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Speaker 3: All right, guys, Yeah, welcome back. We are back Special edition.

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Speaker 3: We got a legend.

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Speaker 4: This is an absolute legend.

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Speaker 3: And koach music. Hip hop change my life for sure,

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Speaker 3: a lot of people, a lot of people. Ralph McDaniels,

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Speaker 3: if you're old enough to remember Video Music Box, that

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Speaker 3: was one of the the first major platform that was

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Speaker 3: showing hip hop visuals. Yes, right before that, it was

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Speaker 3: like you had to hear it on the radio right.

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Speaker 2: Right, and it was a couple of local shows or that.

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Speaker 2: But not like with hip hop, like we put hip

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Speaker 2: hop up front Yeah.

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Speaker 1: The first time you saw your favorite artists, maybe the

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Speaker 1: first time you actually heard them, because if they wasn't

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Speaker 1: on the radio, and some records didn't make radio, it

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Speaker 1: was breaking records too.

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Speaker 4: So this is the first introduction to real music.

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Speaker 2: Yeah, I saw it. It was young people, you know,

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Speaker 2: and hip hop has always been young people, And it

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Speaker 2: was young people, you know doing it in parks, you know,

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Speaker 2: with plugging into light poles in the Bronx and in

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Speaker 2: Brooklyn and Queens and all these different areas, and I

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Speaker 2: was like, there's something going on here, what is it?

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Speaker 2: You know, because I'm a little bit older than hip hop,

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Speaker 2: so you know, I'm from the era where you know,

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Speaker 2: Marvin Gaye and all that that kind of stuff. But

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Speaker 2: I knew that this was something that was important and

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Speaker 2: they was going somewhere.

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Speaker 5: So yeah, first and foremore, thank you for joining us.

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Speaker 5: Appreciate it.

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Speaker 3: And yeah, so it's crazy, like when you look at

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Speaker 3: the I don't want to understate the importance of visuals

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Speaker 3: when it comes to hip hop, because I mean it's

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Speaker 3: hard to even calculate how much money is actually generated

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Speaker 3: from actual visual component of it. But I mean YouTube, right,

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Speaker 3: if you look at something like YouTube, which is YouTube

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Speaker 3: is a subsidiary of Google, but if it was his

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Speaker 3: own standalone company would be one of the most richest

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Speaker 3: companies in the world. And a lot of that is

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Speaker 3: driven through music, right, and you see Instagram and all

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Speaker 3: these different platforms where a visual component. It's just changed

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Speaker 3: the way that we digest music. So you know, to

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Speaker 3: have the foresight of really champion that and really thinking

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Speaker 3: like this was a good idea, because I would I

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Speaker 3: would assume like when people probably thought like what is this?

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Speaker 5: Like, I mean, like it's one thing. Are you hearing music?

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Speaker 3: Okay, that's cool, but I don't want to see a

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Speaker 3: video of somebody rapping like in three minutes, Like.

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Speaker 5: What is that?

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Speaker 3: So what was your How did you get the foresight

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Speaker 3: to understand this is going to be big? And when

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Speaker 3: did it start as far as like you first getting

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Speaker 3: in the business starting Video music Box, Like what year

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Speaker 3: was that?

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Speaker 5: How did that come about?

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Speaker 2: So we started Video Music Box in eighty three, But

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Speaker 2: I was working at some TV stations like eighty one

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Speaker 2: eighty two right out of college, right, and I was

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Speaker 2: trying to figure out how can we do something with

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Speaker 2: music and TV to make it important? And it was

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Speaker 2: a small PBS station in New York call at WNYC TV,

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Speaker 2: great call lettus and you know, you could barely find

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Speaker 2: a channel. You have to have the right hanger. It

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Speaker 2: was cloudy outside. You might not get it right. And

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Speaker 2: I proposed an idea to play music videos, not necessarily

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Speaker 2: hip hop, just music videos in general general. And so

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Speaker 2: at the time, it was like Michael Jackson, you know,

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Speaker 2: Rick James, Lionel Ritchie, that kind of thing, right, And

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Speaker 2: so that was the beginning of the idea being introduced,

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Speaker 2: and it became a thing that we used to use

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Speaker 2: the videos during our fundraisers, you know, like PBS has

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Speaker 2: these fundraiser call now and you know you could get this,

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Speaker 2: We'll send you ten DVDs of you know, motown and

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Speaker 2: that kind of thing. So they would play the videos

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Speaker 2: in between, and the calls were crazy. I just still

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Speaker 2: don't understand why, you know, But that's not how I

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Speaker 2: wanted to use the music videos. I wanted to create

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Speaker 2: like a video radio show. That's what my concept was.

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Speaker 2: But that's how it was introduced. And then it took

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Speaker 2: off and they said can you do this every day

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Speaker 2: after school? And I said yeah, And I never produced

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Speaker 2: the show. I was an engineer, and I just thought

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Speaker 2: about what I listened to in the radio and said,

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Speaker 2: this is what we're gonna do.

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Speaker 4: That's it's taken me back, right, so eighty three.

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Speaker 1: And I liked that you said after school because it

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Speaker 1: was the thing, like we had to get home by

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Speaker 1: three thirty. We knew that you was going to start

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Speaker 1: at three thirty. And if we missed the intro, we

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Speaker 1: talk about the intro a little bit, we's gonna miss

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Speaker 1: the brand new video. Usually the brand new debut video

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Speaker 1: is going to start the show, and so it was

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Speaker 1: important to get there. So at the time, I mean,

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Speaker 1: people probably don't notice, but like, we didn't see you

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Speaker 1: for a while, right, it was just the voice.

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Speaker 4: So I was even talking.

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Speaker 1: I'm thinking to myself, that's crazy because I'm remembering as

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Speaker 1: a kid, just hearing the voice. How were you putting

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Speaker 1: things together and piecing them to have an hour show?

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Speaker 1: Because obviously people don't do this. It's not the easiest

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Speaker 1: thing to do, right, putting an hour of content together.

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Speaker 4: How were you formatting in programming?

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Speaker 2: I did it like a mixtape, you know, and the

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Speaker 2: word mixtape didn't exist at that time, but that's what

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Speaker 2: it really was. But it was visual, and I would

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Speaker 2: talk you know, every fifteen minutes or so. I didn't

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Speaker 2: necessarily talk to everything. After a while, people got tired

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Speaker 2: of me talking to all the parties. I was going

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Speaker 2: to meet us at the you know, at the tunnel,

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Speaker 2: meet us at Displace, all these other stuff. But yeah,

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Speaker 2: so I just knew that it was treated like a mixtape,

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Speaker 2: like if I was home listening to this, but actually

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Speaker 2: now it's on your TV, which to me, I knew

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Speaker 2: that was powerful. The fact that it was on your

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Speaker 2: TV and you could see these things. I knew that

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Speaker 2: people never saw these visuals, you know, like of especially

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Speaker 2: when it came to hip hop, the early hip hop

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Speaker 2: like run DMC and Eric B and Rock Kim and

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Speaker 2: Fat Boys and all of that, and Houdini and all

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Speaker 2: that stuff. This is the first time you've really seen it.

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Speaker 2: Up to that point, it was less right on magazine,

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Speaker 2: you know, word up and these posters on your wall,

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Speaker 2: which Biggie talks about in his lyrics, right now you're

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Speaker 2: seeing them. Then I was like, I have to interview

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Speaker 2: them because I can get a little bit more insight.

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Speaker 2: And Russell Simmons was the guy who managed everybody who

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Speaker 2: we grew up together. And I'm born in Brooklyn and

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Speaker 2: moved to Queens, grew up in Queens Village, and I

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Speaker 2: see Russell all the time. So I was like, you're

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Speaker 2: russ you got a party going on, and he's like, yeah, man,

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Speaker 2: come through, you know. And then that's how we got

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Speaker 2: the interviews.

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Speaker 3: So like Video Music Box when it's starts, do you

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Speaker 3: own the IP of that? Is that your show? Or

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Speaker 3: is that Yes?

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Speaker 2: I owned the Video Music.

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Speaker 5: Box and it was on what channel was it on?

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Speaker 2: It was on Channel thirty one, which, like I said,

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Speaker 2: was like a third tier PBS station, Like in New York,

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Speaker 2: Channel thirteen is the main wn et, the main really

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Speaker 2: for all the PBS, it's the main station, and then

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Speaker 2: there's a couple other stations. And there was CHANND thirty one.

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Speaker 3: So was that important for you to have that ownership

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Speaker 3: or like, yes, you thought that through before you before.

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Speaker 2: You Yeah, my dad owned this a candy store. And

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Speaker 2: so I realized that owning is everything, and that's where

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Speaker 2: I got that in my head from. And I wanted

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Speaker 2: to own everything, which is not you don't need to

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Speaker 2: own everything, which is a mistake, you know, some people

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Speaker 2: just don't don't need to own everything.

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Speaker 3: You don't tell that, right, But you know I went this,

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Speaker 3: I understand.

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Speaker 2: That's why I understand Dames. So but you know, you

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Speaker 2: don't need to own in reality, you don't need to

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Speaker 2: own everything.

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Speaker 4: To lesson alone.

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Speaker 3: So but when you went in there, okay, so you

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Speaker 3: pitched the idea, you say, okay, I have this, this

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Speaker 3: is an idea, and then they're putting it on their platform.

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Speaker 3: So they just kind of giving you the green light

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Speaker 3: or they're like putting some parameters on.

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Speaker 2: What has to be done. They had no idea what

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Speaker 2: I was doing. They're just like, all right, just just

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Speaker 2: let the black boy got time. Yeah, right, they they

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Speaker 2: they were not paying attention to anything. We made tons

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Speaker 2: of mistakes, but they were not They didn't really care,

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Speaker 2: but they felt like it brought some diversity to the programming.

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Speaker 2: That was them.

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Speaker 5: When you hit your stride, Like, when does it start

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Speaker 5: to become big?

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Speaker 2: I would say about eighty five. Now there's more hip

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Speaker 2: hop in the scene. You know, by eighty five, eighty six,

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Speaker 2: and you know the golden era for Summer's eighty seven

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Speaker 2: and so in that time.

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Speaker 4: We had a golden era.

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Speaker 2: Well, yeah, I'm not a eighty seven president. But for

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Speaker 2: some it's eighty seven, and so that time more labels

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Speaker 2: are putting money into hip hop. You know, it's like, Okay,

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Speaker 2: you got Caine, you got Slick Rick, you got Public

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Speaker 2: Enemy coming soon, you got all this MCL like, you

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Speaker 2: got all this stuff happening, you know. And so now

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Speaker 2: you're starting to get music videos because in the beginning,

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Speaker 2: there weren't music videos. You just put a record out,

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Speaker 2: you put a vinyl out, and the hip hop artists

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Speaker 2: didn't get a video. Now I'm going to the label, yo,

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Speaker 2: y'all need to do a video for this, because this

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Speaker 2: record is hot. Most of these corporate cats are not

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Speaker 2: in the clubs. They not going to the Bronx, They're

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Speaker 2: not going to the park. They don't know that this

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Speaker 2: is the biggest thing in these areas. You know, wherever

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Speaker 2: it's at, you know, if it's in if it's in

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Speaker 2: New York, if it's in Detroit, Chicago, Philly, Baltimore, DC.

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Speaker 2: You know, you go to these places. This hip hop

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Speaker 2: thing is taking over. And but if you never went there,

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Speaker 2: you never saw it. So we would kind of encourage

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Speaker 2: you'll come to the party. Man, Just come to the party,

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Speaker 2: and you're a smart guy. You're gonna get it.

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Speaker 1: You're seeing the records break before they know it, right,

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Speaker 1: But that also leaves an opportunity for you to say,

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Speaker 1: there's another business I create because you're the guy that's

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Speaker 1: playing the videos. They don't even know that they need

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Speaker 1: the videos, so you start directing the video. I start

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Speaker 1: directing the video, so paper then I remember, yeah, but

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Speaker 1: what's the what's the first major one that you're like,

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Speaker 1: all right, this is the one that's gonna go, And

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Speaker 1: now I'm gonna be known as a director as well.

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Speaker 2: I think for us the Cold Chilling Records stuff that

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Speaker 2: we did now, Cold Chilling Records was one of the

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Speaker 2: first independent black owned labels like Death Champ Well, Death

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Speaker 2: Champ and I would say that the big three was

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Speaker 2: Uptown Records with Andre Herrel, Russell Simmons, def Jam and

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Speaker 2: Cold Chilling. Tyron Williams. He had the Juice Crew on

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Speaker 2: Cold Chilling. Juice Crew is also on the radio, so

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Speaker 2: they got a lot of action.

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Speaker 4: Can we get all them?

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Speaker 1: It's Master Ace, Yeah, Big Daddy kinge yep Ki Bizmarcky's

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Speaker 1: in there, Shante and Shan Craigge.

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Speaker 2: Craig g Yeah on Cougie Rap would you all the

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Speaker 2: symphony record? So we did the Symphony video and that

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Speaker 2: was a big deal, you know, like you know that

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Speaker 2: was you know, you saw all of them, you know,

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Speaker 2: in a creative way. We had a company with our

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Speaker 2: companies called Classic Concept. So we wanted to create this

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Speaker 2: concept that was a classic, you know, like what's going

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Speaker 2: to make this a classic? You know, And and that

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Speaker 2: was me and my partner Liana Martin and and we

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Speaker 2: wanted to do Sometimes we based it on movies. Sometimes

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Speaker 2: we based it on you know, something that really happened

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Speaker 2: in real life in New York, you know, and we

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Speaker 2: made it into a video.

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Speaker 5: And then you also directed Nas. It ain't hard to tell.

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Speaker 2: It ain't hard to tell young Nas Chip to smile,

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Speaker 2: you know. That was it. That's who he was, you know,

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Speaker 2: kid from from from Queensbridge, you know. And that was

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Speaker 2: a new wave of in ninety two, ninety three, ninety

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Speaker 2: four really of the next wave of who these kids

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Speaker 2: were going to be, who these what hip hop looked like?

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Speaker 2: And and I saw it, you know, he would come

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Speaker 2: to I would tell Nazi, you know, I used to

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Speaker 2: watch you before you I met you. You know, they

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Speaker 2: would come to Queensbridge, Will be like forty d you know,

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Speaker 2: and I'm like, okay, it's gonna be a problem, and

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Speaker 2: Naza be like, yeah, my dudes, is my guys. I

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Speaker 2: was like you wasn't really but you was in it though.

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Speaker 2: You was right there with them like cheering it on.

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Speaker 3: And when you did that video, did you know how

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Speaker 3: like did you know like, nah, this is going to

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Speaker 3: be it? Cause it's like that video really was. I mean,

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Speaker 3: he had like Live at the Barbecue. They came out first,

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Speaker 3: but like when that video hit, that's when it really

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Speaker 3: was like official official because even like, you know, I

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Speaker 3: can still remember he had the you know, used to

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Speaker 3: have those army hats with the brim, scully with the brim,

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Speaker 3: and he had the red one, the green one had

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Speaker 3: the cell phone. That's when the like the cell phones

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Speaker 3: was like the South of the water bottle with the flip.

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Speaker 3: He had that, and it was just like the eye

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Speaker 3: moment of it all. And I just recently found out,

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Speaker 3: you know, as a Michael Jackson sample, and they said,

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Speaker 3: I don't know if that's sure or not, but they

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Speaker 3: said that Mike only let him use it if he

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Speaker 3: wouldn't curse, So there's no curses in that song.

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Speaker 2: I think I read that too.

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Speaker 5: Yeah, so that's just kind of a darge.

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Speaker 2: Professor produced that record, okay, and that's he's he of

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Speaker 2: course was the main guy in Main Source, which is

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Speaker 2: Live at the Barbecue and back to the Grill again. Yeah,

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Speaker 2: and so when that when we worked on that project,

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Speaker 2: it was just Nas calling me from his crib in

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Speaker 2: Queensbridge in the projects saying, I don't know, I just

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Speaker 2: want to be hot. Just do what you do on

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Speaker 2: video music box. That's that's all I know. That's that's

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Speaker 2: as much as not he knew how to wrap. But

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Speaker 2: his you know, he didn't have a plan. You know.

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Speaker 2: The record label was like, we just want to show him,

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Speaker 2: you know, show his face. He's a good looking guy,

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Speaker 2: you know. And and I was like, no, we're not

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Speaker 2: trying to see all that. He's talking about some hardcore stuff.

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Speaker 2: We want to get into all of that. But but yeah,

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Speaker 2: that's that was the concept.

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Speaker 3: But did you know, like, because it's like coaching Lebron

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Speaker 3: in high school, right, did you know this is going

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Speaker 3: to be one of the greatest rappers of all time?

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Speaker 5: Like did you see that? Like, oh no, this this

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Speaker 5: is this kid's different.

