1 00:00:01,639 --> 00:00:05,080 Speaker 1: From Our Heart podcasts I am Fab five, Freddy and 2 00:00:05,320 --> 00:00:08,960 Speaker 1: Vice if the fifty Years of hip Hop podcast series. 3 00:00:09,680 --> 00:00:11,680 Speaker 1: You know, it's interesting how a lot of people over 4 00:00:11,720 --> 00:00:14,440 Speaker 1: the years have always assumed that I'm from the Bronx, 5 00:00:15,040 --> 00:00:16,680 Speaker 1: and I was like, what do you mean? And I 6 00:00:16,800 --> 00:00:20,239 Speaker 1: realized that's because, well, I'm a co star in hip 7 00:00:20,320 --> 00:00:23,919 Speaker 1: hop's first film, Wild Style, which tells the story of 8 00:00:23,960 --> 00:00:27,120 Speaker 1: early hip hop, which all pretty much went down in 9 00:00:27,200 --> 00:00:30,160 Speaker 1: the Bronx. So I get that. But I'm from bes Stop, 10 00:00:30,200 --> 00:00:34,360 Speaker 1: Brooklyn And as a shorty coming up back in the seventies, 11 00:00:34,840 --> 00:00:37,440 Speaker 1: I got caught up in this thing with these mobile 12 00:00:37,520 --> 00:00:40,040 Speaker 1: DJs that would come out into the parks and play 13 00:00:40,040 --> 00:00:43,760 Speaker 1: at park jams. And what I would find out is 14 00:00:43,800 --> 00:00:46,680 Speaker 1: these guys were doing something that was then known as disco. 15 00:00:47,360 --> 00:00:49,640 Speaker 1: And a couple of times being at a couple of 16 00:00:49,640 --> 00:00:53,640 Speaker 1: these park jams with these mobile disco DJs. I'm talking 17 00:00:53,720 --> 00:00:58,400 Speaker 1: people like Frankie D, Grandmaster Flowers, Master D, a bunch 18 00:00:58,440 --> 00:01:01,480 Speaker 1: of these guys, I would here is something a little different, 19 00:01:01,480 --> 00:01:06,000 Speaker 1: occasionally a different sound like and I was remember going, well, 20 00:01:06,040 --> 00:01:08,200 Speaker 1: what is that that's really different. I remember going up 21 00:01:08,200 --> 00:01:11,119 Speaker 1: to one of these DJs ones and asking them. Yo, 22 00:01:11,200 --> 00:01:14,640 Speaker 1: what is that that was different record you played? He says, Oh, 23 00:01:14,720 --> 00:01:18,240 Speaker 1: that's the Uptown sound. Yeah. Cats in Manhattan and the 24 00:01:18,280 --> 00:01:22,320 Speaker 1: Bronx are doing something different and that got me curious. 25 00:01:22,720 --> 00:01:26,480 Speaker 1: And there were mobile DJs that went out with their 26 00:01:26,480 --> 00:01:30,399 Speaker 1: sound systems in the streets in the parks, and there 27 00:01:30,480 --> 00:01:33,840 Speaker 1: was a bunch of these guys that were stars throughout 28 00:01:33,880 --> 00:01:38,759 Speaker 1: the city. And this is that disco era before disco 29 00:01:38,959 --> 00:01:44,959 Speaker 1: becomes an overly commercialized mega thing that Hollywood jumps on 30 00:01:44,959 --> 00:01:49,200 Speaker 1: with Saturday Night Evan, John Travolta and disco techs open 31 00:01:49,320 --> 00:01:52,160 Speaker 1: up in big cities all over the country, including Studio 32 00:01:52,240 --> 00:01:55,600 Speaker 1: fifty four. What sparked all that off with these black 33 00:01:55,640 --> 00:01:59,200 Speaker 1: and Latin mobile DJs in New York City, People like 34 00:01:59,280 --> 00:02:04,640 Speaker 1: Pete DJ Jones, the original Grandmaster, Flowers, Plumber, My boya 35 00:02:04,880 --> 00:02:08,400 Speaker 1: A long listed these cats in different parts of the city. 36 00:02:08,639 --> 00:02:12,480 Speaker 1: This was what inspired Coolherk and other guys in the 37 00:02:12,480 --> 00:02:17,280 Speaker 1: Bronx because this DJ thing was hot, but Coolherk set 38 00:02:17,320 --> 00:02:21,280 Speaker 1: off something really unique, really different. He kind of was 39 00:02:21,360 --> 00:02:25,000 Speaker 1: like a Albert Einstein that came up with the formula 40 00:02:25,080 --> 00:02:28,120 Speaker 1: E equals MC squared and that inspired a bunch of 41 00:02:28,120 --> 00:02:31,720 Speaker 1: other people to go back to their labs, take that 42 00:02:31,880 --> 00:02:37,560 Speaker 1: formula and then build and research and development and laid 43 00:02:37,560 --> 00:02:43,360 Speaker 1: the foundation of this musical thing called hip hop. Those 44 00:02:43,480 --> 00:02:47,960 Speaker 1: rappers came on board initially to talk about those DJs, 45 00:02:48,200 --> 00:02:51,960 Speaker 1: how big their sound systems were, how nice their skills were. 46 00:02:52,440 --> 00:02:55,200 Speaker 1: You know, throw your hands in the air, wave them 47 00:02:55,200 --> 00:02:57,799 Speaker 1: like you just don't care. But then they started to 48 00:02:57,840 --> 00:03:00,920 Speaker 1: tell stories and the narrative develop. So this is a 49 00:03:01,040 --> 00:03:05,839 Speaker 1: real interesting story how these pieces all came together. At 50 00:03:05,840 --> 00:03:09,960 Speaker 1: a time in New York City, particularly the Bronx went literally, baby, 51 00:03:10,000 --> 00:03:14,000 Speaker 1: they were burning the Bronx down. They literally were torching 52 00:03:14,080 --> 00:03:17,240 Speaker 1: buildings to get the insurance money. This was going on 53 00:03:17,400 --> 00:03:20,440 Speaker 1: all over the Bronx, particularly in the South Bronx. You 54 00:03:20,480 --> 00:03:24,160 Speaker 1: know what I'm saying, just abandon this whole hood. And 55 00:03:24,200 --> 00:03:28,360 Speaker 1: these young kids were like really brilliant and wanted to 56 00:03:28,400 --> 00:03:31,400 Speaker 1: figure out a way to entertain themselves. And that's a 57 00:03:31,560 --> 00:03:33,799 Speaker 1: key part that a lot of people don't really get 58 00:03:33,840 --> 00:03:37,280 Speaker 1: a sense of how this whole thing comes together. So 59 00:03:37,760 --> 00:03:41,640 Speaker 1: these are early disco DJs. The big innovation that they 60 00:03:41,720 --> 00:03:44,520 Speaker 1: did was just mimicking what went on on the radio. 61 00:03:44,600 --> 00:03:47,800 Speaker 1: They had two turntables and a mixer and they just 62 00:03:47,840 --> 00:03:51,760 Speaker 1: would keep the music going and flowing from one song 63 00:03:51,880 --> 00:03:55,560 Speaker 1: to the next. That was the big thing among these 64 00:03:55,680 --> 00:03:59,680 Speaker 1: mobile disco DJs. I remember the one thing about these 65 00:03:59,720 --> 00:04:02,920 Speaker 1: disco go parties was they wanted you to dress up, 66 00:04:03,200 --> 00:04:05,200 Speaker 1: so you would have to have a pair of shoes 67 00:04:05,600 --> 00:04:09,000 Speaker 1: and some nice slacks, a little nice sweater, maybe a 68 00:04:09,000 --> 00:04:12,320 Speaker 1: little leather swayed if you did. But most young teenagers, 69 00:04:12,440 --> 00:04:15,000 Speaker 1: like most of us were, we didn't have the kind 70 00:04:15,000 --> 00:04:18,520 Speaker 1: of money to really do that. And they would also 71 00:04:18,640 --> 00:04:22,080 Speaker 1: put on these flyers for he just go parties, no sneakers. 