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Speaker 1: Wake that ass up in the morning. The Breakfast Club.

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Speaker 2: Morning everybody, it's the j n V. Charlamagne to God,

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Speaker 2: we are the Breakfast Club. You got a special guest

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Speaker 2: in the building.

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Speaker 3: Come on, man, one of the architects of this thing

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Speaker 3: we call hip hop. Man, one of the people who

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Speaker 3: helped later foundation for this thing we called hip hop.

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Speaker 4: We wouldn't have jobs if it wasn't for this brother.

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Speaker 2: Right, wouldn't be a DJ, if it wasn't for this brother,

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Speaker 2: and most people out there, most DJs out there wouldn't

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Speaker 2: be DJs. If it wasn't No, all DJs wouldn't be

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Speaker 2: it wasn't for this brother, Ladies and gentlemen, grand Master Flash, welcome, thank.

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Speaker 1: You, good morning, black Man, thank you, thank you for

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Speaker 1: having me Man.

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Speaker 4: I appreciate it. Come on, man, happy to have you.

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Speaker 1: Absolutely appreciate this man.

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Speaker 3: You know, we celebrated the fifty years of hip hop,

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Speaker 3: you know, this year, and Nby and I was on

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Speaker 3: the radio having a conversation and it just felt like,

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Speaker 3: you know, the architects, like that era of the eighties,

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Speaker 3: you know, wasn't getting honored properly, and none of us

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Speaker 3: to hear if that, if that foundation isn't late you

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Speaker 3: said the eighties seven, the seventies. Yeah, the seventies from

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Speaker 3: the beginning, and the eighties I feel like weren't getting

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Speaker 3: on it, you know, properly. How do you feel about that,

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Speaker 3: Grand Master Flash?

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Speaker 5: And that's one of the reasons why I feel that

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Speaker 5: it's paramount that I do lectures. I do corporate towards

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Speaker 5: the lectures, and I've been doing them for private people,

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Speaker 5: but now I kind of want to do this for

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Speaker 5: the public so they could understand that this thing didn't

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Speaker 5: just fall out of a tree. It didn't just go

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Speaker 5: from the seventies to where we are. You know, there

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Speaker 5: was four DJs that did this. Coolhork was on the west,

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Speaker 5: AB was Bronx River, African DJ Breakout was the north.

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Speaker 5: I was the east, and pretty much this is how

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Speaker 5: it really started. And you got to realize this, ladies

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Speaker 5: and gentlemen, we did this with no Internet, no social media,

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Speaker 5: no apps, no.

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Speaker 1: Quick hardware where it would just work a lot of

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Speaker 1: these things.

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Speaker 5: As I was telling you, Envy, I had to do

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Speaker 5: this with nothing going into the backyards and you know,

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Speaker 5: getting old receivers and old turntables and stuff and kind

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Speaker 5: of like jury rigging my sound system.

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Speaker 2: For people listening when he says the West to South

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Speaker 2: to nor if he's not talking about West Coast, he's

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Speaker 2: talking about New York. The Bronx, the Bronx, Bronx. I

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Speaker 2: wanted to clear it up. And also, you know I

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Speaker 2: was talking to of course grandmass Flash behind the scenes.

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Speaker 2: A lot of he didn't know, you know, where we

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Speaker 2: had the ability to go to these stores and buy equipment.

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Speaker 1: He had to actually make it.

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Speaker 2: So his first sound system actually came from old cars

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Speaker 2: in the junk yard. He would pull the speakers out

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Speaker 2: of the cars in the junk yard and make sound

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Speaker 2: systems to play at parks and parties and wherever wherever

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Speaker 2: it was. So you had to actually know electronics. And

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Speaker 2: it just wasn't just about DJing, right, So what what

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Speaker 2: got you into wanting to be a DJ? I know

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Speaker 2: you were telling me the story behind the scenes that

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Speaker 2: you know, you were just intrigued by electronics in your

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Speaker 2: house when your mother and father plugged something in and

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Speaker 2: you wanted to understand how it works. So you would

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Speaker 2: start effing up the crib pretty much to figure it out.

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Speaker 5: Yeah, and when I was a toddler, everything in that

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Speaker 5: house that was electrical. I was intrigued, Oh how did

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Speaker 5: that happen? So I used to unscrew the backs of

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Speaker 5: the stereo in the living room. My sister's hair dries

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Speaker 5: the table radio, all these things. And also what got

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Speaker 5: me into this when I was a toddler. My dad

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Speaker 5: was a collector of records. And I'm on this respectable airwaves.

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Speaker 5: So I will just say when I got caught touching

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Speaker 5: his vinyl as a toddler, he used to heavily repermnd me.

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Speaker 1: Right, I can say that. And what I used to

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Speaker 1: do was a kid, I.

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Speaker 5: Waited for him to go to work, and when the

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Speaker 5: door slammed, I went back in that closet and the

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Speaker 5: rule was, you know, don't touch the brown box in

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Speaker 5: the living room.

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Speaker 1: And I used to watch Dad when he came home

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Speaker 1: from work how he operated it.

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Speaker 5: So I figured out how to get into this closet

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Speaker 5: where his stuff was, and I would take this square

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Speaker 5: thing that had a black disc and he would put

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Speaker 5: it in this brown and sound would come out of it.

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Speaker 1: That was probably my first love.

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Speaker 5: But then moving forward, guys, when I heard a drum

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Speaker 5: break from one of the most important black artists of

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Speaker 5: that time, his name was Curtis Mayfield.

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Speaker 1: Move on up that break and then you and I

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Speaker 1: can relate here. That break was.

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Speaker 5: About i'd say about five minutes of just the drums.

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Speaker 1: And I thought all records was like that.

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Speaker 5: So when I started collecting my records, the drum break

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Speaker 5: was like five ten seconds. So what also got me

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Speaker 5: into the DJing is I used to watch the disco

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Speaker 5: DJs like my Boyer Flowers, Pete Jones, and I noticed

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Speaker 5: that their transitions were glass smooth. But then my boys

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Speaker 5: knocked on my door at my mom's house and said,

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Speaker 5: we want to take you to this other side of

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Speaker 5: town to watch these other DJs. And respectfully, I was wondering,

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Speaker 5: why is it that everything that he was doing was

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Speaker 5: a train wreck. He was playing the incredible music, had

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Speaker 5: the incredible sound system, but why was.

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Speaker 1: He playing like that?

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Speaker 5: You know, because the rules are the laws, and you know,

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Speaker 5: especially if you got people on the dance floor, the

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Speaker 5: idea is to keep everybody in unison correct. They should

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Speaker 5: not be trying to find it beat as you transition.

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Speaker 5: So from that point on, it's when I came up

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Speaker 5: with the quick mixed theory. You know what mix theory

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Speaker 5: from a mathematical perspective. I took sonics and through it

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Speaker 5: out the window. Because if I play a song, I

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Speaker 5: hear it a certain way. If I put the headphone

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Speaker 5: on your ear, you hear it a certain way, and shah,

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Speaker 5: you hear a certain way. So I said to myself,

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Speaker 5: I'm going to take that out of the equation and

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Speaker 5: I'm gonna just collect records from all genres pop, rock, jazz, blues, funk, disco,

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Speaker 5: R and B foreign American and just listen to the

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Speaker 5: drum break. And I found that, unlike Curtis Mayfield, these

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Speaker 5: drum breaks on these other records always always short. That

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Speaker 5: made me quite angry. I was disappointed. So in Mom's house,

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Speaker 5: I came up with a hand mechanic fingertips to vinyl

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Speaker 5: fingertips to cross Vader DJ style that is used by

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Speaker 5: every hip hop DJ on planet Earth. And I figured

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Speaker 5: out the way of counting the bars as the vinyl

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Speaker 5: went forward, and how many times I would have to

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Speaker 5: rewind it back to get back to the top of

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Speaker 5: the break and take that ten second break and make

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Speaker 5: it seamlessly ten minutes. So if you on the floor

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Speaker 5: and I'm playing a Michael Jackson drummer break. I'm playing

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Speaker 5: that for ten minutes and I'm gonna flip to a

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Speaker 5: London break or a drumming break or or whatever break.

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Speaker 1: And this became the way.

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Speaker 5: And then what happened was these incredible people called hip

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Speaker 5: hop producers took this style of the seamless loop and

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Speaker 5: I'm gonna show you that on the wheels to steal and.

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Speaker 3: Understand Me'm saying your quick mixed theory turn turned into

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Speaker 3: what people called sampling basically correct.

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Speaker 2: That's so that's exactly what you bring it back from

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Speaker 2: the beginning. But one thing you learn from this interview

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Speaker 2: with grand Master Flash is he's not just a musician

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Speaker 2: when it comes to turntables.

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Speaker 1: He's actually no disrespect.

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Speaker 2: He's a nerd and geek, like he wants to understand

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Speaker 2: the mechanics of it. Most people just want to understand

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Speaker 2: the success of it and be successful and be a

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Speaker 2: big name. But he under actually understands the mechanics of music,

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Speaker 2: DJ and trans positioning records, record players, mixes, just and

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Speaker 2: this is just having a thirty second conversation with Have

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Speaker 2: I figured out.

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Speaker 3: What I found so interressing about this? In the last

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Speaker 3: five minutes you explained where DJing started yep, and where

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Speaker 3: hip hop production start correct, So people will call you

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Speaker 3: an architect and say you're wanted the founding fathers of

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Speaker 3: hip hop.

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Speaker 1: That is why, absolutely thank you. And I gotta tell

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Speaker 1: you it's like.

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Speaker 5: I've been listening to a lot of depressing the promotion,

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Speaker 5: you know, from last summer to now, and this particular

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Speaker 5: area of who, what, where and why is not talked about.

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Speaker 5: Why aren't we talking about what Bam did? And quite frankly,

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Speaker 5: the gang thing was really bad back then Shaw and

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Speaker 5: if he didn't calm that down, they would have not

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Speaker 5: been to a block parties, you know what I'm saying.

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Speaker 5: And then as DJ breakout in the North, he came

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Speaker 5: up with a sound system where he used garbage cans

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Speaker 5: as his base. Bottoms Who Hurt had an amazing sound system.

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Speaker 5: I had the shittiest sound system, but I had a

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Speaker 5: hand technique that people wanted to see, you know. So

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Speaker 5: it's just these kind of things where I go around

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Speaker 5: doing these corporate tours.

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Speaker 1: It's called the birth of a culture.

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Speaker 5: Corporate tourist, and I've been doing a lot of these

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Speaker 5: things privately, but I think that now I have to

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Speaker 5: go to the universities to the YMCAs and do this public.