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Speaker 2: Well, by the time I had Illmatic, and when I

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Speaker 2: did the video, I listened to the whole album. So

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Speaker 2: I was like, he's different, you know. And I'm a

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Speaker 2: guy that grew up listening to Gil Scott Heron, you know,

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Speaker 2: and I looked at him in that way and that

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Speaker 2: he had the poetry, he cared about the community. He

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Speaker 2: was touching souls with what he was saying. But from

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Speaker 2: a street corner perspective, you know. At the same time,

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Speaker 2: this is why I love that eraor this is my

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Speaker 2: golden era for me is nas Wu Tang Biggie. You know.

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Speaker 2: It is because I would leave my house in Brooklyn

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Speaker 2: and everything that Nas is saying on the record, I

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Speaker 2: see that every day on the corner. So it's reality.

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Speaker 2: You know. It wasn't like the eighties where it was

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Speaker 2: kind of a story. You know, Slick, we could tell

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Speaker 2: your amazing story, but you wasn't. You didn't really see it,

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Speaker 2: you know. And you know, but with Nas and them,

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Speaker 2: they were outside on the camouflage with the timberlands and

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Speaker 2: had the the red joint.

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Speaker 4: That's great, that's ninety three ninety four in Queens. But

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Speaker 4: then Stanton Allens sounds bubbling too, and they're reaching out

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Speaker 4: to you. So, like, what is that like.

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Speaker 1: When this golden era when you're the go to guy

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Speaker 1: for a city? Right, because everybody now realizes they've been

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Speaker 1: watching Video Music Box, they understand the importance of it.

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Speaker 4: West Coast has a little thing.

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Speaker 1: Bubbling, New York needs a visual and you're the go

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Speaker 1: to guy for it.

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Speaker 2: Yeah. I thought that that was a great time to

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Speaker 2: be for what I wanted to do and what the

348
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Speaker 2: company wanted to do, because this is what we wanted.

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Speaker 2: We wanted to be, you know, that the go to company.

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Speaker 2: And so we had relationships with nas and Wu Tang

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Speaker 2: and others that most directors didn't have, and most production

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Speaker 2: companies didn't have, and and the other production companies wanted

353
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Speaker 2: to have that relationship. But I'm in the club at

354
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Speaker 2: three o'clock in the morning in the Bronx in places

355
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Speaker 2: that you'll don go. So you know, if you'll want to,

356
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Speaker 2: you gotta go to it. You know, if you want

357
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Speaker 2: to be successful at this, you gotta you know, rest

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Speaker 2: in peace, Clark Kent. You know, Clark Kent told me

359
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Speaker 2: one day. I was like, yo, man, I got these

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Speaker 2: young dudes on my block. I mean, I was talking

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Speaker 2: to Clark Kenton and I'm telling him, I got these

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Speaker 2: young guys on my block, and they don't get it. Man.

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Speaker 2: They just you know, they think they're tough and all

364
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Speaker 2: of this. You know, you know, they live in nice houses. Man,

365
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Speaker 2: this is not bad, this is this is okay. And

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Speaker 2: I don't understand them. He says, you got to go

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Speaker 2: to them, and then they'll they'll see you in their

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Speaker 2: situation and then they'll be like, oh, he's with us.

369
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Speaker 2: And so I said, okay. And so that's when I

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Speaker 2: started going to especially you know, trap music time and

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Speaker 2: going to those events, and then they would see me

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Speaker 2: and be like, oh, uncle's here. You know. So they

373
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Speaker 2: had a different respect, and you have to it's like

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Speaker 2: talking to people or talking at them. Talking at them,

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Speaker 2: it's not gonna work. Talking to them, it's gonna work.

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Speaker 3: So you so video music block, you know, becomes to

377
00:18:05,800 --> 00:18:08,760
Speaker 3: go to and it's not just music videos like you

378
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Speaker 3: actually in the tunnel clubs, like it's like document and

379
00:18:14,000 --> 00:18:17,439
Speaker 3: culture on a variety of different levels. And then you

380
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Speaker 3: also create different characters, right that are a part of

381
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Speaker 3: the the tree, like a Marvel universe of characters that

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Speaker 3: so you you you create a whole ecosystem.

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Speaker 5: Right, but.

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Speaker 3: Like anything, once, like corporate starts to really pay attention

385
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Speaker 3: to this, right, So at what point do you realize

386
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Speaker 3: the swift? Because MTV Yo, MTV raps, when did they

387
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Speaker 3: come out.

388
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Speaker 2: In the eighty eight, eight eighty eight.

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Speaker 5: Yeah, so they were already around yeah by nineties, yeah,

390
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Speaker 5: but they started putting more.

391
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Speaker 2: Well, people didn't have cable technology didn't catch up yet.

392
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Speaker 2: So MTV is doing YO, but the kids in the

393
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Speaker 2: hood don't have it. And I didn't realize after everybody

394
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Speaker 2: would have it when it came out and people were like,

395
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Speaker 2: how's it affecting you, I'm like, I don't know. I

396
00:19:06,880 --> 00:19:10,720
Speaker 2: don't see it because I didn't realize that, yeah, got

397
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Speaker 2: the cable part. You know, the technology hadn't been wired in,

398
00:19:13,680 --> 00:19:16,640
Speaker 2: so those kids to see it by ninety two, ninety three,

399
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Speaker 2: now they got it. So I'm seeing a big difference

400
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Speaker 2: because they're talking about YO. I just was watching Yo

401
00:19:21,320 --> 00:19:23,880
Speaker 2: MTV and I saw this and I'm like, oh shit,

402
00:19:24,840 --> 00:19:26,560
Speaker 2: they got it. They got it.

403
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Speaker 4: How are you feeling at that time?

404
00:19:28,840 --> 00:19:30,680
Speaker 1: Because I was the kid that lived in the Bronx

405
00:19:30,720 --> 00:19:32,679
Speaker 1: and then moved to the suburbs, so we had to

406
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Speaker 1: die when we were there, and then we got cable.

407
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Speaker 1: But when they started, I think FAB was only on

408
00:19:37,720 --> 00:19:40,879
Speaker 1: like Saturday nights. Yeah, and then Ed and Dre was

409
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Speaker 1: during like on the Saturday mornings and maybe four thirty.

410
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Speaker 1: It came on after you like they were three. You

411
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Speaker 1: were three thirty to four thirty, and then they were

412
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Speaker 1: like four thirty something like that. But as you're watching it,

413
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Speaker 1: I've never actually seen y'all in the same space like

414
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Speaker 1: you and and Dre, Like was there like some compartitive money.

415
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Speaker 2: They had money. I I have nothing. I was on

416
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Speaker 2: my own dime bro and they or the people hired

417
00:20:06,600 --> 00:20:08,600
Speaker 2: me to do shows. So when you saw me in

418
00:20:08,640 --> 00:20:13,560
Speaker 2: clubs in the Bronx on Brooklyn, that was a promoter going, Yo, Ralph,

419
00:20:13,600 --> 00:20:15,320
Speaker 2: come to the you know, we're going to hire you

420
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Speaker 2: to host the show. Can you shoot the show there

421
00:20:17,720 --> 00:20:20,120
Speaker 2: as well? And I would go there and they would

422
00:20:20,160 --> 00:20:22,920
Speaker 2: pay me, you know whatever, it was five hundred dollars,

423
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Speaker 2: one thousand dollars, and we would do this and the

424
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Speaker 2: whole place would be jam packed and can we do

425
00:20:27,760 --> 00:20:30,359
Speaker 2: it again next week. I didn't realize that it was

426
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Speaker 2: us that was helping get that room packed. And then

427
00:20:34,480 --> 00:20:37,560
Speaker 2: after a while I was like, we can do this ourselves.

428
00:20:37,600 --> 00:20:40,520
Speaker 2: Why are we just doing this for five hundred dollars?

429
00:20:40,920 --> 00:20:43,760
Speaker 2: Like And we started doing ourselves and that's when we

430
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Speaker 2: started making money, you know, just as promoters.

431
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Speaker 1: It was ever a time when you're in one of

432
00:20:48,640 --> 00:20:51,960
Speaker 1: these parties and you're like, because neo parties at that time,

433
00:20:52,000 --> 00:20:54,560
Speaker 1: they could go left in any second. Absolutely was it

434
00:20:54,760 --> 00:20:56,200
Speaker 1: like a party you was at and it was like

435
00:20:56,800 --> 00:20:58,919
Speaker 1: a right, we might have cut the cameras off, like

436
00:20:58,960 --> 00:20:59,680
Speaker 1: I got out of here.

437
00:21:00,280 --> 00:21:02,360
Speaker 2: Oh yeah, no. I remember one night we were in.

438
00:21:02,920 --> 00:21:04,639
Speaker 2: It was a club. It wasn't even a club. It

439
00:21:04,680 --> 00:21:08,199
Speaker 2: was like a a place where people give you know,

440
00:21:08,440 --> 00:21:10,480
Speaker 2: like gallas and things like that. But it was kind

441
00:21:10,520 --> 00:21:15,800
Speaker 2: of like not nice anymore. And and it was Flash djaying.

442
00:21:16,080 --> 00:21:18,159
Speaker 2: It was Flash. It was New Year's Eve. It was

443
00:21:18,240 --> 00:21:22,440
Speaker 2: Flash's birthday is New Year's Day and Flash was there

444
00:21:23,160 --> 00:21:27,240
Speaker 2: and I came in and it was people with places packed.

445
00:21:27,560 --> 00:21:29,960
Speaker 2: I'm like, okay, we made some money tonight. And I'm

446
00:21:29,960 --> 00:21:33,840
Speaker 2: walking around and then I'm talking to the promoter and then

447
00:21:33,880 --> 00:21:36,840
Speaker 2: I hear gunshots, I mean like machine gun gun shots,

448
00:21:36,880 --> 00:21:39,600
Speaker 2: like not just one two three like like that, And

449
00:21:39,600 --> 00:21:42,879
Speaker 2: I'm like, what's that. It's New Year's Eve? Come on

450
00:21:42,960 --> 00:21:45,359
Speaker 2: y'all still out here New Year's Eve? Like what's going on?

451
00:21:45,680 --> 00:21:49,080
Speaker 2: This is the hood and so and biz Marquis was

452
00:21:49,119 --> 00:21:52,359
Speaker 2: there and biz Marquis so everybody's running. So biz Markey,

453
00:21:52,440 --> 00:21:54,000
Speaker 2: I see him running my way and I'm like, oh,

454
00:21:54,240 --> 00:21:57,760
Speaker 2: I'm business here and he's like, yo, they wild And

455
00:21:57,800 --> 00:22:00,000
Speaker 2: I'm like, and bis got all this jewelry ons. I'm like, yeah,

456
00:22:00,000 --> 00:22:02,800
Speaker 2: away from me, man, I want like they coming for

457
00:22:02,880 --> 00:22:08,080
Speaker 2: the jewelry, I guess. And and you know, eventually we

458
00:22:08,119 --> 00:22:10,439
Speaker 2: got it. But my friend got shot that night. You know,

459
00:22:10,560 --> 00:22:13,240
Speaker 2: he got through it. My friend, Troy Haywood, he got

460
00:22:13,280 --> 00:22:15,200
Speaker 2: through it. But you know, and he was like, get

461
00:22:15,240 --> 00:22:19,560
Speaker 2: the money, go to the bar around, take all the money.

462
00:22:21,240 --> 00:22:24,719
Speaker 2: Well I was like, okay, you know his aunt had

463
00:22:24,760 --> 00:22:26,600
Speaker 2: the money. I'm like, I'll take that from me, miss

464
00:22:26,960 --> 00:22:28,159
Speaker 2: give me you.

465
00:22:28,240 --> 00:22:30,360
Speaker 3: And somebody that saw hip hop at the beginning stages,

466
00:22:30,760 --> 00:22:33,280
Speaker 3: when did you start to see When did you start

467
00:22:33,320 --> 00:22:35,560
Speaker 3: to notice the difference as far as money that was

468
00:22:35,560 --> 00:22:38,560
Speaker 3: coming in on a court, Like you start to see like, oh,

469
00:22:38,560 --> 00:22:41,000
Speaker 3: this is starting to make millions and millions and multi

470
00:22:41,040 --> 00:22:44,760
Speaker 3: millions of dollars. Like what was that question? Was always there?

471
00:22:45,240 --> 00:22:49,480
Speaker 3: Like like sprite in eighty five. Sprite was there.

472
00:22:49,440 --> 00:22:53,280
Speaker 2: Which is a Coca Cola company, I guess, and they

473
00:22:53,280 --> 00:22:57,399
Speaker 2: were doing fresh vests and it was Sprite and swatchwatch

474
00:22:58,200 --> 00:23:03,439
Speaker 2: was there, and these were just unique situations that I

475
00:23:03,480 --> 00:23:06,920
Speaker 2: guess Russell and other guys, this other guy, Charles Stetler,

476
00:23:07,600 --> 00:23:10,200
Speaker 2: they they put together that they could get some money

477
00:23:10,280 --> 00:23:14,000
Speaker 2: from these corporations that wanted to get with these young kids. Soda,

478
00:23:14,040 --> 00:23:17,280
Speaker 2: of course is easy. You know, Watches I didn't know,

479
00:23:17,400 --> 00:23:20,199
Speaker 2: but that was pretty creative to have that. Oh and

480
00:23:20,280 --> 00:23:25,080
Speaker 2: I know why because they had Key Hearing, the artist

481
00:23:25,200 --> 00:23:28,760
Speaker 2: Keith Hearing's uh watches and it kind of related to

482
00:23:28,880 --> 00:23:32,800
Speaker 2: young people as graffiti, right, So but yeah, I started

483
00:23:32,840 --> 00:23:35,199
Speaker 2: to see it then. I really started to see it

484
00:23:35,240 --> 00:23:39,160
Speaker 2: in the nineties. You know, when you get bad Boy

485
00:23:40,040 --> 00:23:44,840
Speaker 2: and Rockefeller and def Jam. You know, Deaf Jam is

486
00:23:44,880 --> 00:23:51,639
Speaker 2: really the godfather of creating this whole system of corporate

487
00:23:52,400 --> 00:23:56,479
Speaker 2: and the right people and the cool crowd and you know,

488
00:23:56,560 --> 00:23:59,439
Speaker 2: and everything and it all works. And you know, we

489
00:23:59,560 --> 00:24:01,879
Speaker 2: put out method Man, and we put out you know,

490
00:24:02,119 --> 00:24:04,919
Speaker 2: like why didn't Methan Man come out with on Loud Records,

491
00:24:05,000 --> 00:24:09,200
Speaker 2: which Wu Tang was on What's Deaf Jam had a

492
00:24:09,240 --> 00:24:11,480
Speaker 2: clear idea of we want to do this different than

493
00:24:11,480 --> 00:24:14,560
Speaker 2: maybe what you guys did with Wu Tang, And they

494
00:24:14,600 --> 00:24:16,160
Speaker 2: did a good job. And then they put red Man

495
00:24:16,160 --> 00:24:18,960
Speaker 2: and met the Man, right, you know. And I remember

496
00:24:19,119 --> 00:24:21,280
Speaker 2: Lee York Cohen telling me that this is going to

497
00:24:21,359 --> 00:24:23,240
Speaker 2: be the greatest campaign ever. And I was like, I

498
00:24:23,280 --> 00:24:25,679
Speaker 2: don't know why, but because they both had Man at

499
00:24:25,680 --> 00:24:29,000
Speaker 2: the end of the name, Like why but they still

500
00:24:29,000 --> 00:24:32,800
Speaker 2: perform now. And he embedded that in people's head and

501
00:24:32,800 --> 00:24:36,080
Speaker 2: and and the thing about Deaf Jam was We're not

502
00:24:36,160 --> 00:24:37,800
Speaker 2: just going to put out a good hip hop record.

503
00:24:37,800 --> 00:24:41,600
Speaker 2: We're gonna put out edgy records, the records that really

504
00:24:41,680 --> 00:24:44,119
Speaker 2: kind of pushed the push the edge, you know, like

505
00:24:44,840 --> 00:24:47,600
Speaker 2: you know, there's plenty of artists, you know. And I

506
00:24:47,640 --> 00:24:49,119
Speaker 2: remember when le York Coan told me we were going

507
00:24:49,200 --> 00:24:52,480
Speaker 2: to make Jay Z the biggest artist ever. Like he

508
00:24:52,520 --> 00:24:54,439
Speaker 2: said that to me, and I was like, and this

509
00:24:54,600 --> 00:24:56,960
Speaker 2: is you know, Biggie's still around, so Jay's not really

510
00:24:57,040 --> 00:25:00,000
Speaker 2: quite there yet. He's good, clearly he's a great artist,

511
00:25:00,440 --> 00:25:03,560
Speaker 2: but I'm like the greatest artist ever. And you know

512
00:25:04,440 --> 00:25:06,240
Speaker 2: said that he said that to me about j Z. Yeah,

513
00:25:06,840 --> 00:25:13,000
Speaker 2: what year was that, maybe ninety six? It's a reasonable

514
00:25:13,000 --> 00:25:17,600
Speaker 2: doubt Mary for that, you know, Jay and them and

515
00:25:18,119 --> 00:25:22,280
Speaker 2: Rockefeller put reasonable doubt. It wasn't on death Cham at first,

516
00:25:22,359 --> 00:25:26,400
Speaker 2: it was on another lab priority priority.

