1
00:00:00,240 --> 00:00:10,520
Speaker 1: Request. Loft Show is a production of iHeart Radio. As

2
00:00:10,560 --> 00:00:16,360
Speaker 1: if nabbing Producer of the Year for Amy Winehouse's groundbreaking

3
00:00:16,880 --> 00:00:20,600
Speaker 1: Back to Black wasn't enough not to mention to Record

4
00:00:20,640 --> 00:00:25,360
Speaker 1: of the Year nods for rehab from said Back to

5
00:00:25,440 --> 00:00:29,520
Speaker 1: Black and his own uptown funk with Bruno Mars, not

6
00:00:29,640 --> 00:00:33,200
Speaker 1: to be outdone by the Oscar he won for Lady

7
00:00:33,200 --> 00:00:37,280
Speaker 1: Got Got a Shallow for a stars Born And you

8
00:00:37,360 --> 00:00:41,320
Speaker 1: can also add in the executive producer of the phenomenon

9
00:00:41,440 --> 00:00:45,320
Speaker 1: known as the Barbie Soundtrack. Our guests can now add

10
00:00:45,760 --> 00:00:50,440
Speaker 1: New York Times best selling author there you go. This

11
00:00:50,479 --> 00:00:54,800
Speaker 1: is his love letter to a music era that's also

12
00:00:54,960 --> 00:00:58,480
Speaker 1: near and deer close to my heart of the late

13
00:00:58,560 --> 00:01:02,120
Speaker 1: nineties early arts New York nightlife. It's called night People.

14
00:01:02,280 --> 00:01:06,319
Speaker 1: I highly recommend this essential reading. Our guest today, of course,

15
00:01:06,480 --> 00:01:09,960
Speaker 1: goes without an introduction for his accolades and his roster.

16
00:01:10,480 --> 00:01:13,120
Speaker 1: It will be all day saying it. Miles Cyrus, du

17
00:01:13,160 --> 00:01:17,080
Speaker 1: Alipa A Dell, Paul McCartney, Wile Ronfest, Luli Allen, Christina

18
00:01:17,120 --> 00:01:22,240
Speaker 1: Aguilera goes face killing most steph cute tip yea yea yeava, YadA, YadA, YadA. Ladies,

19
00:01:22,240 --> 00:01:25,640
Speaker 1: and gentlemen once again, Mark Ronson, what's up? Hell, how

20
00:01:25,720 --> 00:01:27,120
Speaker 1: are you? Thank you for doing this for me?

21
00:01:27,280 --> 00:01:27,520
Speaker 2: Thank you?

22
00:01:27,840 --> 00:01:28,000
Speaker 1: You know.

23
00:01:28,120 --> 00:01:30,840
Speaker 2: The great thing about the New York Times bestseller thing

24
00:01:31,000 --> 00:01:32,960
Speaker 2: is what you only need one week on there. You

25
00:01:33,000 --> 00:01:33,840
Speaker 2: can say for the rest of you.

26
00:01:34,040 --> 00:01:38,040
Speaker 1: As long as you get that first week and they're

27
00:01:38,160 --> 00:01:39,960
Speaker 1: like they weren't put the sticker on there, New York Times.

28
00:01:40,000 --> 00:01:43,320
Speaker 2: Best to put the sticker on my grave anyway, No,

29
00:01:43,480 --> 00:01:46,120
Speaker 2: I mean, you've kind of blazed the path of like that,

30
00:01:46,600 --> 00:01:51,680
Speaker 2: I guess, pivoting the music writing that comes from a musician.

31
00:01:52,080 --> 00:01:54,120
Speaker 2: There's plenty of great music writers that we love, and

32
00:01:54,240 --> 00:01:57,080
Speaker 2: we know Nelson, George, Dan charnis all this. But but

33
00:01:57,240 --> 00:02:00,320
Speaker 2: I definitely look up to you very much. Thin You've

34
00:02:00,320 --> 00:02:02,800
Speaker 2: read such great books and they just cast a white

35
00:02:02,880 --> 00:02:06,760
Speaker 2: net without pandering. And yeah, so anyway, I know you're

36
00:02:06,840 --> 00:02:09,440
Speaker 2: congratchating me now I'm gone throwing it back at you.