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Speaker 5: I'm gonna do two major lectures, one in Manhattan and

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Speaker 5: one of the Bronx where it's gonna be free, and

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Speaker 5: I want people to really mechanically understand how I came

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Speaker 5: up with this quick mixed theory and how it connects

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Speaker 5: to where we are right now. You know, I'm gonna

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Speaker 5: keep it real with you. I didn't create hip hop.

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Speaker 5: I didn't coin the word. I created the tools that

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Speaker 5: allowed hip hop to transcend from where it was to

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Speaker 5: where it is. And with how these tools, like the beatbox,

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Speaker 5: the turntables, the quick mixed theory, the extending of a

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Speaker 5: bed of music so a human being can speak, going

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Speaker 5: so that the rapper could be born. These are the

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Speaker 5: things that I did, and these are the things that

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Speaker 5: the world is not talking about.

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Speaker 3: I mean that's especially this year because the focus is

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Speaker 3: on the artist, but it should be a lot more

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Speaker 3: focused on the DJ.

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Speaker 1: And the producer.

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Speaker 2: All I was gonna ask, you know, how do you

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Speaker 2: feel when you look at something that you created, right?

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Speaker 1: And you created out of love?

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Speaker 5: Right?

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Speaker 2: What you said just now? You didn't say it was money.

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Speaker 2: You didn't say I did this because I wanted money,

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Speaker 2: you said, I enjoyed it. I love listening to music,

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Speaker 2: I love playing in the park. And then you see

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Speaker 2: in this the commercial success of hip hop.

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Speaker 1: Right.

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Speaker 2: I sent Charlamagne something this morning about Charris One saying

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Speaker 2: why he didn't want to perform at the Grammys. He

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Speaker 2: felt like the Grammy's never respected hip hop. So why

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Speaker 2: come now, how do you feel when you see the

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Speaker 2: commercial success of hip hop and all these brothers and

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Speaker 2: sisters making money, and all these companies making money off

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Speaker 2: of hip hop, but some of the founders are not

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Speaker 2: making the money that's deserved because if it wasn't for

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Speaker 2: you guys, nobody wouldn't be able to make that money.

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Speaker 1: That's a twofold answer.

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Speaker 5: Just think and be this thing that I did could

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Speaker 5: have missed, And if this all would have missed, I

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Speaker 5: wouldn't be here talking to you right now. So that's

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Speaker 5: one side of it.

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Speaker 1: It exploded.

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Speaker 5: But there are like, there are some companies out there

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Speaker 5: giving away hundreds of thousands of dollars. I've seen this

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Speaker 5: on the internet just recently. But they are those men

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Speaker 5: that are in a hood that didn't have the commercial success.

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Speaker 5: Nobody's saying, hey, here's five hundred thousand dollars for you

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Speaker 5: or one hundred thousand dollars. They're not saying that, Like

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Speaker 5: there are those who lost their life that are not

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Speaker 5: even here to even enjoy this, and they have families,

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Speaker 5: you know. So for me, I have to until God

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Speaker 5: takes me. I have to go around and mechanically break

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Speaker 5: this thing down. I think that people should interview the

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Speaker 5: producers like that. Just that boggles my mind because they're

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Speaker 5: the ones that really.

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Speaker 1: Know how the record is made.

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Speaker 5: They're the one that stays in the studios for two

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Speaker 5: and three days to make sure the record goes from

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Speaker 5: start to finish before the masters is handed in, you know.

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Speaker 1: So for me and people should know more about Coohirk

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Speaker 1: and their team. They should know who Coke the Rocket is.

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Speaker 5: Like they're going around saying he was a rapper, he

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Speaker 5: said DJ I used to watch him, you know. And

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Speaker 5: in this Timmy tim And is the original Clark Ken.

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Speaker 5: You know, people should know who breakout team is Barren

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Speaker 5: you know, and Bam Body and Jazzy J and Grand

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Speaker 5: Master Flashing Graham was your Theaterore. Like all these people

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Speaker 5: and all these names, you don't hear nothing, yes, right,

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Speaker 5: talk to about them when people are putting out this press,

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Speaker 5: they're not even coming to ask, well, Flash, what do

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Speaker 5: you think? And respectfully, I'm gonna say this. For you

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Speaker 5: to really first hand know what this is, you have

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Speaker 5: to be at least sixty years old. And I'll be

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Speaker 5: kind and say fifty eight fifty seven. That means you

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Speaker 5: had a first hand eyeshot of seeing us do this.

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Speaker 5: If you are thirty or you're a forty and you

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Speaker 5: were saying that you are a hip hop extraordinary person,

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Speaker 5: nine times out of ten, if you ain't talking to Flash,

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Speaker 5: you ain't talking to HRK, you ain't talking to BAM,

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Speaker 5: you got secondhand information, and you gotta realize you're feeding

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Speaker 5: the babies like incomplete information.

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Speaker 1: And this is one of the reasons why.

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Speaker 5: Because I tour one hundred and fifty countries a year,

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Speaker 5: so financially I'm good, I'm cutting all that in half

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Speaker 5: because I gotta go to these universities. I got to

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Speaker 5: go to these YMCAs and I gotta teach these babies

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Speaker 5: of where this thing comes from. Because what saddeness mean

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Speaker 5: is this. If you are from a black family, you

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Speaker 5: know who Miles Davis is. If you're from a white family,

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Speaker 5: you know who the Rolling Stones is. Why is this

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Speaker 5: so much of a blur of who, what and why

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Speaker 5: we're and how when it comes to hip hop?

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Speaker 1: Why is that?

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Speaker 3: I think we gotta be the generation to do that

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Speaker 3: because to your point, if you're sixty years old, now

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Speaker 3: you're probably a grandfather, grandmother.

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Speaker 4: Our grandparents weren't listening to.

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Speaker 3: Hip hop, you know, Okay, but now when we got

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Speaker 3: grandparents and grandfathers, grandparents who were listening to hip hop,

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Speaker 3: and then parents who grew up in hip hop, they

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Speaker 3: can tell their kids eight, this is where it started, right.

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Speaker 2: Because, like you said, most if you if you're in

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Speaker 2: the age of forty to fifty, a lot of them,

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Speaker 2: hip hop started with right. I remember, that's where it

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Speaker 2: started from. Because even me, like, you know, my parents

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Speaker 2: weren't in a hip hop but I was. But the

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Speaker 2: first record I ever bought was Run.

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Speaker 3: My dad was seventy something. He didn't he didn't like

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Speaker 3: hip hop at the time. He wanted he was like,

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Speaker 3: you need to listen to James Brown, Temptation, the original rapper.

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Speaker 3: You know, he didn't know nothing about hip hop. He

290
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Speaker 3: didn't want to hear none of that.

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Speaker 5: You know. Well, I think for me and this is

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Speaker 5: such a wonderful time period. But just think of it

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Speaker 5: like this here, and you know, sometimes this makes me

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Speaker 5: want to cry. Sometimes is come August, like the mayor

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Speaker 5: gave me August fourth and cool Hurgust August eleventh, Come

296
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Speaker 5: August twelfth, there's going to be a brand new trend.

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Speaker 5: So we have to get it right now as a

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Speaker 5: black art form that is core, that has done so

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Speaker 5: much for so many people. Of course, we have.

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Speaker 1: To get it right between now and August.

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Speaker 5: Eleventh, or it's going to go down in history incomplete

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Speaker 5: or incorrect. And that scares the crap out of me.

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Speaker 3: So it's safe to say you don't believe the DJ

304
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Speaker 3: he gets to respect they should when it comes to

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Speaker 3: their contraby.

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Speaker 5: Absolutely not, because especially the hip hop DJ that understands

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Speaker 5: the quick mixed story and the mechanics which I will

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Speaker 5: show you, because that led to the sampling and that

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Speaker 5: led to these records being made, and that's what we're celebrating.

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Speaker 5: So we're celebrating the entire cake. But let's go back

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Speaker 5: and celebrate the celebrate the the uh, the eggs and

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Speaker 5: the flour and the water and the vanilla, how the

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Speaker 5: cake was made.

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Speaker 4: The process, the process.

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Speaker 1: Let's celebrate that.

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Speaker 4: Let's see some of the process.

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Speaker 1: Let's do that.

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Speaker 4: Yeah, actually speak louder than what?

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Speaker 5: Now?

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Speaker 1: Could I could? I go right there? All right, we

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Speaker 1: need a pen. I need one of these pens. So

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Speaker 1: in the shop. I want to tell you envy. Yes, sir,

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Speaker 1: I appreciate you. Man. You said something a couple of

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Speaker 1: minutes ago that you thought I would be insulted.

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Speaker 5: I grew up as a geek. I was not hip.

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Speaker 5: I was afraid to wrap the chicks. I stayed in

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Speaker 5: my house, grabbingunk from the junkyard and trying to piece

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Speaker 5: together somewhat of a sound system. And then I came

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Speaker 5: up with a mathematical equation to what is hip hop?

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Speaker 5: And I called it black math. Okay, quick mix theory.

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Speaker 4: Black math.

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Speaker 5: It was impossible for me to write a sonic equation

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Speaker 5: because a sonic equation would then fall under kinetics, and

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Speaker 5: then it would have been really deep for me to

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Speaker 5: write this, So I wrote it from a mathematical perspective.

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Speaker 5: The brain captures a melody in four bars, and that's

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Speaker 5: why I called it the.

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Speaker 1: Quick mixed theory black math.

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Speaker 5: Every DJ uses the hand mechanics of this DJ technique.

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Speaker 5: This got me in so much trouble because I was

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Speaker 5: putting crayons on the record, putting in my hand on

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Speaker 5: the records. Connoisseurs wanted to nail me, disrespect me. They

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Speaker 5: really hated me, shah because they would put the record

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Speaker 5: inside of a little white paper and put it inside

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Speaker 5: and use the velvet brush to clean it off, and

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Speaker 5: they would carefully put it inside the jacket.

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Speaker 6: Me.

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Speaker 1: Fuck that. So I got a lot of flack for

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Speaker 1: doing this. So now there's vinyl one. I'm a horrible drawer.

350
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Speaker 4: So good, we get it.

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Speaker 1: We get it and mix in the middle, vinyl two

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Speaker 1: mm hmm, vinyl two. So this one. The crowds listening

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Speaker 1: to this.

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Speaker 5: Going clockwise, and this is the one that has to

355
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Speaker 5: go counterclockwise. And this particular style of DJing and every

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Speaker 5: hip hop DJ has adopted makes the tone arm ninety

357
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Speaker 5: nine zero point nine percent.

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Speaker 1: Useless. But I would watch those DJs that did this

359
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Speaker 1: heavy on the tone arm, and.

360
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Speaker 5: Every time they would transition, it was a train way

361
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Speaker 5: four bars.

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Speaker 1: Forward. It's equal to six counterclockwise revolutions equals full loop extraction.

