1
00:00:00,360 --> 00:00:05,000
Speaker 1: Quest Love Show is a production of iHeartRadio.

2
00:00:21,160 --> 00:00:21,959
Speaker 2: Ladies and gentlemen.

3
00:00:23,520 --> 00:00:26,560
Speaker 1: This doesn't happen often. This is the Quest Love Show.

4
00:00:27,480 --> 00:00:31,520
Speaker 1: I'm literally not gonna waste time and introducing our guest today.

5
00:00:31,560 --> 00:00:34,600
Speaker 1: Normally I'll take five minutes out and do the life

6
00:00:34,640 --> 00:00:41,000
Speaker 1: achievement accolades. Look at his face, he's not having it. However,

7
00:00:41,400 --> 00:00:43,680
Speaker 1: I am going to do a misslid and say, first

8
00:00:43,680 --> 00:00:47,559
Speaker 1: of all, this man needs no introduction whatsoever. But that said,

9
00:00:48,200 --> 00:00:50,920
Speaker 1: let me remind you that he does have a project

10
00:00:51,200 --> 00:00:57,120
Speaker 1: with the legendary drummer and Questlove Supreme guest John Dinsmore

11
00:00:57,240 --> 00:01:01,520
Speaker 1: of the Doors. It's called Dope and their album No

12
00:01:01,840 --> 00:01:06,039
Speaker 1: Country for Old Men is out now. And besides making music,

13
00:01:06,319 --> 00:01:10,920
Speaker 1: our guest has his hands in many a project his

14
00:01:11,160 --> 00:01:14,520
Speaker 1: uh rap Central Station magazine to bring the noise app

15
00:01:14,560 --> 00:01:18,280
Speaker 1: We'll get into that, Chuck d I thank you this.

16
00:01:18,280 --> 00:01:20,720
Speaker 1: This is one of the highlights of me doing this platform.

17
00:01:20,800 --> 00:01:24,560
Speaker 1: I literally created this platform so I could have a

18
00:01:25,040 --> 00:01:27,720
Speaker 1: normal way to ask you all the questions I ever

19
00:01:27,760 --> 00:01:32,200
Speaker 1: wanted to ask you as just two artists talking.

20
00:01:32,240 --> 00:01:38,640
Speaker 2: So thank you for coming to the show. My heroes. Yeah, topic,

21
00:01:38,720 --> 00:01:40,800
Speaker 2: I remember you know when you first started it. You know,

22
00:01:40,840 --> 00:01:43,640
Speaker 2: you was the laptop man on a run in between

23
00:01:44,280 --> 00:01:47,960
Speaker 2: between the tonight show, my rehearsals and show. I'm still

24
00:01:47,960 --> 00:01:50,640
Speaker 2: in that person. Yeah, I know you still all right, and.

25
00:01:50,480 --> 00:01:53,280
Speaker 1: You know this also deserves to be you know, Jimmy

26
00:01:53,360 --> 00:01:56,160
Speaker 1: jam holds the record for a seven hour interviews. Now

27
00:01:56,200 --> 00:01:58,480
Speaker 1: we're not doing that right exactly, so I have to

28
00:01:59,360 --> 00:02:03,480
Speaker 1: we rather pick yes. Yeah, I'm being selfish for this

29
00:02:03,560 --> 00:02:05,840
Speaker 1: episode and asking the questions that I want to know.

30
00:02:06,360 --> 00:02:09,560
Speaker 1: If you guys knew inside baseball, then go ahead.

31
00:02:09,600 --> 00:02:12,639
Speaker 2: You know, you know I give great respect to the

32
00:02:12,760 --> 00:02:16,639
Speaker 2: FOI for the Islam and the foh the fuck out

33
00:02:16,639 --> 00:02:20,680
Speaker 2: of the funk out of here over to you know,

34
00:02:20,800 --> 00:02:23,160
Speaker 2: organizations I uphold very daily in my heart.

35
00:02:23,320 --> 00:02:25,640
Speaker 1: Okay, let me start with my first question, and this

36
00:02:25,720 --> 00:02:29,400
Speaker 1: is gonna be a rapid fire, all of the place questions. Okay,

37
00:02:30,040 --> 00:02:35,280
Speaker 1: of all the James Brown backdrops to make a jam too.

38
00:02:35,360 --> 00:02:35,760
Speaker 2: Mm hmm.

39
00:02:37,080 --> 00:02:41,440
Speaker 1: What was it about blow your head that sparked a

40
00:02:42,080 --> 00:02:47,280
Speaker 1: light bulb idea reaction? Because that song was not familiar

41
00:02:47,280 --> 00:02:49,799
Speaker 1: in terms of the James Brown cannon. This is how

42
00:02:49,800 --> 00:02:52,240
Speaker 1: we meet public getemy through public enemy number one? What

43
00:02:52,320 --> 00:02:55,840
Speaker 1: was it about a noisy buzzy synthesizer.

44
00:02:55,840 --> 00:03:00,160
Speaker 2: Roller skating, I Rose roller Rink where we had basically

45
00:03:00,240 --> 00:03:03,200
Speaker 2: DJ's come out. They played records for roller skaters because

46
00:03:03,200 --> 00:03:04,760
Speaker 2: skating was a thing in the seventies and I was

47
00:03:04,800 --> 00:03:08,240
Speaker 2: a badass skater, right, you were a skater skater like

48
00:03:08,240 --> 00:03:09,320
Speaker 2: a motherfucker. Right.

49
00:03:09,440 --> 00:03:10,520
Speaker 1: Did you ever live in Atlanta?

50
00:03:11,200 --> 00:03:11,880
Speaker 2: Yeah? Of course.

51
00:03:11,919 --> 00:03:15,000
Speaker 1: Did you participate in any roller skating on Sundays.

52
00:03:14,560 --> 00:03:18,359
Speaker 2: Every once in a while. But before that Atlanta had

53
00:03:18,440 --> 00:03:21,000
Speaker 2: that scene. I was, you know, a roller rink was

54
00:03:21,080 --> 00:03:24,040
Speaker 2: up the block. I didn't go there for that. Roosevelt

55
00:03:24,120 --> 00:03:27,000
Speaker 2: roller Rink is where it all came together. People came

56
00:03:27,040 --> 00:03:30,160
Speaker 2: out the Roosevelt. That's where the concerts came That's where

57
00:03:30,160 --> 00:03:32,440
Speaker 2: the DJ's were able to do their thing. But in

58
00:03:32,480 --> 00:03:34,400
Speaker 2: the roller skating, of course, you know, to work on

59
00:03:34,440 --> 00:03:39,120
Speaker 2: your skills, you go on a Tuesday matinee, Wednesday, Thursday,

60
00:03:39,640 --> 00:03:42,400
Speaker 2: you to that level. That's when you bust your ass

61
00:03:42,560 --> 00:03:44,640
Speaker 2: because nobody was there. You know what I'm saying. You got,

62
00:03:44,680 --> 00:03:46,600
Speaker 2: you know, like six year old kids and the matinee

63
00:03:46,680 --> 00:03:51,240
Speaker 2: or whatever. But the night were really jumped off. Friday night,

64
00:03:51,320 --> 00:03:54,520
Speaker 2: Saturday night, Thursday night even, you know, and let's say

65
00:03:55,080 --> 00:03:59,480
Speaker 2: you know they say couples, let's say they playing like

66
00:03:59,560 --> 00:04:04,120
Speaker 2: Reunited by Peaches in her a couple of in forever.

67
00:04:05,200 --> 00:04:08,960
Speaker 2: And to ask a girl to skate with you, you

68
00:04:09,120 --> 00:04:11,680
Speaker 2: better have some skills because she ain't trying to fall

69
00:04:11,720 --> 00:04:15,280
Speaker 2: with a non skating dude, right, So not only do

70
00:04:15,360 --> 00:04:17,120
Speaker 2: you have to crack the ice by asking them to

71
00:04:17,160 --> 00:04:20,160
Speaker 2: skate with you, right, that's the number one cracked ice.

72
00:04:20,960 --> 00:04:23,360
Speaker 2: Number two, you gotta skate well, and if she don't

73
00:04:23,400 --> 00:04:24,839
Speaker 2: know how to skate, you gotta make sure that she

74
00:04:24,880 --> 00:04:28,320
Speaker 2: don't fall. That's the type of skater I was. However,

75
00:04:29,279 --> 00:04:33,360
Speaker 2: after the slow jam, they would say all skaters and

76
00:04:33,480 --> 00:04:36,760
Speaker 2: those that did not get a partner the skate or

77
00:04:36,839 --> 00:04:41,400
Speaker 2: said basically, after slow jams, it was time to give buck.

78
00:04:42,200 --> 00:04:44,800
Speaker 2: And that was one of the sorrows that I say.

79
00:04:44,880 --> 00:04:46,240
Speaker 2: Big up the DJ cossume.

80
00:04:46,839 --> 00:04:48,800
Speaker 1: He might have had the twelve inch blow your head,

81
00:04:49,720 --> 00:05:00,120
Speaker 1: all skaters, man, like, you're all right, all right homegirl, go.

82
00:05:00,839 --> 00:05:04,480
Speaker 2: Way seconds again. Now you got like the fourteen fifteen eighteen,

83
00:05:05,000 --> 00:05:08,760
Speaker 2: you got the cats that really get rowdy on the wheels, right, right,

84
00:05:09,240 --> 00:05:13,440
Speaker 2: So they all kind of went when when who who?

85
00:05:13,760 --> 00:05:17,520
Speaker 2: When when? And by the time it hits that when

86
00:05:19,520 --> 00:05:25,320
Speaker 2: and that beat dropcast chaos Chaos and cats used to

87
00:05:25,360 --> 00:05:28,479
Speaker 2: do this the Rosevelt roller ring dudes used to like

88
00:05:28,560 --> 00:05:32,440
Speaker 2: hold each other's shoulder but come around and just throw

89
00:05:32,480 --> 00:05:37,640
Speaker 2: them bowls typed I've knocked it was the But the

90
00:05:37,680 --> 00:05:41,919
Speaker 2: thing about it, right, DJ's wasn't quick enough. Yeah, I

91
00:05:41,920 --> 00:05:43,680
Speaker 2: was gonna say, how do you catch the breaks? They

92
00:05:43,720 --> 00:05:47,400
Speaker 2: never did, And in my mind it was like, you know,

93
00:05:47,440 --> 00:05:49,960
Speaker 2: and by that time they moving on to like maybe

94
00:05:50,000 --> 00:05:53,359
Speaker 2: knee deep later on or because they could not sustain

95
00:05:53,440 --> 00:05:55,680
Speaker 2: the break, But what do you think was going on

96
00:05:55,720 --> 00:05:58,480
Speaker 2: in my head? I gotta make it joint the litit

97
00:05:58,560 --> 00:06:04,240
Speaker 2: only they could next, right, you know what I'm saying,

98
00:06:04,400 --> 00:06:07,159
Speaker 2: got it? I know? Right. So that's a weird but

99
00:06:07,800 --> 00:06:13,720
Speaker 2: very practical way that this whole thing started because I

100
00:06:13,760 --> 00:06:16,880
Speaker 2: was like, Okay, there's no DJ to extend this break.

101
00:06:17,000 --> 00:06:20,599
Speaker 2: Nobody's fast enough or skilled enough. Even Flash ain't. It's

102
00:06:20,720 --> 00:06:23,479
Speaker 2: very short. As a matter of fact, when we made

103
00:06:23,520 --> 00:06:27,200
Speaker 2: the loop for the demo Public Enemy number one, I

104
00:06:27,240 --> 00:06:30,279
Speaker 2: was doing it as a drop for W B A U.

105
00:06:31,640 --> 00:06:34,920
Speaker 2: And I did you know, off of two tape decks,

106
00:06:35,160 --> 00:06:38,720
Speaker 2: so they was kind of pause I pause taped, so

107
00:06:38,920 --> 00:06:41,320
Speaker 2: you know, like the thing about it, and I'm glitchy

108
00:06:41,480 --> 00:06:47,279
Speaker 2: on my timing. However, the vocals fixed all the holes

109
00:06:47,320 --> 00:06:50,400
Speaker 2: in it. So that's where the well you trying to

110
00:06:51,279 --> 00:06:53,760
Speaker 2: it had no it had no timing in it. And

111
00:06:53,800 --> 00:06:55,680
Speaker 2: then of course, you know, you get into the end

112
00:06:55,680 --> 00:06:58,080
Speaker 2: of the first verse, which ends on whatever bar that

113
00:06:58,160 --> 00:07:01,520
Speaker 2: it decided to end it want want ho ha, and

114
00:07:01,600 --> 00:07:04,200
Speaker 2: all that that actually was just you know, just a

115
00:07:05,640 --> 00:07:08,840
Speaker 2: combination of a bunch of different sounds and samples. Did

116
00:07:08,839 --> 00:07:10,680
Speaker 2: you guys lose the tape when you made it?

117
00:07:10,720 --> 00:07:13,040
Speaker 1: Now, that was a difficult thing. Tell me about the

118
00:07:13,240 --> 00:07:15,320
Speaker 1: art of looping that way, and art of.

119
00:07:15,280 --> 00:07:19,360
Speaker 2: Looping actually came from what I think yuk I was

120
00:07:19,360 --> 00:07:21,840
Speaker 2: gonna say, ya did this wout did it right? And

121
00:07:21,880 --> 00:07:25,680
Speaker 2: then showed Stevett. So when we went in the studio

122
00:07:25,840 --> 00:07:27,880
Speaker 2: to like, we were like number one. We could not

123
00:07:27,960 --> 00:07:31,560
Speaker 2: put it together by sampling it, especially with the equipment

124
00:07:31,600 --> 00:07:33,760
Speaker 2: at the time. And even when we did, it was

125
00:07:33,800 --> 00:07:37,520
Speaker 2: like this shit sounds like sacchering. Man, it's fake, it's

126
00:07:37,600 --> 00:07:40,640
Speaker 2: for Gayzy, it ain't happening right. It's got to kind

127
00:07:40,680 --> 00:07:43,000
Speaker 2: of kind of be kind of constructed in the same

128
00:07:43,080 --> 00:07:47,200
Speaker 2: Frankenstein manner. But can maybe keep a little bit more time,

129
00:07:48,160 --> 00:07:53,360
Speaker 2: and Flavor was also instrumental on on pressing a kayak

130
00:07:53,400 --> 00:07:56,520
Speaker 2: he did later on with Rebel Ala pause Flavor's timing,

131
00:07:57,240 --> 00:07:59,320
Speaker 2: which was good timing but bad at the same time.

132
00:07:59,520 --> 00:08:02,080
Speaker 1: Wait, he would play the drums on top of that.

133
00:08:02,080 --> 00:08:05,840
Speaker 1: That's him, him and Saddler. So is that why the

134
00:08:06,320 --> 00:08:08,640
Speaker 1: the bongos sound a little off a little bit? Because

135
00:08:08,640 --> 00:08:13,040
Speaker 1: when Q tips sampled it on Footprints, Now.

136
00:08:12,840 --> 00:08:13,880
Speaker 2: This is weird.

137
00:08:14,000 --> 00:08:16,920
Speaker 1: I will say that, you know, I give a lot

138
00:08:16,960 --> 00:08:19,880
Speaker 1: of credit to Jay Dillar for the sort of messed up,

139
00:08:19,880 --> 00:08:22,760
Speaker 1: sloppy thing. But in my mind, the very first time

140
00:08:22,800 --> 00:08:26,520
Speaker 1: I'm hearing like quite off bongos is the public ene

141
00:08:26,520 --> 00:08:27,120
Speaker 1: meaning number.

142
00:08:26,920 --> 00:08:29,920
Speaker 2: One, because I'm one of the most offbeat, sloppiest motherfuckers

143
00:08:29,920 --> 00:08:32,400
Speaker 2: ever could tell you. Man, he'd come in my car

144
00:08:33,000 --> 00:08:35,160
Speaker 2: and I have a Buster speaker in the car and

145
00:08:35,200 --> 00:08:37,320
Speaker 2: he's like, you're not going to fix that, and I'm like, no,

146
00:08:38,000 --> 00:08:40,720
Speaker 2: I want it loud, and matter of fuck, he's even looking.

147
00:08:42,160 --> 00:08:44,640
Speaker 2: So the time it might be off, the sound might

148
00:08:44,679 --> 00:08:47,000
Speaker 2: be muffled, but what's going to come out of there

149
00:08:47,040 --> 00:08:49,800
Speaker 2: is something that you can feel as opposed to hear,

150
00:08:50,040 --> 00:08:52,280
Speaker 2: as opposed I can win these times of sing. So

151
00:08:53,040 --> 00:08:57,000
Speaker 2: that was the whole premise of blow your head of

152
00:08:57,120 --> 00:09:00,000
Speaker 2: like deliver what you feel. I had none to lose

153
00:09:00,040 --> 00:09:02,720
Speaker 2: because I'm making a radio promo. As a matter of fact,

154
00:09:02,720 --> 00:09:05,240
Speaker 2: when I actually had it as a demo, it is

155
00:09:05,280 --> 00:09:11,000
Speaker 2: like December of eighty four, Jay Jamster j was up

156
00:09:11,040 --> 00:09:13,760
Speaker 2: at the Bau studios because he was just bringing up

157
00:09:13,800 --> 00:09:16,960
Speaker 2: seriously fine and he was turning them into a group

158
00:09:16,960 --> 00:09:19,760
Speaker 2: of Arista. And so Jay was up there with Dre

159
00:09:20,640 --> 00:09:24,520
Speaker 2: Andre Brown, our doctor Dre. We say, I handed it

160
00:09:24,559 --> 00:09:27,840
Speaker 2: over Jay's lap to Dre and Dre played it and

161
00:09:27,880 --> 00:09:29,840
Speaker 2: from that point on it took on a life of

162
00:09:29,840 --> 00:09:33,040
Speaker 2: his own, the demo. So to make the demo over

163
00:09:33,120 --> 00:09:35,240
Speaker 2: again in the public at mean number one, it was

164
00:09:35,320 --> 00:09:38,959
Speaker 2: three years later. Three years we had to say, and then,

165
00:09:39,280 --> 00:09:42,240
Speaker 2: you know, like how do you construct this Frankenstein back

166
00:09:42,280 --> 00:09:46,760
Speaker 2: into Frankenstein for records? And it wasn't easy. So Stevett

167
00:09:47,720 --> 00:09:50,800
Speaker 2: took the two inch stutter okay and looped it around

168
00:09:50,960 --> 00:09:53,880
Speaker 2: a microphone stand around the room. So it was a

169
00:09:53,920 --> 00:09:57,920
Speaker 2: real loop of tape going around and then we filled

170
00:09:57,960 --> 00:10:01,240
Speaker 2: in the blanks and cut out parts and emulated without

171
00:10:01,280 --> 00:10:02,000
Speaker 2: the emulator.

172
00:10:02,280 --> 00:10:05,920
Speaker 1: Got it, you know, question number two, where's your ninety eight?

173
00:10:06,240 --> 00:10:07,959
Speaker 2: Oh man, it was bought for a little bit and

174
00:10:08,320 --> 00:10:10,000
Speaker 2: it got banged up, and then I tried to get

175
00:10:10,000 --> 00:10:12,839
Speaker 2: a Delta eighty eight. My brother hijacked my cars and

176
00:10:13,480 --> 00:10:15,600
Speaker 2: it always ended bad.

177
00:10:15,840 --> 00:10:18,599
Speaker 1: So right now it's in a junk shop. It's not

178
00:10:19,080 --> 00:10:20,440
Speaker 1: nowhere preserved in history.

179
00:10:20,600 --> 00:10:23,560
Speaker 2: Long long on that in the Bronco Before nineteen ninety one,

180
00:10:23,640 --> 00:10:26,319
Speaker 2: they were both out of here. Bronco broke down on

181
00:10:26,640 --> 00:10:35,160
Speaker 2: the Williamsburg Bridge. Yeah, brock down that Williamsburg. That Williamsburg

182
00:10:35,200 --> 00:10:38,120
Speaker 2: and the same Williamsburg. I go to date night on

183
00:10:39,440 --> 00:10:45,240
Speaker 2: Williamsburg Bridge nineteen ninety or something like that, and that

184
00:10:45,520 --> 00:10:48,599
Speaker 2: same Bronco. I wrote Terry dome In. You wrote the

185
00:10:48,640 --> 00:10:52,559
Speaker 2: lyrics inside that car, Yeah, driving to hangout and reading PA.

186
00:10:53,280 --> 00:10:55,960
Speaker 1: You just had a dictaphone or some sort of casette

187
00:10:56,000 --> 00:10:58,719
Speaker 1: like No, I spent years doing.

188
00:11:00,320 --> 00:11:03,439
Speaker 2: Maybe what got Harry Chapin in trouble. It's like I

189
00:11:03,880 --> 00:11:07,000
Speaker 2: was a messenger. I drove and I kept writing lyrics.