72 00:04:22,520 --> 00:04:24,800 Speaker 1: That manut if you was a street cat, you really 73 00:04:24,839 --> 00:04:27,440 Speaker 1: couldn't go to these parties because if you only had 74 00:04:27,520 --> 00:04:30,880 Speaker 1: sneakers and you know, you really couldn't show up. I 75 00:04:30,960 --> 00:04:33,880 Speaker 1: remember once having a conversation with Cool Hirk and he 76 00:04:34,000 --> 00:04:36,960 Speaker 1: was like, you know, that was my crowd and people 77 00:04:37,040 --> 00:04:39,839 Speaker 1: wearing sneakers, that's who he wanted to come to his parties. 78 00:04:40,080 --> 00:04:42,880 Speaker 1: And so Cool Hirk definitely when he gave that first 79 00:04:42,920 --> 00:04:47,120 Speaker 1: party at fifteen twenty, Cedric, you know, was a young 80 00:04:47,200 --> 00:04:52,080 Speaker 1: crowd wearing sneakers, and he laid the foundation for something 81 00:04:52,680 --> 00:04:55,800 Speaker 1: that once again inspired a whole army of cats to 82 00:04:55,960 --> 00:05:00,159 Speaker 1: just build on that, on that innovation and take to 83 00:05:00,200 --> 00:05:02,760 Speaker 1: where we are now. So as we get into this 84 00:05:02,839 --> 00:05:06,640 Speaker 1: and explore the founding fathers of hip hop music, which 85 00:05:06,640 --> 00:05:09,600 Speaker 1: would grow to become the world's most dominant music genre 86 00:05:09,680 --> 00:05:12,840 Speaker 1: to this day. Before we look at the impact and 87 00:05:12,920 --> 00:05:17,279 Speaker 1: contributions made Bob DJ's like Grandmaster Flash, Graham Mixer, DXT, 88 00:05:17,760 --> 00:05:21,520 Speaker 1: grand Master Cas and greatest mcs of all time, Grand Wizard, 89 00:05:21,600 --> 00:05:24,640 Speaker 1: Theater Cool Herk, and of course others. We're going to 90 00:05:24,800 --> 00:05:28,240 Speaker 1: learn about the early years and the inspiration that led 91 00:05:28,279 --> 00:05:30,960 Speaker 1: to an enlightening path and the creation of this new 92 00:05:31,040 --> 00:05:34,719 Speaker 1: genre which is stronger than ever in its fiftieth year. 93 00:05:35,920 --> 00:05:41,359 Speaker 1: Grandmaster Caz rapper extraordinaire, songwriter and DJ, member of the 94 00:05:41,480 --> 00:05:45,320 Speaker 1: legendary hip hop group The Cold Crush Brothers. I'm a 95 00:05:45,320 --> 00:05:48,159 Speaker 1: little young big head kid. We grew up in the Bronze. 96 00:05:48,200 --> 00:05:50,920 Speaker 1: Had a time when the Bronx was devastated because of 97 00:05:51,320 --> 00:05:54,720 Speaker 1: the economic position of New York City at the time. 98 00:05:54,800 --> 00:05:59,600 Speaker 1: New York was bankrupt, damn them, and so services were 99 00:06:00,200 --> 00:06:03,960 Speaker 1: at a minimum. Programs were at a minimum, and we're 100 00:06:03,960 --> 00:06:08,719 Speaker 1: talking basic programs, after school programs, band practice like you know. 101 00:06:08,760 --> 00:06:11,880 Speaker 1: There were no instruments, no more. We were just kids, man. 102 00:06:11,920 --> 00:06:14,840 Speaker 1: We gravitated towards the things that we did have, and 103 00:06:14,880 --> 00:06:18,599 Speaker 1: we played with those things. We made those things, you know, important, 104 00:06:19,000 --> 00:06:23,040 Speaker 1: and we didn't know how impoverished we were. We didn't 105 00:06:23,080 --> 00:06:25,400 Speaker 1: know that we were. You know, we were well we 106 00:06:25,560 --> 00:06:28,400 Speaker 1: were we were kids, you know. And so me growing 107 00:06:28,480 --> 00:06:32,600 Speaker 1: up was pretty normal. You know. I grew up around friends, family, 108 00:06:33,120 --> 00:06:36,080 Speaker 1: went to school, play sports, you know what I mean, 109 00:06:36,200 --> 00:06:39,560 Speaker 1: was into cartoons and like every other kid. Man, it 110 00:06:39,600 --> 00:06:42,520 Speaker 1: wasn't until like my lesson years, that I really got 111 00:06:42,560 --> 00:06:46,640 Speaker 1: involved in music. I grew up in the sixties. Okay, 112 00:06:46,640 --> 00:06:48,960 Speaker 1: so this is when our parents had card parties over 113 00:06:49,000 --> 00:06:51,920 Speaker 1: the house and aunts, uncles came over, and there was 114 00:06:51,960 --> 00:06:55,760 Speaker 1: always music, always music. So that music stuck with me, 115 00:06:56,080 --> 00:06:59,160 Speaker 1: and I gravitated towards it. When I started being a 116 00:06:59,200 --> 00:07:02,839 Speaker 1: practitioner of music, I reverted back to that music that 117 00:07:02,880 --> 00:07:06,479 Speaker 1: I used to listen to growing up. Grandmaster Flash a 118 00:07:06,600 --> 00:07:10,840 Speaker 1: pioneer of hip hop, Djane Cutting and mix it. My 119 00:07:10,880 --> 00:07:13,680 Speaker 1: father was an aviflector of many jo lines of music, 120 00:07:13,720 --> 00:07:17,000 Speaker 1: but it was mostly jazz. But coming up as a tadler, 121 00:07:17,440 --> 00:07:22,440 Speaker 1: that's probably where I got my first look at these objects. 122 00:07:22,480 --> 00:07:25,120 Speaker 1: At my dad had. He would come home from a 123 00:07:25,240 --> 00:07:28,760 Speaker 1: hard day's work. Mom would feed him after the eight 124 00:07:29,120 --> 00:07:31,600 Speaker 1: I was drink of choice, and he would go into 125 00:07:31,680 --> 00:07:37,160 Speaker 1: this closet putocky square things, square things, had arn't on them. 126 00:07:37,320 --> 00:07:41,200 Speaker 1: Sometimes it might be a train or personal guy with glasses, 127 00:07:41,400 --> 00:07:45,800 Speaker 1: guy with a hat on clouds car. I thought out 128 00:07:45,800 --> 00:07:48,600 Speaker 1: to be very strange. What was Dad going to do 129 00:07:48,720 --> 00:07:50,880 Speaker 1: with that? Because I wasn't allowed in the living room 130 00:07:51,120 --> 00:07:54,200 Speaker 1: and I wasn't allowed to touch the brown box. Dad 131 00:07:54,240 --> 00:07:57,880 Speaker 1: would take through square objects out of this closet and 132 00:07:57,960 --> 00:08:03,000 Speaker 1: with pulleys, black circular of things out and I scare 133 00:08:03,280 --> 00:08:06,040 Speaker 1: from a distance, what is he going to do with that? 134 00:08:06,520 --> 00:08:08,560 Speaker 1: You would welk over to the brown box that was, 135 00:08:09,040 --> 00:08:12,120 Speaker 1: you know, on the lipping