37
00:02:09,919 --> 00:02:12,839
Speaker 1: I mean, I love books like these, and no matter

38
00:02:12,880 --> 00:02:16,079
Speaker 1: how much I try to encourage our peer group to

39
00:02:17,040 --> 00:02:19,600
Speaker 1: take note of things, especially now that I'm in the

40
00:02:19,680 --> 00:02:23,400
Speaker 1: dock space, and it's really hard trying to extract information

41
00:02:23,560 --> 00:02:25,960
Speaker 1: from a seventy year old, you know, in a way

42
00:02:26,040 --> 00:02:29,120
Speaker 1: that's not revisionist history. Yeah, or just wrapped in a bowl.

43
00:02:30,040 --> 00:02:32,480
Speaker 1: Well yeah, one day we you know, when the studio

44
00:02:32,680 --> 00:02:36,799
Speaker 1: did this hit single and then went home and I'm like, yeah,

45
00:02:37,600 --> 00:02:40,840
Speaker 1: you know, so I love seeing how the sausage just

46
00:02:40,919 --> 00:02:43,840
Speaker 1: made and kind of is a very fascinating read. So

47
00:02:44,200 --> 00:02:47,200
Speaker 1: I thank you for giving me the pleasure to nerd

48
00:02:47,240 --> 00:02:47,639
Speaker 1: out on you.

49
00:02:47,960 --> 00:02:53,240
Speaker 2: I was really inspired by Anthony Bourday in Kitchen Confidential,

50
00:02:54,120 --> 00:02:56,520
Speaker 2: was a book that I never caught when it came out.

51
00:02:56,520 --> 00:02:58,600
Speaker 2: I read it much later on, maybe around the time

52
00:02:58,680 --> 00:03:01,799
Speaker 2: that that doc came out about him, and I just

53
00:03:01,880 --> 00:03:05,360
Speaker 2: thought it was listen, He's an incredible, like like hundred

54
00:03:05,440 --> 00:03:10,079
Speaker 2: Thompson level writer. But what I really took more inspiration

55
00:03:10,200 --> 00:03:14,480
Speaker 2: from was that writing about a high octane sort of

56
00:03:14,760 --> 00:03:18,200
Speaker 2: occupation profession and all the crazy highs and lows of it.

57
00:03:18,320 --> 00:03:21,320
Speaker 2: But also like, I'm actually not really into cooking and

58
00:03:21,400 --> 00:03:23,000
Speaker 2: I'm not a great cook, and I don't know anything

59
00:03:23,040 --> 00:03:26,960
Speaker 2: about kitchens. But like his second chapter was all about knives,

60
00:03:27,120 --> 00:03:28,960
Speaker 2: and then I'm like, oh, now I give a shit

61
00:03:29,000 --> 00:03:31,320
Speaker 2: about knives. Like I just was thinking about this, like

62
00:03:31,480 --> 00:03:34,600
Speaker 2: he localizes yeah, and I was like, you can write

63
00:03:34,639 --> 00:03:38,360
Speaker 2: about cartridges slip mats and the inner workings of a

64
00:03:38,400 --> 00:03:41,240
Speaker 2: technique's twelve hundred, like in a book like this, because

65
00:03:41,240 --> 00:03:42,880
Speaker 2: if you're going to write a tribute to DJ and

66
00:03:43,240 --> 00:03:45,600
Speaker 2: as long as like, you'll get so bogged down. But

67
00:03:45,680 --> 00:03:48,200
Speaker 2: I really wanted to make it. Yeah, part of that

68
00:03:48,480 --> 00:03:51,240
Speaker 2: like when you're a kid and you see two turntables

69
00:03:51,280 --> 00:03:53,600
Speaker 2: together for the first time and you have that like

70
00:03:54,240 --> 00:03:58,040
Speaker 2: lifelong infatuation with it, and what some of those things are,

71
00:03:58,200 --> 00:03:59,880
Speaker 2: as well as just what New York.

