct was one for him, his song music Man.

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Speaker 1: Check it out on YouTube.

357
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Speaker 14: By the way, Fat Joe, My true golden era of

358
00:20:30,119 --> 00:20:34,359
Speaker 14: hip hop is LL Cool, J, Salt and Pepper heavy

359
00:20:34,520 --> 00:20:38,119
Speaker 14: d you know, that's the slip where you know.

360
00:20:38,160 --> 00:20:43,040
Speaker 3: They was doing they were superstar for one. It wasn't

361
00:20:43,119 --> 00:20:46,040
Speaker 3: a lot of rappers at that time. It was just

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Speaker 3: a handful, like right now, with no disrespect. Every night

363
00:20:51,560 --> 00:20:55,040
Speaker 3: I watched the news, the regular news Channel five news

364
00:20:55,200 --> 00:20:59,560
Speaker 3: out with this news is like all an inspiring rapper did, Like,

365
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Speaker 3: you know, we don't even know who they are what

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00:21:02,359 --> 00:21:03,040
Speaker 3: they're rappers.

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Speaker 8: Right at that time, he only had a handful that

368
00:21:08,240 --> 00:21:10,000
Speaker 8: was killing the public.

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Speaker 3: Enemies, the the Slick Ricks, the you know, the l

370
00:21:14,119 --> 00:21:17,240
Speaker 3: cool J's, that all of them, the NWA.

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Speaker 1: That was that error to me.

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Speaker 3: You know, I watched Slick Rick do a show one time,

373
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Speaker 3: sitting on a throne. He never got up and everybody

374
00:21:31,080 --> 00:21:35,600
Speaker 3: in the crowd sung every word, was dancing and moving

375
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Speaker 3: and he was like once upon a time not long ago,

376
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Speaker 3: when people were never even got up with a crown.

377
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Speaker 3: I remember being at the Apollo and Big Daddy King

378
00:21:47,920 --> 00:21:52,320
Speaker 3: came down from the sky on a swing and he

379
00:21:52,480 --> 00:21:55,119
Speaker 3: had two girls, one on the left and the right,

380
00:21:55,200 --> 00:21:59,200
Speaker 3: and they had like togas on like he was Caesar.

381
00:22:00,200 --> 00:22:02,840
Speaker 3: They were the first marketers, and that era was the

382
00:22:03,000 --> 00:22:06,720
Speaker 3: first real marketing and branding. And I remember that night

383
00:22:06,760 --> 00:22:09,040
Speaker 3: when I came outside, he was standing in front of

384
00:22:09,080 --> 00:22:13,800
Speaker 3: the Pilo and five hundred bens with a five fider

385
00:22:13,960 --> 00:22:15,480
Speaker 3: kit with the big neph for.

386
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Speaker 8: Titty on his flight.

387
00:22:18,840 --> 00:22:23,240
Speaker 3: NZ Marquis slid down a nose because he used to

388
00:22:23,280 --> 00:22:27,440
Speaker 3: add picking boogets. You know what I'm saying, Like lokoj

389
00:22:27,680 --> 00:22:31,359
Speaker 3: was coming out of a boombox, Madison Square card in

390
00:22:31,400 --> 00:22:31,919
Speaker 3: the Giant.

391
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Speaker 8: I need my radio, like these guys.

392
00:22:36,000 --> 00:22:39,080
Speaker 3: They said it off now, I tell you Happy Detoy,

393
00:22:39,640 --> 00:22:43,239
Speaker 3: Biggy had a dress, Haunter had a dress, Ross had

394
00:22:43,280 --> 00:22:43,720
Speaker 3: a dress.

395
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Speaker 1: Fat Joe had a dress. It all came from this error.

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Speaker 10: You know.

397
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Speaker 3: TWU Live Crew came in that era too. It was

398
00:22:52,280 --> 00:22:56,440
Speaker 3: a little bit after there was them boys was doing

399
00:22:56,520 --> 00:22:56,960
Speaker 3: the lot.

400
00:22:56,920 --> 00:22:59,280
Speaker 8: Down there in Miami. You know what I'm saying.

401
00:23:00,080 --> 00:23:04,400
Speaker 3: And so to me, that's to me Fat Joe as

402
00:23:04,440 --> 00:23:06,320
Speaker 3: a fan, that's the Golden Era.

403
00:23:06,760 --> 00:23:09,280
Speaker 1: Yes, indeed, Fat Joe, you captured a lot the way

404
00:23:09,359 --> 00:23:10,200
Speaker 1: you broke that down.

405
00:23:10,240 --> 00:23:13,240
Speaker 2: All the incredible groups Baby, one of so many reasons

406
00:23:13,280 --> 00:23:16,399
Speaker 2: why the Golden Era was so special. I'm gonna keep

407
00:23:16,440 --> 00:23:19,280
Speaker 2: on reminding y'all we not only got to hear it,

408
00:23:19,640 --> 00:23:24,280
Speaker 2: but we got to say it. So you know, if

409
00:23:24,320 --> 00:23:26,960
Speaker 2: you listen, you'll notice that many of these songs still

410
00:23:27,080 --> 00:23:28,520
Speaker 2: stand the test of time.

411
00:23:29,160 --> 00:23:30,159
Speaker 1: That's right, these.

