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Speaker 1: The Quest Loft Show is a production of iHeartRadio. All right,

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Speaker 1: welcome back to the Quest Love Show.

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Speaker 2: Now.

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Speaker 1: Last week we gave you part one of my end

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Speaker 1: studio conversation with Fab five Freddy.

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Speaker 2: His memoir Everybody's Fly is out now. Now we spoke about.

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Speaker 1: Fred's Brooklyn childhood, is coming up from a family ties

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Speaker 1: with legendary figures and jazz and activism, and he schooled

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Speaker 1: me on the late nineteen seventies graffiti scene.

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Speaker 2: You haven't heard that? Check it out all right now

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Speaker 2: with part.

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Speaker 1: Two as a reminder, please please please drop us a rating.

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Speaker 2: A review, or tell a friend.

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Speaker 1: Okay, without further ado, here is Part two with Fab

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Speaker 1: five Freddy on The Quest Love Show. Of course, in

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Speaker 1: the mainstream you hear about celebrated artists. You hear, of

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Speaker 1: course Herring and Boskyat hear other names like Lee ky

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Speaker 1: On and on that. Yeah, who's the unsung hero that

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Speaker 1: just never got any flowers? Even in the age of

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Speaker 1: us celebrating all these great.

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Speaker 2: Writers like well, you know, that's a good question. I

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Speaker 2: couldn't give you a clear answer right now, because there's

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Speaker 2: been many that didn't get and that's an objective determination.

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Speaker 2: Who got what? They really deserved because when we transitioned

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Speaker 2: a charge that I led into these other spaces of people,

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Speaker 2: I can really look at our work for its esthetic

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Speaker 2: value as opposed to the criminal illegality of it, which

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Speaker 2: we've just kind of talked a bit about. But that

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Speaker 2: was the idea, is to move us into space because

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Speaker 2: for a lot of guys doing this, like I said,

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Speaker 2: were primarily teenagers, and at a point when you're eighteen

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Speaker 2: nineteen and it's like it's time for college, it's time

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Speaker 2: to grow up and be an adult, paid to pay

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Speaker 2: rent and stuff like that, it's like, you know, most

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Speaker 2: guys would grow out of it, so to speak. And

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Speaker 2: I was like, man, this is I saw some value

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Speaker 2: that really represented something a lot stronger that could transition

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Speaker 2: and could live on in that way. So understanding how

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Speaker 2: to move in the art world is the education process

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Speaker 2: that a lot of other cats didn't really grasp. There

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Speaker 2: were people that I pulled in, if you will, under

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Speaker 2: my wing, so to speak, Rammelz Futura, what we did

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Speaker 2: with Wild Style and the graffiti painters that we included,

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Speaker 2: Crash Days Pink, these guys learned quickly how to make

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Speaker 2: moves in the art world and go out and like

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Speaker 2: for themselves and know how to move in that space.

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Speaker 1: Was there ever a you know, like some artists are,

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Speaker 1: they'll get in their own way. Was there ever a

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Speaker 1: fear of like a man like the commercialization of it all?

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Speaker 2: Or there was some people In fact Zephyr, who is

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Speaker 2: a legend in the graffiti space and is in Wild

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Speaker 2: Style and plays a character a lot like how he was,

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Speaker 2: he's like a purist. So literally we have a confrontation

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Speaker 2: in the film Wild Style where he's trying to tell Lee,

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Speaker 2: whose character is Zorro, man, I'm bringing the publicity. There's

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Speaker 2: a journalist coming to cover what's going on, and we

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Speaker 2: have this confrontation where he said, no man. Later for

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Speaker 2: this chick, he wants to bring a reporter intoto the yard.

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Speaker 2: Nah man fucked that. And then classic like Q Tip

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Speaker 2: used to always laugh and people go, I go, man,

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Speaker 2: fuck this guy. I know how the publicity machine works.

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Speaker 2: You might not get the money like right now, but

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Speaker 2: you'll have money like Barry White. But it was so

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Speaker 2: cool doing that scene because what we decided to do

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Speaker 2: in Wild Style was use all the real people enrolls

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Speaker 2: comparable to what they were doing. So Zephyr This was

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Speaker 2: how he really got down. He was purists and still

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Speaker 2: is in a way. In fact, Zephyr matriculated into painting

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Speaker 2: the freight trains, which is a huge ongoing scene that

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Speaker 2: mirrors exactly what we were doing on the subways. A

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Speaker 2: great documentary if you google freight train graffiti painting that

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Speaker 2: came out of just a couple of years ago. Roger

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Speaker 2: Gassman was involved producer. He's a brother cap from behind

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Speaker 2: the Streets and I was blown away to see that

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Speaker 2: these freight trains run coast to coast. There's guys in

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Speaker 2: their fifties with families that are out still painting freight

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Speaker 2: trains and having beefs with each other. This guy in

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Speaker 2: the other state, if I catch him, I'm a whip

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Speaker 2: his ass. I'm like, holy shit, it's still going on

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Speaker 2: the same shit that I've talked about Star Wars, So

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Speaker 2: that still goes on. So but like I said, there

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Speaker 2: have been guys that didn't get but those that transitioned

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Speaker 2: into galleries somewhere a to get recognition and be able

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Speaker 2: to move on some touch galleries, but weren't able to

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Speaker 2: figure out how to navigate those spaces. So there's a

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Speaker 2: lot of guys. But what has been good is there

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Speaker 2: were legendary guys that painted the trains. Like there was

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Speaker 2: one that was a huge inspiration to me. He passed.

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Speaker 2: It was about ten years ago now Stay High one

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Speaker 2: forty nine, and this was an older brother that people

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Speaker 2: when you heard about this guy, I mean he was

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Speaker 2: one of the most prolific. He had this little stick

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Speaker 2: figure character smoking a joint that always went alongside his name.

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Speaker 2: He would make these New York City subway maps and

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Speaker 2: he would embellish them with his tag. He gave me

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Speaker 2: one of them things. Man. Literally for me, it was

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Speaker 2: like meeting Michael Jackson to kount of Stay High. He

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Speaker 2: was that huge. Phase two was another cat that was

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Speaker 2: a pivotal pioneer that then make the transition into the

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Speaker 2: art world. He was like a scholarly cat. In fact,

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Speaker 2: he was inspiration from my character in Wild Style because

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Speaker 2: I'm one of the few people literally acting. A lot

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Speaker 2: of people think I'm from the Bronx. On the strength

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Speaker 2: of me, I thought of it. Yeah, that's what because.

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Speaker 1: That it saw to me, it was almost like the

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Speaker 1: first reality show. Was there an actual script or was

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Speaker 1: it like that.

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Speaker 2: Was a semblance of a script, but because when she

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Speaker 2: got stuck in them, when her car broke down there,

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Speaker 2: that was that was sort of scripted what we said

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Speaker 2: and how it was said. We left leeway. Okay, here's

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Speaker 2: the idea, you've got to say this, but say it

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Speaker 2: how you say it. We didn't like adhere to say

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Speaker 2: every line on the page. The idea was, Okay, here's

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Speaker 2: what needs to happen in this scene, say it in

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Speaker 2: the way you would actually.

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Speaker 1: Say, like a reality show. That's how it is very much.

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Speaker 2: Like reality, which is a kind of a step son

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Speaker 2: of the documentary format, if you will. If you want

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Speaker 2: to look at the origins of the reality genre, it

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Speaker 2: grows out of the documentary kind of context, if you will.

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Speaker 2: So yeah, we did do that in wild styling. We

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Speaker 2: allowed people to have leeway and how they would say

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Speaker 2: it to keep it authentic. Hence the scene between me

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Speaker 2: and Zephyr, he's pretty much freestyling, but it's a lot

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Speaker 2: of the passion that comes down in that scene is

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Speaker 2: how he really felt, and that's what we wanted to

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Speaker 2: do and that's what we were successful doing.

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Speaker 1: You've closed the thing for me because basically, as a

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Speaker 1: soul train head, there's a moment where Don Cornelis is

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Speaker 1: interviewing Mike David Beastie Boys.

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Speaker 2: Okay, and he actually quotes that.

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Speaker 1: He's like, yeah, you know, we're just out here trying

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Speaker 1: to get money like Barry White, and the joke.

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Speaker 2: The joke didn't quite land silly, but I instantly knew, yeah,

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Speaker 2: that's wilden. I just thought very White was one of

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Speaker 2: my favorites, and it was an album where he had

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Speaker 2: like all his gold jewelry and stuff lade out on

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Speaker 2: some mink. I mean, Barry was everything.

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Speaker 1: And well, I think I know how the legend of that.

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Speaker 1: There is an episode, there's a seventy seven episode of

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Speaker 1: Soul Train in which Don actually goes offset and host

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Speaker 1: it from Barry White's crib.

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Speaker 2: Oh wow, it was like opulent and you know it's like.

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Speaker 1: Waterfalls and everything like and he performs its ecstasy.

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Speaker 2: Like in his pool. I love to see that.

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Speaker 1: Yeah, it's crazy, and yeah, I think that's where the

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Speaker 1: myth of Barry White get money, Like it was a

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Speaker 1: complete episode of Soul Train at Barry White's mansion.

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Speaker 2: Yeah that was yeah. I just thought Barry White was

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Speaker 2: so cool, the where he was like kind of talk

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Speaker 2: singing his vibe. The whole image of him was just incredible.

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Speaker 2: His love unlimited Orchestralian. I was a big Barry White fan.

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Speaker 1: I have a Quadrillian wild style questions, but I'll look

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Speaker 1: down to a few.

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Speaker 2: Number one. Okay, let me just get this out the way.

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Speaker 1: Sure, because the flash scene seems very disconnected, because let

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Speaker 1: me not say that how hard was.

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Speaker 2: It to get flashed? It wasn't hard at all. So

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Speaker 2: let me explain what happened with getting flashed and why

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Speaker 2: wasn't there more footage? Yeah, because what happened was the

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Speaker 2: flash scene where I'm in his home as he's cutting

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Speaker 2: in his kitchen, which has now become an iconic moment.

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Speaker 2: You've seen it if you follow the culture, you've seen

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Speaker 2: it before. Yes, that literally was me. There was some

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Speaker 2: dialogue that a company that with me getting him to

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Speaker 2: bring the group to perform at what was the final

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Speaker 2: concert moment in the film. Okay, we'd film that moment

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Speaker 2: with the original flash in the Furious Vive the Cold Crush,

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Speaker 2: and we had a couple of thousand kids come out.

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Speaker 2: We screwed up the audio for that big moment, as

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Speaker 2: well as the other big performances at the Dixie Club.

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Speaker 2: We screwed up. Back then, you would record sound on

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Speaker 2: a recording device called a Nagra, and we had a

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Speaker 2: stereo NAGRAA. This was like a super heavy duty, little

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Speaker 2: real to real machine. We didn't know what the hell

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Speaker 2: we were doing. We didn't have the sound adjusted right.

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Speaker 2: We screwed up all the audio, so we had to

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Speaker 2: go and live audio. The audio was garbage. In fact,

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Speaker 2: somebody just mentioned to me and I ran it by

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Speaker 2: Charlie hey Man, you know AI AI. If we can

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Speaker 2: get some AI experts to reach out to us that

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Speaker 2: may want to help with this, because it's the restoration

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Speaker 2: of it all so that we don't haven't seen once

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Speaker 2: again there you've seen the Wild Style film, the performances

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Speaker 2: at the Dixie Club, but you see busy Bee, Double Trouble,

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Speaker 2: Cold Crush, Fantastic in a club that's the Dixie Club.