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Speaker 5: Every DJ and every hip hop producer that that made

364
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Speaker 5: sample music use this. This theory and me and Envy

365
00:20:06,359 --> 00:20:09,560
Speaker 5: we were talking earlier and he was he said something

366
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Speaker 5: to me, some people never seen turntables.

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Speaker 4: That's right, that's real.

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Speaker 5: I've got so much to do. I've got so many

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Speaker 5: places to go shah, so many people. Because I don't

370
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Speaker 5: know if Breakout's going to get an interview off cool

371
00:20:27,400 --> 00:20:31,800
Speaker 5: Herk or Coke, it's going to get an interview or bam.

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Speaker 5: So right now it's pretty much on me. So the

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Speaker 5: race is on into August.

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Speaker 2: So now with this process for people that don't know

375
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Speaker 2: that's not a DJ, is what you're basically saying is

376
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Speaker 2: back in the day, you came up with this formula

377
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Speaker 2: because there was no instrumental so you had to create

378
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Speaker 2: your own right or.

379
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Speaker 1: The drum break or the drum break short.

380
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Speaker 2: You had to make it longer so people can actually dance,

381
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Speaker 2: and the transition will be like how transitions should be.

382
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Speaker 2: So what you hear now when somebody, especially New York

383
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Speaker 2: where most DJs slam music, meaning you'll go from a

384
00:21:02,320 --> 00:21:05,520
Speaker 2: fast record one hundred tempo to a seventy tempo with

385
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Speaker 2: no transition and you slam it. So this was a

386
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Speaker 2: creation where people wouldn't stop dancing and the party would

387
00:21:11,280 --> 00:21:14,400
Speaker 2: go thoroughly through and people wouldn't even miss a step right,

388
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Speaker 2: which a DJ is supposed to do right. And with

389
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Speaker 2: this meaning forward four balls forward, six balls backward, you'd

390
00:21:20,880 --> 00:21:23,639
Speaker 2: go six balls backward to go back another four balls

391
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Speaker 2: to bring this side, bring the left side six balls.

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Speaker 1: For the four and six.

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Speaker 5: That was the inversion of four to six factor is

394
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Speaker 5: what I called it. And I say four plus six

395
00:21:32,600 --> 00:21:37,520
Speaker 5: it is ten. So if there was a rapper in

396
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Speaker 5: front of me and he needed a quiet area of

397
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Speaker 5: the record where the singer wasn't singing, and it was

398
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Speaker 5: the least people playing with the drummer, and I'm going

399
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Speaker 5: to play a few of those things.

400
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Speaker 1: It shows that, it shows people see it.

401
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Speaker 4: Can you answer one questions? You know?

402
00:21:55,280 --> 00:21:57,720
Speaker 3: Of course, you know they talk about gramdmass flashing the

403
00:21:57,760 --> 00:22:01,280
Speaker 3: Furious five, you know, produced the message, but they.

404
00:22:01,200 --> 00:22:02,960
Speaker 1: Said first DJ to get a Grammy, by the way,

405
00:22:02,960 --> 00:22:03,280
Speaker 1: but that.

406
00:22:03,280 --> 00:22:05,719
Speaker 3: Yes, But I've read some things where they said you

407
00:22:05,800 --> 00:22:07,760
Speaker 3: had nothing to do with the production of it.

408
00:22:07,920 --> 00:22:11,120
Speaker 5: Okay, I had something to do with all of it,

409
00:22:11,640 --> 00:22:20,000
Speaker 5: because that company chased me to get my group serious,

410
00:22:20,560 --> 00:22:23,240
Speaker 5: the whole group. There was the club I played called

411
00:22:23,600 --> 00:22:27,800
Speaker 5: disco Fever and I brought hip hop to this club,

412
00:22:28,480 --> 00:22:32,679
Speaker 5: and Sally Abatello gave me. I wanted a Saturday. He

413
00:22:32,720 --> 00:22:35,679
Speaker 5: gave me a Tuesday, of course, so most clubs do.

414
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Speaker 1: They gave me.

415
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Speaker 5: I called it Terrible Tuesday off Night, right, But in

416
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Speaker 5: about two months time, I was live on that Saturday.

417
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Speaker 1: Thank you, sal You know.

418
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Speaker 5: So for me, the message, probably I had least to

419
00:22:51,400 --> 00:22:55,159
Speaker 5: do with, but I had most to do with it

420
00:22:55,160 --> 00:22:57,280
Speaker 5: because it was my group. And I'm sure they used

421
00:22:57,280 --> 00:23:00,679
Speaker 5: your technique, right, they do they use They used my

422
00:23:00,840 --> 00:23:03,840
Speaker 5: technique to make all their records. The Message was an

423
00:23:03,840 --> 00:23:08,160
Speaker 5: original record, but they knew when they had the Sugar

424
00:23:08,200 --> 00:23:09,880
Speaker 5: Hill Gang, they heard of us.

425
00:23:09,720 --> 00:23:10,320
Speaker 1: In the streets.

426
00:23:10,320 --> 00:23:14,240
Speaker 5: The streets was already ringing Grandmaster Flash and the Phurious Five.

427
00:23:15,080 --> 00:23:20,960
Speaker 5: So she used to come to Terrible Tuesdays every Tuesday,

428
00:23:21,920 --> 00:23:24,560
Speaker 5: just to see how it was, how it was going down.

429
00:23:25,560 --> 00:23:28,879
Speaker 4: So who is she, Sylvia Robins?

430
00:23:29,200 --> 00:23:32,600
Speaker 1: You know? So on Hill. Did I have anything to

431
00:23:32,680 --> 00:23:34,160
Speaker 1: do with that record? Minimal?

432
00:23:34,520 --> 00:23:38,920
Speaker 5: But I had everything to do with it because she

433
00:23:39,200 --> 00:23:40,760
Speaker 5: needed to have us.

434
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Speaker 1: So here we are.

435
00:23:42,840 --> 00:23:44,040
Speaker 3: I want to have one more question for you, get

436
00:23:44,040 --> 00:23:46,240
Speaker 3: on the turntables. How do you feel about DJs today

437
00:23:46,640 --> 00:23:49,359
Speaker 3: with the auto mixing buttons and the different programs that

438
00:23:49,440 --> 00:23:49,960
Speaker 3: make it easy.

439
00:23:52,600 --> 00:23:56,159
Speaker 1: I'm using right now, right, and you know what it is.

440
00:23:56,200 --> 00:23:57,320
Speaker 1: I put it this way.

441
00:23:57,359 --> 00:24:00,480
Speaker 5: I'm a scientist first, I'm a geek first, so I've

442
00:24:00,480 --> 00:24:04,800
Speaker 5: been pushing an envelope for fifty two years, so I

443
00:24:04,880 --> 00:24:08,760
Speaker 5: respect anybody that's doing it, but follow the laws of

444
00:24:08,800 --> 00:24:11,960
Speaker 5: the art transition. I think the things that drive me

445
00:24:12,040 --> 00:24:14,080
Speaker 5: crazy when I go out, which is every now and

446
00:24:14,119 --> 00:24:14,960
Speaker 5: then envs.

447
00:24:15,280 --> 00:24:16,040
Speaker 1: You know, I'm.

448
00:24:15,920 --> 00:24:21,160
Speaker 5: Listening to the DJ and it's the train wreck thing.

449
00:24:22,080 --> 00:24:25,320
Speaker 5: You know that there really drives me crazy. A lot

450
00:24:25,359 --> 00:24:28,520
Speaker 5: of today's music is really one tempo bass, so it's

451
00:24:28,560 --> 00:24:31,480
Speaker 5: easy to go from one to the other. So how

452
00:24:31,560 --> 00:24:34,720
Speaker 5: you crashing this record into this record with us back?

453
00:24:34,760 --> 00:24:38,199
Speaker 5: We had to use the pitch quite a bit to

454
00:24:38,280 --> 00:24:40,760
Speaker 5: make this record beat match with lost record. Of course,

455
00:24:40,840 --> 00:24:43,679
Speaker 5: these records here are almost coming out of the oven.

456
00:24:43,800 --> 00:24:47,360
Speaker 5: They're all the same temple almost. So I don't understand

457
00:24:47,920 --> 00:24:51,280
Speaker 5: why is it that these people who play today don't

458
00:24:51,280 --> 00:24:53,680
Speaker 5: beat match that?

459
00:24:53,960 --> 00:24:54,240
Speaker 1: There?

460
00:24:54,520 --> 00:24:57,600
Speaker 5: Makes me totally crazy, and it goes against the laws

461
00:24:57,640 --> 00:24:58,520
Speaker 5: of what we learned.

462
00:24:59,359 --> 00:25:01,080
Speaker 4: Let's see what see some transitions.

463
00:25:01,080 --> 00:25:02,400
Speaker 1: Matt's do it if you can.

464
00:25:02,680 --> 00:25:04,720
Speaker 2: The first thing I guess if you can what you

465
00:25:04,800 --> 00:25:07,160
Speaker 2: talked about the first how you would make your own

466
00:25:07,160 --> 00:25:07,960
Speaker 2: instrumental backing.

467
00:25:08,200 --> 00:25:10,520
Speaker 1: Let me play the first record.

468
00:25:12,119 --> 00:25:14,760
Speaker 5: That got Because some people think that there was another

469
00:25:14,880 --> 00:25:21,960
Speaker 5: DJ that inspired me. I came from a totally different perspective,

470
00:25:22,040 --> 00:25:28,199
Speaker 5: scientific and mathematical. So I came from nothing with my

471
00:25:28,359 --> 00:25:40,359
Speaker 5: stylech nobody put me on. I ended this record was

472
00:25:40,359 --> 00:25:49,520
Speaker 5: the grand recond record. Why I wanted to DJ Curtis

473
00:25:49,640 --> 00:25:51,360
Speaker 5: Mayfield nineteen.

474
00:25:51,119 --> 00:25:56,720
Speaker 1: Seventy, How old are you twelve? Going to the thirteen? Wow,

475
00:25:57,040 --> 00:25:57,880
Speaker 1: I'm sixty six?

476
00:25:57,960 --> 00:26:00,120
Speaker 4: Now let's.

477
00:26:01,200 --> 00:26:05,760
Speaker 1: Break is still going? The break is still going.

478
00:26:08,800 --> 00:26:09,560
Speaker 4: Five minutes right?

479
00:26:09,800 --> 00:26:13,720
Speaker 1: This record was so for life for me. I was

480
00:26:14,160 --> 00:26:21,119
Speaker 1: why is that? Why is everything else so short?