72
00:03:59,800 --> 00:04:01,760
Speaker 1: Was like in the clubs. Do you remember the first

73
00:04:01,800 --> 00:04:06,120
Speaker 1: time that you saw a DJ perform? I do? Who

74
00:04:06,280 --> 00:04:06,800
Speaker 1: was it? I do?

75
00:04:06,960 --> 00:04:09,120
Speaker 2: And it's amazing that I remember because I was on

76
00:04:09,520 --> 00:04:12,000
Speaker 2: acid or ecstasy or maybe both because there was this

77
00:04:12,360 --> 00:04:16,160
Speaker 2: all ages kids rave like in pre Giuliani New York

78
00:04:16,240 --> 00:04:19,920
Speaker 2: and like ninety two ninety three, God bless David Dinkins

79
00:04:20,320 --> 00:04:22,560
Speaker 2: that he was dealing with the housing crisis. He wasn't

80
00:04:22,600 --> 00:04:24,919
Speaker 2: worried about like fifteen year old kids maybe like at

81
00:04:24,960 --> 00:04:29,240
Speaker 2: a rave on ecstasy. I was at this club called

82
00:04:29,279 --> 00:04:32,440
Speaker 2: The Shelter, which before that was Area Shelter. Yeah, the

83
00:04:32,520 --> 00:04:35,080
Speaker 2: Shelter was but on Friday nights. For about a year

84
00:04:35,080 --> 00:04:38,120
Speaker 2: and a half, they had this all ages rave called NASA,

85
00:04:38,720 --> 00:04:41,279
Speaker 2: and they didn't serve alcohol, so there was a reason

86
00:04:41,360 --> 00:04:43,839
Speaker 2: that kids could get in and be up all ages,

87
00:04:43,880 --> 00:04:46,040
Speaker 2: but they that certainly turned a blind eye to you

88
00:04:46,120 --> 00:04:46,680
Speaker 2: know whatever else.

89
00:04:46,760 --> 00:04:49,000
Speaker 1: I mean when you say all ages, you could be

90
00:04:49,160 --> 00:04:49,560
Speaker 1: how old.

91
00:04:50,080 --> 00:04:53,360
Speaker 2: I think that there were definitely, like we were fifteen sixteen.

92
00:04:53,960 --> 00:04:57,480
Speaker 2: There were definitely kids that looked like thirteen. It had

93
00:04:57,600 --> 00:05:00,680
Speaker 2: like a definite like Lord of the Flies vibe to it.

94
00:05:00,800 --> 00:05:03,200
Speaker 2: Like but at least before they started bashing each other

95
00:05:03,240 --> 00:05:04,840
Speaker 2: in the head with the shells.

96
00:05:04,600 --> 00:05:07,920
Speaker 1: Would they raise an eyebrow if say a forty year old.

97
00:05:08,200 --> 00:05:10,320
Speaker 2: Yeah, That's what was so cool about it. It was

98
00:05:10,440 --> 00:05:13,480
Speaker 2: like there was It wasn't like there was this other

99
00:05:13,560 --> 00:05:16,120
Speaker 2: scene going on that was a little adjacent, which was

100
00:05:16,760 --> 00:05:20,040
Speaker 2: disco two thousand and Limelight, which became the party Monster.

101
00:05:20,200 --> 00:05:22,560
Speaker 2: You know that that was much more debauch, and that

102
00:05:22,760 --> 00:05:25,280
Speaker 2: was like older people going through the rooms trying to

103
00:05:25,279 --> 00:05:27,640
Speaker 2: apply young kids with row hipno or whatever. But this

104
00:05:27,839 --> 00:05:30,720
Speaker 2: really was just like schools out for summer, Like this

105
00:05:30,920 --> 00:05:33,160
Speaker 2: was something about it, and that's why it was just

106
00:05:33,320 --> 00:05:36,880
Speaker 2: so incredible. Was the first thing that like I lied,

107
00:05:37,520 --> 00:05:41,520
Speaker 2: beg you know, borrow like whatever to get into this

108
00:05:41,640 --> 00:05:46,920
Speaker 2: place because it was like Disneyland for kids. So what

109
00:05:47,040 --> 00:05:50,760
Speaker 2: Disneyland is for kids, Disneyland for serotonin.