190
00:11:07,360 --> 00:11:09,840
Speaker 2: I write lyrics like without looking at the at the

191
00:11:10,040 --> 00:11:12,040
Speaker 2: I would write lyrics in the past. That's how I wrote.

192
00:11:12,040 --> 00:11:14,959
Speaker 2: By Mersca show. I wrote lyrics with my right hand.

193
00:11:15,280 --> 00:11:17,680
Speaker 2: But I never looked at the seat, always kept my

194
00:11:17,720 --> 00:11:20,960
Speaker 2: eyes on the road, and I had tape decks. And

195
00:11:21,000 --> 00:11:23,520
Speaker 2: so where I write, I go like this. Now, the

196
00:11:23,559 --> 00:11:26,120
Speaker 2: half of the problem is it is later on deciphering it.

197
00:11:26,440 --> 00:11:28,640
Speaker 2: But you know I wrote Terror Dome and a Dog

198
00:11:29,520 --> 00:11:33,560
Speaker 2: driving the Ready Pennsylvania. Listen to Chuck Chill Outs Show,

199
00:11:34,120 --> 00:11:36,840
Speaker 2: and I'm writing like this, so you know, like later

200
00:11:36,880 --> 00:11:40,440
Speaker 2: on I'm looking at Okay, you.

201
00:11:40,559 --> 00:11:44,280
Speaker 1: Prove my theory though, Okay, So I believe that driving

202
00:11:45,440 --> 00:11:49,000
Speaker 1: is equal to dancing. No no, no to sleep no

203
00:11:49,000 --> 00:11:51,640
Speaker 1: no no, no, driving in sleep are the same to me.

204
00:11:51,800 --> 00:11:55,440
Speaker 1: So you drive a lot, yes, especially in California. So

205
00:11:56,000 --> 00:11:58,880
Speaker 1: I know people bitched about California traffic or whatever, but

206
00:11:59,080 --> 00:12:02,720
Speaker 1: I love driving. So the reason why I do it

207
00:12:02,760 --> 00:12:07,160
Speaker 1: is Okay, So during the pandemic, when I'm really quote

208
00:12:07,240 --> 00:12:11,440
Speaker 1: unquote doing the work, therapy all that stuff, I go

209
00:12:11,679 --> 00:12:16,160
Speaker 1: deep into kind of my neurology bag as far as

210
00:12:16,200 --> 00:12:21,200
Speaker 1: studying how the brain works. And I discovered that you know,

211
00:12:21,240 --> 00:12:26,040
Speaker 1: the five parts of the brain, alpha, beta, theta, delta, gamma, that.

212
00:12:26,800 --> 00:12:31,880
Speaker 2: Any of those parts scare you none, dude, I'm so

213
00:12:32,120 --> 00:12:33,200
Speaker 2: my metaphysical bag. Now.

214
00:12:34,200 --> 00:12:36,760
Speaker 1: So the deal is that I learned that the way

215
00:12:36,800 --> 00:12:38,800
Speaker 1: that we retain information, Like I used to be one

216
00:12:38,840 --> 00:12:42,440
Speaker 1: of those people that would like studying, say like what

217
00:12:42,559 --> 00:12:46,360
Speaker 1: my phone number was two one five? And you don't

218
00:12:46,360 --> 00:12:50,720
Speaker 1: retain information by repetition. You retain information when you're not

219
00:12:50,720 --> 00:12:51,360
Speaker 1: paying attention.

220
00:12:52,400 --> 00:12:54,400
Speaker 2: All right. I kind of get that, so I would

221
00:12:54,400 --> 00:12:57,520
Speaker 2: test it out because I'm terrible at lyrics all my life.

222
00:12:57,800 --> 00:13:00,720
Speaker 1: I'm gonna tell you, you're gonna help me. You're on this,

223
00:13:00,840 --> 00:13:01,720
Speaker 1: You're already on the.

224
00:13:01,720 --> 00:13:04,760
Speaker 2: Path, but think so, because I mean, there's nobody ever

225
00:13:05,280 --> 00:13:08,600
Speaker 2: like your partner black thought. There's nobody like this dude ever. Ever,

226
00:13:08,960 --> 00:13:10,680
Speaker 2: I don't understand. I'm gonna tell you the secret.

227
00:13:10,760 --> 00:13:13,920
Speaker 1: The secret is basically all right, when I would give speeches,

228
00:13:14,679 --> 00:13:16,719
Speaker 1: try to like study in the mirror and do it.

229
00:13:16,840 --> 00:13:18,840
Speaker 1: I don't do that no more. I literally play it

230
00:13:18,880 --> 00:13:21,480
Speaker 1: on loop while I'm asleep. And that's how you retain

231
00:13:21,520 --> 00:13:25,199
Speaker 1: the information. The other way is when I want to

232
00:13:25,240 --> 00:13:27,319
Speaker 1: read a book, I will drive.

233
00:13:27,559 --> 00:13:29,320
Speaker 2: I will drive for four hours around.

234
00:13:29,120 --> 00:13:32,600
Speaker 1: New York City just loop Manhattan, listening to a book.

235
00:13:32,640 --> 00:13:36,560
Speaker 1: Because the thing is, I'm hyper aware. Because your life

236
00:13:36,600 --> 00:13:38,520
Speaker 1: is online, you gotta watch traffic and everything.

237
00:13:38,600 --> 00:13:42,080
Speaker 2: Keep your eyes on the road looking out the front window.

238
00:13:42,240 --> 00:13:44,679
Speaker 1: Right, So your mind is in a fada state. Your

239
00:13:44,679 --> 00:13:48,440
Speaker 1: fatas state is how you retain information. And when I

240
00:13:48,520 --> 00:13:52,080
Speaker 1: want to study something, I will play what it is

241
00:13:52,360 --> 00:13:54,800
Speaker 1: and listen to it. It's literally the same as sleeping.

242
00:13:55,040 --> 00:13:58,320
Speaker 2: Well, you know what, man, you're extraordinary in here. Here's

243
00:13:58,360 --> 00:14:00,720
Speaker 2: I don't care how many times you can explain playing

244
00:14:00,760 --> 00:14:03,080
Speaker 2: the drums. I still don't know how to fuck you

245
00:14:03,120 --> 00:14:06,120
Speaker 2: do that. I don't think about it. Yeah, yeah, okay,

246
00:14:06,240 --> 00:14:08,200
Speaker 2: you don't think about a god on there. And I

247
00:14:08,200 --> 00:14:10,480
Speaker 2: could put in ten thousand hours. It's no way in

248
00:14:10,600 --> 00:14:13,160
Speaker 2: hell I'm gonna be a fucking good drummer. Dude, either

249
00:14:13,160 --> 00:14:14,760
Speaker 2: you got it or you don't. I believe in that

250
00:14:15,400 --> 00:14:17,839
Speaker 2: you need a talent. You need a Yes, you need

251
00:14:17,880 --> 00:14:20,920
Speaker 2: a talent. For example, my talent is I could sit

252
00:14:20,960 --> 00:14:24,800
Speaker 2: in this room and fifty years later, right blind or whatever,

253
00:14:24,880 --> 00:14:28,920
Speaker 2: I could draw exactly what I saw to the smallest

254
00:14:28,960 --> 00:14:33,760
Speaker 2: increment spec But I can't remember a word or a

255
00:14:33,800 --> 00:14:37,400
Speaker 2: sentence that I made a long time ago or recent.

256
00:14:37,440 --> 00:14:41,520
Speaker 2: I have always been terrible lyrics or memorized. If I listen,

257
00:14:41,760 --> 00:14:45,600
Speaker 2: if I could memorize lyrics, and I've never had writer's block.

258
00:14:46,040 --> 00:14:47,720
Speaker 2: I'd be the baddest MPC of all time.

259
00:14:48,120 --> 00:14:51,680
Speaker 1: Well, guess what you are one of the sim seasonal time.

260
00:14:51,720 --> 00:14:53,760
Speaker 2: Like an outfielders that you could do it all except

261
00:14:53,800 --> 00:14:57,560
Speaker 2: for run or some shit like that. History will say. Otherwise,

262
00:14:57,640 --> 00:15:00,400
Speaker 2: God will actually give you what you could give and

263
00:15:00,400 --> 00:15:16,160
Speaker 2: and be like you ain't got these things? How many takes? All? Right?

264
00:15:16,240 --> 00:15:19,360
Speaker 1: Let me start with bring the noise, your level of

265
00:15:19,600 --> 00:15:21,640
Speaker 1: breath work first of all, your rhyme and of stuff

266
00:15:21,760 --> 00:15:25,440
Speaker 1: that's like I mean, don't believe the hight was slow

267
00:15:25,600 --> 00:15:32,160
Speaker 1: at ninety nine bpms, but whereas the typical bpms on

268
00:15:32,200 --> 00:15:35,480
Speaker 1: this record is somewhere between one fifteen and one twenty.

269
00:15:36,080 --> 00:15:39,760
Speaker 1: I literally listen to your entire vocal take just a

270
00:15:39,800 --> 00:15:41,560
Speaker 1: cappella on Nation of Millions?

271
00:15:41,920 --> 00:15:46,440
Speaker 2: You rarely younger. Yeah, what was the longest song that

272
00:15:46,480 --> 00:15:49,040
Speaker 2: it took for you to master? On Nation of Millions?

273
00:15:49,080 --> 00:15:51,920
Speaker 2: I wasn't. I wasn't a quick take, guy, I was

274
00:15:52,080 --> 00:15:54,960
Speaker 2: never that one or two takes all. Fuck it, I

275
00:15:55,000 --> 00:15:57,920
Speaker 2: would be you know, you know what was the test

276
00:15:58,480 --> 00:16:01,720
Speaker 2: of all of us? When I get a headache. I've

277
00:16:01,760 --> 00:16:05,520
Speaker 2: only had five headaches since nineteen eighty two. Like you know,

278
00:16:05,560 --> 00:16:08,360
Speaker 2: like the people talk about migraines, and I don't know

279
00:16:08,360 --> 00:16:11,800
Speaker 2: what a headache is, so my headaches off a record

280
00:16:11,840 --> 00:16:16,880
Speaker 2: would come self induced, where I was just like, okay, psychological, well, no,

281
00:16:16,920 --> 00:16:18,960
Speaker 2: I'm just going to keep pushing myself into the point

282
00:16:18,960 --> 00:16:21,640
Speaker 2: where you know, oh yes, your shit has swolled up,

283
00:16:21,680 --> 00:16:23,400
Speaker 2: and then you're going to get a headache that's got

284
00:16:23,440 --> 00:16:26,280
Speaker 2: like out of Like, all right, you did eighty takes

285
00:16:26,280 --> 00:16:27,240
Speaker 2: because you're not happy.

286
00:16:27,640 --> 00:16:30,480
Speaker 1: I was going to say, with righteous bombing and weaving

287
00:16:30,720 --> 00:16:34,440
Speaker 1: and Taro Dome, I hear a punch and glitch that

288
00:16:35,360 --> 00:16:36,280
Speaker 1: was slightly off.

289
00:16:36,400 --> 00:16:40,320
Speaker 2: Yeah, this very very little punches up in a pee

290
00:16:40,480 --> 00:16:42,160
Speaker 2: stuff and early piece stuff.

291
00:16:42,200 --> 00:16:44,640
Speaker 1: Yeah, but for you, like, it's just a stance at

292
00:16:44,640 --> 00:16:48,400
Speaker 1: a time until who's the judge that will determine.

293
00:16:47,920 --> 00:16:50,720
Speaker 2: That to take all of us, all of us me

294
00:16:50,880 --> 00:16:53,760
Speaker 2: doing it, somebody on the other side. For example, the

295
00:16:53,880 --> 00:16:56,160
Speaker 2: Rebel with all the pause that we hear was a

296
00:16:56,200 --> 00:16:59,680
Speaker 2: second day attempt. Wasn't what I was not happy with

297
00:16:59,720 --> 00:17:03,760
Speaker 2: the first stand tamp. It was a bear too because

298
00:17:04,200 --> 00:17:06,400
Speaker 2: we had to go in stages with Rebel. We had

299
00:17:06,400 --> 00:17:08,080
Speaker 2: to be like, okay, now we got to take this

300
00:17:08,119 --> 00:17:11,400
Speaker 2: thing from a demo stage, which always sounded the best.

301
00:17:11,440 --> 00:17:14,560
Speaker 2: Now we got to make a recording. Okay. Wow. In

302
00:17:14,640 --> 00:17:17,080
Speaker 2: the minute of our testing to see if we had

303
00:17:17,080 --> 00:17:20,760
Speaker 2: to write was Buster and Charlie Brown and leaders who

304
00:17:20,800 --> 00:17:23,640
Speaker 2: happened to be in there as we were getting that.

305
00:17:23,800 --> 00:17:26,560
Speaker 1: Buster told me he cried riddle tears when he first

306
00:17:26,600 --> 00:17:27,159
Speaker 1: heard Rebel.

307
00:17:27,600 --> 00:17:29,560
Speaker 2: I had to tell him stop running around the goddamn

308
00:17:29,560 --> 00:17:31,320
Speaker 2: place and s yo, get up out of here. Y're

309
00:17:31,320 --> 00:17:35,360
Speaker 2: gonna be running all over the damn fucking place going downstairs,

310
00:17:35,400 --> 00:17:39,200
Speaker 2: you know. But they were like at that particular moment

311
00:17:39,280 --> 00:17:42,040
Speaker 2: that they happened to hang around. They were right there

312
00:17:43,200 --> 00:17:46,080
Speaker 2: when we were comember. We were trying to make something

313
00:17:46,080 --> 00:17:49,000
Speaker 2: out of that, you know, and that record happened. I

314
00:17:49,040 --> 00:17:51,119
Speaker 2: happened to get that record. I think I told you

315
00:17:51,160 --> 00:17:54,160
Speaker 2: this before the Food for Thought record. Yeah, who did you?

316
00:17:54,160 --> 00:17:55,840
Speaker 1: You said you took it from someone's crib.

317
00:17:56,040 --> 00:17:58,640
Speaker 2: Yeah. I was telling me the story from soup to Nuts. No,

318
00:17:58,760 --> 00:18:00,800
Speaker 2: I was gonna give you from super Nuts. I would

319
00:18:00,800 --> 00:18:03,439
Speaker 2: just say that I went down to it. I was

320
00:18:03,480 --> 00:18:05,879
Speaker 2: talking to this girl right and you know, it was

321
00:18:05,920 --> 00:18:08,760
Speaker 2: in the basement and it was a long night that

322
00:18:08,880 --> 00:18:11,720
Speaker 2: never went anywhere, but I had to I broke out

323
00:18:11,800 --> 00:18:14,680
Speaker 2: and I was like can I baw this record? That's it?

324
00:18:15,359 --> 00:18:17,440
Speaker 2: And I bawled the record. I was supposed to bring

325
00:18:17,480 --> 00:18:19,800
Speaker 2: it back. I found out that was on the record,

326
00:18:20,080 --> 00:18:23,119
Speaker 2: you know, and I was like, okay. But then this

327
00:18:23,280 --> 00:18:26,359
Speaker 2: was like seven years before I actually maybe five years

328
00:18:26,359 --> 00:18:30,520
Speaker 2: before I actually you know. Yeah. So the point of

329
00:18:30,560 --> 00:18:33,280
Speaker 2: the matter is is like it went through phases and

330
00:18:33,320 --> 00:18:35,959
Speaker 2: stages of what I can hear in my head, Like

331
00:18:36,200 --> 00:18:39,600
Speaker 2: I have never ever done what I really have heard

332
00:18:39,600 --> 00:18:42,280
Speaker 2: in my head. I'm only half of the sonic guy

333
00:18:42,359 --> 00:18:45,600
Speaker 2: Hanker's other guys like he ain't really ever heard really

334
00:18:45,600 --> 00:18:48,200
Speaker 2: what he heard. He is in his head to actually

335
00:18:48,240 --> 00:18:48,560
Speaker 2: do it.

336
00:18:49,080 --> 00:18:54,200
Speaker 1: If you guys have the technology now what we do

337
00:18:54,280 --> 00:18:56,600
Speaker 1: it's called AI, but that's what I meant. If you

338
00:18:56,720 --> 00:18:59,679
Speaker 1: have the technology. Now, do you think that these albums

339
00:18:59,680 --> 00:19:02,240
Speaker 1: would have been even albums?

340
00:19:02,640 --> 00:19:05,119
Speaker 2: Oat meal? Now? Bro? Everything's part of the blood and

341
00:19:05,160 --> 00:19:09,240
Speaker 2: oatmeal now is it? Like? Anything is everything? There's no comparison.

342
00:19:09,640 --> 00:19:12,360
Speaker 2: There'll never be another Roots, you know? Why? Why what's

343
00:19:12,440 --> 00:19:21,959
Speaker 2: the second band to the Roots? Right now? Let's see cricketsickets?

344
00:19:22,680 --> 00:19:24,880
Speaker 2: The work wasn't the work that you turned down? Who's

345
00:19:24,880 --> 00:19:30,840
Speaker 2: picking up the scraps? Oh yeah? Roots turned down ten

346
00:19:30,880 --> 00:19:35,440
Speaker 2: thousand jobs make history every night on National TV. Who's

347
00:19:35,480 --> 00:19:39,000
Speaker 2: the second band? This is the biggest difference between thirty

348
00:19:39,040 --> 00:19:39,720
Speaker 2: or forty years of.

349
00:19:39,920 --> 00:19:43,440
Speaker 1: That's actually a shame, though it's all right, here's the deal.

350
00:19:43,480 --> 00:19:46,920
Speaker 1: Though Rebel comes out, I swear.

351
00:19:46,640 --> 00:19:49,720
Speaker 2: To God the next not the next week.

352
00:19:49,720 --> 00:19:53,880
Speaker 1: Two weeks later on Lady b Show, suddenly dismasters part

353
00:19:53,880 --> 00:20:00,159
Speaker 1: time hustler, wrong by Big Daddy King and I the

354
00:20:00,200 --> 00:20:05,400
Speaker 1: whole bridge thing versus whatever. But immediately in fourteen days,

355
00:20:05,800 --> 00:20:12,120
Speaker 1: New York responds to Rebel without a pause, changing the

356
00:20:12,160 --> 00:20:14,520
Speaker 1: whole entire paradigm shift happens.

357
00:20:14,720 --> 00:20:19,880
Speaker 2: Rebel comes after the Latin quarter wildness of Public Enemy

358
00:20:19,960 --> 00:20:24,159
Speaker 2: number one as an instrumental setting, setting some kind of

359
00:20:24,200 --> 00:20:26,880
Speaker 2: fire in there. And then I hear but that wasn't

360
00:20:26,920 --> 00:20:30,680
Speaker 2: received well when it was first played or wrong MC

361
00:20:30,880 --> 00:20:34,240
Speaker 2: cadence at the time Rock Him and Kris One changed

362
00:20:34,240 --> 00:20:38,679
Speaker 2: the whole game with their Cadence and South Bronx really

363
00:20:38,720 --> 00:20:44,080
Speaker 2: poetry by Chris One Productions. And Kris One is telling

364
00:20:44,119 --> 00:20:46,920
Speaker 2: you straight out that I'm changing the way that we

365
00:20:47,000 --> 00:20:51,200
Speaker 2: actually speak deliver, and then you rock Him, would Eric

366
00:20:51,240 --> 00:20:54,040
Speaker 2: be for President? And then more importantly, my melody changed

367
00:20:54,040 --> 00:20:58,080
Speaker 2: the whole way that they were like Louis Armstrong, you know,

368
00:20:58,400 --> 00:21:02,479
Speaker 2: and Ellen and to the way you phrase things, and

369
00:21:02,520 --> 00:21:05,960
Speaker 2: it changed. So my favorite album, and this is another thing,

370
00:21:06,080 --> 00:21:08,159
Speaker 2: and I'm glad I'm here to say that. You know,

371
00:21:08,280 --> 00:21:10,520
Speaker 2: we're in the fortieth year. I'm talking about a shame.

372
00:21:10,720 --> 00:21:13,600
Speaker 2: We're in the fortieth year anniversary of what I consider

373
00:21:13,880 --> 00:21:17,040
Speaker 2: the greatest album of all time because not only was

374
00:21:17,080 --> 00:21:22,840
Speaker 2: it groundbreaking, it busts through the Colosseum doors and crowded

375
00:21:22,880 --> 00:21:25,440
Speaker 2: floors and arenas. And that's Raising Hell by Run DMC.

376
00:21:25,600 --> 00:21:28,320
Speaker 2: I forgot that. It's the fortieth fortieth to this point

377
00:21:28,440 --> 00:21:31,720
Speaker 2: right now, right then, it's also the fortieth anniversary of

378
00:21:31,720 --> 00:21:34,600
Speaker 2: the Raising Hell Tour, which was a third national tour

379
00:21:34,680 --> 00:21:38,520
Speaker 2: subsequently after the first Fresh Rest one and Fresh Rest two,

380
00:21:39,400 --> 00:21:43,040
Speaker 2: and then Raising Hell really put the hammer to the

381
00:21:43,119 --> 00:21:48,119
Speaker 2: nail because Rundium C. Houdini, who never gets talked about,

382
00:21:48,359 --> 00:21:52,040
Speaker 2: right because because not only recording wise did they do

383
00:21:52,080 --> 00:21:54,720
Speaker 2: the thing with John Lelle Ecstasy and Graham Master D.