481
00:26:22,000 --> 00:26:24,600
Speaker 5: And when I started playing other genres of record, because

482
00:26:24,600 --> 00:26:28,080
Speaker 5: I was raised in a home where it appearing on

483
00:26:28,080 --> 00:26:33,960
Speaker 5: which sister was on the stereo, I would hear motown, disco, funk, jazz, blues,

484
00:26:34,200 --> 00:26:34,440
Speaker 5: R and B.

485
00:26:34,680 --> 00:26:37,720
Speaker 1: Like I grew up where music had no color.

486
00:26:38,200 --> 00:26:40,960
Speaker 5: A dope jam could be a white jam or black jam,

487
00:26:40,960 --> 00:26:44,560
Speaker 5: of foreign jam and American jam. So so Charlotte Magne,

488
00:26:44,640 --> 00:26:46,520
Speaker 5: I said, I was gonna I needed your help, right,

489
00:26:46,920 --> 00:26:51,080
Speaker 5: So can you come over here please, shaw. Try to

490
00:26:51,119 --> 00:26:55,040
Speaker 5: scratch this record, try right right right.

491
00:26:55,160 --> 00:27:00,159
Speaker 4: So he's a DJ allegedly, I don't know if can

492
00:27:00,280 --> 00:27:00,600
Speaker 4: do this.

493
00:27:00,640 --> 00:27:06,320
Speaker 7: So so listen now, yeah, try to try and try

494
00:27:06,359 --> 00:27:09,040
Speaker 7: to try to try to try to bring the back

495
00:27:09,359 --> 00:27:12,280
Speaker 7: the record back, just just but be gentle, be gentle

496
00:27:12,320 --> 00:27:14,000
Speaker 7: with your fingers and try to just.

497
00:27:14,119 --> 00:27:16,200
Speaker 4: Go right back.

498
00:27:17,480 --> 00:27:21,880
Speaker 5: Practice trying to go back, trying to go count the Topwise,

499
00:27:22,960 --> 00:27:23,760
Speaker 5: he's too hard.

500
00:27:25,720 --> 00:27:29,159
Speaker 1: Right now, now, try to try to go back. Heavy.

501
00:27:29,359 --> 00:27:31,920
Speaker 5: No, he's a heavy. It's a heavy, okay, gonta stop.

502
00:27:32,200 --> 00:27:39,919
Speaker 5: So my mother was a seamstress, right, so I was

503
00:27:40,000 --> 00:27:50,440
Speaker 5: lucky to touch polyester, rayon, con silk, leather swayed.

504
00:27:53,440 --> 00:27:55,560
Speaker 1: Well, So you created the.

505
00:27:55,520 --> 00:27:59,280
Speaker 8: Slip man, yes, I oh my goodness, you created the

506
00:27:59,320 --> 00:27:59,960
Speaker 8: slip man too.

507
00:28:00,160 --> 00:28:00,840
Speaker 4: That's crazy.

508
00:28:01,480 --> 00:28:02,560
Speaker 1: So let me tell you what. Let me break it.

509
00:28:03,760 --> 00:28:05,359
Speaker 2: I'm gonna pop the collar for you. So when you

510
00:28:05,359 --> 00:28:07,640
Speaker 2: buy the turntables, it comes with a rubber piece. Right,

511
00:28:08,080 --> 00:28:11,080
Speaker 2: the rubber piece you cannot DJ with, so all d

512
00:28:11,240 --> 00:28:14,120
Speaker 2: days have to toss it. So you had a slip mat.

513
00:28:14,359 --> 00:28:16,080
Speaker 2: We didn't know where a slip mat was. So back

514
00:28:16,080 --> 00:28:19,040
Speaker 2: then the record came in in a plastic package. We

515
00:28:19,080 --> 00:28:21,560
Speaker 2: would open up the plastic package and make our own

516
00:28:21,600 --> 00:28:22,240
Speaker 2: slip mat.

517
00:28:22,160 --> 00:28:23,200
Speaker 4: The slip matters on this one.

518
00:28:23,240 --> 00:28:27,200
Speaker 1: But that was grand Master Flashes idea. I just told

519
00:28:27,200 --> 00:28:27,879
Speaker 1: you so.

520
00:28:28,000 --> 00:28:29,480
Speaker 4: You got right there, flas Flash.

521
00:28:30,560 --> 00:28:31,440
Speaker 5: I ran it to that.

522
00:28:31,400 --> 00:28:32,160
Speaker 1: Problem, right.

523
00:28:34,600 --> 00:28:37,520
Speaker 9: I grabbed an album and I ran to the nearest

524
00:28:37,600 --> 00:28:44,800
Speaker 9: material store and I touched rayon silk or cotton, polyester, leather.

525
00:28:46,320 --> 00:28:50,240
Speaker 1: Felt. Now, the problem with felt.

526
00:28:50,000 --> 00:28:53,600
Speaker 5: Is when you put it on your when when you

527
00:28:53,640 --> 00:28:55,560
Speaker 5: buy a portion of it.

528
00:28:55,680 --> 00:29:00,000
Speaker 1: Yep, it's limp whom my mother was it looking?

529
00:29:00,040 --> 00:29:04,120
Speaker 5: And first I would cut it out besides of an album, right,

530
00:29:05,160 --> 00:29:07,360
Speaker 5: And I would when my mother was a look, And

531
00:29:07,360 --> 00:29:08,880
Speaker 5: I went up in the closet in her cabin in

532
00:29:08,960 --> 00:29:12,960
Speaker 5: the kitchen and I got spray starch and I made.

533
00:29:12,760 --> 00:29:17,120
Speaker 1: It so that it was stiff. But I called it

534
00:29:17,160 --> 00:29:17,720
Speaker 1: a wafer.

535
00:29:17,960 --> 00:29:20,000
Speaker 5: And the reason why I called it a wafers because

536
00:29:20,040 --> 00:29:22,600
Speaker 5: during the Easter, Mom would dress us up to go

537
00:29:22,640 --> 00:29:24,760
Speaker 5: to the church and the neighbor's church, and you know

538
00:29:24,840 --> 00:29:26,840
Speaker 5: that little white that that white thing they give you

539
00:29:26,920 --> 00:29:30,680
Speaker 5: during the East. I called it a wafer. And it went

540
00:29:30,720 --> 00:29:31,960
Speaker 5: from what that is.

541
00:29:33,320 --> 00:29:38,600
Speaker 4: To this damn you didn't get to trademark any.

542
00:29:40,040 --> 00:29:42,040
Speaker 1: Jesus Christ. A minute, wait, a minute.

543
00:29:42,320 --> 00:29:45,080
Speaker 5: It doesn't end there because I still got some resistance

544
00:29:45,600 --> 00:29:46,680
Speaker 5: on a certain table.

545
00:29:46,440 --> 00:29:46,920
Speaker 1: With just this.

546
00:29:47,600 --> 00:29:52,760
Speaker 5: So when Mom would make baked chocolate chip cookies, she

547
00:29:52,800 --> 00:29:55,400
Speaker 5: would use this paper that felt like.

548
00:29:55,800 --> 00:29:57,200
Speaker 4: Oh yeah, yeah yeah.

549
00:29:57,240 --> 00:29:59,160
Speaker 1: So now I put the.

550
00:30:01,120 --> 00:30:06,040
Speaker 5: The plastic the wax on the platter, and I put

551
00:30:06,960 --> 00:30:11,000
Speaker 5: this on top of that. So now the platter moved

552
00:30:11,160 --> 00:30:16,800
Speaker 5: comfortably clockwise while I can go pound o' clockwise.

553
00:30:19,120 --> 00:30:22,280
Speaker 1: Of the quick knicks theory. See, these are the things I.

554
00:30:22,280 --> 00:30:26,000
Speaker 5: Need to teach people about that this thing, they'd just

555
00:30:26,080 --> 00:30:27,160
Speaker 5: fall out of a tree.

556
00:30:27,600 --> 00:30:29,800
Speaker 1: And look at some of this press today they're like,

557
00:30:30,080 --> 00:30:31,160
Speaker 1: all right, hip hop.

558
00:30:31,080 --> 00:30:35,440
Speaker 5: Is fifty and there was this party at Boom.

559
00:30:35,800 --> 00:30:38,960
Speaker 4: Is that it kipping a whole process.

560
00:30:38,680 --> 00:30:40,360
Speaker 2: But it's skipping the whole process, but it's gipping the

561
00:30:40,360 --> 00:30:42,959
Speaker 2: whole process of people who actually put in the energy

562
00:30:43,000 --> 00:30:45,080
Speaker 2: and work. So for me, I had no idea. Right,

563
00:30:45,240 --> 00:30:47,240
Speaker 2: you just follow all the DJs and other DJs.

564
00:30:47,280 --> 00:30:47,680
Speaker 1: What they do.

565
00:30:47,720 --> 00:30:49,560
Speaker 2: They open up the thing, they get rid of that

566
00:30:49,640 --> 00:30:52,640
Speaker 2: rubber piece, they cut the plastic, and that's how you DJ.

567
00:30:52,800 --> 00:30:56,040
Speaker 2: But if it wasn't for Flash's mind of thinking this way,

568
00:30:56,680 --> 00:30:57,760
Speaker 2: most DJs wouldn't have that.

569
00:30:58,280 --> 00:31:01,680
Speaker 1: Now come here, now, now put your hand on the gently.

570
00:31:03,120 --> 00:31:05,480
Speaker 10: See now it's the movie.

571
00:31:05,760 --> 00:31:08,239
Speaker 1: Yeah yeah, oh my gosh. And that's the problem. Every

572
00:31:08,280 --> 00:31:10,840
Speaker 1: d everybody thinks that that's the problem. So let's play

573
00:31:10,840 --> 00:31:15,080
Speaker 1: some music now do it so so now people don't

574
00:31:15,080 --> 00:31:17,320
Speaker 1: realize it. But like the producer.

575
00:31:19,120 --> 00:31:24,600
Speaker 5: Drey Premiere Pete Rock Battle Cat, Like I could go

576
00:31:24,680 --> 00:31:27,760
Speaker 5: on and on and on this sampling thing.

577
00:31:28,480 --> 00:31:35,080
Speaker 1: This is how the sampling thing tied in h to

578
00:31:35,160 --> 00:31:38,560
Speaker 1: the DJ. Let's take this sample.

579
00:31:42,960 --> 00:31:43,120
Speaker 11: Name.

580
00:31:43,200 --> 00:31:45,720
Speaker 1: But this song is called Sweet Green Teals by Seals

581
00:31:45,760 --> 00:31:56,680
Speaker 1: and CROs All. This is the extra but mm hmm,

582
00:31:58,640 --> 00:32:00,440
Speaker 1: bust around, put my hands master, see.

583
00:32:00,400 --> 00:32:13,320
Speaker 12: Wow, wow, wow, right, care for y'all, Jesus, that was

584
00:32:13,360 --> 00:32:14,120
Speaker 12: the bullshit. Wow.