110
00:05:50,279 --> 00:05:55,000
Speaker 1: Trade kids, I don't think so good. Yeah so yeah.

111
00:05:55,080 --> 00:05:57,680
Speaker 2: So they had the big main room and they had

112
00:05:58,000 --> 00:06:00,440
Speaker 2: big techno DJs playing, and I would alway, I go

113
00:06:00,560 --> 00:06:02,480
Speaker 2: into those rooms of my friends and then after like

114
00:06:02,560 --> 00:06:04,760
Speaker 2: five minutes be like, I know I'm supposed to like this,

115
00:06:04,960 --> 00:06:07,160
Speaker 2: but I just really don't, and I would drift to

116
00:06:07,240 --> 00:06:09,960
Speaker 2: this other room down the hall, this small room that

117
00:06:10,120 --> 00:06:12,560
Speaker 2: was called the chill out Room. And the first time

118
00:06:12,640 --> 00:06:15,640
Speaker 2: that I was in that room and we were on

119
00:06:16,240 --> 00:06:18,720
Speaker 2: ecstasy or mushrooms or you know, depending on the night,

120
00:06:18,839 --> 00:06:22,400
Speaker 2: and it did have this really fun vibe like at

121
00:06:22,640 --> 00:06:25,919
Speaker 2: PG thirteen Caligular with glow sticks, like just kids making

122
00:06:26,000 --> 00:06:29,800
Speaker 2: out everywhere. But I saw DJ Dimitri from d Light

123
00:06:29,960 --> 00:06:32,920
Speaker 2: was playing in the corner and he was playing the

124
00:06:33,040 --> 00:06:35,479
Speaker 2: song and I was like, it was like this girl

125
00:06:35,600 --> 00:06:39,120
Speaker 2: singing about like Jamaica funk with these like beautiful lush

126
00:06:39,240 --> 00:06:41,160
Speaker 2: chords and unlike anything I had ever heard. And I

127
00:06:41,200 --> 00:06:42,120
Speaker 2: went up to her, I was like, what.

128
00:06:42,279 --> 00:06:42,760
Speaker 1: Is this song?

129
00:06:42,800 --> 00:06:44,600
Speaker 2: And he just like points to a twelve inch like

130
00:06:44,680 --> 00:06:47,360
Speaker 2: he's kind of smiling bobbing around, and I see Tom

131
00:06:47,400 --> 00:06:50,480
Speaker 2: Brown funking for Jamaica. But at that point, like I

132
00:06:50,600 --> 00:06:53,040
Speaker 2: knew Jamerica and brand New Heavies. That was the extent

133
00:06:53,160 --> 00:06:56,160
Speaker 2: of my knowledge of anything like this, So that was

134
00:06:56,279 --> 00:06:59,000
Speaker 2: really exposing me a lot of music. And then I

135
00:06:59,120 --> 00:07:01,680
Speaker 2: remember this other kid getting on right after him, and

136
00:07:01,720 --> 00:07:04,919
Speaker 2: where Dmitri had been like kind of smiling, bobby bouncy,

137
00:07:05,080 --> 00:07:08,440
Speaker 2: like kippie energy, this kid looked like had this furious

138
00:07:08,520 --> 00:07:10,480
Speaker 2: look of concentration in his eyes and just threw on

139
00:07:10,560 --> 00:07:13,119
Speaker 2: his first record. I think it was main Source faking

140
00:07:13,160 --> 00:07:16,800
Speaker 2: the phone, and he then he puts on a second copy,

141
00:07:17,040 --> 00:07:19,800
Speaker 2: and then he starts bringing back the ba ba ba

142
00:07:19,960 --> 00:07:23,040
Speaker 2: ba ba ba ba bah bah bah. And I'd listened

143
00:07:23,040 --> 00:07:25,560
Speaker 2: to Stretch, Armstrong and DJ's on the radio, but I'd

144
00:07:25,600 --> 00:07:29,000
Speaker 2: never seen somebody in person what he was doing. And

