WEBVTT - Fab 5 Freddy Part 2

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<v Speaker 1>The Quest Loft Show is a production of iHeartRadio. All right,

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<v Speaker 1>welcome back to the Quest Love Show.

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<v Speaker 2>Now.

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<v Speaker 1>Last week we gave you part one of my end

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<v Speaker 1>studio conversation with Fab five Freddy.

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

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<v Speaker 1>Fred's Brooklyn childhood, is coming up from a family ties

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<v Speaker 1>with legendary figures and jazz and activism, and he schooled

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<v Speaker 1>me on the late nineteen seventies graffiti scene.

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<v Speaker 2>You haven't heard that? Check it out all right now

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<v Speaker 2>with part.

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<v Speaker 1>Two as a reminder, please please please drop us a rating.

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<v Speaker 2>A review, or tell a friend.

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<v Speaker 1>Okay, without further ado, here is Part two with Fab

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<v Speaker 1>five Freddy on The Quest Love Show. Of course, in

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<v Speaker 1>the mainstream you hear about celebrated artists. You hear, of

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<v Speaker 1>course Herring and Boskyat hear other names like Lee ky

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<v Speaker 1>On and on that. Yeah, who's the unsung hero that

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<v Speaker 1>just never got any flowers? Even in the age of

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<v Speaker 1>us celebrating all these great.

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

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

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<v Speaker 2>been many that didn't get and that's an objective determination.

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<v Speaker 2>Who got what? They really deserved because when we transitioned

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<v Speaker 2>a charge that I led into these other spaces of people,

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<v Speaker 2>I can really look at our work for its esthetic

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<v Speaker 2>value as opposed to the criminal illegality of it, which

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<v Speaker 2>we've just kind of talked a bit about. But that

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<v Speaker 2>was the idea, is to move us into space because

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<v Speaker 2>for a lot of guys doing this, like I said,

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<v Speaker 2>were primarily teenagers, and at a point when you're eighteen

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<v Speaker 2>nineteen and it's like it's time for college, it's time

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<v Speaker 2>to grow up and be an adult, paid to pay

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<v Speaker 2>rent and stuff like that, it's like, you know, most

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<v Speaker 2>guys would grow out of it, so to speak. And

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<v Speaker 2>I was like, man, this is I saw some value

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<v Speaker 2>that really represented something a lot stronger that could transition

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<v Speaker 2>and could live on in that way. So understanding how

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<v Speaker 2>to move in the art world is the education process

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<v Speaker 2>that a lot of other cats didn't really grasp. There

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<v Speaker 2>were people that I pulled in, if you will, under

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<v Speaker 2>my wing, so to speak, Rammelz Futura, what we did

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<v Speaker 2>with Wild Style and the graffiti painters that we included,

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<v Speaker 2>Crash Days Pink, these guys learned quickly how to make

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<v Speaker 2>moves in the art world and go out and like

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<v Speaker 2>for themselves and know how to move in that space.

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<v Speaker 1>Was there ever a you know, like some artists are,

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<v Speaker 1>they'll get in their own way. Was there ever a

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<v Speaker 1>fear of like a man like the commercialization of it all?

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<v Speaker 2>Or there was some people In fact Zephyr, who is

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<v Speaker 2>a legend in the graffiti space and is in Wild

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<v Speaker 2>Style and plays a character a lot like how he was,

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<v Speaker 2>he's like a purist. So literally we have a confrontation

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

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

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<v Speaker 2>a journalist coming to cover what's going on, and we

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<v Speaker 2>have this confrontation where he said, no man. Later for

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<v Speaker 2>this chick, he wants to bring a reporter intoto the yard.

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<v Speaker 2>Nah man fucked that. And then classic like Q Tip

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<v Speaker 2>used to always laugh and people go, I go, man,

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<v Speaker 2>fuck this guy. I know how the publicity machine works.

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<v Speaker 2>You might not get the money like right now, but

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<v Speaker 2>you'll have money like Barry White. But it was so

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<v Speaker 2>cool doing that scene because what we decided to do

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<v Speaker 2>in Wild Style was use all the real people enrolls

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<v Speaker 2>comparable to what they were doing. So Zephyr This was

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<v Speaker 2>how he really got down. He was purists and still

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<v Speaker 2>is in a way. In fact, Zephyr matriculated into painting

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<v Speaker 2>the freight trains, which is a huge ongoing scene that

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<v Speaker 2>mirrors exactly what we were doing on the subways. A

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<v Speaker 2>great documentary if you google freight train graffiti painting that

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<v Speaker 2>came out of just a couple of years ago. Roger

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<v Speaker 2>Gassman was involved producer. He's a brother cap from behind

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<v Speaker 2>the Streets and I was blown away to see that

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<v Speaker 2>these freight trains run coast to coast. There's guys in

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<v Speaker 2>their fifties with families that are out still painting freight

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<v Speaker 2>trains and having beefs with each other. This guy in

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<v Speaker 2>the other state, if I catch him, I'm a whip

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

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<v Speaker 2>the same shit that I've talked about Star Wars, So

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<v Speaker 2>that still goes on. So but like I said, there

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<v Speaker 2>have been guys that didn't get but those that transitioned

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<v Speaker 2>into galleries somewhere a to get recognition and be able

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<v Speaker 2>to move on some touch galleries, but weren't able to

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<v Speaker 2>figure out how to navigate those spaces. So there's a

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<v Speaker 2>lot of guys. But what has been good is there

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<v Speaker 2>were legendary guys that painted the trains. Like there was

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<v Speaker 2>one that was a huge inspiration to me. He passed.

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<v Speaker 2>It was about ten years ago now Stay High one

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<v Speaker 2>forty nine, and this was an older brother that people

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<v Speaker 2>when you heard about this guy, I mean he was

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<v Speaker 2>one of the most prolific. He had this little stick

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<v Speaker 2>figure character smoking a joint that always went alongside his name.

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<v Speaker 2>He would make these New York City subway maps and

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<v Speaker 2>he would embellish them with his tag. He gave me

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<v Speaker 2>one of them things. Man. Literally for me, it was

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<v Speaker 2>like meeting Michael Jackson to kount of Stay High. He

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<v Speaker 2>was that huge. Phase two was another cat that was

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<v Speaker 2>a pivotal pioneer that then make the transition into the

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<v Speaker 2>art world. He was like a scholarly cat. In fact,

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<v Speaker 2>he was inspiration from my character in Wild Style because

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<v Speaker 2>I'm one of the few people literally acting. A lot

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<v Speaker 2>of people think I'm from the Bronx. On the strength

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<v Speaker 2>of me, I thought of it. Yeah, that's what because.

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<v Speaker 1>That it saw to me, it was almost like the

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<v Speaker 1>first reality show. Was there an actual script or was

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<v Speaker 1>it like that.

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<v Speaker 2>Was a semblance of a script, but because when she

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<v Speaker 2>got stuck in them, when her car broke down there,

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<v Speaker 2>that was that was sort of scripted what we said

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

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<v Speaker 2>the idea, you've got to say this, but say it

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<v Speaker 2>how you say it. We didn't like adhere to say

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

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<v Speaker 2>what needs to happen in this scene, say it in

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<v Speaker 2>the way you would actually.

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

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<v Speaker 2>Like reality, which is a kind of a step son

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<v Speaker 2>of the documentary format, if you will. If you want

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<v Speaker 2>to look at the origins of the reality genre, it

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<v Speaker 2>grows out of the documentary kind of context, if you will.

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<v Speaker 2>So yeah, we did do that in wild styling. We

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<v Speaker 2>allowed people to have leeway and how they would say

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<v Speaker 2>it to keep it authentic. Hence the scene between me

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<v Speaker 2>and Zephyr, he's pretty much freestyling, but it's a lot

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<v Speaker 2>of the passion that comes down in that scene is

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<v Speaker 2>how he really felt, and that's what we wanted to

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<v Speaker 2>do and that's what we were successful doing.

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<v Speaker 1>You've closed the thing for me because basically, as a

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<v Speaker 1>soul train head, there's a moment where Don Cornelis is

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<v Speaker 1>interviewing Mike David Beastie Boys.

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<v Speaker 2>Okay, and he actually quotes that.

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

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<v Speaker 1>to get money like Barry White, and the joke.

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

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<v Speaker 2>that's wilden. I just thought very White was one of

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<v Speaker 2>my favorites, and it was an album where he had

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<v Speaker 2>like all his gold jewelry and stuff lade out on

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<v Speaker 2>some mink. I mean, Barry was everything.

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<v Speaker 1>And well, I think I know how the legend of that.

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<v Speaker 1>There is an episode, there's a seventy seven episode of

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<v Speaker 1>Soul Train in which Don actually goes offset and host

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<v Speaker 1>it from Barry White's crib.

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<v Speaker 2>Oh wow, it was like opulent and you know it's like.

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<v Speaker 1>Waterfalls and everything like and he performs its ecstasy.

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<v Speaker 2>Like in his pool. I love to see that.

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<v Speaker 1>Yeah, it's crazy, and yeah, I think that's where the

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<v Speaker 1>myth of Barry White get money, Like it was a

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<v Speaker 1>complete episode of Soul Train at Barry White's mansion.

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<v Speaker 2>Yeah that was yeah. I just thought Barry White was

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<v Speaker 2>so cool, the where he was like kind of talk

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<v Speaker 2>singing his vibe. The whole image of him was just incredible.

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<v Speaker 2>His love unlimited Orchestralian. I was a big Barry White fan.

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<v Speaker 1>I have a Quadrillian wild style questions, but I'll look

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<v Speaker 1>down to a few.

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<v Speaker 2>Number one. Okay, let me just get this out the way.

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<v Speaker 1>Sure, because the flash scene seems very disconnected, because let

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<v Speaker 1>me not say that how hard was.

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<v Speaker 2>It to get flashed? It wasn't hard at all. So

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<v Speaker 2>let me explain what happened with getting flashed and why

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

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<v Speaker 2>flash scene where I'm in his home as he's cutting

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<v Speaker 2>in his kitchen, which has now become an iconic moment.

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<v Speaker 2>You've seen it if you follow the culture, you've seen

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<v Speaker 2>it before. Yes, that literally was me. There was some

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<v Speaker 2>dialogue that a company that with me getting him to

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<v Speaker 2>bring the group to perform at what was the final

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<v Speaker 2>concert moment in the film. Okay, we'd film that moment

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<v Speaker 2>with the original flash in the Furious Vive the Cold Crush,

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<v Speaker 2>and we had a couple of thousand kids come out.

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<v Speaker 2>We screwed up the audio for that big moment, as

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<v Speaker 2>well as the other big performances at the Dixie Club.

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<v Speaker 2>We screwed up. Back then, you would record sound on

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<v Speaker 2>a recording device called a Nagra, and we had a

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<v Speaker 2>stereo NAGRAA. This was like a super heavy duty, little

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<v Speaker 2>real to real machine. We didn't know what the hell

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<v Speaker 2>we were doing. We didn't have the sound adjusted right.

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<v Speaker 2>We screwed up all the audio, so we had to

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<v Speaker 2>go and live audio. The audio was garbage. In fact,

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<v Speaker 2>somebody just mentioned to me and I ran it by

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<v Speaker 2>Charlie hey Man, you know AI AI. If we can

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<v Speaker 2>get some AI experts to reach out to us that

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<v Speaker 2>may want to help with this, because it's the restoration

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<v Speaker 2>of it all so that we don't haven't seen once

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<v Speaker 2>again there you've seen the Wild Style film, the performances

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<v Speaker 2>at the Dixie Club, but you see busy Bee, Double Trouble,

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

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<v Speaker 2>Then we have the big final jam outside at the

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<v Speaker 2>park the Amphitheater, the climax of the movie. We had

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<v Speaker 2>to reshoot all of that. So what you see now

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<v Speaker 2>is what we reshot because we screwed up all the

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<v Speaker 2>audio and we had just restage and reshoot all of

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<v Speaker 2>those moments because we had a big boobo in what

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<v Speaker 2>we did. The audio came back. This is the classic

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<v Speaker 2>old school where we have the Steinbeck editing. We got

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<v Speaker 2>the film separate, we got the audio septing. You put

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<v Speaker 2>it on the machine and you know, it's the old

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<v Speaker 2>school film editing analog, classic analog, and we put this

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<v Speaker 2>audio one and we couldn't believe it. Sound with shit

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

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<v Speaker 2>We didn't have the machine set up right. This is

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<v Speaker 2>classic independent filmmaking. This is what happened, so we.