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Speaker 2: Then we have the big final jam outside at the

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Speaker 2: park the Amphitheater, the climax of the movie. We had

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Speaker 2: to reshoot all of that. So what you see now

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Speaker 2: is what we reshot because we screwed up all the

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Speaker 2: audio and we had just restage and reshoot all of

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Speaker 2: those moments because we had a big boobo in what

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Speaker 2: we did. The audio came back. This is the classic

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Speaker 2: old school where we have the Steinbeck editing. We got

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Speaker 2: the film separate, we got the audio septing. You put

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Speaker 2: it on the machine and you know, it's the old

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Speaker 2: school film editing analog, classic analog, and we put this

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Speaker 2: audio one and we couldn't believe it. Sound with shit

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Speaker 2: was like, what the hell happened? And we just totally botched.

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Speaker 2: We didn't have the machine set up right. This is

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Speaker 2: classic independent filmmaking. This is what happened, so we.

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Speaker 1: Could have seen an authentic Grandmaster Flash and the furious

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Speaker 1: fire performance of that era.

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Speaker 2: I'll never forget because by the time we reshot six

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Speaker 2: months later, how the long it was flashing, those guys

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Speaker 2: had elevated. Now they're opening for Rick James and they're

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Speaker 2: going on real R and B big tours and they

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Speaker 2: were gone, Like, we blew that moment. So using that

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Speaker 2: flash seen, we had a brilliant editor, rest in Pece

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Speaker 2: Steve Brown, who intercut that with the breakdancers, and we

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Speaker 2: just had these moments. So you know, it's somewhat disjointed

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Speaker 2: based on what the original idea was, but still when

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Speaker 2: people this is Grandmaster Flash, doing the amazing things he

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Speaker 2: did the world had not seen any of this yet,

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Speaker 2: and for most people, this is their first look at

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Speaker 2: what a DJ does and watching Flash do that. When

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Speaker 2: he spinned around, he had the classic gram Aster flash letters. Yes,

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Speaker 2: press on letters. I'm just sitting there loving it because

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Speaker 2: I mean, that was everything to see him. It was

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Speaker 2: such a mystery at that point in time. And like

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Speaker 2: I said, it was so remarkable that and I detail

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Speaker 2: all of this and how we set all this up

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Speaker 2: in the book Everybody's Fly, But it was just such

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Speaker 2: a remarkable that we got up that we were able

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Speaker 2: to pull a film out of all of this, because

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Speaker 2: it was we had some we had a few problems

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Speaker 2: here and there, as you offer.

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Speaker 1: Can you talk about the scoring of it all? Like

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Speaker 1: I'm assuming that Christine is part of the solution.

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Speaker 2: Well, yeah, so what happened was I wanted to use

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Speaker 2: the original breakbeats. I mean, it was so early on

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Speaker 2: I'm really just grasping the essence of what this coach

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Speaker 2: is about. It was super underground. It were little to

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Speaker 2: know maybe Rappers D Light had maybe come out by then.

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Speaker 2: I'm like, Charlie, let's use the original music. Charlie thankfully.

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Speaker 2: It was like, no, no, no, we can't fred somebody

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Speaker 2: will eventually come for us. I was like, ah, it's okay,

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Speaker 2: I'll go and make so is that why they're not

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Speaker 2: rhyming over catch a Groove and impeach the President?

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Speaker 1: Like the original breakbeat? I always wonder. I'm like, what,

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Speaker 1: everyone has a copy of this one record, so here's

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Speaker 1: what now?

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Speaker 2: I lost classic and shit, thank you so much. So

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Speaker 2: what I did was I said, Okay, let me figure

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Speaker 2: this out. So of course I'm friends now with Christine

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Speaker 2: and me. I've met all these cool people on the

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Speaker 2: new wave post punk scene. We're all tight, and I go, okay,

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Speaker 2: I'm gonna definitely was bouncing everything off of Chris anyway,

250
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Speaker 2: because they were super supportive and helpful. I said, okay,

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Speaker 2: so I'm going to produce this. So I one of

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Speaker 2: the things that the Supreme Team's radio show would do

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Speaker 2: is they would have a section where they would play breaks,

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Speaker 2: and these were the real break beats that the real

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Speaker 2: hip hop, early hip hop DJ's used, So he would

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Speaker 2: play these, and I had a recording of some dope stuff.

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Speaker 2: So I got this cat named Lenny Ferrari. His actual

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Speaker 2: name was Lenny Ferraro, but we would call Lenny Ferrari,

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Speaker 2: who was a real cool cat, white cat, but he

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Speaker 2: had played for Rita Franklin. I mean he was a

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Speaker 2: dope ass drummer, So I said Lenny. I didn't really

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Speaker 2: understand how the recording process. I later learned I should

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Speaker 2: have had the bass and drums record together, but I

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Speaker 2: did the drums separate. Oh so the drums were first.

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Speaker 2: Drums are first. I know, we're figuring it, making it

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Speaker 2: up as we go along. Went to a rinky dink

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Speaker 2: studio that I'll never forget. The studio had tubes, and

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Speaker 2: I know that became my hot thing of late people

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Speaker 2: trying to recreate the quality of those early sixties seventies recording. Yes,

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Speaker 2: this two bit studio I found, which I remember was

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Speaker 2: on the same block as the Beacon Theater. I can

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Speaker 2: never remember the name of it. It was upstairs they had.

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Speaker 2: It was affordable enough. I know it wasn't twenty four

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Speaker 2: maybe a twelve track whatever, but I know the board

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Speaker 2: had tubes because I remember you look, I said, oh man,

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Speaker 2: there's there's tubes. You know. It was typical TV's old

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Speaker 2: school high fives had tubes. Anyway, I record the drums there.

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Speaker 2: Later get a buddy of mine who played bass to

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Speaker 2: lay the bass down. That's when I learned, oh, you

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Speaker 2: should do the bass and drums together. Because it was

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Speaker 2: a couple of points when they were yelling. He kind

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Speaker 2: of wasn't yelling myself. I was able to get it.

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Speaker 2: And then Chris Stein came in, brought Christen. I think

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Speaker 2: we went to another studio at the time, because Chris

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Speaker 2: would do a lot of stuff out of a studio

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Speaker 2: called blank tapes, and Chris had all these effects and

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Speaker 2: things that he could trigger from his guitar, all these

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Speaker 2: little toys that he would so I said, Chris, we

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Speaker 2: got to make them. So basically it was like the

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Speaker 2: whole idea was I'm going to make a record of

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Speaker 2: break beats. Nothing is going to be longer than a minute.

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Speaker 2: The purpose being the DJs when we film would be

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Speaker 2: able to cut pladies live as the rappers rap, and

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Speaker 2: that becomes the soundtrack, not quite the score, yeah, but whatever.

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Speaker 2: And so Chris comes in and with these ten to

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Speaker 2: twelve different little tracks, he makes up different little sounds

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Speaker 2: and plays different things. He triggers it all from his guitar,

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Speaker 2: all these little toys he had, and that's how we

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Speaker 2: create the original break beats, and down by Law becomes

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Speaker 2: the most popular among the rappers, which most people use

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Speaker 2: for performing.

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Speaker 1: At the time, were you feeling like a man, I'm

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Speaker 1: making TMU breakbeats? Like this is not the authentic what

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Speaker 1: data the real shit we need? Like at the time,

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Speaker 1: do you?

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Speaker 2: And you know? I wasn't quite feeling like that, because

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Speaker 2: once again, hip hop is at a point where very

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Speaker 2: few people understand what this is about. Is the first

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Speaker 2: rap records that come out, especially what sugar Hill and

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Speaker 2: them did, hip hop hadn't got yet. House bands playing

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Speaker 2: whatever they knew. The popular records were their kids liked

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Speaker 2: in the street. But the idea of hip hop understanding

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Speaker 2: how to recreate the grit and the dirt and the

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Speaker 2: funkiness of the sound, the patina, if you will, that

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Speaker 2: would come later people like Molly Mahr and even what

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Speaker 2: Malcolm McClaren did with the Buffalo Girls record used incorporated

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Speaker 2: all the elements in a really interesting way. But overall

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Speaker 2: that wasn't known yet. Cats were working to get to

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Speaker 2: that point. So I wasn't tripping if my main barometer

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Speaker 2: was when I So what we did was when I

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Speaker 2: finished all those records. We pressed up one hundred pieces

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Speaker 2: of vinyl, I believe at forty five speed, and I

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Speaker 2: went around and gave each of the DJ's two copies.

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Speaker 2: So that was Tony Tone and Charlie Chase from The

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Speaker 2: Cold Crush? Was it theadore just white labels? No, just

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Speaker 2: white label I judhit a couple that popped up any

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Speaker 2: originals left? Sorry, so what man? Listen? I remember meeting

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Speaker 2: DJ Mark the forty five King and every real DJ

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Speaker 2: cat wa y'all, what's up with those records? I'd be like, yo,

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Speaker 2: we got a couple months, so those all went. But

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Speaker 2: later as the nineties really kicked in, it became the

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Speaker 2: super sought after what the hell did they use? Because

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Speaker 2: everybody assumed I had sampled something. Nobody knew this story

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Speaker 2: that I'm telling you, so when I would meet guys,

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Speaker 2: I would explain it. I remember meeting Jazzy B from

336
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Speaker 2: Soul to Soul and they were able to grab a

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Speaker 2: couple of sections of down by Law off the soundtrack

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Speaker 2: and looped together his own kind of instrumental, if you will.

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Speaker 2: Because people became obsessed. I was blown away to learn.

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Speaker 1: That that's provided many a deep snare many and open drum,

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Speaker 1: you know God.

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Speaker 2: So that became a really fun thing. In fact, I

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Speaker 2: used on the audio book for Everybody's Fly. I used

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Speaker 2: some of the actually down by law, and I tell

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Speaker 2: the story of how we This is a story I

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Speaker 2: just shared with you how luckily because you know now

347
00:19:19,480 --> 00:19:22,560
Speaker 2: Rogers was a friend and I got now to get

348
00:19:22,680 --> 00:19:26,400
Speaker 2: us the ability to use good times in the end

349
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Speaker 2: at a decent rate. Okay, Marti Gras is what Flash

350
00:19:31,440 --> 00:19:36,800
Speaker 2: is actually cutting cutting but instead of yeah, he's just

351
00:19:37,160 --> 00:19:40,600
Speaker 2: Mardy Gras, Bob James. But then one of the reissues

352
00:19:40,640 --> 00:19:43,919
Speaker 2: that we did some years back, we weren't able to

353
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Speaker 2: get that cleared. So I had to find some guys

354
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Speaker 2: that came in and did a close a pretty good approximation.

355
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Speaker 2: It wasn't the real deal. Real heads would be like, yo,

356
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Speaker 2: it's not you didn't. But the recent reissue of Wild

357
00:20:00,640 --> 00:20:03,600
Speaker 2: Style that just happened, we were able to get it cleared,

358
00:20:16,160 --> 00:20:16,960
Speaker 2: he explained.