517
00:25:26,000 --> 00:25:29,520
Speaker 5: Right priorities work wasn't right, so I factive right.

518
00:25:29,880 --> 00:25:33,760
Speaker 2: Priority was cool, but that's not really what they you know,

519
00:25:34,640 --> 00:25:36,000
Speaker 2: Jay needed to be death Cham.

520
00:25:36,160 --> 00:25:40,959
Speaker 3: So like ninety six was that puffing them when they

521
00:25:41,080 --> 00:25:44,880
Speaker 3: when they that's when it really started to get crazy though, right, Yeah,

522
00:25:45,119 --> 00:25:46,119
Speaker 3: like nineties.

523
00:25:46,720 --> 00:25:49,280
Speaker 2: There was there was something happened in street Teams.

524
00:25:49,080 --> 00:25:52,280
Speaker 3: Street Oh death ro too though they played the part. Yeah,

525
00:25:52,320 --> 00:25:54,760
Speaker 3: because that's when Tupac and all like, there was a

526
00:25:54,760 --> 00:25:58,280
Speaker 3: lot of records being sold, like Tupac selling eight million records,

527
00:25:58,840 --> 00:25:59,760
Speaker 3: the amount of money.

528
00:25:59,600 --> 00:26:00,320
Speaker 5: That should night.

529
00:26:00,640 --> 00:26:02,879
Speaker 1: So maybe it's maybe it starts on Power Snoop up

530
00:26:02,920 --> 00:26:04,680
Speaker 1: until that point because he's the first guy that does

531
00:26:05,200 --> 00:26:09,360
Speaker 1: huge million records ninety two up until that era.

532
00:26:09,240 --> 00:26:11,280
Speaker 3: Because before it was just like you just you just

533
00:26:11,440 --> 00:26:13,959
Speaker 3: you wrap you nice, you nice, you nice nice. Then

534
00:26:14,000 --> 00:26:15,919
Speaker 3: there was a gigster eraror you had to be like that.

535
00:26:16,119 --> 00:26:17,960
Speaker 3: But then there was the money because.

536
00:26:17,720 --> 00:26:19,440
Speaker 1: You never kept that even in that era, you never

537
00:26:19,440 --> 00:26:20,760
Speaker 1: cared about how many records you sold.

538
00:26:20,800 --> 00:26:22,800
Speaker 5: But I'm saying there was then there was the money, right.

539
00:26:23,320 --> 00:26:23,640
Speaker 2: I'm trying.

540
00:26:23,720 --> 00:26:25,639
Speaker 5: I'm trying to figure out when the money era started.

541
00:26:25,680 --> 00:26:26,640
Speaker 4: I think I think I.

542
00:26:26,600 --> 00:26:30,080
Speaker 2: Think probably would start with you could Snoop Snoop because

543
00:26:30,160 --> 00:26:34,120
Speaker 2: Hollywood is coming in now when you're coming from La,

544
00:26:34,480 --> 00:26:37,440
Speaker 2: it's Hollywood driven. Everything is the money that the people

545
00:26:37,480 --> 00:26:39,960
Speaker 2: that are putting up the money. It's all based around.

546
00:26:40,280 --> 00:26:42,320
Speaker 2: They do movies, they do all that kind of thing.

547
00:26:42,520 --> 00:26:45,159
Speaker 2: They know how to market. They just may not have

548
00:26:45,200 --> 00:26:48,159
Speaker 2: the right product. Now you come in with Snoop and Dre.

549
00:26:48,720 --> 00:26:51,560
Speaker 2: They know what they're doing and Okay, let's put it

550
00:26:51,560 --> 00:26:54,240
Speaker 2: out there and we're gonna put the money behind it,

551
00:26:54,320 --> 00:26:57,919
Speaker 2: and it hit across the you know, Sugar, I did

552
00:26:58,080 --> 00:27:02,200
Speaker 2: videos for the h what is the name of his

553
00:27:03,200 --> 00:27:09,639
Speaker 2: not dog Pown. They did a compilation of all of

554
00:27:09,680 --> 00:27:13,200
Speaker 2: the artists that were on death Row and the Lady

555
00:27:13,200 --> 00:27:15,800
Speaker 2: of Raid. Yeah, yeah, yeah, and we we did some

556
00:27:15,880 --> 00:27:16,520
Speaker 2: videos for that.

557
00:27:16,800 --> 00:27:18,679
Speaker 5: How smart was Shug like?

558
00:27:18,720 --> 00:27:22,840
Speaker 2: Do you think? Like? To me, I didn't have any

559
00:27:23,080 --> 00:27:25,000
Speaker 2: any problems with him. I thought that he was a

560
00:27:25,040 --> 00:27:27,240
Speaker 2: guy I played football in high school, so he looked

561
00:27:27,280 --> 00:27:30,080
Speaker 2: like a guy to play football with, and so his

562
00:27:30,200 --> 00:27:35,320
Speaker 2: size didn't intimidate me. But I knew that he he

563
00:27:35,400 --> 00:27:38,359
Speaker 2: wanted to win, which was so did I. So I

564
00:27:38,400 --> 00:27:39,560
Speaker 2: didn't I got it.

565
00:27:39,600 --> 00:27:40,840
Speaker 5: Because I never really thought about the reason.

566
00:27:40,920 --> 00:27:42,439
Speaker 3: I actually I never really thought about it, just in

567
00:27:42,480 --> 00:27:45,360
Speaker 3: this moment of we always give Puff the credit of

568
00:27:45,920 --> 00:27:49,240
Speaker 3: making hip hop billions, like, but now I'm thinking, I'm like,

569
00:27:49,400 --> 00:27:51,520
Speaker 3: maybe it was Shug or maybe it with both of

570
00:27:51,520 --> 00:27:53,760
Speaker 3: them at the same time, because Sugar always kept the

571
00:27:53,800 --> 00:27:57,080
Speaker 3: reputation as a very smart businessman and the West Coast

572
00:27:57,119 --> 00:27:59,720
Speaker 3: was always gangster like, just gangster rap, and even that's

573
00:27:59,760 --> 00:28:02,280
Speaker 3: how that's how Snoop originally came out as a gangster

574
00:28:02,359 --> 00:28:05,840
Speaker 3: right as a gang member. But then somehow it turned

575
00:28:06,200 --> 00:28:10,280
Speaker 3: very quickly that death Row ship was always against the card,

576
00:28:10,400 --> 00:28:15,439
Speaker 3: but they turned into very high levels. Maybe Tupac with

577
00:28:15,560 --> 00:28:17,679
Speaker 3: the combination of his star power because he was a

578
00:28:17,680 --> 00:28:20,680
Speaker 3: movie star already, so maybe when he got to death

579
00:28:20,760 --> 00:28:22,240
Speaker 3: Row it just kind of blew it up and they

580
00:28:22,760 --> 00:28:26,000
Speaker 3: But that's interesting because it's like, maybe he needs to

581
00:28:26,000 --> 00:28:29,880
Speaker 3: get a little bit more credit for actually making hip

582
00:28:29,880 --> 00:28:32,280
Speaker 3: hop multi billion dollar industry.

583
00:28:32,440 --> 00:28:34,800
Speaker 1: Or it's the same guys that you, like, you said

584
00:28:34,840 --> 00:28:37,080
Speaker 1: Leo said this about Jay right right, I'm show on

585
00:28:37,080 --> 00:28:39,240
Speaker 1: the other side, Jimmy Iveen saying we're gonna do this

586
00:28:39,280 --> 00:28:41,760
Speaker 1: with Snoop, right, And so these guys are just pulling

587
00:28:41,920 --> 00:28:42,800
Speaker 1: their pulling strings.

588
00:28:42,840 --> 00:28:46,480
Speaker 2: And you also have a guy like like like sug

589
00:28:46,760 --> 00:28:49,680
Speaker 2: is gonna keep everybody. He's a young, young, young kid,

590
00:28:50,680 --> 00:28:53,600
Speaker 2: and he's gonna, look, we're gonna be serious about this.

591
00:28:53,640 --> 00:28:56,480
Speaker 2: We're gonna get this album done, y'all gonna go to

592
00:28:56,560 --> 00:29:01,080
Speaker 2: due press, y'all gonna take photo like he was organizing them.

593
00:29:01,080 --> 00:29:03,959
Speaker 2: He was the coach, you know, like, look, cut it out.

594
00:29:04,240 --> 00:29:07,760
Speaker 2: If somebody acting up, we'll beat your ass. So okay,

595
00:29:07,880 --> 00:29:09,800
Speaker 2: let me not, let me get my shit together. And

596
00:29:09,880 --> 00:29:13,520
Speaker 2: people artists might not have realized that this was to

597
00:29:13,560 --> 00:29:15,800
Speaker 2: the benefit at the time, but when they got to check,

598
00:29:15,920 --> 00:29:17,920
Speaker 2: they realized how much shit gave them.

599
00:29:18,000 --> 00:29:20,960
Speaker 1: As you're seeing this money coming in, especially in this

600
00:29:21,040 --> 00:29:23,560
Speaker 1: hip hop space, and you've watched it from the beginning, right,

601
00:29:24,200 --> 00:29:28,720
Speaker 1: you predated the videos start, the budgets start going up.

602
00:29:29,280 --> 00:29:33,160
Speaker 1: Oh yeah, right now, As in that time, there is

603
00:29:33,200 --> 00:29:37,080
Speaker 1: no Hype Williams yet, right, Billy Hunt, Billy will Ruff,

604
00:29:37,080 --> 00:29:39,640
Speaker 1: all these guys they don't exist yet, right, director asked

605
00:29:40,160 --> 00:29:43,800
Speaker 1: Benny Boom. But you did, yeah, are you looking at

606
00:29:43,800 --> 00:29:45,920
Speaker 1: the video budget saying I need to do more directing

607
00:29:46,120 --> 00:29:49,640
Speaker 1: because they're actually spending millions of dollars? Like I remember

608
00:29:49,680 --> 00:29:52,040
Speaker 1: the million dollar videos right, like this is happening in

609
00:29:52,080 --> 00:29:52,480
Speaker 1: this era.

610
00:29:52,680 --> 00:29:55,160
Speaker 4: How are you viewing this from a director standpoint?

611
00:29:56,840 --> 00:30:00,640
Speaker 2: We just thought that the bigger the artists that we

612
00:30:00,720 --> 00:30:05,000
Speaker 2: worked with, the bigger the budget would be. So as

613
00:30:05,040 --> 00:30:07,480
Speaker 2: long as we could keep on striving to work with

614
00:30:07,560 --> 00:30:11,960
Speaker 2: other like if we worked with I don't know, let's

615
00:30:12,000 --> 00:30:14,720
Speaker 2: say Usher at the time, then we needed to work

616
00:30:14,760 --> 00:30:19,120
Speaker 2: with R Kelly, you know, or to get to at

617
00:30:19,160 --> 00:30:22,080
Speaker 2: the time. So I don't know, I don't want people

618
00:30:22,120 --> 00:30:24,680
Speaker 2: that I don't don't want anybody to get did it twist.

619
00:30:24,440 --> 00:30:25,040
Speaker 4: A different times?

620
00:30:25,040 --> 00:30:29,360
Speaker 5: They you can't erase the history. It's like pop, you

621
00:30:29,360 --> 00:30:30,000
Speaker 5: can't e raise the.

622
00:30:29,960 --> 00:30:33,240
Speaker 2: History, right, So so yeah, so we just thought that

623
00:30:33,320 --> 00:30:36,320
Speaker 2: it was whoever we worked with was bigger, was we

624
00:30:36,320 --> 00:30:38,560
Speaker 2: would get more money. And that was not always the case.

625
00:30:39,560 --> 00:30:41,440
Speaker 2: It just mattered on what was negotiated.

626
00:30:42,320 --> 00:30:44,520
Speaker 3: Let me ask you that you know doctor Lamars, Yes,

627
00:30:45,680 --> 00:30:47,840
Speaker 3: so he has a he I saw him speaking. He

628
00:30:47,880 --> 00:30:51,360
Speaker 3: talked about hip hop fifty and his thing was like

629
00:30:54,760 --> 00:30:56,600
Speaker 3: his thing was like what has hip hop done. That

630
00:30:56,720 --> 00:30:58,160
Speaker 3: was he you know, he's kind of critical on a

631
00:30:58,200 --> 00:31:00,000
Speaker 3: lot of different stuff, and he was like, well, him

632
00:31:00,280 --> 00:31:02,719
Speaker 3: hasn't done anything. And they're like, what do you mean thing.

633
00:31:02,760 --> 00:31:04,720
Speaker 3: He's like, well, we don't have no schools, we have

634
00:31:04,720 --> 00:31:08,400
Speaker 3: no hospitals, we don't have no institutions. So he looks

635
00:31:08,920 --> 00:31:10,760
Speaker 3: from his standpoint, it was like, from fifty years of

636
00:31:10,840 --> 00:31:16,080
Speaker 3: hip hop, we've only gotten negative influences, death and destruction.

637
00:31:17,480 --> 00:31:22,760
Speaker 3: That's obviously like an extreme argument, but it's something that

638
00:31:22,800 --> 00:31:25,160
Speaker 3: to at least I want to ask you about. Because

639
00:31:25,200 --> 00:31:27,800
Speaker 3: you're a hip hop from the beginning to now, you've

640
00:31:27,800 --> 00:31:29,480
Speaker 3: seen fifty years of hip hop. So when you see

641
00:31:29,520 --> 00:31:32,880
Speaker 3: somebody like that, who's highly regarded in our community as

642
00:31:32,880 --> 00:31:34,440
Speaker 3: an intellectual, because.

643
00:31:34,600 --> 00:31:38,080
Speaker 2: Looking at the he's looking at what he sees in

644
00:31:38,120 --> 00:31:41,920
Speaker 2: front of the screen. He's not looking at who's behind

645
00:31:41,920 --> 00:31:44,600
Speaker 2: the scenes. He's not looking at all the people that

646
00:31:44,680 --> 00:31:47,800
Speaker 2: are empowered, that are cutting those checks and putting them

647
00:31:47,840 --> 00:31:52,520
Speaker 2: into the community and making it work. Besides the entertainment

648
00:31:52,680 --> 00:31:57,320
Speaker 2: part of it, how it changes a community. It changes Harlem.

649
00:31:57,480 --> 00:32:00,400
Speaker 2: You know, you get you know when Harlem, you know

650
00:32:00,400 --> 00:32:02,840
Speaker 2: when they put in you know, new restaurants and all

651
00:32:02,880 --> 00:32:05,200
Speaker 2: these different things in Brooklyn. You know, I see it.

652
00:32:06,040 --> 00:32:08,680
Speaker 2: You know, I lived in Brooklyn. You know, it's hip

653
00:32:08,680 --> 00:32:11,640
Speaker 2: hop that drove people to Brooklyn. They didn't come there

654
00:32:11,680 --> 00:32:14,080
Speaker 2: because Brooklyn was a you know, a cool place. It

655
00:32:14,200 --> 00:32:20,720
Speaker 2: was biggie saying. You know, right right now, when you

656
00:32:20,760 --> 00:32:23,840
Speaker 2: walk down Fultland Street in Brooklyn on a Saturday afternoon,

657
00:32:24,520 --> 00:32:28,760
Speaker 2: middle class white folks with their kids, with their kids,

658
00:32:29,240 --> 00:32:32,000
Speaker 2: and the dude with the hoodie, the biggies where he

659
00:32:32,080 --> 00:32:35,320
Speaker 2: come from, like what are you doing here? And so

660
00:32:35,400 --> 00:32:37,600
Speaker 2: but that's why they came because we made it cool.

661
00:32:38,320 --> 00:32:40,920
Speaker 2: And you know, and and and you know, and and

662
00:32:41,000 --> 00:32:45,320
Speaker 2: I understand. You know, well sometimes I don't understan where

663
00:32:45,320 --> 00:32:52,400
Speaker 2: doctor Mauss comes from. But in his case, you still

664
00:32:52,600 --> 00:32:56,880
Speaker 2: have to get people on board to not just not

665
00:32:57,040 --> 00:32:59,200
Speaker 2: just hip hop people. You know, we still have to

666
00:32:59,200 --> 00:33:02,440
Speaker 2: go and sell ourselves every day. You know. I'm pretty

667
00:33:02,480 --> 00:33:05,920
Speaker 2: sure you guys get in situations whereas clearly we know

668
00:33:06,040 --> 00:33:09,600
Speaker 2: what you do. I know everybody in the community knows,

669
00:33:09,800 --> 00:33:11,360
Speaker 2: but you still have to kind of sell you well,

670
00:33:11,960 --> 00:33:15,000
Speaker 2: what's the difference between this and Joe Rogan? You know, like,

671
00:33:15,240 --> 00:33:19,080
Speaker 2: you know, and you know, you know what I'm saying.

672
00:33:19,120 --> 00:33:22,000
Speaker 2: You're like, what are you talking about, bro? Have you

673
00:33:22,080 --> 00:33:24,640
Speaker 2: not seen the movement? Have you not come to the events?