412
00:23:30,040 --> 00:23:33,680
Speaker 2: Songs, it's twenty I was thirty years old. They still

413
00:23:33,840 --> 00:23:37,399
Speaker 2: sound good to this day. And now try to imagine

414
00:23:37,840 --> 00:23:40,840
Speaker 2: hearing some of these songs, or remember what it was

415
00:23:40,960 --> 00:23:43,840
Speaker 2: like when you first heard these songs, like with Your

416
00:23:43,960 --> 00:23:47,480
Speaker 2: Walk Man, you know, on a cassette or maybe the vinyl. Yes,

417
00:23:47,840 --> 00:23:53,679
Speaker 2: once again, truly revolutionary in the history of all music.

418
00:23:54,080 --> 00:23:58,080
Speaker 1: Period. What went down with hip hop and the Golden era.

419
00:23:58,920 --> 00:24:04,240
Speaker 9: DJ Envy nineties nineties A couple of reasons. The nineties

420
00:24:04,359 --> 00:24:06,119
Speaker 9: was the era when I was outside.

421
00:24:08,440 --> 00:24:09,800
Speaker 1: And although I lived through the.

422
00:24:09,840 --> 00:24:13,800
Speaker 9: Eighties and all that, the nineties was just different. They

423
00:24:13,880 --> 00:24:17,560
Speaker 9: took hip hop to another level with lyrics, with production,

424
00:24:18,480 --> 00:24:24,199
Speaker 9: with tours, with merge, with style, with everything. The nineties

425
00:24:24,480 --> 00:24:27,560
Speaker 9: is the level where I think we also crossed over

426
00:24:27,680 --> 00:24:30,400
Speaker 9: to mainstream. You know, I was in college at that time,

427
00:24:30,520 --> 00:24:33,320
Speaker 9: so I can't take back those long rides listening to

428
00:24:33,400 --> 00:24:36,840
Speaker 9: a fool Gie's album, a Whole's album, on NAS album

429
00:24:37,040 --> 00:24:40,560
Speaker 9: or Nori's album. You know, we played with it a

430
00:24:40,600 --> 00:24:44,080
Speaker 9: little more, you know, we made it was a storytelling.

431
00:24:44,840 --> 00:24:47,360
Speaker 9: You know Biggie talking about I got a story to tell,

432
00:24:47,440 --> 00:24:50,080
Speaker 9: can go left, can go right, but also can make

433
00:24:50,200 --> 00:24:53,600
Speaker 9: dance music. It was a time where we all stood together,

434
00:24:53,640 --> 00:24:56,080
Speaker 9: where we went to HBCU homecomings, We went to Hampton's

435
00:24:56,080 --> 00:24:58,520
Speaker 9: home coming, and went to Howard's home coming. Nor he

436
00:24:58,560 --> 00:25:01,000
Speaker 9: could do Body in the trunk. Him and the greats

437
00:25:01,000 --> 00:25:03,639
Speaker 9: were going back and forth. There was nothing like the

438
00:25:03,800 --> 00:25:04,680
Speaker 9: nineties era.

439
00:25:04,560 --> 00:25:05,080
Speaker 1: Of hip hop.

440
00:25:05,840 --> 00:25:08,440
Speaker 9: Eighties were great and the eighties were cool, but I

441
00:25:08,480 --> 00:25:12,159
Speaker 9: think the nineties made more money, more control. The art

442
00:25:12,280 --> 00:25:16,359
Speaker 9: was a lot better, It sounded better and bigger, and

443
00:25:16,480 --> 00:25:18,200
Speaker 9: I just didn't feel like, to this day, I don't

444
00:25:18,240 --> 00:25:22,880
Speaker 9: feel like there was anything better than that era.

445
00:25:23,720 --> 00:25:26,119
Speaker 1: R and B as well, when you talked about Mary J.

446
00:25:26,240 --> 00:25:29,880
Speaker 9: Blige, you know, even the beginning of Ussher at that time,

447
00:25:30,640 --> 00:25:32,480
Speaker 9: are you talking about diddio A, You're talking about nas

448
00:25:32,520 --> 00:25:34,680
Speaker 9: and all that. Like those are things that to this

449
00:25:35,000 --> 00:25:37,840
Speaker 9: day you still play and it doesn't sound old.

450
00:25:38,080 --> 00:25:40,800
Speaker 1: Shahim reed music journalists.

451
00:25:41,119 --> 00:25:47,320
Speaker 9: That late eighties that Slick Rick, that rock Can, that KRS,

452
00:25:48,240 --> 00:25:51,640
Speaker 9: that cool g rap, that Big Daddy Can changed rap.

453
00:25:52,000 --> 00:25:55,240
Speaker 7: You know what I'm saying, totally changed the game and

454
00:25:55,480 --> 00:25:58,680
Speaker 7: took it up so many different levels, you know what

455
00:25:58,760 --> 00:26:01,960
Speaker 7: I'm saying, So that that was sort of like kind

456
00:26:02,000 --> 00:26:02,480
Speaker 7: of set.

457
00:26:02,359 --> 00:26:03,080
Speaker 1: In the stage.

458
00:26:03,760 --> 00:26:08,120
Speaker 9: But then I always look at the year nineteen ninety four,

459
00:26:08,960 --> 00:26:11,879
Speaker 9: which remember Snoop and Wu Tang came out at the

460
00:26:12,000 --> 00:26:12,880
Speaker 9: end of ninety three.

461
00:26:14,520 --> 00:26:15,280
Speaker 1: I think Mary J.