384
00:21:55,240 --> 00:21:58,520
Speaker 2: But by nineteen eighty six, I mean, you got a

385
00:21:58,560 --> 00:22:01,520
Speaker 2: group that's coming on right four run in D and J.

386
00:22:02,560 --> 00:22:06,240
Speaker 2: That's really seriously the closing this building out because they

387
00:22:06,359 --> 00:22:10,080
Speaker 2: got now they got you know, funky beating all these

388
00:22:10,200 --> 00:22:13,720
Speaker 2: other records and they hitting it like wow.

389
00:22:13,359 --> 00:22:17,159
Speaker 1: There's two groups that have not seen in action and

390
00:22:17,240 --> 00:22:19,800
Speaker 1: even on YouTube. I mean the Freees come out of

391
00:22:19,800 --> 00:22:22,199
Speaker 1: the ninth video gives you just an inkling of what

392
00:22:22,240 --> 00:22:26,320
Speaker 1: their show was, and for some reason, not one person

393
00:22:26,520 --> 00:22:29,280
Speaker 1: thought to pull out a camera to catch that's the

394
00:22:29,400 --> 00:22:30,520
Speaker 1: sonic cat there.

395
00:22:30,720 --> 00:22:33,080
Speaker 2: People. Lucky you had listen. The problem is you got

396
00:22:33,119 --> 00:22:35,080
Speaker 2: one tens out there that catch still. And you know,

397
00:22:35,119 --> 00:22:37,400
Speaker 2: when you had a one ten camera, you know half

398
00:22:37,400 --> 00:22:39,520
Speaker 2: of the half of the film because especially if you're

399
00:22:39,520 --> 00:22:42,080
Speaker 2: shooting your one ten and a dark arena, right then

400
00:22:42,119 --> 00:22:44,639
Speaker 2: you go to Walgreens and come to find out you

401
00:22:44,680 --> 00:22:47,080
Speaker 2: got three pictures out of like what twenty Nah, I'm

402
00:22:47,080 --> 00:22:50,840
Speaker 2: at video cameras, Yeah, like i've video cameras is nineteen ninety,

403
00:22:50,960 --> 00:22:51,880
Speaker 2: nineteen ninety one.

404
00:22:52,520 --> 00:22:57,359
Speaker 1: No eighty cash Money. DJ cash Money is documented his.

405
00:22:57,720 --> 00:23:01,679
Speaker 2: Entire from like eighty six. I know they you know

406
00:23:01,800 --> 00:23:04,360
Speaker 2: what it was one of those things man back then,

407
00:23:04,840 --> 00:23:07,800
Speaker 2: it's like we're not letting you in this arena with anything.

408
00:23:08,359 --> 00:23:11,560
Speaker 2: They checking metal detect, especially after Long Beach and stuff

409
00:23:11,600 --> 00:23:14,560
Speaker 2: like that. But yeah, there should be more somewhere like

410
00:23:14,600 --> 00:23:18,240
Speaker 2: the closest we get to see Whudini before the show,

411
00:23:18,320 --> 00:23:20,600
Speaker 2: like just like I said, and the priests come out

412
00:23:20,640 --> 00:23:24,280
Speaker 2: at night, which also what they did escape with. They

413
00:23:24,320 --> 00:23:27,000
Speaker 2: also did escape as well is when you see Jermaine

414
00:23:27,040 --> 00:23:29,639
Speaker 2: dupri and everybody getting on. That made people want to

415
00:23:29,640 --> 00:23:31,760
Speaker 2: be at MC more than just seeing what happened on

416
00:23:31,800 --> 00:23:35,200
Speaker 2: the stage. It's like the buses, it's like yow. You know.

417
00:23:35,640 --> 00:23:39,280
Speaker 2: My first years on tour, the only way I could

418
00:23:39,320 --> 00:23:41,119
Speaker 2: put is that I was older and I felt like

419
00:23:41,160 --> 00:23:44,879
Speaker 2: a camp counselor it was like summer camp because tours

420
00:23:44,920 --> 00:23:46,159
Speaker 2: only took place in the summer.

421
00:23:46,280 --> 00:23:48,720
Speaker 1: How many buses would be What was your first tour?

422
00:23:49,520 --> 00:23:54,240
Speaker 2: Nineteen eighty seven. Beastie Boys licensed l April first, nineteen

423
00:23:54,280 --> 00:23:57,160
Speaker 2: eighty seven, and we played at the Passaic Theater which

424
00:23:57,200 --> 00:24:01,479
Speaker 2: is down down, and then the New Hayn Coliseum on

425
00:24:01,520 --> 00:24:04,760
Speaker 2: the fifteenth of April eighty seven, and that's torn down.

426
00:24:05,560 --> 00:24:08,639
Speaker 2: The crazy thing about it, I played in more torn

427
00:24:08,680 --> 00:24:11,320
Speaker 2: down arenas and that's the and I was able to

428
00:24:11,359 --> 00:24:14,600
Speaker 2: still play stadiums and arenas today. But it's really weird

429
00:24:14,600 --> 00:24:16,520
Speaker 2: because you go and see a place and it's like,

430
00:24:17,000 --> 00:24:19,040
Speaker 2: you know, like this is The thing about old heads.

431
00:24:19,480 --> 00:24:21,800
Speaker 2: When you're old head, when you go to a place,

432
00:24:21,880 --> 00:24:25,160
Speaker 2: if you know, if you're open enough, you.

433
00:24:25,119 --> 00:24:27,320
Speaker 1: Still see an old building, just like, oh so when

434
00:24:27,320 --> 00:24:29,280
Speaker 1: you come to Philly, you still think of the spectrum.

435
00:24:29,359 --> 00:24:33,080
Speaker 1: Of course I see the spectrum, actually get it, just

436
00:24:33,119 --> 00:24:35,439
Speaker 1: like old heads, old heads when they could go to

437
00:24:35,480 --> 00:24:38,640
Speaker 1: a new spot and be like, oh, yeah, that's where

438
00:24:38,680 --> 00:24:41,359
Speaker 1: so and so was. I go up Broad Street and

439
00:24:41,440 --> 00:24:44,040
Speaker 1: I still remember when Conniemac Stadium was there because I had,

440
00:24:44,520 --> 00:24:46,960
Speaker 1: you know, family down in Philadelphia and always wondered, like,

441
00:24:47,040 --> 00:24:49,199
Speaker 1: why we keep coming to Philly and why are we

442
00:24:49,240 --> 00:24:51,359
Speaker 1: going while we keep going to Polymore.

443
00:24:51,480 --> 00:24:54,119
Speaker 2: You know. So that's why I couldn't even watch The

444
00:24:54,160 --> 00:24:57,240
Speaker 2: Wire Man, because the wire just reminded me of times

445
00:24:57,240 --> 00:24:59,840
Speaker 2: I did not want to actually just read familiar, for

446
00:25:00,280 --> 00:25:01,919
Speaker 2: I didn't think it was a joke man. To me.

447
00:25:02,000 --> 00:25:04,520
Speaker 2: I thought it was real serious that Baltimore was so

448
00:25:04,600 --> 00:25:06,840
Speaker 2: close to DC and just being for to.

449
00:25:06,760 --> 00:25:09,600
Speaker 1: Me in the condition that it was, Yeah, exactly, it's just.

450
00:25:09,520 --> 00:25:12,639
Speaker 2: Like we're gonna wreck Baltimore on purpose, to show so

451
00:25:12,840 --> 00:25:15,399
Speaker 2: close to the nation's capital, we're gonna make Baltemore the

452
00:25:15,400 --> 00:25:18,480
Speaker 2: worst place for black people. So That's why I just

453
00:25:18,680 --> 00:25:21,119
Speaker 2: sometimes you know, I mean, you know, and sometimes with

454
00:25:21,200 --> 00:25:23,480
Speaker 2: my statements I catch l's, But it's okay to catch

455
00:25:23,800 --> 00:25:26,600
Speaker 2: l's in the lifetime you're human, Yeah, exactly.

456
00:25:27,000 --> 00:25:29,600
Speaker 1: I wanted to know, like, for you, what was the

457
00:25:29,720 --> 00:25:35,399
Speaker 1: hardest song to execute as far as like stage and song,

458
00:25:36,000 --> 00:25:40,000
Speaker 1: not stage, just record like You're Louder than Bomb. I

459
00:25:40,040 --> 00:25:42,840
Speaker 1: don't know how you got through that. There's a lot

460
00:25:42,840 --> 00:25:44,480
Speaker 1: of words, a lot of simple.

461
00:25:44,359 --> 00:25:48,440
Speaker 2: Like here's another thing that people don't understand. I've been

462
00:25:48,480 --> 00:25:51,680
Speaker 2: on the other side of what they considered old age

463
00:25:51,680 --> 00:25:56,639
Speaker 2: for MC's for a long time. A lot of things

464
00:25:56,640 --> 00:26:00,359
Speaker 2: can affect the MC teeth, of course, you know, I

465
00:26:00,440 --> 00:26:06,320
Speaker 2: mean you I had an important was it mola or whatever?

466
00:26:06,760 --> 00:26:08,840
Speaker 2: And they couldn't do a rooking now on it. But

467
00:26:08,920 --> 00:26:12,280
Speaker 2: it seemed like that was the key to power and

468
00:26:12,680 --> 00:26:14,919
Speaker 2: how you else are you gonna explain it? So you

469
00:26:14,920 --> 00:26:16,919
Speaker 2: could take it out and remove it and put a

470
00:26:16,960 --> 00:26:20,679
Speaker 2: bridge over or whatever. But somehow that being connected in

471
00:26:20,720 --> 00:26:23,480
Speaker 2: your skull and your head was a strong anchor tooth.

472
00:26:23,840 --> 00:26:26,280
Speaker 2: Did you eventually get it fixed? You're never going to

473
00:26:26,359 --> 00:26:28,200
Speaker 2: replace it though, And I was going to ask did

474
00:26:28,240 --> 00:26:31,239
Speaker 2: it change your of course, matter of fact that, you know,

475
00:26:31,320 --> 00:26:33,920
Speaker 2: like after the age of forty, so you're going to

476
00:26:34,000 --> 00:26:36,359
Speaker 2: lose something in there. Even if you get a wisdom

477
00:26:36,400 --> 00:26:39,480
Speaker 2: tooth removed two of them in the back, something's gonna move.

478
00:26:40,280 --> 00:26:44,639
Speaker 2: So if you actually a vocalist and you don't have

479
00:26:44,760 --> 00:26:49,560
Speaker 2: the same original whatever that they had, your command over

480
00:26:49,680 --> 00:26:52,280
Speaker 2: certain words is just not going to happen, especially if

481
00:26:52,320 --> 00:26:54,920
Speaker 2: you're like, yeah, we keep up with it, but at

482
00:26:54,960 --> 00:26:57,439
Speaker 2: sixty five, it ain't no way in hell I'm going

483
00:26:57,520 --> 00:27:01,119
Speaker 2: to have the same stuff I had at you just not,

484
00:27:01,359 --> 00:27:04,479
Speaker 2: especially if you're a vocalist. You know, vocalist singers like

485
00:27:04,560 --> 00:27:08,560
Speaker 2: they always worried about their their pipes and can I

486
00:27:08,600 --> 00:27:11,159
Speaker 2: hit the notes? Can I hit the tones? Or do

487
00:27:11,200 --> 00:27:14,080
Speaker 2: I have enough breath and stuff like that, you know,

488
00:27:14,200 --> 00:27:17,520
Speaker 2: I think rappers, it's like okay, your teeth, your gums,

489
00:27:19,000 --> 00:27:21,359
Speaker 2: you know. And then here's another thing, like songs like

490
00:27:21,440 --> 00:27:24,960
Speaker 2: louding the bomb. I used to do those songs and

491
00:27:25,040 --> 00:27:27,000
Speaker 2: run and jump around. See. Our whole thing is like

492
00:27:27,440 --> 00:27:31,399
Speaker 2: we gotta do the songs, and we gotta move. You

493
00:27:31,440 --> 00:27:33,800
Speaker 2: gotta move like you play. We played, I mean when

494
00:27:33,800 --> 00:27:36,200
Speaker 2: I was younger, we played together, like we never did

495
00:27:36,200 --> 00:27:38,760
Speaker 2: those songs like standing up like Solomon Burke. You know what,

496
00:27:38,800 --> 00:27:42,960
Speaker 2: I'm like, you still move half of his muscle memory.

497
00:27:43,320 --> 00:27:45,200
Speaker 2: You don't get no props on something that you did

498
00:27:45,200 --> 00:27:47,680
Speaker 2: for like the last thirty forty years because it kicks

499
00:27:47,720 --> 00:27:49,480
Speaker 2: and I could bring the noise backwards and all that.

500
00:27:49,560 --> 00:27:51,880
Speaker 2: I do bring the noise on roller skates and all that.

501
00:27:52,119 --> 00:27:55,439
Speaker 2: But that's muscle memory. The joy. The joy to me

502
00:27:56,400 --> 00:27:58,919
Speaker 2: I wish I could do, but I'm kind of aged

503
00:27:58,960 --> 00:28:02,800
Speaker 2: and timed out. Is writing a song and being able

504
00:28:02,800 --> 00:28:06,000
Speaker 2: to do that really well, I haven't been able to

505
00:28:06,040 --> 00:28:09,360
Speaker 2: do that like like thirty years. I mean, let's say

506
00:28:09,400 --> 00:28:12,200
Speaker 2: if I learn a new song, let's say we play

507
00:28:12,240 --> 00:28:15,800
Speaker 2: together on tonight's show. I'm shipping bricks man because I'm like,

508
00:28:15,840 --> 00:28:17,920
Speaker 2: I got to learn this new song, man, and it's

509
00:28:17,960 --> 00:28:20,040
Speaker 2: like it take me forever. But you might have helped

510
00:28:20,040 --> 00:28:22,159
Speaker 2: me out by like going to sleep with one although

511
00:28:22,160 --> 00:28:25,359
Speaker 2: I like to sleep with no noise. Oh no, I.

512
00:28:26,119 --> 00:28:28,800
Speaker 1: Got to sleep the tones and all that stuff.

513
00:28:29,320 --> 00:28:33,480
Speaker 2: Man, you a miracle man, That's all I told you,

514
00:28:33,560 --> 00:28:35,080
Speaker 2: My hero. Thank you.

515
00:28:35,200 --> 00:28:39,320
Speaker 1: I'm trying to accept those flowers flowers, they're called flowers flowers.

516
00:28:39,360 --> 00:28:53,600
Speaker 1: I'll take those two Cbe says that the origins of

517
00:28:53,640 --> 00:28:56,480
Speaker 1: America's most one. It was him and Jinks going to

518
00:28:56,680 --> 00:28:58,160
Speaker 1: you guys' record dungeon.

519
00:28:57,880 --> 00:29:00,400
Speaker 2: And picking out the records. You know, the origin really

520
00:29:00,560 --> 00:29:03,360
Speaker 2: was me and Cube and Glendale in front of a

521
00:29:03,440 --> 00:29:06,440
Speaker 2: CVS and me tell him to go and giving him

522
00:29:06,480 --> 00:29:09,560
Speaker 2: a dollar and go and get a notebook and to

523
00:29:09,600 --> 00:29:12,200
Speaker 2: write a solo record out kind of like sketch out.

524
00:29:12,360 --> 00:29:16,200
Speaker 2: Because Cube comes from an architectural background. So the first

525
00:29:16,200 --> 00:29:19,560
Speaker 2: thing is having a blueprint before you even rhyme, before

526
00:29:19,600 --> 00:29:21,440
Speaker 2: you say a word, before you write a word. It's

527
00:29:21,440 --> 00:29:25,720
Speaker 2: like simple things. Don't repeat yourself twice. Yeah, you might,

528
00:29:25,960 --> 00:29:28,240
Speaker 2: you might want to come out of the you know,

529
00:29:28,320 --> 00:29:31,640
Speaker 2: a b as a b into pe, but take your

530
00:29:31,680 --> 00:29:36,160
Speaker 2: time gradually fade into what we're doing instead of like

531
00:29:36,280 --> 00:29:39,120
Speaker 2: jumping into it. Little tricks like that would that that

532
00:29:39,240 --> 00:29:44,160
Speaker 2: really got nothing to do with the rhyme, a mission

533
00:29:44,160 --> 00:29:48,320
Speaker 2: statement or yourself because nobody could teach you like nobody

534
00:29:48,320 --> 00:29:51,040
Speaker 2: could teach a talent like Cube. Cube is a dude

535
00:29:51,040 --> 00:29:54,400
Speaker 2: that got three brains in his head. You too, you know,

536
00:29:54,960 --> 00:29:58,760
Speaker 2: are you a hey new album? Time, let's start work?

537
00:29:58,880 --> 00:30:01,160
Speaker 1: Or is it always just like we got songs that

538
00:30:01,240 --> 00:30:04,360
Speaker 1: were creating and once we got nineteen of them. My

539
00:30:04,440 --> 00:30:06,920
Speaker 1: thing is like this, man, It's it's like I've always

540
00:30:06,920 --> 00:30:10,160
Speaker 1: paid attention to the rockheads that said never repeat yourself twice.

541
00:30:10,640 --> 00:30:13,880
Speaker 2: Hank Cow has a lot of that too. Where if

542
00:30:14,280 --> 00:30:17,440
Speaker 2: if there's something that really worked for us, damn if

543
00:30:17,440 --> 00:30:21,520
Speaker 2: that shit is coming back, we're all weird. Those we

544
00:30:21,600 --> 00:30:24,240
Speaker 2: better go into an area of making you try to

545
00:30:24,440 --> 00:30:27,880
Speaker 2: like what you probably would hate hearing at first. Now,

546
00:30:27,920 --> 00:30:28,560
Speaker 2: who does that?

547
00:30:29,440 --> 00:30:31,520
Speaker 1: So when you're talking about we wanted to be Music's

548
00:30:31,520 --> 00:30:34,000
Speaker 1: worst nightmare, you really were trying to.

549
00:30:34,440 --> 00:30:37,520
Speaker 2: I'm not trying to grin that it worked. That's where

550
00:30:37,520 --> 00:30:39,280
Speaker 2: the car time comes in, because the only time you

551
00:30:39,360 --> 00:30:42,440
Speaker 2: celebrate is not with awards, not with the hooplah, not

552
00:30:42,520 --> 00:30:45,720
Speaker 2: with the crowd. You celebrating the car by your damn self.

553
00:30:45,720 --> 00:30:47,680
Speaker 2: It's saying, hmm okay, that seems like a w in

554
00:30:47,800 --> 00:30:51,080
Speaker 2: that and you keep driving. I know right. It's like

555
00:30:52,040 --> 00:30:54,520
Speaker 2: the ain't gonna be no other public enemy because all

556
00:30:54,600 --> 00:30:57,640
Speaker 2: the all the parts to it, we're all crazy. Man.

557
00:30:58,280 --> 00:31:02,200
Speaker 2: It's almost like Roosevelt long Alan becomes a group. You know,

558
00:31:02,480 --> 00:31:05,719
Speaker 2: Roosevelt Hempstead and you had Bill Stephanie had Eric Sadler

559
00:31:05,760 --> 00:31:09,200
Speaker 2: from him Stead it was something that happened once, ain't

560
00:31:09,200 --> 00:31:11,440
Speaker 2: gonna happen again in that way, just like I mean

561
00:31:11,480 --> 00:31:14,160
Speaker 2: with your group, it's not gonna be another route. The

562
00:31:14,280 --> 00:31:18,040
Speaker 2: dynamics of just like unrepeatable. It's last century, bro. It's

563
00:31:18,080 --> 00:31:20,720
Speaker 2: like what we like to talk about. We like to

564
00:31:20,720 --> 00:31:24,640
Speaker 2: talk about like who is doing something now and probably

565
00:31:24,720 --> 00:31:27,200
Speaker 2: the ones that's catching the most heat for it of

566
00:31:27,320 --> 00:31:32,680
Speaker 2: probably doing the most transcending and pioneering without it actually

567
00:31:32,720 --> 00:31:35,440
Speaker 2: having an end result to it. It doesn't necessarily have

568
00:31:35,520 --> 00:31:37,040
Speaker 2: to have an end result to it to be a

569
00:31:37,080 --> 00:31:39,920
Speaker 2: stain in the sands of time. So yeah, I mean,

570
00:31:40,000 --> 00:31:45,360
Speaker 2: so I'm always writing, and I'm always writing to write something.

571
00:31:45,400 --> 00:31:47,920
Speaker 2: But at the same time, I come from an art

572
00:31:47,960 --> 00:31:52,000
Speaker 2: background where I'm not making music or anything for somebody else.