room, put the record on 136 00:08:12,360 --> 00:08:15,440 Speaker 1: this stick thing and you press this button something to 137 00:08:15,600 --> 00:08:18,880 Speaker 1: come up. Record would go down. Sound came out of 138 00:08:18,880 --> 00:08:21,960 Speaker 1: this box, and I thought, Dad, it was like the 139 00:08:22,040 --> 00:08:26,920 Speaker 1: greatest petitian in the world. After watching Dad through this 140 00:08:26,960 --> 00:08:30,920 Speaker 1: book period of time, I just made the decision, Let's 141 00:08:30,920 --> 00:08:33,400 Speaker 1: go get a chair out of the kitchen, let's grow 142 00:08:33,440 --> 00:08:36,760 Speaker 1: up with the stuartsed go in there, take a square 143 00:08:36,800 --> 00:08:39,920 Speaker 1: thing out of it, Let's replicate. But he did, but 144 00:08:40,080 --> 00:08:43,160 Speaker 1: the brown thing out of the square paper or went 145 00:08:43,160 --> 00:08:45,520 Speaker 1: over to the brown box. Because I watched him. I 146 00:08:45,640 --> 00:08:49,440 Speaker 1: did it sound with him out of his box. Normally 147 00:08:49,480 --> 00:08:51,800 Speaker 1: nobody would go mess with scared up, not even the adults. 148 00:08:51,840 --> 00:08:54,480 Speaker 1: So the music was playing somebody whoever was in the 149 00:08:54,559 --> 00:08:57,080 Speaker 1: household sort of run over. It was like lude Shell, 150 00:08:57,800 --> 00:09:01,079 Speaker 1: big Joe, catch you who's going to You're gonna take 151 00:09:01,120 --> 00:09:06,280 Speaker 1: care out of Okay? Well I kept doing it anyway. 152 00:09:06,040 --> 00:09:08,440 Speaker 1: The thing was like license, all right, this time, I'm 153 00:09:08,480 --> 00:09:11,320 Speaker 1: gonna take it. I put it the round thing back 154 00:09:11,320 --> 00:09:14,680 Speaker 1: into the jaculate, put in one closet. But the battle 155 00:09:14,720 --> 00:09:18,360 Speaker 1: flaw to that was Dad was re particulous how you 156 00:09:18,440 --> 00:09:21,600 Speaker 1: put things back. So when you got bold, you knew 157 00:09:22,040 --> 00:09:25,440 Speaker 1: somebody was in this collection. You know, I can totally 158 00:09:25,440 --> 00:09:28,720 Speaker 1: relate to what Grand Master Flash is breaking down right there. 159 00:09:29,160 --> 00:09:33,320 Speaker 1: My parents had a big jazz collection. The big brown 160 00:09:33,400 --> 00:09:36,080 Speaker 1: box is like a big high five, which would have 161 00:09:36,160 --> 00:09:38,760 Speaker 1: the record play at the radio, maybe a TV in 162 00:09:38,800 --> 00:09:40,680 Speaker 1: the front of it. That's how that went down back 163 00:09:40,679 --> 00:09:44,160 Speaker 1: in the days. And the square thing is the album cover, 164 00:09:44,960 --> 00:09:47,840 Speaker 1: the round thing is the record. The only thing is 165 00:09:47,880 --> 00:09:51,040 Speaker 1: with me and my family. I destroyed played try to 166 00:09:51,080 --> 00:09:54,680 Speaker 1: play houses make Frisbees out of my parents record collection, 167 00:09:54,760 --> 00:09:57,920 Speaker 1: so I put him through it. But I totally can relate. 168 00:09:59,440 --> 00:10:03,240 Speaker 1: Grand Mix DXT, one of the earliest to use turntables 169 00:10:03,280 --> 00:10:07,360 Speaker 1: as a musical instrument and the first turntable lists. I 170 00:10:07,400 --> 00:10:11,560 Speaker 1: was born in the Bronx, New York. My mom was 171 00:10:11,600 --> 00:10:16,720 Speaker 1: an inspiring singer. I was raised in an environment where 172 00:10:16,800 --> 00:10:22,040 Speaker 1: that was always something there. I had uncles and arts 173 00:10:22,440 --> 00:10:26,560 Speaker 1: who also were in the music. And so I'm talking 174 00:10:26,559 --> 00:10:29,199 Speaker 1: about as a child, like three, four or five, six 175 00:10:29,280 --> 00:10:32,440 Speaker 1: seventy eight, all through all those years ages, this was 176 00:10:32,480 --> 00:10:37,600 Speaker 1: the experience at house parties watching musicians play. I got 177 00:10:37,640 --> 00:10:41,840 Speaker 1: my first drum set five four or five, and it 178 00:10:41,880 --> 00:10:44,400 Speaker 1: was it was a toy set with the beatles on 179 00:10:44,720 --> 00:10:47,680 Speaker 1: the kick, the drum, the bass drumhead, the picture of 180 00:10:47,720 --> 00:10:50,400 Speaker 1: you and all that. And I got my second real 181 00:10:50,480 --> 00:10:53,520 Speaker 1: drum setup. So I came up, you know, in a 182 00:10:53,640 --> 00:10:58,000 Speaker 1: musicians in environment. You know, my art Audrey had a 183 00:10:58,080 --> 00:11:01,160 Speaker 1: hit single Local, you know, but it was a hit song. 184 00:11:01,600 --> 00:11:06,520 Speaker 1: If I start naming Manco Santamaris, Santana, Harry Bella, Franti, 185 00:11:06,760 --> 00:11:12,040 Speaker 1: James Brown, Mariam mckeba, Joe Quarterman, uh ROBERTA. Flack, This Endless. 186 00:11:12,280 --> 00:11:16,040 Speaker 1: My mother played every Willie Bobo Know what I'm Saying 187 00:11:16,040 --> 00:11:20,800 Speaker 1: and Miles David's. My mother was seriously into music and 188 00:11:20,920 --> 00:11:27,360 Speaker 1: had a fast variety of music genres. Grand Wizard did 189 00:11:27,520 --> 00:11:31,440 Speaker 1: Or pioneering hip hop DJ credited as the inventor of 190 00:11:31,520 --> 00:11:35,880 Speaker 1: the scratching technique. My mom she raised five boys and 191 00:11:35,960 --> 00:11:39,240 Speaker 1: two girls. Man, we didn't have a father figure in 192 00:11:39,360 --> 00:11:42,040 Speaker 1: the house. I didn't have anyone to teach me how 193 00:11:42,080 --> 00:11:44,880 Speaker 1: to be a man. You know, we spent a lot 194 00:11:44,920 --> 00:11:48,320 Speaker 1: of time. We were very family oriented. Every Saturday, my 195 00:11:48,360 --> 00:11:51,439 Speaker 1: mom's a watch. We're in front of the TV and 196 00:11:51,600 --> 00:11:54,120 Speaker 1: were watching Soul Train. We spent a lot of times 197 00:11:54,120 --> 00:11:57,840 Speaker 1: at my grandmom's house and eating dinner at you know, 198 00:11:57,840 --> 00:12:00,760 Speaker 1: my grandmother's house, and my uncles and my arts. So 199 00:12:00,800 --> 00:12:05,280 Speaker 1: we was very very family oriented, and we played music 200 00:12:05,520 --> 00:12:08,960 Speaker 1: all the time, all the time. Music is a soundtrack. 201 00:12:09,400 --> 00:12:14,920 Speaker 1: It was a soundtrack of our lives and seventies I 202 00:12:15,000 --> 00:12:17,360 Speaker 1: listened to the music that my parents listened to. James 203 00:12:17,400 --> 00:12:21,640 Speaker 1: Brown very prevalent in every black household during that time period. 