462
00:26:15,480 --> 00:26:19,520
Speaker 9: Blige is is at ninety three. R Kelly is around

463
00:26:19,600 --> 00:26:22,359
Speaker 9: that time, so you're getting hip hop at R and

464
00:26:22,480 --> 00:26:26,240
Speaker 9: B together at the same time. Ninety four Ninas came out,

465
00:26:27,000 --> 00:26:31,520
Speaker 9: ninety four Biggie came out, ninety four, Tupac is circulating

466
00:26:31,600 --> 00:26:36,760
Speaker 9: moving around. So that to me that ninety three, ninety four,

467
00:26:36,960 --> 00:26:41,240
Speaker 9: ninety five, ninety six, ninety seven proably the biggest most

468
00:26:41,280 --> 00:26:45,040
Speaker 9: influential years in hip hop. And you gotta say ninety

469
00:26:45,119 --> 00:26:47,600
Speaker 9: eight two because that's when DMX came out. That's when

470
00:26:47,680 --> 00:26:51,440
Speaker 9: jay Z took over the Crown and hip hop with

471
00:26:51,600 --> 00:26:56,040
Speaker 9: Hard Knocked Life and Miseducation. Lawrence Hill got the Foojis

472
00:26:56,080 --> 00:26:59,440
Speaker 9: in that era, that's when not only did we see

473
00:26:59,480 --> 00:27:03,959
Speaker 9: the Crown go to New Heights, but then it started selling.

474
00:27:04,440 --> 00:27:07,480
Speaker 9: Then it started being on TV shows like nine O, two,

475
00:27:07,560 --> 00:27:10,760
Speaker 9: one oh. Then we started getting in our own record labels.

476
00:27:11,000 --> 00:27:14,080
Speaker 9: Then we started getting our own fashion brands. Then we

477
00:27:14,160 --> 00:27:17,440
Speaker 9: started really breaking the dawn and doing all of these

478
00:27:17,480 --> 00:27:22,800
Speaker 9: Hollywood movies and TV shows Martin Lawrence, Bad Boys, you know,

479
00:27:23,240 --> 00:27:28,920
Speaker 9: Living Single, ll COOLJ. You know it was That's that's

480
00:27:28,960 --> 00:27:31,680
Speaker 9: when it That's when we took over. If you want

481
00:27:31,720 --> 00:27:35,440
Speaker 9: to say the late eightieses the golden era, you gotta

482
00:27:35,520 --> 00:27:37,960
Speaker 9: say the men nineties is the platinum era.

483
00:27:38,280 --> 00:27:42,080
Speaker 1: Incredible time for real. Shot here weed man, that's exactly

484
00:27:42,160 --> 00:27:43,840
Speaker 1: when we took over. Baby, we did.

485
00:27:44,200 --> 00:27:46,480
Speaker 2: And keep in mind, we took over the whole planet

486
00:27:46,480 --> 00:27:49,480
Speaker 2: because it went global, man, people in every other language

487
00:27:49,520 --> 00:27:53,399
Speaker 2: around the world, from Russia to China, all over Europe.

488
00:27:53,600 --> 00:27:56,840
Speaker 2: France the second biggest market for hip hop since forever.

489
00:27:57,240 --> 00:28:00,800
Speaker 2: We definitely took over and we're still rocking on Rockenstrom

490
00:28:01,680 --> 00:28:05,560
Speaker 2: Charlamagne the God, co host of The Breakfast Club, founder

491
00:28:05,640 --> 00:28:08,800
Speaker 2: of the Black Effect podcast network and media mode.

492
00:28:09,480 --> 00:28:12,440
Speaker 6: For me, it would be nineteen ninety four.

493
00:28:13,320 --> 00:28:17,480
Speaker 15: In nineteen ninety eight, ninety four, I'm like, what eighty eight,

494
00:28:17,960 --> 00:28:21,240
Speaker 15: I'm like sixteen years old. In ninety four, I'm outside

495
00:28:21,280 --> 00:28:25,440
Speaker 15: a little bit. You know, you saw the rise of

496
00:28:25,600 --> 00:28:31,119
Speaker 15: West Coast music. You saw Death Row, Doctor Dre Snoop, everything,

497
00:28:31,200 --> 00:28:33,320
Speaker 15: that they were doing. Then it went to the East

498
00:28:33,400 --> 00:28:37,640
Speaker 15: coast and it's Wu Tang and Nas and bad Boy

499
00:28:37,800 --> 00:28:40,240
Speaker 15: and Biggie and then you know, Jay came around in

500
00:28:40,400 --> 00:28:44,400
Speaker 15: ninety six, and then you saw the South start to

501
00:28:44,480 --> 00:28:47,360
Speaker 15: come up in nineteen ninety eight. Actually a little bit

502
00:28:47,400 --> 00:28:49,480
Speaker 15: before that because you have master p and No Limit.