573
00:31:52,320 --> 00:31:57,360
Speaker 2: I had to compromise with my other contributors because I

574
00:31:57,400 --> 00:32:00,000
Speaker 2: am the lyric writer. I have to take everybody's sitting

575
00:32:00,560 --> 00:32:05,000
Speaker 2: at the table's point of view in consideration. I tell people,

576
00:32:05,000 --> 00:32:06,880
Speaker 2: I said, it's like when I do my art, I'm

577
00:32:06,920 --> 00:32:09,200
Speaker 2: not doing my art for somebody else. It's like fuck it,

578
00:32:09,240 --> 00:32:11,080
Speaker 2: you like it or you don't. Matter of fact, if

579
00:32:11,120 --> 00:32:14,560
Speaker 2: you don't, I even love that more, you know, that's

580
00:32:14,640 --> 00:32:17,760
Speaker 2: that takes a weird type of thing. But you know why,

581
00:32:18,360 --> 00:32:20,280
Speaker 2: And I tell this to younger people all the time,

582
00:32:21,040 --> 00:32:24,120
Speaker 2: like why go to the mirror and go outside and

583
00:32:24,120 --> 00:32:28,560
Speaker 2: ask somebody how to look? Okay, that's that's pretty much

584
00:32:28,680 --> 00:32:29,640
Speaker 2: art in mind.

585
00:32:29,440 --> 00:32:32,080
Speaker 1: Because people just weren't affirmation.

586
00:32:32,600 --> 00:32:35,760
Speaker 2: You know people well, like I said, and people are strangers, like.

587
00:32:35,720 --> 00:32:37,960
Speaker 1: All the time, people you know will ask like, well,

588
00:32:38,400 --> 00:32:42,360
Speaker 1: tell me what you think, which they want the co sign.

589
00:32:42,640 --> 00:32:44,480
Speaker 1: I'll take a picture with you, hold it, let me see,

590
00:32:44,640 --> 00:32:46,400
Speaker 1: like I said, No, you trying to see if you

591
00:32:46,400 --> 00:32:48,160
Speaker 1: look good in it or look well the way you

592
00:32:48,160 --> 00:32:48,760
Speaker 1: want to look at it?

593
00:32:48,840 --> 00:32:49,000
Speaker 2: Right?

594
00:32:49,040 --> 00:32:51,880
Speaker 1: I don't care, so which gets me in trouble with

595
00:32:51,920 --> 00:32:53,880
Speaker 1: my daughter because I tell you she's got the ash

596
00:32:53,960 --> 00:32:54,840
Speaker 1: radar going on.

597
00:32:55,120 --> 00:32:57,080
Speaker 2: She'll call me up if I'm on TV like that.

598
00:32:57,400 --> 00:32:59,560
Speaker 2: I don't know who lets you go do that? And

599
00:32:59,560 --> 00:33:02,840
Speaker 2: and I because he's just incredible, Hey don.

600
00:33:03,440 --> 00:33:05,640
Speaker 1: Assuming that I think I know the answer to this.

601
00:33:06,560 --> 00:33:09,280
Speaker 1: Most of hip hop had built a lot of their

602
00:33:09,840 --> 00:33:15,400
Speaker 1: arsenal Sonic arsenal off of the Ultimate Breaks and Beats compilations,

603
00:33:15,640 --> 00:33:19,400
Speaker 1: which DJ's you know needed them to rock a party.

604
00:33:19,200 --> 00:33:22,200
Speaker 2: There was a great compiling because we had three rooms

605
00:33:22,200 --> 00:33:22,960
Speaker 2: of records before.

606
00:33:22,960 --> 00:33:25,760
Speaker 1: But what I wanted to say was how did you

607
00:33:25,800 --> 00:33:29,040
Speaker 1: guys mass such a vast array of records? Because half

608
00:33:29,040 --> 00:33:33,040
Speaker 1: the stuff you guys were using weren't on the compilations,

609
00:33:33,080 --> 00:33:34,800
Speaker 1: so I could tell that you actually.

610
00:33:34,480 --> 00:33:36,880
Speaker 2: Own those records. When I saw your record room in Philly,

611
00:33:37,040 --> 00:33:41,400
Speaker 2: it was like so reminiscent that had to go in

612
00:33:41,480 --> 00:33:44,680
Speaker 2: at an early stage and age and had to categorize

613
00:33:44,720 --> 00:33:47,600
Speaker 2: three rooms of records. And that's Hank Shockley and Keith

614
00:33:47,640 --> 00:33:54,120
Speaker 2: Shockley collecting Roose records those years. Yeah, yeah, before digging

615
00:33:54,280 --> 00:33:57,640
Speaker 2: was a thing, right, you know so, but the thing

616
00:33:57,640 --> 00:34:00,000
Speaker 2: about here and here's here's another thing. No, all you

617
00:34:00,120 --> 00:34:02,920
Speaker 2: DJ or record collectors and stuff like this, they used

618
00:34:02,920 --> 00:34:05,600
Speaker 2: to always make the same mistake of trying to a

619
00:34:05,880 --> 00:34:08,640
Speaker 2: carry crates of records to one gig, so you're not

620
00:34:08,680 --> 00:34:11,960
Speaker 2: playing ninety five percent. You know. This is years before

621
00:34:12,239 --> 00:34:16,560
Speaker 2: Serrado gave everybody a choice, And even that backfires too,

622
00:34:16,600 --> 00:34:20,319
Speaker 2: because if you don't know the record and you just

623
00:34:20,480 --> 00:34:23,160
Speaker 2: have it, then how you know what to play? Just

624
00:34:23,160 --> 00:34:25,120
Speaker 2: because like I mean, people go in, I've been playing

625
00:34:25,120 --> 00:34:26,919
Speaker 2: the front end of a record, but you never heard

626
00:34:27,160 --> 00:34:30,160
Speaker 2: three quarters into the record. You never played the back end.

627
00:34:30,320 --> 00:34:33,360
Speaker 2: That's how I found Bouncy Lady for Kings of Pressure. Yeah,

628
00:34:33,480 --> 00:34:36,600
Speaker 2: because at the end, because Pleasure never gets talked about

629
00:34:37,160 --> 00:34:41,160
Speaker 2: as a band. And also what's it called zantce up

630
00:34:41,200 --> 00:34:44,319
Speaker 2: in Fantasy the way they mastered records, As you know,

631
00:34:44,400 --> 00:34:47,960
Speaker 2: it's like every record that came out of Fantasy happened

632
00:34:47,960 --> 00:34:50,279
Speaker 2: to have some oomph to it on the bass and

633
00:34:50,320 --> 00:34:50,880
Speaker 2: the drums.

634
00:34:51,239 --> 00:34:54,000
Speaker 1: Well, I would think in general that was that Saul

635
00:34:54,080 --> 00:34:58,600
Speaker 1: zants Right. Yeah, albums released on the Fantasy label had extra.

636
00:35:00,640 --> 00:35:04,279
Speaker 2: Yeah, all those Pleasure albums had it. But anyway, you know,

637
00:35:04,360 --> 00:35:07,960
Speaker 2: like so a lot of DJs made the mistake. It's like, okay,

638
00:35:07,960 --> 00:35:11,440
Speaker 2: we're collecting records, right, So when you have a collection

639
00:35:11,520 --> 00:35:13,359
Speaker 2: of records and you go from one room to two

640
00:35:13,440 --> 00:35:15,359
Speaker 2: rooms and you got to go out there and do

641
00:35:15,400 --> 00:35:19,640
Speaker 2: a gig, right, how do you categorize these recordespecially if

642
00:35:19,680 --> 00:35:20,600
Speaker 2: you're part of a record.

643
00:35:20,480 --> 00:35:22,560
Speaker 1: Well, who's the person that was the meticulous?

644
00:35:22,560 --> 00:35:24,799
Speaker 2: Well number one got stupid for us After a while,

645
00:35:24,880 --> 00:35:28,040
Speaker 2: after we moved from Missus Boxley's basement into our own

646
00:35:28,080 --> 00:35:30,920
Speaker 2: spot on five ten, then we was able to spread

647
00:35:30,920 --> 00:35:33,440
Speaker 2: out with the records. Before they was very concealed and

648
00:35:33,520 --> 00:35:36,480
Speaker 2: the type basement you have to take the record crate,

649
00:35:36,560 --> 00:35:40,520
Speaker 2: and Hank and Keith created a system for us as

650
00:35:40,600 --> 00:35:46,239
Speaker 2: mobile DJ's in the late seventies where we had these crates,

651
00:35:46,640 --> 00:35:50,200
Speaker 2: but getting in the basement we had to make a

652
00:35:50,360 --> 00:35:54,080
Speaker 2: sharp right concrete term. And what I mean by sharp

653
00:35:54,160 --> 00:35:56,960
Speaker 2: right concrete urn is like the back of your hands.

654
00:35:56,960 --> 00:36:01,840
Speaker 2: With this crate. You got concrete and you got this

655
00:36:02,040 --> 00:36:04,920
Speaker 2: turn so many a times. And maybe we were too

656
00:36:04,920 --> 00:36:07,320
Speaker 2: stupid to wear gloves. Sometimes we did, sometimes we didn't.

657
00:36:08,880 --> 00:36:12,000
Speaker 1: You know, it built built up, you know this this area,

658
00:36:12,080 --> 00:36:12,520
Speaker 1: but it.

659
00:36:12,440 --> 00:36:14,960
Speaker 2: Was just got okay, we gotta find a better way.

660
00:36:15,000 --> 00:36:17,040
Speaker 2: So we went to five to ten. Then the records

661
00:36:17,080 --> 00:36:20,080
Speaker 2: was vast. We still carry records, too many records of

662
00:36:20,120 --> 00:36:22,399
Speaker 2: the gig. So I say, you know what, man, two

663
00:36:22,480 --> 00:36:26,439
Speaker 2: crates load in the van. Go. But you know what,

664
00:36:26,640 --> 00:36:28,799
Speaker 2: we could always go in and figure out what you're

665
00:36:28,840 --> 00:36:31,520
Speaker 2: gonna take to the to the appropriate gig that fits right.

666
00:36:32,320 --> 00:36:35,840
Speaker 2: So we got a room growing into two rooms of records,

667
00:36:35,920 --> 00:36:38,440
Speaker 2: and we got another DJ, EJ and the DJ who's

668
00:36:38,480 --> 00:36:41,760
Speaker 2: on the other side, it said time out. The biggest

669
00:36:41,800 --> 00:36:44,520
Speaker 2: mistakes that record collectors made back in the day, as

670
00:36:44,600 --> 00:36:48,480
Speaker 2: DJs is alphabetical order. That will always get you in trouble.

671
00:36:49,239 --> 00:36:51,560
Speaker 2: That right, right, and John Wi sometimes we'll get you

672
00:36:51,640 --> 00:36:53,759
Speaker 2: in trouble too. At least you know where your jazz

673
00:36:53,760 --> 00:36:57,680
Speaker 2: stuff is. You still got the shelf systems and the

674
00:36:57,880 --> 00:36:59,680
Speaker 2: day are what they are. I had to do it

675
00:37:00,360 --> 00:37:04,680
Speaker 2: one record to four thousand, one by one, which means

676
00:37:04,680 --> 00:37:09,960
Speaker 2: that yeah, bt express you know, do it to your

677
00:37:10,000 --> 00:37:11,560
Speaker 2: satisfied one.

678
00:37:12,040 --> 00:37:16,399
Speaker 1: Patrick Cowley, Wait, so what was the order of how

679
00:37:16,440 --> 00:37:17,640
Speaker 1: you would know where stuff is?

680
00:37:17,760 --> 00:37:20,360
Speaker 2: Book? You just go through the book instead of the spine.

681
00:37:20,400 --> 00:37:25,279
Speaker 2: You can't keep to a regular regard book. So Keith man,

682
00:37:25,400 --> 00:37:27,480
Speaker 2: y'all want to kick me out the glove God? No, no,

683
00:37:27,560 --> 00:37:30,080
Speaker 2: Keith yo man, God get the record boom boom, boom boom.

684
00:37:30,120 --> 00:37:32,799
Speaker 2: It's easy to go through the book, then it needs

685
00:37:32,840 --> 00:37:34,839
Speaker 2: to go through. You can't go through the spine. Yo.

686
00:37:34,880 --> 00:37:36,000
Speaker 1: Is your mind blowing right now?

687
00:37:37,640 --> 00:37:39,520
Speaker 2: How you going to go through the spines? You can't

688
00:37:39,560 --> 00:37:41,880
Speaker 2: read anything on the spine. What is the spine? You're like,

689
00:37:42,200 --> 00:37:44,279
Speaker 2: all right, I think that says you know you can't

690
00:37:44,320 --> 00:37:46,840
Speaker 2: read that. And at the same time, even yeah, this

691
00:37:47,120 --> 00:37:50,680
Speaker 2: genre areas, but also we belong to a record pool

692
00:37:50,920 --> 00:37:54,160
Speaker 2: and a record pool is giving you ninety percent of bullshit.

693
00:37:54,360 --> 00:37:56,759
Speaker 2: I mean, I don't want to say recording is bullshit, but.

694
00:37:57,120 --> 00:38:01,120
Speaker 1: How many people are contributing to this pile of record

695
00:38:01,200 --> 00:38:03,040
Speaker 1: madness that you guys are building?

696
00:38:03,320 --> 00:38:07,000
Speaker 2: I mean, people who actually you think could contribute to

697
00:38:07,040 --> 00:38:09,759
Speaker 2: the madness that you are Usually it comes down to

698
00:38:09,800 --> 00:38:10,439
Speaker 2: two and three.

699
00:38:10,920 --> 00:38:13,959
Speaker 1: Well, yeah too, But I'm trying to figure out who's

700
00:38:14,000 --> 00:38:17,680
Speaker 1: in the Spectrum City. In terms of Keith Hanking, we're upstairs,

701
00:38:17,800 --> 00:38:21,760
Speaker 1: Eric and Vietnam. He's downstairs because he's a band studio,

702
00:38:22,040 --> 00:38:24,200
Speaker 1: so bands are coming in there rehearsing, so he has

703
00:38:24,239 --> 00:38:26,319
Speaker 1: nothing to do with the records upstairs. So it's me

704
00:38:26,440 --> 00:38:29,000
Speaker 1: Keith and Hank and his others contributed in and out.

705
00:38:29,200 --> 00:38:33,359
Speaker 1: But as far as doing that those menial tasks, it's like.

706
00:38:34,800 --> 00:38:40,040
Speaker 2: I got books of Chuck's handwriting, writing out five thousand titles,

707
00:38:40,719 --> 00:38:42,680
Speaker 2: and you know, it's just that you had to do

708
00:38:42,719 --> 00:38:44,799
Speaker 2: it that way made it easier because when you got

709
00:38:44,800 --> 00:38:46,840
Speaker 2: new records, you could just find a new shell system

710
00:38:47,280 --> 00:38:49,719
Speaker 2: like okay, and then you kind of know kind of

711
00:38:49,760 --> 00:38:53,319
Speaker 2: like it's like a little telepathic It's like, oh, that's

712
00:38:53,360 --> 00:38:55,480
Speaker 2: that's the JB area over there, because that's where a

713
00:38:55,520 --> 00:38:56,600
Speaker 2: lot of shit is over there.

714
00:38:56,600 --> 00:38:59,000
Speaker 1: And when you're been shopping, like it's your job to

715
00:38:59,040 --> 00:39:00,000
Speaker 1: categorize everything.

716
00:39:01,000 --> 00:39:03,520
Speaker 2: Eventually, after you set up a system, anybody could do it.

717
00:39:04,600 --> 00:39:07,560
Speaker 2: And then that sounds and let me let me tell

718
00:39:07,560 --> 00:39:10,000
Speaker 2: you at that time, no, no, that was easy. At

719
00:39:10,000 --> 00:39:12,920
Speaker 2: that time, my handwriting was like matter of fact. I

720
00:39:12,960 --> 00:39:16,240
Speaker 2: went through college right and where everybody had the type,

721
00:39:16,640 --> 00:39:18,200
Speaker 2: they looked at me. It was like, because I'm an

722
00:39:18,280 --> 00:39:21,000
Speaker 2: art student, I'm over there in the art school. They

723
00:39:21,040 --> 00:39:23,839
Speaker 2: were like, listen, everybody's supposed to type, but you good.

724
00:39:24,280 --> 00:39:27,080
Speaker 2: And to found out that professors only wanted type in

725
00:39:27,360 --> 00:39:29,680
Speaker 2: so they ain't trying to read everybody's handwriting. And so

726
00:39:29,719 --> 00:39:31,799
Speaker 2: they said, listen, everybody got to give us the same font.

727
00:39:31,880 --> 00:39:32,719
Speaker 2: So that's where we are.

728
00:39:33,120 --> 00:39:36,520
Speaker 1: That's where we are even on social media where somebody's like,

729
00:39:36,520 --> 00:39:40,080
Speaker 1: how good your penmanship Back in the day as my daughter,

730
00:39:40,800 --> 00:39:44,040
Speaker 1: you know, like calligraphy level or I've fallen off in

731
00:39:44,120 --> 00:39:45,480
Speaker 1: so many different areas.

732
00:39:46,320 --> 00:39:49,799
Speaker 2: But back then it's too actively right now all the time, man,

733
00:39:49,960 --> 00:39:52,480
Speaker 2: I don't I've never touched the screen. I don't touch screens.

734
00:39:52,480 --> 00:39:55,759
Speaker 2: I use this is gold. This might be a commercial

735
00:39:55,760 --> 00:40:01,000
Speaker 2: for you guys, okay, and my wow, so you're still right.

736
00:40:01,800 --> 00:40:04,360
Speaker 2: I've been using a stylist man ever since the beginning

737
00:40:04,400 --> 00:40:08,120
Speaker 2: of Apple iPhones because Toyne Julia, you know toy Ane. Yeah,

738
00:40:08,480 --> 00:40:12,040
Speaker 2: she gave me the first iPhone. I forgot what I

739
00:40:12,160 --> 00:40:14,160
Speaker 2: was on. I was on something using the stylist at

740
00:40:14,160 --> 00:40:17,040
Speaker 2: the particular have some single wireless stuff in two thousand

741
00:40:17,080 --> 00:40:20,120
Speaker 2: and six, and toy Anne said, here we are in

742
00:40:20,160 --> 00:40:23,400
Speaker 2: New Orleans. I think one of the essence bests. She says,

743
00:40:23,760 --> 00:40:25,759
Speaker 2: she doesn't get enough credit for all the stuff that

744
00:40:25,840 --> 00:40:27,440
Speaker 2: she's done. She's back there.

745
00:40:27,480 --> 00:40:29,719
Speaker 1: She's literally dated me to the digital world.

746
00:40:29,800 --> 00:40:33,239
Speaker 2: Yeah, exactly, Yes, she's back there in the jobs days. Yes,

747
00:40:33,560 --> 00:40:37,480
Speaker 2: so she's like, boom, all on one device. Yes, I

748
00:40:37,480 --> 00:40:39,400
Speaker 2: heard about it. I got my iPod over here that

749
00:40:39,440 --> 00:40:42,799
Speaker 2: you gave me two years ago. He says, yeah, this

750
00:40:42,880 --> 00:40:45,200
Speaker 2: is all on one and she goes like this. I'm

751
00:40:45,200 --> 00:40:49,719
Speaker 2: like that, that's not even chicken grease friendly. I mean,

752
00:40:49,760 --> 00:40:52,640
Speaker 2: I ain't touching no screen. She says, you will, or

753
00:40:52,680 --> 00:40:54,880
Speaker 2: you'll figure it out, because they even have stylists. And

754
00:40:54,920 --> 00:40:57,399
Speaker 2: she goes like this. She says, take this. I'm like yeah,

755
00:40:57,400 --> 00:40:58,799
Speaker 2: but I mean I got to leave the phone that

756
00:40:58,840 --> 00:41:03,200
Speaker 2: I got. So that was my introduction to the iPhone,

757
00:41:03,719 --> 00:41:06,920
Speaker 2: and I had everything. He used a stylist. I always

758
00:41:07,000 --> 00:41:10,319
Speaker 2: use a stylist. Man like that. When people do this,

759
00:41:10,520 --> 00:41:12,680
Speaker 2: I understand how they do any of this. I am not.

760
00:41:13,800 --> 00:41:15,800
Speaker 2: It ain't like I'm like, oh, I can't touch the screen.

761
00:41:15,840 --> 00:41:19,200
Speaker 2: It's just like I wouldn't even know where to begin.

762
00:41:19,320 --> 00:41:21,600
Speaker 2: And my dad, you know, he passed ten years ago.

763
00:41:23,000 --> 00:41:25,439
Speaker 2: His hands were so thick. I couldn't even ever see

764
00:41:25,520 --> 00:41:29,920
Speaker 2: him typing. His hands was like like damn near like

765
00:41:30,000 --> 00:41:33,200
Speaker 2: half this table. So he could learn. So how do

766
00:41:33,239 --> 00:41:37,120
Speaker 2: you just do all that? You do that? Well, yeah,

767
00:41:37,160 --> 00:41:40,360
Speaker 2: because you had to followers like in two thousand and

768
00:41:40,360 --> 00:41:41,200
Speaker 2: two or something like that.