204 00:12:22,120 --> 00:12:26,200 Speaker 1: Early sixties, Motown Temptations, Diana Ross, Atlantis Night and the 205 00:12:26,240 --> 00:12:29,319 Speaker 1: Pips on the Four Tops, the Spinners, all that kind 206 00:12:29,320 --> 00:12:33,679 Speaker 1: of thing, Marvin Gaye, CB, Wonder all right, old school soul, 207 00:12:33,920 --> 00:12:37,240 Speaker 1: R and B very prevalent around that time. But on 208 00:12:37,360 --> 00:12:40,040 Speaker 1: the other side of the coin, there was one radio 209 00:12:40,120 --> 00:12:45,560 Speaker 1: station that played all the music radio station called wabc W, 210 00:12:47,520 --> 00:12:51,240 Speaker 1: and they played not only Diana Ross and Jackson five 211 00:12:51,400 --> 00:12:55,000 Speaker 1: and but they played Barry Manilow, and they played Neil Diamond, 212 00:12:55,040 --> 00:12:57,560 Speaker 1: and they played Simon and Golf Uncle and three Dog 213 00:12:57,720 --> 00:13:01,440 Speaker 1: Night and Queen and Elton John and all that stuff. 214 00:13:01,480 --> 00:13:05,079 Speaker 1: So I got an equal proportion of both kinds of music. 215 00:13:05,120 --> 00:13:07,600 Speaker 1: There was no black radio station back then. They just 216 00:13:07,679 --> 00:13:11,240 Speaker 1: played all top party music, and so there was a 217 00:13:11,320 --> 00:13:14,360 Speaker 1: mix of it, and that was my early musical influences. 218 00:13:14,880 --> 00:13:19,280 Speaker 1: We had vinyl records. Albums came with you know, artwork, 219 00:13:19,840 --> 00:13:22,160 Speaker 1: and then on the flip side of the album you 220 00:13:22,280 --> 00:13:25,080 Speaker 1: had all the liner notes, so it told you every 221 00:13:25,080 --> 00:13:27,480 Speaker 1: song that was on the album, who produced the song, 222 00:13:27,559 --> 00:13:30,000 Speaker 1: who wrote the song, what record label it was on, 223 00:13:30,120 --> 00:13:33,200 Speaker 1: what year, and if you looked inside, it had the 224 00:13:33,280 --> 00:13:37,400 Speaker 1: lyrics to every song you know on the album. So 225 00:13:37,480 --> 00:13:41,600 Speaker 1: we had that advantage where we had the whole nuanced 226 00:13:41,920 --> 00:13:44,760 Speaker 1: artists or of a song of an album. Okay, we 227 00:13:44,800 --> 00:13:47,160 Speaker 1: had the artists, we had the artwork, we had the words, 228 00:13:47,200 --> 00:13:49,320 Speaker 1: we had the production. We know who did what, who 229 00:13:49,360 --> 00:13:53,080 Speaker 1: did this, and all this information just from one song, 230 00:13:53,200 --> 00:13:57,560 Speaker 1: just from one record. So music was educational for me 231 00:13:57,720 --> 00:14:00,280 Speaker 1: and for everyone else as well, I mean unknown only. 232 00:14:00,800 --> 00:14:03,480 Speaker 1: That's how influential music was to me back then. And 233 00:14:03,559 --> 00:14:06,679 Speaker 1: your Grandmastery Cats a legend, that's my man for sure, 234 00:14:06,760 --> 00:14:09,800 Speaker 1: But he might have forgot that. On the AM dial 235 00:14:10,000 --> 00:14:13,280 Speaker 1: back in the days in New York sixteen hundred w 236 00:14:13,600 --> 00:14:16,439 Speaker 1: w R RAL with Gary Bird and all of them Cats, 237 00:14:16,480 --> 00:14:20,520 Speaker 1: they was playing all the black music non stop. The 238 00:14:20,560 --> 00:14:25,280 Speaker 1: turntables played a major part in the soundtrack to Our Lives. Man. 239 00:14:25,840 --> 00:14:29,040 Speaker 1: My mom's had the coffin. She had the big coffin, 240 00:14:29,360 --> 00:14:31,600 Speaker 1: and when you in the front of the coffin was 241 00:14:31,640 --> 00:14:34,240 Speaker 1: a television. And when you opened up the coffin and 242 00:14:34,280 --> 00:14:37,600 Speaker 1: look inside, she had the eight track. She had the 243 00:14:37,640 --> 00:14:40,160 Speaker 1: turntables there, and she had all her forty fives on 244 00:14:40,200 --> 00:14:43,040 Speaker 1: the side. We would play her forty fives. Man, You 245 00:14:43,080 --> 00:14:45,720 Speaker 1: know my mom's she played music when she was cooking, 246 00:14:46,040 --> 00:14:48,760 Speaker 1: She played music when she was happy, she played music 247 00:14:48,800 --> 00:14:51,360 Speaker 1: when she was sad. She played music where she was 248 00:14:51,400 --> 00:14:54,320 Speaker 1: cleaning up. I can always tell what kind of moved 249 00:14:54,560 --> 00:14:57,520 Speaker 1: my mother was in. When I come home and she's 250 00:14:57,560 --> 00:15:01,120 Speaker 1: playing music, I'm like, Okay, she's playing TD Prendergrass, he's 251 00:15:01,120 --> 00:15:04,480 Speaker 1: in a certain mood, or she's playing James Brown, or 252 00:15:04,600 --> 00:15:08,880 Speaker 1: she's playing Marvin Gaye, or she's playing Rita Franklin. And 253 00:15:09,000 --> 00:15:12,240 Speaker 1: the turntable played a major part in all of our 254 00:15:12,760 --> 00:15:18,600 Speaker 1: households because it actually played the music that depict the 255 00:15:18,680 --> 00:15:21,960 Speaker 1: soundtrack to our lives. And I feel that if we 256 00:15:22,000 --> 00:15:25,120 Speaker 1: didn't have turntables in our house, man, I don't know 257 00:15:25,160 --> 00:15:28,360 Speaker 1: what we would have done. You know, because every Saturday 258 00:15:28,400 --> 00:15:32,560 Speaker 1: we watched Soul Train, we watched American Bandstand, we watched 259 00:15:32,640 --> 00:15:37,640 Speaker 1: Don Kursinger's Rock Concert. You know, we watched Flip Wilson, 260 00:15:37,920 --> 00:15:41,640 Speaker 1: and all these shows had music on it. I would 261 00:15:41,680 --> 00:15:45,160 Speaker 1: call it up a normal, wonderful time for kid. From 262 00:15:45,160 --> 00:15:49,960 Speaker 1: a perspective of music, I was blessed to c froll. Well, 263 00:15:50,000 --> 00:15:52,280 Speaker 1: the sad La household there was you know, I had 264 00:15:52,360 --> 00:15:56,560 Speaker 1: like five sistance, you know, so for me, depending on 265 00:15:56,640 --> 00:16:02,280 Speaker 1: who was in the stereo or heard anything from jazz, rock, blues, 266 00:16:02,920 --> 00:16:09,320 Speaker 1: just go R and B, alternative Caribbean, you know, a 267 00:16:09,480 --> 00:16:15,680 Speaker 1: youngster music had no charts at no divisions sections. Create 268 00:16:15,840 --> 00:16:20,320 Speaker 1: music was create music. So Dad was an avoue collector. Final, 269 00:16:20,680 --> 00:16:23,240 Speaker 1: the mom was a seeing stress for those two of 270 00:16:23,360 --> 00:16:25,920 Speaker 1: my heroes. And then the reason why I became so 271 00:16:26,120 --> 00:16:32,520 Speaker 1: interested in this. I remember, you know, being eight, nine, 272 00:16:32,640 --> 00:16:36,000 Speaker 1: ten years old and listening to music, and I always 273 00:16:36,040 --> 00:16:39,000 Speaker 1: listened to the beat of the music, like if I 274 00:16:39,080 --> 00:16:42,800 Speaker 1: hear James Brown record or Rufus Thomas record or Rich 275 00:16:42,880 --> 00:16:45,600 Speaker 1: the Franklin records, I listened to the beat. And as 276 00:16:45,640 --> 00:16:49,640 Speaker 1: I started to mature as a young man, I started 277 00:16:49,680 --> 00:16:52,960 Speaker 1: listening to the words. Started listening to James Brown words 278 00:16:53,680 --> 00:16:57,360 Speaker 1: I'm Black and I'm Proud and Escapism and The Big 279 00:16:57,400 --> 00:17:00,560 Speaker 1: Payback and all that stuff, and I'm like, what is 280 00:17:00,600 --> 00:17:02,440 Speaker 1: all this? You know, what does all these words meaning? 