503
00:28:49,800 --> 00:28:52,160
Speaker 15: But then like ninety eight was like the cash Money

504
00:28:52,240 --> 00:28:54,280
Speaker 15: era and you had everything that was coming out of

505
00:28:54,360 --> 00:28:59,640
Speaker 15: Atlanta outcast, the Goodie Moob you know, that turned into

506
00:28:59,720 --> 00:29:02,880
Speaker 15: the man It's so many airs like oh man, my,

507
00:29:02,960 --> 00:29:05,720
Speaker 15: I'm gonna tell you my favorite My favorite eras was

508
00:29:05,840 --> 00:29:11,680
Speaker 15: ninety four, ninety eight and the early two thousands with

509
00:29:11,840 --> 00:29:16,160
Speaker 15: Crump music. That second Golden era of New York with

510
00:29:16,320 --> 00:29:22,520
Speaker 15: Wu Tang, Nas, Bingie Jay, Black Moons like that was phenomenal.

511
00:29:23,240 --> 00:29:26,720
Speaker 15: And then ninety eight when cash Money and everybody started

512
00:29:26,760 --> 00:29:29,000
Speaker 15: to come up with the early two thousands when Crump

513
00:29:29,120 --> 00:29:31,880
Speaker 15: music came in. Man, Crump music is an era that

514
00:29:31,960 --> 00:29:33,840
Speaker 15: we take for granted. When Crump Music was out, I

515
00:29:33,960 --> 00:29:36,480
Speaker 15: was outside outside, That's when I was in. I was.

516
00:29:36,560 --> 00:29:38,880
Speaker 15: I started radio in ninety eight, so by two thousand

517
00:29:38,920 --> 00:29:42,160
Speaker 15: and two thousand and one, we I'm in Colombia me

518
00:29:42,240 --> 00:29:44,760
Speaker 15: and my man DJ Frosty were doing all the clubs.

519
00:29:45,320 --> 00:29:49,000
Speaker 15: You know, this is little John get Low, this is

520
00:29:49,240 --> 00:29:51,960
Speaker 15: you know, prime mob neck. If you fall, this is

521
00:29:52,080 --> 00:29:55,560
Speaker 15: bone Crush're never scared, you know. Then the trap music

522
00:29:55,640 --> 00:30:00,560
Speaker 15: era came. G Z Trapp would die Ti urban legend,

523
00:30:01,280 --> 00:30:05,560
Speaker 15: you know. Trap music like that was an unbelievable era.

524
00:30:05,760 --> 00:30:07,720
Speaker 15: I'm being now that I think about it.

525
00:30:07,840 --> 00:30:08,600
Speaker 6: That was my favorite era.

526
00:30:09,560 --> 00:30:13,480
Speaker 2: Yes, indeed, Charlamagne really good point raised that crunk era.

527
00:30:13,920 --> 00:30:16,360
Speaker 2: The influence from the South as it was raging on

528
00:30:16,560 --> 00:30:19,720
Speaker 2: at this point, so important, so much fun on the

529
00:30:19,880 --> 00:30:20,560
Speaker 2: dance floor.

530
00:30:20,880 --> 00:30:26,440
Speaker 1: Wow Crunk for show Ice Tea at the Rappa West

531
00:30:26,480 --> 00:30:27,800
Speaker 1: Coast hip hop pioneer.

532
00:30:28,320 --> 00:30:30,520
Speaker 9: The golden era has to be with I just brought

533
00:30:30,600 --> 00:30:33,200
Speaker 9: the Jones and the Oh's and the music. No, I mean,

534
00:30:33,600 --> 00:30:36,400
Speaker 9: I can't really tell you. I think that there was

535
00:30:36,480 --> 00:30:40,440
Speaker 9: a point I say. The golden era to me has

536
00:30:40,560 --> 00:30:45,200
Speaker 9: to be before the internet, when you still had to

537
00:30:45,280 --> 00:30:48,320
Speaker 9: buy records, when you still had to go to the store.

538
00:30:48,720 --> 00:30:53,000
Speaker 9: When a million records sold meant one million people got

539
00:30:53,080 --> 00:30:55,600
Speaker 9: out of their cars and went into the store and

540
00:30:56,000 --> 00:30:59,960
Speaker 9: purchased your record amongst so many other records in that store,

541
00:31:00,120 --> 00:31:01,960
Speaker 9: or what they bought your record.

542
00:31:02,760 --> 00:31:05,640
Speaker 2: It wasn't them hitting a click button. It wasn't then

543
00:31:05,800 --> 00:31:08,800
Speaker 2: buying one song out of the record. They bought that album.

544
00:31:10,120 --> 00:31:14,000
Speaker 2: There was a time where you almost could buy damn

545
00:31:14,080 --> 00:31:17,080
Speaker 2: near every rap record out. You know, I think you

546
00:31:17,160 --> 00:31:19,440
Speaker 2: know when master p and them started coming out and

547
00:31:19,520 --> 00:31:23,840
Speaker 2: dropping hundreds of records. That was the beginning, not the

548
00:31:24,000 --> 00:31:26,520
Speaker 2: bad part, but it was the beginning. It was welcoming

549
00:31:27,040 --> 00:31:31,200
Speaker 2: the Internet era. And when the Internet came, anybody could

550
00:31:31,200 --> 00:31:33,240
Speaker 2: put out a record. There was no an R and

551
00:31:33,360 --> 00:31:37,920
Speaker 2: it just got flooded. And now it's really difficult to

552
00:31:38,080 --> 00:31:41,240
Speaker 2: even know all the rappers or know what's good.

553
00:31:41,600 --> 00:31:44,000
Speaker 1: It's just flooded.