359
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Speaker 1: Or give me the history of making Change the Beat

360
00:20:20,240 --> 00:20:23,520
Speaker 1: twelve inch, which, of course, yeah, all uhip hop historians

361
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Speaker 1: know that the last second of that record has been

362
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Speaker 1: cut up many times.

363
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Speaker 2: This stuff is really fresh. Who's saying as that Bill

364
00:20:31,720 --> 00:20:34,600
Speaker 2: Lasmo is that you. For a long time I assumed

365
00:20:34,600 --> 00:20:37,359
Speaker 2: it was me because it was put together after I

366
00:20:37,440 --> 00:20:41,280
Speaker 2: had recorded, and I was always like, yeah, that was me,

367
00:20:41,440 --> 00:20:44,679
Speaker 2: because the term fresh had just really begun, and I

368
00:20:44,720 --> 00:20:47,520
Speaker 2: remember casting the Bronx was like, Yo, this is fresh.

369
00:20:47,840 --> 00:20:52,960
Speaker 2: The Fantastic Romantic popularized that term first because a part

370
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Speaker 2: of their routine they would go, we're fresh out the

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Speaker 2: pack and you gotta stay back. We got one Puerto

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Speaker 2: Rican and the rest are black. Being fresh out the

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Speaker 2: pack was their thing, and they just abbreviated to fresh,

374
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Speaker 2: and so I knew where that came from. But it

375
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Speaker 2: turns out that it was Bill's Laswell's manager. I think

376
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Speaker 2: Roger Trilling had said it goofing around in the studio.

377
00:21:16,119 --> 00:21:19,520
Speaker 2: So when they presented it to me, they were like, yo,

378
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Speaker 2: do you approve this? Because they tacked it on to

379
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Speaker 2: the B side of the record with the female that

380
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Speaker 2: was my French teacher, I decided to use her on

381
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Speaker 2: the B side as opposed to the B side being instrumental,

382
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Speaker 2: which was the typical thing for rap singles at the time.

383
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Speaker 2: She sounded great to me when she emulated mimicked me

384
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Speaker 2: with the rhythm. She didn't had the rhythm, but her

385
00:21:44,040 --> 00:21:47,800
Speaker 2: French was perfect, her voice was sexy. Right, what am

386
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Speaker 2: I going to be called? I got to come up

387
00:21:49,280 --> 00:21:51,560
Speaker 2: with a rap name. I'm like, well, you're going to

388
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Speaker 2: be on the B side. She was like, yep, B side,

389
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Speaker 2: that's it. I'm gonna call myself B side. So that's

390
00:21:57,680 --> 00:21:59,600
Speaker 2: how she was on. She would make a few other

391
00:21:59,680 --> 00:22:04,479
Speaker 2: records after that, and so basically I approved this weird

392
00:22:04,680 --> 00:22:08,240
Speaker 2: sound on the B side. Now, what makes it go

393
00:22:08,840 --> 00:22:12,320
Speaker 2: viral if you will. Back in that time was Grand

394
00:22:12,400 --> 00:22:19,159
Speaker 2: mixer DST. Now d XT was the first shit to

395
00:22:19,320 --> 00:22:23,080
Speaker 2: use it on Herbie Hancock's Rocket Bill aswell. Bill Laswell

396
00:22:23,200 --> 00:22:27,520
Speaker 2: producer like Glaswell produced that he met Herbie through our

397
00:22:27,600 --> 00:22:32,440
Speaker 2: little connection that we all connected, and Bill brings he's

398
00:22:32,440 --> 00:22:36,040
Speaker 2: trying to turn Herbie onto this. Herbie's open because working

399
00:22:36,040 --> 00:22:39,160
Speaker 2: with Miles Davis. Miles was open to working with doing

400
00:22:39,200 --> 00:22:42,480
Speaker 2: different things, you know, as he did electrifying the horn

401
00:22:42,520 --> 00:22:46,359
Speaker 2: and everything. So Herbie, coming from working with Miles, Bill

402
00:22:46,440 --> 00:22:48,879
Speaker 2: Lazo says, hey, man, here's this new thing popular. He

403
00:22:48,960 --> 00:22:52,120
Speaker 2: takes Herbie to the Roxy whatever and then they give

404
00:22:52,200 --> 00:22:56,400
Speaker 2: him the basis of that track and DXT goes crazy.

405
00:22:57,000 --> 00:23:02,440
Speaker 2: In fact, it's Herbie that said ds he's a pianist,

406
00:23:02,760 --> 00:23:07,800
Speaker 2: he's a guitarist, you're a turntableist. That term really begins

407
00:23:07,840 --> 00:23:11,920
Speaker 2: with Herbie telling DXC you're a turntableist, because he had

408
00:23:12,000 --> 00:23:14,720
Speaker 2: DXC going a tour with him or run a tour

409
00:23:14,880 --> 00:23:17,520
Speaker 2: as part of the band. Yeah, and that was the

410
00:23:17,600 --> 00:23:21,959
Speaker 2: first at that time, and so DXC uses it and

411
00:23:22,080 --> 00:23:28,399
Speaker 2: it becomes the ubiquitous example of scratching because so many

412
00:23:28,520 --> 00:23:32,399
Speaker 2: other DJs on so many other records used that sound,

413
00:23:33,720 --> 00:23:36,720
Speaker 2: which became synonymous with this idea of scratching.

414
00:23:36,760 --> 00:23:40,840
Speaker 1: And that's my record, and not once have you tried

415
00:23:40,840 --> 00:23:44,320
Speaker 1: the because literally, if you had ten dollars for every

416
00:23:44,320 --> 00:23:47,680
Speaker 1: time that shit was used, yea, you'd be a trillionaire.

417
00:23:49,359 --> 00:23:52,280
Speaker 1: It's a water, it's bread, it's just part of the fiber. Look,

418
00:23:52,400 --> 00:23:54,440
Speaker 1: it's been a blessing. I gotta get to MTV. I

419
00:23:54,480 --> 00:23:57,760
Speaker 1: gotta get I'm skipping so much. No, we must buy

420
00:23:57,800 --> 00:23:58,120
Speaker 1: the book.

421
00:23:58,240 --> 00:24:05,359
Speaker 2: No, it's a lie for you. The NWA episode, Yeah,

422
00:24:05,600 --> 00:24:07,760
Speaker 2: there's so many I have to ask you, but yeah,

423
00:24:07,880 --> 00:24:11,440
Speaker 2: that was a great one. What most people's favorite episode?

424
00:24:11,640 --> 00:24:14,480
Speaker 1: Well, yeah, like that was my first. What even made you?

425
00:24:14,520 --> 00:24:17,640
Speaker 1: Because I was resistant to them. You know, I saw

426
00:24:17,720 --> 00:24:19,720
Speaker 1: Jerry curls and whatever, like what are they doing?

427
00:24:20,080 --> 00:24:20,760
Speaker 2: Lay? Yeah?

428
00:24:20,960 --> 00:24:23,400
Speaker 1: And then I saw that episode and then we all

429
00:24:23,480 --> 00:24:24,560
Speaker 1: ran to get that out.

430
00:24:24,480 --> 00:24:27,520
Speaker 2: Like what was that? Like? Man, it was incredible, Like,

431
00:24:27,560 --> 00:24:30,840
Speaker 2: you know, we had already developed a reconnection with Easy

432
00:24:30,880 --> 00:24:34,240
Speaker 2: because he had we Want Easy and Ted Demi rest

433
00:24:34,280 --> 00:24:37,440
Speaker 2: in Peace, one of the original producers, and Easy had

434
00:24:37,600 --> 00:24:43,000
Speaker 2: developed a really close friendship and Easy was like, hey, man,

435
00:24:43,040 --> 00:24:46,080
Speaker 2: we come on out to LA and I got a

436
00:24:46,119 --> 00:24:48,200
Speaker 2: new group. I'd like, you got you know, the showcase

437
00:24:48,240 --> 00:24:51,560
Speaker 2: to group. So we One of the things was instrumental

438
00:24:51,600 --> 00:24:54,520
Speaker 2: with your MTV raps with different groups is finding a

439
00:24:54,640 --> 00:24:57,359
Speaker 2: concept to interview the group that we could show the

440
00:24:57,400 --> 00:25:00,760
Speaker 2: audience where the group's from, so we could really you know,

441
00:25:00,880 --> 00:25:03,639
Speaker 2: this is now wrap spreading around the country. And so

442
00:25:04,560 --> 00:25:06,480
Speaker 2: the idea we came up with is We're gonna rent

443
00:25:06,480 --> 00:25:09,399
Speaker 2: a flatbed truck and ride around LA. Now I've been

444
00:25:09,440 --> 00:25:12,040
Speaker 2: to LA a bunch of times, but I didn't really

445
00:25:12,080 --> 00:25:14,200
Speaker 2: go too much out of West Hollywood, and I didn't

446
00:25:14,240 --> 00:25:16,919
Speaker 2: know about Compton and the hood yet. I didn't know

447
00:25:16,960 --> 00:25:20,240
Speaker 2: that stuff. So they said, we're gonna rent his flatbed truck.

448
00:25:20,520 --> 00:25:22,920
Speaker 2: We're going to ride around with Easy in this new group.

449
00:25:23,280 --> 00:25:25,120
Speaker 2: But he said, but listen, Fab, this is the night

450
00:25:25,119 --> 00:25:27,760
Speaker 2: before he said, listen, don't wear anything red or anything blue.

451
00:25:27,800 --> 00:25:29,920
Speaker 2: So I was like, okay, Well I didn't know what

452
00:25:29,960 --> 00:25:32,800
Speaker 2: that meant. So I had a black outfit. No problem.

453
00:25:32,880 --> 00:25:35,880
Speaker 2: I show up the groups all in black and we

454
00:25:35,880 --> 00:25:38,520
Speaker 2: were at the Welcome to Compton sign. Was the first

455
00:25:39,520 --> 00:25:43,080
Speaker 2: segment of that show. I asked everybody to introduce themselves.

456
00:25:43,320 --> 00:25:46,639
Speaker 2: One of the people there, who is a great story? Now?

457
00:25:47,000 --> 00:25:49,040
Speaker 2: Who's going to be a part of the next paid

458
00:25:49,119 --> 00:25:52,000
Speaker 2: and full benefit that we I'm a part of is

459
00:25:52,040 --> 00:25:55,440
Speaker 2: the doc And I don't know who any of these

460
00:25:55,440 --> 00:25:58,840
Speaker 2: guys are except Easy. Ice Cube is in my ear

461
00:25:58,960 --> 00:26:02,320
Speaker 2: in between segments. It's asking me about g Rap. You're Fab,

462
00:26:02,800 --> 00:26:04,760
Speaker 2: what's up with g Rap? Keep in mind I haven't

463
00:26:04,800 --> 00:26:08,480
Speaker 2: listened to the album yet, so he's like, I'm like,

464
00:26:08,560 --> 00:26:11,320
Speaker 2: g Rap is cool. You know. Later, when I listened

465
00:26:11,320 --> 00:26:14,040
Speaker 2: to the record and I snatched the headphones on five times,

466
00:26:14,160 --> 00:26:16,720
Speaker 2: I can't believe what they Oh my god, he's not

467
00:26:16,760 --> 00:26:19,240
Speaker 2: gonna let this shit play. I mean, they're going stand

468
00:26:19,400 --> 00:26:22,600
Speaker 2: so edgy. But I get why Cube kept asking me

469
00:26:22,640 --> 00:26:25,960
Speaker 2: about g Rap because he was the edgiest at that

470
00:26:26,119 --> 00:26:30,640
Speaker 2: time on what would become Gangster and I said, oh,

471
00:26:30,760 --> 00:26:33,960
Speaker 2: I get it. Anyway, that goes on to blow up

472
00:26:34,520 --> 00:26:38,200
Speaker 2: and that was my introduction to really meeting NWA and

473
00:26:38,280 --> 00:26:42,240
Speaker 2: the revolutionary aspect of the game. I would later direct Snoops.