674
00:33:24,720 --> 00:33:27,360
Speaker 2: Have you not seen the influence and the way we

675
00:33:27,480 --> 00:33:30,080
Speaker 2: inspire and people go off and do it and they

676
00:33:30,240 --> 00:33:32,800
Speaker 2: and you know, we're not tracking everybody, but we see it.

677
00:33:33,160 --> 00:33:33,600
Speaker 5: Yeah.

678
00:33:33,720 --> 00:33:35,080
Speaker 3: And there's a lot of answer and everything that you

679
00:33:35,120 --> 00:33:37,160
Speaker 3: can't really measure, like and some regards, you can say

680
00:33:37,160 --> 00:33:39,040
Speaker 3: that hip hop really is the reason why Barack Obama

681
00:33:39,040 --> 00:33:42,000
Speaker 3: got elected because I'm first to say that, Yeah, yeah,

682
00:33:42,040 --> 00:33:47,400
Speaker 3: for sure, because his cultural influence made it acceptable for

683
00:33:47,520 --> 00:33:51,600
Speaker 3: white people to look at somebody black and give him

684
00:33:51,600 --> 00:33:54,960
Speaker 3: an opportunity, where previously that way. And that's because they

685
00:33:54,960 --> 00:33:58,479
Speaker 3: got so used to Tupac, Biggie Snoop and all of that,

686
00:33:58,600 --> 00:34:02,960
Speaker 3: And it's just permeated hip hop, permeonated society and kind

687
00:34:02,960 --> 00:34:06,080
Speaker 3: of softened the situation.

688
00:34:07,160 --> 00:34:12,359
Speaker 2: There are sixty year olds me that grew up on

689
00:34:12,480 --> 00:34:19,080
Speaker 2: hip hop and they're the head of corporations and you

690
00:34:19,120 --> 00:34:22,040
Speaker 2: play a run DMC record and they lose their mind

691
00:34:22,080 --> 00:34:24,480
Speaker 2: and their wife looks at them like, who is this man?

692
00:34:25,440 --> 00:34:27,480
Speaker 2: You know, his white man who's sixty years old. We

693
00:34:27,560 --> 00:34:30,719
Speaker 2: didn't expect that to happen. And their kids are like,

694
00:34:30,840 --> 00:34:33,160
Speaker 2: I didn't know. Dad knew about hip hop because he

695
00:34:33,200 --> 00:34:35,000
Speaker 2: grew up and when he was in high school where

696
00:34:35,040 --> 00:34:36,800
Speaker 2: he's I mean he's in college or in high school,

697
00:34:37,120 --> 00:34:39,279
Speaker 2: that was the music that he grew up listening to.

698
00:34:39,760 --> 00:34:42,280
Speaker 2: And he still loves that and that makes him happy

699
00:34:42,640 --> 00:34:46,279
Speaker 2: at sixty years old still and he he he'll go,

700
00:34:46,480 --> 00:34:48,319
Speaker 2: He'll buy the kids tickets. We all going to see

701
00:34:48,400 --> 00:34:49,520
Speaker 2: run DMC about that.

702
00:34:49,880 --> 00:34:52,240
Speaker 5: And I also think that it's kind of unfair.

703
00:34:53,320 --> 00:34:56,680
Speaker 3: We put hip hop in an unfair bucket, right because

704
00:34:56,719 --> 00:34:59,040
Speaker 3: it's like it's still a genre of music. We're not

705
00:34:59,120 --> 00:35:03,960
Speaker 3: asking what institution has classical music built or what institution

706
00:35:04,160 --> 00:35:05,839
Speaker 3: has the.

707
00:35:05,800 --> 00:35:07,320
Speaker 5: Blues built music?

708
00:35:07,520 --> 00:35:12,879
Speaker 3: Yeah, I mean we have we're over index because part

709
00:35:12,880 --> 00:35:15,560
Speaker 3: of it is because we rely too much on hip hop, right,

710
00:35:15,560 --> 00:35:16,840
Speaker 3: Like we don't just look at hip hop. It's like

711
00:35:16,880 --> 00:35:19,120
Speaker 3: this is just good entertainment. It's becomes so much of

712
00:35:19,160 --> 00:35:22,320
Speaker 3: our life that it's become entertainment or religion, a culture,

713
00:35:22,520 --> 00:35:25,080
Speaker 3: everything for us. Right, So it's like we put so

714
00:35:25,239 --> 00:35:28,600
Speaker 3: much pressure on it, and then that's not really fair

715
00:35:28,640 --> 00:35:31,000
Speaker 3: because at the end of the day, it shouldn't It

716
00:35:31,040 --> 00:35:33,480
Speaker 3: shouldn't really have that much pressure. It should just be

717
00:35:33,520 --> 00:35:36,240
Speaker 3: a part of what we look at, not the whole

718
00:35:36,440 --> 00:35:37,960
Speaker 3: entire every single thing in our life.

719
00:35:38,000 --> 00:35:41,799
Speaker 1: I think that's where that the distinguishment between between hip

720
00:35:41,840 --> 00:35:44,200
Speaker 1: hop and rap music, right.

721
00:35:44,200 --> 00:35:45,960
Speaker 4: Right, because hip hop has a culture itself.

722
00:35:46,200 --> 00:35:49,240
Speaker 1: Yeah, you're right, we definitely over indexent because it's something

723
00:35:49,280 --> 00:35:51,160
Speaker 1: that we created and it's for everything.

724
00:35:51,239 --> 00:35:52,799
Speaker 4: Yeah, and we've watched it.

725
00:35:52,880 --> 00:35:54,960
Speaker 1: Right, So if it was fifty years like I'm an

726
00:35:54,960 --> 00:35:58,279
Speaker 1: eighty two baby eighty eighty four, we literally group up

727
00:35:58,280 --> 00:36:00,239
Speaker 1: with this music and like I can say, I mean,

728
00:36:00,280 --> 00:36:03,160
Speaker 1: it's the I mean, it's been the biggest influence. Right

729
00:36:03,160 --> 00:36:07,880
Speaker 1: when karas One was coming out with bigger than productions,

730
00:36:07,880 --> 00:36:09,719
Speaker 1: like talking about being a teacher, being a teachers, like,

731
00:36:09,760 --> 00:36:12,080
Speaker 1: all right, you could be a teacher. Then Jay spitting,

732
00:36:12,320 --> 00:36:15,720
Speaker 1: I'm like, oh wait, he's saying things that we can unpack.

733
00:36:15,800 --> 00:36:16,799
Speaker 4: Like this is even for me.

734
00:36:16,840 --> 00:36:18,879
Speaker 1: It was like I got to be creative on how

735
00:36:18,920 --> 00:36:21,520
Speaker 1: I teach because he's saying things that I can use

736
00:36:21,520 --> 00:36:23,040
Speaker 1: the kids and now they can relate to it through

737
00:36:23,040 --> 00:36:26,520
Speaker 1: the music. So it's the biggest influence. I mean, by far,

738
00:36:26,840 --> 00:36:28,799
Speaker 1: I used hip hop in the libraries. Now I work

739
00:36:28,840 --> 00:36:32,640
Speaker 1: with the Queen's Library. You know, they were like, first

740
00:36:32,640 --> 00:36:35,319
Speaker 1: of all the amount of kids that were going to

741
00:36:35,480 --> 00:36:36,719
Speaker 1: libraries had come down.

742
00:36:37,160 --> 00:36:39,080
Speaker 2: Why we can use this, we don't have to go

743
00:36:39,120 --> 00:36:42,160
Speaker 2: in the library. How do we get them in the library? Ralph,

744
00:36:42,640 --> 00:36:44,600
Speaker 2: I remember sitting in front of a bunch of live

745
00:36:44,760 --> 00:36:48,040
Speaker 2: you know, people that run the library in Queens, and

746
00:36:48,080 --> 00:36:50,120
Speaker 2: I said we could do some events and they're coming.

747
00:36:50,160 --> 00:36:52,399
Speaker 2: Then we just got to trick them to getting into

748
00:36:52,440 --> 00:36:55,239
Speaker 2: behind them, getting taking books out and getting library card.

749
00:36:55,920 --> 00:36:58,720
Speaker 2: And they were like, well, how do we do that? Easy?

750
00:36:58,920 --> 00:37:02,120
Speaker 2: Bringing the DJ. We got a graffiti writer doing some graffiti.

751
00:37:02,200 --> 00:37:05,040
Speaker 2: Kids want to draw, Let's try this and we started

752
00:37:05,080 --> 00:37:08,759
Speaker 2: doing that and that was six years ago, and the

753
00:37:08,880 --> 00:37:12,920
Speaker 2: numbers increase in all of our sixty five branch. We

754
00:37:13,000 --> 00:37:18,200
Speaker 2: have sixty five libraries in Queens. Now, Ralph, I need

755
00:37:18,200 --> 00:37:20,799
Speaker 2: a program we need to get you know, we need

756
00:37:20,800 --> 00:37:24,440
Speaker 2: them for six and eleven year olds. Okay, I use

757
00:37:24,520 --> 00:37:26,560
Speaker 2: the same things that they use, the same taxes that

758
00:37:26,640 --> 00:37:29,080
Speaker 2: they use, arts and crafts and all that kind of stuff.

759
00:37:29,239 --> 00:37:31,719
Speaker 2: But I hip hop it out. So now we're we're

760
00:37:31,719 --> 00:37:36,759
Speaker 2: gonna customize sneakers. Oh you think that work? Kids love sneakers.

761
00:37:37,360 --> 00:37:40,040
Speaker 2: Sneaker culture is huge, and now they can make their

762
00:37:40,080 --> 00:37:42,480
Speaker 2: own and for those that are out there. You take

763
00:37:42,520 --> 00:37:45,680
Speaker 2: my idea, use it, you know, use it, and it's easier.

764
00:37:45,760 --> 00:37:47,399
Speaker 2: So like a lot of times I speak to people

765
00:37:47,400 --> 00:37:51,120
Speaker 2: with different library and museum curators in other parts of

766
00:37:51,160 --> 00:37:53,480
Speaker 2: the country, Well, you're in New York, so that's a

767
00:37:53,520 --> 00:37:57,000
Speaker 2: different but you might have to finance and put a

768
00:37:57,040 --> 00:37:59,279
Speaker 2: little bit of your money up. In the beginning, we

769
00:37:59,320 --> 00:38:01,480
Speaker 2: didn't have a budget for this. I felt like, like,

770
00:38:01,719 --> 00:38:05,320
Speaker 2: why do we not have a budget? Like this is crazy? Like, well,

771
00:38:05,360 --> 00:38:07,080
Speaker 2: you know, it's just not in the budget when we

772
00:38:07,160 --> 00:38:09,520
Speaker 2: first started. You know, maybe next year we can put

773
00:38:09,560 --> 00:38:11,920
Speaker 2: it in a budget and then you have to sell that.

774
00:38:12,040 --> 00:38:15,480
Speaker 2: But whatever the case is, sport the numbers up. Then

775
00:38:15,520 --> 00:38:18,080
Speaker 2: you have book a Hole. Jay Z Book a Hove

776
00:38:18,200 --> 00:38:22,239
Speaker 2: come out changed the whole culture of what libraries look like.

777
00:38:23,000 --> 00:38:26,920
Speaker 2: And now they can go to their CEO, president or

778
00:38:26,920 --> 00:38:30,680
Speaker 2: whatever and go this is a perfect example of what

779
00:38:30,719 --> 00:38:32,600
Speaker 2: we can do here in Indiana, or we can do

780
00:38:32,680 --> 00:38:37,360
Speaker 2: in Ohio, or we can do in Nebraska. And so

781
00:38:38,920 --> 00:38:40,799
Speaker 2: jay Z's not going to get the credit for that.

782
00:38:41,880 --> 00:38:43,759
Speaker 2: You know, me, I talk about it all the time.

783
00:38:43,800 --> 00:38:45,520
Speaker 2: It was a big deal, and I talk about I

784
00:38:45,520 --> 00:38:48,240
Speaker 2: feel like I was the first and influenced that to happen,

785
00:38:48,680 --> 00:38:51,719
Speaker 2: you know, because I remember when Rock Nason called me

786
00:38:51,760 --> 00:38:53,880
Speaker 2: and said, this is what we're thinking about doing, and

787
00:38:53,920 --> 00:38:55,560
Speaker 2: I was like, it's going to work. It's going to

788
00:38:55,600 --> 00:38:57,520
Speaker 2: be perfect. And that's how it happened.

789
00:38:58,680 --> 00:39:03,280
Speaker 3: Speaking of that from a documentary standpoint, right, So, okay,

790
00:39:03,320 --> 00:39:07,680
Speaker 3: you have thirty years of footage and everything, forty years

791
00:39:07,719 --> 00:39:11,520
Speaker 3: of footage. When do you start thinking about doing a

792
00:39:11,560 --> 00:39:15,759
Speaker 3: documentary and how do you actually even go about making that,

793
00:39:17,200 --> 00:39:22,040
Speaker 3: you know, tangible with that much millions of hours of footage?

794
00:39:22,760 --> 00:39:28,080
Speaker 3: What's the tedious process to actually make that come to life?

795
00:39:29,120 --> 00:39:32,440
Speaker 2: I'd been kicking the idea around a book or a

796
00:39:32,480 --> 00:39:36,120
Speaker 2: documentary or a movie, and I've where do you want

797
00:39:36,160 --> 00:39:39,000
Speaker 2: to do a movie? First? Let's just do a movie, people,

798
00:39:39,080 --> 00:39:41,160
Speaker 2: Let's just get right to it, you know. Let's get

799
00:39:41,200 --> 00:39:44,560
Speaker 2: somebody to play Ralph and you know, and toughy and

800
00:39:44,640 --> 00:39:50,359
Speaker 2: crazy Sam and radys on Kevy, right, you know. So,

801
00:39:50,480 --> 00:39:54,200
Speaker 2: and then we would write in March of twenty twenty

802
00:39:55,080 --> 00:39:59,759
Speaker 2: and this thing, the pandemic hit, right, and so I

803
00:39:59,880 --> 00:40:03,080
Speaker 2: was kicking it with a friend of mine. I wanted him.

804
00:40:03,200 --> 00:40:07,240
Speaker 2: Then we started talking about documentary Sasha Jenkins. Sasha Jenkins

805
00:40:07,239 --> 00:40:11,520
Speaker 2: did the Wu Tang documentary. He did a bunch of

806
00:40:11,640 --> 00:40:15,759
Speaker 2: documentaries on hip hop and so I said, yo, Sasha, Man, look,

807
00:40:16,920 --> 00:40:20,719
Speaker 2: you know I want you to direct my documentary. We

808
00:40:20,760 --> 00:40:23,880
Speaker 2: didn't have a place for it yet. We went to

809
00:40:24,000 --> 00:40:27,280
Speaker 2: a couple of places and you know, they were like, okay,

810
00:40:27,320 --> 00:40:30,080
Speaker 2: it sounds like it's interesting. Sasha was like, your your

811
00:40:30,080 --> 00:40:33,319
Speaker 2: footage is to sell. You know, you got everything. You know,

812
00:40:33,360 --> 00:40:35,719
Speaker 2: it's not like we're looking for something or we going

813
00:40:35,800 --> 00:40:38,200
Speaker 2: and searching for it. You got all the footage, everything

814
00:40:38,239 --> 00:40:40,080
Speaker 2: you talk about. You you got the visuals for it.

815
00:40:40,480 --> 00:40:48,360
Speaker 2: I said, right. So eventually we went to Showtime, or

816
00:40:49,719 --> 00:40:53,000
Speaker 2: actually what happened is Shasha and Nas went to Showtime.

817
00:40:53,840 --> 00:40:55,680
Speaker 2: Sasha told me I meet with Showtime, but I didn't

818
00:40:55,719 --> 00:40:58,359
Speaker 2: know it was with Nas. So he says, he calls

819
00:40:58,400 --> 00:41:00,000
Speaker 2: me today. I says, yeah, me and Na's just left

820
00:41:00,080 --> 00:41:02,200
Speaker 2: to Showtime. I'm like, not, why is not is there?

821
00:41:02,760 --> 00:41:05,319
Speaker 2: And He's like, oh, yes, we're gonna do it with

822
00:41:05,400 --> 00:41:08,719
Speaker 2: mass appeal. So I said all right, and he said,

823
00:41:08,800 --> 00:41:12,279
Speaker 2: and you're the only one. The only documentary they want

824
00:41:12,320 --> 00:41:15,759
Speaker 2: to do is your documentary. The guy who does documentaries

825
00:41:15,760 --> 00:41:18,759
Speaker 2: there is very familiar with you. He grew up in

826
00:41:18,840 --> 00:41:20,880
Speaker 2: New Jersey and he watched you and he said, you

827
00:41:20,920 --> 00:41:24,640
Speaker 2: guys know Ralph McDaniels, and this is not possible talking

828
00:41:24,640 --> 00:41:28,120
Speaker 2: to the naas. And that's how that's how the documentary

829
00:41:28,120 --> 00:41:31,920
Speaker 2: came about. But more importantly is that we had all

830
00:41:31,920 --> 00:41:34,360
Speaker 2: of this footage and we brought that to the table

831
00:41:34,800 --> 00:41:37,120
Speaker 2: and said, you know, like, we could do ten documentaries

832
00:41:37,120 --> 00:41:39,279
Speaker 2: if you want to. In fact, we've been doing it.