769
00:41:41,239 --> 00:41:43,880
Speaker 1: I mean, I forced myself to learn it. You know,

770
00:41:44,120 --> 00:41:47,560
Speaker 1: I think watching Tarik do it. He now writes all.

771
00:41:47,480 --> 00:41:50,719
Speaker 2: His rhymes and his thing. Now that I don't get

772
00:41:50,800 --> 00:41:52,800
Speaker 2: staying that dude, I don't that dude. That dude is

773
00:41:52,880 --> 00:41:56,080
Speaker 2: Leonardo da Vinci of Our Times. Man. Well, he gets up.

774
00:41:56,200 --> 00:41:58,799
Speaker 1: He has a he has a system that he it

775
00:41:58,840 --> 00:42:02,480
Speaker 1: works for him. He in bed around a thirty PM.

776
00:42:03,160 --> 00:42:05,640
Speaker 2: Well, that's one thing I ain't I'm never doing. He

777
00:42:05,719 --> 00:42:08,160
Speaker 2: gets up three point thirty four in the morning.

778
00:42:08,719 --> 00:42:12,160
Speaker 1: And this is the thing, like especially again, if you

779
00:42:12,280 --> 00:42:16,799
Speaker 1: if you study how the whole again, I'm obsessed with

780
00:42:16,840 --> 00:42:20,560
Speaker 1: how the brain works, you'll get probably your best work

781
00:42:20,600 --> 00:42:22,719
Speaker 1: out if you're tired. This is why you hear about

782
00:42:22,760 --> 00:42:24,720
Speaker 1: people getting up meditating at four in the morning.

783
00:42:24,760 --> 00:42:27,000
Speaker 2: Five in the morning, when you're kind of in.

784
00:42:26,960 --> 00:42:30,080
Speaker 1: This groggy state when you want to press news, that

785
00:42:30,239 --> 00:42:32,680
Speaker 1: is when your magic will happen. Like this is also

786
00:42:33,239 --> 00:42:36,040
Speaker 1: Quincy Jones will call a session around six pm. They'll

787
00:42:36,040 --> 00:42:39,080
Speaker 1: get to the studio and he'll have everyone's favorite restaurant there,

788
00:42:39,120 --> 00:42:43,640
Speaker 1: some you know, steak restaurant or something feeds them, feeds them,

789
00:42:44,280 --> 00:42:47,560
Speaker 1: has red wine. They get nice, they start to fall

790
00:42:47,600 --> 00:42:50,640
Speaker 1: asleep in the break room. He lets him nap. Around

791
00:42:50,680 --> 00:42:52,960
Speaker 1: one in the morning. He'll be like, all right, guys,

792
00:42:53,640 --> 00:42:58,680
Speaker 1: let's cut. He purposely wants them tired. Literally, He's like

793
00:42:58,719 --> 00:43:02,960
Speaker 1: every session from Thriller, the musicians would do it late

794
00:43:03,000 --> 00:43:05,680
Speaker 1: at night till two in the morning because when they're

795
00:43:05,719 --> 00:43:09,399
Speaker 1: in this state of what he says, the alpha state of,

796
00:43:10,080 --> 00:43:12,200
Speaker 1: they won't argue back with them because they're too tired.

797
00:43:12,800 --> 00:43:16,799
Speaker 2: They won't overthink any because everything is sweet and wonderful,

798
00:43:16,920 --> 00:43:20,759
Speaker 2: and Quincy Jones made a hundred years of the best

799
00:43:20,840 --> 00:43:23,400
Speaker 2: music of all time. We went in the studio like

800
00:43:23,480 --> 00:43:26,160
Speaker 2: it was war. We got two hours. The clock is ticket.

801
00:43:26,160 --> 00:43:28,480
Speaker 2: They don't want us anyway, We will come here, try

802
00:43:28,520 --> 00:43:31,440
Speaker 2: to take your head to night though though right you

803
00:43:31,440 --> 00:43:33,840
Speaker 2: has it all feet hours, did you not? It didn't matter.

804
00:43:34,400 --> 00:43:36,279
Speaker 2: I always came in there like they was trying to

805
00:43:36,360 --> 00:43:38,560
Speaker 2: kick me out. So agree, I ain't trying to spend

806
00:43:38,600 --> 00:43:40,399
Speaker 2: a lot of time. We ain't trying to spend Hank

807
00:43:40,480 --> 00:43:44,040
Speaker 2: later on because he was taking on different sessions and

808
00:43:44,120 --> 00:43:47,480
Speaker 2: different artists and people like that. But my job was like,

809
00:43:47,600 --> 00:43:50,680
Speaker 2: come in there, don't waste time. Like even with you know,

810
00:43:50,719 --> 00:43:53,880
Speaker 2: I saw the interview with you and Kim Gordon. It

811
00:43:54,000 --> 00:43:57,279
Speaker 2: was like, you know they in studio b we in

812
00:43:57,360 --> 00:44:02,000
Speaker 2: studio A. They ordering food. Okay, I'll take that. Boom

813
00:44:02,040 --> 00:44:04,640
Speaker 2: Hey you think you you know, come in the studio

814
00:44:04,640 --> 00:44:07,160
Speaker 2: and check us out and they're making Google you know

815
00:44:07,680 --> 00:44:10,919
Speaker 2: cool whatever, Bam, knock it out, bam back in our room.

816
00:44:11,520 --> 00:44:13,200
Speaker 1: So there wasn't time wasting at all.

817
00:44:13,440 --> 00:44:16,280
Speaker 2: The key is at the end of those records, especially

818
00:44:17,000 --> 00:44:20,040
Speaker 2: Hank's genius comes in the mix, but not only in

819
00:44:20,080 --> 00:44:22,840
Speaker 2: the mix, because you gotta kind of like find the

820
00:44:22,920 --> 00:44:27,839
Speaker 2: pulse of it all. Then it's got to be in Okay, yeah, man,

821
00:44:28,120 --> 00:44:31,520
Speaker 2: trust me, he's got people on his ass, like damn

822
00:44:31,600 --> 00:44:34,239
Speaker 2: he made that mix. Bro, whoever you got to take

823
00:44:34,239 --> 00:44:37,319
Speaker 2: it to Howie and laid off Baladamella can't have master

824
00:44:37,440 --> 00:44:39,840
Speaker 2: and fucked us up, Michael managing everything.

825
00:44:39,920 --> 00:44:42,360
Speaker 1: No, no, but kind of everybody knows that, you know,

826
00:44:42,480 --> 00:44:44,840
Speaker 1: like nobody wants you there anyway.

827
00:44:45,640 --> 00:44:48,160
Speaker 2: We got the upside down ugliness of it all. We

828
00:44:48,400 --> 00:44:52,359
Speaker 2: were presenting the ugliness the other side, shit that like

829
00:44:52,480 --> 00:44:54,719
Speaker 2: make kids run out of the room type shit. There

830
00:44:54,800 --> 00:44:57,760
Speaker 2: was no way to explain why public ennem you should

831
00:44:57,760 --> 00:45:00,680
Speaker 2: work so our whole thing even with it's like, yo, man,

832
00:45:00,719 --> 00:45:04,160
Speaker 2: we're not presenting anything that you're supposed to like, matter

833
00:45:04,160 --> 00:45:07,000
Speaker 2: of fact, it's talking about stuff over here. It's got

834
00:45:07,040 --> 00:45:11,600
Speaker 2: sounds from over here. You know, we're older as his right.

835
00:45:11,840 --> 00:45:15,040
Speaker 2: Everybody else is nineteen and eighteen and twenty right. We're

836
00:45:15,040 --> 00:45:17,720
Speaker 2: twenty eight and twenty nine, growing ass men in many cases,

837
00:45:17,800 --> 00:45:20,680
Speaker 2: so it ain't nothing here you're supposed to like. However,

838
00:45:20,960 --> 00:45:24,280
Speaker 2: there's gonna be something in there that you're gonna say whatever.

839
00:45:24,400 --> 00:45:29,040
Speaker 2: So so we took it you know, very seriously every stage,

840
00:45:29,560 --> 00:45:31,960
Speaker 2: not to be up in the studio, but to kind

841
00:45:31,960 --> 00:45:34,200
Speaker 2: of like get up out of there. And when you

842
00:45:34,200 --> 00:45:36,320
Speaker 2: bring a whole bunch of people together, you can't be

843
00:45:36,360 --> 00:45:37,359
Speaker 2: wasting people's time.

844
00:45:49,080 --> 00:45:53,479
Speaker 1: I took four years out to teach at NYU, and

845
00:45:53,520 --> 00:45:55,680
Speaker 1: one of my co professors was Nix su Zenna.

846
00:45:55,840 --> 00:45:58,799
Speaker 2: Okay, every time I see Nick, Nick was like this

847
00:45:59,680 --> 00:46:02,759
Speaker 2: cause his wires were popping out of Nick's head and

848
00:46:02,760 --> 00:46:05,799
Speaker 2: to make it a fear and nations. But later on

849
00:46:06,000 --> 00:46:08,960
Speaker 2: it's just like Nick was always tired, so that Quincy

850
00:46:09,040 --> 00:46:10,920
Speaker 2: Jones thing probably always worked with Nit.

851
00:46:11,520 --> 00:46:13,600
Speaker 1: Well here's the thing, though, he told me the most

852
00:46:13,840 --> 00:46:17,719
Speaker 1: mind blowing shit of all time. My third year, I

853
00:46:17,800 --> 00:46:20,719
Speaker 1: wanted to move to hip hop.

854
00:46:20,560 --> 00:46:21,400
Speaker 2: And I had an idea.

855
00:46:22,480 --> 00:46:24,560
Speaker 1: I told Harry Wagner at Universal.

856
00:46:24,600 --> 00:46:25,960
Speaker 2: I said, look, I said, is.

857
00:46:25,880 --> 00:46:28,640
Speaker 1: There any way I can get the entire stems of

858
00:46:28,800 --> 00:46:31,320
Speaker 1: nation to millions? And maybe we could teach it to

859
00:46:31,400 --> 00:46:35,319
Speaker 1: the class so they get it for me. And I'll say,

860
00:46:35,360 --> 00:46:38,640
Speaker 1: maybe I got this a month before we started, and

861
00:46:39,000 --> 00:46:40,919
Speaker 1: I was like, let me see if I could try

862
00:46:40,960 --> 00:46:41,720
Speaker 1: to match this.

863
00:46:42,120 --> 00:46:43,360
Speaker 2: Note for note.

864
00:46:43,560 --> 00:46:48,000
Speaker 1: I don't know how you guys made like literally just

865
00:46:48,160 --> 00:46:53,680
Speaker 1: listening to it fragmented, and I wish I could convey

866
00:46:53,800 --> 00:46:58,960
Speaker 1: the world how mind blowing the construction of cold lamp

867
00:46:59,000 --> 00:47:02,839
Speaker 1: and went flavor is. It's shit I can't describe. So

868
00:47:03,320 --> 00:47:06,160
Speaker 1: the thing is, I'm going through all the boxes and everything,

869
00:47:06,239 --> 00:47:10,160
Speaker 1: and when I get the base heads, the meticulous amount

870
00:47:10,239 --> 00:47:15,000
Speaker 1: of note taking literally bar thirty eight this sample bar

871
00:47:15,360 --> 00:47:18,480
Speaker 1: forty two da da da one hundred and sixteen slow

872
00:47:18,520 --> 00:47:21,520
Speaker 1: down to David Bowie's thing. So I go to Professor

873
00:47:21,600 --> 00:47:24,920
Speaker 1: Nickson the next day and I was like, wait a minute,

874
00:47:25,120 --> 00:47:29,920
Speaker 1: did they pre produce this or like I'm okay. So

875
00:47:30,360 --> 00:47:33,440
Speaker 1: the Beastie boys were in class like two weeks earlier.

876
00:47:33,680 --> 00:47:37,959
Speaker 1: They talked about the making a Paul's boutique. They would

877
00:47:37,960 --> 00:47:40,239
Speaker 1: take one loop at a time, get the drums right,

878
00:47:40,280 --> 00:47:41,880
Speaker 1: all right, now, let's get this based one match it

879
00:47:41,920 --> 00:47:44,600
Speaker 1: to the drums. They didn't have technology and pro tools

880
00:47:44,640 --> 00:47:48,760
Speaker 1: to shift, so they basically would just make perfect loops

881
00:47:48,800 --> 00:47:53,680
Speaker 1: of each thing until it all fit together. He told

882
00:47:53,719 --> 00:47:57,880
Speaker 1: me that you guys would actually pre program everything. He's like,

883
00:47:58,000 --> 00:48:02,920
Speaker 1: I barely did any Yeah, post production mixing on this

884
00:48:03,080 --> 00:48:05,600
Speaker 1: as far as like like I al will spend hours

885
00:48:05,640 --> 00:48:05,880
Speaker 1: on it.

886
00:48:06,160 --> 00:48:08,800
Speaker 2: Yeah, you got number one is going to be a monster.

887
00:48:09,440 --> 00:48:12,359
Speaker 1: But what's the division of labor as far as.

888
00:48:12,960 --> 00:48:17,000
Speaker 2: Save save the labor in the mix. Save the labor

889
00:48:17,040 --> 00:48:20,000
Speaker 2: in the mix, because number one, we coming in front heavy.

890
00:48:20,320 --> 00:48:22,239
Speaker 2: If you come in front heavy like kind of like

891
00:48:22,440 --> 00:48:24,040
Speaker 2: it's all up in the air and you got a

892
00:48:24,120 --> 00:48:28,239
Speaker 2: million possibilities. You coming into the mix like scratching your head,

893
00:48:28,239 --> 00:48:30,319
Speaker 2: like where do we go from here? So you got

894
00:48:30,320 --> 00:48:32,360
Speaker 2: to come in here like, yo, man, this is gonna

895
00:48:32,440 --> 00:48:35,759
Speaker 2: have to be it's setting stone. For example, not live

896
00:48:35,760 --> 00:48:38,560
Speaker 2: in base says is a perfect example. And this is

897
00:48:38,560 --> 00:48:41,279
Speaker 2: why it's hard for one person to talk about it.

898
00:48:41,480 --> 00:48:44,919
Speaker 2: If you had me, Hank, Eric and Keith talking about

899
00:48:44,960 --> 00:48:47,400
Speaker 2: it later on me Hank and Gary talking about me,

900
00:48:47,400 --> 00:48:51,160
Speaker 2: you can't trust it and shut things like that, you

901
00:48:51,239 --> 00:48:54,759
Speaker 2: start to fill in the blanks by everybody talking at

902
00:48:54,760 --> 00:48:56,360
Speaker 2: the same time, because that's how a lot of the

903
00:48:56,360 --> 00:48:59,120
Speaker 2: stuff was built. So then you start to remind it.

904
00:48:59,200 --> 00:49:03,000
Speaker 2: Like the other day, me and Hank was up doing

905
00:49:03,040 --> 00:49:06,279
Speaker 2: something and he reminded me something that I forgot. I

906
00:49:06,320 --> 00:49:08,239
Speaker 2: don't forget a lot, but he reminded me that we

907
00:49:08,280 --> 00:49:10,359
Speaker 2: worked at the same place for a little while at

908
00:49:10,360 --> 00:49:13,120
Speaker 2: the same time, and he was in the record area

909
00:49:13,120 --> 00:49:15,239
Speaker 2: and I was in automotive, and I was like, that's

910
00:49:15,239 --> 00:49:18,080
Speaker 2: what we did? You know we did work together? Job

911
00:49:18,200 --> 00:49:20,960
Speaker 2: was this TSS Tom Square Stores and him. So you

912
00:49:21,000 --> 00:49:23,239
Speaker 2: guys didn't know. We didn't know. It was like, oh

913
00:49:23,320 --> 00:49:26,560
Speaker 2: but we forgot. I forgot that we did. I remember

914
00:49:26,560 --> 00:49:31,040
Speaker 2: that me and Keith changed tires at Seas in Hicksville

915
00:49:31,200 --> 00:49:34,600
Speaker 2: for a whole summer. That was another experience. Really, yeah,

916
00:49:34,600 --> 00:49:37,400
Speaker 2: we changed tires. Man. I had eighteen jobs before this

917
00:49:37,560 --> 00:49:40,960
Speaker 2: became my occupation. Man, So what else were they? What

918
00:49:41,080 --> 00:49:44,000
Speaker 2: other jobs did you do? I never would fix people's

919
00:49:44,000 --> 00:49:47,440
Speaker 2: food or cut people's hair. I ain't doing that. Those

920
00:49:47,440 --> 00:49:52,480
Speaker 2: are danger areas. But cleaning warehouses. I wrote for bum

921
00:49:52,520 --> 00:49:55,759
Speaker 2: Russell Show as a messenger. Yeah, I learned how to

922
00:49:55,800 --> 00:49:59,360
Speaker 2: basically get long weeks. What's your last job before you

923
00:49:59,480 --> 00:50:02,799
Speaker 2: knew that you could make a living in public? And

924
00:50:03,200 --> 00:50:06,040
Speaker 2: I tell everybody in music number one, just like to

925
00:50:06,080 --> 00:50:07,880
Speaker 2: tell you in basketball, the game will tell you what

926
00:50:07,960 --> 00:50:08,239
Speaker 2: to do.

927
00:50:08,880 --> 00:50:11,680
Speaker 1: In music if you dope, it will tell you when

928
00:50:11,760 --> 00:50:14,960
Speaker 1: to't leave the job. It will tell you when you

929
00:50:15,000 --> 00:50:16,440
Speaker 1: could leave your regular.

930
00:50:16,640 --> 00:50:19,279
Speaker 2: Monday to Friday or whatever, pay your rent or pay

931
00:50:19,480 --> 00:50:22,160
Speaker 2: or paying you to eat. Because we all furnaces. You know,

932
00:50:22,200 --> 00:50:25,200
Speaker 2: you got to eat right. It will tell you what

933
00:50:25,320 --> 00:50:27,520
Speaker 2: told me. I had a job. I was a messenger

934
00:50:27,560 --> 00:50:31,160
Speaker 2: for about two years in him Stead. I delivered photo

935
00:50:31,280 --> 00:50:35,880
Speaker 2: packages right to places across Long Island in Queens Great.

936
00:50:36,080 --> 00:50:38,520
Speaker 2: Why because I didn't have a clock on me, I

937
00:50:38,520 --> 00:50:42,400
Speaker 2: didn't nobody looking over my shoulder. And I loved driving.

938
00:50:43,000 --> 00:50:45,200
Speaker 1: When Flavor's talking about remember when we were driving out

939
00:50:45,239 --> 00:50:46,439
Speaker 1: to that was another job.

940
00:50:46,840 --> 00:50:49,319
Speaker 2: That was a job that we we moved for me

941
00:50:49,360 --> 00:50:52,520
Speaker 2: and Flavor move furniture. That's a movie in itself because

942
00:50:52,560 --> 00:50:54,560
Speaker 2: either him at the wheel and where he at the

943
00:50:54,560 --> 00:50:57,480
Speaker 2: wheel and me in the passage seat or vice versa,

944
00:50:57,600 --> 00:50:59,640
Speaker 2: and were yelling at people get up out of the way.

945
00:51:00,080 --> 00:51:02,200
Speaker 2: Hours Stern is playing on the radio. It was a

946
00:51:02,239 --> 00:51:05,080
Speaker 2: crazy time. But we're moving furniture from my pops all

947
00:51:05,080 --> 00:51:08,319
Speaker 2: throughout New York metropolitan areas. But that was just like

948
00:51:08,360 --> 00:51:11,360
Speaker 2: my pops. You know, it wasn't my only job. So

949
00:51:11,800 --> 00:51:14,200
Speaker 2: one job, the job I had before I went on

950
00:51:14,280 --> 00:51:20,279
Speaker 2: tour was delivered these photos government photos, really high end

951
00:51:20,320 --> 00:51:23,879
Speaker 2: photos out of a refined photo lab. So I wrote

952
00:51:23,920 --> 00:51:27,799
Speaker 2: bum Rush the show in that car in the passing seat,

953
00:51:28,040 --> 00:51:31,840
Speaker 2: of course, recording at night, going out to I in

954
00:51:31,960 --> 00:51:34,560
Speaker 2: s studio in Manhattan, going to work the next day.

955
00:51:34,920 --> 00:51:38,720
Speaker 2: You develop things like your sleep, what they call long winks,

956
00:51:39,520 --> 00:51:42,319
Speaker 2: like you had to stop light. Long wink you make.

957
00:51:42,360 --> 00:51:44,400
Speaker 2: You get about a thousand long weeks. You make up

958
00:51:44,440 --> 00:51:47,319
Speaker 2: for the lost sleep. Sometime people tell you, like yo, man,

959
00:51:47,360 --> 00:51:49,239
Speaker 2: you can't make up for lost sleep. Yes, you can

960
00:51:49,760 --> 00:51:52,120
Speaker 2: long winks like I mean even sometimes.