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<v Speaker 1>Could have seen an authentic Grandmaster Flash and the furious

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<v Speaker 1>fire performance of that era.

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<v Speaker 2>I'll never forget because by the time we reshot six

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<v Speaker 2>months later, how the long it was flashing, those guys

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<v Speaker 2>had elevated. Now they're opening for Rick James and they're

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<v Speaker 2>going on real R and B big tours and they

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<v Speaker 2>were gone, Like, we blew that moment. So using that

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<v Speaker 2>flash seen, we had a brilliant editor, rest in Pece

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<v Speaker 2>Steve Brown, who intercut that with the breakdancers, and we

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

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<v Speaker 2>based on what the original idea was, but still when

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<v Speaker 2>people this is Grandmaster Flash, doing the amazing things he

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<v Speaker 2>did the world had not seen any of this yet,

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<v Speaker 2>and for most people, this is their first look at

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<v Speaker 2>what a DJ does and watching Flash do that. When

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<v Speaker 2>he spinned around, he had the classic gram Aster flash letters. Yes,

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<v Speaker 2>press on letters. I'm just sitting there loving it because

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<v Speaker 2>I mean, that was everything to see him. It was

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<v Speaker 2>such a mystery at that point in time. And like

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<v Speaker 2>I said, it was so remarkable that and I detail

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<v Speaker 2>all of this and how we set all this up

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<v Speaker 2>in the book Everybody's Fly, But it was just such

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<v Speaker 2>a remarkable that we got up that we were able

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<v Speaker 2>to pull a film out of all of this, because

0:12:57.160 --> 0:12:59.520
<v Speaker 2>it was we had some we had a few problems

0:12:59.559 --> 0:13:00.920
<v Speaker 2>here and there, as you offer.

0:13:01.760 --> 0:13:05.040
<v Speaker 1>Can you talk about the scoring of it all? Like

0:13:05.320 --> 0:13:08.360
<v Speaker 1>I'm assuming that Christine is part of the solution.

0:13:08.880 --> 0:13:12.040
<v Speaker 2>Well, yeah, so what happened was I wanted to use

0:13:12.080 --> 0:13:14.600
<v Speaker 2>the original breakbeats. I mean, it was so early on

0:13:14.840 --> 0:13:18.520
<v Speaker 2>I'm really just grasping the essence of what this coach

0:13:18.600 --> 0:13:22.079
<v Speaker 2>is about. It was super underground. It were little to

0:13:22.240 --> 0:13:25.280
<v Speaker 2>know maybe Rappers D Light had maybe come out by then.

0:13:25.400 --> 0:13:29.800
<v Speaker 2>I'm like, Charlie, let's use the original music. Charlie thankfully.

0:13:29.920 --> 0:13:33.040
<v Speaker 2>It was like, no, no, no, we can't fred somebody

0:13:33.040 --> 0:13:35.840
<v Speaker 2>will eventually come for us. I was like, ah, it's okay,

0:13:35.880 --> 0:13:38.040
<v Speaker 2>I'll go and make so is that why they're not

0:13:38.120 --> 0:13:40.840
<v Speaker 2>rhyming over catch a Groove and impeach the President?

0:13:40.880 --> 0:13:43.360
<v Speaker 1>Like the original breakbeat? I always wonder. I'm like, what,

0:13:43.760 --> 0:13:46.320
<v Speaker 1>everyone has a copy of this one record, so here's

0:13:46.320 --> 0:13:46.679
<v Speaker 1>what now?

0:13:46.760 --> 0:13:49.000
<v Speaker 2>I lost classic and shit, thank you so much. So

0:13:49.160 --> 0:13:51.199
<v Speaker 2>what I did was I said, Okay, let me figure

0:13:51.240 --> 0:13:55.079
<v Speaker 2>this out. So of course I'm friends now with Christine

0:13:55.280 --> 0:13:57.440
<v Speaker 2>and me. I've met all these cool people on the

0:13:57.520 --> 0:14:01.520
<v Speaker 2>new wave post punk scene. We're all tight, and I go, okay,

0:14:01.600 --> 0:14:04.640
<v Speaker 2>I'm gonna definitely was bouncing everything off of Chris anyway,

0:14:04.640 --> 0:14:08.040
<v Speaker 2>because they were super supportive and helpful. I said, okay,

0:14:08.080 --> 0:14:10.280
<v Speaker 2>so I'm going to produce this. So I one of

0:14:10.280 --> 0:14:13.080
<v Speaker 2>the things that the Supreme Team's radio show would do

0:14:13.240 --> 0:14:16.640
<v Speaker 2>is they would have a section where they would play breaks,

0:14:17.200 --> 0:14:20.760
<v Speaker 2>and these were the real break beats that the real

0:14:21.160 --> 0:14:24.240
<v Speaker 2>hip hop, early hip hop DJ's used, So he would

0:14:24.280 --> 0:14:27.120
<v Speaker 2>play these, and I had a recording of some dope stuff.

0:14:27.440 --> 0:14:31.800
<v Speaker 2>So I got this cat named Lenny Ferrari. His actual

0:14:31.880 --> 0:14:35.800
<v Speaker 2>name was Lenny Ferraro, but we would call Lenny Ferrari,

0:14:35.960 --> 0:14:38.040
<v Speaker 2>who was a real cool cat, white cat, but he

0:14:38.080 --> 0:14:40.160
<v Speaker 2>had played for Rita Franklin. I mean he was a

0:14:40.200 --> 0:14:43.000
<v Speaker 2>dope ass drummer, So I said Lenny. I didn't really

0:14:43.120 --> 0:14:45.760
<v Speaker 2>understand how the recording process. I later learned I should

0:14:45.760 --> 0:14:48.480
<v Speaker 2>have had the bass and drums record together, but I

0:14:48.520 --> 0:14:51.400
<v Speaker 2>did the drums separate. Oh so the drums were first.

0:14:51.600 --> 0:14:54.640
<v Speaker 2>Drums are first. I know, we're figuring it, making it

0:14:54.680 --> 0:14:56.800
<v Speaker 2>up as we go along. Went to a rinky dink

0:14:56.880 --> 0:14:59.400
<v Speaker 2>studio that I'll never forget. The studio had tubes, and

0:14:59.400 --> 0:15:01.680
<v Speaker 2>I know that became my hot thing of late people

0:15:01.720 --> 0:15:05.560
<v Speaker 2>trying to recreate the quality of those early sixties seventies recording. Yes,

0:15:05.680 --> 0:15:08.320
<v Speaker 2>this two bit studio I found, which I remember was

0:15:08.360 --> 0:15:10.080
<v Speaker 2>on the same block as the Beacon Theater. I can

0:15:10.120 --> 0:15:13.520
<v Speaker 2>never remember the name of it. It was upstairs they had.

0:15:14.280 --> 0:15:17.720
<v Speaker 2>It was affordable enough. I know it wasn't twenty four

0:15:17.760 --> 0:15:20.080
<v Speaker 2>maybe a twelve track whatever, but I know the board

0:15:20.120 --> 0:15:22.320
<v Speaker 2>had tubes because I remember you look, I said, oh man,

0:15:22.320 --> 0:15:25.560
<v Speaker 2>there's there's tubes. You know. It was typical TV's old

0:15:25.560 --> 0:15:29.800
<v Speaker 2>school high fives had tubes. Anyway, I record the drums there.

0:15:30.520 --> 0:15:32.920
<v Speaker 2>Later get a buddy of mine who played bass to

0:15:33.040 --> 0:15:35.000
<v Speaker 2>lay the bass down. That's when I learned, oh, you

0:15:35.000 --> 0:15:36.680
<v Speaker 2>should do the bass and drums together. Because it was

0:15:36.680 --> 0:15:39.520
<v Speaker 2>a couple of points when they were yelling. He kind

0:15:39.520 --> 0:15:41.520
<v Speaker 2>of wasn't yelling myself. I was able to get it.

0:15:41.680 --> 0:15:45.520
<v Speaker 2>And then Chris Stein came in, brought Christen. I think

0:15:45.600 --> 0:15:47.800
<v Speaker 2>we went to another studio at the time, because Chris

0:15:47.920 --> 0:15:49.480
<v Speaker 2>would do a lot of stuff out of a studio

0:15:49.760 --> 0:15:53.800
<v Speaker 2>called blank tapes, and Chris had all these effects and

0:15:53.920 --> 0:15:57.040
<v Speaker 2>things that he could trigger from his guitar, all these

0:15:57.120 --> 0:15:59.120
<v Speaker 2>little toys that he would so I said, Chris, we

0:15:59.160 --> 0:16:01.200
<v Speaker 2>got to make them. So basically it was like the

0:16:01.200 --> 0:16:03.200
<v Speaker 2>whole idea was I'm going to make a record of

0:16:03.960 --> 0:16:06.920
<v Speaker 2>break beats. Nothing is going to be longer than a minute.

0:16:06.960 --> 0:16:10.080
<v Speaker 2>The purpose being the DJs when we film would be

0:16:10.120 --> 0:16:14.320
<v Speaker 2>able to cut pladies live as the rappers rap, and

0:16:14.360 --> 0:16:18.120
<v Speaker 2>that becomes the soundtrack, not quite the score, yeah, but whatever.

0:16:18.480 --> 0:16:21.160
<v Speaker 2>And so Chris comes in and with these ten to

0:16:21.280 --> 0:16:26.120
<v Speaker 2>twelve different little tracks, he makes up different little sounds

0:16:26.160 --> 0:16:28.800
<v Speaker 2>and plays different things. He triggers it all from his guitar,

0:16:29.320 --> 0:16:31.800
<v Speaker 2>all these little toys he had, and that's how we

0:16:31.960 --> 0:16:37.320
<v Speaker 2>create the original break beats, and down by Law becomes

0:16:37.360 --> 0:16:40.360
<v Speaker 2>the most popular among the rappers, which most people use

0:16:40.480 --> 0:16:41.160
<v Speaker 2>for performing.

0:16:41.320 --> 0:16:44.120
<v Speaker 1>At the time, were you feeling like a man, I'm

0:16:44.120 --> 0:16:47.040
<v Speaker 1>making TMU breakbeats? Like this is not the authentic what

0:16:47.160 --> 0:16:49.680
<v Speaker 1>data the real shit we need? Like at the time,

0:16:49.720 --> 0:16:49.960
<v Speaker 1>do you?

0:16:50.720 --> 0:16:52.680
<v Speaker 2>And you know? I wasn't quite feeling like that, because

0:16:52.680 --> 0:16:54.840
<v Speaker 2>once again, hip hop is at a point where very

0:16:54.840 --> 0:16:58.440
<v Speaker 2>few people understand what this is about. Is the first

0:16:58.520 --> 0:17:01.800
<v Speaker 2>rap records that come out, especially what sugar Hill and

0:17:01.840 --> 0:17:05.760
<v Speaker 2>them did, hip hop hadn't got yet. House bands playing

0:17:05.800 --> 0:17:08.359
<v Speaker 2>whatever they knew. The popular records were their kids liked

0:17:08.400 --> 0:17:11.720
<v Speaker 2>in the street. But the idea of hip hop understanding

0:17:11.720 --> 0:17:14.960
<v Speaker 2>how to recreate the grit and the dirt and the

0:17:14.960 --> 0:17:18.760
<v Speaker 2>funkiness of the sound, the patina, if you will, that

0:17:18.800 --> 0:17:23.000
<v Speaker 2>would come later people like Molly Mahr and even what

0:17:23.119 --> 0:17:28.000
<v Speaker 2>Malcolm McClaren did with the Buffalo Girls record used incorporated

0:17:28.080 --> 0:17:31.840
<v Speaker 2>all the elements in a really interesting way. But overall

0:17:32.000 --> 0:17:35.199
<v Speaker 2>that wasn't known yet. Cats were working to get to

0:17:35.280 --> 0:17:39.959
<v Speaker 2>that point. So I wasn't tripping if my main barometer

0:17:40.200 --> 0:17:42.280
<v Speaker 2>was when I So what we did was when I

0:17:42.320 --> 0:17:46.119
<v Speaker 2>finished all those records. We pressed up one hundred pieces

0:17:46.480 --> 0:17:50.439
<v Speaker 2>of vinyl, I believe at forty five speed, and I

0:17:50.520 --> 0:17:55.600
<v Speaker 2>went around and gave each of the DJ's two copies.