281 00:17:02,920 --> 00:17:06,280 Speaker 1: I started to learn stuff listening to Earthwin and Fire 282 00:17:06,680 --> 00:17:08,480 Speaker 1: and all started to come to me that there's a 283 00:17:08,560 --> 00:17:11,840 Speaker 1: message in all this music and started opening up an 284 00:17:11,880 --> 00:17:15,560 Speaker 1: whole new world for me. I started learning more from 285 00:17:15,640 --> 00:17:19,320 Speaker 1: listening to music than when I was at school. You know, 286 00:17:19,480 --> 00:17:22,040 Speaker 1: these groups played a major part, man, because they started 287 00:17:22,160 --> 00:17:26,159 Speaker 1: teaching me a lot of things that I didn't know. 288 00:17:27,440 --> 00:17:31,280 Speaker 1: So in case you don't know hip hop musical culture 289 00:17:31,359 --> 00:17:34,960 Speaker 1: begins in the Boogee Down Bronx The Bronx, New York City, 290 00:17:35,040 --> 00:17:38,800 Speaker 1: around the same time as the emergence and quick popularity 291 00:17:38,880 --> 00:17:43,040 Speaker 1: of disco. You see back in the nineteen seventies, disco 292 00:17:43,880 --> 00:17:47,320 Speaker 1: it was simply known as party music once again, born 293 00:17:47,320 --> 00:17:50,080 Speaker 1: in New York City, popularized by Large d Black and 294 00:17:50,200 --> 00:17:54,040 Speaker 1: My teen on mobile DJs. They played at local block parties, 295 00:17:54,119 --> 00:17:58,760 Speaker 1: park jams, city colleges, and they also spun at restaurants 296 00:17:58,760 --> 00:18:05,679 Speaker 1: in Midtown Manhattan, places like Nell Gwen's, Jimmy's Superstar Cafeteria. 297 00:18:05,760 --> 00:18:08,600 Speaker 1: These would be restaurants in the day and they would 298 00:18:08,680 --> 00:18:11,680 Speaker 1: move the tables and chairs to the side so people 299 00:18:11,720 --> 00:18:15,280 Speaker 1: could boogie on the dance floor on these weekend parties. 300 00:18:15,840 --> 00:18:21,440 Speaker 1: New York's influential radio station WBLS the DJ that set 301 00:18:21,480 --> 00:18:24,040 Speaker 1: it all off for them back in the seventies. He 302 00:18:24,119 --> 00:18:28,280 Speaker 1: was a DJ and the program director Frankie Hollywood Crocer. 303 00:18:28,680 --> 00:18:31,360 Speaker 1: I listened to Frankie religiously. He would come on at 304 00:18:31,359 --> 00:18:34,480 Speaker 1: four pm and go off at eight. You could walk 305 00:18:34,520 --> 00:18:37,600 Speaker 1: through New York City on a summertime and Frankie Crocker 306 00:18:37,760 --> 00:18:41,199 Speaker 1: was coming out of radio's left, right and center and 307 00:18:41,200 --> 00:18:44,639 Speaker 1: then the thing that made Frankie really hot was he 308 00:18:45,240 --> 00:18:49,280 Speaker 1: was tuned in to these disco DJs and the records 309 00:18:49,320 --> 00:18:52,000 Speaker 1: they were playing, and the records that got their biggest response, 310 00:18:52,240 --> 00:18:55,159 Speaker 1: he played them on the radio. He wasn't following the 311 00:18:55,240 --> 00:18:58,680 Speaker 1: Billboard chart and doing the type of thing the way 312 00:18:58,720 --> 00:19:02,520 Speaker 1: other popular radio stations did at the time, and he 313 00:19:02,680 --> 00:19:06,439 Speaker 1: programmed the hottest tunes that the local DJs were playing, 314 00:19:06,560 --> 00:19:10,679 Speaker 1: Hence breaking artists in New York like Barry White, Donna, Summer, 315 00:19:11,200 --> 00:19:16,840 Speaker 1: Hamilton Bohanna, Silver Convention, and a whole lot more. Disco 316 00:19:16,960 --> 00:19:19,399 Speaker 1: check is a French word. It means like a musical 317 00:19:19,440 --> 00:19:21,840 Speaker 1: life barry or place to where it is music or 318 00:19:22,160 --> 00:19:26,600 Speaker 1: catalogs of music. It became synonymous with a particular style 319 00:19:26,640 --> 00:19:30,480 Speaker 1: of music and then and then it's stuff, but discoes 320 00:19:30,680 --> 00:19:35,480 Speaker 1: is a place. Our misunderstanding of these using these terms 321 00:19:35,840 --> 00:19:39,679 Speaker 1: have kind of created some of these problems and confusion. 322 00:19:40,160 --> 00:19:44,600 Speaker 1: The European style music, the boom boom boom, boom boom 323 00:19:44,720 --> 00:19:47,800 Speaker 1: boom that became known as disco because that was being 324 00:19:47,880 --> 00:19:50,800 Speaker 1: played most of the time in these big clubs, But 325 00:19:50,960 --> 00:19:54,760 Speaker 1: it's dis music. But before that happened in those big clubs, 326 00:19:55,400 --> 00:19:57,760 Speaker 1: you would hear James Brown. You know what I'm saying, 327 00:19:57,840 --> 00:20:01,440 Speaker 1: you'd hear whoever whatever songs was out. That's where you 328 00:20:01,520 --> 00:20:04,399 Speaker 1: were here in the big clubs. And those places are 329 00:20:04,440 --> 00:20:08,439 Speaker 1: called disco text a place where you go where they 330 00:20:08,520 --> 00:20:10,760 Speaker 1: have a vast amount of music and they played them. 331 00:20:11,480 --> 00:20:15,720 Speaker 1: And so now this new phenomena of the boom boom 332 00:20:15,800 --> 00:20:19,600 Speaker 1: boom came out four on the floor. That became the 333 00:20:19,720 --> 00:20:23,280 Speaker 1: big style of music to play and a disco tex. 334 00:20:23,600 --> 00:20:30,639 Speaker 1: Hence people started calling it disco music. Russell Simmons, record 335 00:20:30,680 --> 00:20:34,479 Speaker 1: executive and entrepreneur, disco. You gotta turn the radio here, 336 00:20:34,520 --> 00:20:36,560 Speaker 1: why I'm seeing any by Patrick Duvette or I mean 337 00:20:36,640 --> 00:20:39,120 Speaker 1: by the village people off, Well, turn on the radio. 