585
00:32:14,160 --> 00:32:15,120
Speaker 1: We didn't let it go there.

586
00:32:15,200 --> 00:32:20,720
Speaker 5: So now, using a quick mixed theory with the producers,

587
00:32:21,200 --> 00:32:24,360
Speaker 5: there's the two new machines that come into play, the

588
00:32:24,400 --> 00:32:28,720
Speaker 5: computer and the sampler. So it would take that same

589
00:32:29,480 --> 00:32:33,720
Speaker 5: let's say quantity of information, put it onto a floppy disk,

590
00:32:34,200 --> 00:32:37,360
Speaker 5: put it into the computer and the sampler, and hit

591
00:32:37,400 --> 00:32:41,320
Speaker 5: the spacebart until the computer loop. This it's the same

592
00:32:41,360 --> 00:32:44,080
Speaker 5: thing that I was doing circularly, but now it was

593
00:32:44,640 --> 00:32:45,760
Speaker 5: with the new technology.

594
00:32:47,120 --> 00:33:14,800
Speaker 1: So let's go lit mode.

595
00:33:15,600 --> 00:33:17,920
Speaker 2: So if you just why if you're listening, he's bringing

596
00:33:17,960 --> 00:33:21,560
Speaker 2: it back and forth without a loop sampler. He's doing

597
00:33:21,600 --> 00:33:24,600
Speaker 2: it from his hands in a way that you can't

598
00:33:24,600 --> 00:33:25,440
Speaker 2: even tell he's doing it.

599
00:33:27,240 --> 00:33:28,960
Speaker 5: So if you want a dance floor, you will never

600
00:33:29,000 --> 00:33:31,400
Speaker 5: know what I was doing correct. And this is a

601
00:33:31,440 --> 00:33:35,880
Speaker 5: difference between us need to tone arm with DJs that

602
00:33:35,960 --> 00:33:40,320
Speaker 5: come from our same community and train wrecking. First is

603
00:33:40,400 --> 00:33:43,600
Speaker 5: the quick mixterior where the arm is ninety nine point

604
00:33:43,680 --> 00:33:45,600
Speaker 5: nine percent useless.

605
00:33:45,680 --> 00:33:48,120
Speaker 2: Let's go to while he's doing to the Next thing

606
00:33:48,160 --> 00:33:50,840
Speaker 2: I always want to tell people too, is now DJ's

607
00:33:50,840 --> 00:33:52,520
Speaker 2: having a lot simpler because they have serato, so you

608
00:33:52,520 --> 00:33:53,520
Speaker 2: could actually see.

609
00:33:53,280 --> 00:33:54,520
Speaker 1: The keys of where you can do it.

610
00:33:54,560 --> 00:33:57,280
Speaker 2: Back then he would actually have to memorize where it

611
00:33:57,320 --> 00:33:59,040
Speaker 2: was on the wax, or he would have to put

612
00:33:59,080 --> 00:34:02,160
Speaker 2: a piece of cassette taped they on the crayon, on

613
00:34:02,240 --> 00:34:04,680
Speaker 2: the crayon and draw it on the record to know

614
00:34:04,680 --> 00:34:05,880
Speaker 2: where he would have to go back to.

615
00:34:06,600 --> 00:34:08,160
Speaker 3: Now I see what the DJ used to sweat so

616
00:34:08,239 --> 00:34:09,520
Speaker 3: much in the seventies and eighties.

617
00:34:19,320 --> 00:34:28,000
Speaker 1: God rest his soul, Christopher, what's my wrap ups? And

618
00:34:28,120 --> 00:34:29,040
Speaker 1: I was with DJ.

619
00:34:34,000 --> 00:34:49,960
Speaker 10: Wow, Now if you're listening, he's bringing it back using

620
00:34:51,080 --> 00:34:52,080
Speaker 10: the quick mixed theory.

621
00:34:52,640 --> 00:34:56,640
Speaker 1: The d jing is no sample, it's just him Wow,

622
00:34:56,760 --> 00:34:57,680
Speaker 1: let's go a little deeper.

623
00:34:57,760 --> 00:35:02,319
Speaker 5: Wow. Oh, and a lot of these samples. So when

624
00:35:02,320 --> 00:35:04,919
Speaker 5: people say to me, will flash through a hip hop set,

625
00:35:05,120 --> 00:35:07,200
Speaker 5: I'm playing white music, I'm playing black music, I'm playing

626
00:35:07,200 --> 00:35:10,160
Speaker 5: for our music and playing American music pop, rock, jazz, blues, funk,

627
00:35:10,520 --> 00:35:12,560
Speaker 5: just gonna earn people because this is what we had

628
00:35:12,960 --> 00:35:14,480
Speaker 5: before it became modern.

629
00:35:14,600 --> 00:35:17,200
Speaker 1: Correct, this is all we had. So let me ask

630
00:35:17,239 --> 00:35:18,279
Speaker 1: you a question, why you're doing this?

631
00:35:18,360 --> 00:35:20,279
Speaker 2: So a lot of these loops that you're going back

632
00:35:20,320 --> 00:35:22,320
Speaker 2: and forth with that you were playing at the clubs,

633
00:35:22,560 --> 00:35:25,360
Speaker 2: These are loops that you would be doing at a

634
00:35:25,360 --> 00:35:27,600
Speaker 2: party that I'm sure one of these producers heard you

635
00:35:27,640 --> 00:35:29,080
Speaker 2: do it and say, oh, I'm a sample lest to

636
00:35:29,080 --> 00:35:32,480
Speaker 2: make it the record probably gotcha, probably because there's no way.

637
00:35:32,520 --> 00:35:34,200
Speaker 2: And now I can hear somebody hearing that Bust of

638
00:35:34,239 --> 00:35:36,560
Speaker 2: Rhymes record without a DJ playing and be like that's

639
00:35:36,600 --> 00:35:38,360
Speaker 2: going to be a smash, Like that had to be.

640
00:35:38,440 --> 00:35:40,160
Speaker 1: I heard this, and this is why the DJ is

641
00:35:40,280 --> 00:35:43,760
Speaker 1: so important, Like I just don't understand.

642
00:35:45,560 --> 00:36:06,839
Speaker 5: Rap, real question, these are the things will people need

643
00:36:06,880 --> 00:36:09,160
Speaker 5: to really understand?

644
00:36:12,920 --> 00:36:17,160
Speaker 1: What is so important about the producer and a DJ.

645
00:36:19,960 --> 00:36:21,920
Speaker 1: You people that press people.

646
00:36:21,680 --> 00:36:23,560
Speaker 5: You're not talking about this. You're not coming to ask

647
00:36:23,600 --> 00:36:25,920
Speaker 5: me anything you asked me.

648
00:36:25,960 --> 00:36:41,120
Speaker 1: I'll tell you. Oh you just blaze reduce the ship

649
00:36:41,200 --> 00:36:42,839
Speaker 1: out of this record. Oh my god.

650
00:36:44,719 --> 00:36:45,000
Speaker 4: Wow.

651
00:36:46,120 --> 00:36:49,040
Speaker 1: And this is just like a this is a nobody.

652
00:36:49,520 --> 00:36:54,600
Speaker 5: This record was probably been double leg but it takes

653
00:36:54,640 --> 00:36:57,239
Speaker 5: the genius of reproducer to know what this is.

654
00:36:57,360 --> 00:37:02,200
Speaker 1: And this is what the record really sounds like. We

655
00:37:02,239 --> 00:37:04,799
Speaker 1: didn't give a funk about that part, right there, ladies, And.

656
00:37:05,520 --> 00:37:06,759
Speaker 4: This is what this is what this is what you

657
00:37:06,800 --> 00:37:08,560
Speaker 4: call digging in the crase, This is what I called it.

658
00:37:11,200 --> 00:37:13,040
Speaker 3: I'm texting all the young DJs that work here, like

659
00:37:13,080 --> 00:37:15,439
Speaker 3: y'all should really be in here with this grandmathter flash lesson.

660
00:37:15,440 --> 00:37:17,439
Speaker 4: I told you that. I'm texting like you should really

661
00:37:17,440 --> 00:37:17,799
Speaker 4: be here.

662
00:37:17,920 --> 00:37:30,600
Speaker 1: I told you so, I'm fan. Let's let let's take

663
00:37:30,600 --> 00:37:32,960
Speaker 1: a little deeper. Let's place your sick individual man, your

664
00:37:33,000 --> 00:37:37,680
Speaker 1: mind is crazy. Please, I gotta I gotta ask you,

665
00:37:37,840 --> 00:37:38,160
Speaker 1: what is it?

666
00:37:38,280 --> 00:37:42,040
Speaker 4: Nothing flash? We're gonna see this just like this.

667
00:37:42,200 --> 00:37:46,359
Speaker 2: I gotta Okay, Yes, why why don't you know when

668
00:37:46,400 --> 00:37:49,000
Speaker 2: I when I was battling DJ and doing that, I

669
00:37:49,040 --> 00:37:51,560
Speaker 2: would turn the teams the turntables the long way so

670
00:37:51,600 --> 00:37:53,360
Speaker 2: I wouldn't hit it when I was scratching. Why do

671
00:37:53,400 --> 00:37:55,080
Speaker 2: you keep you as the regular way because most TJ

672
00:37:55,239 --> 00:37:55,920
Speaker 2: turned it the long way.

673
00:37:56,040 --> 00:37:58,000
Speaker 1: That's the way when I was creating this.

674
00:37:58,000 --> 00:38:00,239
Speaker 5: This is the way I learned it because I watch

675
00:38:00,280 --> 00:38:03,920
Speaker 5: the disco DJs and they will always forward. It's just

676
00:38:03,960 --> 00:38:06,759
Speaker 5: that when I watch the DJs that were in our

677
00:38:06,920 --> 00:38:11,719
Speaker 5: young community, they will forward too. But it was just

678
00:38:12,360 --> 00:38:14,920
Speaker 5: somewhat of a nightmare. So now I want to go

679
00:38:16,239 --> 00:38:20,040
Speaker 5: analogue with no help, no net. And this is where

680
00:38:20,080 --> 00:38:23,200
Speaker 5: you have to learn how to drive. If you didn't

681
00:38:23,239 --> 00:38:23,839
Speaker 5: know how to drive.

682
00:38:26,160 --> 00:38:28,600
Speaker 4: This is a straight analog, no laptop, no nothing.

683
00:38:28,880 --> 00:38:32,360
Speaker 2: Your four arms will be strong because you had to

684
00:38:32,360 --> 00:38:33,440
Speaker 2: carry crates to the club.