961
00:51:51,680 --> 00:51:55,000
Speaker 1: Been doing bum Rush the show, you have to report

962
00:51:55,120 --> 00:51:57,600
Speaker 1: to your I gotta be somewhere ten thirty to pick

963
00:51:57,680 --> 00:51:58,800
Speaker 1: up a delivery o'clock.

964
00:51:59,160 --> 00:52:01,560
Speaker 2: But that job, I've had a little bit of flexibility

965
00:52:01,600 --> 00:52:04,400
Speaker 2: that allowed me to write the record and listen to

966
00:52:04,400 --> 00:52:07,439
Speaker 2: what I wanted to listen to. Sometimes even like get

967
00:52:07,440 --> 00:52:09,920
Speaker 2: a package, go home and then go out to like

968
00:52:10,000 --> 00:52:12,120
Speaker 2: Brookhaven at the end of Long Island, and then come

969
00:52:12,160 --> 00:52:14,239
Speaker 2: back and then sometimes oh, you don't have to come

970
00:52:14,239 --> 00:52:16,440
Speaker 2: back and just pick up that package and bring it

971
00:52:16,440 --> 00:52:18,560
Speaker 2: in them all. It was a great job. EPD was

972
00:52:18,600 --> 00:52:22,040
Speaker 2: the name of the company owned by a black husband

973
00:52:22,080 --> 00:52:24,879
Speaker 2: and wife, and there was a major company. I thought

974
00:52:24,920 --> 00:52:29,080
Speaker 2: they were inspirational in it in itself. So the business

975
00:52:29,120 --> 00:52:31,520
Speaker 2: will tell you what to do. We had already had

976
00:52:31,520 --> 00:52:34,840
Speaker 2: bum Rush to show and then there was an opening

977
00:52:35,320 --> 00:52:37,319
Speaker 2: and a license ill to it the bottom end of

978
00:52:37,360 --> 00:52:40,200
Speaker 2: it because Fishbone had to go in and finish their album.

979
00:52:40,239 --> 00:52:43,880
Speaker 2: We're all CBS artists back then before it became Sony,

980
00:52:44,440 --> 00:52:48,560
Speaker 2: and we had an opening slot for Public Enemy guys

981
00:52:48,840 --> 00:52:51,280
Speaker 2: thousand dollars a night. But we had two management companies

982
00:52:51,320 --> 00:52:55,880
Speaker 2: and a booking agent. So that's there, fifteen percent there

983
00:52:56,719 --> 00:52:59,480
Speaker 2: and then ten percent you know there. But we did

984
00:52:59,480 --> 00:53:02,200
Speaker 2: the fifteen dates in the van and they was like, oh,

985
00:53:02,200 --> 00:53:03,680
Speaker 2: there's no way you could do it. Hell, we don't

986
00:53:03,680 --> 00:53:05,120
Speaker 2: have to give you a loan. No, we can do

987
00:53:05,200 --> 00:53:08,800
Speaker 2: it well. So I drove from the first day of

988
00:53:08,840 --> 00:53:14,880
Speaker 2: Passaic all through the northeast, played Syracuse, Rochester, New Haven,

989
00:53:14,920 --> 00:53:18,279
Speaker 2: and ended up played Lehigh Valley. These were the first

990
00:53:18,440 --> 00:53:21,560
Speaker 2: markets that were opening up because of the Beastie Boys,

991
00:53:22,800 --> 00:53:26,360
Speaker 2: I mean the Fresh Veester. They playing like major urban city.

992
00:53:26,520 --> 00:53:29,200
Speaker 2: We're playing like so you're benefiting the beastie boy the

993
00:53:29,719 --> 00:53:33,279
Speaker 2: ill effect. We're not playing Boston, We're playing Wooster got It,

994
00:53:33,480 --> 00:53:37,319
Speaker 2: We're playing the Centrum. It's like like you're looking at

995
00:53:37,360 --> 00:53:41,319
Speaker 2: ten twelve thousand, you know, white kids, because they're coming

996
00:53:41,320 --> 00:53:45,279
Speaker 2: out to see Beastie Boys. Murphy's Law Public Enemy, and

997
00:53:45,320 --> 00:53:49,080
Speaker 2: we were totally antithesis to It's like what the hell

998
00:53:49,360 --> 00:53:50,120
Speaker 2: with a siren?

999
00:53:50,160 --> 00:53:54,520
Speaker 1: And the so the caption on the bit before Teradom

1000
00:53:54,960 --> 00:53:57,800
Speaker 1: where the guys like talking about their gentlemen in cages

1001
00:53:57,840 --> 00:53:59,880
Speaker 1: and oozies, and that was real.

1002
00:54:00,040 --> 00:54:02,680
Speaker 2: It was somebody who called Alan Combe's show who actually

1003
00:54:02,680 --> 00:54:06,279
Speaker 2: saw us with the Beastie Boys and was pretty much

1004
00:54:06,280 --> 00:54:10,399
Speaker 2: appalled by Yeah, I seen him and now they had this.

1005
00:54:11,040 --> 00:54:13,480
Speaker 2: When I first seen him, they were like this, and

1006
00:54:13,560 --> 00:54:15,560
Speaker 2: I was appalled when I saw them, and.

1007
00:54:15,480 --> 00:54:17,920
Speaker 1: You were there in the studio as he's describing that.

1008
00:54:18,120 --> 00:54:20,600
Speaker 1: You know, I think that there's scum too.

1009
00:54:20,600 --> 00:54:23,319
Speaker 2: And yeah, I got the tape of the show and

1010
00:54:23,360 --> 00:54:25,560
Speaker 2: maybe the song out of it. I would always be

1011
00:54:25,880 --> 00:54:29,799
Speaker 2: and you you're the same guy back in the day.

1012
00:54:30,360 --> 00:54:33,480
Speaker 2: Matter of fact, I did a voiceover document or audio

1013
00:54:33,560 --> 00:54:36,919
Speaker 2: documentary for you guys. Back in the day. I would

1014
00:54:36,920 --> 00:54:39,680
Speaker 2: be someplace I'm doing an interview and I was like,

1015
00:54:39,760 --> 00:54:41,840
Speaker 2: can can you tape it? Can I get the tape?

1016
00:54:41,960 --> 00:54:44,839
Speaker 2: That's how the crowd came in and takes the nation

1017
00:54:44,880 --> 00:54:47,799
Speaker 2: a million yeah, because I was like, Okay, can I

1018
00:54:47,840 --> 00:54:50,560
Speaker 2: get that the audio tape? So I bring back to

1019
00:54:50,680 --> 00:54:53,160
Speaker 2: green Street. I got the tape. I think we can

1020
00:54:53,239 --> 00:54:56,520
Speaker 2: kind of insperse the you know, interactor, and so we

1021
00:54:56,520 --> 00:54:59,200
Speaker 2: don't have to go record by record by record by record,

1022
00:54:59,200 --> 00:55:02,520
Speaker 2: cause we didn't want to the monotony of a record

1023
00:55:02,880 --> 00:55:06,000
Speaker 2: just going so on by raising hell did that? So

1024
00:55:06,600 --> 00:55:09,719
Speaker 2: how do we break it up? There was two influential records,

1025
00:55:10,000 --> 00:55:14,680
Speaker 2: one Gratitude Earth win in Fire Why because they're kind

1026
00:55:14,680 --> 00:55:17,200
Speaker 2: of doing this that's the way of the world songs,

1027
00:55:17,239 --> 00:55:19,560
Speaker 2: but they're live, but it seems like it's not live.

1028
00:55:19,640 --> 00:55:23,919
Speaker 2: But wow, it's like, so the crowd is what really

1029
00:55:23,960 --> 00:55:26,000
Speaker 2: brought more people to Earth Winn Fire.

1030
00:55:25,840 --> 00:55:29,160
Speaker 1: Because I speaking to what it was their version of

1031
00:55:29,320 --> 00:55:33,120
Speaker 1: live the apollo for James Yeah, yeah, and so that

1032
00:55:33,280 --> 00:55:35,359
Speaker 1: was very influential. And I said, you know what, it's

1033
00:55:35,360 --> 00:55:38,080
Speaker 1: never really been done because whatever's been done live in

1034
00:55:38,200 --> 00:55:42,640
Speaker 1: hip hop, the recordings still ain't doing what the tapes done.

1035
00:55:42,800 --> 00:55:44,799
Speaker 1: And the tapes would have a bunch of although they

1036
00:55:44,800 --> 00:55:49,600
Speaker 1: were kind of rudimentally rudimentary recorded, you still heard like

1037
00:55:50,360 --> 00:55:54,319
Speaker 1: somebody saying, oh, you want to hear like yeah, as

1038
00:55:54,360 --> 00:55:57,440
Speaker 1: opposed somebody say, oh and it was recorded right, but

1039
00:55:57,920 --> 00:56:01,880
Speaker 1: you don't hear nobody right. So in house recording was

1040
00:56:01,920 --> 00:56:04,319
Speaker 1: probably the tape that did the most because it had

1041
00:56:04,320 --> 00:56:04,920
Speaker 1: the interaction.

1042
00:56:05,280 --> 00:56:05,880
Speaker 2: He said, two.

1043
00:56:05,760 --> 00:56:07,960
Speaker 1: Albums, Gratitude was one. What was the other one for you?

1044
00:56:09,040 --> 00:56:11,480
Speaker 1: The other one not Live of the.

1045
00:56:11,480 --> 00:56:18,640
Speaker 2: Apollo or no, no, no Gratitude And I'm having a

1046
00:56:19,280 --> 00:56:22,919
Speaker 2: brain fog at the minute. Okay, I told people, I said,

1047
00:56:22,920 --> 00:56:25,440
Speaker 2: we want to make of what's going on of rap? Gotcha?

1048
00:56:25,560 --> 00:56:27,880
Speaker 2: But that was you know, like you kind of talking

1049
00:56:27,960 --> 00:56:31,359
Speaker 2: shit before you even did it. But it is. Yeah,

1050
00:56:31,400 --> 00:56:33,560
Speaker 2: but the name of the album was supposed to be

1051
00:56:33,560 --> 00:56:35,640
Speaker 2: count down the Arm Again, is it.

1052
00:56:35,560 --> 00:56:38,399
Speaker 1: True that side too was supposed to be side one?

1053
00:56:38,480 --> 00:56:41,480
Speaker 2: Inside? Side two? Was side one? You were starting the

1054
00:56:41,480 --> 00:56:44,040
Speaker 2: record with she watched channel zero but this is but

1055
00:56:44,520 --> 00:56:47,520
Speaker 2: what the hell? But this is where No, no, it

1056
00:56:47,600 --> 00:56:50,160
Speaker 2: was gonna start with showing what you got. Well, yeah,

1057
00:56:50,160 --> 00:56:53,320
Speaker 2: I know that, I know. It's an intro last second,

1058
00:56:53,960 --> 00:56:59,200
Speaker 2: the last minute, Howie Weinberg. Hank was like, that's when

1059
00:56:59,200 --> 00:57:02,319
Speaker 2: the DJ instant keeping because back then, you know, the

1060
00:57:02,320 --> 00:57:05,480
Speaker 2: century line was very important. Why everybody's songs had to

1061
00:57:05,880 --> 00:57:09,320
Speaker 2: especially if you black, it had to result in movement.

1062
00:57:10,360 --> 00:57:14,360
Speaker 2: What's the body movement with today's music, It's not dance.

1063
00:57:15,040 --> 00:57:19,200
Speaker 2: You got dancers that kind of exhibit themselves. But would

1064
00:57:19,240 --> 00:57:24,640
Speaker 2: you say today if somebody is twenty one savage or whatever,

1065
00:57:24,800 --> 00:57:28,120
Speaker 2: that's kind of old school now, right.

1066
00:57:30,480 --> 00:57:34,880
Speaker 1: All right, But I'm just saying telling you though, yeah, yeah, yeah,

1067
00:57:35,400 --> 00:57:37,920
Speaker 1: it's like because in my mind twenty seventeen was like

1068
00:57:38,600 --> 00:57:40,320
Speaker 1: last year, not ten years ago.

1069
00:57:40,560 --> 00:57:45,280
Speaker 2: But also, music is not sound anymore, sight, sound, story, style,

1070
00:57:45,440 --> 00:57:48,160
Speaker 2: all the elements, and you might have people that might

1071
00:57:48,160 --> 00:57:50,120
Speaker 2: not even know what something sounds like, but it's like,

1072
00:57:51,160 --> 00:57:53,400
Speaker 2: but it's the same way I might listen to Paul Chambers.

1073
00:57:53,400 --> 00:57:55,720
Speaker 2: Am I listening to Paul Chambers? Or am I looking

1074
00:57:55,720 --> 00:57:58,000
Speaker 2: at the jacket and the cover and it's all of

1075
00:57:58,000 --> 00:57:59,640
Speaker 2: a background noise to me, you know what I'm saying.

1076
00:57:59,680 --> 00:58:03,160
Speaker 2: So the aesthetica of blues and jazz always hit me

1077
00:58:03,240 --> 00:58:06,440
Speaker 2: more than what it sounded like. It's just like to

1078
00:58:06,600 --> 00:58:08,880
Speaker 2: people to talk about mumble rap. You could go from

1079
00:58:08,920 --> 00:58:12,360
Speaker 2: mumble to gibberish real quick or word salad and all that.

1080
00:58:12,880 --> 00:58:16,400
Speaker 2: But it's kind of like the same with me with

1081
00:58:16,560 --> 00:58:20,640
Speaker 2: singing records. You probably study the lyrics and singing records

1082
00:58:20,680 --> 00:58:23,120
Speaker 2: more than me, Like what are they saying? And get away?

1083
00:58:23,520 --> 00:58:27,840
Speaker 2: You know what I mean? So isn't that a little

1084
00:58:27,880 --> 00:58:30,080
Speaker 2: bit like mumbling or what I mean, singing it.

1085
00:58:30,160 --> 00:58:33,680
Speaker 1: I never really once said singior senseless songs to the mindless.

1086
00:58:33,720 --> 00:58:36,520
Speaker 2: I mean, but it wasn't necessary to talk about that.

1087
00:58:36,560 --> 00:58:38,880
Speaker 2: I mean, look, I mean, what what's what's the other? Well?

1088
00:58:38,880 --> 00:58:40,640
Speaker 2: I just recently found cause I listened to a lot

1089
00:58:40,640 --> 00:58:44,520
Speaker 2: of uh serious sixties and seventies all the time, religiously,

1090
00:58:44,560 --> 00:58:47,600
Speaker 2: maybe a little bit too much. I didn't know that

1091
00:58:47,960 --> 00:58:50,680
Speaker 2: Steve Miller. I had no idea what he's saying a

1092
00:58:50,720 --> 00:58:52,760
Speaker 2: game I as. I was always thinking he's talking about

1093
00:58:52,800 --> 00:58:58,320
Speaker 2: some New Carolina. He ain't a camera. Oh yes, I

1094
00:58:58,640 --> 00:59:00,000
Speaker 2: was like, what the fuck is he saying?

1095
00:59:00,320 --> 00:59:00,919
Speaker 1: And didn't care.

1096
00:59:01,560 --> 00:59:04,240
Speaker 2: So how is that much different from mumbo rap?

1097
00:59:04,600 --> 00:59:09,080
Speaker 1: It's a feeling, Well, mumbo rap is a generation that's numb.

1098
00:59:09,840 --> 00:59:13,720
Speaker 2: You know what I'm talking about. Who's doing it and

1099
00:59:13,720 --> 00:59:16,880
Speaker 2: how they do it, their execution vocally, they're not gonna

1100
00:59:17,040 --> 00:59:19,240
Speaker 2: have words, and you're not gonna get like a bag

1101
00:59:19,280 --> 00:59:23,680
Speaker 2: of words. But they might just like and I've I've

1102
00:59:23,720 --> 00:59:26,520
Speaker 2: done that with some songs like in Terror Dome, I

1103
00:59:26,800 --> 00:59:28,640
Speaker 2: glossed over some shit. I didn't know what the fuck

1104
00:59:28,680 --> 00:59:29,439
Speaker 2: I was talking about.

1105
00:59:29,760 --> 00:59:33,080
Speaker 1: If you would ask me, right Now, what is the

1106
00:59:33,120 --> 00:59:36,720
Speaker 1: top run DMC song their signature song. I hate to

1107
00:59:36,760 --> 00:59:39,240
Speaker 1: disappoint people, it's gonna be it's tricky.

1108
00:59:40,120 --> 00:59:42,000
Speaker 2: It's when the smoke clears. Wow.

1109
00:59:43,280 --> 00:59:46,160
Speaker 1: But say with September, it was supposed to be Shining Star.

1110
00:59:47,040 --> 00:59:50,600
Speaker 1: It was supposed to be was this tricky, right? But

1111
00:59:50,800 --> 00:59:52,800
Speaker 1: for some reason it's tricky.

1112
00:59:52,520 --> 00:59:55,240
Speaker 2: They're running them. Ever tell you that I just recently

1113
00:59:55,280 --> 00:59:58,720
Speaker 2: found this one out. But that run said Larry Smith

1114
00:59:59,000 --> 01:00:01,520
Speaker 2: tried to make planet and that's how it's like that

1115
01:00:01,560 --> 01:00:04,200
Speaker 2: came along. He makes sense. He's trying to make a

1116
01:00:04,280 --> 01:00:10,040
Speaker 2: planet rock, right, So all right, here's the kick, the

1117
01:00:10,080 --> 01:00:14,440
Speaker 2: big boom boom boom right. I always had the theory,

1118
01:00:14,800 --> 01:00:17,400
Speaker 2: and I've known these guys forever, right, But I'm asking

1119
01:00:17,560 --> 01:00:20,680
Speaker 2: studio questions two years ago and we all got together

1120
01:00:20,960 --> 01:00:24,480
Speaker 2: for Hip Hop fifty right, So I'm like saying, what

1121
01:00:24,600 --> 01:00:27,720
Speaker 2: brought the big beat sound to the first time I

1122
01:00:27,760 --> 01:00:31,360
Speaker 2: heard it's like that woom whoa, whoa whoa and also

1123
01:00:31,480 --> 01:00:36,959
Speaker 2: sucking them seas boom bom bomb right, groundbreaking sound? I said,

1124
01:00:37,120 --> 01:00:40,760
Speaker 2: was it soul sonic force looking for the perfect beat

1125
01:00:40,800 --> 01:00:44,120
Speaker 2: when we were all looking for the perfect beat, and

1126
01:00:44,440 --> 01:00:47,680
Speaker 2: finally they go beat this boom bomb ba bomb and

1127
01:00:47,760 --> 01:00:51,560
Speaker 2: off the Baker made it kind of big. Did that

1128
01:00:51,720 --> 01:00:54,520
Speaker 2: do anything to you? And Larry and Run said yeah,

1129
01:00:54,560 --> 01:00:57,080
Speaker 2: because when we did action all over again, they said,

1130
01:00:57,080 --> 01:01:01,520
Speaker 2: why don't we throw our whole joint like that? Right? Right?

1131
01:01:01,960 --> 01:01:06,040
Speaker 2: Oh shit, right, you're right. I'm conscious, Yo, man, you

1132
01:01:06,080 --> 01:01:08,000
Speaker 2: know what I did? I punched Run so hard on

1133
01:01:08,080 --> 01:01:12,720
Speaker 2: the chest. Right, He's like, yo, brokilling, I said, it

1134
01:01:12,800 --> 01:01:15,880
Speaker 2: was sitting in my head for so long. Man. That

1135
01:01:15,920 --> 01:01:18,560
Speaker 2: what made them go from and then from after that,

1136
01:01:18,720 --> 01:01:21,120
Speaker 2: like Trevor Horn and all those guys tried to do that.

1137
01:01:21,440 --> 01:01:24,120
Speaker 2: It's like Arthur Baker one. They because we were looking

1138
01:01:24,240 --> 01:01:28,479
Speaker 2: for the perfect beat, and the perfect beat wasn't it

1139
01:01:29,040 --> 01:01:32,800
Speaker 2: except for one little little breakdown. I'm like, okay, this

1140
01:01:32,840 --> 01:01:35,280
Speaker 2: is what this is what we're getting. When Joey and

1141
01:01:35,320 --> 01:01:39,000
Speaker 2: them went like next to next year, they said okay,

1142
01:01:39,480 --> 01:01:43,000
Speaker 2: and Joey said, yo, man, just throw that whole joint

1143
01:01:43,040 --> 01:01:45,960
Speaker 2: in that boom boom boom. And that's how they came

1144
01:01:46,040 --> 01:01:47,760
Speaker 2: up with it like that. That's how they came up

1145
01:01:47,760 --> 01:01:50,880
Speaker 2: with those big beats. Man. Right.

1146
01:02:03,200 --> 01:02:06,520
Speaker 1: Well, my whole point was terdom to me. I know,

1147
01:02:06,560 --> 01:02:09,080
Speaker 1: fight the power is supposed to be the signature song.