145
00:07:29,680 --> 00:07:32,320
Speaker 2: the room started to fill up. He played this incredible set,

146
00:07:32,360 --> 00:07:35,600
Speaker 2: and I was so like he was like slamming records

147
00:07:35,640 --> 00:07:38,520
Speaker 2: in mixing others doubles. It was like this ballet of

148
00:07:38,720 --> 00:07:42,640
Speaker 2: like the fucking brutish movements and and I just remember

149
00:07:42,840 --> 00:07:45,160
Speaker 2: being like, holy shit like that, and it was just

150
00:07:45,320 --> 00:07:47,240
Speaker 2: after the time i'd really fallen in love with like

151
00:07:47,480 --> 00:07:51,360
Speaker 2: Pete Rock and Tribe and that was like I was like,

152
00:07:51,640 --> 00:07:52,600
Speaker 2: this is what I want.

153
00:07:52,520 --> 00:07:56,160
Speaker 1: To do, Like this is yeah, got it? So Dimitri

154
00:07:56,960 --> 00:08:00,640
Speaker 1: who subsequently, I guess for our listeners if line of

155
00:08:00,800 --> 00:08:04,680
Speaker 1: notes are correct, Dmitry also played a very instrumental role

156
00:08:05,480 --> 00:08:08,840
Speaker 1: and the first Tribe album he gets credited, Wow, he

157
00:08:08,920 --> 00:08:12,920
Speaker 1: gets a major shout out MB liner no idea, what

158
00:08:14,000 --> 00:08:17,440
Speaker 1: was his I believe. I think I asked Tip about

159
00:08:17,480 --> 00:08:20,600
Speaker 1: this once, like what was the delight connection? Because also with.

160
00:08:21,040 --> 00:08:21,440
Speaker 2: Tip on.

161
00:08:23,240 --> 00:08:31,600
Speaker 1: But yeah, I believe that Dmitri was key in a

162
00:08:31,760 --> 00:08:35,520
Speaker 1: lot of those obscure samples that they might have not

163
00:08:35,760 --> 00:08:38,280
Speaker 1: known about, you know, because the thing is is that

164
00:08:39,080 --> 00:08:41,640
Speaker 1: the quick version for our listeners out there, of course,

165
00:08:41,800 --> 00:08:44,400
Speaker 1: is that you know, when hip hop starts, especially in

166
00:08:44,480 --> 00:08:48,240
Speaker 1: the Africa Bambada era, DJ's will wipe off the label

167
00:08:48,360 --> 00:08:50,920
Speaker 1: so you had no clue what they were playing. And

168
00:08:51,080 --> 00:08:54,599
Speaker 1: of course, the proprietor of what we now know is

169
00:08:54,679 --> 00:09:00,440
Speaker 1: the cliff Notes or the Wikipedia of Breakbeat Collections, Ultimate

170
00:09:00,480 --> 00:09:03,200
Speaker 1: Beats and Breaks. It's like a twenty five volume set

171
00:09:03,280 --> 00:09:06,240
Speaker 1: record of which they will put seven of those hard

172
00:09:06,320 --> 00:09:10,400
Speaker 1: defined records that you couldn't you know, Shizam or people

173
00:09:10,440 --> 00:09:14,760
Speaker 1: of the shoulder of whoever's DJing during the initial era.

174
00:09:15,440 --> 00:09:18,760
Speaker 1: Now all these records are available at your helmet. You know.

175
00:09:18,840 --> 00:09:22,520
Speaker 1: Of course, as we're listening to hip hop between eighty

176
00:09:22,679 --> 00:09:27,040
Speaker 1: six and kind of nineteen ninety, you will hear a

177
00:09:27,120 --> 00:09:31,199
Speaker 1: combination of all those things that are on those break beats, substitution,

178
00:09:31,920 --> 00:09:35,120
Speaker 1: funky drummer, long red, just the breaks of the day.

179
00:09:35,320 --> 00:09:37,959
Speaker 2: Yeah, right, and even in a clever way like you

180
00:09:38,120 --> 00:09:40,640
Speaker 2: take it personal like gangsters, like you know, they had

181
00:09:40,880 --> 00:09:43,880
Speaker 2: definitely people doing these very clever starting to you know,

182
00:09:44,040 --> 00:09:45,280
Speaker 2: manipulate and take these.