338 00:20:39,200 --> 00:20:42,320 Speaker 1: And here I keep thinking about this. All I love 339 00:20:42,359 --> 00:20:45,840 Speaker 1: on that red that was Patrick Dubett. I think so 340 00:20:45,920 --> 00:20:48,760 Speaker 1: you didn't have anything, you had no funk cut off 341 00:20:48,800 --> 00:20:52,360 Speaker 1: black radio, Judie Wilstein said, I mean black music made 342 00:20:52,480 --> 00:20:55,919 Speaker 1: easy for white people to dance too. That's what they 343 00:20:56,000 --> 00:20:58,520 Speaker 1: called disco. And she was the boss that she had 344 00:20:58,560 --> 00:21:01,040 Speaker 1: disco DJ's all over the country. And that chart, the 345 00:21:01,200 --> 00:21:03,760 Speaker 1: disco chart, with more than what in the black radio 346 00:21:03,880 --> 00:21:07,080 Speaker 1: in a met in New York, there's no funk on 347 00:21:07,160 --> 00:21:11,760 Speaker 1: that chart. So that chart with WBLS and w K 348 00:21:11,880 --> 00:21:15,560 Speaker 1: two and the radio phasians that played um what we 349 00:21:15,680 --> 00:21:17,760 Speaker 1: called black music, but it was never black music. It 350 00:21:17,880 --> 00:21:22,000 Speaker 1: was slack music made simple for white people to Danfield 351 00:21:22,040 --> 00:21:24,080 Speaker 1: and during the same time that funk with everywhere else, 352 00:21:24,160 --> 00:21:26,720 Speaker 1: we were locked out of the fucking creator all. So 353 00:21:26,960 --> 00:21:31,640 Speaker 1: to say in Queens they were playing disco, to identify 354 00:21:32,680 --> 00:21:35,000 Speaker 1: with them what they should have said, they just played 355 00:21:35,040 --> 00:21:38,920 Speaker 1: a whole record stay and we just played a break. 356 00:21:39,480 --> 00:21:41,960 Speaker 1: We listened to all those records too, but when the 357 00:21:42,000 --> 00:21:45,000 Speaker 1: breaks came, that's when we did our think. So this 358 00:21:45,160 --> 00:21:48,240 Speaker 1: whole trying to draw this hard line to say that 359 00:21:48,480 --> 00:21:52,960 Speaker 1: was disco and that that's it's all soul music. We're 360 00:21:53,000 --> 00:21:54,960 Speaker 1: gonna talk about the breaks right now, and I don't 361 00:21:55,000 --> 00:21:59,359 Speaker 1: want this to be confused with Curtis Blows nineteen eighty 362 00:21:59,640 --> 00:22:04,720 Speaker 1: Class Sick the breaks. But the break in a hip 363 00:22:04,720 --> 00:22:09,560 Speaker 1: hop song basically is isolating one part of a record, 364 00:22:10,160 --> 00:22:13,960 Speaker 1: usually the rhythmic climax of a song, and that's known 365 00:22:14,080 --> 00:22:17,200 Speaker 1: as the break, and that back in the days was 366 00:22:17,280 --> 00:22:21,159 Speaker 1: the break dances favorite part and they would be waiting 367 00:22:21,440 --> 00:22:23,840 Speaker 1: for the record to hit that break or the break 368 00:22:23,920 --> 00:22:26,440 Speaker 1: down and the dances would drop to the floor and 369 00:22:26,520 --> 00:22:29,320 Speaker 1: go crazy. That was like the climax, the pinnacle of 370 00:22:29,520 --> 00:22:35,520 Speaker 1: the record. But by isolating that break and extending the 371 00:22:35,720 --> 00:22:40,399 Speaker 1: duration with the skillful techniques that these DJs came up 372 00:22:40,760 --> 00:22:45,760 Speaker 1: and repeating it, you could basically extend that climax. You 373 00:22:45,840 --> 00:22:49,920 Speaker 1: could keep that energy going and flowing. And that was 374 00:22:50,040 --> 00:22:53,520 Speaker 1: one of the major things that cool Herk kind of 375 00:22:53,680 --> 00:22:57,880 Speaker 1: laid the foundation for, and basically a bunch of other 376 00:22:58,000 --> 00:23:01,760 Speaker 1: DJs jumped on and built on that. So these DJs 377 00:23:01,800 --> 00:23:04,960 Speaker 1: would change between two record players, that two record players 378 00:23:05,000 --> 00:23:08,000 Speaker 1: set up and with the mixer and going back and 379 00:23:08,119 --> 00:23:13,840 Speaker 1: forth extending that energy and driving the crowd wild using 380 00:23:13,880 --> 00:23:16,879 Speaker 1: two term tables. When one record reached the end of 381 00:23:16,920 --> 00:23:20,639 Speaker 1: the break, a second record would be eased and seamlessly 382 00:23:20,840 --> 00:23:23,720 Speaker 1: on beat and back to the beginning of the break. 383 00:23:24,520 --> 00:23:29,920 Speaker 1: This technique was first introduced by her and later Home 384 00:23:30,200 --> 00:23:35,040 Speaker 1: and perfected by Grandmaster Flash and then other DJs like 385 00:23:35,200 --> 00:23:39,720 Speaker 1: Graham Wizard Thead or d xt oh Man Tony Tone Chart. 386 00:23:39,880 --> 00:23:43,360 Speaker 1: I mean, it's a long line of the foundation. DJ's 387 00:23:43,840 --> 00:23:47,040 Speaker 1: jumped on this and took it to the next level. Man, 388 00:23:47,200 --> 00:23:50,520 Speaker 1: that's just such an incredible energy. And then later Graham 389 00:23:50,520 --> 00:23:52,879 Speaker 1: Wizard thead or you know, once again he's doing his 390 00:23:53,000 --> 00:23:58,679 Speaker 1: whole experimentation situation and perfecting the skills. He came up 391 00:23:58,720 --> 00:24:02,120 Speaker 1: with something called scratch. And I know that I heard 392 00:24:02,160 --> 00:24:04,399 Speaker 1: the story that he was playing in his in his 393 00:24:04,520 --> 00:24:06,680 Speaker 1: crib and his mom came in and told him, boll, 394 00:24:06,720 --> 00:24:08,480 Speaker 1: I told you to turn that music on. He put 395 00:24:08,560 --> 00:24:11,000 Speaker 1: his hand on the record and had it stopped, but 396 00:24:11,119 --> 00:24:13,840 Speaker 1: he moved it back and forth. It was like, wait 397 00:24:13,880 --> 00:24:15,960 Speaker 1: a minute, and he moved it on beat. It was crazy. 