0:17:55.640 --> 0:17:58.639
<v Speaker 2>So that was Tony Tone and Charlie Chase from The

0:17:58.640 --> 0:18:03.040
<v Speaker 2>Cold Crush? Was it theadore just white labels? No, just

0:18:03.119 --> 0:18:07.359
<v Speaker 2>white label I judhit a couple that popped up any

0:18:07.400 --> 0:18:12.200
<v Speaker 2>originals left? Sorry, so what man? Listen? I remember meeting

0:18:12.240 --> 0:18:15.600
<v Speaker 2>DJ Mark the forty five King and every real DJ

0:18:16.080 --> 0:18:18.920
<v Speaker 2>cat wa y'all, what's up with those records? I'd be like, yo,

0:18:19.000 --> 0:18:22.679
<v Speaker 2>we got a couple months, so those all went. But

0:18:22.960 --> 0:18:26.480
<v Speaker 2>later as the nineties really kicked in, it became the

0:18:26.680 --> 0:18:30.120
<v Speaker 2>super sought after what the hell did they use? Because

0:18:30.160 --> 0:18:35.240
<v Speaker 2>everybody assumed I had sampled something. Nobody knew this story

0:18:35.440 --> 0:18:37.480
<v Speaker 2>that I'm telling you, so when I would meet guys,

0:18:37.480 --> 0:18:40.800
<v Speaker 2>I would explain it. I remember meeting Jazzy B from

0:18:40.840 --> 0:18:43.679
<v Speaker 2>Soul to Soul and they were able to grab a

0:18:43.720 --> 0:18:48.480
<v Speaker 2>couple of sections of down by Law off the soundtrack

0:18:48.600 --> 0:18:52.680
<v Speaker 2>and looped together his own kind of instrumental, if you will.

0:18:52.760 --> 0:18:56.600
<v Speaker 2>Because people became obsessed. I was blown away to learn.

0:18:56.440 --> 0:19:00.720
<v Speaker 1>That that's provided many a deep snare many and open drum,

0:19:01.000 --> 0:19:02.160
<v Speaker 1>you know God.

0:19:02.720 --> 0:19:05.479
<v Speaker 2>So that became a really fun thing. In fact, I

0:19:05.640 --> 0:19:09.879
<v Speaker 2>used on the audio book for Everybody's Fly. I used

0:19:10.359 --> 0:19:13.280
<v Speaker 2>some of the actually down by law, and I tell

0:19:13.359 --> 0:19:15.359
<v Speaker 2>the story of how we This is a story I

0:19:15.440 --> 0:19:19.360
<v Speaker 2>just shared with you how luckily because you know now

0:19:19.480 --> 0:19:22.560
<v Speaker 2>Rogers was a friend and I got now to get

0:19:22.680 --> 0:19:26.400
<v Speaker 2>us the ability to use good times in the end

0:19:26.520 --> 0:19:31.320
<v Speaker 2>at a decent rate. Okay, Marti Gras is what Flash

0:19:31.440 --> 0:19:36.800
<v Speaker 2>is actually cutting cutting but instead of yeah, he's just

0:19:37.160 --> 0:19:40.600
<v Speaker 2>Mardy Gras, Bob James. But then one of the reissues

0:19:40.640 --> 0:19:43.919
<v Speaker 2>that we did some years back, we weren't able to

0:19:43.960 --> 0:19:47.840
<v Speaker 2>get that cleared. So I had to find some guys

0:19:47.880 --> 0:19:51.000
<v Speaker 2>that came in and did a close a pretty good approximation.

0:19:51.880 --> 0:19:54.320
<v Speaker 2>It wasn't the real deal. Real heads would be like, yo,

0:19:54.560 --> 0:20:00.639
<v Speaker 2>it's not you didn't. But the recent reissue of Wild

0:20:00.640 --> 0:20:03.600
<v Speaker 2>Style that just happened, we were able to get it cleared,

0:20:16.160 --> 0:20:16.960
<v Speaker 2>he explained.

0:20:17.119 --> 0:20:20.160
<v Speaker 1>Or give me the history of making Change the Beat

0:20:20.240 --> 0:20:23.520
<v Speaker 1>twelve inch, which, of course, yeah, all uhip hop historians

0:20:23.720 --> 0:20:26.360
<v Speaker 1>know that the last second of that record has been

0:20:26.400 --> 0:20:27.600
<v Speaker 1>cut up many times.

0:20:28.080 --> 0:20:31.640
<v Speaker 2>This stuff is really fresh. Who's saying as that Bill

0:20:31.720 --> 0:20:34.600
<v Speaker 2>Lasmo is that you. For a long time I assumed

0:20:34.600 --> 0:20:37.359
<v Speaker 2>it was me because it was put together after I

0:20:37.440 --> 0:20:41.280
<v Speaker 2>had recorded, and I was always like, yeah, that was me,

0:20:41.440 --> 0:20:44.679
<v Speaker 2>because the term fresh had just really begun, and I

0:20:44.720 --> 0:20:47.520
<v Speaker 2>remember casting the Bronx was like, Yo, this is fresh.

0:20:47.840 --> 0:20:52.960
<v Speaker 2>The Fantastic Romantic popularized that term first because a part

0:20:53.000 --> 0:20:55.520
<v Speaker 2>of their routine they would go, we're fresh out the

0:20:55.600 --> 0:20:58.240
<v Speaker 2>pack and you gotta stay back. We got one Puerto

0:20:58.320 --> 0:21:01.040
<v Speaker 2>Rican and the rest are black. Being fresh out the

0:21:01.080 --> 0:21:04.359
<v Speaker 2>pack was their thing, and they just abbreviated to fresh,

0:21:04.440 --> 0:21:07.159
<v Speaker 2>and so I knew where that came from. But it

0:21:07.240 --> 0:21:11.520
<v Speaker 2>turns out that it was Bill's Laswell's manager. I think

0:21:11.640 --> 0:21:15.680
<v Speaker 2>Roger Trilling had said it goofing around in the studio.

0:21:16.119 --> 0:21:19.520
<v Speaker 2>So when they presented it to me, they were like, yo,

0:21:19.720 --> 0:21:22.639
<v Speaker 2>do you approve this? Because they tacked it on to

0:21:22.760 --> 0:21:26.879
<v Speaker 2>the B side of the record with the female that

0:21:27.000 --> 0:21:29.840
<v Speaker 2>was my French teacher, I decided to use her on

0:21:29.920 --> 0:21:33.040
<v Speaker 2>the B side as opposed to the B side being instrumental,

0:21:33.080 --> 0:21:35.960
<v Speaker 2>which was the typical thing for rap singles at the time.

0:21:36.280 --> 0:21:40.960
<v Speaker 2>She sounded great to me when she emulated mimicked me

0:21:41.640 --> 0:21:44.040
<v Speaker 2>with the rhythm. She didn't had the rhythm, but her

0:21:44.040 --> 0:21:47.800
<v Speaker 2>French was perfect, her voice was sexy. Right, what am

0:21:47.800 --> 0:21:49.240
<v Speaker 2>I going to be called? I got to come up

0:21:49.280 --> 0:21:51.560
<v Speaker 2>with a rap name. I'm like, well, you're going to

0:21:51.600 --> 0:21:53.720
<v Speaker 2>be on the B side. She was like, yep, B side,

0:21:53.760 --> 0:21:57.640
<v Speaker 2>that's it. I'm gonna call myself B side. So that's

0:21:57.680 --> 0:21:59.600
<v Speaker 2>how she was on. She would make a few other

0:21:59.680 --> 0:22:04.479
<v Speaker 2>records after that, and so basically I approved this weird

0:22:04.680 --> 0:22:08.240
<v Speaker 2>sound on the B side. Now, what makes it go

0:22:08.840 --> 0:22:12.320
<v Speaker 2>viral if you will. Back in that time was Grand

0:22:12.400 --> 0:22:19.159
<v Speaker 2>mixer DST. Now d XT was the first shit to

0:22:19.320 --> 0:22:23.080
<v Speaker 2>use it on Herbie Hancock's Rocket Bill aswell. Bill Laswell

0:22:23.200 --> 0:22:27.520
<v Speaker 2>producer like Glaswell produced that he met Herbie through our

0:22:27.600 --> 0:22:32.440
<v Speaker 2>little connection that we all connected, and Bill brings he's

0:22:32.440 --> 0:22:36.040
<v Speaker 2>trying to turn Herbie onto this. Herbie's open because working

0:22:36.040 --> 0:22:39.160
<v Speaker 2>with Miles Davis. Miles was open to working with doing

0:22:39.200 --> 0:22:42.480
<v Speaker 2>different things, you know, as he did electrifying the horn

0:22:42.520 --> 0:22:46.359
<v Speaker 2>and everything. So Herbie, coming from working with Miles, Bill

0:22:46.440 --> 0:22:48.879
<v Speaker 2>Lazo says, hey, man, here's this new thing popular. He

0:22:48.960 --> 0:22:52.120
<v Speaker 2>takes Herbie to the Roxy whatever and then they give

0:22:52.200 --> 0:22:56.400
<v Speaker 2>him the basis of that track and DXT goes crazy.

0:22:57.000 --> 0:23:02.440
<v Speaker 2>In fact, it's Herbie that said ds he's a pianist,

0:23:02.760 --> 0:23:07.800
<v Speaker 2>he's a guitarist, you're a turntableist. That term really begins

0:23:07.840 --> 0:23:11.920
<v Speaker 2>with Herbie telling DXC you're a turntableist, because he had

0:23:12.000 --> 0:23:14.720
<v Speaker 2>DXC going a tour with him or run a tour

0:23:14.880 --> 0:23:17.520
<v Speaker 2>as part of the band. Yeah, and that was the

0:23:17.600 --> 0:23:21.959
<v Speaker 2>first at that time, and so DXC uses it and

0:23:22.080 --> 0:23:28.399
<v Speaker 2>it becomes the ubiquitous example of scratching because so many

0:23:28.520 --> 0:23:32.399
<v Speaker 2>other DJs on so many other records used that sound,

0:23:33.720 --> 0:23:36.720
<v Speaker 2>which became synonymous with this idea of scratching.

0:23:36.760 --> 0:23:40.840
<v Speaker 1>And that's my record, and not once have you tried

0:23:40.840 --> 0:23:44.320
<v Speaker 1>the because literally, if you had ten dollars for every

0:23:44.320 --> 0:23:47.680
<v Speaker 1>time that shit was used, yea, you'd be a trillionaire.

0:23:49.359 --> 0:23:52.280
<v Speaker 1>It's a water, it's bread, it's just part of the fiber. Look,

0:23:52.400 --> 0:23:54.440
<v Speaker 1>it's been a blessing. I gotta get to MTV. I

0:23:54.480 --> 0:23:57.760
<v Speaker 1>gotta get I'm skipping so much. No, we must buy

0:23:57.800 --> 0:23:58.120
<v Speaker 1>the book.

0:23:58.240 --> 0:24:05.359
<v Speaker 2>No, it's a lie for you. The NWA episode, Yeah,

0:24:05.600 --> 0:24:07.760
<v Speaker 2>there's so many I have to ask you, but yeah,

0:24:07.880 --> 0:24:11.440
<v Speaker 2>that was a great one. What most people's favorite episode?