1148
01:02:10,320 --> 01:02:13,600
Speaker 1: I think Rebel without a Pause is the song that

1149
01:02:13,840 --> 01:02:18,240
Speaker 1: some can say saved you, established you, you know, and

1150
01:02:18,280 --> 01:02:22,200
Speaker 1: bring the noise to me is a miracle because very

1151
01:02:22,320 --> 01:02:26,160
Speaker 1: rarely will you find a follow up song that literally

1152
01:02:26,240 --> 01:02:29,520
Speaker 1: could match or surpass. I don't think once I remember

1153
01:02:29,800 --> 01:02:31,640
Speaker 1: without a pause. I just thought like, Okay, this is

1154
01:02:31,680 --> 01:02:34,520
Speaker 1: the one song that you guys get one time to

1155
01:02:34,640 --> 01:02:35,400
Speaker 1: change our lives.

1156
01:02:35,400 --> 01:02:38,360
Speaker 2: That's how it is, one person, and that's what The

1157
01:02:38,400 --> 01:02:40,760
Speaker 2: next song that we recorded after that was Don't Believe

1158
01:02:40,760 --> 01:02:43,880
Speaker 2: the Hype, which I felt was a purposeful like, let's

1159
01:02:43,880 --> 01:02:47,360
Speaker 2: set like, here's the letter to the fastball, like, yo,

1160
01:02:47,480 --> 01:02:50,440
Speaker 2: you're not you're getting an ephis like and when we

1161
01:02:50,520 --> 01:02:53,760
Speaker 2: tried the but that was smart though, well we because

1162
01:02:53,760 --> 01:02:56,280
Speaker 2: it let us down a little bit. You can't repeat that.

1163
01:02:57,200 --> 01:02:59,760
Speaker 2: I mean listen, when Hank had the master and we

1164
01:02:59,800 --> 01:03:02,720
Speaker 2: had acetate, we gave it the Chuck chill out man.

1165
01:03:02,760 --> 01:03:04,960
Speaker 2: By the time I got back down to the car,

1166
01:03:05,760 --> 01:03:10,840
Speaker 2: Chuck had put it on the radio. Man. It's like, yo, man.

1167
01:03:11,200 --> 01:03:14,360
Speaker 2: When that was when that was mastered, that's what I

1168
01:03:14,400 --> 01:03:16,280
Speaker 2: was like, yoo, who could die them? All? That record

1169
01:03:16,320 --> 01:03:18,800
Speaker 2: got a life of its own. It's gone no matter what,

1170
01:03:18,920 --> 01:03:20,040
Speaker 2: and there's nothing can stop that.

1171
01:03:20,160 --> 01:03:23,840
Speaker 1: How many records did you guys go through before you

1172
01:03:23,880 --> 01:03:29,880
Speaker 1: settled on the most unlikely place, which is chub Rock's

1173
01:03:30,080 --> 01:03:31,040
Speaker 1: rock and roll Dude.

1174
01:03:31,880 --> 01:03:35,680
Speaker 2: I didn't even know rock and roll dude existed. I

1175
01:03:35,720 --> 01:03:38,080
Speaker 2: remember because we would do a thing with fredman Neale

1176
01:03:38,600 --> 01:03:43,680
Speaker 2: and Select Records, and I remember Fredmanale telling true mathematics.

1177
01:03:43,760 --> 01:03:45,920
Speaker 2: Yeah yeah, okay, he's telling me and he said this

1178
01:03:45,960 --> 01:03:48,360
Speaker 2: is this is like the Chubby Check of hip hop.

1179
01:03:50,120 --> 01:03:53,040
Speaker 2: And he tells her about tub Rock, who later on

1180
01:03:53,160 --> 01:03:58,200
Speaker 2: does probably one of the most public relations thoughtful so

1181
01:04:00,200 --> 01:04:03,320
Speaker 2: human resource songs ever. Would treat him right because the

1182
01:04:03,400 --> 01:04:06,200
Speaker 2: most of all time, yeah, all the time, it's like

1183
01:04:06,440 --> 01:04:08,960
Speaker 2: artist ship. Matter of fact, before you start your career,

1184
01:04:09,440 --> 01:04:11,520
Speaker 2: listen to Chubb Rock, and I think a whole lot

1185
01:04:11,560 --> 01:04:17,520
Speaker 2: of people might have not gotten shot robbed notes. I

1186
01:04:17,600 --> 01:04:20,240
Speaker 2: took notes such a blessing us.

1187
01:04:20,720 --> 01:04:23,959
Speaker 1: But before he really got big, I didn't know about

1188
01:04:23,960 --> 01:04:24,680
Speaker 1: that first record.

1189
01:04:24,840 --> 01:04:28,000
Speaker 2: Yeah yeah, yeah, I did not that record terminated and

1190
01:04:28,040 --> 01:04:31,280
Speaker 2: found that part rock and roll dude, and he used

1191
01:04:31,280 --> 01:04:33,920
Speaker 2: it because Norman says, okay, we're making sort of like

1192
01:04:33,960 --> 01:04:36,960
Speaker 2: bring the noise, like a rock type record maybe and

1193
01:04:37,120 --> 01:04:40,960
Speaker 2: First of all, we're working to the early morning, like

1194
01:04:40,960 --> 01:04:44,920
Speaker 2: like Pete Rock says on on runs record, Yeah, so

1195
01:04:46,040 --> 01:04:48,280
Speaker 2: we're sleeping and he's doing this and it sounded like

1196
01:04:48,520 --> 01:04:52,480
Speaker 2: gibberish and it was like nah, man, it was like

1197
01:04:52,760 --> 01:04:55,560
Speaker 2: number one. That record was like a Frankenstein construction. Anyway,

1198
01:04:55,560 --> 01:04:57,360
Speaker 2: it was like we are we will all with this.

1199
01:04:58,360 --> 01:05:02,240
Speaker 2: And I think Hank took the or one of us

1200
01:05:02,280 --> 01:05:06,440
Speaker 2: took Eric took out the base on the scratch and

1201
01:05:06,560 --> 01:05:09,560
Speaker 2: made all the sense in the world. Wow, that's how

1202
01:05:09,600 --> 01:05:12,120
Speaker 2: it wound up. Yeah, because the base was conflicting with

1203
01:05:12,160 --> 01:05:14,960
Speaker 2: the other stuff and it was just like jumbled, and

1204
01:05:15,200 --> 01:05:17,440
Speaker 2: we took the base out and it was like glass

1205
01:05:17,480 --> 01:05:20,600
Speaker 2: and it became a signature for Norman for years to come.

1206
01:05:21,200 --> 01:05:25,200
Speaker 2: Where is truth Manics? By the way, who was truth Mathematics?

1207
01:05:25,920 --> 01:05:29,520
Speaker 2: He's a great artist or writer named Kenny Spam. And

1208
01:05:30,240 --> 01:05:32,040
Speaker 2: I would give the names right because I would be

1209
01:05:32,080 --> 01:05:33,120
Speaker 2: the pretty much giving you.

1210
01:05:33,160 --> 01:05:35,600
Speaker 1: The So you named leaders of the New School young

1211
01:05:35,640 --> 01:05:37,120
Speaker 1: Black Teenagers, son of Berserk.

1212
01:05:37,280 --> 01:05:39,960
Speaker 2: If I didn't name it, then Hank would name it,

1213
01:05:40,000 --> 01:05:41,520
Speaker 2: and we're just like, it's got to be better. And

1214
01:05:41,600 --> 01:05:45,760
Speaker 2: then I would make logos for artists too, because I'm like,

1215
01:05:45,800 --> 01:05:48,280
Speaker 2: you're going to come through here. You're going to have

1216
01:05:48,320 --> 01:05:51,720
Speaker 2: an identity when you leave. You coming in here with talent,

1217
01:05:52,600 --> 01:05:55,160
Speaker 2: but your talent developing the skill. You gotta have something

1218
01:05:55,200 --> 01:05:58,440
Speaker 2: to go out there, even long Allen, it's got to

1219
01:05:58,480 --> 01:06:01,920
Speaker 2: be us against the world, So you gotta show like

1220
01:06:01,960 --> 01:06:04,240
Speaker 2: you got something. It really ain't got a long stone

1221
01:06:04,240 --> 01:06:06,480
Speaker 2: in the throat now, because it ain't like it was

1222
01:06:06,520 --> 01:06:08,480
Speaker 2: five years earlier where you had to go up against

1223
01:06:08,520 --> 01:06:11,760
Speaker 2: Mo d and all all those those are super human

1224
01:06:12,400 --> 01:06:15,520
Speaker 2: hip hop gods. These guys are right here in Queens.

1225
01:06:15,840 --> 01:06:20,400
Speaker 2: They ten fifteen minutes away. This ship is reachable. So

1226
01:06:20,840 --> 01:06:23,640
Speaker 2: True Math was Kenny Spam. We're like, well, listen, if

1227
01:06:23,640 --> 01:06:26,439
Speaker 2: you take this name True Mathematics, and I would look

1228
01:06:26,480 --> 01:06:30,040
Speaker 2: in Ebony and I saw this guy True Mathematics, who

1229
01:06:30,360 --> 01:06:37,040
Speaker 2: coincidentally later on became known as hok Islam. That's how

1230
01:06:37,080 --> 01:06:40,320
Speaker 2: you named him. The name True Mathematics was dope because

1231
01:06:40,360 --> 01:06:42,960
Speaker 2: you know, it wasn't far off. Everybody was familiar with

1232
01:06:43,000 --> 01:06:48,960
Speaker 2: five per centers and no, hell no, this kid where teens.

1233
01:06:49,440 --> 01:06:51,680
Speaker 2: It was Kenny Spam. Okay, it was like we went

1234
01:06:51,760 --> 01:06:53,400
Speaker 2: for Spam. Ideas.

1235
01:06:53,560 --> 01:06:55,560
Speaker 1: Always make him sound like he's talking through the CB.

1236
01:06:56,240 --> 01:06:58,800
Speaker 2: We had to figure out something that wouldn't give him

1237
01:06:58,800 --> 01:07:02,320
Speaker 2: a style, you know, as as a rapper. Though for

1238
01:07:02,480 --> 01:07:03,880
Speaker 2: the money was my shit.

1239
01:07:04,480 --> 01:07:07,320
Speaker 1: I love the shit out this long, all right, because

1240
01:07:07,360 --> 01:07:11,280
Speaker 1: we look at you kind of in superhero mode and

1241
01:07:11,440 --> 01:07:14,840
Speaker 1: always asking about your career or whatever. I mean, you

1242
01:07:15,000 --> 01:07:17,880
Speaker 1: revealing about you roller skating was the most human Chuck

1243
01:07:17,920 --> 01:07:19,120
Speaker 1: d story I've ever heard.

1244
01:07:19,480 --> 01:07:24,080
Speaker 2: Backwards, these are ron backwards in roller skate back back then.

1245
01:07:24,160 --> 01:07:26,800
Speaker 1: Yeah, so I'm still trying to get that out. Look,

1246
01:07:26,920 --> 01:07:28,560
Speaker 1: I once went rollerskating with Prince.

1247
01:07:29,000 --> 01:07:29,919
Speaker 2: We did. Oh wow.

1248
01:07:29,960 --> 01:07:36,360
Speaker 1: He called me at eleven pm. Prince, his the ex wife,

1249
01:07:36,720 --> 01:07:42,360
Speaker 1: Larry Graham, Tina Graham, Eddie Murphy, Nicole Murphy, me and

1250
01:07:42,400 --> 01:07:46,240
Speaker 1: my ex girlfriend at the time, eight of us in Glendale.

1251
01:07:46,800 --> 01:07:50,760
Speaker 2: Okay, what did they shut it down? This was dude.

1252
01:07:50,760 --> 01:07:54,200
Speaker 1: It was like one in the morning and Prince walks

1253
01:07:54,240 --> 01:07:59,080
Speaker 1: in and pulls out a briefcase Paul Fiction style, opens

1254
01:07:59,080 --> 01:08:01,280
Speaker 1: it and the ship is and the first thing he said,

1255
01:08:01,480 --> 01:08:04,400
Speaker 1: now this is like two thousand and five, He's like,

1256
01:08:04,600 --> 01:08:07,520
Speaker 1: put your phone away, like social media doesn't exist yet,

1257
01:08:07,640 --> 01:08:09,680
Speaker 1: Twitter doesn't exist, none of this thing. I had a

1258
01:08:09,720 --> 01:08:12,080
Speaker 1: palm pilot. I was like, what do you teachs No,

1259
01:08:12,120 --> 01:08:13,760
Speaker 1: I don't want to see this on the internet. I'm like,

1260
01:08:13,840 --> 01:08:17,960
Speaker 1: see what? And then he pulls out these translucent skates.

1261
01:08:18,560 --> 01:08:19,320
Speaker 2: That light.

1262
01:08:21,040 --> 01:08:23,519
Speaker 1: And there's a Xana do effect to the ship where

1263
01:08:23,560 --> 01:08:26,080
Speaker 1: like the more it's on wood. I don't know if

1264
01:08:26,120 --> 01:08:29,120
Speaker 1: you've ever been to the Glen Tell roller Ring, but

1265
01:08:29,479 --> 01:08:33,360
Speaker 1: like the sparks of the wheel are also having friction on.

1266
01:08:33,240 --> 01:08:36,880
Speaker 2: The like it's literally a xanag. Me and Eddie Murphy

1267
01:08:36,960 --> 01:08:39,080
Speaker 2: literally like we can't believe we're seeing this right now.

1268
01:08:39,160 --> 01:08:40,240
Speaker 2: Like literally.

1269
01:08:41,560 --> 01:08:43,600
Speaker 1: Eddie and I talked about this ten years later. I said, Yo,

1270
01:08:43,680 --> 01:08:45,439
Speaker 1: you remember the night we went roller skate with Prince.

1271
01:08:45,479 --> 01:08:47,759
Speaker 1: He says, Yo, you didn't hear the after you left.

1272
01:08:48,360 --> 01:08:50,280
Speaker 1: And then this is when Prince was heavy on his

1273
01:08:51,240 --> 01:08:55,960
Speaker 1: Jovah's Witness thing. He's like at one point Prince like

1274
01:08:56,479 --> 01:08:59,040
Speaker 1: jumped and then backwards and.

1275
01:08:59,000 --> 01:09:01,360
Speaker 2: Said Edie Murphy, when you're going to come to Kingdom

1276
01:09:01,400 --> 01:09:05,880
Speaker 2: Hall with me? And then literally like just literally went

1277
01:09:05,920 --> 01:09:09,519
Speaker 2: the hip surgery like a year later. Exactly wasn't the

1278
01:09:09,640 --> 01:09:11,639
Speaker 2: dancing in the splits, it was that roller skating.

1279
01:09:11,720 --> 01:09:14,120
Speaker 1: No, it was he fell off a piano and like

1280
01:09:14,479 --> 01:09:16,160
Speaker 1: a lank City and damaged his back.

1281
01:09:16,760 --> 01:09:17,960
Speaker 2: All right, My.

1282
01:09:17,920 --> 01:09:21,000
Speaker 1: Final question is Steve, last meal on the earth? What

1283
01:09:21,000 --> 01:09:25,880
Speaker 1: would it be? Last meal? Yes, I'm asking human questions.

1284
01:09:26,120 --> 01:09:29,200
Speaker 2: It would probably be fish that when it came down

1285
01:09:29,200 --> 01:09:32,920
Speaker 2: to fish, right, I always thought that Rock Kim's line

1286
01:09:32,960 --> 01:09:35,080
Speaker 2: was foreign to me back then, and I ended up

1287
01:09:35,080 --> 01:09:36,280
Speaker 2: being a good fish either.

1288
01:09:36,920 --> 01:09:39,439
Speaker 1: I mean everyone got to have the fish sandwich like.

1289
01:09:39,560 --> 01:09:43,920
Speaker 2: Yeah, but you know, yeah, yeah, okay, maybe that.

1290
01:09:44,200 --> 01:09:47,920
Speaker 1: Everyone knows like a good When you get sixty five, man,

1291
01:09:48,320 --> 01:09:49,840
Speaker 1: you were really getting into that area.

1292
01:09:49,880 --> 01:09:52,800
Speaker 2: What you better not have? So even at the last meal,

1293
01:09:52,880 --> 01:09:56,680
Speaker 2: so you know what, avocados have jumped on me in

1294
01:09:56,720 --> 01:10:01,280
Speaker 2: the last ten years, this count for you. Yeah, and

1295
01:10:01,360 --> 01:10:04,920
Speaker 2: having an avocado tree is really good. All right.

1296
01:10:05,280 --> 01:10:07,439
Speaker 1: If not the leader of one of the greatest groups

1297
01:10:07,479 --> 01:10:09,920
Speaker 1: of all time, what would you have been?

1298
01:10:10,320 --> 01:10:13,880
Speaker 2: Oh, illustrator, no, hands down and a kick ass one too.

1299
01:10:14,840 --> 01:10:19,920
Speaker 2: I am where you're you're I've worked with these with

1300
01:10:20,000 --> 01:10:24,439
Speaker 2: the guys, I mean what you call freestyle freelance. So yeah,

1301
01:10:24,560 --> 01:10:27,120
Speaker 2: I don't know anybody looking over my shoulder, and I'm

1302
01:10:27,120 --> 01:10:30,360
Speaker 2: pretty much an abstract illustrator like I am an MC.

1303
01:10:31,080 --> 01:10:33,160
Speaker 2: I could be a fine artist you are if I

1304
01:10:33,240 --> 01:10:35,519
Speaker 2: want to, But I also like to be It's a

1305
01:10:35,520 --> 01:10:42,720
Speaker 2: difference between being fine artists, graphic artists, illustrator quick at it.

1306
01:10:42,760 --> 01:10:45,040
Speaker 2: And during the pandemic, I was able to work on

1307
01:10:45,080 --> 01:10:45,960
Speaker 2: my speed skills.

1308
01:10:46,320 --> 01:10:52,519
Speaker 1: Okay, yeah during prime PE. Uh your your first ten

1309
01:10:52,600 --> 01:10:58,080
Speaker 1: years a pe? What three figures had you starstruck?

1310
01:10:59,160 --> 01:11:02,320
Speaker 2: Like autographs living at the time, Yeah, like in your

1311
01:11:02,400 --> 01:11:04,880
Speaker 2: in your your travels, like what three figures? Was like,

1312
01:11:04,920 --> 01:11:09,320
Speaker 2: holy shit, I'm meeting I mean, I mean because I've

1313
01:11:09,360 --> 01:11:13,479
Speaker 2: come across a lot of people from mister Farrakhan and

1314
01:11:14,000 --> 01:11:18,360
Speaker 2: in that whole circle in Reverend Jackson, and I met

1315
01:11:18,439 --> 01:11:22,880
Speaker 2: James Brown once but never really met him. Did he

1316
01:11:23,000 --> 01:11:25,560
Speaker 2: know you were? Yeah? But let me this is this

1317
01:11:25,680 --> 01:11:28,799
Speaker 2: is I'll be short. At the turn of the century,

1318
01:11:28,920 --> 01:11:30,880
Speaker 2: I think I was giving Prince All Award. I forgot

1319
01:11:30,920 --> 01:11:33,599
Speaker 2: what the name of this award show was. And so

1320
01:11:33,760 --> 01:11:38,400
Speaker 2: it was out here somewhere and I was backstage and

1321
01:11:38,479 --> 01:11:40,559
Speaker 2: as I was getting ready to go on the stage

1322
01:11:40,560 --> 01:11:44,360
Speaker 2: and present Princess Award and that was a crazy backstage night. True.

1323
01:11:45,600 --> 01:11:48,599
Speaker 2: I leave and I go to the green area and

1324
01:11:48,640 --> 01:11:51,439
Speaker 2: I see this guy turned around. He had like a

1325
01:11:51,520 --> 01:11:56,200
Speaker 2: suit and hair, and I was like, and I knew

1326
01:11:56,280 --> 01:12:00,200
Speaker 2: that all my James James Brown Studies. I was, well, well,

1327
01:12:00,439 --> 01:12:02,360
Speaker 2: if it is him, you better have mister in front

1328
01:12:02,360 --> 01:12:04,680
Speaker 2: of that name mister Brown, right And I tapped him

1329
01:12:04,680 --> 01:12:08,800
Speaker 2: on the shoulder and he turned around. Hey, how you doing,

1330
01:12:08,800 --> 01:12:12,760
Speaker 2: mister Brown? My name is Chuck and Chuck Dee from

1331
01:12:12,840 --> 01:12:16,120
Speaker 2: public to me and anyone? Oh, And I said, can

1332
01:12:16,120 --> 01:12:19,639
Speaker 2: you hold it right there? And I this is before

1333
01:12:19,920 --> 01:12:22,960
Speaker 2: cameras right right right? Anybody got camera? Anybody can camera.

1334
01:12:23,200 --> 01:12:26,679
Speaker 2: I finally get somebody's camera. Give back to that area.