398 00:24:15,960 --> 00:24:18,320 Speaker 1: I remember the first time I heard it. I was 399 00:24:18,400 --> 00:24:20,960 Speaker 1: at a party in Brooklyn and the crowd was just 400 00:24:21,200 --> 00:24:24,040 Speaker 1: moving as one, you know, everybody was rocking, and in 401 00:24:24,119 --> 00:24:28,080 Speaker 1: the middle, you know, the DJ just went h oo 402 00:24:28,240 --> 00:24:32,119 Speaker 1: oo oo oom oom boom, and then he dropped the 403 00:24:32,160 --> 00:24:36,600 Speaker 1: record back in. The crowd went bananas because nobody had 404 00:24:36,640 --> 00:24:38,399 Speaker 1: heard was like, yo, what is that. Everybody kind of 405 00:24:38,680 --> 00:24:44,800 Speaker 1: looked around and had like a shocking, exciting, aggressive, audacious 406 00:24:44,960 --> 00:24:48,479 Speaker 1: field to doing that. Because when you hear that scratch, 407 00:24:48,600 --> 00:24:51,560 Speaker 1: you know that's typically a mistake. But to bring that 408 00:24:51,720 --> 00:24:54,760 Speaker 1: thing back in rhythmically and drop that beat back in, man, 409 00:24:54,920 --> 00:24:59,320 Speaker 1: it's undescribable. The feeling that that broad especially like when 410 00:24:59,359 --> 00:25:01,400 Speaker 1: you first heard and then you looked up and seeing 411 00:25:01,480 --> 00:25:04,359 Speaker 1: it going down. So that was a big part of 412 00:25:04,600 --> 00:25:08,840 Speaker 1: what became the foundation of blueprint once again, the development 413 00:25:09,160 --> 00:25:16,000 Speaker 1: of hip hop music. We played disco breaks and we 414 00:25:16,080 --> 00:25:19,520 Speaker 1: were chopping them up, and we were chopping up regular breaks, 415 00:25:19,720 --> 00:25:23,399 Speaker 1: Brakes from Flying to Family Stones, James Brown, Jimmy Cast, 416 00:25:23,440 --> 00:25:28,720 Speaker 1: a bunch a lot of DJ's from sixty nine seventy 417 00:25:29,280 --> 00:25:33,439 Speaker 1: seventy one. I feel they were cutting up disco breaks 418 00:25:33,520 --> 00:25:37,159 Speaker 1: when we were cutting up brakes period. We were cutting 419 00:25:37,200 --> 00:25:40,600 Speaker 1: up all the stuff that no one really hears on 420 00:25:40,760 --> 00:25:42,840 Speaker 1: the radio. You were hearing none of that stuff from 421 00:25:42,880 --> 00:25:45,120 Speaker 1: the radio. You might have heard it on a soul 422 00:25:45,200 --> 00:25:47,760 Speaker 1: train maybe once or twice. But we were cutting up 423 00:25:47,800 --> 00:25:50,720 Speaker 1: cooling the game. We were cutting up Incredible Bumble Band, 424 00:25:51,400 --> 00:25:54,840 Speaker 1: the group Black Heats. Those are now disco records. We 425 00:25:54,960 --> 00:25:57,360 Speaker 1: were cutting up all of these records when people were 426 00:25:57,440 --> 00:26:00,800 Speaker 1: playing disco music. So it was like two different worlds 427 00:26:01,200 --> 00:26:03,639 Speaker 1: when we came into the picture. When I say we, 428 00:26:03,800 --> 00:26:08,280 Speaker 1: I say Flash Bam and Herk. Not to take anything 429 00:26:08,320 --> 00:26:12,359 Speaker 1: away from those DJs that were playing disco breaks and 430 00:26:12,560 --> 00:26:16,120 Speaker 1: Queens and Brooklyn. They had DJs out there that were 431 00:26:16,119 --> 00:26:18,679 Speaker 1: actually doing parties at the same time we were doing parties, 432 00:26:19,160 --> 00:26:22,240 Speaker 1: but it was two different worlds. But everybody has a 433 00:26:22,359 --> 00:26:27,080 Speaker 1: story to tell and everybody contribute to hip hop. You 434 00:26:27,200 --> 00:26:29,560 Speaker 1: can't point to one person to say, Okay, if you 435 00:26:29,680 --> 00:26:32,680 Speaker 1: look at that one person, that person is responsible for 436 00:26:32,800 --> 00:26:37,960 Speaker 1: hip hop. Can't do that. Hip Hop was recreated by 437 00:26:38,760 --> 00:26:42,879 Speaker 1: different individuals, not one person, and which makes up the 438 00:26:42,960 --> 00:26:45,440 Speaker 1: culture that we know of today we call hip hop. 439 00:26:47,440 --> 00:26:51,439 Speaker 1: Breaks are the best part of the record. Break can 440 00:26:51,520 --> 00:26:54,119 Speaker 1: be at the beginning, break can be in the middle, 441 00:26:54,760 --> 00:26:57,480 Speaker 1: or the break can be at the end of the record, 442 00:26:57,760 --> 00:27:00,240 Speaker 1: and that's the part of the record that the B 443 00:27:00,480 --> 00:27:05,600 Speaker 1: boy waits for at the club. That's why sometimes you 444 00:27:05,720 --> 00:27:09,600 Speaker 1: see um the B boys standing on the side and 445 00:27:09,720 --> 00:27:12,399 Speaker 1: the B boys stands and when the break comes on, 446 00:27:13,280 --> 00:27:15,960 Speaker 1: that's where they go and they break on the floor, 447 00:27:16,119 --> 00:27:18,600 Speaker 1: do whatever they got to do, and then once the 448 00:27:18,720 --> 00:27:22,000 Speaker 1: break is gone, they go back to the B boys 449 00:27:22,040 --> 00:27:24,879 Speaker 1: stands waiting for the next break to come. The break 450 00:27:25,080 --> 00:27:28,280 Speaker 1: is what the MC waits for so he can start 451 00:27:28,400 --> 00:27:32,040 Speaker 1: rhyming and don't have to rhyme over the words because 452 00:27:32,160 --> 00:27:34,200 Speaker 1: usually when you hear a break, you don't hear the words, 453 00:27:34,359 --> 00:27:36,680 Speaker 1: or you hear is the drummer getting some. You know, 454 00:27:38,560 --> 00:27:43,800 Speaker 1: we all had our way up display our talents to 455 00:27:44,119 --> 00:27:50,399 Speaker 1: play the breaks. I use the analogia grade school and 456 00:27:50,520 --> 00:27:53,399 Speaker 1: then grade school. When we're going on a clash trip 457 00:27:53,960 --> 00:27:57,200 Speaker 1: or getting ready across the street, it's a teacher or 458 00:27:57,280 --> 00:28:01,840 Speaker 1: front black sometimes each in the middle, and teachers says 459 00:28:02,000 --> 00:28:05,119 Speaker 1: wherever you're next to, it doesn't matter. Everybody has to 460 00:28:05,280 --> 00:28:09,320 Speaker 1: hold hands. Then we crossed the street together. I used 461 00:28:09,359 --> 00:28:13,760 Speaker 1: just analogy when they came to playing a German break 462 00:28:14,280 --> 00:28:19,480 Speaker 1: behind the African break, behind a break from California. So 463 00:28:19,640 --> 00:28:22,120 Speaker 1: when I did this way where it was all our time, 464 00:28:22,920 --> 00:28:26,040 Speaker 1: this became the new way to play. When you listen 465 00:28:26,119 --> 00:28:29,400 Speaker 1: to a James Brown record, there's a break part, pig 466 00:28:29,480 --> 00:28:33,280 Speaker 1: Me Marham record, there's a break part, slying the family, 467 00:28:33,359 --> 00:28:37,520 Speaker 1: Stones records a break part, Jimmy cast a Bunch or 468 00:28:37,600 --> 00:28:42,200 Speaker 1: Incredible Bungle Band. All these are break parts. And basically 469 00:28:42,280 --> 00:28:46,360 Speaker 1: what we did was instead of us waiting for the 470 00:28:46,480 --> 00:28:50,600 Speaker 1: break to come, we started extending the breaks. So we 471 00:28:50,720 --> 00:28:55,320 Speaker 1: got the James Brown break Funky Drummer one, two, three 472 00:28:55,560 --> 00:28:58,680 Speaker 1: four in it. So instead of us listening to the 473 00:28:58,800 --> 00:29:02,400 Speaker 1: break one time, we would take the break and keep 474 00:29:02,480 --> 00:29:05,520 Speaker 1: extending the break and keep playing it over and over 475 00:29:05,640 --> 00:29:08,959 Speaker 1: and over again, so that the b boys can extend 476 00:29:09,000 --> 00:29:12,720 Speaker 1: their break time, and then the mcs can finally start 477 00:29:13,280 --> 00:29:16,280 Speaker 1: m seeing to the break, and the people on the 478 00:29:16,400 --> 00:29:19,760 Speaker 1: dance floor could finally start dancing to the break. So 479 00:29:20,480 --> 00:29:23,920 Speaker 1: the break was always there. We just used the break 480 00:29:24,320 --> 00:29:28,280 Speaker 1: and to the jam until disco. Before we called the 481 00:29:28,440 --> 00:29:32,280 Speaker 1: hip hop hip hop. But all of a sudden, the 482 00:29:32,440 --> 00:29:37,000 Speaker 1: mobile disc jockey started appeering, you know, guys playing that 483 00:29:37,080 --> 00:29:39,480 Speaker 1: because we used to have bands play outside, you know, 484 00:29:39,600 --> 00:29:44,960 Speaker 1: bands would come out and play like seventy three, seventy four. 485 00:29:45,680 --> 00:29:47,400 Speaker 1: On the south side of the project. It was a 486 00:29:47,680 --> 00:29:50,560 Speaker 1: guy named Fat Term and another guy on the north 487 00:29:50,640 --> 00:29:54,280 Speaker 1: side named Tony Tonio Gallery, and they got together and 488 00:29:54,320 --> 00:29:58,920 Speaker 1: they started a a DJ group called TNT Disco. Now 489 00:29:59,000 --> 00:30:02,680 Speaker 1: on the radio, I would year tonight that Mel mel 490 00:30:02,800 --> 00:30:07,760 Speaker 1: Gwin's or you know, all these different clubs, Pete DJ Jones, 491 00:30:07,840 --> 00:30:10,240 Speaker 1: and I didn't know what that meant, you know, I 492 00:30:10,360 --> 00:30:15,280 Speaker 1: thought DJ was his middle initials. So now I go 493 00:30:15,400 --> 00:30:18,760 Speaker 1: out into the park, you know, with fellas and stuff, 494 00:30:18,800 --> 00:30:22,280 Speaker 1: and because we normally go out and listening to bands playing, 495 00:30:22,360 --> 00:30:24,880 Speaker 1: and then or I'd be playing on the north side. 496 00:30:24,920 --> 00:30:27,600 Speaker 1: Outside we'd just be jamming, and there was always guys 497 00:30:27,640 --> 00:30:30,959 Speaker 1: with tim Boley's and Conger's outside all summer out there jamming. 498 00:30:31,360 --> 00:30:34,040 Speaker 1: You know, they had turnjables in and a mixer and 499 00:30:34,360 --> 00:30:37,680 Speaker 1: two column speakers. And so now we're listening. The house 500 00:30:37,760 --> 00:30:41,440 Speaker 1: party is outside outside outside, so Grandmaster Flowers and pe 501 00:30:41,600 --> 00:30:45,280 Speaker 1: TJ Jones pre day hip hop, you know, PDA Jones 502 00:30:45,320 --> 00:30:48,520 Speaker 1: had an echo chamber, Pete then J Jones, Joe Joel 503 00:30:49,080 --> 00:30:52,080 Speaker 1: I remember, you know the five percenters and and Queens 504 00:30:52,120 --> 00:30:54,320 Speaker 1: and Brooklyn. We would go into the Brooklyn Houstal at 505 00:30:54,400 --> 00:30:57,840 Speaker 1: Nells on forty secondary. I was like fourteen, we were young. 506 00:30:57,920 --> 00:31:00,360 Speaker 1: We would go to the Nells and PDJ Jones play 507 00:31:00,920 --> 00:31:03,480 Speaker 1: before they were rap record before they were rapp audits, 508 00:31:03,720 --> 00:31:07,000 Speaker 1: before it would anything stingings rapped or hip hop. PDJ 509 00:31:07,160 --> 00:31:10,000 Speaker 1: Jones like a hip hop DJ. He could easily have been. 510 00:31:10,080 --> 00:31:13,560 Speaker 1: And I know that uh cool DJ hrk Uh. I 511 00:31:13,800 --> 00:31:16,480 Speaker 1: think that cool DJ hrk story that he carried records 512 00:31:16,480 --> 00:31:20,080 Speaker 1: for them, that all of them say they carried record 513 00:31:20,160 --> 00:31:24,880 Speaker 1: records for DJ. P TJ Joe DJ Jones would tell 514 00:31:24,880 --> 00:31:28,640 Speaker 1: you that Hollywood was the first rapper than seventy three. 515 00:31:29,360 --> 00:31:31,560 Speaker 1: So he had there had to claim that Hollywood make 516 00:31:31,600 --> 00:31:34,680 Speaker 1: and there's you know, the documentation for the DJ Jones 517 00:31:34,720 --> 00:31:37,320 Speaker 1: had the pinion. But he did the same thing though. 518 00:31:37,920 --> 00:31:41,360 Speaker 1: He would play Rob Samenda and we would hear it, 519 00:31:41,760 --> 00:31:44,680 Speaker 1: you know, black the back. That's kind of hip hop, 520 00:31:44,720 --> 00:31:47,080 Speaker 1: ain't it? And that what we could contribute to the 521 00:31:47,760 --> 00:31:51,560 Speaker 1: founding fathers. So P. G. Jones could be perceived as 522 00:31:51,960 --> 00:31:54,080 Speaker 1: one of the founding fathers of hip hop as well, 523 00:31:55,000 --> 00:31:57,680 Speaker 1: and stay would without only Pete La Boy. All of 524 00:31:57,720 --> 00:32:00,600 Speaker 1: those guys contributed, flowers, all of them, you know, they 525 00:32:00,680 --> 00:32:02,920 Speaker 1: contribute a lot to the evolution to the point where 526 00:32:04,240 --> 00:32:08,000 Speaker 1: that party, that famous party, that cool VJ Hurt game game. 527 00:32:08,800 --> 00:32:11,440 Speaker 1: As y'all know, I'm about this life, about this hip 528 00:32:11,520 --> 00:32:13,920 Speaker 1: hop thing, you know what I'm saying. But really a 529 00:32:14,080 --> 00:32:17,840 Speaker 1: big inspiration for this whole podcast series is my man 530 00:32:18,080 --> 00:32:23,080 Speaker 1: Rest in peace. Reggie ose Ak a combat jack. He 531 00:32:23,400 --> 00:32:28,320 Speaker 1: pioneered this podcast game for one and on. So Reggie 532 00:32:28,440 --> 00:32:32,200 Speaker 1: Ose this whole series, baby, this whole hip Hop fifty 533 00:32:32,440 --> 00:32:35,920 Speaker 1: this one's for you. On the next episode of the 534 00:32:36,000 --> 00:32:38,560 Speaker 1: fifty Years of Hip Hop podcast, I'm about to take 535 00:32:38,600 --> 00:32:42,480 Speaker 1: you from nineteen seventy three to Infinity. We're gonna go inside, 536 00:32:42,800 --> 00:32:45,880 Speaker 1: back to the birthplace of hip hop, the Bronx, New York, 537 00:32:46,080 --> 00:32:50,280 Speaker 1: and explore the beginnings of the musical stylings A pioneer, 538 00:32:50,520 --> 00:32:56,800 Speaker 1: DJ cool Hurt he set it off. This episode has 539 00:32:56,840 --> 00:33:00,200 Speaker 1: been executive produced by Dolly s. Bishop host it and 540 00:33:00,320 --> 00:33:04,120 Speaker 1: produced by your Boy Fab five Freddie. Produced by Aaron A. 541 00:33:04,400 --> 00:33:09,280 Speaker 1: King Howard, edit Nick sound by Dwayne Crawford, music scoring 542 00:33:09,400 --> 00:33:12,680 Speaker 1: by Trey Jones, Talent booking by Nicole Spence.