183
00:09:45,200 --> 00:09:49,560
Speaker 1: Flipping yeah, exactly. So the thing is is that occasionally,

184
00:09:50,520 --> 00:09:54,079
Speaker 1: I'll say, your first for araate outside of the confines

185
00:09:54,080 --> 00:09:57,480
Speaker 1: of ultimate beats and breaks is your parents' collection, depending

186
00:09:57,520 --> 00:10:02,320
Speaker 1: on how expansive they are, and then once you get addicted,

187
00:10:02,600 --> 00:10:07,920
Speaker 1: then you start rummaging through your relatives collections. I had

188
00:10:07,960 --> 00:10:12,040
Speaker 1: two uncles that were major collectors, So every Sunday dinner

189
00:10:12,120 --> 00:10:15,400
Speaker 1: there or occasional barbecue, I'd go through the record collection

190
00:10:16,040 --> 00:10:19,719
Speaker 1: and see deep stuff that my dad wasn't into. And

191
00:10:19,800 --> 00:10:22,800
Speaker 1: then the last place is of course the library. But

192
00:10:23,400 --> 00:10:26,280
Speaker 1: the level of digging that when I say the Renaissance

193
00:10:26,360 --> 00:10:29,160
Speaker 1: era gave us. When I say the Renaissance, I'm talking

194
00:10:29,160 --> 00:10:34,600
Speaker 1: about the Pete Rocks, the Q Tips, the ARS professors. Yeah,

195
00:10:34,800 --> 00:10:37,080
Speaker 1: like kind of the sons of Paul Cy, if you will,

196
00:10:37,320 --> 00:10:39,439
Speaker 1: Paul C being the what I say is the person

197
00:10:39,520 --> 00:10:42,559
Speaker 1: that read and studied the SB twelve hundred manual and

198
00:10:42,640 --> 00:10:44,800
Speaker 1: then taught it to Paul, who then taught it to

199
00:10:44,800 --> 00:10:48,000
Speaker 1: everyone else. Yeah, it's like that era of hip hop

200
00:10:48,840 --> 00:10:53,680
Speaker 1: is going outside the color lines of what was initially

201
00:10:53,760 --> 00:10:56,440
Speaker 1: spun back in the Bronx. And so as a result,

202
00:10:56,920 --> 00:11:03,440
Speaker 1: you know, cats like Dimitri Ta also from Delight being

203
00:11:03,480 --> 00:11:05,840
Speaker 1: as though there their quest were funk was a little

204
00:11:05,880 --> 00:11:07,560
Speaker 1: bit different, but they would.

205
00:11:07,840 --> 00:11:10,160
Speaker 2: Yeah, and they were bringing in like exotica. I think

206
00:11:10,200 --> 00:11:12,360
Speaker 2: of that, and I'm still obsessed with and I tried

207
00:11:12,400 --> 00:11:16,920
Speaker 2: to do something. Initially, I only wrote this book because

208
00:11:16,960 --> 00:11:19,000
Speaker 2: I was making an album where I was going to

209
00:11:19,120 --> 00:11:21,760
Speaker 2: like do some nineties covers and flip some nineties things

210
00:11:21,760 --> 00:11:24,040
Speaker 2: that I loved and feeling a little nostalgic musically, and

211
00:11:24,080 --> 00:11:26,360
Speaker 2: I was like, I'll write a book to go along

212
00:11:26,400 --> 00:11:28,680
Speaker 2: with it, and I'll give context to like a friendship

213
00:11:28,760 --> 00:11:31,319
Speaker 2: with the Leah and my relationship to these records, and

214
00:11:31,400 --> 00:11:33,480
Speaker 2: then I wrote the book and forgot to make the album.

215
00:11:34,080 --> 00:11:35,920
Speaker 2: That's a very flip and silly thing to say, but

216
00:11:36,000 --> 00:11:37,000
Speaker 2: I got bogged down.