833
00:41:39,600 --> 00:41:42,040
Speaker 2: You just didn't know that. Sasha is my man and

834
00:41:42,080 --> 00:41:46,760
Speaker 2: I'm Sasha, use this, use this, use this, And Sasha

835
00:41:46,920 --> 00:41:49,279
Speaker 2: was like, yeah, oh this is incredible. Nobody has this.

836
00:41:49,520 --> 00:41:51,640
Speaker 1: So like, well, we sold with the easiest documentary, like

837
00:41:51,719 --> 00:41:54,759
Speaker 1: you have that for that was specifically for Kanye, but

838
00:41:54,800 --> 00:41:57,280
Speaker 1: you have that, I mean pretty much for every artist.

839
00:41:57,760 --> 00:42:00,520
Speaker 1: Are people have to seeing the documentary. You haven't checked

840
00:42:00,560 --> 00:42:03,200
Speaker 1: it out, please go check it out after seeing the

841
00:42:03,280 --> 00:42:04,560
Speaker 1: feedback from the documentary.

842
00:42:04,920 --> 00:42:08,160
Speaker 4: Are labels are artists looking to you to say, hey.

843
00:42:08,280 --> 00:42:10,239
Speaker 1: Can we get some of that footage because they're not

844
00:42:10,239 --> 00:42:12,799
Speaker 1: putting a piece together for this artist or that artist.

845
00:42:13,000 --> 00:42:17,239
Speaker 2: Well, the labels are still trying to figure it out

846
00:42:17,280 --> 00:42:20,279
Speaker 2: because they're corporate, right, and they want to be in

847
00:42:20,360 --> 00:42:23,120
Speaker 2: charge of everything. And I'm like you got to go

848
00:42:23,200 --> 00:42:26,160
Speaker 2: to what the people want, you know, think about what

849
00:42:26,200 --> 00:42:29,040
Speaker 2: the people want. This is it. Don't think about it

850
00:42:29,080 --> 00:42:31,960
Speaker 2: from your perspective because it's going to be corny. I'm

851
00:42:31,960 --> 00:42:34,879
Speaker 2: not saying that you guys are not excellent making money

852
00:42:34,880 --> 00:42:37,319
Speaker 2: and doing what you do, but people want to know

853
00:42:37,360 --> 00:42:42,280
Speaker 2: the little integral tidbits about DMX or fifty or whoever

854
00:42:42,320 --> 00:42:47,080
Speaker 2: it is, and you want to see that. And you

855
00:42:47,120 --> 00:42:49,239
Speaker 2: guys are just going to come from a music perspective

856
00:42:50,200 --> 00:42:52,720
Speaker 2: on this record. They did this, and which is fine,

857
00:42:52,760 --> 00:42:55,080
Speaker 2: which is important. People want to know that. But I

858
00:42:55,120 --> 00:42:59,520
Speaker 2: think that people want to know, you know, the intimate

859
00:42:59,560 --> 00:43:03,000
Speaker 2: parts of artists, you know, and sometimes it's not good.

860
00:43:03,840 --> 00:43:06,680
Speaker 2: And not saying that we want to just just lay

861
00:43:06,680 --> 00:43:09,560
Speaker 2: out it. Everybody's personal business. I don't agree in that either,

862
00:43:10,160 --> 00:43:13,600
Speaker 2: but whatever the artist is comfortable with, let's put that way.

863
00:43:14,719 --> 00:43:19,120
Speaker 3: How do you feel about like it feel like hip

864
00:43:19,120 --> 00:43:26,040
Speaker 3: hop now? It's everybody's looking at like from a different

865
00:43:26,040 --> 00:43:28,080
Speaker 3: standpoint now, right, all of these different cases that have

866
00:43:28,200 --> 00:43:32,160
Speaker 3: come about, right, but a lot of that stems from

867
00:43:32,239 --> 00:43:35,920
Speaker 3: like stuff that happened twenty years ago, right, So how

868
00:43:35,920 --> 00:43:40,160
Speaker 3: do you feel about like the full circle moment now?

869
00:43:40,600 --> 00:43:43,120
Speaker 3: Especially like when it comes to like sexual assault and

870
00:43:43,120 --> 00:43:43,680
Speaker 3: stuff like that.

871
00:43:43,760 --> 00:43:44,920
Speaker 5: When we saw.

872
00:43:45,120 --> 00:43:49,040
Speaker 3: Videos that was kind of like borderline on that, but

873
00:43:49,080 --> 00:43:51,520
Speaker 3: nobody really thought about it like that at that moment, right,

874
00:43:51,600 --> 00:43:53,120
Speaker 3: So what's your.

875
00:43:52,960 --> 00:43:54,800
Speaker 2: Thoughts, especially the rock and roll video?

876
00:43:55,640 --> 00:43:59,440
Speaker 3: Yeah, well yeah, so what's your thoughts on a state

877
00:43:59,560 --> 00:44:02,520
Speaker 3: of where that where that currently stands right now?

878
00:44:03,880 --> 00:44:05,880
Speaker 2: It's a different time. You know. There are things that

879
00:44:05,920 --> 00:44:07,680
Speaker 2: I played on video music Box back in the days.

880
00:44:07,680 --> 00:44:09,480
Speaker 2: I would never be able to play them now. And

881
00:44:09,520 --> 00:44:12,040
Speaker 2: we edit them. We have to edit those video like

882
00:44:12,080 --> 00:44:14,440
Speaker 2: if we throw a throwback and we look at how

883
00:44:14,560 --> 00:44:16,279
Speaker 2: possibly we did we played this on TV.

884
00:44:17,040 --> 00:44:23,560
Speaker 1: I know one, you know, and and I don't, you know,

885
00:44:24,480 --> 00:44:25,080
Speaker 1: it happened.

886
00:44:25,280 --> 00:44:29,640
Speaker 2: You know, I have no excuse. These things happened. And

887
00:44:29,640 --> 00:44:32,440
Speaker 2: and that's the culture that we we are in and

888
00:44:32,440 --> 00:44:34,920
Speaker 2: and we evolve and we learn and we do whatever

889
00:44:34,960 --> 00:44:37,719
Speaker 2: we do to to to make it right. And and

890
00:44:37,760 --> 00:44:40,040
Speaker 2: that's what, you know, that's what twenty twenty four.

891
00:44:40,560 --> 00:44:43,279
Speaker 5: Is it a music industry problem or him?

892
00:44:43,440 --> 00:44:46,960
Speaker 2: It's just it's just people problem. You know, some some

893
00:44:47,120 --> 00:44:52,080
Speaker 2: men standing around. Yeah, let's do this, you know, music,

894
00:44:52,480 --> 00:44:56,200
Speaker 2: you know, if it you know, look, I remember there

895
00:44:56,280 --> 00:44:59,360
Speaker 2: was a time in the early two thousands, when strip

896
00:44:59,440 --> 00:45:02,759
Speaker 2: clubs was where you went to break records, and it'd

897
00:45:02,760 --> 00:45:05,520
Speaker 2: be like thousands of people going to the strip club.

898
00:45:05,520 --> 00:45:08,239
Speaker 2: And you know, the record release party was at a

899
00:45:08,280 --> 00:45:12,000
Speaker 2: strip club, you know. And and I wasn't really into

900
00:45:12,000 --> 00:45:14,040
Speaker 2: strip clubs like that, but I was aware of it,

901
00:45:14,120 --> 00:45:17,319
Speaker 2: you know that it was happening. And I'm married, man,

902
00:45:17,360 --> 00:45:19,200
Speaker 2: my wife's like, you ain't going to no damn strip club?

903
00:45:19,200 --> 00:45:23,000
Speaker 2: Where you going? And so but I knew it was happening,

904
00:45:23,640 --> 00:45:27,320
Speaker 2: and that was a culture. That's where we get Cardi B.

905
00:45:28,400 --> 00:45:31,200
Speaker 2: Cardi B comes directly out of that. She's talking, she's

906
00:45:31,200 --> 00:45:34,480
Speaker 2: telling you about the strip club culture. She was right,

907
00:45:35,000 --> 00:45:38,120
Speaker 2: but she she starts on on on this blog or

908
00:45:38,160 --> 00:45:40,600
Speaker 2: on Instagram or not maybe whatever it was, Facebook or

909
00:45:40,600 --> 00:45:44,680
Speaker 2: whatever it was, and she's just talking last night, this happened,

910
00:45:44,800 --> 00:45:47,640
Speaker 2: and and she's breaking down all of this stuff that

911
00:45:47,800 --> 00:45:50,440
Speaker 2: I'm I don't know, I have no idea, but I

912
00:45:50,560 --> 00:45:54,080
Speaker 2: know that this girl is very interesting. I don't even

913
00:45:54,160 --> 00:45:56,439
Speaker 2: know she's a rapper. In fact, she's not a rapper yet.

914
00:45:56,800 --> 00:45:59,440
Speaker 2: She's just so I'm like, I don't know something about her.

915
00:45:59,520 --> 00:46:01,239
Speaker 2: She's going to beat somebody. I don't know where this

916
00:46:01,360 --> 00:46:05,799
Speaker 2: is going, but it's going somewhere. Ten years fifteen years later,

917
00:46:06,680 --> 00:46:08,640
Speaker 2: she's one of the biggest in the game love and

918
00:46:08,680 --> 00:46:09,080
Speaker 2: hip hop.

919
00:46:10,320 --> 00:46:13,279
Speaker 1: It's interesting, it's this evolution, right because when I think

920
00:46:13,320 --> 00:46:15,759
Speaker 1: of all the videos that you directed.

921
00:46:15,520 --> 00:46:17,200
Speaker 4: Early on the paper, then.

922
00:46:19,480 --> 00:46:24,040
Speaker 1: We produced how to tell even the boutine, the rawness

923
00:46:24,120 --> 00:46:26,279
Speaker 1: of those videos, and then we have an error where

924
00:46:26,280 --> 00:46:29,839
Speaker 1: we're going into million dollar videos, highly produced videos, right,

925
00:46:29,880 --> 00:46:31,839
Speaker 1: And so you go from Video Music Box, you go

926
00:46:32,080 --> 00:46:35,319
Speaker 1: to MTV on TV raps and you get BT rap City,

927
00:46:35,440 --> 00:46:38,560
Speaker 1: all these one on six in part trls in there somewhere,

928
00:46:39,200 --> 00:46:41,480
Speaker 1: and then now it's streaming and it's YouTube, and it's

929
00:46:41,480 --> 00:46:45,560
Speaker 1: going back to the rawness of the video. How are

930
00:46:45,560 --> 00:46:48,279
Speaker 1: you viewing this from your standpoint? It's like, are we

931
00:46:48,360 --> 00:46:50,960
Speaker 1: going back to the origin or people just like to

932
00:46:51,000 --> 00:46:52,160
Speaker 1: have that role authentic.

933
00:46:52,360 --> 00:46:54,400
Speaker 2: I think they just like to not know it, not

934
00:46:54,520 --> 00:47:00,360
Speaker 2: be predictable, like Ki Singe, right, I'm like, okay, I'm

935
00:47:00,400 --> 00:47:03,160
Speaker 2: watching I don't watch him all the time, but everything

936
00:47:03,200 --> 00:47:05,480
Speaker 2: that he seems to get reaction when it's something that

937
00:47:05,520 --> 00:47:07,200
Speaker 2: happened that he didn't know what was going to happen.

938
00:47:07,960 --> 00:47:10,319
Speaker 2: You know, he's just good at planning it out. You know,

939
00:47:10,800 --> 00:47:13,879
Speaker 2: but I think that people like that, you know, they're

940
00:47:13,880 --> 00:47:18,200
Speaker 2: in this world, in this universe and it just happened,

941
00:47:18,200 --> 00:47:20,560
Speaker 2: and oh my good what you call him? Kevin Hardy

942
00:47:20,600 --> 00:47:23,480
Speaker 2: is on there. Oh this guy is on there. You know,

943
00:47:24,200 --> 00:47:26,480
Speaker 2: I'm not going to be surprised if Denzel pops up

944
00:47:26,520 --> 00:47:30,279
Speaker 2: on you know, on you know, and Denzel will get it,

945
00:47:30,920 --> 00:47:33,520
Speaker 2: you know, because Denzel gets it. He gets it. He

946
00:47:34,160 --> 00:47:36,400
Speaker 2: comes from that place, he knows it, he knows what

947
00:47:36,480 --> 00:47:39,440
Speaker 2: it is. You don't have to do it, but if

948
00:47:39,440 --> 00:47:41,160
Speaker 2: he feels like it, he probably said let's do it.

949
00:47:41,239 --> 00:47:44,400
Speaker 3: But I think everything works insightfuls because even you know,

950
00:47:44,520 --> 00:47:47,279
Speaker 3: the million dollar budget video. But then DMX comes out,

951
00:47:47,800 --> 00:47:49,600
Speaker 3: let's take it back to the streets, right, and then

952
00:47:49,640 --> 00:47:53,239
Speaker 3: that ushered in era of just raw grittiness and it

953
00:47:53,239 --> 00:47:55,000
Speaker 3: goes back. So it goes up, it goes down, It

954
00:47:55,000 --> 00:47:55,719
Speaker 3: goes up and goes down.

955
00:47:55,719 --> 00:47:58,960
Speaker 2: As far as quality, I think that's the competition because

956
00:47:59,080 --> 00:48:01,760
Speaker 2: you know, rough riders, we got all the bikes. Nobody

957
00:48:01,800 --> 00:48:02,520
Speaker 2: don't have that.

958
00:48:02,520 --> 00:48:04,200
Speaker 4: That was still a great but that was a well

959
00:48:04,239 --> 00:48:04,799
Speaker 4: produced video.

960
00:48:04,880 --> 00:48:06,920
Speaker 5: Yeah, let's take it to but I'm saying it's in

961
00:48:06,960 --> 00:48:07,520
Speaker 5: this tunnel.

962
00:48:07,800 --> 00:48:11,080
Speaker 1: Yeah, the content of it was but it's not like

963
00:48:11,360 --> 00:48:14,200
Speaker 1: protecting that right, which is just like, yo, somebody shot

964
00:48:14,239 --> 00:48:16,000
Speaker 1: this on a camcorder and they gave it to you.

965
00:48:16,480 --> 00:48:18,799
Speaker 1: This is like they put even like his next video,

966
00:48:19,239 --> 00:48:22,000
Speaker 1: how's it going down? Like these are good, Like if

967
00:48:22,040 --> 00:48:23,799
Speaker 1: you look at them now, they're still well produced. The

968
00:48:23,840 --> 00:48:25,399
Speaker 1: cinematography is good, the lighting is good.

969
00:48:25,600 --> 00:48:29,920
Speaker 2: DMX is is you know Unicorn? So yeah, he was.

970
00:48:31,040 --> 00:48:34,920
Speaker 2: I remember with video music Box and Crazy Sam went

971
00:48:34,920 --> 00:48:40,160
Speaker 2: to Yonkers and he was there to tape some other

972
00:48:40,280 --> 00:48:45,359
Speaker 2: artists and he says, yo, man, this other guy comes

973
00:48:45,440 --> 00:48:47,200
Speaker 2: up and says, why are you messing with them? You're

974
00:48:47,239 --> 00:48:54,080
Speaker 2: whack you and you know this before he blew up, right,

975
00:48:54,600 --> 00:48:57,360
Speaker 2: And so Sam is like, you know, we hear this

976
00:48:57,440 --> 00:49:00,520
Speaker 2: all the time, you know, and he's this is yo man,

977
00:49:00,560 --> 00:49:02,200
Speaker 2: I'm gonna be right back, man, I'm gonna do something

978
00:49:02,239 --> 00:49:04,560
Speaker 2: for y'all. And he does a little freestyle, you know,

979
00:49:04,640 --> 00:49:08,040
Speaker 2: and and Sam said the guy actually was pretty good.

980
00:49:08,040 --> 00:49:10,440
Speaker 2: He was crazy. He's crazy, and crazy Sam is crazy.

981
00:49:12,960 --> 00:49:18,279
Speaker 2: But DMX, you know, no filter, just come on, let's

982
00:49:18,320 --> 00:49:21,000
Speaker 2: do it. He's an actor, he was in movies like

983
00:49:21,080 --> 00:49:24,200
Speaker 2: he's a real you know, like it's the real deal.

984
00:49:25,080 --> 00:49:26,960
Speaker 5: Talented, Yeah, super talented.

985
00:49:28,280 --> 00:49:33,319
Speaker 3: Okay, so when do you start to get into actually literature, right,

986
00:49:33,360 --> 00:49:35,560
Speaker 3: because now you actually have the children, Yeah, you have

987
00:49:35,600 --> 00:49:35,919
Speaker 3: the book.

988
00:49:36,080 --> 00:49:37,000
Speaker 5: How does that come about?