1335
01:12:26,840 --> 01:12:31,040
Speaker 2: He's on stage with Genuine. Say what Yeah, he's on

1336
01:12:31,080 --> 01:12:34,200
Speaker 2: stage with Genuine. So I'm going around on it. I'm

1337
01:12:34,240 --> 01:12:38,200
Speaker 2: trying to catch him. Maybe leave stage left. So I

1338
01:12:38,240 --> 01:12:40,599
Speaker 2: get to stage left real quick with the camera right

1339
01:12:40,760 --> 01:12:42,400
Speaker 2: and I'm gonna get him when he comes off or whatever.

1340
01:12:42,640 --> 01:12:44,160
Speaker 2: And I'm with you, who am I talking to? I'm

1341
01:12:44,160 --> 01:12:48,080
Speaker 2: talking to Denzel. So so we're waiting. We're waiting. He

1342
01:12:48,640 --> 01:12:52,240
Speaker 2: leaves stage right. I run around. He's out of there.

1343
01:12:52,880 --> 01:12:57,280
Speaker 2: Only time meet James Brown and he was excited. Damn well, at.

1344
01:12:57,280 --> 01:12:59,320
Speaker 1: Least you got that out of him. At least you

1345
01:12:59,360 --> 01:12:59,600
Speaker 1: got that.

1346
01:13:00,120 --> 01:13:04,599
Speaker 2: Hoh. I'm like, hold it right there, came back nothing.

1347
01:13:05,320 --> 01:13:07,280
Speaker 1: What was the first concert you ever attended?

1348
01:13:08,200 --> 01:13:11,719
Speaker 2: Did I even attended and bought with my own money? Yes?

1349
01:13:13,520 --> 01:13:20,160
Speaker 2: Madison Square Garden, nineteen seventy eight, October Right, O Jay's,

1350
01:13:20,280 --> 01:13:23,479
Speaker 2: Commodore's Brothers Johnson, What on line? Who who went on

1351
01:13:23,640 --> 01:13:28,599
Speaker 2: last brother? Johnson's opened up? Oh, Jay's closed brother, Commodo's

1352
01:13:28,640 --> 01:13:29,839
Speaker 2: closed it out? Okay?

1353
01:13:30,160 --> 01:13:32,759
Speaker 1: Is there a song that makes you cry for no reason?

1354
01:13:33,080 --> 01:13:36,360
Speaker 1: Either prompts a memory or man, it minds me of

1355
01:13:36,400 --> 01:13:39,639
Speaker 1: Big Mama, or just is there a song that makes

1356
01:13:39,640 --> 01:13:40,800
Speaker 1: you emotional.

1357
01:13:40,360 --> 01:13:43,479
Speaker 2: For no reason? My Girl Temptations, your Mommy and my

1358
01:13:43,560 --> 01:13:45,799
Speaker 2: Daughter's nice? Nice?

1359
01:13:46,080 --> 01:13:48,960
Speaker 1: What song are you ashamed to say that you actually like?

1360
01:13:49,560 --> 01:13:50,200
Speaker 2: Ashamed?

1361
01:13:50,560 --> 01:13:52,639
Speaker 1: Do you know the worst of Macarena or something?

1362
01:13:52,760 --> 01:13:55,840
Speaker 2: Or like, I'm never ashamed of any song I like?

1363
01:13:56,000 --> 01:13:58,799
Speaker 2: Or Rick Astley's never going to give you up? But no, no,

1364
01:13:58,800 --> 01:14:02,640
Speaker 2: no body. Every time I think about like my forward Road,

1365
01:14:02,880 --> 01:14:05,599
Speaker 2: you know, I always think, I don't think I'm ashamed

1366
01:14:05,680 --> 01:14:09,280
Speaker 2: of it, like running on empty Jackson Brown, that's respectable, Yes,

1367
01:14:09,800 --> 01:14:12,080
Speaker 2: I got respectful. But there's gotta be a song in

1368
01:14:12,120 --> 01:14:14,960
Speaker 2: there that like I have a problem, you know what

1369
01:14:15,000 --> 01:14:18,040
Speaker 2: my problem is? Or I can't turn songs off in

1370
01:14:18,120 --> 01:14:21,280
Speaker 2: my head? How do you do that. I have a song.

1371
01:14:21,680 --> 01:14:24,320
Speaker 2: I have a song really seriously playing in my head

1372
01:14:24,320 --> 01:14:26,240
Speaker 2: for like the last eight weeks and I can't get

1373
01:14:26,240 --> 01:14:27,719
Speaker 2: it out and I want it out of my head.

1374
01:14:27,760 --> 01:14:30,320
Speaker 2: What song is it? I just forgot.

1375
01:14:46,520 --> 01:14:49,519
Speaker 1: What shore do you hate doing around the house today

1376
01:14:50,240 --> 01:14:51,160
Speaker 1: that I hate doing?

1377
01:14:52,200 --> 01:14:55,760
Speaker 2: Oh? Man, let me tell you Number one, don't mess

1378
01:14:55,800 --> 01:14:59,439
Speaker 2: with electric work. If you ain't electrician, don't touch nothing.

1379
01:15:00,320 --> 01:15:03,800
Speaker 2: And I really the actual word no, no, no, I

1380
01:15:04,240 --> 01:15:06,679
Speaker 2: mean I always knew that. I like, I'm not trying. Look,

1381
01:15:06,760 --> 01:15:09,719
Speaker 2: when you get to a point, you better pay people

1382
01:15:09,720 --> 01:15:13,760
Speaker 2: who are experts at what they do and stop playing around. Man.

1383
01:15:13,920 --> 01:15:16,600
Speaker 2: You know, I will drag the you know, the garbage

1384
01:15:16,640 --> 01:15:20,559
Speaker 2: cans out. I would. I would wash my own dishes,

1385
01:15:20,920 --> 01:15:25,280
Speaker 2: although sometimes to come to my house and look at

1386
01:15:25,320 --> 01:15:28,800
Speaker 2: my dishes that I washed. I had eye surgery like

1387
01:15:29,160 --> 01:15:33,439
Speaker 2: six times or like the last two years, right, and

1388
01:15:33,600 --> 01:15:35,960
Speaker 2: had cataract surgery and the eye and all that. So

1389
01:15:36,439 --> 01:15:39,519
Speaker 2: I'm not one of those og unks and aunties that

1390
01:15:39,680 --> 01:15:42,280
Speaker 2: kind of like, yeah, you wash the dishes, but you

1391
01:15:42,400 --> 01:15:45,559
Speaker 2: kind of like didn't wash them, right, I think I do.

1392
01:15:46,160 --> 01:15:50,080
Speaker 2: I just don't use a dish washer team. So I

1393
01:15:50,120 --> 01:15:55,320
Speaker 2: mean mistakes with me. Yeah, so chores. I think when

1394
01:15:55,320 --> 01:15:59,040
Speaker 2: you get somebody just doing like gardening and hedge clipping.

1395
01:15:59,439 --> 01:16:01,680
Speaker 2: One thing I know when I was a kid. I

1396
01:16:01,720 --> 01:16:03,960
Speaker 2: grew up, you know, in a house on Long Island,

1397
01:16:04,360 --> 01:16:06,120
Speaker 2: and we had kind of like a big plot of

1398
01:16:06,200 --> 01:16:09,400
Speaker 2: land for our town. And one thing I said I

1399
01:16:09,439 --> 01:16:11,320
Speaker 2: would not do the rest of my life is bag

1400
01:16:11,439 --> 01:16:14,840
Speaker 2: leaves or rake them. Can I say the words fuck that? Yes,

1401
01:16:15,280 --> 01:16:18,840
Speaker 2: bag leaves or rakingly because you get them right in

1402
01:16:18,880 --> 01:16:23,400
Speaker 2: that area. I had callouses, scars, cuts all up it

1403
01:16:23,439 --> 01:16:26,439
Speaker 2: because of raking and all that. I totally said when

1404
01:16:26,479 --> 01:16:29,360
Speaker 2: I turned twenty one, I'm never raking again. And my

1405
01:16:29,400 --> 01:16:31,320
Speaker 2: brother will be like, all right, you guys, go rake

1406
01:16:31,400 --> 01:16:33,400
Speaker 2: it right, and he find a way that just leave

1407
01:16:33,520 --> 01:16:36,360
Speaker 2: halfway through and I gotta rake it, bag it take

1408
01:16:36,840 --> 01:16:38,800
Speaker 2: oh man, I don't like the end of fall. I

1409
01:16:38,840 --> 01:16:41,479
Speaker 2: don't like winter time. You know, I got to deal

1410
01:16:41,520 --> 01:16:44,000
Speaker 2: with them, but you know, seriously, all right.

1411
01:16:44,040 --> 01:16:47,080
Speaker 1: Second and last question, who is your longest friendship?

1412
01:16:47,560 --> 01:16:52,120
Speaker 2: Longest friendship? That's kind of different at sixty five because

1413
01:16:53,000 --> 01:16:56,840
Speaker 2: you pick up where you left off. So the guys

1414
01:16:56,920 --> 01:16:59,679
Speaker 2: I grew up with as sports fans, I haven't been

1415
01:16:59,720 --> 01:17:03,240
Speaker 2: around them in a long time. The people in music,

1416
01:17:03,880 --> 01:17:05,760
Speaker 2: they kind of we pick up where we left off.

1417
01:17:06,479 --> 01:17:09,479
Speaker 2: Guys like Bill Stephanie is like, okay, I met Bill

1418
01:17:09,640 --> 01:17:12,439
Speaker 2: as a college. We all pick up where we left off.

1419
01:17:12,479 --> 01:17:16,400
Speaker 2: I could go see Dre Harry Allen. You know it's

1420
01:17:16,520 --> 01:17:18,880
Speaker 2: weird half of that. So I Hank the other day,

1421
01:17:19,320 --> 01:17:24,400
Speaker 2: Keith so in those. But the whole key is that

1422
01:17:24,760 --> 01:17:27,000
Speaker 2: when you're moving, you know, to pick up where you

1423
01:17:27,120 --> 01:17:28,880
Speaker 2: left off. Man, you got to pick up where you

1424
01:17:28,960 --> 01:17:32,680
Speaker 2: left off because you got to allow people to be themselves.

1425
01:17:32,720 --> 01:17:34,080
Speaker 2: And I come from a.

1426
01:17:34,040 --> 01:17:38,840
Speaker 1: Group, so at the top of the group, and you,

1427
01:17:39,000 --> 01:17:41,960
Speaker 1: I guess you know this too, at the top of

1428
01:17:41,960 --> 01:17:44,400
Speaker 1: the group, but you do a lot of bottom rolls

1429
01:17:44,760 --> 01:17:48,040
Speaker 1: because you cannot be the guy that everybody is going

1430
01:17:48,080 --> 01:17:48,360
Speaker 1: to like.

1431
01:17:48,760 --> 01:17:52,120
Speaker 2: Hey, let's see it. No, so Flavor, don't mean if

1432
01:17:52,160 --> 01:17:55,880
Speaker 2: Flavor is not like that, bags come off off of

1433
01:17:55,960 --> 01:17:59,000
Speaker 2: the truck. I'll get my bag, my help somebody. Flavor's

1434
01:17:59,000 --> 01:18:01,479
Speaker 2: moving right on to the tell as he should, though,

1435
01:18:01,880 --> 01:18:03,720
Speaker 2: So one of us got to be that guy, right.

1436
01:18:04,000 --> 01:18:07,519
Speaker 2: He is that guy, and by him being that guy

1437
01:18:07,560 --> 01:18:10,280
Speaker 2: allows me to be the guy I am, which is okay,

1438
01:18:10,479 --> 01:18:15,519
Speaker 2: I will diplomatically hear you out give a discussion see

1439
01:18:15,560 --> 01:18:19,360
Speaker 2: if this works. But I really really appreciate the way

1440
01:18:20,680 --> 01:18:24,840
Speaker 2: Flavor has really evolved. Well, he's at nine, like he's

1441
01:18:24,880 --> 01:18:28,880
Speaker 2: always revolving. He's sixties. Like yes, when people count Flavor out,

1442
01:18:29,200 --> 01:18:32,639
Speaker 2: Flavor is going to come back even harder than ever.

1443
01:18:33,479 --> 01:18:38,599
Speaker 2: He is the poster child for what the attention spans

1444
01:18:38,640 --> 01:18:41,880
Speaker 2: of now and the outer sight out of mind or

1445
01:18:42,760 --> 01:18:47,800
Speaker 2: evaporating thought of. He is the poster child. But I

1446
01:18:47,880 --> 01:18:52,440
Speaker 2: know in the relationship with him, he in his sixties

1447
01:18:53,360 --> 01:18:56,320
Speaker 2: has gone in the areas I've never seen him before.

1448
01:18:56,360 --> 01:18:59,200
Speaker 2: He's gone in the areas of being a guy in charge,

1449
01:18:59,680 --> 01:19:02,679
Speaker 2: making sure he's on point. He'll go here, there, whatever

1450
01:19:02,920 --> 01:19:05,519
Speaker 2: to me. You see the difference. I see it, and

1451
01:19:05,600 --> 01:19:06,439
Speaker 2: I welcome it.

1452
01:19:06,600 --> 01:19:07,320
Speaker 1: I love this.

1453
01:19:07,560 --> 01:19:12,360
Speaker 2: I love it because I tell you, being that mister

1454
01:19:12,439 --> 01:19:16,559
Speaker 2: everything everywhere man for so many years, I look at

1455
01:19:16,600 --> 01:19:19,040
Speaker 2: sixty five is like, yeah, I did my time in

1456
01:19:19,120 --> 01:19:21,680
Speaker 2: that and now yeah I might get a little bit

1457
01:19:21,840 --> 01:19:23,960
Speaker 2: uncle you know, you on my lawn type of thing.

1458
01:19:24,000 --> 01:19:26,559
Speaker 2: But I enjoyed my space that I'm in now. But

1459
01:19:26,600 --> 01:19:29,400
Speaker 2: I said, in order for pe to do things, I

1460
01:19:29,439 --> 01:19:32,040
Speaker 2: told him, I said, especially after the pandemic, I said,

1461
01:19:32,880 --> 01:19:35,200
Speaker 2: you're gonna have to be that guy because I don't

1462
01:19:35,240 --> 01:19:38,000
Speaker 2: really have it to that full tilt anymore, because where

1463
01:19:38,000 --> 01:19:40,879
Speaker 2: I've already had it, I'm already doing it in other areas.

1464
01:19:40,920 --> 01:19:43,639
Speaker 2: So when we come together, we tell we tell each

1465
01:19:43,640 --> 01:19:46,360
Speaker 2: other that I don't know if I'm making your or

1466
01:19:46,400 --> 01:19:49,240
Speaker 2: your Keith or I'm Keith sometimes when you're mixed. But

1467
01:19:49,320 --> 01:19:53,160
Speaker 2: you know what, when we come together, it's automatic, you know,

1468
01:19:53,240 --> 01:19:58,479
Speaker 2: and every other part fits in, like like the line

1469
01:19:58,560 --> 01:20:02,240
Speaker 2: up today is gonna work. When I played with Terminator

1470
01:20:02,280 --> 01:20:04,400
Speaker 2: and Griff in a minute, I play with them in

1471
01:20:04,439 --> 01:20:06,840
Speaker 2: a minute. But it's also got to agree with the

1472
01:20:06,840 --> 01:20:09,280
Speaker 2: people who are there, gotcha. You can't move people out.

1473
01:20:09,520 --> 01:20:12,719
Speaker 2: Labor has to agree. So I'm the type of person

1474
01:20:12,760 --> 01:20:16,960
Speaker 2: that not only have I had an open door policy,

1475
01:20:17,040 --> 01:20:20,360
Speaker 2: but half sixty five man, Thomas Short, I got no door.

1476
01:20:21,160 --> 01:20:25,040
Speaker 2: Damn no door policy. That's a mic drop. All right,

1477
01:20:26,000 --> 01:20:26,599
Speaker 2: I will let.

1478
01:20:26,520 --> 01:20:28,360
Speaker 1: You go because your daughter is going to kill me

1479
01:20:28,439 --> 01:20:31,840
Speaker 1: right now. I thank you for doing this for me,

1480
01:20:32,000 --> 01:20:33,840
Speaker 1: doing the solid the great Chuck D.

1481
01:20:34,080 --> 01:20:37,799
Speaker 2: I'll catch me again. May let me let me hey

1482
01:20:37,960 --> 01:20:41,880
Speaker 2: to show me over, Yeah right, chuck me, packing.

1483
01:20:41,600 --> 01:20:44,960
Speaker 1: Us up, yeah, kicking us out, Chuck D. Thank you

1484
01:20:45,040 --> 01:20:47,320
Speaker 1: very much. We got to do this again because I

1485
01:20:47,320 --> 01:20:49,479
Speaker 1: swear got seven hours more questions.

1486
01:20:49,560 --> 01:20:52,200
Speaker 2: Man, let me tell you, man, when I tell people

1487
01:20:52,560 --> 01:20:56,000
Speaker 2: about you all the time, you're my hero. I felt

1488
01:20:56,080 --> 01:20:59,160
Speaker 2: that in the soil of like way without actually you know,

1489
01:20:59,240 --> 01:21:02,360
Speaker 2: going beyond you know, myself on this. I thought like

1490
01:21:02,439 --> 01:21:05,439
Speaker 2: when you came along in the industry, I felt that

1491
01:21:05,479 --> 01:21:09,519
Speaker 2: there was somebody to pass the bation too that would

1492
01:21:09,520 --> 01:21:12,479
Speaker 2: even maximize anything that I did, because you know, back

1493
01:21:12,520 --> 01:21:14,400
Speaker 2: in the agies and nineties, they had to ask questions

1494
01:21:14,400 --> 01:21:17,559
Speaker 2: for rap. We put together this documentary, we're doing this thing,

1495
01:21:17,600 --> 01:21:21,559
Speaker 2: and let's go call Chuck and it's like, wow, you know, okay,

1496
01:21:21,760 --> 01:21:24,320
Speaker 2: all right, you feel like a lone spokesperson. Oh god,

1497
01:21:24,560 --> 01:21:27,360
Speaker 2: I mean you know, yeah, you're dealing with times and

1498
01:21:27,400 --> 01:21:30,599
Speaker 2: all that, and you seem to understand. And I said, yo, man,

1499
01:21:30,880 --> 01:21:34,040
Speaker 2: it's got to be somebody else, because after a while

1500
01:21:34,040 --> 01:21:36,200
Speaker 2: you got wise sparkling in your head, and then you

1501
01:21:36,320 --> 01:21:40,040
Speaker 2: came along, and then I'm like looking for an outside.

1502
01:21:40,080 --> 01:21:43,360
Speaker 2: You have to say, oh, thank God for quests, love, dude.

1503
01:21:44,040 --> 01:21:46,600
Speaker 1: I literally quit my job by a side to you

1504
01:21:46,640 --> 01:21:48,439
Speaker 1: a nation of millions to do what I do now,

1505
01:21:48,479 --> 01:21:49,200
Speaker 1: And I thank you for that.

1506
01:21:49,280 --> 01:21:53,519
Speaker 2: Man, Thank you, catch up the crew. I said hello,

1507
01:21:53,720 --> 01:21:57,200
Speaker 2: I will you know? And and and that super genius

1508
01:21:57,240 --> 01:22:01,320
Speaker 2: computer friend of yours he's coming with some ship man.

1509
01:22:02,600 --> 01:22:04,479
Speaker 2: All right, all right, get out of here, yes, sir.

1510
01:22:08,240 --> 01:22:11,679
Speaker 1: Quest Left Show is hosted by Me Mirror, Questlove Thompson.

1511
01:22:12,720 --> 01:22:18,559
Speaker 1: Executive producers are Sean g Brian Colvin and Me. Produced

1512
01:22:18,840 --> 01:22:24,000
Speaker 1: by Britney Benjamin and Jacob Payne. Produced for iHeart by

1513
01:22:24,080 --> 01:22:29,639
Speaker 1: Noel Brown, Edited by Alex Conwoman. iHeart Video support by

1514
01:22:29,720 --> 01:22:37,160
Speaker 1: Mark Canton, Logo's graphics and animation by Nick Ploe. Additional

1515
01:22:37,160 --> 01:22:43,280
Speaker 1: support by Lance Holman. Special thanks to Kathy Brown. Special

1516
01:22:43,280 --> 01:22:47,840
Speaker 1: thanks to Sugar Steve Mandel. Please subscribe, pain review and

1517
01:22:48,040 --> 01:22:49,519
Speaker 1: share a Quest Left Show.

1518
01:22:49,560 --> 01:22:52,760
Speaker 2: Wherever you stream your podcast, make sure you follow us

1519
01:22:52,760 --> 01:22:56,800
Speaker 2: on socials. That's at q l S.

1520
01:22:58,439 --> 01:23:01,760
Speaker 1: Got hundreds and hundreds of q episodes, including the Question

1521
01:23:01,880 --> 01:23:04,760
Speaker 1: of Supreme Shows and our podcast archives.

1522
01:23:06,760 --> 01:23:09,320
Speaker 2: Question of Shows. The production of iHeart Radio