474
00:26:42,240 --> 00:26:45,919
Speaker 2: First video me and Dre crazy was that video shoot

475
00:26:46,520 --> 00:26:49,520
Speaker 2: for the first day to shoot after he performs on

476
00:26:49,560 --> 00:26:52,239
Speaker 2: the top of VIP Records when we change locations as

477
00:26:52,280 --> 00:26:55,840
Speaker 2: a near riot, so the police flew in helicopters. They

478
00:26:55,880 --> 00:27:00,040
Speaker 2: shut us down and Dre tells me, look, fab, that

479
00:27:00,160 --> 00:27:02,960
Speaker 2: was crazy. I knew Long Beach is a very crazy place,

480
00:27:03,000 --> 00:27:05,320
Speaker 2: he said, but if you can hang out, I've got

481
00:27:05,320 --> 00:27:07,640
Speaker 2: to finish Snoop's album, we will get the video done.

482
00:27:07,680 --> 00:27:09,480
Speaker 2: I ended up spending the rest of that summer with

483
00:27:09,800 --> 00:27:13,600
Speaker 2: doctor Dre at his house, really bonding with him way

484
00:27:13,760 --> 00:27:17,600
Speaker 2: until they finished the Rector. Well, we would shoot, moments

485
00:27:17,640 --> 00:27:19,720
Speaker 2: would come up and we would schedule some time to

486
00:27:19,760 --> 00:27:22,439
Speaker 2: shoot this. We would shoot that scene. It was different

487
00:27:22,480 --> 00:27:25,760
Speaker 2: pieces of the video, the whole picnic with all the

488
00:27:26,200 --> 00:27:30,920
Speaker 2: I had dog trainers and stuff. I had morphing technology

489
00:27:31,200 --> 00:27:33,040
Speaker 2: going in, so it was a lot of pieces. It

490
00:27:33,080 --> 00:27:35,800
Speaker 2: was a very complex video. That took a lot of

491
00:27:35,840 --> 00:27:38,840
Speaker 2: little elements, and in between we would Dre would let

492
00:27:38,880 --> 00:27:40,520
Speaker 2: me know, look, I'm gonna be good on this day

493
00:27:40,560 --> 00:27:46,080
Speaker 2: that there, so I schedule some pieces to the video. Sadly,

494
00:27:46,160 --> 00:27:49,800
Speaker 2: the end of that summer happened with the murder. Was

495
00:27:49,840 --> 00:27:52,639
Speaker 2: the case Snoop got charged with murder because he was

496
00:27:52,680 --> 00:27:54,880
Speaker 2: in a car when some guy got shot. Snoop wasn't

497
00:27:54,920 --> 00:27:57,160
Speaker 2: he didn't pull the trigger. But there was a whole

498
00:27:57,200 --> 00:27:59,720
Speaker 2: morphing set up. I never got to pull off of

499
00:28:00,280 --> 00:28:02,560
Speaker 2: getting his hair braided. No, there was going to be

500
00:28:02,560 --> 00:28:04,720
Speaker 2: a woman petting a dog and that was going to morph.

501
00:28:06,680 --> 00:28:08,960
Speaker 2: But anyway, I was able to get the video done.

502
00:28:09,160 --> 00:28:12,280
Speaker 2: It's called What's My Man? Introduced Snoop to the world.

503
00:28:12,320 --> 00:28:15,760
Speaker 2: And I also remember the Wu Tanger episode was craziest.

504
00:28:15,800 --> 00:28:19,679
Speaker 1: But the one episode that I think was probably the

505
00:28:19,720 --> 00:28:23,879
Speaker 1: craziest of them all was you were there when the

506
00:28:23,960 --> 00:28:27,640
Speaker 1: leaders of the news school included yeah, what so?

507
00:28:27,720 --> 00:28:31,680
Speaker 2: What happened was they literally broke up, literally implode. And

508
00:28:31,960 --> 00:28:35,280
Speaker 2: luckily this is the genius of what happened. The video

509
00:28:35,840 --> 00:28:39,960
Speaker 2: shooter the cameraman had grabbed some footage I had interviewed

510
00:28:39,960 --> 00:28:42,600
Speaker 2: them initially on the show when they first popped off,

511
00:28:42,640 --> 00:28:47,720
Speaker 2: it was a wild great show. Dink O d Charlie Brown, Buster,

512
00:28:47,920 --> 00:28:50,840
Speaker 2: they guys were incredible Today. First record came out, they

513
00:28:50,880 --> 00:28:54,320
Speaker 2: blew up in the interim period and I'm not sure

514
00:28:54,320 --> 00:28:56,920
Speaker 2: exactly what they were beefing about, but Buster has become

515
00:28:56,960 --> 00:29:01,320
Speaker 2: a star. Scenario happens. He might have guessed it on

516
00:29:01,400 --> 00:29:04,760
Speaker 2: whatever else. Buster was off in a moment. Buster was

517
00:29:04,760 --> 00:29:09,880
Speaker 2: having a moment they reconnect for this next video, next album,

518
00:29:10,280 --> 00:29:12,320
Speaker 2: and they go off to a huddle on the side,

519
00:29:12,800 --> 00:29:15,600
Speaker 2: and the huddle goes from five to fifteen to twenty

520
00:29:15,640 --> 00:29:17,840
Speaker 2: minutes and we're like, we're all waiting around. So the

521
00:29:17,880 --> 00:29:21,840
Speaker 2: cameraman grabbed a few moments of them having this huddle.

522
00:29:22,320 --> 00:29:25,960
Speaker 2: One of the moments you may have remembered seeing was

523
00:29:26,000 --> 00:29:27,880
Speaker 2: Buster turned to the camera and it says, Yo, b

524
00:29:28,040 --> 00:29:31,880
Speaker 2: please don't don't shoot this man. You know this is

525
00:29:31,920 --> 00:29:34,200
Speaker 2: you know this business. So I was like, oh, what

526
00:29:34,400 --> 00:29:38,680
Speaker 2: happened was they were doing a Yo MTV like special

527
00:29:39,160 --> 00:29:42,440
Speaker 2: and they pull that footage because the show never was shot.

528
00:29:42,720 --> 00:29:46,240
Speaker 2: Because after this huddle, Buster comes to me and says,

529
00:29:46,280 --> 00:29:48,680
Speaker 2: you're fab man. I have to apologize, man, but we're

530
00:29:48,720 --> 00:29:50,640
Speaker 2: not going to be able to shoot this, so the

531
00:29:50,720 --> 00:29:54,120
Speaker 2: beef that they were having and talking about was got

532
00:29:54,240 --> 00:29:58,080
Speaker 2: so intense. I think they literally were breaking up right

533
00:29:58,120 --> 00:30:00,280
Speaker 2: at that point. Yes, but we never had had an

534
00:30:00,320 --> 00:30:04,200
Speaker 2: actual episode that we filmed. Once again, the cameraman had

535
00:30:04,280 --> 00:30:10,120
Speaker 2: grabbed a moment and that moment completed visually telling this,

536
00:30:10,240 --> 00:30:13,400
Speaker 2: So that never came on with never because I've seen

537
00:30:13,440 --> 00:30:18,320
Speaker 2: it as an episode. It was your TV wrapped retrospective

538
00:30:18,440 --> 00:30:21,280
Speaker 2: look back, and they were able to then shape that

539
00:30:21,720 --> 00:30:24,680
Speaker 2: to tell the story. This is what happened and what

540
00:30:24,840 --> 00:30:28,000
Speaker 2: really emphasized it when when Buster looks at the camera

541
00:30:28,080 --> 00:30:31,160
Speaker 2: like he's just getting a little b roll waiting to

542
00:30:31,280 --> 00:30:34,400
Speaker 2: do something because we all there to shoot, and the

543
00:30:34,440 --> 00:30:36,760
Speaker 2: Buster turns this is na be you know, It's like

544
00:30:37,000 --> 00:30:40,240
Speaker 2: with a real serious Dowur look. The group was literally

545
00:30:40,440 --> 00:30:40,920
Speaker 2: so I.

546
00:30:40,880 --> 00:30:43,040
Speaker 1: Know, Charlie Brown says something like, you know, I'm I'm

547
00:30:43,240 --> 00:30:45,920
Speaker 1: look out for Ce brown Man, you know, I gotta look.

548
00:30:45,800 --> 00:30:47,840
Speaker 2: Out for myself or whatever, and I see Buster look

549
00:30:47,880 --> 00:30:53,000
Speaker 2: at him like and what I thought, once again without

550
00:30:53,080 --> 00:30:57,040
Speaker 2: getting confirmation, it just felt like Buster was on fire.

551
00:30:57,320 --> 00:31:00,840
Speaker 2: He clearly was getting paid for the moments he you know,

552
00:31:01,040 --> 00:31:04,320
Speaker 2: was on fire for I kind of assumed they thought

553
00:31:04,400 --> 00:31:05,960
Speaker 2: they were supposed to be a part of That is

554
00:31:06,000 --> 00:31:09,360
Speaker 2: what I just assumed in my own accord without knowing

555
00:31:09,400 --> 00:31:10,200
Speaker 2: the specifics.

556
00:31:10,240 --> 00:31:14,880
Speaker 1: All Right, So I first met you at this uh

557
00:31:16,160 --> 00:31:19,560
Speaker 1: kind of a I think it's Deanna Williams's I AM convention.

558
00:31:19,760 --> 00:31:24,440
Speaker 1: It came to DC or whatever, and you had given

559
00:31:24,560 --> 00:31:27,480
Speaker 1: us I mean, we just started, so I don't even

560
00:31:27,520 --> 00:31:29,959
Speaker 1: think you knew we were I definitely knew, but you

561
00:31:30,160 --> 00:31:33,120
Speaker 1: had these guys from Chicago with you that were.

562
00:31:33,200 --> 00:31:35,720
Speaker 2: Dressed real crazy Crucial Conflict.

563
00:31:35,400 --> 00:31:38,720
Speaker 1: Yes, and you said, I guarantee you've never seen nothing

564
00:31:38,760 --> 00:31:41,240
Speaker 1: like this before. It's almost like, I mean, now it's

565
00:31:41,240 --> 00:31:43,960
Speaker 1: like bounce, But back then we looked at him like,

566
00:31:44,000 --> 00:31:47,600
Speaker 1: what was this country rap or something? And you played, hey, yes,

567
00:31:47,920 --> 00:31:52,160
Speaker 1: hey the first time. I remember like us driving back

568
00:31:53,040 --> 00:31:56,320
Speaker 1: and mind you, we just never heard of hip hop

569
00:31:56,840 --> 00:32:00,560
Speaker 1: in that bpm before that speed wrap. The way they

570
00:32:00,680 --> 00:32:03,280
Speaker 1: was acting the video was crazy. What was your involvement

571
00:32:03,320 --> 00:32:04,200
Speaker 1: with Crucial Confce.