989
00:49:37,320 --> 00:49:42,520
Speaker 2: The book was from me working in the library. I

990
00:49:42,560 --> 00:49:44,359
Speaker 2: saw a lot of books, but I didn't see enough

991
00:49:44,760 --> 00:49:48,880
Speaker 2: for hip hop or for our people or for the

992
00:49:48,920 --> 00:49:52,040
Speaker 2: hip hop community. And sometimes people say, oh, it's black,

993
00:49:52,080 --> 00:49:53,879
Speaker 2: and like, no, it's just people that into hip hop.

994
00:49:53,920 --> 00:49:55,799
Speaker 2: Like we talk a certain way and you'll know it

995
00:49:55,840 --> 00:49:58,400
Speaker 2: when you hear it, and you just start talking with them.

996
00:49:58,680 --> 00:50:00,200
Speaker 2: You know, you could walk in the corporate room when

997
00:50:00,200 --> 00:50:04,359
Speaker 2: you look for that guy, that girl, that's okay, that's

998
00:50:04,400 --> 00:50:06,840
Speaker 2: my people's right there. I need them right there. I

999
00:50:06,840 --> 00:50:09,799
Speaker 2: gotta connect with them after we leave, you know. And

1000
00:50:09,920 --> 00:50:13,000
Speaker 2: so we wanted to create something that was based upon

1001
00:50:13,920 --> 00:50:18,440
Speaker 2: my story, but also as a way to teach kids

1002
00:50:18,440 --> 00:50:20,920
Speaker 2: in books, which once again they don't have to do that.

1003
00:50:20,960 --> 00:50:25,120
Speaker 2: They could use this. So how do we make that interesting?

1004
00:50:25,600 --> 00:50:28,400
Speaker 2: We pack it with a lot of information, and we

1005
00:50:28,520 --> 00:50:32,520
Speaker 2: packed it with my story, the story of parents who

1006
00:50:32,560 --> 00:50:35,279
Speaker 2: grew up and wanted to show their kid where they

1007
00:50:35,320 --> 00:50:37,520
Speaker 2: came from, where hip hop started at in the Bronx

1008
00:50:38,120 --> 00:50:40,719
Speaker 2: and take them to Times Square. We used to be

1009
00:50:41,040 --> 00:50:44,160
Speaker 2: dancing on cardboard here and people would give them money

1010
00:50:44,800 --> 00:50:47,360
Speaker 2: and all of these things. That is part of the

1011
00:50:47,480 --> 00:50:50,000
Speaker 2: hip hop experience back in the days. And so that's

1012
00:50:50,040 --> 00:50:52,200
Speaker 2: what the book is about. But in the same time,

1013
00:50:52,200 --> 00:50:56,520
Speaker 2: we do in reading comprehension and math and stunt science,

1014
00:50:56,680 --> 00:50:59,160
Speaker 2: you know, stem in general, just just to kind of

1015
00:51:00,840 --> 00:51:02,320
Speaker 2: make the book last a little bit longer.

1016
00:51:02,520 --> 00:51:05,719
Speaker 3: So let me ask you this as far as just

1017
00:51:05,760 --> 00:51:09,360
Speaker 3: from a hip hop question, there's two artists who I

1018
00:51:09,360 --> 00:51:11,960
Speaker 3: feel will never get the proper respect that they deserve

1019
00:51:12,520 --> 00:51:17,759
Speaker 3: from hip hop purist, Kanye West and Drake. To me,

1020
00:51:18,200 --> 00:51:22,080
Speaker 3: I feel like hip hop purist whill never champion them,

1021
00:51:22,239 --> 00:51:23,960
Speaker 3: but their resumes speaks for itself.

1022
00:51:24,680 --> 00:51:25,719
Speaker 5: How do you feel about that.

1023
00:51:27,000 --> 00:51:29,560
Speaker 2: I'm a fan of both of them, gods so, and

1024
00:51:29,640 --> 00:51:34,040
Speaker 2: I may not be the hip hop purist you're talking about.

1025
00:51:35,360 --> 00:51:37,399
Speaker 2: It's a guy that's I'm sitting on a stoop right now.

1026
00:51:37,600 --> 00:51:41,719
Speaker 2: You know, there's some times on he still drinks Old

1027
00:51:41,760 --> 00:51:45,799
Speaker 2: English and he tells you every album cut. He knows

1028
00:51:46,080 --> 00:51:48,400
Speaker 2: his stuff, right. I know that guy, and girls and

1029
00:51:48,440 --> 00:51:54,719
Speaker 2: women as well, And it's because they they believe that

1030
00:51:54,800 --> 00:51:58,680
Speaker 2: hip hop is is an era, a certain era that

1031
00:51:58,719 --> 00:52:02,080
Speaker 2: they grew up on problems and that's it. And some

1032
00:52:02,640 --> 00:52:05,480
Speaker 2: you know, may go a little further around, you know,

1033
00:52:05,560 --> 00:52:10,120
Speaker 2: into today, but most of them are of a certain

1034
00:52:10,160 --> 00:52:14,000
Speaker 2: age and they just you know, if it doesn't have

1035
00:52:14,080 --> 00:52:16,200
Speaker 2: if the lyrics are not in these type of catens,

1036
00:52:17,080 --> 00:52:20,000
Speaker 2: or the beats are not these type of beats, it's

1037
00:52:20,040 --> 00:52:20,520
Speaker 2: not hip.

1038
00:52:20,680 --> 00:52:22,359
Speaker 3: I just look at both of them, like, nobody's double

1039
00:52:22,400 --> 00:52:24,759
Speaker 3: what they've done. Nobody in the history of people. Like

1040
00:52:24,760 --> 00:52:27,200
Speaker 3: when I look at Drake, to be number one for

1041
00:52:27,239 --> 00:52:29,879
Speaker 3: fifteen years, every single year can.

1042
00:52:29,840 --> 00:52:31,040
Speaker 2: Say so Son is soft.

1043
00:52:36,320 --> 00:52:38,480
Speaker 3: It's like for car Ye to be the number one producer,

1044
00:52:38,520 --> 00:52:40,440
Speaker 3: then to be the number one rapper, to have five

1045
00:52:40,560 --> 00:52:42,520
Speaker 3: classic albums from New York Son.

1046
00:52:44,280 --> 00:52:48,560
Speaker 1: I mean, this is what they're gonna say, right, think

1047
00:52:48,560 --> 00:52:50,480
Speaker 1: about this error, Like, if that's the argument not from

1048
00:52:50,520 --> 00:52:53,440
Speaker 1: New York, doesn't it feel I mean watching it from

1049
00:52:53,440 --> 00:52:57,799
Speaker 1: every era, we don't dominate the music, and it's been

1050
00:52:57,800 --> 00:52:58,759
Speaker 1: that way for a while now.

1051
00:52:58,880 --> 00:53:00,960
Speaker 4: In fact, we don't who is the artist. I mean,

1052
00:53:00,960 --> 00:53:01,720
Speaker 4: you could say.

1053
00:53:01,520 --> 00:53:03,920
Speaker 1: A Buggy, or you might say a Cardio. You throw

1054
00:53:04,000 --> 00:53:07,359
Speaker 1: Nicki in there, but we don't. We don't have the

1055
00:53:07,400 --> 00:53:09,960
Speaker 1: person or the people, even a group of people that

1056
00:53:10,400 --> 00:53:12,080
Speaker 1: New York can say, like, that's us.

1057
00:53:12,880 --> 00:53:19,240
Speaker 3: Women, women, theminate women, Nicki, Nick's even Nigga's enough for these.

1058
00:53:19,280 --> 00:53:20,279
Speaker 5: But she's still number one.

1059
00:53:20,719 --> 00:53:22,960
Speaker 4: I'm not I said, Nikki and Cardi and you could

1060
00:53:22,960 --> 00:53:24,000
Speaker 4: thrown a buggy in there.

1061
00:53:24,000 --> 00:53:26,640
Speaker 5: But Spice was hot. She had a run.

1062
00:53:27,080 --> 00:53:30,120
Speaker 2: I like Spice, I think the riot the dude that

1063
00:53:30,160 --> 00:53:33,319
Speaker 2: does the beast, you know, that's DJ enough son he

1064
00:53:33,640 --> 00:53:35,800
Speaker 2: I'm like, this guy is amazing. I love the music,

1065
00:53:35,920 --> 00:53:37,799
Speaker 2: you know, and and I really kind of tuned in.

1066
00:53:37,840 --> 00:53:40,280
Speaker 2: I'm like, who, Like I didn't even realize it was drill,

1067
00:53:40,760 --> 00:53:43,000
Speaker 2: you know, and I was like, who's doing the music?

1068
00:53:43,040 --> 00:53:45,360
Speaker 2: Like what is this? This is just sounds like familiar

1069
00:53:45,920 --> 00:53:50,960
Speaker 2: and and so I think that that helps the music.

1070
00:53:51,040 --> 00:53:53,120
Speaker 2: The music was first, the DJ was first.

1071
00:53:53,640 --> 00:53:56,359
Speaker 1: I felt like this was the time and we all

1072
00:53:56,400 --> 00:53:59,520
Speaker 1: know this time when each burrow had a number of

1073
00:53:59,520 --> 00:54:01,839
Speaker 1: people coming from it, and now I feel it now

1074
00:54:01,880 --> 00:54:04,400
Speaker 1: it's like it's a different city and that's I mean,

1075
00:54:04,440 --> 00:54:07,120
Speaker 1: that's good. That speaks to the growth of the music itself.

1076
00:54:07,320 --> 00:54:09,399
Speaker 1: But New York and itself, like I couldn't tell you

1077
00:54:09,840 --> 00:54:12,239
Speaker 1: who outside of.

1078
00:54:12,640 --> 00:54:16,600
Speaker 2: Abel Ye in the Bronx that was by design. Okay,

1079
00:54:17,360 --> 00:54:21,560
Speaker 2: remember when cash money became pop popular right late nineties.

1080
00:54:21,760 --> 00:54:25,520
Speaker 2: That's how long cash money been around. Cash money was

1081
00:54:25,640 --> 00:54:28,440
Speaker 2: using music that they did on their own. I mean

1082
00:54:28,480 --> 00:54:29,920
Speaker 2: some of it were samples, but we didn't know. It

1083
00:54:29,920 --> 00:54:32,640
Speaker 2: wasn't like, you know, keep rising to the top and

1084
00:54:32,680 --> 00:54:34,919
Speaker 2: you know, samples that we knew. It wasn't don't look

1085
00:54:34,960 --> 00:54:38,759
Speaker 2: any fair. It wasn't that, it was something else. The

1086
00:54:38,840 --> 00:54:41,360
Speaker 2: music business realized cash money could make records for a

1087
00:54:41,360 --> 00:54:43,960
Speaker 2: lot less than they have to give Jay Z on

1088
00:54:44,000 --> 00:54:47,200
Speaker 2: his third album or it's fourth problem. Why are we

1089
00:54:47,239 --> 00:54:49,640
Speaker 2: spending this much money to give to Jay or give

1090
00:54:49,719 --> 00:54:54,360
Speaker 2: to DMX or to Wu Tang. Let's give it to

1091
00:54:54,400 --> 00:54:57,720
Speaker 2: cash money. They know how to make records for less

1092
00:54:58,600 --> 00:55:02,000
Speaker 2: and less samples. We don't gotta worry about getting sued.

1093
00:55:02,440 --> 00:55:05,200
Speaker 2: None of that legal stuff is gonna happen. And that

1094
00:55:05,280 --> 00:55:08,879
Speaker 2: was when the shift happened right there. And once they

1095
00:55:09,040 --> 00:55:13,440
Speaker 2: became popular and they started selling records, then all of

1096
00:55:13,440 --> 00:55:14,960
Speaker 2: the record labels said, oh, we gotta find us a

1097
00:55:15,040 --> 00:55:17,360
Speaker 2: cash money and so that's when it changed.

1098
00:55:18,000 --> 00:55:21,480
Speaker 3: And I think it's the culture too. Culture drives music.

1099
00:55:22,200 --> 00:55:27,839
Speaker 3: So what I mean by that is like West Coast

1100
00:55:27,880 --> 00:55:31,960
Speaker 3: had a culture, the gang culture permeonated and then that

1101
00:55:32,200 --> 00:55:37,600
Speaker 3: sound that they created went worldwide globally and now and

1102
00:55:37,640 --> 00:55:40,640
Speaker 3: then people started making music the kind of mirror that. Right,

1103
00:55:41,280 --> 00:55:45,319
Speaker 3: New York had a culture five percent all that, and

1104
00:55:45,440 --> 00:55:48,520
Speaker 3: people started making music to permeonate where rock Kim was

1105
00:55:48,560 --> 00:55:52,399
Speaker 3: talking about what Nasa Wutang was talking about. Right then

1106
00:55:52,440 --> 00:55:56,759
Speaker 3: it was the hustler culture with Jay and Big. Now

1107
00:55:56,880 --> 00:56:00,960
Speaker 3: it's gang culture, but like different like Chicago gang culture

1108
00:56:01,200 --> 00:56:04,000
Speaker 3: drill that's permonated. So even if they're from New York,

1109
00:56:04,000 --> 00:56:06,160
Speaker 3: they don't sound like they're from New York. They emulate

1110
00:56:06,200 --> 00:56:11,040
Speaker 3: in Chicago or it's just down South culture in general.

1111
00:56:11,440 --> 00:56:13,880
Speaker 3: So now everybody the gold tieth is coming back and

1112
00:56:13,880 --> 00:56:15,840
Speaker 3: how they dressing and how they talk, and the slang

1113
00:56:15,880 --> 00:56:20,279
Speaker 3: that they're using sound like they're from Louisiana, Alabama, even

1114
00:56:20,320 --> 00:56:23,319
Speaker 3: if they're from New York, they're using Atlanta slang. So

1115
00:56:23,640 --> 00:56:27,120
Speaker 3: that culture there are New York artists, but it doesn't

1116
00:56:27,160 --> 00:56:29,640
Speaker 3: seem like that New York vintage feel because like dim

1117
00:56:29,719 --> 00:56:33,160
Speaker 3: Set was authentic to New York, their culture permeenated it,

1118
00:56:33,239 --> 00:56:36,480
Speaker 3: like but that was dipset, like G Unit that was

1119
00:56:36,960 --> 00:56:42,480
Speaker 3: fifty was queens right like even is the last of it?

1120
00:56:42,760 --> 00:56:44,719
Speaker 1: Yeah, that's why that's I think you're making the point.

1121
00:56:44,719 --> 00:56:47,560
Speaker 1: I'm saying, who's what's the authentic New York. We don't

1122
00:56:47,640 --> 00:56:48,160
Speaker 1: really have.

1123
00:56:48,080 --> 00:56:51,440
Speaker 5: A Nicki, Nicki Minaj and Cardi B. Those are authentic

1124
00:56:51,480 --> 00:56:51,839
Speaker 5: New York.

1125
00:56:53,080 --> 00:56:56,920
Speaker 3: Nikki too Nicky Definitely, Nikki's a lyricists I.

1126
00:56:56,920 --> 00:57:00,640
Speaker 5: Don't count anymore, but still, but she's still I know.

1127
00:57:00,680 --> 00:57:04,719
Speaker 1: But I'm saying like they they're from a demographic that's

1128
00:57:04,760 --> 00:57:06,920
Speaker 1: like the Hall of Fame. That's the whole of thing.

1129
00:57:06,920 --> 00:57:09,640
Speaker 1: Already we already know solid first ballot that's Hall of Fame.

1130
00:57:10,760 --> 00:57:12,239
Speaker 1: But that the music has to stay young.

1131
00:57:12,400 --> 00:57:13,120
Speaker 5: There's no New York.

1132
00:57:13,120 --> 00:57:15,360
Speaker 3: I mean, you got artists that's traditional New York, but

1133
00:57:15,400 --> 00:57:20,720
Speaker 3: they haven't like somebody like Davies. He's a New York.

1134
00:57:20,880 --> 00:57:22,880
Speaker 3: He's a New Yorker the way he dressed, the way

1135
00:57:22,880 --> 00:57:26,760
Speaker 3: he talks, but he's not He's not a mainstream popular artist.

1136
00:57:26,880 --> 00:57:30,400
Speaker 3: Pop Smoke was the last one that he was a

1137
00:57:30,440 --> 00:57:32,840
Speaker 3: hybrid because he was a new generation, but he was

1138
00:57:32,920 --> 00:57:35,520
Speaker 3: real New York. He was on the round flow is

1139
00:57:35,880 --> 00:57:38,400
Speaker 3: his vibe was very much New York, the New New

1140
00:57:38,480 --> 00:57:41,720
Speaker 3: York champion gang culture and all of that, but it

1141
00:57:41,760 --> 00:57:44,880
Speaker 3: was still it didn't seem like when Asam Rocking Them

1142
00:57:44,880 --> 00:57:46,520
Speaker 3: came out, I thought that they was from Houston. When

1143
00:57:46,520 --> 00:57:48,439
Speaker 3: I first saw I thought they was from Houston because

1144
00:57:48,440 --> 00:57:52,680
Speaker 3: they had nothing. I wasn't familiar with anything that they

1145
00:57:52,680 --> 00:57:54,800
Speaker 3: were talking about as far as like, that's not.