0:24:11.640 --> 0:24:14.480
<v Speaker 1>Well, yeah, like that was my first. What even made you?

0:24:14.520 --> 0:24:17.640
<v Speaker 1>Because I was resistant to them. You know, I saw

0:24:17.720 --> 0:24:19.720
<v Speaker 1>Jerry curls and whatever, like what are they doing?

0:24:20.080 --> 0:24:20.760
<v Speaker 2>Lay? Yeah?

0:24:20.960 --> 0:24:23.400
<v Speaker 1>And then I saw that episode and then we all

0:24:23.480 --> 0:24:24.560
<v Speaker 1>ran to get that out.

0:24:24.480 --> 0:24:27.520
<v Speaker 2>Like what was that? Like? Man, it was incredible, Like,

0:24:27.560 --> 0:24:30.840
<v Speaker 2>you know, we had already developed a reconnection with Easy

0:24:30.880 --> 0:24:34.240
<v Speaker 2>because he had we Want Easy and Ted Demi rest

0:24:34.280 --> 0:24:37.440
<v Speaker 2>in Peace, one of the original producers, and Easy had

0:24:37.600 --> 0:24:43.000
<v Speaker 2>developed a really close friendship and Easy was like, hey, man,

0:24:43.040 --> 0:24:46.080
<v Speaker 2>we come on out to LA and I got a

0:24:46.119 --> 0:24:48.200
<v Speaker 2>new group. I'd like, you got you know, the showcase

0:24:48.240 --> 0:24:51.560
<v Speaker 2>to group. So we One of the things was instrumental

0:24:51.600 --> 0:24:54.520
<v Speaker 2>with your MTV raps with different groups is finding a

0:24:54.640 --> 0:24:57.359
<v Speaker 2>concept to interview the group that we could show the

0:24:57.400 --> 0:25:00.760
<v Speaker 2>audience where the group's from, so we could really you know,

0:25:00.880 --> 0:25:03.639
<v Speaker 2>this is now wrap spreading around the country. And so

0:25:04.560 --> 0:25:06.480
<v Speaker 2>the idea we came up with is We're gonna rent

0:25:06.480 --> 0:25:09.399
<v Speaker 2>a flatbed truck and ride around LA. Now I've been

0:25:09.440 --> 0:25:12.040
<v Speaker 2>to LA a bunch of times, but I didn't really

0:25:12.080 --> 0:25:14.200
<v Speaker 2>go too much out of West Hollywood, and I didn't

0:25:14.240 --> 0:25:16.919
<v Speaker 2>know about Compton and the hood yet. I didn't know

0:25:16.960 --> 0:25:20.240
<v Speaker 2>that stuff. So they said, we're gonna rent his flatbed truck.

0:25:20.520 --> 0:25:22.920
<v Speaker 2>We're going to ride around with Easy in this new group.

0:25:23.280 --> 0:25:25.120
<v Speaker 2>But he said, but listen, Fab, this is the night

0:25:25.119 --> 0:25:27.760
<v Speaker 2>before he said, listen, don't wear anything red or anything blue.

0:25:27.800 --> 0:25:29.920
<v Speaker 2>So I was like, okay, Well I didn't know what

0:25:29.960 --> 0:25:32.800
<v Speaker 2>that meant. So I had a black outfit. No problem.

0:25:32.880 --> 0:25:35.880
<v Speaker 2>I show up the groups all in black and we

0:25:35.880 --> 0:25:38.520
<v Speaker 2>were at the Welcome to Compton sign. Was the first

0:25:39.520 --> 0:25:43.080
<v Speaker 2>segment of that show. I asked everybody to introduce themselves.

0:25:43.320 --> 0:25:46.639
<v Speaker 2>One of the people there, who is a great story? Now?

0:25:47.000 --> 0:25:49.040
<v Speaker 2>Who's going to be a part of the next paid

0:25:49.119 --> 0:25:52.000
<v Speaker 2>and full benefit that we I'm a part of is

0:25:52.040 --> 0:25:55.440
<v Speaker 2>the doc And I don't know who any of these

0:25:55.440 --> 0:25:58.840
<v Speaker 2>guys are except Easy. Ice Cube is in my ear

0:25:58.960 --> 0:26:02.320
<v Speaker 2>in between segments. It's asking me about g Rap. You're Fab,

0:26:02.800 --> 0:26:04.760
<v Speaker 2>what's up with g Rap? Keep in mind I haven't

0:26:04.800 --> 0:26:08.480
<v Speaker 2>listened to the album yet, so he's like, I'm like,

0:26:08.560 --> 0:26:11.320
<v Speaker 2>g Rap is cool. You know. Later, when I listened

0:26:11.320 --> 0:26:14.040
<v Speaker 2>to the record and I snatched the headphones on five times,

0:26:14.160 --> 0:26:16.720
<v Speaker 2>I can't believe what they Oh my god, he's not

0:26:16.760 --> 0:26:19.240
<v Speaker 2>gonna let this shit play. I mean, they're going stand

0:26:19.400 --> 0:26:22.600
<v Speaker 2>so edgy. But I get why Cube kept asking me

0:26:22.640 --> 0:26:25.960
<v Speaker 2>about g Rap because he was the edgiest at that

0:26:26.119 --> 0:26:30.640
<v Speaker 2>time on what would become Gangster and I said, oh,

0:26:30.760 --> 0:26:33.960
<v Speaker 2>I get it. Anyway, that goes on to blow up

0:26:34.520 --> 0:26:38.200
<v Speaker 2>and that was my introduction to really meeting NWA and

0:26:38.280 --> 0:26:42.240
<v Speaker 2>the revolutionary aspect of the game. I would later direct Snoops.

0:26:42.240 --> 0:26:45.919
<v Speaker 2>First video me and Dre crazy was that video shoot

0:26:46.520 --> 0:26:49.520
<v Speaker 2>for the first day to shoot after he performs on

0:26:49.560 --> 0:26:52.239
<v Speaker 2>the top of VIP Records when we change locations as

0:26:52.280 --> 0:26:55.840
<v Speaker 2>a near riot, so the police flew in helicopters. They

0:26:55.880 --> 0:27:00.040
<v Speaker 2>shut us down and Dre tells me, look, fab, that

0:27:00.160 --> 0:27:02.960
<v Speaker 2>was crazy. I knew Long Beach is a very crazy place,

0:27:03.000 --> 0:27:05.320
<v Speaker 2>he said, but if you can hang out, I've got

0:27:05.320 --> 0:27:07.640
<v Speaker 2>to finish Snoop's album, we will get the video done.

0:27:07.680 --> 0:27:09.480
<v Speaker 2>I ended up spending the rest of that summer with

0:27:09.800 --> 0:27:13.600
<v Speaker 2>doctor Dre at his house, really bonding with him way

0:27:13.760 --> 0:27:17.600
<v Speaker 2>until they finished the Rector. Well, we would shoot, moments

0:27:17.640 --> 0:27:19.720
<v Speaker 2>would come up and we would schedule some time to

0:27:19.760 --> 0:27:22.439
<v Speaker 2>shoot this. We would shoot that scene. It was different

0:27:22.480 --> 0:27:25.760
<v Speaker 2>pieces of the video, the whole picnic with all the

0:27:26.200 --> 0:27:30.920
<v Speaker 2>I had dog trainers and stuff. I had morphing technology

0:27:31.200 --> 0:27:33.040
<v Speaker 2>going in, so it was a lot of pieces. It

0:27:33.080 --> 0:27:35.800
<v Speaker 2>was a very complex video. That took a lot of

0:27:35.840 --> 0:27:38.840
<v Speaker 2>little elements, and in between we would Dre would let

0:27:38.880 --> 0:27:40.520
<v Speaker 2>me know, look, I'm gonna be good on this day

0:27:40.560 --> 0:27:46.080
<v Speaker 2>that there, so I schedule some pieces to the video. Sadly,

0:27:46.160 --> 0:27:49.800
<v Speaker 2>the end of that summer happened with the murder. Was

0:27:49.840 --> 0:27:52.639
<v Speaker 2>the case Snoop got charged with murder because he was

0:27:52.680 --> 0:27:54.880
<v Speaker 2>in a car when some guy got shot. Snoop wasn't

0:27:54.920 --> 0:27:57.160
<v Speaker 2>he didn't pull the trigger. But there was a whole

0:27:57.200 --> 0:27:59.720
<v Speaker 2>morphing set up. I never got to pull off of

0:28:00.280 --> 0:28:02.560
<v Speaker 2>getting his hair braided. No, there was going to be

0:28:02.560 --> 0:28:04.720
<v Speaker 2>a woman petting a dog and that was going to morph.

0:28:06.680 --> 0:28:08.960
<v Speaker 2>But anyway, I was able to get the video done.

0:28:09.160 --> 0:28:12.280
<v Speaker 2>It's called What's My Man? Introduced Snoop to the world.

0:28:12.320 --> 0:28:15.760
<v Speaker 2>And I also remember the Wu Tanger episode was craziest.

0:28:15.800 --> 0:28:19.679
<v Speaker 1>But the one episode that I think was probably the

0:28:19.720 --> 0:28:23.879
<v Speaker 1>craziest of them all was you were there when the

0:28:23.960 --> 0:28:27.640
<v Speaker 1>leaders of the news school included yeah, what so?

0:28:27.720 --> 0:28:31.680
<v Speaker 2>What happened was they literally broke up, literally implode. And

0:28:31.960 --> 0:28:35.280
<v Speaker 2>luckily this is the genius of what happened. The video

0:28:35.840 --> 0:28:39.960
<v Speaker 2>shooter the cameraman had grabbed some footage I had interviewed

0:28:39.960 --> 0:28:42.600
<v Speaker 2>them initially on the show when they first popped off,

0:28:42.640 --> 0:28:47.720
<v Speaker 2>it was a wild great show. Dink O d Charlie Brown, Buster,

0:28:47.920 --> 0:28:50.840
<v Speaker 2>they guys were incredible Today. First record came out, they

0:28:50.880 --> 0:28:54.320
<v Speaker 2>blew up in the interim period and I'm not sure

0:28:54.320 --> 0:28:56.920
<v Speaker 2>exactly what they were beefing about, but Buster has become

0:28:56.960 --> 0:29:01.320
<v Speaker 2>a star. Scenario happens. He might have guessed it on

0:29:01.400 --> 0:29:04.760
<v Speaker 2>whatever else. Buster was off in a moment. Buster was

0:29:04.760 --> 0:29:09.880
<v Speaker 2>having a moment they reconnect for this next video, next album,

0:29:10.280 --> 0:29:12.320
<v Speaker 2>and they go off to a huddle on the side,

0:29:12.800 --> 0:29:15.600
<v Speaker 2>and the huddle goes from five to fifteen to twenty

0:29:15.640 --> 0:29:17.840
<v Speaker 2>minutes and we're like, we're all waiting around. So the

0:29:17.880 --> 0:29:21.840
<v Speaker 2>cameraman grabbed a few moments of them having this huddle.

0:29:22.320 --> 0:29:25.960
<v Speaker 2>One of the moments you may have remembered seeing was

0:29:26.000 --> 0:29:27.880
<v Speaker 2>Buster turned to the camera and it says, Yo, b

0:29:28.040 --> 0:29:31.880
<v Speaker 2>please don't don't shoot this man. You know this is

0:29:31.920 --> 0:29:34.200
<v Speaker 2>you know this business. So I was like, oh, what

0:29:34.400 --> 0:29:38.680
<v Speaker 2>happened was they were doing a Yo MTV like special

0:29:39.160 --> 0:29:42.440
<v Speaker 2>and they pull that footage because the show never was shot.