554
00:31:44,080 --> 00:31:47,240
Speaker 2: Now, I'm not hating on it. I mean, Quincy Jones

555
00:31:47,320 --> 00:31:49,120
Speaker 2: taught me, if you want to lose a fight, fight

556
00:31:49,200 --> 00:31:54,080
Speaker 2: the future. The future is what it is. So but

557
00:31:54,320 --> 00:31:58,120
Speaker 2: I'm proud to be part of that era when the

558
00:31:58,240 --> 00:32:03,520
Speaker 2: album covers meant something, the liner notes, the special thing.

559
00:32:04,560 --> 00:32:07,080
Speaker 1: You would look and see where the record would be recorded.

560
00:32:07,240 --> 00:32:09,880
Speaker 2: You try to get that same engineer, you wanted to

561
00:32:09,960 --> 00:32:14,080
Speaker 2: get the same in person to master the record. It

562
00:32:14,240 --> 00:32:17,240
Speaker 2: was all that kind of That was an era of

563
00:32:17,360 --> 00:32:21,680
Speaker 2: hip hop where you know, I thrived, I feel like

564
00:32:21,960 --> 00:32:28,000
Speaker 2: I was third generation, so first generation to be unrecorded

565
00:32:28,080 --> 00:32:33,200
Speaker 2: hip hop, ending with the Sugarhill Gang. Second generations run

566
00:32:33,800 --> 00:32:41,600
Speaker 2: ll BC Boys, Fat Boys, Curtis Blow, third generation myself

567
00:32:41,760 --> 00:32:48,080
Speaker 2: Public Enemy Rock Kim that you know EPMD came.

568
00:32:48,840 --> 00:32:51,400
Speaker 1: That's where I fell in that link. By now we're

569
00:32:51,400 --> 00:32:52,920
Speaker 1: probably a twelfth generation.

570
00:32:53,360 --> 00:32:57,160
Speaker 2: Yes, Indeed, another really important factor, I see you're soul

571
00:32:57,280 --> 00:33:00,960
Speaker 2: right pre internet and Internet you know, I'm saying that

572
00:33:01,240 --> 00:33:05,320
Speaker 2: transition happened in the nineties. You know, I got on

573
00:33:05,560 --> 00:33:08,400
Speaker 2: Aol dot com and got my first laptop in the

574
00:33:08,480 --> 00:33:11,080
Speaker 2: early nineties, and I was trying to get everybody to

575
00:33:11,160 --> 00:33:14,080
Speaker 2: get on this new crazy thing called the Internet. I

576
00:33:14,080 --> 00:33:17,320
Speaker 2: remember whening the opportunity to download a song came money.

577
00:33:17,520 --> 00:33:20,479
Speaker 2: You had to wait all day for one of them songs,

578
00:33:20,720 --> 00:33:23,040
Speaker 2: you know, to download, but it was so exciting.

579
00:33:23,200 --> 00:33:26,760
Speaker 1: The ability to do this. Now, that's how we do

580
00:33:26,880 --> 00:33:27,600
Speaker 1: it right.

581
00:33:28,160 --> 00:33:31,000
Speaker 2: The playlist a real important part of how we get

582
00:33:31,040 --> 00:33:33,680
Speaker 2: our music these days right. And another thing that we

583
00:33:33,840 --> 00:33:36,840
Speaker 2: have to hope they get right is the algorithm. You

584
00:33:36,920 --> 00:33:39,640
Speaker 2: know what I mean, the rhythm in the algorithm. It's

585
00:33:39,680 --> 00:33:41,640
Speaker 2: so important to how we get our music these days.

586
00:33:42,640 --> 00:33:48,600
Speaker 2: Ed Love Them Rapper, Actor Radio personality and former MTVVJ.

587
00:33:49,080 --> 00:33:51,000
Speaker 16: You would say that the golden era of hip hop

588
00:33:51,040 --> 00:33:56,040
Speaker 16: would be from eighty nine to eighty eight to two thousand.

589
00:33:56,520 --> 00:33:58,600
Speaker 16: I think some people say that's the golden era hip

590
00:33:58,600 --> 00:34:01,520
Speaker 16: hop or eighty nine, eighty nine to two thousand, is

591
00:34:01,560 --> 00:34:04,680
Speaker 16: that golden era? Yeah, you saw, I'd say, because you

592
00:34:04,800 --> 00:34:08,239
Speaker 16: really started seeing the growth of hip hop. You saw

593
00:34:08,320 --> 00:34:12,120
Speaker 16: that the different styles come out during that time period, right.

594
00:34:12,880 --> 00:34:14,560
Speaker 16: You saw it become more of a.

595
00:34:16,200 --> 00:34:19,000
Speaker 1: National and international music.

596
00:34:19,239 --> 00:34:22,800
Speaker 16: Like we had Nana Cherry with you know, the Buffalo stance,

597
00:34:22,880 --> 00:34:25,760
Speaker 16: and you had different people coming in with different music.

598
00:34:26,160 --> 00:34:30,040
Speaker 1: It's so worldwide now. You know, we kind of like help.

599
00:34:29,960 --> 00:34:32,439
Speaker 16: Explode reggae music too, because we took your on TV

600
00:34:32,600 --> 00:34:36,040
Speaker 16: raps to Jamaica for the you know, Sunsplash for a

601
00:34:36,120 --> 00:34:39,600
Speaker 16: few years. So you really saw Shaba come out and

602
00:34:39,760 --> 00:34:43,760
Speaker 16: Ninja come out and all of these guys become worldwide phenomenas,

603
00:34:44,400 --> 00:34:47,399
Speaker 16: along with the NASA's, the jay Z's, the Mob Deep,

604
00:34:47,920 --> 00:34:51,239
Speaker 16: the you know, the Big eas, the you know everybody.