685
00:38:34,400 --> 00:38:42,920
Speaker 5: So the mark when I did this to records, record

686
00:38:42,920 --> 00:38:48,760
Speaker 5: connoisseurs DJs that were usually the the tone arm style,

687
00:38:49,800 --> 00:38:53,759
Speaker 5: hated my guts, like, who do you think you are

688
00:38:55,239 --> 00:38:58,480
Speaker 5: putting your fingertips all over.

689
00:39:00,360 --> 00:39:00,960
Speaker 4: The records?

690
00:39:02,960 --> 00:39:07,800
Speaker 5: Now what I'm gonna do is and I got a

691
00:39:07,840 --> 00:39:10,719
Speaker 5: shortage to you, envy nom. I was telling you four

692
00:39:10,760 --> 00:39:15,160
Speaker 5: boys forward, yes, and then when I went four four

693
00:39:15,400 --> 00:39:17,600
Speaker 5: revolutions back, I wasn't in the wrong place.

694
00:39:18,239 --> 00:39:22,960
Speaker 1: I walked away for like a month because I was stuck.

695
00:39:24,040 --> 00:39:27,479
Speaker 1: Why is it if four bars are going forward, why

696
00:39:27,520 --> 00:39:28,680
Speaker 1: can't I go four bars?

697
00:39:28,719 --> 00:39:32,000
Speaker 5: Count the clockwise And it was in my face thoty

698
00:39:32,120 --> 00:39:35,880
Speaker 5: three and a third the third counter constitute for the

699
00:39:35,920 --> 00:39:39,239
Speaker 5: additional two extra ones.

700
00:39:39,320 --> 00:39:41,279
Speaker 1: I have to go back to re arrive to the

701
00:39:41,280 --> 00:39:42,080
Speaker 1: top of the break.

702
00:39:42,800 --> 00:39:44,239
Speaker 5: So I used I use.

703
00:39:44,200 --> 00:39:47,400
Speaker 1: The tone to just count how many times.

704
00:39:47,040 --> 00:39:51,600
Speaker 5: This line passes the tone arm and I knew I

705
00:39:51,640 --> 00:39:54,200
Speaker 5: would be back at the top of the break. And

706
00:39:54,320 --> 00:39:58,160
Speaker 5: this is to seemless loop that the producers adopted to

707
00:39:58,239 --> 00:40:02,080
Speaker 5: put into the computer. This sister quick mixed theory. That

708
00:40:02,160 --> 00:40:02,760
Speaker 5: is purist.

709
00:40:03,320 --> 00:40:05,080
Speaker 4: That's the thirty three and the third. That's why you

710
00:40:05,080 --> 00:40:07,359
Speaker 4: call himself dead. I'm sure DJ thirty three and the third.

711
00:40:07,440 --> 00:40:09,719
Speaker 4: I don't hear the quban who thought got thirty three

712
00:40:09,760 --> 00:40:10,160
Speaker 4: and the third?

713
00:40:10,480 --> 00:40:11,000
Speaker 1: That's crazy?

714
00:40:11,000 --> 00:40:11,839
Speaker 4: Why he's setting that up?

715
00:40:11,920 --> 00:40:12,319
Speaker 1: You got it?

716
00:40:12,360 --> 00:40:12,760
Speaker 4: Okay?

717
00:40:14,840 --> 00:40:16,640
Speaker 1: No, I don't hear it. Turn up a little bit.

718
00:40:18,160 --> 00:40:21,319
Speaker 1: Maybe the levels on there, okay? Is it good in

719
00:40:21,320 --> 00:40:22,880
Speaker 1: the ground, humming a little bit of ground and some

720
00:40:22,960 --> 00:40:25,520
Speaker 1: of it. Let's check that ground real.

721
00:40:25,760 --> 00:40:26,680
Speaker 4: You don't know how to do that? No more?

722
00:40:26,680 --> 00:40:28,120
Speaker 1: Of course, I do. You might believe you might have

723
00:40:28,160 --> 00:40:29,279
Speaker 1: to lick the back and I need a one good

724
00:40:29,280 --> 00:40:30,319
Speaker 1: time to toue true.

725
00:40:30,640 --> 00:40:33,279
Speaker 2: Oh he I'm a DJ flash don't know let him man,

726
00:40:33,320 --> 00:40:34,960
Speaker 2: don't man, mister you I'm gonna t.

727
00:40:34,960 --> 00:40:36,560
Speaker 3: I'm gonna test your heart before you get out of here.

728
00:40:37,200 --> 00:40:38,480
Speaker 3: I want to see if you still know how to

729
00:40:38,520 --> 00:40:38,759
Speaker 3: do that.

730
00:40:39,080 --> 00:40:41,160
Speaker 1: I started, I started.

731
00:40:41,480 --> 00:40:42,200
Speaker 4: Don't get nervous.

732
00:40:42,200 --> 00:40:45,439
Speaker 1: I wanted to know how to do this in the crib. Okay,

733
00:40:45,440 --> 00:40:48,640
Speaker 1: he's gonna, he's gonna now. Yeah, sometimes we hook up

734
00:40:48,680 --> 00:40:50,840
Speaker 1: and the grounds are not right or the r c

735
00:40:50,960 --> 00:40:53,640
Speaker 1: A is a little off. Yeah, did you lick the ship?

736
00:40:54,080 --> 00:40:55,440
Speaker 1: See that? You gotta look the back of it for

737
00:40:55,480 --> 00:40:57,719
Speaker 1: the connection to be good. So I want to look.

738
00:40:57,760 --> 00:40:59,319
Speaker 1: You know, I don't want to do that. You know,

739
00:40:59,480 --> 00:41:00,480
Speaker 1: we ain't. We ain't doing that.

740
00:41:00,560 --> 00:41:02,840
Speaker 2: You know most DJs licked their fingers and touch the

741
00:41:02,840 --> 00:41:04,800
Speaker 2: back of it. It's like blowing the cartridge on the

742
00:41:04,880 --> 00:41:05,560
Speaker 2: Nintendo game.

743
00:41:06,120 --> 00:41:09,839
Speaker 3: You think you gotta do it looking and blowing.

744
00:41:10,520 --> 00:41:16,440
Speaker 1: Shut up? Yeah we were good now, Okay, it works.

745
00:41:16,440 --> 00:41:22,960
Speaker 1: See okay, so guys, you sleep the seamless loop still

746
00:41:22,960 --> 00:41:24,080
Speaker 1: got a little ham on the right side.

747
00:41:24,600 --> 00:41:26,440
Speaker 5: I'm gonna play a couple of records, ladies and gentlemen,

748
00:41:26,480 --> 00:41:29,760
Speaker 5: And this is the quick mixtre be at its deepest.

749
00:41:31,080 --> 00:41:43,880
Speaker 1: Four boss forward six counterclockwise. Let's go one to count.

750
00:41:46,400 --> 00:41:56,840
Speaker 6: One two three, four five six check throw one two

751
00:41:57,360 --> 00:42:04,680
Speaker 6: three four five check throw Wow.

752
00:42:04,600 --> 00:42:05,719
Speaker 1: And this works.

753
00:42:06,080 --> 00:42:11,520
Speaker 5: Pop, rock, jazz, blues folks. Once I figured out that third,

754
00:42:13,400 --> 00:42:15,680
Speaker 5: we call this hip hop. They called it rock, and

755
00:42:15,719 --> 00:42:18,320
Speaker 5: their family, we call this hip hop. Come up next,

756
00:42:26,920 --> 00:42:28,000
Speaker 5: get ready to be count.

757
00:42:31,239 --> 00:42:43,080
Speaker 6: One two three, four five six check throw one two three,

758
00:42:43,360 --> 00:42:46,280
Speaker 6: four five six check.

759
00:42:48,120 --> 00:42:48,400
Speaker 1: Throw.

760
00:42:50,320 --> 00:42:56,920
Speaker 5: The four six thing works on any race, creed color groove.

761
00:42:59,120 --> 00:43:11,720
Speaker 13: Wow, what two three, four five six.

762
00:43:13,239 --> 00:43:14,320
Speaker 1: Then find sure.

763
00:43:16,640 --> 00:43:27,760
Speaker 11: One two three, four five six check one two three,

764
00:43:28,040 --> 00:43:32,080
Speaker 11: four five six check.

765
00:43:34,680 --> 00:43:39,920
Speaker 5: The four six thing works on any type of record

766
00:43:40,120 --> 00:43:46,160
Speaker 5: with the view. But then sometimes there's an exception to

767
00:43:46,200 --> 00:43:51,600
Speaker 5: the rule. Maybe it's only two bars, and if it's

768
00:43:51,640 --> 00:43:55,560
Speaker 5: two bars, now we'll go through four bars fifth counterclockwise.

769
00:43:55,640 --> 00:43:59,960
Speaker 5: Now it's two bars. Now it's three counterclockwise to make

770
00:44:00,040 --> 00:44:00,880
Speaker 5: a full loop.

771
00:44:07,280 --> 00:44:14,480
Speaker 14: One two three check, go one two three check go

772
00:44:16,000 --> 00:44:18,920
Speaker 14: one two three check go.

773
00:44:22,600 --> 00:44:27,360
Speaker 4: And this guy's playing right. I'm lost.

774
00:44:28,239 --> 00:44:29,759
Speaker 1: I get it, But that's the question.

775
00:44:30,600 --> 00:44:33,399
Speaker 2: Four balls forward right, Yeah, but it's not really four

776
00:44:33,400 --> 00:44:34,960
Speaker 2: balls because it's thirty three and the third So that

777
00:44:35,080 --> 00:44:37,600
Speaker 2: extra third that that makes makes up for the six

778
00:44:37,640 --> 00:44:39,480
Speaker 2: when you bring it back, right, do the math?

779
00:44:39,680 --> 00:44:44,600
Speaker 1: Gotcha? Wow? So so what you think? This is what

780
00:44:44,760 --> 00:44:50,800
Speaker 1: stuck me? This is why I got stuck?

781
00:44:53,840 --> 00:45:06,799
Speaker 15: One mm hmmm, two three four one q worrie war.

782
00:45:07,480 --> 00:45:11,120
Speaker 15: I'm in the wrong place. I'm in the wrong place.

783
00:45:11,239 --> 00:45:13,959
Speaker 15: I walked away from this steam. I'm like, damn, what

784
00:45:14,160 --> 00:45:18,160
Speaker 15: is wrong? And I was staring at it all the time.

785
00:45:18,640 --> 00:45:19,800
Speaker 15: God is good the magic.

786
00:45:20,200 --> 00:45:22,480
Speaker 1: Why don't you think DJs follow that?

787
00:45:22,560 --> 00:45:22,719
Speaker 4: Right?

788
00:45:22,760 --> 00:45:24,960
Speaker 1: And I'm gonna ask you why, right, because I touch

789
00:45:24,960 --> 00:45:25,680
Speaker 1: your equipment.