572
00:32:04,240 --> 00:32:07,680
Speaker 2: What happened was after having directed so many music videos,

573
00:32:08,000 --> 00:32:10,880
Speaker 2: you'd have a connection with a certain artist that you know,

574
00:32:11,080 --> 00:32:14,760
Speaker 2: we can continue this. Just like a great producer create

575
00:32:14,800 --> 00:32:19,160
Speaker 2: some good music, you'd want to continue that incredible synergistic

576
00:32:19,680 --> 00:32:24,880
Speaker 2: relationship you. Oftentimes I'd do a video I should I

577
00:32:24,920 --> 00:32:26,960
Speaker 2: felt like we should work some more, and the label

578
00:32:26,960 --> 00:32:29,800
Speaker 2: would go off and you'd see the visuals not be

579
00:32:30,600 --> 00:32:33,640
Speaker 2: up to par, and based on my judgment, I'd always

580
00:32:33,640 --> 00:32:35,880
Speaker 2: say to myself, man, I wish I could have At

581
00:32:35,880 --> 00:32:38,080
Speaker 2: one point, I wish I could have a label or

582
00:32:38,080 --> 00:32:40,560
Speaker 2: a runner label, so I could control the whole imaging

583
00:32:40,600 --> 00:32:43,720
Speaker 2: of a group video, the whole nine yards. The opportunity

584
00:32:43,800 --> 00:32:47,000
Speaker 2: came up. It was a wealthy Japanese man that had

585
00:32:47,000 --> 00:32:50,720
Speaker 2: gotten involved in this label called Palace Records. I knew

586
00:32:50,720 --> 00:32:53,840
Speaker 2: some of the people involved. They weren't going good. They

587
00:32:53,920 --> 00:32:56,160
Speaker 2: came begging for me to come in and help, and

588
00:32:56,200 --> 00:32:58,760
Speaker 2: I was like, hmm, I wasn't trying to, you know,

589
00:32:58,800 --> 00:33:01,440
Speaker 2: I mean like a creative prome, Like, wait a minute,

590
00:33:01,480 --> 00:33:04,080
Speaker 2: this could be my opportunity to direct a label and

591
00:33:04,520 --> 00:33:07,280
Speaker 2: run a label and create the whole imaging. So we

592
00:33:07,360 --> 00:33:11,400
Speaker 2: took over this label, and me and my business partner

593
00:33:11,400 --> 00:33:14,160
Speaker 2: at the time, brother named Roy Cormer, had talked about,

594
00:33:14,440 --> 00:33:17,920
Speaker 2: you know, to us, most of the country feels and

595
00:33:18,000 --> 00:33:20,160
Speaker 2: has a Southern vibe, even though they might not be

596
00:33:20,200 --> 00:33:23,960
Speaker 2: from the South, but from us New York Northeasterners. We

597
00:33:24,080 --> 00:33:26,400
Speaker 2: knew that guys that sound like that are going to

598
00:33:26,440 --> 00:33:29,880
Speaker 2: be looking for their own heroes eventually, so that was

599
00:33:29,920 --> 00:33:34,080
Speaker 2: the target to find a star artist GROUW. So you

600
00:33:34,160 --> 00:33:37,320
Speaker 2: knew that there was an underserved community. Yes, we definitely

601
00:33:37,360 --> 00:33:41,200
Speaker 2: knew because everything Dominant was from New York and also Philly,

602
00:33:41,240 --> 00:33:45,800
Speaker 2: like there was the Northeast. They all just what we wanted. No,

603
00:33:46,080 --> 00:33:48,760
Speaker 2: so when other people were trying to immulate New York,

604
00:33:48,800 --> 00:33:51,840
Speaker 2: but they weren't being who they really were. So this

605
00:33:52,040 --> 00:33:55,760
Speaker 2: demo comes across the table at Palace Records and me

606
00:33:55,880 --> 00:33:59,560
Speaker 2: and Roy lose our minds. We like, you know, what

607
00:33:59,640 --> 00:34:03,000
Speaker 2: are my hearing? We hadn't heard anything like it. Some

608
00:34:03,080 --> 00:34:06,200
Speaker 2: of their harmonies were a little bit bone thugs in harmony,

609
00:34:06,240 --> 00:34:09,920
Speaker 2: but their rhythms and everything when we connect and lean in,

610
00:34:10,400 --> 00:34:14,440
Speaker 2: they had developed their own iconography. They had this southern

611
00:34:14,640 --> 00:34:18,280
Speaker 2: western hay in the middle of the bond, the rodeo.

612
00:34:18,600 --> 00:34:21,160
Speaker 2: Their style of music, they call it giddy up. I

613
00:34:21,239 --> 00:34:24,120
Speaker 2: was like, oh my god, this is perfect. But the

614
00:34:24,239 --> 00:34:28,400
Speaker 2: surprising thing was these guys were from Chicago, so I

615
00:34:28,560 --> 00:34:32,040
Speaker 2: was always curious about Chicago and in developing and signing

616
00:34:32,080 --> 00:34:34,719
Speaker 2: and working with this group. I immersed myself in the

617
00:34:34,800 --> 00:34:38,839
Speaker 2: Chicago scene, looked into the blues history, knowing that it

618
00:34:38,920 --> 00:34:43,280
Speaker 2: was when these southern Mississippi Delta blues acts go to Chicago,

619
00:34:43,520 --> 00:34:46,800
Speaker 2: they get electricity and the electric guitar for the first time.

620
00:34:46,920 --> 00:34:49,200
Speaker 2: So I was like, this is the shit that the beatles.

621
00:34:49,239 --> 00:34:51,120
Speaker 2: I was like, let me, I need to really understand

622
00:34:51,120 --> 00:34:53,839
Speaker 2: what's going in. So I went into the rabbit hole,

623
00:34:54,239 --> 00:34:57,600
Speaker 2: signed this group and they blew the hell up. But

624
00:34:57,640 --> 00:35:01,960
Speaker 2: what was surprising is black folk folks that migrated to

625
00:35:02,120 --> 00:35:06,440
Speaker 2: Chicago in the Great Migration, those that went to the

626
00:35:06,440 --> 00:35:11,040
Speaker 2: West Side of Chicago retained a lot of their Southern flavor.

627
00:35:11,640 --> 00:35:15,719
Speaker 2: The whole energy was Southern. And the group literally told me, look, man,

628
00:35:15,760 --> 00:35:18,560
Speaker 2: we was trying to get on and the one thing

629
00:35:18,640 --> 00:35:21,880
Speaker 2: we realized we all had was a Southern country vibe.

630
00:35:21,880 --> 00:35:24,440
Speaker 2: We was like, let's just build on it. That was

631
00:35:24,480 --> 00:35:26,040
Speaker 2: the genius thing that they did.

632
00:35:26,200 --> 00:35:29,600
Speaker 1: And when that thing, it was nothing like it.

633
00:35:29,640 --> 00:35:32,120
Speaker 2: And I went to work. I did the first videos,

634
00:35:32,200 --> 00:35:35,799
Speaker 2: we imaged them, we put an independent team together, we

635
00:35:35,840 --> 00:35:37,560
Speaker 2: got a couple of gold records. We could have went

636
00:35:37,600 --> 00:35:41,320
Speaker 2: a lot further, unfortunately we did. They were literally rock stars.

637
00:35:41,320 --> 00:35:45,480
Speaker 2: There was some street shit. Unfortunately too often times is

638
00:35:45,520 --> 00:35:48,359
Speaker 2: the case that really made it all go sour. I mean,

639
00:35:48,480 --> 00:35:52,720
Speaker 2: Kanye was in this peripherals because they had a deal

640
00:35:53,200 --> 00:35:55,440
Speaker 2: and we Kanye was I think he might've been with

641
00:35:55,480 --> 00:35:57,719
Speaker 2: a group then, but we were hearing about all these

642
00:35:57,719 --> 00:36:00,520
Speaker 2: other little things that was twisted. It was there was

643
00:36:00,840 --> 00:36:06,160
Speaker 2: Oh man, it was an interesting thing around them. That

644
00:36:06,360 --> 00:36:09,960
Speaker 2: was incredible because I'm like, this is a megacity. How

645
00:36:10,040 --> 00:36:13,920
Speaker 2: come Chicago hasn't emerged with a hip hop group yet?

646
00:36:14,320 --> 00:36:16,920
Speaker 2: And it was our turn and they were ready and

647
00:36:16,960 --> 00:36:19,560
Speaker 2: we were able to have some success with them at

648
00:36:19,560 --> 00:36:20,440
Speaker 2: that point in time.

649
00:36:32,480 --> 00:36:35,480
Speaker 1: All right, So I luckily and then, as I explained earlier,

650
00:36:35,520 --> 00:36:42,439
Speaker 1: that we moved to Europe where half the people I met,

651
00:36:42,719 --> 00:36:46,239
Speaker 1: half the girls I met, Like that's how they're learning English.

652
00:36:46,920 --> 00:36:51,400
Speaker 2: Yeah, but was through through TV reps.

653
00:36:51,600 --> 00:36:55,200
Speaker 1: I've heard that story to do is what cigarettes are

654
00:36:55,320 --> 00:36:57,840
Speaker 1: to prison, while tapes of Yodam.

655
00:36:57,880 --> 00:37:01,400
Speaker 2: TV raps was literally some of my favorite stories is

656
00:37:01,440 --> 00:37:04,359
Speaker 2: hearing people share about how they viewed the show from Yeah,

657
00:37:04,640 --> 00:37:08,600
Speaker 2: I would VHS tapes, I go home and then bring

658
00:37:08,640 --> 00:37:10,360
Speaker 2: it back to Europe and it was like I was

659
00:37:10,360 --> 00:37:11,280
Speaker 2: the Internet.

660
00:37:11,400 --> 00:37:14,640
Speaker 1: So we were lucky enough to get on the last

661
00:37:14,680 --> 00:37:15,640
Speaker 1: week of the show.

662
00:37:16,280 --> 00:37:19,200
Speaker 2: But the ED and dre version, how did your TV

663
00:37:19,320 --> 00:37:22,080
Speaker 2: reps end? Like I know they may not recall, I

664
00:37:22,120 --> 00:37:23,960
Speaker 2: just want to refreshment. I'm so glad you put that up.

665
00:37:24,719 --> 00:37:27,560
Speaker 2: So it was just a whole bunch of things going on,

666
00:37:27,840 --> 00:37:31,200
Speaker 2: the videos having to be cut this out, got to

667
00:37:31,280 --> 00:37:33,880
Speaker 2: cut that out, can't wear this brand, can't wear that brand,

668
00:37:33,880 --> 00:37:36,200
Speaker 2: and that would be on the labels to have to

669
00:37:36,239 --> 00:37:40,160
Speaker 2: make these edits when the videos were already getting exposed

670
00:37:40,200 --> 00:37:43,520
Speaker 2: on other platforms, whereas we had had the free reign,

671
00:37:43,640 --> 00:37:46,920
Speaker 2: the standards and practices as you know. But you guys

672
00:37:47,000 --> 00:37:50,360
Speaker 2: had come in and did a performance and we turned

673
00:37:50,360 --> 00:37:53,400
Speaker 2: that performance into a music video that we would play.