605
00:34:51,400 --> 00:34:53,920
Speaker 16: It just it was that's when it to me, it

606
00:34:54,040 --> 00:34:58,279
Speaker 16: became super creative and you had all of these amazing,

607
00:34:59,120 --> 00:35:02,400
Speaker 16: amazing produce. It was starting to come through. That was

608
00:35:02,600 --> 00:35:06,120
Speaker 16: that era, you know, and really, you know, Nads has

609
00:35:06,280 --> 00:35:10,839
Speaker 16: a huge responsibility in that because before you know, Ella

610
00:35:10,920 --> 00:35:13,520
Speaker 16: would go in the studio with Marley and Mally would

611
00:35:13,520 --> 00:35:17,319
Speaker 16: do the entire album. Nads did his first album. There

612
00:35:17,440 --> 00:35:19,719
Speaker 16: was five six different producers on there, you know, the

613
00:35:19,800 --> 00:35:23,160
Speaker 16: Peate Rocks and cl Smooths and all of that. Going

614
00:35:23,239 --> 00:35:26,560
Speaker 16: into the nineties, Man, that was it. You know, the

615
00:35:26,680 --> 00:35:31,200
Speaker 16: tribe called Quests and day Lot Soul. Like, nobody sounded

616
00:35:31,280 --> 00:35:34,560
Speaker 16: like day Last Soul. Nobody sounded like you know, Public

617
00:35:34,680 --> 00:35:35,360
Speaker 16: Enemy Nobody.

618
00:35:35,920 --> 00:35:37,200
Speaker 1: It was just that was it.

619
00:35:37,560 --> 00:35:41,279
Speaker 16: Man. Everybody was so super super creative and it was

620
00:35:41,480 --> 00:35:47,000
Speaker 16: room for everybody. Nobody sounded like too short, Nobody sounded

621
00:35:47,080 --> 00:35:50,920
Speaker 16: like n WA. Nobody sounded like ice cube. Nobody sounded

622
00:35:51,040 --> 00:35:54,320
Speaker 16: like ice tea. Nobody sounded like school Deep, Nobody sounded

623
00:35:54,400 --> 00:35:56,399
Speaker 16: like three times dope nobody. You know what I mean.

624
00:35:56,480 --> 00:36:00,279
Speaker 16: It was such a creative time period, even Jazzy Jeff

625
00:36:00,320 --> 00:36:03,000
Speaker 16: in the Fresh Prince. You know, it was so creative.

626
00:36:04,320 --> 00:36:06,040
Speaker 16: That's why I call it the Golden Era. It was

627
00:36:06,239 --> 00:36:11,759
Speaker 16: so damn creative. You know, look at the transition from

628
00:36:12,160 --> 00:36:16,160
Speaker 16: Phobob being part of the Master of the ceremony to

629
00:36:17,000 --> 00:36:22,560
Speaker 16: brand Nubid. You know that was dumb creative. So that's

630
00:36:22,600 --> 00:36:24,680
Speaker 16: why I say that's the Golden are. It's the most

631
00:36:24,719 --> 00:36:27,440
Speaker 16: creative time, way more creative than now.

632
00:36:28,200 --> 00:36:33,520
Speaker 1: Daddy Oh rapper, producer, deep thinker and founding member of

633
00:36:33,680 --> 00:36:38,359
Speaker 1: Classic Brooklyn rap group statsisnic. I think there's more than

634
00:36:38,440 --> 00:36:39,200
Speaker 1: one golden there.

635
00:36:40,640 --> 00:36:44,359
Speaker 9: I do believe in what people say, so I will

636
00:36:44,480 --> 00:36:48,920
Speaker 9: give that Golden era first Golden Era to us and

637
00:36:49,080 --> 00:36:53,799
Speaker 9: Public Enemy and Dougie Fresh and mc light. Ricky's in there,

638
00:36:53,960 --> 00:36:58,000
Speaker 9: but he's with Dougie Fresh, can plays in that group,

639
00:36:58,080 --> 00:37:01,719
Speaker 9: So Pepper's in that group a few us and I

640
00:37:01,840 --> 00:37:06,360
Speaker 9: will give it to that. I think part of that

641
00:37:06,800 --> 00:37:11,640
Speaker 9: is nobody talks about GRUNDIUMC two. Part of that kuj.

642
00:37:12,520 --> 00:37:17,640
Speaker 9: Part of that is sonics, right like like like honestly,

643
00:37:18,600 --> 00:37:23,520
Speaker 9: they've never matched us. Nothing is still better than the

644
00:37:23,600 --> 00:37:28,680
Speaker 9: message or I need to beat nothing, no future, no,

645
00:37:28,920 --> 00:37:31,440
Speaker 9: none of them. They can't beat it, like you know

646
00:37:31,480 --> 00:37:34,279
Speaker 9: what I'm saying. And them damn sugar Hill records were

647
00:37:34,400 --> 00:37:39,880
Speaker 9: so dope and loud it was crazy, man. So so

648
00:37:40,120 --> 00:37:43,640
Speaker 9: I think part of it is sonics. Part of us

649
00:37:43,800 --> 00:37:46,440
Speaker 9: is us just getting in the studio and getting our

650
00:37:46,560 --> 00:37:52,000
Speaker 9: feet wet, and part of it is us finally after

651
00:37:52,120 --> 00:37:56,520
Speaker 9: Frankie Krot, I hate it on us finally getting on

652
00:37:56,640 --> 00:37:57,160
Speaker 9: the radio.