0:29:42.720 --> 0:29:46.240
<v Speaker 2>Because after this huddle, Buster comes to me and says,

0:29:46.280 --> 0:29:48.680
<v Speaker 2>you're fab man. I have to apologize, man, but we're

0:29:48.720 --> 0:29:50.640
<v Speaker 2>not going to be able to shoot this, so the

0:29:50.720 --> 0:29:54.120
<v Speaker 2>beef that they were having and talking about was got

0:29:54.240 --> 0:29:58.080
<v Speaker 2>so intense. I think they literally were breaking up right

0:29:58.120 --> 0:30:00.280
<v Speaker 2>at that point. Yes, but we never had had an

0:30:00.320 --> 0:30:04.200
<v Speaker 2>actual episode that we filmed. Once again, the cameraman had

0:30:04.280 --> 0:30:10.120
<v Speaker 2>grabbed a moment and that moment completed visually telling this,

0:30:10.240 --> 0:30:13.400
<v Speaker 2>So that never came on with never because I've seen

0:30:13.440 --> 0:30:18.320
<v Speaker 2>it as an episode. It was your TV wrapped retrospective

0:30:18.440 --> 0:30:21.280
<v Speaker 2>look back, and they were able to then shape that

0:30:21.720 --> 0:30:24.680
<v Speaker 2>to tell the story. This is what happened and what

0:30:24.840 --> 0:30:28.000
<v Speaker 2>really emphasized it when when Buster looks at the camera

0:30:28.080 --> 0:30:31.160
<v Speaker 2>like he's just getting a little b roll waiting to

0:30:31.280 --> 0:30:34.400
<v Speaker 2>do something because we all there to shoot, and the

0:30:34.440 --> 0:30:36.760
<v Speaker 2>Buster turns this is na be you know, It's like

0:30:37.000 --> 0:30:40.240
<v Speaker 2>with a real serious Dowur look. The group was literally

0:30:40.440 --> 0:30:40.920
<v Speaker 2>so I.

0:30:40.880 --> 0:30:43.040
<v Speaker 1>Know, Charlie Brown says something like, you know, I'm I'm

0:30:43.240 --> 0:30:45.920
<v Speaker 1>look out for Ce brown Man, you know, I gotta look.

0:30:45.800 --> 0:30:47.840
<v Speaker 2>Out for myself or whatever, and I see Buster look

0:30:47.880 --> 0:30:53.000
<v Speaker 2>at him like and what I thought, once again without

0:30:53.080 --> 0:30:57.040
<v Speaker 2>getting confirmation, it just felt like Buster was on fire.

0:30:57.320 --> 0:31:00.840
<v Speaker 2>He clearly was getting paid for the moments he you know,

0:31:01.040 --> 0:31:04.320
<v Speaker 2>was on fire for I kind of assumed they thought

0:31:04.400 --> 0:31:05.960
<v Speaker 2>they were supposed to be a part of That is

0:31:06.000 --> 0:31:09.360
<v Speaker 2>what I just assumed in my own accord without knowing

0:31:09.400 --> 0:31:10.200
<v Speaker 2>the specifics.

0:31:10.240 --> 0:31:14.880
<v Speaker 1>All Right, So I first met you at this uh

0:31:16.160 --> 0:31:19.560
<v Speaker 1>kind of a I think it's Deanna Williams's I AM convention.

0:31:19.760 --> 0:31:24.440
<v Speaker 1>It came to DC or whatever, and you had given

0:31:24.560 --> 0:31:27.480
<v Speaker 1>us I mean, we just started, so I don't even

0:31:27.520 --> 0:31:29.959
<v Speaker 1>think you knew we were I definitely knew, but you

0:31:30.160 --> 0:31:33.120
<v Speaker 1>had these guys from Chicago with you that were.

0:31:33.200 --> 0:31:35.720
<v Speaker 2>Dressed real crazy Crucial Conflict.

0:31:35.400 --> 0:31:38.720
<v Speaker 1>Yes, and you said, I guarantee you've never seen nothing

0:31:38.760 --> 0:31:41.240
<v Speaker 1>like this before. It's almost like, I mean, now it's

0:31:41.240 --> 0:31:43.960
<v Speaker 1>like bounce, But back then we looked at him like,

0:31:44.000 --> 0:31:47.600
<v Speaker 1>what was this country rap or something? And you played, hey, yes,

0:31:47.920 --> 0:31:52.160
<v Speaker 1>hey the first time. I remember like us driving back

0:31:53.040 --> 0:31:56.320
<v Speaker 1>and mind you, we just never heard of hip hop

0:31:56.840 --> 0:32:00.560
<v Speaker 1>in that bpm before that speed wrap. The way they

0:32:00.680 --> 0:32:03.280
<v Speaker 1>was acting the video was crazy. What was your involvement

0:32:03.320 --> 0:32:04.200
<v Speaker 1>with Crucial Confce.

0:32:04.240 --> 0:32:07.680
<v Speaker 2>What happened was after having directed so many music videos,

0:32:08.000 --> 0:32:10.880
<v Speaker 2>you'd have a connection with a certain artist that you know,

0:32:11.080 --> 0:32:14.760
<v Speaker 2>we can continue this. Just like a great producer create

0:32:14.800 --> 0:32:19.160
<v Speaker 2>some good music, you'd want to continue that incredible synergistic

0:32:19.680 --> 0:32:24.880
<v Speaker 2>relationship you. Oftentimes I'd do a video I should I

0:32:24.920 --> 0:32:26.960
<v Speaker 2>felt like we should work some more, and the label

0:32:26.960 --> 0:32:29.800
<v Speaker 2>would go off and you'd see the visuals not be

0:32:30.600 --> 0:32:33.640
<v Speaker 2>up to par, and based on my judgment, I'd always

0:32:33.640 --> 0:32:35.880
<v Speaker 2>say to myself, man, I wish I could have At

0:32:35.880 --> 0:32:38.080
<v Speaker 2>one point, I wish I could have a label or

0:32:38.080 --> 0:32:40.560
<v Speaker 2>a runner label, so I could control the whole imaging

0:32:40.600 --> 0:32:43.720
<v Speaker 2>of a group video, the whole nine yards. The opportunity

0:32:43.800 --> 0:32:47.000
<v Speaker 2>came up. It was a wealthy Japanese man that had

0:32:47.000 --> 0:32:50.720
<v Speaker 2>gotten involved in this label called Palace Records. I knew

0:32:50.720 --> 0:32:53.840
<v Speaker 2>some of the people involved. They weren't going good. They

0:32:53.920 --> 0:32:56.160
<v Speaker 2>came begging for me to come in and help, and

0:32:56.200 --> 0:32:58.760
<v Speaker 2>I was like, hmm, I wasn't trying to, you know,

0:32:58.800 --> 0:33:01.440
<v Speaker 2>I mean like a creative prome, Like, wait a minute,

0:33:01.480 --> 0:33:04.080
<v Speaker 2>this could be my opportunity to direct a label and

0:33:04.520 --> 0:33:07.280
<v Speaker 2>run a label and create the whole imaging. So we

0:33:07.360 --> 0:33:11.400
<v Speaker 2>took over this label, and me and my business partner

0:33:11.400 --> 0:33:14.160
<v Speaker 2>at the time, brother named Roy Cormer, had talked about,

0:33:14.440 --> 0:33:17.920
<v Speaker 2>you know, to us, most of the country feels and

0:33:18.000 --> 0:33:20.160
<v Speaker 2>has a Southern vibe, even though they might not be

0:33:20.200 --> 0:33:23.960
<v Speaker 2>from the South, but from us New York Northeasterners. We

0:33:24.080 --> 0:33:26.400
<v Speaker 2>knew that guys that sound like that are going to

0:33:26.440 --> 0:33:29.880
<v Speaker 2>be looking for their own heroes eventually, so that was

0:33:29.920 --> 0:33:34.080
<v Speaker 2>the target to find a star artist GROUW. So you

0:33:34.160 --> 0:33:37.320
<v Speaker 2>knew that there was an underserved community. Yes, we definitely

0:33:37.360 --> 0:33:41.200
<v Speaker 2>knew because everything Dominant was from New York and also Philly,

0:33:41.240 --> 0:33:45.800
<v Speaker 2>like there was the Northeast. They all just what we wanted. No,

0:33:46.080 --> 0:33:48.760
<v Speaker 2>so when other people were trying to immulate New York,

0:33:48.800 --> 0:33:51.840
<v Speaker 2>but they weren't being who they really were. So this

0:33:52.040 --> 0:33:55.760
<v Speaker 2>demo comes across the table at Palace Records and me

0:33:55.880 --> 0:33:59.560
<v Speaker 2>and Roy lose our minds. We like, you know, what

0:33:59.640 --> 0:34:03.000
<v Speaker 2>are my hearing? We hadn't heard anything like it. Some

0:34:03.080 --> 0:34:06.200
<v Speaker 2>of their harmonies were a little bit bone thugs in harmony,

0:34:06.240 --> 0:34:09.920
<v Speaker 2>but their rhythms and everything when we connect and lean in,

0:34:10.400 --> 0:34:14.440
<v Speaker 2>they had developed their own iconography. They had this southern

0:34:14.640 --> 0:34:18.280
<v Speaker 2>western hay in the middle of the bond, the rodeo.

0:34:18.600 --> 0:34:21.160
<v Speaker 2>Their style of music, they call it giddy up. I

0:34:21.239 --> 0:34:24.120
<v Speaker 2>was like, oh my god, this is perfect. But the

0:34:24.239 --> 0:34:28.400
<v Speaker 2>surprising thing was these guys were from Chicago, so I

0:34:28.560 --> 0:34:32.040
<v Speaker 2>was always curious about Chicago and in developing and signing

0:34:32.080 --> 0:34:34.719
<v Speaker 2>and working with this group. I immersed myself in the

0:34:34.800 --> 0:34:38.839
<v Speaker 2>Chicago scene, looked into the blues history, knowing that it

0:34:38.920 --> 0:34:43.280
<v Speaker 2>was when these southern Mississippi Delta blues acts go to Chicago,

0:34:43.520 --> 0:34:46.800
<v Speaker 2>they get electricity and the electric guitar for the first time.

0:34:46.920 --> 0:34:49.200
<v Speaker 2>So I was like, this is the shit that the beatles.

0:34:49.239 --> 0:34:51.120
<v Speaker 2>I was like, let me, I need to really understand

0:34:51.120 --> 0:34:53.839
<v Speaker 2>what's going in. So I went into the rabbit hole,

0:34:54.239 --> 0:34:57.600
<v Speaker 2>signed this group and they blew the hell up. But

0:34:57.640 --> 0:35:01.960
<v Speaker 2>what was surprising is black folk folks that migrated to

0:35:02.120 --> 0:35:06.440
<v Speaker 2>Chicago in the Great Migration, those that went to the

0:35:06.440 --> 0:35:11.040
<v Speaker 2>West Side of Chicago retained a lot of their Southern flavor.

0:35:11.640 --> 0:35:15.719
<v Speaker 2>The whole energy was Southern. And the group literally told me, look, man,

0:35:15.760 --> 0:35:18.560
<v Speaker 2>we was trying to get on and the one thing

0:35:18.640 --> 0:35:21.880
<v Speaker 2>we realized we all had was a Southern country vibe.

0:35:21.880 --> 0:35:24.440
<v Speaker 2>We was like, let's just build on it. That was

0:35:24.480 --> 0:35:26.040
<v Speaker 2>the genius thing that they did.

0:35:26.200 --> 0:35:29.600
<v Speaker 1>And when that thing, it was nothing like it.

0:35:29.640 --> 0:35:32.120
<v Speaker 2>And I went to work. I did the first videos,

0:35:32.200 --> 0:35:35.799
<v Speaker 2>we imaged them, we put an independent team together, we

0:35:35.840 --> 0:35:37.560
<v Speaker 2>got a couple of gold records. We could have went

0:35:37.600 --> 0:35:41.320
<v Speaker 2>a lot further, unfortunately we did. They were literally rock stars.