217
00:11:37,679 --> 00:11:39,280
Speaker 1: I was home man, that this was a part of it,

218
00:11:39,400 --> 00:11:39,920
Speaker 1: like a secret.

219
00:11:40,160 --> 00:11:42,640
Speaker 2: Yeah, I hopefully it will be, but I you know,

220
00:11:42,840 --> 00:11:46,000
Speaker 2: so I've been flipping all these things and versions that

221
00:11:46,120 --> 00:11:48,480
Speaker 2: hopefully will come out some day of stuff mentioned in

222
00:11:48,559 --> 00:11:51,199
Speaker 2: the book, and even that beginning of dntingly and ding

223
00:11:51,320 --> 00:11:54,320
Speaker 2: ding ding thing we are going to dance like all

224
00:11:54,360 --> 00:11:59,040
Speaker 2: that French exotica, that that silly spirit, which was also

225
00:11:59,160 --> 00:12:01,320
Speaker 2: what you know, dale us so we're doing on three

226
00:12:01,440 --> 00:12:04,200
Speaker 2: V Highlight. It was obviously very like you could listen

227
00:12:04,280 --> 00:12:06,559
Speaker 2: to d Light and now having you see this like

228
00:12:06,720 --> 00:12:09,360
Speaker 2: I can hear right, oh yeah, the thread between DJ

229
00:12:09,520 --> 00:12:10,880
Speaker 2: Dimitri and some of.

230
00:12:10,920 --> 00:12:14,040
Speaker 1: The tribes and stuff. Yeah exactly, yeah.

231
00:12:13,920 --> 00:12:16,520
Speaker 2: No, that's super cool. I wrote a bit about in

232
00:12:16,600 --> 00:12:18,880
Speaker 2: the book as well, like I wanted to at least

233
00:12:19,400 --> 00:12:22,480
Speaker 2: cover in the book all the touchstone things of being

234
00:12:22,520 --> 00:12:24,000
Speaker 2: in New York at that time, and one of them,

235
00:12:24,080 --> 00:12:27,560
Speaker 2: of course, is the Roosevelt Record Convention. And I remember

236
00:12:27,720 --> 00:12:30,000
Speaker 2: this is a little bit later than when we're talking

237
00:12:30,040 --> 00:12:33,280
Speaker 2: about maybe ninety four ninety five. But going there and

238
00:12:34,400 --> 00:12:38,640
Speaker 2: seeing these amazing records on. You know, they would have

239
00:12:38,720 --> 00:12:42,040
Speaker 2: all these record vendors around this room in this hotel,

240
00:12:42,120 --> 00:12:46,199
Speaker 2: the Roosevelt Hotel, and everybody would go there, right. It

241
00:12:46,360 --> 00:12:49,200
Speaker 2: was just where Q Tip and Large Professor and Diamond

242
00:12:49,240 --> 00:12:52,199
Speaker 2: D and they would find their breaks and the more

243
00:12:52,320 --> 00:12:54,800
Speaker 2: high end dealers would set up their crates and then

244
00:12:54,840 --> 00:12:57,559
Speaker 2: that they'd make a makeshift cardboard wall behind them with

245
00:12:57,720 --> 00:12:59,960
Speaker 2: like the top top records pinned up, and I would

246
00:13:00,120 --> 00:13:03,480
Speaker 2: see like Roy Ayre's musical project Ramp like up on

247
00:13:03,520 --> 00:13:05,760
Speaker 2: the wall, like one hundred dollars, you know, like kind

248
00:13:05,800 --> 00:13:08,640
Speaker 2: of dream and then drooling as a kid looking at

249
00:13:08,640 --> 00:13:12,000
Speaker 2: these records. But I remember, and I told C Tip.