653
00:37:58,120 --> 00:38:01,839
Speaker 1: But then, what do you call Wanne? Did the era

654
00:38:02,000 --> 00:38:04,120
Speaker 1: of Little Wanne and them Fireman taps?

655
00:38:05,280 --> 00:38:05,440
Speaker 6: Right?

656
00:38:06,280 --> 00:38:10,600
Speaker 9: I mean, what do you call NOAs and Biggie and Puff?

657
00:38:11,680 --> 00:38:15,960
Speaker 9: So it's difficult for me. This is just me, difficult

658
00:38:16,000 --> 00:38:18,640
Speaker 9: for me to lay into one golden era.

659
00:38:19,000 --> 00:38:21,800
Speaker 1: Daddy Yo, good point. How could I leave out Little

660
00:38:21,880 --> 00:38:22,600
Speaker 1: Wang and.

661
00:38:22,680 --> 00:38:28,040
Speaker 2: Important MC dope lyrics, incredible skills over a long period

662
00:38:28,080 --> 00:38:31,080
Speaker 2: of time. Yes, indeed, big up Little Wang a part

663
00:38:31,120 --> 00:38:34,080
Speaker 2: of the onslaught from the South, stand up and be

664
00:38:34,239 --> 00:38:40,360
Speaker 2: recognized ll cool Jack, actor, rapper, entrepreneur, considered one of

665
00:38:40,400 --> 00:38:41,520
Speaker 2: the best to ever do it.

666
00:38:41,960 --> 00:38:44,600
Speaker 17: Then this whole kit is gold we fifty years in.

667
00:38:45,640 --> 00:38:49,640
Speaker 17: You know, I'm going on Tall, sold out, Tall, God willing.

668
00:38:50,080 --> 00:38:53,200
Speaker 17: Everybody's rocking, people are into it. I have my day

669
00:38:53,280 --> 00:38:55,799
Speaker 17: ones waiting for my new record. I mean everything, it's

670
00:38:55,800 --> 00:38:59,080
Speaker 17: all golden. I understand like people want this year that year.

671
00:38:59,239 --> 00:38:59,439
Speaker 2: Man.

672
00:38:59,560 --> 00:39:03,120
Speaker 1: Listen, there's always something great happening. There's always something great

673
00:39:03,200 --> 00:39:07,080
Speaker 1: happening in art. Yes, there are inflection points, Yes, there

674
00:39:07,120 --> 00:39:11,840
Speaker 1: are watershed movements. That's true. You can't deny that. However,

675
00:39:12,239 --> 00:39:14,160
Speaker 1: you can't be grateful for the whole ride.

676
00:39:14,480 --> 00:39:17,480
Speaker 17: Because we're still riding the credits they roll on the

677
00:39:17,560 --> 00:39:20,200
Speaker 17: movie yet, so we don't know what chapter, you know,

678
00:39:20,320 --> 00:39:21,799
Speaker 17: we don't know what the next you know, I mean,

679
00:39:23,320 --> 00:39:25,600
Speaker 17: the next act is gonna be, you know what I'm saying.

680
00:39:26,640 --> 00:39:29,600
Speaker 1: So I'm not getting caught up in like what it

681
00:39:29,760 --> 00:39:31,400
Speaker 1: used to be. I'm looking at the future.

682
00:39:31,560 --> 00:39:34,160
Speaker 17: I'm thinking about like, Okay, how can we level this

683
00:39:34,360 --> 00:39:36,400
Speaker 17: up and how can we, you know, take what we

684
00:39:36,560 --> 00:39:37,560
Speaker 17: doing to another level?

685
00:39:37,640 --> 00:39:41,240
Speaker 1: You know what I'm saying, you know, show people what's possible.

686
00:39:41,800 --> 00:39:41,960
Speaker 2: Ah.

687
00:39:42,160 --> 00:39:44,960
Speaker 1: Yeah, So the Golden Era definitely.

688
00:39:46,200 --> 00:39:49,080
Speaker 2: Was so important to so many people, and for sure

689
00:39:49,560 --> 00:39:52,879
Speaker 2: it went from gold into platinum. But that Golden Era

690
00:39:53,200 --> 00:39:56,279
Speaker 2: was so important for so many reasons that you heard

691
00:39:56,320 --> 00:40:00,440
Speaker 2: on this episode. So let me share my goal era

692
00:40:01,280 --> 00:40:05,680
Speaker 2: without question for me, that begins in nineteen eighty eight,

693
00:40:06,360 --> 00:40:12,560
Speaker 2: when me hosting Yo MTV raps begins. You just go

694
00:40:12,719 --> 00:40:14,560
Speaker 2: back and look at some of the records that came

695
00:40:14,600 --> 00:40:17,560
Speaker 2: out in nineteen eighty eight and you'll see what I mean.

696
00:40:18,520 --> 00:40:22,560
Speaker 2: For me, the ending of the Golden Era happened in

697
00:40:22,760 --> 00:40:26,440
Speaker 2: horror and it's a photo once again, hit Google and

698
00:40:26,680 --> 00:40:29,399
Speaker 2: search a great day in hip hop.