1146
00:57:54,800 --> 00:57:56,560
Speaker 2: The Harlem swag.

1147
00:57:56,640 --> 00:57:59,120
Speaker 3: Though when you after a while, Yeah, when it first

1148
00:57:59,160 --> 00:58:06,680
Speaker 3: came out, it was like Evenana was like, no disrespect

1149
00:58:06,720 --> 00:58:08,400
Speaker 3: to Yeah, that was years ago.

1150
00:58:08,400 --> 00:58:08,560
Speaker 5: He was.

1151
00:58:08,680 --> 00:58:11,720
Speaker 3: It was like, yo, when he said that that's not Hall,

1152
00:58:11,840 --> 00:58:13,680
Speaker 3: Like he didn't mean like they're not from Harlem, but

1153
00:58:13,680 --> 00:58:15,680
Speaker 3: he's like, that's not hard.

1154
00:58:15,600 --> 00:58:16,080
Speaker 4: The new General.

1155
00:58:16,120 --> 00:58:17,960
Speaker 5: That's not the Hall that he knew, but it was

1156
00:58:18,040 --> 00:58:20,200
Speaker 5: the new It was a new Yeah, said.

1157
00:58:21,280 --> 00:58:24,720
Speaker 2: There was a whole thing of style with that. That

1158
00:58:24,800 --> 00:58:28,840
Speaker 2: generation which changed influenced a lot of kids. Now. You

1159
00:58:28,880 --> 00:58:31,280
Speaker 2: know then that's why they look at Asap the way

1160
00:58:31,320 --> 00:58:32,160
Speaker 2: the Asap rocket.

1161
00:58:32,160 --> 00:58:35,560
Speaker 1: He's like in that Tyler, Tyler cred I think I'm

1162
00:58:35,640 --> 00:58:37,240
Speaker 1: more impact.

1163
00:58:37,200 --> 00:58:39,240
Speaker 2: And Tyler the creator is nothing is amazing.

1164
00:58:39,280 --> 00:58:41,520
Speaker 1: And at first I saw him first on you Yeah

1165
00:58:41,240 --> 00:58:43,360
Speaker 1: you put the video with the cockroach on his face

1166
00:58:43,360 --> 00:58:44,200
Speaker 1: and I was like, what is this?

1167
00:58:44,360 --> 00:58:47,240
Speaker 2: Yeah, and you know, and but I saw him live

1168
00:58:47,320 --> 00:58:50,040
Speaker 2: first and I felt like I didn't feel l A

1169
00:58:50,440 --> 00:58:52,440
Speaker 2: where he's from. I felt like this is a new

1170
00:58:52,480 --> 00:58:55,040
Speaker 2: he could be in New York doing this and you know,

1171
00:58:55,160 --> 00:58:57,960
Speaker 2: and he had all of the the movement, you know,

1172
00:58:58,440 --> 00:59:00,600
Speaker 2: and I was like, I didn't have any idea that

1173
00:59:00,640 --> 00:59:02,160
Speaker 2: he was from from from LA.

1174
00:59:02,320 --> 00:59:06,000
Speaker 3: But that's why Kendrick is such a big artist because

1175
00:59:06,040 --> 00:59:09,560
Speaker 3: he linked into l A culture. Oh, double down, triple down,

1176
00:59:09,640 --> 00:59:12,720
Speaker 3: quadruple down on it. When times gets hard, he always goes.

1177
00:59:12,560 --> 00:59:13,160
Speaker 5: Back to l A.

1178
00:59:13,560 --> 00:59:14,920
Speaker 4: Right, So it's like they grabbed him.

1179
00:59:15,520 --> 00:59:17,440
Speaker 5: Huh, they grabbed him too, who grabbed them?

1180
00:59:17,800 --> 00:59:20,120
Speaker 2: They made what I.

1181
00:59:20,360 --> 00:59:24,680
Speaker 3: Said, like he that's somebody who he put that anthem

1182
00:59:24,720 --> 00:59:25,960
Speaker 3: out and it was LA.

1183
00:59:27,920 --> 00:59:31,480
Speaker 1: Because he was el A. He's there outside of them.

1184
00:59:31,560 --> 00:59:34,320
Speaker 1: It was their favorite son, right like you think when

1185
00:59:34,360 --> 00:59:36,520
Speaker 1: they passed him the crown on stage and Snoops on

1186
00:59:36,520 --> 00:59:39,000
Speaker 1: stage and Games on stage and Jay all these guys

1187
00:59:39,000 --> 00:59:41,680
Speaker 1: have made sure since early on that he's going to

1188
00:59:41,720 --> 00:59:44,800
Speaker 1: be the next Rock, right, like he's very important, He's

1189
00:59:44,840 --> 00:59:45,400
Speaker 1: opening up.

1190
00:59:45,360 --> 00:59:47,320
Speaker 2: For j Rock, right because Jay Rock looked like he

1191
00:59:47,400 --> 00:59:52,080
Speaker 2: was from Brooklyn. Game is very important, right, game too, right,

1192
00:59:52,280 --> 00:59:54,200
Speaker 2: the game looked like he was from New York, right,

1193
00:59:54,240 --> 00:59:55,840
Speaker 2: So that opens up the door even though they don't

1194
00:59:55,880 --> 00:59:59,600
Speaker 2: have the sales like Kendrick and you know others. But

1195
00:59:59,760 --> 01:00:03,480
Speaker 2: Jay Rock is a very important part of to me

1196
01:00:04,360 --> 01:00:05,120
Speaker 2: from outside of.

1197
01:00:05,240 --> 01:00:08,520
Speaker 1: Lay to the success. Yeah, he gonna make it. Tell

1198
01:00:08,960 --> 01:00:10,720
Speaker 1: I'm with you. I didn't even know he was from there.

1199
01:00:10,760 --> 01:00:12,280
Speaker 1: Like on the new album he's saying like he's the

1200
01:00:12,280 --> 01:00:16,440
Speaker 1: biggest out of the city since Kenny, and I'm like, oh, okay,

1201
01:00:17,040 --> 01:00:19,080
Speaker 1: but you look at it when they did that show,

1202
01:00:19,200 --> 01:00:22,000
Speaker 1: when Kendrick did that show. If you look at the

1203
01:00:22,120 --> 01:00:24,640
Speaker 1: largest ovation outside of when Kentrick does.

1204
01:00:24,600 --> 01:00:26,960
Speaker 4: Not like us, it's.

1205
01:00:26,400 --> 01:00:31,560
Speaker 3: Tyler really, So what's next for you? I mean, you know,

1206
01:00:31,600 --> 01:00:36,560
Speaker 3: you got the book, did the documentary. You've chronicled fifty

1207
01:00:36,640 --> 01:00:40,760
Speaker 3: years of hip hop literally, like you as an elder

1208
01:00:40,800 --> 01:00:45,360
Speaker 3: statesman and somebody that's you know, established your legacy. What

1209
01:00:45,720 --> 01:00:47,840
Speaker 3: are you looking forward to in the next ten years.

1210
01:00:48,040 --> 01:00:52,400
Speaker 2: I think it's important that because I work in business

1211
01:00:52,480 --> 01:00:56,760
Speaker 2: right now that deals with government funding and that type

1212
01:00:56,760 --> 01:00:59,200
Speaker 2: of thing and grants and stuff like that, we have

1213
01:00:59,280 --> 01:01:01,120
Speaker 2: to be aware who we have an office right now

1214
01:01:01,600 --> 01:01:02,800
Speaker 2: and it's changed.

1215
01:01:03,080 --> 01:01:03,160
Speaker 1: And.

1216
01:01:05,120 --> 01:01:09,680
Speaker 2: So now we're in preservation mode. I do a lot

1217
01:01:09,680 --> 01:01:11,640
Speaker 2: of stuff that you know, my whole thing is with

1218
01:01:11,800 --> 01:01:15,880
Speaker 2: my nonprofit is Video Music Boss Collection is preserving this culture,

1219
01:01:16,960 --> 01:01:22,280
Speaker 2: digitizing it, making it available. And then you know, doing

1220
01:01:22,440 --> 01:01:23,160
Speaker 2: stories and.

1221
01:01:23,240 --> 01:01:25,480
Speaker 5: Curating contracts from school districts.

1222
01:01:25,040 --> 01:01:28,560
Speaker 2: So you might get the government contracts from for schools.

1223
01:01:28,640 --> 01:01:32,760
Speaker 2: You might get government contracts for museums. You know, So

1224
01:01:32,800 --> 01:01:35,480
Speaker 2: you do something at MoMA, you could get a three

1225
01:01:35,480 --> 01:01:38,880
Speaker 2: million dollar contract to do something at the moment, and

1226
01:01:39,040 --> 01:01:41,680
Speaker 2: or you could get ten thousand or five thousand dollars

1227
01:01:41,680 --> 01:01:47,200
Speaker 2: to do something at Yonker's Library, you know. And is

1228
01:01:47,240 --> 01:01:50,240
Speaker 2: that money going to be coming according to the way

1229
01:01:50,480 --> 01:01:53,320
Speaker 2: it's been projected. It may be coming, but it may

1230
01:01:53,360 --> 01:01:55,160
Speaker 2: not be coming into hip hop, or it might not

1231
01:01:55,240 --> 01:01:58,840
Speaker 2: be coming into our community, maybe going somewhere else. Now,

1232
01:01:59,280 --> 01:02:02,160
Speaker 2: so we have to make sure that we protect our

1233
01:02:02,400 --> 01:02:05,560
Speaker 2: history and make sure that And some people go, oh man,

1234
01:02:05,600 --> 01:02:07,440
Speaker 2: come on, Ralph, we do only hear about that, know what.

1235
01:02:07,440 --> 01:02:09,600
Speaker 2: It's important that we do that because if we don't

1236
01:02:09,640 --> 01:02:11,960
Speaker 2: do that, then we don't have a story.

1237
01:02:12,040 --> 01:02:12,800
Speaker 5: So how do we do that?

1238
01:02:13,320 --> 01:02:15,280
Speaker 2: We have to we have to have our own spaces

1239
01:02:15,280 --> 01:02:17,560
Speaker 2: for that, and we as the community have to protect it.

1240
01:02:18,040 --> 01:02:20,800
Speaker 2: We have to do it ourselves. You know, I grew

1241
01:02:20,840 --> 01:02:24,280
Speaker 2: up in Crown Heights, and when I lived in Brooklyn

1242
01:02:24,680 --> 01:02:29,240
Speaker 2: and Crown Heights is like half Hasidic Jewish, half African American,

1243
01:02:29,360 --> 01:02:33,280
Speaker 2: well in the Caribbean, and and everybody takes care of

1244
01:02:33,280 --> 01:02:36,920
Speaker 2: they own, you know, you know, if it's the Caribbean community,

1245
01:02:36,960 --> 01:02:40,320
Speaker 2: like you know, like we have a shop or a

1246
01:02:40,360 --> 01:02:43,560
Speaker 2: super cat and and and uh and somebody performed in

1247
01:02:43,600 --> 01:02:45,280
Speaker 2: that and you go and they make sure that they

1248
01:02:45,320 --> 01:02:49,600
Speaker 2: got they protected, they protected their thing. The African American

1249
01:02:49,640 --> 01:02:52,680
Speaker 2: community does does it as well, and the Hasidic community

1250
01:02:52,680 --> 01:02:55,440
Speaker 2: does it as well. My neighbors were Hassidic Jews. You know,

1251
01:02:55,480 --> 01:02:58,600
Speaker 2: I see them every day. Family first, Ralph, Okay, you know,

1252
01:02:58,760 --> 01:03:00,640
Speaker 2: I hear it all the time. And we have to

1253
01:03:00,640 --> 01:03:03,440
Speaker 2: be like that. Family first, you know, like we are

1254
01:03:03,560 --> 01:03:06,120
Speaker 2: very competitive, that's what we do. Hip hop is a

1255
01:03:06,240 --> 01:03:10,400
Speaker 2: very competitive thing sports, you know, it's very competitive. We

1256
01:03:10,760 --> 01:03:13,600
Speaker 2: the grades at that. But we have to think about

1257
01:03:13,800 --> 01:03:16,200
Speaker 2: taking care of our culture and making sure that it's

1258
01:03:16,240 --> 01:03:19,880
Speaker 2: protected and that by doing that then also brings wealth

1259
01:03:20,000 --> 01:03:24,400
Speaker 2: to that community in those particular areas. You know, anything

1260
01:03:24,440 --> 01:03:27,080
Speaker 2: that's happened to us is because we didn't do that.

1261
01:03:27,360 --> 01:03:29,400
Speaker 5: Do you think that hip hop will be under sulting run.

1262
01:03:29,400 --> 01:03:32,680
Speaker 3: The thing they said in Project twenty twenty five, with that,

1263
01:03:32,720 --> 01:03:36,360
Speaker 3: you know people's artistic abilities is going to be would

1264
01:03:36,400 --> 01:03:36,920
Speaker 3: be the first.

1265
01:03:38,040 --> 01:03:40,680
Speaker 2: It'd be the first that they gonna try and shut down. Look,

1266
01:03:40,720 --> 01:03:42,800
Speaker 2: we've been doing this for a minute. We've been running

1267
01:03:42,840 --> 01:03:46,600
Speaker 2: things for a long time. You got Blackish, you got

1268
01:03:46,640 --> 01:03:50,800
Speaker 2: all these shows on TV. We've been running and everybody

1269
01:03:50,840 --> 01:03:53,560
Speaker 2: knows about. It's not just black people were buying this. Clearly,

1270
01:03:53,720 --> 01:03:56,760
Speaker 2: this is entertainment. Everybody's buying it. It's not like we

1271
01:03:56,880 --> 01:04:00,320
Speaker 2: forced it down your throat. We said, you know, you

1272
01:04:00,760 --> 01:04:03,000
Speaker 2: enjoyed it, but somebody sitting in the back of lind

1273
01:04:03,080 --> 01:04:05,080
Speaker 2: these black people, that's enough for y'all. Y'all had a

1274
01:04:05,160 --> 01:04:10,000
Speaker 2: nice little run. So now, okay, look, expect that to happen,

1275
01:04:11,040 --> 01:04:14,280
Speaker 2: and just be ready and just be you know prepared,

1276
01:04:15,400 --> 01:04:18,800
Speaker 2: you know, don't just sit back and lay down and go, Okay,

1277
01:04:18,840 --> 01:04:20,880
Speaker 2: we're not getting that funding no more. We got to

1278
01:04:20,920 --> 01:04:22,960
Speaker 2: go through something else and just leave it, which is

1279
01:04:22,960 --> 01:04:26,520
Speaker 2: what we can to do. We just leave it and

1280
01:04:26,560 --> 01:04:30,680
Speaker 2: then somebody comes and buys it for cheap and makes

1281
01:04:30,720 --> 01:04:31,240
Speaker 2: it something.

1282
01:04:31,880 --> 01:04:34,080
Speaker 1: I think you're sitting in a unique standpoint right If

1283
01:04:34,080 --> 01:04:35,760
Speaker 1: this is the era of content.

1284
01:04:36,480 --> 01:04:39,800
Speaker 4: I mean, you have it. You have something that can't.

1285
01:04:39,520 --> 01:04:41,760
Speaker 1: Be duplicated, which is content of people who will no

1286
01:04:41,800 --> 01:04:43,919
Speaker 1: longer hear right, And you have it in the early

1287
01:04:43,920 --> 01:04:46,000
Speaker 1: stages and lay stages and even current stages.

1288
01:04:46,320 --> 01:04:50,400
Speaker 4: You talked about the process of digitizing. What when it?

1289
01:04:50,520 --> 01:04:53,280
Speaker 1: I mean, that's a lengthy process, I'm sure, But what's

1290
01:04:53,320 --> 01:04:57,040
Speaker 1: the view what's the vision really for after it's digitized?

1291
01:04:57,320 --> 01:04:59,400
Speaker 4: Now? Are we trying to say, like, hey, we're gonna

1292
01:04:59,440 --> 01:04:59,800
Speaker 4: put this on.

1293
01:04:59,720 --> 01:05:01,760
Speaker 2: This we want to we want to have it at Harvard?

1294
01:05:01,920 --> 01:05:08,680
Speaker 2: You know, NAS has a fellowship there, other institutions, HBCUs.

1295
01:05:09,840 --> 01:05:12,360
Speaker 2: I went to school in Long Island, put it there,

1296
01:05:12,400 --> 01:05:13,880
Speaker 2: you know that was I went to school for TV

1297
01:05:13,960 --> 01:05:15,920
Speaker 2: and film. Put it in those types of schools, you

1298
01:05:15,920 --> 01:05:19,400
Speaker 2: know where journalists, the next journalist, the next earn your

1299
01:05:19,440 --> 01:05:22,720
Speaker 2: leisure guys are coming up, and they should be able

1300
01:05:22,720 --> 01:05:25,960
Speaker 2: to see all of this and learn information from what

1301
01:05:26,080 --> 01:05:30,640
Speaker 2: y'all do you know? And and and it's and it's valuable,

1302
01:05:30,880 --> 01:05:32,680
Speaker 2: Like we do it because we do it and we

1303
01:05:32,760 --> 01:05:35,200
Speaker 2: really enjoy it. Some of us make a lot of

1304
01:05:35,240 --> 01:05:40,560
Speaker 2: money out of it, but it's valuable information. It's valuable.