790
00:45:25,360 --> 00:45:27,680
Speaker 4: For if you still know how to use it?

791
00:45:28,360 --> 00:45:32,480
Speaker 2: If you for most DJs, right, what what they used

792
00:45:32,520 --> 00:45:32,960
Speaker 2: to do is.

793
00:45:37,160 --> 00:45:40,000
Speaker 1: So when you do that right now, what they would

794
00:45:40,000 --> 00:45:40,479
Speaker 1: have to do.

795
00:45:40,520 --> 00:45:43,520
Speaker 2: Is you have to go go until you don't hear

796
00:45:43,520 --> 00:45:44,040
Speaker 2: it anymore?

797
00:45:44,320 --> 00:45:46,279
Speaker 1: Right, but see, but but sometimes it breaks in the

798
00:45:46,280 --> 00:45:47,239
Speaker 1: middle though, right.

799
00:45:47,480 --> 00:45:48,960
Speaker 5: But you know, if you don't get bad science to

800
00:45:49,000 --> 00:45:52,000
Speaker 5: this and I didn't go into that is you have

801
00:45:52,080 --> 00:45:54,799
Speaker 5: to know how it sounds going backwards.

802
00:45:55,800 --> 00:45:58,840
Speaker 1: My Good Times is a perfect example. It goes like

803
00:45:58,920 --> 00:46:05,880
Speaker 1: you go do good time, no, no, no, no, you hear good.

804
00:46:05,520 --> 00:46:08,319
Speaker 5: Good backwards, and then you know you're at the top

805
00:46:08,320 --> 00:46:10,480
Speaker 5: of the gut of good times.

806
00:46:10,719 --> 00:46:12,840
Speaker 1: Like you gotta learn records how they sound backwards.

807
00:46:12,880 --> 00:46:15,000
Speaker 5: But that's the advanced form of it, and I'm trying

808
00:46:15,000 --> 00:46:16,960
Speaker 5: to keep it very basic and I love it.

809
00:46:17,360 --> 00:46:20,239
Speaker 2: I love it because more DJs would really understand it.

810
00:46:22,120 --> 00:46:25,759
Speaker 2: So this right here, right, this part right here right

811
00:46:25,760 --> 00:46:27,000
Speaker 2: when I used to see you do I'm side right

812
00:46:27,040 --> 00:46:30,080
Speaker 2: when you're where you.

813
00:46:29,160 --> 00:46:31,480
Speaker 1: Crabbing right or slashing right? Where did that come from?

814
00:46:31,880 --> 00:46:34,480
Speaker 1: That came from the hand mechanics of the quick mixedterary.

815
00:46:34,560 --> 00:46:39,600
Speaker 1: Because here's how I see it. Whether you are.

816
00:46:41,000 --> 00:46:45,799
Speaker 5: Cutting or seamless looping or rubbing the record back and

817
00:46:45,840 --> 00:46:51,000
Speaker 5: forth with the fader open scratching, or if you are crabbing,

818
00:46:51,360 --> 00:46:53,840
Speaker 5: all it is is just an advanced form of opening

819
00:46:53,920 --> 00:46:57,400
Speaker 5: and closing the panometer, which is the cross fader.

820
00:46:57,480 --> 00:46:59,520
Speaker 2: Correct And why did you why did you create that?

821
00:46:59,520 --> 00:47:01,040
Speaker 2: I mean, it's amazing sound. I did it when I

822
00:47:01,080 --> 00:47:03,319
Speaker 2: used to battle. But what made you say this is

823
00:47:03,320 --> 00:47:06,160
Speaker 2: a sound I'm creating with the with the sounds, you know,

824
00:47:06,200 --> 00:47:07,640
Speaker 2: I mean, that.

825
00:47:07,760 --> 00:47:10,880
Speaker 1: Was okay, you know, but when I heard it, Jeff

826
00:47:12,239 --> 00:47:17,239
Speaker 1: scratched fasted Newmark talk about yeah, one of the best.

827
00:47:18,280 --> 00:47:22,799
Speaker 1: They like I am the eventa of the hand mechanics.

828
00:47:23,440 --> 00:47:25,080
Speaker 5: But all it is, if you think about it, is

829
00:47:25,160 --> 00:47:27,840
Speaker 5: just a matter of when you open and close the

830
00:47:27,960 --> 00:47:31,160
Speaker 5: fada and what you're doing with the vinyl. So now,

831
00:47:31,200 --> 00:47:35,279
Speaker 5: so when you are crabbing, you're moving a vinyl a

832
00:47:35,360 --> 00:47:39,280
Speaker 5: little faster, but you're opening and closing the panama the quicker.

833
00:47:39,920 --> 00:47:42,400
Speaker 5: But it's all the hand mechanics. The hand mechanics is

834
00:47:42,480 --> 00:47:45,840
Speaker 5: mind and the levels. Like you Si did this, this

835
00:47:45,960 --> 00:47:49,239
Speaker 5: kid by the name of Cubert, Like Cubert, he's not

836
00:47:49,280 --> 00:47:50,720
Speaker 5: even he's not even human.

837
00:47:50,840 --> 00:47:55,000
Speaker 2: And and and uh, jeff, y'all would make y'all could

838
00:47:55,000 --> 00:47:58,640
Speaker 2: make people dance by bringing the record backwards and crabbing.

839
00:47:58,719 --> 00:47:59,080
Speaker 1: And it was.

840
00:47:59,160 --> 00:48:00,839
Speaker 2: It was the most amazing thing I've ever seen in

841
00:48:00,840 --> 00:48:02,520
Speaker 2: Cubert definitely. And the bad thing about Cubert is you

842
00:48:02,560 --> 00:48:03,560
Speaker 2: really didn't see Cubert.

843
00:48:03,920 --> 00:48:07,600
Speaker 5: You just heard his tapes, right, So incredible as your

844
00:48:07,640 --> 00:48:10,080
Speaker 5: question shout out to my to my My first successful

845
00:48:10,080 --> 00:48:11,160
Speaker 5: student gram was the theater.

846
00:48:12,600 --> 00:48:15,760
Speaker 3: How do you how do you correlate counting the bars

847
00:48:15,800 --> 00:48:18,560
Speaker 3: on the turntable the MC's counting bars in the booth.

848
00:48:18,719 --> 00:48:21,399
Speaker 5: It's the same thing. Okay, it's it's actually the same thing.

849
00:48:21,400 --> 00:48:30,520
Speaker 5: It's just that when they're speaking, they're counting their verbal bars.

850
00:48:31,080 --> 00:48:34,880
Speaker 5: I'm counting musical balls. And what's paramount, Shaw is I

851
00:48:34,960 --> 00:48:38,520
Speaker 5: have to keep it steady. So I can't not while

852
00:48:38,520 --> 00:48:40,560
Speaker 5: they're saying they're right, I gotta keep it really steady.

853
00:48:42,840 --> 00:48:44,440
Speaker 5: And this is what the seamless loop is. So the

854
00:48:44,480 --> 00:48:47,239
Speaker 5: seamless loop is what he called cutting. And the thing

855
00:48:47,280 --> 00:48:47,640
Speaker 5: that what he.

856
00:48:47,680 --> 00:48:50,239
Speaker 1: Bugs you with people is they say, I want you

857
00:48:50,280 --> 00:48:50,760
Speaker 1: to scratch.

858
00:48:51,480 --> 00:48:55,200
Speaker 5: This is scratching is just one of the elements more

859
00:48:55,320 --> 00:48:56,240
Speaker 5: like cutting.

860
00:48:56,640 --> 00:49:00,200
Speaker 1: It's like, actually, a scratch becomes very import.

861
00:49:00,120 --> 00:49:03,360
Speaker 5: And when you're scratching against the music that's already playing,

862
00:49:03,480 --> 00:49:06,680
Speaker 5: or if you're crabbing against the music that's already playing,

863
00:49:06,800 --> 00:49:09,879
Speaker 5: you know what I'm saying, Or you're transforming. So these

864
00:49:09,880 --> 00:49:13,520
Speaker 5: are the things, guys that I really have to go

865
00:49:13,600 --> 00:49:16,360
Speaker 5: to the universities. Absolutely, go to the y m c

866
00:49:16,480 --> 00:49:19,839
Speaker 5: A's and and and will you show people that this

867
00:49:20,000 --> 00:49:23,200
Speaker 5: thing called hip hop didn't just and then just fall

868
00:49:23,200 --> 00:49:24,520
Speaker 5: out of a tree, Shaw.

869
00:49:24,360 --> 00:49:26,279
Speaker 4: It just did it. You did a birth of a

870
00:49:26,640 --> 00:49:29,000
Speaker 4: birth of the culture masterclass at the Kennedy Center.

871
00:49:28,840 --> 00:49:30,200
Speaker 1: Right, Yes, that.

872
00:49:31,800 --> 00:49:36,200
Speaker 5: I got two encores. It was absolutely was absolutely wonderful.

873
00:49:36,239 --> 00:49:38,040
Speaker 5: So now I'm going to be doing birth of a

874
00:49:38,120 --> 00:49:41,640
Speaker 5: Culture lectures and in the corporate world, but I'm gonna

875
00:49:41,640 --> 00:49:44,960
Speaker 5: do some public ones too because people need to understand.

876
00:49:47,760 --> 00:49:50,839
Speaker 1: Much respect to the first party, but there was much

877
00:49:50,880 --> 00:49:52,319
Speaker 1: more to get us here.

878
00:49:54,280 --> 00:49:58,200
Speaker 5: And that's where people need to understand that this thing

879
00:49:59,320 --> 00:50:06,360
Speaker 5: took engineering, mathematics, ingenuity and taking this item and squeezing

880
00:50:06,400 --> 00:50:10,280
Speaker 5: it with that item to make this all work. Because

881
00:50:10,280 --> 00:50:12,040
Speaker 5: I come from a time when it was none.

882
00:50:12,239 --> 00:50:13,200
Speaker 1: It was none of this.

883
00:50:13,440 --> 00:50:15,920
Speaker 5: Absolutely you know what I'm saying, and that there is

884
00:50:16,440 --> 00:50:18,960
Speaker 5: what I would wish the press would come ask us, come, come,

885
00:50:19,000 --> 00:50:19,840
Speaker 5: ask us, So who.

886
00:50:19,719 --> 00:50:21,080
Speaker 4: Made all of the money off of all of these

887
00:50:21,080 --> 00:50:23,399
Speaker 4: things that you created for all of them?

888
00:50:23,400 --> 00:50:24,280
Speaker 1: Did? Wow?