674
00:37:53,520 --> 00:37:56,600
Speaker 2: If you may not recall that you guys had performed

675
00:37:56,640 --> 00:38:00,200
Speaker 2: in the studio from my show your TV raps, and

676
00:38:00,239 --> 00:38:03,720
Speaker 2: we filmed it two or three cameras, there's the basic

677
00:38:03,760 --> 00:38:05,840
Speaker 2: cameras in the studio and we cut I can't remember

678
00:38:05,840 --> 00:38:08,759
Speaker 2: it was from the first album, and we cut that

679
00:38:08,840 --> 00:38:11,239
Speaker 2: into a video clip that we were that we then

680
00:38:11,280 --> 00:38:13,960
Speaker 2: would air because we were so into what you guys

681
00:38:14,000 --> 00:38:16,680
Speaker 2: were doing. Even though stets A Sonic bill themselves as

682
00:38:16,719 --> 00:38:19,719
Speaker 2: a hip hop band, you guys were an actual band.

683
00:38:19,800 --> 00:38:24,200
Speaker 2: We don't say that I want to smoke Daddyo. I

684
00:38:24,239 --> 00:38:27,360
Speaker 2: mean no, Daddyo was definitely a band, but it was

685
00:38:27,600 --> 00:38:29,880
Speaker 2: like the Roar jazz group. I'm like, okay, I'll be

686
00:38:30,239 --> 00:38:32,120
Speaker 2: but you guys had a full on band. You remember that,

687
00:38:32,200 --> 00:38:34,640
Speaker 2: you know, the upright base playing the whole star of course,

688
00:38:34,680 --> 00:38:37,160
Speaker 2: and I love Daddy Yo. I directed talking all that job.

689
00:38:37,239 --> 00:38:39,359
Speaker 2: I know you this that's a son which I love.

690
00:38:39,440 --> 00:38:41,560
Speaker 2: But but you guys were great and we just loved

691
00:38:41,600 --> 00:38:43,440
Speaker 2: what you were doing. You came in with instruments and

692
00:38:43,480 --> 00:38:46,320
Speaker 2: we cut a performance you had did on the stage

693
00:38:46,440 --> 00:38:49,480
Speaker 2: into a video. Anyway, we was just huge fans. Wow,

694
00:38:49,800 --> 00:38:53,240
Speaker 2: thank you guys. Like, how did the show end? Well?

695
00:38:53,320 --> 00:38:56,280
Speaker 2: Once again? Because we kept having to edit. I guess

696
00:38:56,440 --> 00:38:58,640
Speaker 2: you know, look, I didn't want to be married to

697
00:38:58,760 --> 00:39:01,279
Speaker 2: doing it. I felt like it had it had a

698
00:39:01,280 --> 00:39:04,000
Speaker 2: good run, could have maybe could have maybe got another

699
00:39:04,080 --> 00:39:06,920
Speaker 2: year out of it, but we were getting so much competition.

700
00:39:07,920 --> 00:39:10,280
Speaker 2: It just they've just pulled the plug.

701
00:39:10,320 --> 00:39:12,879
Speaker 1: But it's weird because like when y'all ended, that's when

702
00:39:12,960 --> 00:39:15,040
Speaker 1: hip hop really became big ass business.

703
00:39:15,160 --> 00:39:17,680
Speaker 2: Yeah, so we kind of planted those seeds and set

704
00:39:17,719 --> 00:39:20,280
Speaker 2: the stage for it to do what it did. Look

705
00:39:20,360 --> 00:39:23,960
Speaker 2: it was a miraculous thing that happened. I detail in

706
00:39:24,000 --> 00:39:27,799
Speaker 2: the book. Peter Darty was one of the original good

707
00:39:27,880 --> 00:39:30,640
Speaker 2: friend of mine that lobbied up and down the hallways

708
00:39:30,880 --> 00:39:33,399
Speaker 2: to get this show on the air. Pitched me as

709
00:39:33,440 --> 00:39:36,520
Speaker 2: the host. I always thought that was a pie in

710
00:39:36,560 --> 00:39:39,400
Speaker 2: the sky, get out of hire, Peter, ah whatever, but

711
00:39:39,520 --> 00:39:42,600
Speaker 2: he kept at it. Ted Demi came into the mix.

712
00:39:42,680 --> 00:39:45,680
Speaker 2: He was a huge rap fan. He was campaigning along

713
00:39:45,719 --> 00:39:49,040
Speaker 2: with Peter. They gave it a shot. Ratings broke. They

714
00:39:49,080 --> 00:39:53,359
Speaker 2: thought the Nielsen machine broke. Was it debatable or like?

715
00:39:53,520 --> 00:39:55,560
Speaker 2: Was it like, we don't know this is gonna work

716
00:39:55,600 --> 00:40:00,640
Speaker 2: for we TV. Early on was following the radio playlist,

717
00:40:00,719 --> 00:40:05,480
Speaker 2: so to speak, which was pretty much segregated. Pop meant white.

718
00:40:06,680 --> 00:40:08,960
Speaker 2: They had to soul the R and B. There wasn't

719
00:40:09,000 --> 00:40:12,000
Speaker 2: even a rap chart yet. A lot of black folks

720
00:40:12,080 --> 00:40:14,960
Speaker 2: wasn't checking for rap. It was too ghetto five. It

721
00:40:15,000 --> 00:40:18,040
Speaker 2: was they were trying to move on up George Jefferson's style.

722
00:40:18,120 --> 00:40:21,280
Speaker 2: It wasn't trying to be cats holding their dick stand

723
00:40:21,360 --> 00:40:25,480
Speaker 2: on the corner looking thuggish, the Frankie Crackers the Dawn

724
00:40:25,560 --> 00:40:27,920
Speaker 2: Corner even know Frankie was a hero. These cats, I

725
00:40:28,000 --> 00:40:31,040
Speaker 2: understood that wasn't their thing. They were trying to put

726
00:40:31,040 --> 00:40:33,640
Speaker 2: the three P seed on and popped air collar and

727
00:40:33,680 --> 00:40:38,040
Speaker 2: they wasn't trying to represent that. And so but once

728
00:40:38,080 --> 00:40:41,640
Speaker 2: again MTV was following the model of radio, which was

729
00:40:42,320 --> 00:40:48,239
Speaker 2: essentially segregated, essentially structured racism, and that's what it was.

730
00:40:48,360 --> 00:40:51,239
Speaker 2: And Rick James threatened to sue and other groups made

731
00:40:51,239 --> 00:40:53,719
Speaker 2: a big stink. We all know that Michael Jackson stories.

732
00:40:53,800 --> 00:40:56,319
Speaker 2: How yetting the car threatened to pull all all the

733
00:40:56,360 --> 00:41:00,479
Speaker 2: stuff that we heard Peter lobbying. These guys really got

734
00:41:00,520 --> 00:41:02,680
Speaker 2: them to give it a go, and the numbers went

735
00:41:02,719 --> 00:41:05,560
Speaker 2: through the roof. So we had an incredible run. What

736
00:41:05,719 --> 00:41:08,920
Speaker 2: makes the run for me so significant and important, It

737
00:41:08,960 --> 00:41:11,880
Speaker 2: wasn't obviously just the fact that I was hosting, but

738
00:41:11,920 --> 00:41:16,759
Speaker 2: it was so many pivotal groups define different moles of

739
00:41:16,800 --> 00:41:21,120
Speaker 2: the culture. The first time you saw ice Cube, you know,

740
00:41:21,360 --> 00:41:25,360
Speaker 2: Nwa slick Rick, We'd go to Philly. Somebody just shot

741
00:41:25,400 --> 00:41:26,920
Speaker 2: me the link. And when I went to Philly and

742
00:41:26,960 --> 00:41:31,560
Speaker 2: did three times Jazzy Jeff, I'm getting cheese steaks, that

743
00:41:31,719 --> 00:41:34,560
Speaker 2: was we got to do that. The Gettle Boys in

744
00:41:35,080 --> 00:41:38,360
Speaker 2: Houston We got to go to Liberty City and film

745
00:41:38,400 --> 00:41:41,440
Speaker 2: when it was Luke skywalking the two live crew, so

746
00:41:41,480 --> 00:41:44,120
Speaker 2: to show that for the first time and to really

747
00:41:44,520 --> 00:41:48,520
Speaker 2: shake up the viewership of the country. Black, white, and

748
00:41:48,600 --> 00:41:52,279
Speaker 2: otherwise all tapped in at a pivotal time when those

749
00:41:52,320 --> 00:41:55,880
Speaker 2: groups all emerged. Tupac, who was on the show numerous times,

750
00:41:56,080 --> 00:41:58,719
Speaker 2: so so many people that defined the culture even to

751
00:41:58,760 --> 00:42:01,680
Speaker 2: this day. If you will, you got to first see

752
00:42:01,719 --> 00:42:05,960
Speaker 2: them along with me and also Ed and Dre on

753
00:42:06,000 --> 00:42:09,880
Speaker 2: YourTV raps. What was your favorite episode? Like what is

754
00:42:09,920 --> 00:42:16,000
Speaker 2: your Well, the NWA episode ranks high, but I feel

755
00:42:15,280 --> 00:42:18,720
Speaker 2: like an important episode. Yeah, no, it's an important episode.

756
00:42:18,760 --> 00:42:23,239
Speaker 2: But my favorite episodes because I'm a globalist, we got

757
00:42:23,239 --> 00:42:25,720
Speaker 2: to travel. A lot of people don't know that MTV

758
00:42:25,920 --> 00:42:27,839
Speaker 2: was sort of a franchise at that time. We were

759
00:42:27,880 --> 00:42:30,040
Speaker 2: the only show that was on in every other market

760
00:42:30,080 --> 00:42:33,640
Speaker 2: around the world, so that was MTV Europe, MTV Asia,

761
00:42:33,920 --> 00:42:37,520
Speaker 2: MTV Brazil. So to get to travel to those places

762
00:42:37,600 --> 00:42:41,239
Speaker 2: and film your MTV rap to be in real interviewing

763
00:42:41,440 --> 00:42:44,600
Speaker 2: hip hop acts was incredible for me because I'm like,

764
00:42:44,640 --> 00:42:46,759
Speaker 2: I can't believe I'm here doing this. To go to

765
00:42:47,400 --> 00:42:51,600
Speaker 2: Japan in the early nineties and interview hip hop, to

766
00:42:52,080 --> 00:42:56,440
Speaker 2: to find Japanese rap groups and showcase the culture there,

767
00:42:56,600 --> 00:42:58,960
Speaker 2: to go to Europe to be in England. So the

768
00:42:59,080 --> 00:43:01,600
Speaker 2: times when I went out of the country were for

769
00:43:01,680 --> 00:43:05,719
Speaker 2: me the most significant and important because I knew that

770
00:43:05,760 --> 00:43:09,239
Speaker 2: the show was being seen in Europe and just to

771
00:43:09,320 --> 00:43:13,080
Speaker 2: be to see I'm curious and fascinated. How did you

772
00:43:13,080 --> 00:43:16,520
Speaker 2: guys connect with this was a big thing for me.

773
00:43:16,800 --> 00:43:19,520
Speaker 2: What episode were you not able?