699
00:40:29,800 --> 00:40:33,520
Speaker 1: This was a photo that was done to be a cover.

700
00:40:33,760 --> 00:40:37,960
Speaker 2: It was a three page fold out cover of Double

701
00:40:38,200 --> 00:40:42,960
Speaker 2: XL magazine and they had the brilliant idea to get

702
00:40:43,040 --> 00:40:47,800
Speaker 2: one of my inspirations on the creative renaissance, tip the

703
00:40:47,920 --> 00:40:52,200
Speaker 2: amazing photographer, filmmaker and everything.

704
00:40:51,880 --> 00:40:56,240
Speaker 1: Else creative justin Pouse, Gordon Parks.

705
00:40:56,760 --> 00:40:59,600
Speaker 2: They got Gordon Parks, who was in his eighties at

706
00:40:59,640 --> 00:41:05,600
Speaker 2: the time, to recreate a famous photo done in Harlem

707
00:41:05,840 --> 00:41:09,120
Speaker 2: at the same location back in the nineteen fifties.

708
00:41:09,600 --> 00:41:13,560
Speaker 1: They got about fifty jazz legends showed.

709
00:41:13,320 --> 00:41:18,000
Speaker 2: Up in front of this brownstone in Harlem and took

710
00:41:18,120 --> 00:41:22,400
Speaker 2: this incredible photo. Art Kane was the photographer day at

711
00:41:22,480 --> 00:41:24,680
Speaker 2: the idea to do a hip hop version. They got

712
00:41:24,760 --> 00:41:29,920
Speaker 2: Gordon Parks and nearly two hundred hip hop pioneers from

713
00:41:30,120 --> 00:41:34,640
Speaker 2: Cool Heark, people from Atlanta, Jamaine Dupree, people from Cali,

714
00:41:35,040 --> 00:41:39,319
Speaker 2: people from Texas. It was an incredible representation of hip

715
00:41:39,360 --> 00:41:40,640
Speaker 2: hop at that moment.

716
00:41:41,160 --> 00:41:45,680
Speaker 1: The date was September twenty ninth, nineteen ninety eight.

717
00:41:46,320 --> 00:41:48,600
Speaker 2: And when you pull up that photo one line and

718
00:41:48,680 --> 00:41:51,000
Speaker 2: take a good close look at everybody was there.

719
00:41:51,440 --> 00:41:54,560
Speaker 1: That to me was the end of the Golden Era, because.

720
00:41:54,280 --> 00:41:57,280
Speaker 2: That was the beginning now of people from different places

721
00:41:57,360 --> 00:42:02,879
Speaker 2: around the country, from the South, Atlanta, Texas, Florida, all

722
00:42:02,920 --> 00:42:06,719
Speaker 2: these different states stepped up, made hits and got their

723
00:42:06,840 --> 00:42:10,160
Speaker 2: piece of the hip hop rock. So the energy once

724
00:42:10,200 --> 00:42:13,480
Speaker 2: again born, bred, college green fed in these streets in

725
00:42:13,520 --> 00:42:16,120
Speaker 2: New York City. It was time for it to break out,

726
00:42:16,360 --> 00:42:19,359
Speaker 2: leave home and go across the country and around the world.

727
00:42:19,600 --> 00:42:22,080
Speaker 2: And when I looked at that phono, I realized this

728
00:42:22,200 --> 00:42:24,800
Speaker 2: would never happen again. And this for sure was the

729
00:42:24,960 --> 00:42:27,719
Speaker 2: ending of the Golden Era. And then for sure we

730
00:42:27,960 --> 00:42:31,879
Speaker 2: moved into platinum and wherever we are now the Golden Era.

731
00:42:32,120 --> 00:42:35,600
Speaker 1: This is a fun episode, so many great records after this.

732
00:42:36,680 --> 00:42:38,799
Speaker 2: I'm switching over and I'm getting ready to pull up

733
00:42:38,800 --> 00:42:40,839
Speaker 2: a bunch of these songs that we're mention and I'm

734
00:42:40,840 --> 00:42:43,319
Speaker 2: about to take it back like an eight track.

735
00:42:44,280 --> 00:42:47,200
Speaker 1: And that's it, Baby, I'll see y'all on the next episode.

736
00:42:48,400 --> 00:42:53,239
Speaker 2: Next episode the fifty Years of Hip Hop podcast series, Man,

737
00:42:53,600 --> 00:42:56,879
Speaker 2: We're gonna explore the extraordinary story of the world's most

738
00:42:56,960 --> 00:43:01,360
Speaker 2: influential hip hop label and its creators. Rick Rubin Russell

739
00:43:01,440 --> 00:43:05,440
Speaker 2: Simmons the story of Deaf Jam Records. This episode has

740
00:43:05,520 --> 00:43:09,360
Speaker 2: been executive produced by Dolly s. Bishop, hosted and produced

741
00:43:09,560 --> 00:43:12,840
Speaker 2: by Your Boy Fab five Freddie. Produced by Aaron A.

742
00:43:13,080 --> 00:43:17,960
Speaker 2: King Howard. Edit, mixed sound by Dwayne Crawford, music scoring

743
00:43:18,080 --> 00:43:21,360
Speaker 2: by Trey Jones, Talent booking by Nicole Spence