0:35:41.320 --> 0:35:45.480
<v Speaker 2>There was some street shit. Unfortunately too often times is

0:35:45.520 --> 0:35:48.359
<v Speaker 2>the case that really made it all go sour. I mean,

0:35:48.480 --> 0:35:52.720
<v Speaker 2>Kanye was in this peripherals because they had a deal

0:35:53.200 --> 0:35:55.440
<v Speaker 2>and we Kanye was I think he might've been with

0:35:55.480 --> 0:35:57.719
<v Speaker 2>a group then, but we were hearing about all these

0:35:57.719 --> 0:36:00.520
<v Speaker 2>other little things that was twisted. It was there was

0:36:00.840 --> 0:36:06.160
<v Speaker 2>Oh man, it was an interesting thing around them. That

0:36:06.360 --> 0:36:09.960
<v Speaker 2>was incredible because I'm like, this is a megacity. How

0:36:10.040 --> 0:36:13.920
<v Speaker 2>come Chicago hasn't emerged with a hip hop group yet?

0:36:14.320 --> 0:36:16.920
<v Speaker 2>And it was our turn and they were ready and

0:36:16.960 --> 0:36:19.560
<v Speaker 2>we were able to have some success with them at

0:36:19.560 --> 0:36:20.440
<v Speaker 2>that point in time.

0:36:32.480 --> 0:36:35.480
<v Speaker 1>All right, So I luckily and then, as I explained earlier,

0:36:35.520 --> 0:36:42.439
<v Speaker 1>that we moved to Europe where half the people I met,

0:36:42.719 --> 0:36:46.239
<v Speaker 1>half the girls I met, Like that's how they're learning English.

0:36:46.920 --> 0:36:51.400
<v Speaker 2>Yeah, but was through through TV reps.

0:36:51.600 --> 0:36:55.200
<v Speaker 1>I've heard that story to do is what cigarettes are

0:36:55.320 --> 0:36:57.840
<v Speaker 1>to prison, while tapes of Yodam.

0:36:57.880 --> 0:37:01.400
<v Speaker 2>TV raps was literally some of my favorite stories is

0:37:01.440 --> 0:37:04.359
<v Speaker 2>hearing people share about how they viewed the show from Yeah,

0:37:04.640 --> 0:37:08.600
<v Speaker 2>I would VHS tapes, I go home and then bring

0:37:08.640 --> 0:37:10.360
<v Speaker 2>it back to Europe and it was like I was

0:37:10.360 --> 0:37:11.280
<v Speaker 2>the Internet.

0:37:11.400 --> 0:37:14.640
<v Speaker 1>So we were lucky enough to get on the last

0:37:14.680 --> 0:37:15.640
<v Speaker 1>week of the show.

0:37:16.280 --> 0:37:19.200
<v Speaker 2>But the ED and dre version, how did your TV

0:37:19.320 --> 0:37:22.080
<v Speaker 2>reps end? Like I know they may not recall, I

0:37:22.120 --> 0:37:23.960
<v Speaker 2>just want to refreshment. I'm so glad you put that up.

0:37:24.719 --> 0:37:27.560
<v Speaker 2>So it was just a whole bunch of things going on,

0:37:27.840 --> 0:37:31.200
<v Speaker 2>the videos having to be cut this out, got to

0:37:31.280 --> 0:37:33.880
<v Speaker 2>cut that out, can't wear this brand, can't wear that brand,

0:37:33.880 --> 0:37:36.200
<v Speaker 2>and that would be on the labels to have to

0:37:36.239 --> 0:37:40.160
<v Speaker 2>make these edits when the videos were already getting exposed

0:37:40.200 --> 0:37:43.520
<v Speaker 2>on other platforms, whereas we had had the free reign,

0:37:43.640 --> 0:37:46.920
<v Speaker 2>the standards and practices as you know. But you guys

0:37:47.000 --> 0:37:50.360
<v Speaker 2>had come in and did a performance and we turned

0:37:50.360 --> 0:37:53.400
<v Speaker 2>that performance into a music video that we would play.

0:37:53.520 --> 0:37:56.600
<v Speaker 2>If you may not recall that you guys had performed

0:37:56.640 --> 0:38:00.200
<v Speaker 2>in the studio from my show your TV raps, and

0:38:00.239 --> 0:38:03.720
<v Speaker 2>we filmed it two or three cameras, there's the basic

0:38:03.760 --> 0:38:05.840
<v Speaker 2>cameras in the studio and we cut I can't remember

0:38:05.840 --> 0:38:08.759
<v Speaker 2>it was from the first album, and we cut that

0:38:08.840 --> 0:38:11.239
<v Speaker 2>into a video clip that we were that we then

0:38:11.280 --> 0:38:13.960
<v Speaker 2>would air because we were so into what you guys

0:38:14.000 --> 0:38:16.680
<v Speaker 2>were doing. Even though stets A Sonic bill themselves as

0:38:16.719 --> 0:38:19.719
<v Speaker 2>a hip hop band, you guys were an actual band.

0:38:19.800 --> 0:38:24.200
<v Speaker 2>We don't say that I want to smoke Daddyo. I

0:38:24.239 --> 0:38:27.360
<v Speaker 2>mean no, Daddyo was definitely a band, but it was

0:38:27.600 --> 0:38:29.880
<v Speaker 2>like the Roar jazz group. I'm like, okay, I'll be

0:38:30.239 --> 0:38:32.120
<v Speaker 2>but you guys had a full on band. You remember that,

0:38:32.200 --> 0:38:34.640
<v Speaker 2>you know, the upright base playing the whole star of course,

0:38:34.680 --> 0:38:37.160
<v Speaker 2>and I love Daddy Yo. I directed talking all that job.

0:38:37.239 --> 0:38:39.359
<v Speaker 2>I know you this that's a son which I love.

0:38:39.440 --> 0:38:41.560
<v Speaker 2>But but you guys were great and we just loved

0:38:41.600 --> 0:38:43.440
<v Speaker 2>what you were doing. You came in with instruments and

0:38:43.480 --> 0:38:46.320
<v Speaker 2>we cut a performance you had did on the stage

0:38:46.440 --> 0:38:49.480
<v Speaker 2>into a video. Anyway, we was just huge fans. Wow,

0:38:49.800 --> 0:38:53.240
<v Speaker 2>thank you guys. Like, how did the show end? Well?

0:38:53.320 --> 0:38:56.280
<v Speaker 2>Once again? Because we kept having to edit. I guess

0:38:56.440 --> 0:38:58.640
<v Speaker 2>you know, look, I didn't want to be married to

0:38:58.760 --> 0:39:01.279
<v Speaker 2>doing it. I felt like it had it had a

0:39:01.280 --> 0:39:04.000
<v Speaker 2>good run, could have maybe could have maybe got another

0:39:04.080 --> 0:39:06.920
<v Speaker 2>year out of it, but we were getting so much competition.

0:39:07.920 --> 0:39:10.280
<v Speaker 2>It just they've just pulled the plug.

0:39:10.320 --> 0:39:12.879
<v Speaker 1>But it's weird because like when y'all ended, that's when

0:39:12.960 --> 0:39:15.040
<v Speaker 1>hip hop really became big ass business.

0:39:15.160 --> 0:39:17.680
<v Speaker 2>Yeah, so we kind of planted those seeds and set

0:39:17.719 --> 0:39:20.280
<v Speaker 2>the stage for it to do what it did. Look

0:39:20.360 --> 0:39:23.960
<v Speaker 2>it was a miraculous thing that happened. I detail in

0:39:24.000 --> 0:39:27.799
<v Speaker 2>the book. Peter Darty was one of the original good

0:39:27.880 --> 0:39:30.640
<v Speaker 2>friend of mine that lobbied up and down the hallways

0:39:30.880 --> 0:39:33.399
<v Speaker 2>to get this show on the air. Pitched me as

0:39:33.440 --> 0:39:36.520
<v Speaker 2>the host. I always thought that was a pie in

0:39:36.560 --> 0:39:39.400
<v Speaker 2>the sky, get out of hire, Peter, ah whatever, but

0:39:39.520 --> 0:39:42.600
<v Speaker 2>he kept at it. Ted Demi came into the mix.

0:39:42.680 --> 0:39:45.680
<v Speaker 2>He was a huge rap fan. He was campaigning along

0:39:45.719 --> 0:39:49.040
<v Speaker 2>with Peter. They gave it a shot. Ratings broke. They

0:39:49.080 --> 0:39:53.359
<v Speaker 2>thought the Nielsen machine broke. Was it debatable or like?

0:39:53.520 --> 0:39:55.560
<v Speaker 2>Was it like, we don't know this is gonna work

0:39:55.600 --> 0:40:00.640
<v Speaker 2>for we TV. Early on was following the radio playlist,

0:40:00.719 --> 0:40:05.480
<v Speaker 2>so to speak, which was pretty much segregated. Pop meant white.

0:40:06.680 --> 0:40:08.960
<v Speaker 2>They had to soul the R and B. There wasn't

0:40:09.000 --> 0:40:12.000
<v Speaker 2>even a rap chart yet. A lot of black folks

0:40:12.080 --> 0:40:14.960
<v Speaker 2>wasn't checking for rap. It was too ghetto five. It

0:40:15.000 --> 0:40:18.040
<v Speaker 2>was they were trying to move on up George Jefferson's style.

0:40:18.120 --> 0:40:21.280
<v Speaker 2>It wasn't trying to be cats holding their dick stand

0:40:21.360 --> 0:40:25.480
<v Speaker 2>on the corner looking thuggish, the Frankie Crackers the Dawn

0:40:25.560 --> 0:40:27.920
<v Speaker 2>Corner even know Frankie was a hero. These cats, I

0:40:28.000 --> 0:40:31.040
<v Speaker 2>understood that wasn't their thing. They were trying to put

0:40:31.040 --> 0:40:33.640
<v Speaker 2>the three P seed on and popped air collar and

0:40:33.680 --> 0:40:38.040
<v Speaker 2>they wasn't trying to represent that. And so but once

0:40:38.080 --> 0:40:41.640
<v Speaker 2>again MTV was following the model of radio, which was

0:40:42.320 --> 0:40:48.239
<v Speaker 2>essentially segregated, essentially structured racism, and that's what it was.

0:40:48.360 --> 0:40:51.239
<v Speaker 2>And Rick James threatened to sue and other groups made

0:40:51.239 --> 0:40:53.719
<v Speaker 2>a big stink. We all know that Michael Jackson stories.

0:40:53.800 --> 0:40:56.319
<v Speaker 2>How yetting the car threatened to pull all all the

0:40:56.360 --> 0:41:00.479
<v Speaker 2>stuff that we heard Peter lobbying. These guys really got

0:41:00.520 --> 0:41:02.680
<v Speaker 2>them to give it a go, and the numbers went

0:41:02.719 --> 0:41:05.560
<v Speaker 2>through the roof. So we had an incredible run. What

0:41:05.719 --> 0:41:08.920
<v Speaker 2>makes the run for me so significant and important, It

0:41:08.960 --> 0:41:11.880
<v Speaker 2>wasn't obviously just the fact that I was hosting, but

0:41:11.920 --> 0:41:16.759
<v Speaker 2>it was so many pivotal groups define different moles of

0:41:16.800 --> 0:41:21.120
<v Speaker 2>the culture. The first time you saw ice Cube, you know,

0:41:21.360 --> 0:41:25.360
<v Speaker 2>Nwa slick Rick, We'd go to Philly. Somebody just shot

0:41:25.400 --> 0:41:26.920
<v Speaker 2>me the link. And when I went to Philly and

0:41:26.960 --> 0:41:31.560
<v Speaker 2>did three times Jazzy Jeff, I'm getting cheese steaks, that

0:41:31.719 --> 0:41:34.560
<v Speaker 2>was we got to do that. The Gettle Boys in

0:41:35.080 --> 0:41:38.360
<v Speaker 2>Houston We got to go to Liberty City and film

0:41:38.400 --> 0:41:41.440
<v Speaker 2>when it was Luke skywalking the two live crew, so

0:41:41.480 --> 0:41:44.120
<v Speaker 2>to show that for the first time and to really

0:41:44.520 --> 0:41:48.520
<v Speaker 2>shake up the viewership of the country. Black, white, and

0:41:48.600 --> 0:41:52.279
<v Speaker 2>otherwise all tapped in at a pivotal time when those

0:41:52.320 --> 0:41:55.880
<v Speaker 2>groups all emerged. Tupac, who was on the show numerous times,

0:41:56.080 --> 0:41:58.719
<v Speaker 2>so so many people that defined the culture even to

0:41:58.760 --> 0:42:01.680
<v Speaker 2>this day. If you will, you got to first see

0:42:01.719 --> 0:42:05.960
<v Speaker 2>them along with me and also Ed and Dre on

0:42:06.000 --> 0:42:09.880
<v Speaker 2>YourTV raps. What was your favorite episode? Like what is

0:42:09.920 --> 0:42:16.000
<v Speaker 2>your Well, the NWA episode ranks high, but I feel

0:42:15.280 --> 0:42:18.720
<v Speaker 2>like an important episode. Yeah, no, it's an important episode.