774
00:43:19,640 --> 00:43:22,000
Speaker 1: Like, surely there has to be an episode that you

775
00:43:22,040 --> 00:43:24,960
Speaker 1: thought was going to happen and didn't happen, or like.

776
00:43:26,080 --> 00:43:30,000
Speaker 2: Well, what becomes that episode is that leaders of a

777
00:43:30,080 --> 00:43:33,520
Speaker 2: leader school breakup. It was only a moment that the

778
00:43:33,560 --> 00:43:39,440
Speaker 2: cameraman caught that showcases what was happening, but it would have.

779
00:43:39,600 --> 00:43:44,520
Speaker 2: It's just one of the most incredible things that occurred. Unfortunately,

780
00:43:44,840 --> 00:43:48,239
Speaker 2: a really impactful group and Buster goes on to become

781
00:43:48,239 --> 00:43:50,920
Speaker 2: a superstar. I'm sure the other guys would have as well,

782
00:43:51,360 --> 00:43:53,600
Speaker 2: but it was just it was a lot of great moments,

783
00:43:53,719 --> 00:43:55,600
Speaker 2: I tell you. One of the greatest moments for me

784
00:43:55,680 --> 00:44:00,520
Speaker 2: early on was when the Grammys finally decided to represent

785
00:44:00,600 --> 00:44:05,160
Speaker 2: hip hop, but not to televise top episode. The episode

786
00:44:05,360 --> 00:44:07,880
Speaker 2: and So what we came up with was we're gonna

787
00:44:07,920 --> 00:44:14,480
Speaker 2: give a post Grammys boycott the Grammy party that everybody

788
00:44:14,640 --> 00:44:17,680
Speaker 2: showed up at this was the big thing, including little Richard,

789
00:44:18,239 --> 00:44:24,600
Speaker 2: including Malcolm Forbes, the billionaire owner Forbes magazine, Dennis Hopper,

790
00:44:25,160 --> 00:44:27,920
Speaker 2: a whole array of people like I couldn't believe I'm

791
00:44:27,920 --> 00:44:31,360
Speaker 2: getting the interview, these people on young TV raps in

792
00:44:31,480 --> 00:44:36,640
Speaker 2: support of this something that now you know is rappers

793
00:44:36,680 --> 00:44:40,279
Speaker 2: get the television time when the Grammys happened, But it

794
00:44:40,320 --> 00:44:41,600
Speaker 2: didn't happen at that point.

795
00:44:41,800 --> 00:44:46,040
Speaker 1: Okay, as I wind down, Yes, my final questions. Look,

796
00:44:46,120 --> 00:44:49,400
Speaker 1: I know y'all like you didn't ask about trust me.

797
00:44:49,480 --> 00:44:51,840
Speaker 1: I got Jimmy jam this and literally make this a

798
00:44:51,920 --> 00:44:53,520
Speaker 1: six hour interview.

799
00:44:53,600 --> 00:44:57,880
Speaker 2: But Jimmy jams this like a seven hour interview. I

800
00:44:57,880 --> 00:44:58,839
Speaker 2: got a day job. Though.

801
00:44:59,280 --> 00:45:03,560
Speaker 1: So as far as your artifact or your art collection,

802
00:45:03,640 --> 00:45:05,800
Speaker 1: which I'm sure now is in the Schamberg.

803
00:45:05,400 --> 00:45:08,000
Speaker 2: Has a lot of stuff, is what is what is

804
00:45:08,080 --> 00:45:10,440
Speaker 2: your not most valuable?

805
00:45:10,480 --> 00:45:14,840
Speaker 1: What is your most prized possession as an artifact collector?

806
00:45:15,719 --> 00:45:18,080
Speaker 2: Well, you know, I don't know if it's most prize.

807
00:45:18,440 --> 00:45:21,160
Speaker 2: I have collected and saved a bunch of stuff. What

808
00:45:21,280 --> 00:45:23,319
Speaker 2: is your art game, like I always wanted to know.

809
00:45:23,880 --> 00:45:26,120
Speaker 2: You know, listen, when you're an artist and your other

810
00:45:26,160 --> 00:45:29,080
Speaker 2: friends are artists, you typically give each other work. So

811
00:45:29,280 --> 00:45:34,080
Speaker 2: among my friends that were artists, Keith, Jean Michelle, Boskiya

812
00:45:34,239 --> 00:45:38,000
Speaker 2: Futura two thousand, Lee Kenyonis, we would give each other work.

813
00:45:38,320 --> 00:45:41,560
Speaker 2: I have work from my friends that made art. They

814
00:45:41,600 --> 00:45:44,520
Speaker 2: have work of mind. That's the greatest art collection of all.

815
00:45:44,680 --> 00:45:47,919
Speaker 2: It's not the greatest, They're not the most important pieces,

816
00:45:48,160 --> 00:45:51,760
Speaker 2: you know, but I have work and they're like mementos

817
00:45:51,800 --> 00:45:55,120
Speaker 2: from friends that you just look at as almost this

818
00:45:55,280 --> 00:45:57,200
Speaker 2: is my friend, you know what I mean. It's not like, oh,

819
00:45:57,239 --> 00:45:59,800
Speaker 2: I have this thing and it's now worth this because

820
00:45:59,800 --> 00:46:02,360
Speaker 2: that it's kind of crazy, particularly around Jean Michelle. You know,

821
00:46:02,440 --> 00:46:06,880
Speaker 2: those numbers went so out of this is that feel

822
00:46:06,960 --> 00:46:10,960
Speaker 2: to see the I wish there was a better word

823
00:46:11,000 --> 00:46:13,719
Speaker 2: than the commercialization of it all. But would you ever.

824
00:46:13,640 --> 00:46:17,120
Speaker 1: Imagine the day where, like with Harry and with Mosco,

825
00:46:17,320 --> 00:46:18,560
Speaker 1: that there now.

826
00:46:18,880 --> 00:46:24,240
Speaker 2: It's unimaginable the level of success. But what's so satisfying

827
00:46:24,719 --> 00:46:27,560
Speaker 2: is that this was what we all planned and talked

828
00:46:27,600 --> 00:46:32,719
Speaker 2: about when we were homies hanging. We basically aware and

829
00:46:32,760 --> 00:46:36,040
Speaker 2: that's what grew me and Jean Michelle to be close

830
00:46:36,280 --> 00:46:39,439
Speaker 2: because from a very young age, cutting school and going

831
00:46:39,480 --> 00:46:41,839
Speaker 2: to museums, which is a big adventure of mine as

832
00:46:41,880 --> 00:46:44,719
Speaker 2: a kid, I learned about and became very comfortable around

833
00:46:44,760 --> 00:46:48,320
Speaker 2: the idea of making art. I read about Giorgio Vasari,

834
00:46:48,640 --> 00:46:51,719
Speaker 2: the person that literally invented the idea of the Renaissance,

835
00:46:52,000 --> 00:46:56,719
Speaker 2: and understood the significance and why I and Jehan and

836
00:46:56,800 --> 00:46:59,960
Speaker 2: Keith wanted to force ourselves into that space and find

837
00:47:00,239 --> 00:47:04,800
Speaker 2: the way around the kind of gatekeepers to be looked

838
00:47:04,840 --> 00:47:08,480
Speaker 2: at and accepted as visual artists. The fact that we

839
00:47:08,480 --> 00:47:11,759
Speaker 2: were able to pull that off is remarkable. The fact

840
00:47:11,840 --> 00:47:14,800
Speaker 2: that Jean Michelle and Keith are not here is satisfucked

841
00:47:14,880 --> 00:47:19,480
Speaker 2: because clearly, you know, they just fit this. You know,

842
00:47:19,600 --> 00:47:25,080
Speaker 2: live fast, die young model if you will. That's unfortunate,

843
00:47:25,440 --> 00:47:29,240
Speaker 2: it's a part of whatever. But the things that particularly

844
00:47:29,360 --> 00:47:31,960
Speaker 2: Jean would have went on to do. We both talked

845
00:47:31,960 --> 00:47:36,360
Speaker 2: about making music, making film, being involved in other areas.

846
00:47:36,560 --> 00:47:39,120
Speaker 2: Jean put his foot in those waters and would have continued.

847
00:47:39,320 --> 00:47:42,319
Speaker 2: He starred in a film called Down Tent eighty one

848
00:47:42,440 --> 00:47:45,680
Speaker 2: that all of our crew is also in. He made

849
00:47:45,680 --> 00:47:48,439
Speaker 2: a record after I turned him on the hip hop.

850
00:47:48,560 --> 00:47:51,919
Speaker 2: He took rammel Z and this kid k Rob into

851
00:47:51,920 --> 00:47:54,680
Speaker 2: the studio and made this record Beatbop, and he would

852
00:47:54,719 --> 00:47:56,239
Speaker 2: have went on to do a lot more of that.

853
00:47:56,640 --> 00:48:01,319
Speaker 2: We would have probably produced films together. Keith was very

854
00:48:01,360 --> 00:48:05,600
Speaker 2: fascinated with animation early on in the Times the spectrum

855
00:48:05,680 --> 00:48:09,440
Speaker 2: board in Times Square, which was this little digital thing.

856
00:48:09,480 --> 00:48:12,920
Speaker 2: It looks like a pixel. It's so low budget looking

857
00:48:13,000 --> 00:48:15,719
Speaker 2: compared to where we are now with digital imagery. I

858
00:48:15,760 --> 00:48:19,920
Speaker 2: remember when Keith got to put his little characters on

859
00:48:20,080 --> 00:48:22,200
Speaker 2: that spectrum and all of us went to Times Square

860
00:48:22,239 --> 00:48:25,040
Speaker 2: to watch his stuff in Times Square. That was exciting.

861
00:48:25,080 --> 00:48:26,920
Speaker 2: He would have went on to do so much more

862
00:48:27,040 --> 00:48:32,080
Speaker 2: with animation, probably would have came up with a family

863
00:48:32,160 --> 00:48:34,960
Speaker 2: guy type of animated it. Because these are other interests

864
00:48:35,040 --> 00:48:38,319
Speaker 2: that we had and wanted to pursue. So it's sad

865
00:48:38,360 --> 00:48:40,680
Speaker 2: that these dear friends of mine are no longer here,

866
00:48:40,880 --> 00:48:45,040
Speaker 2: but it is so satisfying to see their legacies thrive

867
00:48:45,640 --> 00:48:52,359
Speaker 2: and undisputed like major figures in modern art. And that's

868
00:48:52,480 --> 00:48:54,120
Speaker 2: just incredible that that happened.

869
00:48:54,239 --> 00:48:57,920
Speaker 1: Okay, so, because you're a renaissance person, what would you say,

870
00:48:58,200 --> 00:49:03,239
Speaker 1: You're three proudest that you and everything that you've done.