889
00:50:24,320 --> 00:50:26,400
Speaker 8: I'm talking about like what's far as trademarks, copyrights? Like

890
00:50:26,400 --> 00:50:29,800
Speaker 8: who all of them accept me? But you know something,

891
00:50:30,000 --> 00:50:32,799
Speaker 8: who asked me this question? What I had to do

892
00:50:32,840 --> 00:50:34,440
Speaker 8: all over again? I do it all over again, of

893
00:50:34,440 --> 00:50:37,080
Speaker 8: course way because I love what I do.

894
00:50:37,719 --> 00:50:40,760
Speaker 5: I'm like, this thing has got me in more trouble

895
00:50:40,800 --> 00:50:46,640
Speaker 5: with my significant other, my children. You know, I I'm

896
00:50:46,719 --> 00:50:48,680
Speaker 5: not proud that I had to leave my children so

897
00:50:48,800 --> 00:50:53,040
Speaker 5: much to tour until leave to get away. But other

898
00:50:53,120 --> 00:50:58,160
Speaker 5: than that, like I'm madly in love with this and

899
00:50:58,200 --> 00:51:01,040
Speaker 5: that's it's just that right now out during this this

900
00:51:01,040 --> 00:51:05,880
Speaker 5: this pivotal time for this thing disappears on the twelfth

901
00:51:06,000 --> 00:51:07,080
Speaker 5: of August.

902
00:51:07,560 --> 00:51:10,800
Speaker 1: I gotta get where I gotta get and I gotta.

903
00:51:10,640 --> 00:51:14,040
Speaker 5: Teach these young journalists and the people that do these

904
00:51:14,120 --> 00:51:16,680
Speaker 5: kind of things, like the babies, like listen, this is

905
00:51:17,480 --> 00:51:18,440
Speaker 5: this is what it was.

906
00:51:18,640 --> 00:51:20,239
Speaker 1: What about what about a book? I know you got

907
00:51:20,239 --> 00:51:22,399
Speaker 1: the Adventures of Grand Master Flast, but what about a book.

908
00:51:22,480 --> 00:51:24,560
Speaker 1: I'm gonna do another one with detail.

909
00:51:24,239 --> 00:51:26,520
Speaker 2: A lot of this, and because see the thing is

910
00:51:27,000 --> 00:51:29,440
Speaker 2: an I fall victim to it too. It's like you

911
00:51:29,560 --> 00:51:33,040
Speaker 2: learn something. And a lot of times we're so microwave happy,

912
00:51:33,080 --> 00:51:34,360
Speaker 2: like we want it fast and we want to do

913
00:51:34,360 --> 00:51:36,440
Speaker 2: it now that we don't necessarily learn the history of

914
00:51:36,440 --> 00:51:38,640
Speaker 2: where it came from, you know, which is sad. But

915
00:51:39,800 --> 00:51:41,680
Speaker 2: in my defense, back then we didn't have there was

916
00:51:41,719 --> 00:51:44,000
Speaker 2: no internet. There was no way to learn, you know

917
00:51:44,040 --> 00:51:46,319
Speaker 2: what I mean unless I was in the bronx or

918
00:51:46,320 --> 00:51:48,239
Speaker 2: in the park. You know, as a kid, I couldn't learn.

919
00:51:48,520 --> 00:51:51,319
Speaker 2: But now with this society, there's ways that you can

920
00:51:51,360 --> 00:51:54,480
Speaker 2: actually learn where this came from a where it's like

921
00:51:54,840 --> 00:51:57,480
Speaker 2: the fact that you invented the slip mat, you know,

922
00:51:57,520 --> 00:51:59,720
Speaker 2: even though you don't get props for it or money

923
00:51:59,719 --> 00:52:01,680
Speaker 2: for it. But that's amazing and I think people should

924
00:52:01,719 --> 00:52:04,040
Speaker 2: understand that because all DJs use a slip mat that

925
00:52:04,120 --> 00:52:05,400
Speaker 2: used turn the table, you know what I mean, And

926
00:52:05,440 --> 00:52:07,799
Speaker 2: some of those things I think that should be understood.

927
00:52:08,280 --> 00:52:08,520
Speaker 1: You know.

928
00:52:08,600 --> 00:52:10,640
Speaker 5: For me, a lot of people say, well, you're not

929
00:52:10,680 --> 00:52:13,040
Speaker 5: getting no money for it, you know, And this is

930
00:52:13,080 --> 00:52:21,040
Speaker 5: how I see it, Guys. People happily celebrate the birthday. Correct,

931
00:52:21,280 --> 00:52:25,600
Speaker 5: I'm gonna give a damn about that. When God takes

932
00:52:25,640 --> 00:52:30,920
Speaker 5: me my death day, what am I gonna leave for

933
00:52:31,040 --> 00:52:33,840
Speaker 5: the babies to take it to the next level. My

934
00:52:34,000 --> 00:52:36,759
Speaker 5: death day is more important than my birthday. And my

935
00:52:36,880 --> 00:52:38,960
Speaker 5: birthday is on the most famous day of the year,

936
00:52:39,000 --> 00:52:41,640
Speaker 5: which is January first. Wow, you know what I'm saying.

937
00:52:41,680 --> 00:52:45,000
Speaker 1: So before I'm out of here, I gotta make sure

938
00:52:45,400 --> 00:52:46,960
Speaker 1: that the producer.

939
00:52:47,960 --> 00:52:51,160
Speaker 5: And the DJ is respected because if you think about this,

940
00:52:53,840 --> 00:52:56,520
Speaker 5: if I was the engine and the producers were a

941
00:52:56,680 --> 00:53:02,799
Speaker 5: fuel the cannon be it's made very very easy for

942
00:53:02,960 --> 00:53:07,960
Speaker 5: the rapper to sit in it and blast off, and

943
00:53:08,000 --> 00:53:12,040
Speaker 5: that needs to be talked about where this thing came from,

944
00:53:12,400 --> 00:53:13,480
Speaker 5: how did it come about?

945
00:53:13,760 --> 00:53:15,359
Speaker 1: We need to talk about this.

946
00:53:15,680 --> 00:53:18,040
Speaker 5: And this is a black art form and and I'm

947
00:53:18,120 --> 00:53:20,680
Speaker 5: hoping that this isn't another form like jazz. I go

948
00:53:20,760 --> 00:53:23,800
Speaker 5: through one thing and all of a sudden it goes left.

949
00:53:24,120 --> 00:53:26,560
Speaker 5: As long as I'm living that that ain't gonna happen here.

950
00:53:27,680 --> 00:53:30,239
Speaker 5: And I thank you guys for allowing me to be here.

951
00:53:30,280 --> 00:53:31,479
Speaker 4: Man, I do got one more question.

952
00:53:31,600 --> 00:53:34,600
Speaker 3: Karras once said that he refused to be a part

953
00:53:34,640 --> 00:53:36,959
Speaker 3: of the Grammy's Fifty Years of Hip Hop Special because

954
00:53:36,960 --> 00:53:39,759
Speaker 3: it took so long for the Grammys they acknowledge hip hop.

955
00:53:40,120 --> 00:53:41,759
Speaker 4: What do you think about that? And did you get

956
00:53:41,760 --> 00:53:42,040
Speaker 4: the call?

957
00:53:42,440 --> 00:53:45,200
Speaker 1: I got the call? Yeah, I got the call quite

958
00:53:45,239 --> 00:53:46,920
Speaker 1: a few times. I know, Harvey Mason Jr.

959
00:53:47,239 --> 00:53:51,960
Speaker 5: You know, personally, I respect a man's point of view

960
00:53:52,239 --> 00:53:54,480
Speaker 5: if that's their point of view, you know.

961
00:53:54,560 --> 00:53:57,239
Speaker 1: But I think for me, I need to be on

962
00:53:57,320 --> 00:53:58,160
Speaker 1: as many.

963
00:53:58,840 --> 00:54:04,319
Speaker 5: Big media to situations that's possible because I'm really like

964
00:54:04,360 --> 00:54:08,120
Speaker 5: the last of my kind that's speaking, and after me,

965
00:54:08,200 --> 00:54:09,239
Speaker 5: there's probably no one.

966
00:54:10,239 --> 00:54:13,399
Speaker 1: So I thank you guys here, thank you, I thank

967
00:54:13,440 --> 00:54:15,160
Speaker 1: you for answering.

968
00:54:14,760 --> 00:54:18,279
Speaker 5: My d M absolutely come on and we here and

969
00:54:18,480 --> 00:54:21,560
Speaker 5: it's always a pleasure man, always a pleasure master. Gentlemen,

970
00:54:23,920 --> 00:54:27,960
Speaker 5: thank you, and I'll we do these lectures, these corporate lectures,

971
00:54:28,120 --> 00:54:30,719
Speaker 5: birth of a coach of lectures. Look for me and

972
00:54:30,760 --> 00:54:33,360
Speaker 5: I'm gonna do two free ones, one of the Bronx

973
00:54:33,400 --> 00:54:36,799
Speaker 5: and one of Manhattan, probably during Black History Months in February.

974
00:54:36,920 --> 00:54:39,840
Speaker 2: Okay, grand Master Flash, grand Master Flash, ladies and gentlemen,

975
00:54:39,880 --> 00:54:42,879
Speaker 2: make sure you're following them on on Instagram, all socials.

976
00:54:42,360 --> 00:54:48,600
Speaker 3: At DJ Flash Forever, on all socials at DJ Flash Forever.

977
00:54:47,920 --> 00:54:49,400
Speaker 1: And you just turn around. I just want to read

978
00:54:49,400 --> 00:54:50,120
Speaker 1: the back of your hoodie man.

979
00:54:50,160 --> 00:54:52,719
Speaker 2: Yeah, because the HOODIEES monumental says, the first DJ to

980
00:54:52,760 --> 00:54:56,600
Speaker 2: make the turntable an instrument, first DJ to have a rapper,

981
00:54:56,680 --> 00:54:58,359
Speaker 2: first DJ to be in the Rock and Roll Hall

982
00:54:58,440 --> 00:55:00,640
Speaker 2: of Fame, first DJ to be on s Rex SAM,

983
00:55:00,680 --> 00:55:03,719
Speaker 2: first DJ to get a Grammy, first DJ to get

984
00:55:03,760 --> 00:55:05,640
Speaker 2: a Polar Prize, Grandmaster in the.

985
00:55:05,640 --> 00:55:07,800
Speaker 3: First DJ to give a history lesson about DJ and

986
00:55:07,840 --> 00:55:08,560
Speaker 3: on the Breakfast Club.

987
00:55:08,640 --> 00:55:12,479
Speaker 2: That's right, Grandmaster Flash, ladies and gentlemen, it's the Breakfast Club.

988
00:55:12,480 --> 00:55:15,360
Speaker 1: Good Morning waits up in the morning.

989
00:55:15,440 --> 00:55:16,520
Speaker 4: The Breakfast Club