0:42:18.760 --> 0:42:23.239
<v Speaker 2>But my favorite episodes because I'm a globalist, we got

0:42:23.239 --> 0:42:25.720
<v Speaker 2>to travel. A lot of people don't know that MTV

0:42:25.920 --> 0:42:27.839
<v Speaker 2>was sort of a franchise at that time. We were

0:42:27.880 --> 0:42:30.040
<v Speaker 2>the only show that was on in every other market

0:42:30.080 --> 0:42:33.640
<v Speaker 2>around the world, so that was MTV Europe, MTV Asia,

0:42:33.920 --> 0:42:37.520
<v Speaker 2>MTV Brazil. So to get to travel to those places

0:42:37.600 --> 0:42:41.239
<v Speaker 2>and film your MTV rap to be in real interviewing

0:42:41.440 --> 0:42:44.600
<v Speaker 2>hip hop acts was incredible for me because I'm like,

0:42:44.640 --> 0:42:46.759
<v Speaker 2>I can't believe I'm here doing this. To go to

0:42:47.400 --> 0:42:51.600
<v Speaker 2>Japan in the early nineties and interview hip hop, to

0:42:52.080 --> 0:42:56.440
<v Speaker 2>to find Japanese rap groups and showcase the culture there,

0:42:56.600 --> 0:42:58.960
<v Speaker 2>to go to Europe to be in England. So the

0:42:59.080 --> 0:43:01.600
<v Speaker 2>times when I went out of the country were for

0:43:01.680 --> 0:43:05.719
<v Speaker 2>me the most significant and important because I knew that

0:43:05.760 --> 0:43:09.239
<v Speaker 2>the show was being seen in Europe and just to

0:43:09.320 --> 0:43:13.080
<v Speaker 2>be to see I'm curious and fascinated. How did you

0:43:13.080 --> 0:43:16.520
<v Speaker 2>guys connect with this was a big thing for me.

0:43:16.800 --> 0:43:19.520
<v Speaker 2>What episode were you not able?

0:43:19.640 --> 0:43:22.000
<v Speaker 1>Like, surely there has to be an episode that you

0:43:22.040 --> 0:43:24.960
<v Speaker 1>thought was going to happen and didn't happen, or like.

0:43:26.080 --> 0:43:30.000
<v Speaker 2>Well, what becomes that episode is that leaders of a

0:43:30.080 --> 0:43:33.520
<v Speaker 2>leader school breakup. It was only a moment that the

0:43:33.560 --> 0:43:39.440
<v Speaker 2>cameraman caught that showcases what was happening, but it would have.

0:43:39.600 --> 0:43:44.520
<v Speaker 2>It's just one of the most incredible things that occurred. Unfortunately,

0:43:44.840 --> 0:43:48.239
<v Speaker 2>a really impactful group and Buster goes on to become

0:43:48.239 --> 0:43:50.920
<v Speaker 2>a superstar. I'm sure the other guys would have as well,

0:43:51.360 --> 0:43:53.600
<v Speaker 2>but it was just it was a lot of great moments,

0:43:53.719 --> 0:43:55.600
<v Speaker 2>I tell you. One of the greatest moments for me

0:43:55.680 --> 0:44:00.520
<v Speaker 2>early on was when the Grammys finally decided to represent

0:44:00.600 --> 0:44:05.160
<v Speaker 2>hip hop, but not to televise top episode. The episode

0:44:05.360 --> 0:44:07.880
<v Speaker 2>and So what we came up with was we're gonna

0:44:07.920 --> 0:44:14.480
<v Speaker 2>give a post Grammys boycott the Grammy party that everybody

0:44:14.640 --> 0:44:17.680
<v Speaker 2>showed up at this was the big thing, including little Richard,

0:44:18.239 --> 0:44:24.600
<v Speaker 2>including Malcolm Forbes, the billionaire owner Forbes magazine, Dennis Hopper,

0:44:25.160 --> 0:44:27.920
<v Speaker 2>a whole array of people like I couldn't believe I'm

0:44:27.920 --> 0:44:31.360
<v Speaker 2>getting the interview, these people on young TV raps in

0:44:31.480 --> 0:44:36.640
<v Speaker 2>support of this something that now you know is rappers

0:44:36.680 --> 0:44:40.279
<v Speaker 2>get the television time when the Grammys happened, But it

0:44:40.320 --> 0:44:41.600
<v Speaker 2>didn't happen at that point.

0:44:41.800 --> 0:44:46.040
<v Speaker 1>Okay, as I wind down, Yes, my final questions. Look,

0:44:46.120 --> 0:44:49.400
<v Speaker 1>I know y'all like you didn't ask about trust me.

0:44:49.480 --> 0:44:51.840
<v Speaker 1>I got Jimmy jam this and literally make this a

0:44:51.920 --> 0:44:53.520
<v Speaker 1>six hour interview.

0:44:53.600 --> 0:44:57.880
<v Speaker 2>But Jimmy jams this like a seven hour interview. I

0:44:57.880 --> 0:44:58.839
<v Speaker 2>got a day job. Though.

0:44:59.280 --> 0:45:03.560
<v Speaker 1>So as far as your artifact or your art collection,

0:45:03.640 --> 0:45:05.800
<v Speaker 1>which I'm sure now is in the Schamberg.

0:45:05.400 --> 0:45:08.000
<v Speaker 2>Has a lot of stuff, is what is what is

0:45:08.080 --> 0:45:10.440
<v Speaker 2>your not most valuable?

0:45:10.480 --> 0:45:14.840
<v Speaker 1>What is your most prized possession as an artifact collector?

0:45:15.719 --> 0:45:18.080
<v Speaker 2>Well, you know, I don't know if it's most prize.

0:45:18.440 --> 0:45:21.160
<v Speaker 2>I have collected and saved a bunch of stuff. What

0:45:21.280 --> 0:45:23.319
<v Speaker 2>is your art game, like I always wanted to know.

0:45:23.880 --> 0:45:26.120
<v Speaker 2>You know, listen, when you're an artist and your other

0:45:26.160 --> 0:45:29.080
<v Speaker 2>friends are artists, you typically give each other work. So

0:45:29.280 --> 0:45:34.080
<v Speaker 2>among my friends that were artists, Keith, Jean Michelle, Boskiya

0:45:34.239 --> 0:45:38.000
<v Speaker 2>Futura two thousand, Lee Kenyonis, we would give each other work.

0:45:38.320 --> 0:45:41.560
<v Speaker 2>I have work from my friends that made art. They

0:45:41.600 --> 0:45:44.520
<v Speaker 2>have work of mind. That's the greatest art collection of all.

0:45:44.680 --> 0:45:47.919
<v Speaker 2>It's not the greatest, They're not the most important pieces,

0:45:48.160 --> 0:45:51.760
<v Speaker 2>you know, but I have work and they're like mementos

0:45:51.800 --> 0:45:55.120
<v Speaker 2>from friends that you just look at as almost this

0:45:55.280 --> 0:45:57.200
<v Speaker 2>is my friend, you know what I mean. It's not like, oh,

0:45:57.239 --> 0:45:59.800
<v Speaker 2>I have this thing and it's now worth this because

0:45:59.800 --> 0:46:02.360
<v Speaker 2>that it's kind of crazy, particularly around Jean Michelle. You know,

0:46:02.440 --> 0:46:06.880
<v Speaker 2>those numbers went so out of this is that feel

0:46:06.960 --> 0:46:10.960
<v Speaker 2>to see the I wish there was a better word

0:46:11.000 --> 0:46:13.719
<v Speaker 2>than the commercialization of it all. But would you ever.

0:46:13.640 --> 0:46:17.120
<v Speaker 1>Imagine the day where, like with Harry and with Mosco,

0:46:17.320 --> 0:46:18.560
<v Speaker 1>that there now.

0:46:18.880 --> 0:46:24.240
<v Speaker 2>It's unimaginable the level of success. But what's so satisfying

0:46:24.719 --> 0:46:27.560
<v Speaker 2>is that this was what we all planned and talked

0:46:27.600 --> 0:46:32.719
<v Speaker 2>about when we were homies hanging. We basically aware and

0:46:32.760 --> 0:46:36.040
<v Speaker 2>that's what grew me and Jean Michelle to be close

0:46:36.280 --> 0:46:39.439
<v Speaker 2>because from a very young age, cutting school and going

0:46:39.480 --> 0:46:41.839
<v Speaker 2>to museums, which is a big adventure of mine as

0:46:41.880 --> 0:46:44.719
<v Speaker 2>a kid, I learned about and became very comfortable around

0:46:44.760 --> 0:46:48.320
<v Speaker 2>the idea of making art. I read about Giorgio Vasari,

0:46:48.640 --> 0:46:51.719
<v Speaker 2>the person that literally invented the idea of the Renaissance,

0:46:52.000 --> 0:46:56.719
<v Speaker 2>and understood the significance and why I and Jehan and

0:46:56.800 --> 0:46:59.960
<v Speaker 2>Keith wanted to force ourselves into that space and find

0:47:00.239 --> 0:47:04.800
<v Speaker 2>the way around the kind of gatekeepers to be looked

0:47:04.840 --> 0:47:08.480
<v Speaker 2>at and accepted as visual artists. The fact that we

0:47:08.480 --> 0:47:11.759
<v Speaker 2>were able to pull that off is remarkable. The fact

0:47:11.840 --> 0:47:14.800
<v Speaker 2>that Jean Michelle and Keith are not here is satisfucked

0:47:14.880 --> 0:47:19.480
<v Speaker 2>because clearly, you know, they just fit this. You know,

0:47:19.600 --> 0:47:25.080
<v Speaker 2>live fast, die young model if you will. That's unfortunate,

0:47:25.440 --> 0:47:29.240
<v Speaker 2>it's a part of whatever. But the things that particularly

0:47:29.360 --> 0:47:31.960
<v Speaker 2>Jean would have went on to do. We both talked

0:47:31.960 --> 0:47:36.360
<v Speaker 2>about making music, making film, being involved in other areas.

0:47:36.560 --> 0:47:39.120
<v Speaker 2>Jean put his foot in those waters and would have continued.

0:47:39.320 --> 0:47:42.319
<v Speaker 2>He starred in a film called Down Tent eighty one

0:47:42.440 --> 0:47:45.680
<v Speaker 2>that all of our crew is also in. He made

0:47:45.680 --> 0:47:48.439
<v Speaker 2>a record after I turned him on the hip hop.

0:47:48.560 --> 0:47:51.919
<v Speaker 2>He took rammel Z and this kid k Rob into

0:47:51.920 --> 0:47:54.680
<v Speaker 2>the studio and made this record Beatbop, and he would

0:47:54.719 --> 0:47:56.239
<v Speaker 2>have went on to do a lot more of that.

0:47:56.640 --> 0:48:01.319
<v Speaker 2>We would have probably produced films together. Keith was very

0:48:01.360 --> 0:48:05.600
<v Speaker 2>fascinated with animation early on in the Times the spectrum

0:48:05.680 --> 0:48:09.440
<v Speaker 2>board in Times Square, which was this little digital thing.

0:48:09.480 --> 0:48:12.920
<v Speaker 2>It looks like a pixel. It's so low budget looking

0:48:13.000 --> 0:48:15.719
<v Speaker 2>compared to where we are now with digital imagery. I

0:48:15.760 --> 0:48:19.920
<v Speaker 2>remember when Keith got to put his little characters on

0:48:20.080 --> 0:48:22.200
<v Speaker 2>that spectrum and all of us went to Times Square

0:48:22.239 --> 0:48:25.040
<v Speaker 2>to watch his stuff in Times Square. That was exciting.