1305
01:05:41,360 --> 01:05:43,640
Speaker 1: I want to talk about one thing and before we

1306
01:05:43,720 --> 01:05:47,440
Speaker 1: before we go, and it's a painful foundation because it's important,

1307
01:05:47,440 --> 01:05:49,560
Speaker 1: it's important to watch, it's important see, But more importantly

1308
01:05:49,640 --> 01:05:50,480
Speaker 1: is what you guys are doing.

1309
01:05:50,680 --> 01:05:53,480
Speaker 4: I know you're on the board. For those who are

1310
01:05:53,480 --> 01:05:54,560
Speaker 4: not familiar.

1311
01:05:54,240 --> 01:05:57,400
Speaker 1: Hopefully you can explain to them, but just watching you

1312
01:05:57,480 --> 01:05:59,800
Speaker 1: give back to a generation that we grew up watching,

1313
01:06:00,200 --> 01:06:03,160
Speaker 1: especially hip hop artists. I know this year's recipients were

1314
01:06:03,440 --> 01:06:05,520
Speaker 1: Rock Saint Chante, Grand Master Cast.

1315
01:06:08,120 --> 01:06:13,280
Speaker 2: Yeah, it's crazy and scar Faced this year, last year,

1316
01:06:13,440 --> 01:06:14,880
Speaker 2: last year facing rock Camp.

1317
01:06:14,920 --> 01:06:17,800
Speaker 1: So giving back to artists who paved the way for

1318
01:06:17,960 --> 01:06:20,720
Speaker 1: the future generations. Talk about the paid full foundation and

1319
01:06:21,080 --> 01:06:21,760
Speaker 1: in your role in it.

1320
01:06:22,040 --> 01:06:24,439
Speaker 2: I think that that's that that part is like that

1321
01:06:24,440 --> 01:06:27,400
Speaker 2: that paved the way. Like we're trying to figure out,

1322
01:06:27,960 --> 01:06:30,480
Speaker 2: is who's the right artists you know, because some people

1323
01:06:30,520 --> 01:06:32,760
Speaker 2: I was the first. It was not necessarily based upon

1324
01:06:32,960 --> 01:06:35,080
Speaker 2: who was the first. It was the influence kind of

1325
01:06:35,080 --> 01:06:40,120
Speaker 2: in a way. But the idea is from Ben Harwitz,

1326
01:06:41,080 --> 01:06:45,080
Speaker 2: who you know his companies and you know his business

1327
01:06:45,720 --> 01:06:48,560
Speaker 2: is amazing and he just as a guy who loves

1328
01:06:48,640 --> 01:06:51,200
Speaker 2: hip hop. He went to n y U in the nineties.

1329
01:06:51,560 --> 01:06:55,480
Speaker 2: He grew up in the Golden era, and and was

1330
01:06:55,520 --> 01:06:58,080
Speaker 2: listening to all this music while he was, you know,

1331
01:06:58,480 --> 01:07:01,680
Speaker 2: doing whatever he was doing, became very successful at it.

1332
01:07:02,280 --> 01:07:04,320
Speaker 2: And you know, you go to his house and he's

1333
01:07:04,360 --> 01:07:07,400
Speaker 2: just like he's just playing. You know, he's definitely playing

1334
01:07:07,440 --> 01:07:10,160
Speaker 2: some knaves and you know, and some some scar face

1335
01:07:10,240 --> 01:07:14,320
Speaker 2: ghetto boys or whoever. Fifty and and he was like,

1336
01:07:15,520 --> 01:07:19,440
Speaker 2: I want to do something that can benefit these artists,

1337
01:07:19,440 --> 01:07:23,520
Speaker 2: no strings attached. And sometimes with us or would anybody

1338
01:07:23,560 --> 01:07:25,800
Speaker 2: somebody comes and I'm gonna give you five hundred thousand dollars,

1339
01:07:26,760 --> 01:07:29,680
Speaker 2: Like what I gotta do? Like what if somebody come

1340
01:07:29,720 --> 01:07:31,680
Speaker 2: and give you twenty dollars? You like, what I gotta do?

1341
01:07:32,240 --> 01:07:33,840
Speaker 2: You know, you think it's a catch to it, And

1342
01:07:33,840 --> 01:07:36,360
Speaker 2: there's no catch to it at all. And and some

1343
01:07:36,400 --> 01:07:39,680
Speaker 2: people I've they've they've asked to you know, they want

1344
01:07:39,720 --> 01:07:42,320
Speaker 2: to do it with to give the money to, and

1345
01:07:42,360 --> 01:07:45,680
Speaker 2: they just didn't. They were scared to take the money.

1346
01:07:45,880 --> 01:07:49,520
Speaker 2: The recipients, Yeah, the recipients. And I was like, it's

1347
01:07:49,560 --> 01:07:51,720
Speaker 2: me talking to you. I wouldn't do that to you,

1348
01:07:51,760 --> 01:07:56,200
Speaker 2: bro like and for whatever reason, and I had to

1349
01:07:56,200 --> 01:08:00,320
Speaker 2: explain to to, you know, to the foundation, this is

1350
01:08:00,360 --> 01:08:03,360
Speaker 2: not something normal, like people don't just come and give

1351
01:08:03,400 --> 01:08:05,600
Speaker 2: you money, you know, like that, that's not how it works.

1352
01:08:05,640 --> 01:08:08,600
Speaker 2: So be patient, like, wait a second, give me, give

1353
01:08:08,640 --> 01:08:10,520
Speaker 2: me another week. I go, I'll go to their house

1354
01:08:10,560 --> 01:08:15,040
Speaker 2: and talk to But yeah, so two years in a row.

1355
01:08:15,760 --> 01:08:19,280
Speaker 2: NAS of course is part of it, very important part

1356
01:08:19,320 --> 01:08:24,799
Speaker 2: of it. And Steve Stout and and QD three, Quincy

1357
01:08:24,840 --> 01:08:28,800
Speaker 2: Jones Son and Fab five, Freddie and others that are

1358
01:08:29,040 --> 01:08:31,000
Speaker 2: important and part of it, part of it. And they

1359
01:08:31,040 --> 01:08:32,880
Speaker 2: were just you know, these were just the people that

1360
01:08:32,920 --> 01:08:36,559
Speaker 2: were there for the initial conversation. I met Ben Hardwood, Stu,

1361
01:08:36,640 --> 01:08:40,439
Speaker 2: Steve Stout, and Steve was working on a book. I mean,

1362
01:08:40,600 --> 01:08:42,680
Speaker 2: Ben was working on a book and he wanted to

1363
01:08:42,760 --> 01:08:45,439
Speaker 2: quote me in the book and and I just didn't

1364
01:08:45,479 --> 01:08:48,360
Speaker 2: understand it, like why me? But he had studied my

1365
01:08:48,439 --> 01:08:50,599
Speaker 2: whole thing, and he's you're a purist, You're a hip

1366
01:08:50,600 --> 01:08:52,960
Speaker 2: hop purist. And I was like all right. And so

1367
01:08:53,240 --> 01:08:57,360
Speaker 2: we sat down in Queen's in the library and you know,

1368
01:08:57,600 --> 01:09:00,000
Speaker 2: and I gave him some words and he used it

1369
01:09:00,040 --> 01:09:02,479
Speaker 2: in this book and we've been friends ever since.

1370
01:09:03,320 --> 01:09:06,560
Speaker 4: So each year, how many people can receive the reward.

1371
01:09:06,320 --> 01:09:10,040
Speaker 2: Is it's it's it could vary, you know, it's last

1372
01:09:10,120 --> 01:09:11,800
Speaker 2: year was two. It was supposed to be three actually

1373
01:09:11,880 --> 01:09:16,479
Speaker 2: last year and so that didn't happen. This year was three,

1374
01:09:16,760 --> 01:09:20,240
Speaker 2: so maybe let's say three right now. Three per And

1375
01:09:20,280 --> 01:09:24,840
Speaker 2: it's not like, you know, like Kaz was easy. Kaz

1376
01:09:24,960 --> 01:09:27,599
Speaker 2: was like he wrote a song, he had his book,

1377
01:09:27,640 --> 01:09:30,479
Speaker 2: he gave it to his man, Big Bad Hank, and

1378
01:09:30,600 --> 01:09:33,639
Speaker 2: Hank went and made one of the biggest hip hop

1379
01:09:33,680 --> 01:09:38,519
Speaker 2: records ever, excuse me, Raper is Delight, using Kaz's words,

1380
01:09:39,680 --> 01:09:42,639
Speaker 2: and never got the credit for it. Kaz never got

1381
01:09:42,640 --> 01:09:46,200
Speaker 2: the credit for it. Never nobody ever came back and said,

1382
01:09:46,520 --> 01:09:51,160
Speaker 2: you know, here's some money for that. And so that

1383
01:09:51,320 --> 01:09:54,360
Speaker 2: was like a clear like damn, like, how many times

1384
01:09:54,400 --> 01:09:56,439
Speaker 2: do we hear rappers delight? We still hear it now

1385
01:09:56,479 --> 01:10:00,840
Speaker 2: in corporate Kallas, you know. And so Kaz was a

1386
01:10:00,840 --> 01:10:04,439
Speaker 2: clear understanding of it. Rox Sante Chante, who I worked

1387
01:10:04,439 --> 01:10:06,960
Speaker 2: with in the beginning, did her first video, one of

1388
01:10:06,960 --> 01:10:10,559
Speaker 2: my first videos that I did, was just a girl

1389
01:10:10,560 --> 01:10:13,400
Speaker 2: that could rap. She was one of those hip hop hers.

1390
01:10:13,400 --> 01:10:16,040
Speaker 2: She's that girl because she's still that girl. She's sitting

1391
01:10:16,040 --> 01:10:19,080
Speaker 2: there and you know, she works with serious radio now,

1392
01:10:19,120 --> 01:10:21,880
Speaker 2: but she'll give you the breakdown like not any hip

1393
01:10:21,920 --> 01:10:26,760
Speaker 2: hop son, you know, you know, she's that girl. And

1394
01:10:26,760 --> 01:10:31,559
Speaker 2: and Coolmo D is a revolutionary. He's he's Malcolm x Martin,

1395
01:10:31,640 --> 01:10:34,800
Speaker 2: Luther King, you know, Mega Evers, all wrapped up in

1396
01:10:34,840 --> 01:10:38,680
Speaker 2: won and with a James Brown beating underneath it, you know,

1397
01:10:39,320 --> 01:10:44,840
Speaker 2: jet right, And you know, and so he meant a

1398
01:10:44,880 --> 01:10:47,559
Speaker 2: lot to Harlem, the image of him, and you know,

1399
01:10:47,680 --> 01:10:51,440
Speaker 2: the traditions of the guys you know, the Dougie Fresh's

1400
01:10:51,479 --> 01:10:54,320
Speaker 2: and others that you know, DJ Hollywood and all these

1401
01:10:54,320 --> 01:10:58,479
Speaker 2: people that were doing their thing Harlem, you know. And

1402
01:10:58,479 --> 01:11:00,720
Speaker 2: and he was the right choice, you know. And and

1403
01:11:00,720 --> 01:11:04,240
Speaker 2: and I remember when this year when it happened, you know,

1404
01:11:05,160 --> 01:11:07,000
Speaker 2: because he knew me. I did videos for him, you know,

1405
01:11:07,040 --> 01:11:08,920
Speaker 2: he didn't really know everybody. And and and he's not

1406
01:11:09,000 --> 01:11:10,200
Speaker 2: a guy that you see all the time, so he

1407
01:11:10,200 --> 01:11:12,439
Speaker 2: don't even come outside like that. You know, he might

1408
01:11:12,479 --> 01:11:15,320
Speaker 2: do some shows, but you don't really see Kumo D.

1409
01:11:15,400 --> 01:11:16,760
Speaker 2: And he was like that. And I could see like

1410
01:11:16,800 --> 01:11:19,559
Speaker 2: a little puzzlement on stick with like what's about to happen,

1411
01:11:19,760 --> 01:11:22,080
Speaker 2: like you know, and I'm like, it's cool, not gonna happen.

1412
01:11:22,240 --> 01:11:24,360
Speaker 2: It's gonna be fine. We're gonna get it. We're gonna

1413
01:11:24,439 --> 01:11:26,040
Speaker 2: leave him. We're gonna get back on the plane, gonna

1414
01:11:26,080 --> 01:11:28,400
Speaker 2: go back to our normal life, and that's gonna be it.

1415
01:11:28,479 --> 01:11:30,920
Speaker 2: And and you know, but some of the you know,

1416
01:11:31,120 --> 01:11:35,000
Speaker 2: more successful guys in that world, Silicon Valley world, come

1417
01:11:35,040 --> 01:11:38,599
Speaker 2: to the event and they buy tickets and they want

1418
01:11:38,600 --> 01:11:40,800
Speaker 2: to hang out with They probably wanna hang out with

1419
01:11:40,800 --> 01:11:44,080
Speaker 2: Ben Harwich, but they listened to hip hop that night.

1420
01:11:45,200 --> 01:11:46,240
Speaker 2: That's dope.

1421
01:11:46,880 --> 01:11:47,760
Speaker 5: I appreciate it.

1422
01:11:47,760 --> 01:11:47,960
Speaker 2: Bro.

1423
01:11:48,120 --> 01:11:50,160
Speaker 5: So how can they get the book out? How can

1424
01:11:50,200 --> 01:11:52,080
Speaker 5: they follow everything? You got going.

1425
01:11:51,920 --> 01:11:58,200
Speaker 2: On video music box dot com for the book. Video

1426
01:11:58,320 --> 01:12:02,280
Speaker 2: music Box Collection dot org is my nonprofit. Please support that.

1427
01:12:04,200 --> 01:12:06,160
Speaker 2: We do a lot of work. It's a lot of work,

1428
01:12:06,320 --> 01:12:08,720
Speaker 2: archive and digitizing, you know, all of the stuff that

1429
01:12:08,760 --> 01:12:12,479
Speaker 2: we do to just get the details of what the

1430
01:12:12,520 --> 01:12:15,200
Speaker 2: story of hip hop is about. And it's not the

1431
01:12:15,240 --> 01:12:17,920
Speaker 2: story of hip hop. It's more from my perspective, from

1432
01:12:17,920 --> 01:12:19,920
Speaker 2: what we covered, and we didn't cover everything. Clearly, we

1433
01:12:19,920 --> 01:12:21,880
Speaker 2: were in New York most of the time, but it

1434
01:12:21,920 --> 01:12:25,400
Speaker 2: is in other areas of the country some of the story.

1435
01:12:25,600 --> 01:12:29,080
Speaker 3: Yeah, do you have it, ladies and gentlemen, Thank you guys.

1436
01:12:29,200 --> 01:12:30,400
Speaker 5: Rock and runs to see you next week.

1437
01:12:30,600 --> 01:12:35,160
Speaker 6: Peace please, An illegal alien from Guatemala charged with raping

1438
01:12:35,200 --> 01:12:38,679
Speaker 6: a child in Massachusetts. An MS thirteen gang member from

1439
01:12:38,680 --> 01:12:43,040
Speaker 6: Al Salvador accused of murdering a Texas man of Venezuelan

1440
01:12:43,400 --> 01:12:47,439
Speaker 6: charged with filming and selling child pornography in Michigan. These

1441
01:12:47,439 --> 01:12:51,120
Speaker 6: are just some of the heinous migrant criminals caught because

1442
01:12:51,160 --> 01:12:54,560
Speaker 6: of President Donald J. Trump's leadership. I'm Christine Noman, the

1443
01:12:54,680 --> 01:12:59,240
Speaker 6: United States Secretary of Homeland Security. Under President Trump, attempted

1444
01:12:59,280 --> 01:13:03,000
Speaker 6: illegal border crossings are at the lowest levels ever recorded,

1445
01:13:03,320 --> 01:13:06,360
Speaker 6: and over one hundred thousand illegal aliens have been arrested.

1446
01:13:06,640 --> 01:13:10,200
Speaker 6: If you are here illegally, your next you will be

1447
01:13:10,240 --> 01:13:14,120
Speaker 6: fine nearly one thousand dollars a day, imprisoned and deported,

1448
01:13:14,600 --> 01:13:17,840
Speaker 6: you will never return. But if you register using our

1449
01:13:17,840 --> 01:13:21,080
Speaker 6: CBP home app and leave now, you could be allowed

1450
01:13:21,080 --> 01:13:26,040
Speaker 6: to return legally. Do what's right. Leave now. Under President Trump,

1451
01:13:26,200 --> 01:13:29,799
Speaker 6: America's laws, border and families will be protected.

1452
01:13:29,880 --> 01:13:32,040
Speaker 2: Sponsored by the United States Department of Homeland Security,