871
00:49:02,560 --> 00:49:06,600
Speaker 2: Helping people, Probably the first and foremost and somehow connected

872
00:49:07,000 --> 00:49:10,440
Speaker 2: is the idea that I brought to Charlie for Wild Style,

873
00:49:10,640 --> 00:49:16,360
Speaker 2: is to show these forms as coming from one place

874
00:49:16,719 --> 00:49:20,440
Speaker 2: or space, so to speak. There was no connection between

875
00:49:20,520 --> 00:49:24,600
Speaker 2: this idea, and keep in mind everybody doing graffiti wasn't

876
00:49:24,640 --> 00:49:27,880
Speaker 2: into hip hop and vice versa. But to make it

877
00:49:28,239 --> 00:49:32,680
Speaker 2: a strong representation of youth culture in New York at

878
00:49:32,680 --> 00:49:36,040
Speaker 2: that time, I wanted to tell this narrative and that

879
00:49:36,239 --> 00:49:40,160
Speaker 2: was what I proposed to Charlie Ahearn, who said, let's

880
00:49:40,160 --> 00:49:45,080
Speaker 2: make this movie. There was no previous connection between this music,

881
00:49:45,400 --> 00:49:49,480
Speaker 2: this dance, and this form of visual art as such.

882
00:49:49,680 --> 00:49:54,440
Speaker 2: And the idea was to make a film that showcased that,

883
00:49:54,800 --> 00:49:59,120
Speaker 2: because not just that I want to create a platform

884
00:49:59,320 --> 00:50:02,520
Speaker 2: for myself a visual artist, but I wanted to represent

885
00:50:03,160 --> 00:50:07,880
Speaker 2: us in general, because there was only negative depictions of young, hip,

886
00:50:08,320 --> 00:50:12,040
Speaker 2: urban black and brown youth in New York press. It

887
00:50:12,080 --> 00:50:15,719
Speaker 2: was always connected to some negative criminal shit. I'm like,

888
00:50:15,800 --> 00:50:18,160
Speaker 2: we are more than that. And I didn't want to

889
00:50:18,200 --> 00:50:23,200
Speaker 2: be perceived as a folk artist outside of artists, you know.

890
00:50:23,840 --> 00:50:27,480
Speaker 2: And I didn't come from a fly expensive art school,

891
00:50:27,719 --> 00:50:29,960
Speaker 2: but I wanted to like figure out a way to

892
00:50:30,000 --> 00:50:32,239
Speaker 2: slip in and get in. That was the mission. When

893
00:50:32,280 --> 00:50:34,960
Speaker 2: I connected with Jean Michelle, he was in sync with

894
00:50:35,040 --> 00:50:38,160
Speaker 2: that whole shit you feel me, and we got busy

895
00:50:38,560 --> 00:50:40,600
Speaker 2: and that was an underlying thing. And then we wanted,

896
00:50:40,640 --> 00:50:42,560
Speaker 2: when we got the door open, one to pull other

897
00:50:42,600 --> 00:50:45,160
Speaker 2: heads in with us. So we was able to get

898
00:50:45,160 --> 00:50:48,160
Speaker 2: a lot of that done, I'm happy to say. And

899
00:50:48,200 --> 00:50:50,560
Speaker 2: I go deep into all of that, and everybody like

900
00:50:50,560 --> 00:50:52,880
Speaker 2: you better get your copy, baby, stop fronting it. And

901
00:50:52,920 --> 00:50:57,040
Speaker 2: the audiobook is crazy. Audiobook is crazy, by the way.

902
00:50:56,920 --> 00:50:59,040
Speaker 1: You said something, and it just hit me. I had

903
00:50:59,040 --> 00:51:03,000
Speaker 1: an epiphany. So we are now living. I will call

904
00:51:03,080 --> 00:51:06,840
Speaker 1: him the real hip hop Mayor with Madonna.

905
00:51:07,120 --> 00:51:12,200
Speaker 2: That's incredible, Yes, real hip hop. I have a dream

906
00:51:12,480 --> 00:51:14,040
Speaker 2: and that dream is.

907
00:51:15,400 --> 00:51:19,479
Speaker 1: Like I think he will allow if there's some sort

908
00:51:19,480 --> 00:51:23,600
Speaker 1: of art week or graffiti week or whatever, like, what

909
00:51:23,760 --> 00:51:27,600
Speaker 1: is the likelihood if he were to greenlight a project

910
00:51:27,600 --> 00:51:32,640
Speaker 1: in which you guys were, let's take ten trains and

911
00:51:32,760 --> 00:51:36,000
Speaker 1: tag the shit like really, just and it doesn't have

912
00:51:36,040 --> 00:51:38,680
Speaker 1: to be every New York City train, but just I

913
00:51:38,719 --> 00:51:42,320
Speaker 1: have a dream, and I believe that we are of age,

914
00:51:42,440 --> 00:51:46,400
Speaker 1: which we now see it as art and we'll actually

915
00:51:46,480 --> 00:51:48,400
Speaker 1: be there at eight o seven am to go to

916
00:51:48,440 --> 00:51:50,839
Speaker 1: work to see on the Freddy train or.

917
00:51:51,040 --> 00:51:54,279
Speaker 2: Kill like would you be willing to like how is

918
00:51:54,320 --> 00:51:57,279
Speaker 2: your hand now? As far as it's there, I mean,

919
00:51:57,560 --> 00:51:59,960
Speaker 2: it could happen. But I'm a big fan of the man.

920
00:52:00,360 --> 00:52:04,280
Speaker 2: I'm so happy that listen as a filmmaker. His mom's

921
00:52:04,400 --> 00:52:09,839
Speaker 2: films be Salaam, Bombay, Monsoon Wedding. I mean, big fan

922
00:52:09,920 --> 00:52:14,319
Speaker 2: of those films. Even Kama Sutra was my major date

923
00:52:14,440 --> 00:52:19,360
Speaker 2: movie back day. Already know, I get him over to

924
00:52:19,400 --> 00:52:23,960
Speaker 2: watch Kama Sutra and no, it's really going down with

925
00:52:24,080 --> 00:52:27,920
Speaker 2: the Kamma Sutra. Baby, that was like a joint. You know,

926
00:52:28,880 --> 00:52:30,759
Speaker 2: I've got a second out this DVD. I think we

927
00:52:30,800 --> 00:52:34,719
Speaker 2: should watch so nah, but I'm super excited about the man,

928
00:52:34,960 --> 00:52:37,279
Speaker 2: anxious to meet him, and I dig the fact, you know,

929
00:52:38,040 --> 00:52:39,520
Speaker 2: a thing that we didn't touch on. So I made

930
00:52:39,560 --> 00:52:42,000
Speaker 2: a film about cannabis about five or six years old,

931
00:52:42,040 --> 00:52:45,120
Speaker 2: called Grass's Greener, which led me to become a part

932
00:52:45,160 --> 00:52:47,840
Speaker 2: of the cannabis business. I created a brand called b Noble,

933
00:52:48,400 --> 00:52:50,960
Speaker 2: inspired by a gentleman that was given a thirteen year

934
00:52:51,040 --> 00:52:53,359
Speaker 2: sentence for two joints worth the week. So we've been

935
00:52:53,400 --> 00:52:56,120
Speaker 2: working with kure A Leif wherein We've been in different

936
00:52:56,160 --> 00:53:00,719
Speaker 2: states around the country with this, and we've expanded our

937
00:53:00,760 --> 00:53:04,600
Speaker 2: business internationally and we've set up in Kenya and also

938
00:53:05,040 --> 00:53:09,840
Speaker 2: about to do medical cannabis in Uganda. So my business partner,

939
00:53:10,160 --> 00:53:13,200
Speaker 2: Ron Samuel, who's over there right now, has met people

940
00:53:13,280 --> 00:53:16,759
Speaker 2: in Uganda who told him before he got elected. Yo,

941
00:53:17,239 --> 00:53:19,759
Speaker 2: I know this dude. We used to rap. We used

942
00:53:19,800 --> 00:53:22,400
Speaker 2: to all hang out and rap together. I'm like, and

943
00:53:22,400 --> 00:53:23,560
Speaker 2: my man told me. I was like, what are you

944
00:53:23,560 --> 00:53:26,560
Speaker 2: talking about? And then he gets elected. I see the clips,

945
00:53:26,560 --> 00:53:29,880
Speaker 2: I see his videos. Yes, so the cannabis connection is

946
00:53:30,400 --> 00:53:33,400
Speaker 2: real and mom DOMMI, yeah, I'd like to talk. And

947
00:53:33,760 --> 00:53:36,360
Speaker 2: I'm sure he's going to support the efforts for the

948
00:53:36,440 --> 00:53:39,520
Speaker 2: hip Hop Museum which hopefully it was soon open in

949
00:53:39,560 --> 00:53:42,200
Speaker 2: the Bronx and all that good stuff. So yeah, super

950
00:53:42,400 --> 00:53:45,080
Speaker 2: super excited about all that. I've always wanted to have

951
00:53:45,120 --> 00:53:47,040
Speaker 2: this conversation with hang out with you. I'm a big

952
00:53:47,040 --> 00:53:49,239
Speaker 2: fan forever. Remember I used to try to get at

953
00:53:49,280 --> 00:53:53,040
Speaker 2: you about doing a Max roach. Yes, yes, much. Yeah,

954
00:53:53,120 --> 00:53:56,759
Speaker 2: we probably have this conversation. Thank you for coming.

955
00:53:56,960 --> 00:53:59,200
Speaker 3: Thank you for having me, Thank you huge roots Fan

956
00:53:59,320 --> 00:54:02,880
Speaker 3: Forever and Everybody's Fly best and one of the top

957
00:54:03,040 --> 00:54:06,000
Speaker 3: five mcs that ever did it. Thank you Huge Fan,

958
00:54:06,160 --> 00:54:10,000
Speaker 3: Thank you, Fradi Freddy, thank you Everybody's Fly Please buy it.

959
00:54:10,200 --> 00:54:11,839
Speaker 2: Yeah, we'll see you on the next go round. Think

960
00:54:12,000 --> 00:54:14,160
Speaker 2: the Quest Love Show so pleasure. That's a pleasure to

961
00:54:14,200 --> 00:54:21,719
Speaker 2: be here with a lavely discussion Quest.

962
00:54:21,760 --> 00:54:24,960
Speaker 1: The show is hosted by Me Amir quest Love Thompson.

963
00:54:25,840 --> 00:54:29,680
Speaker 1: The executive producers are Sean g Brian Calhoun and Me.

964
00:54:31,320 --> 00:54:36,600
Speaker 1: Produced by Britney Benjamin and Jacob Payne. Produced for iHeart

965
00:54:37,040 --> 00:54:42,160
Speaker 1: by an Old Brown, Edited by Alex Conroyman iHeart Video

966
00:54:42,200 --> 00:54:48,239
Speaker 1: support by Mark Canton, Logos Graphics and animation by Nicko Halovie.

967
00:54:49,880 --> 00:54:54,800
Speaker 2: Additional support by Lance Coleen Special thanks to Kennedy Wrong.

968
00:54:56,120 --> 00:55:00,439
Speaker 1: Special Thanks to Sugar Steve Mandel. Please subscript, I break

969
00:55:00,520 --> 00:55:03,560
Speaker 1: the view and share The Quest Love Show wherever.

970
00:55:03,480 --> 00:55:04,640
Speaker 2: You stream your podcast.

971
00:55:04,920 --> 00:55:08,120
Speaker 1: To make sure you follow us on socials That's at

972
00:55:08,719 --> 00:55:13,840
Speaker 1: q nolms. Check out hundreds and hundreds of QLs episodes,

973
00:55:13,880 --> 00:55:17,440
Speaker 1: including What's Up, Supreme Shows, and our podcast archives.

974
00:55:20,000 --> 00:55:22,520
Speaker 2: Quest Love Show is a production of iHeart Radio