0:48:25.080 --> 0:48:26.920
<v Speaker 2>He would have went on to do so much more

0:48:27.040 --> 0:48:32.080
<v Speaker 2>with animation, probably would have came up with a family

0:48:32.160 --> 0:48:34.960
<v Speaker 2>guy type of animated it. Because these are other interests

0:48:35.040 --> 0:48:38.319
<v Speaker 2>that we had and wanted to pursue. So it's sad

0:48:38.360 --> 0:48:40.680
<v Speaker 2>that these dear friends of mine are no longer here,

0:48:40.880 --> 0:48:45.040
<v Speaker 2>but it is so satisfying to see their legacies thrive

0:48:45.640 --> 0:48:52.359
<v Speaker 2>and undisputed like major figures in modern art. And that's

0:48:52.480 --> 0:48:54.120
<v Speaker 2>just incredible that that happened.

0:48:54.239 --> 0:48:57.920
<v Speaker 1>Okay, so, because you're a renaissance person, what would you say,

0:48:58.200 --> 0:49:03.239
<v Speaker 1>You're three proudest that you and everything that you've done.

0:49:02.560 --> 0:49:06.600
<v Speaker 2>Helping people, Probably the first and foremost and somehow connected

0:49:07.000 --> 0:49:10.440
<v Speaker 2>is the idea that I brought to Charlie for Wild Style,

0:49:10.640 --> 0:49:16.360
<v Speaker 2>is to show these forms as coming from one place

0:49:16.719 --> 0:49:20.440
<v Speaker 2>or space, so to speak. There was no connection between

0:49:20.520 --> 0:49:24.600
<v Speaker 2>this idea, and keep in mind everybody doing graffiti wasn't

0:49:24.640 --> 0:49:27.880
<v Speaker 2>into hip hop and vice versa. But to make it

0:49:28.239 --> 0:49:32.680
<v Speaker 2>a strong representation of youth culture in New York at

0:49:32.680 --> 0:49:36.040
<v Speaker 2>that time, I wanted to tell this narrative and that

0:49:36.239 --> 0:49:40.160
<v Speaker 2>was what I proposed to Charlie Ahearn, who said, let's

0:49:40.160 --> 0:49:45.080
<v Speaker 2>make this movie. There was no previous connection between this music,

0:49:45.400 --> 0:49:49.480
<v Speaker 2>this dance, and this form of visual art as such.

0:49:49.680 --> 0:49:54.440
<v Speaker 2>And the idea was to make a film that showcased that,

0:49:54.800 --> 0:49:59.120
<v Speaker 2>because not just that I want to create a platform

0:49:59.320 --> 0:50:02.520
<v Speaker 2>for myself a visual artist, but I wanted to represent

0:50:03.160 --> 0:50:07.880
<v Speaker 2>us in general, because there was only negative depictions of young, hip,

0:50:08.320 --> 0:50:12.040
<v Speaker 2>urban black and brown youth in New York press. It

0:50:12.080 --> 0:50:15.719
<v Speaker 2>was always connected to some negative criminal shit. I'm like,

0:50:15.800 --> 0:50:18.160
<v Speaker 2>we are more than that. And I didn't want to

0:50:18.200 --> 0:50:23.200
<v Speaker 2>be perceived as a folk artist outside of artists, you know.

0:50:23.840 --> 0:50:27.480
<v Speaker 2>And I didn't come from a fly expensive art school,

0:50:27.719 --> 0:50:29.960
<v Speaker 2>but I wanted to like figure out a way to

0:50:30.000 --> 0:50:32.239
<v Speaker 2>slip in and get in. That was the mission. When

0:50:32.280 --> 0:50:34.960
<v Speaker 2>I connected with Jean Michelle, he was in sync with

0:50:35.040 --> 0:50:38.160
<v Speaker 2>that whole shit you feel me, and we got busy

0:50:38.560 --> 0:50:40.600
<v Speaker 2>and that was an underlying thing. And then we wanted,

0:50:40.640 --> 0:50:42.560
<v Speaker 2>when we got the door open, one to pull other

0:50:42.600 --> 0:50:45.160
<v Speaker 2>heads in with us. So we was able to get

0:50:45.160 --> 0:50:48.160
<v Speaker 2>a lot of that done, I'm happy to say. And

0:50:48.200 --> 0:50:50.560
<v Speaker 2>I go deep into all of that, and everybody like

0:50:50.560 --> 0:50:52.880
<v Speaker 2>you better get your copy, baby, stop fronting it. And

0:50:52.920 --> 0:50:57.040
<v Speaker 2>the audiobook is crazy. Audiobook is crazy, by the way.

0:50:56.920 --> 0:50:59.040
<v Speaker 1>You said something, and it just hit me. I had

0:50:59.040 --> 0:51:03.000
<v Speaker 1>an epiphany. So we are now living. I will call

0:51:03.080 --> 0:51:06.840
<v Speaker 1>him the real hip hop Mayor with Madonna.

0:51:07.120 --> 0:51:12.200
<v Speaker 2>That's incredible, Yes, real hip hop. I have a dream

0:51:12.480 --> 0:51:14.040
<v Speaker 2>and that dream is.

0:51:15.400 --> 0:51:19.479
<v Speaker 1>Like I think he will allow if there's some sort

0:51:19.480 --> 0:51:23.600
<v Speaker 1>of art week or graffiti week or whatever, like, what

0:51:23.760 --> 0:51:27.600
<v Speaker 1>is the likelihood if he were to greenlight a project

0:51:27.600 --> 0:51:32.640
<v Speaker 1>in which you guys were, let's take ten trains and

0:51:32.760 --> 0:51:36.000
<v Speaker 1>tag the shit like really, just and it doesn't have

0:51:36.040 --> 0:51:38.680
<v Speaker 1>to be every New York City train, but just I

0:51:38.719 --> 0:51:42.320
<v Speaker 1>have a dream, and I believe that we are of age,

0:51:42.440 --> 0:51:46.400
<v Speaker 1>which we now see it as art and we'll actually

0:51:46.480 --> 0:51:48.400
<v Speaker 1>be there at eight o seven am to go to

0:51:48.440 --> 0:51:50.839
<v Speaker 1>work to see on the Freddy train or.

0:51:51.040 --> 0:51:54.279
<v Speaker 2>Kill like would you be willing to like how is

0:51:54.320 --> 0:51:57.279
<v Speaker 2>your hand now? As far as it's there, I mean,

0:51:57.560 --> 0:51:59.960
<v Speaker 2>it could happen. But I'm a big fan of the man.

0:52:00.360 --> 0:52:04.280
<v Speaker 2>I'm so happy that listen as a filmmaker. His mom's

0:52:04.400 --> 0:52:09.839
<v Speaker 2>films be Salaam, Bombay, Monsoon Wedding. I mean, big fan

0:52:09.920 --> 0:52:14.319
<v Speaker 2>of those films. Even Kama Sutra was my major date

0:52:14.440 --> 0:52:19.360
<v Speaker 2>movie back day. Already know, I get him over to

0:52:19.400 --> 0:52:23.960
<v Speaker 2>watch Kama Sutra and no, it's really going down with

0:52:24.080 --> 0:52:27.920
<v Speaker 2>the Kamma Sutra. Baby, that was like a joint. You know,

0:52:28.880 --> 0:52:30.759
<v Speaker 2>I've got a second out this DVD. I think we

0:52:30.800 --> 0:52:34.719
<v Speaker 2>should watch so nah, but I'm super excited about the man,

0:52:34.960 --> 0:52:37.279
<v Speaker 2>anxious to meet him, and I dig the fact, you know,

0:52:38.040 --> 0:52:39.520
<v Speaker 2>a thing that we didn't touch on. So I made

0:52:39.560 --> 0:52:42.000
<v Speaker 2>a film about cannabis about five or six years old,

0:52:42.040 --> 0:52:45.120
<v Speaker 2>called Grass's Greener, which led me to become a part

0:52:45.160 --> 0:52:47.840
<v Speaker 2>of the cannabis business. I created a brand called b Noble,

0:52:48.400 --> 0:52:50.960
<v Speaker 2>inspired by a gentleman that was given a thirteen year

0:52:51.040 --> 0:52:53.359
<v Speaker 2>sentence for two joints worth the week. So we've been

0:52:53.400 --> 0:52:56.120
<v Speaker 2>working with kure A Leif wherein We've been in different

0:52:56.160 --> 0:53:00.719
<v Speaker 2>states around the country with this, and we've expanded our

0:53:00.760 --> 0:53:04.600
<v Speaker 2>business internationally and we've set up in Kenya and also

0:53:05.040 --> 0:53:09.840
<v Speaker 2>about to do medical cannabis in Uganda. So my business partner,

0:53:10.160 --> 0:53:13.200
<v Speaker 2>Ron Samuel, who's over there right now, has met people

0:53:13.280 --> 0:53:16.759
<v Speaker 2>in Uganda who told him before he got elected. Yo,

0:53:17.239 --> 0:53:19.759
<v Speaker 2>I know this dude. We used to rap. We used

0:53:19.800 --> 0:53:22.400
<v Speaker 2>to all hang out and rap together. I'm like, and

0:53:22.400 --> 0:53:23.560
<v Speaker 2>my man told me. I was like, what are you

0:53:23.560 --> 0:53:26.560
<v Speaker 2>talking about? And then he gets elected. I see the clips,

0:53:26.560 --> 0:53:29.880
<v Speaker 2>I see his videos. Yes, so the cannabis connection is

0:53:30.400 --> 0:53:33.400
<v Speaker 2>real and mom DOMMI, yeah, I'd like to talk. And

0:53:33.760 --> 0:53:36.360
<v Speaker 2>I'm sure he's going to support the efforts for the

0:53:36.440 --> 0:53:39.520
<v Speaker 2>hip Hop Museum which hopefully it was soon open in

0:53:39.560 --> 0:53:42.200
<v Speaker 2>the Bronx and all that good stuff. So yeah, super

0:53:42.400 --> 0:53:45.080
<v Speaker 2>super excited about all that. I've always wanted to have

0:53:45.120 --> 0:53:47.040
<v Speaker 2>this conversation with hang out with you. I'm a big

0:53:47.040 --> 0:53:49.239
<v Speaker 2>fan forever. Remember I used to try to get at

0:53:49.280 --> 0:53:53.040
<v Speaker 2>you about doing a Max roach. Yes, yes, much. Yeah,

0:53:53.120 --> 0:53:56.759
<v Speaker 2>we probably have this conversation. Thank you for coming.

0:53:56.960 --> 0:53:59.200
<v Speaker 3>Thank you for having me, Thank you huge roots Fan

0:53:59.320 --> 0:54:02.880
<v Speaker 3>Forever and Everybody's Fly best and one of the top

0:54:03.040 --> 0:54:06.000
<v Speaker 3>five mcs that ever did it. Thank you Huge Fan,

0:54:06.160 --> 0:54:10.000
<v Speaker 3>Thank you, Fradi Freddy, thank you Everybody's Fly Please buy it.

0:54:10.200 --> 0:54:11.839
<v Speaker 2>Yeah, we'll see you on the next go round. Think

0:54:12.000 --> 0:54:14.160
<v Speaker 2>the Quest Love Show so pleasure. That's a pleasure to

0:54:14.200 --> 0:54:21.719
<v Speaker 2>be here with a lavely discussion Quest.

0:54:21.760 --> 0:54:24.960
<v Speaker 1>The show is hosted by Me Amir quest Love Thompson.

0:54:25.840 --> 0:54:29.680
<v Speaker 1>The executive producers are Sean g Brian Calhoun and Me.

0:54:31.320 --> 0:54:36.600
<v Speaker 1>Produced by Britney Benjamin and Jacob Payne. Produced for iHeart

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<v Speaker 2>Additional support by Lance Coleen Special thanks to Kennedy Wrong.

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