250
00:13:12,720 --> 00:13:14,240
Speaker 2: I don't think I even told him til I was

251
00:13:14,280 --> 00:13:17,200
Speaker 2: writing the book. I was like, I remember seeing him

252
00:13:17,360 --> 00:13:19,319
Speaker 2: one time at one of those record conventions and I

253
00:13:19,480 --> 00:13:22,959
Speaker 2: was holding under my arm the Rotary Connection album that

254
00:13:23,120 --> 00:13:26,280
Speaker 2: has the Memory band, the sample from the beginning of

255
00:13:26,320 --> 00:13:29,559
Speaker 2: Anita apple Ball. Yeah, and I went up to him

256
00:13:29,679 --> 00:13:32,760
Speaker 2: thinking like because I was so starstruck and geeked out

257
00:13:32,760 --> 00:13:34,679
Speaker 2: of everyone does this. Yeah, right, I was like, I'm

258
00:13:34,720 --> 00:13:37,520
Speaker 2: gonna go up to him and like say something cool.

259
00:13:37,320 --> 00:13:40,800
Speaker 1: And pretend and then he'll bring you the Yeah. Yeah, totally,

260
00:13:40,960 --> 00:13:43,160
Speaker 1: you and I are the same. All right, go ahead,

261
00:13:43,160 --> 00:13:43,840
Speaker 1: finish your story.

262
00:13:43,960 --> 00:13:46,160
Speaker 2: I went up to him and I was like, oh,

263
00:13:46,720 --> 00:13:48,160
Speaker 2: just like on the way out, he was wearing something

264
00:13:48,200 --> 00:13:50,600
Speaker 2: like bright Tommy Hill figure jacket or Helly Hanson.

265
00:13:50,640 --> 00:13:51,000
Speaker 1: I remember.

266
00:13:51,520 --> 00:13:53,559
Speaker 2: I was like, this is the uh, this is the

267
00:13:53,640 --> 00:13:56,480
Speaker 2: record you guys sample for Benita, right, like trying to

268
00:13:56,720 --> 00:13:58,440
Speaker 2: be cool, and he just looked at him.

269
00:13:58,440 --> 00:14:01,720
Speaker 1: I was like know and just walked down. I thought

270
00:14:01,760 --> 00:14:04,000
Speaker 1: you were the FEDS and he was.

271
00:14:04,040 --> 00:14:06,959
Speaker 2: Like he was like he said to me, when I

272
00:14:07,040 --> 00:14:09,520
Speaker 2: tell this story, it's like, yeah, it was mercenary out there,

273
00:14:09,640 --> 00:14:11,480
Speaker 2: like we weren't even giving away the stuff that we

274
00:14:11,520 --> 00:14:13,120
Speaker 2: had already do sampled.

275
00:14:13,400 --> 00:14:17,000
Speaker 1: Yeah, when we were first working with Bob Power at

276
00:14:17,080 --> 00:14:20,920
Speaker 1: Battery Studio, when we were mixing do You Want More?

277
00:14:22,200 --> 00:14:28,200
Speaker 1: Tribe was in Studio C trying to remix Oh my

278
00:14:28,440 --> 00:14:32,000
Speaker 1: God for the live show. So I would make these

279
00:14:32,080 --> 00:14:37,080
Speaker 1: excuses to go to the bathroom to figure out right,

280
00:14:37,440 --> 00:14:42,080
Speaker 1: and literally it's it's Ali and Tip and a turntable

281
00:14:42,360 --> 00:14:45,840
Speaker 1: and a twelve hundred and fife is there too? Two

282
00:14:45,960 --> 00:14:47,840
Speaker 1: other guys are there who I didn't know, and I

283
00:14:48,040 --> 00:14:54,080
Speaker 1: know that they were trying to mix. What is it's

284
00:14:54,120 --> 00:14:57,600
Speaker 1: the it's the second song on Manny Riperton's Adventures in

285
00:14:57,640 --> 00:15:00,880
Speaker 1: Paradise after the check the rhyme saying, uh, the second

286
00:15:00,960 --> 00:15:06,000
Speaker 1: song on that record, the dude, dude do doude do

287
00:15:06,400 --> 00:15:08,480
Speaker 1: A feeling. I think the feeling is there's something that

288
00:15:08,880 --> 00:15:10,920
Speaker 1: there was an issue, not an issue with sampling it,

289
00:15:11,120 --> 00:15:12,840
Speaker 1: like even I tried to sample it, and I know

290
00:15:12,960 --> 00:15:14,880
Speaker 1: what the problem that they were having with it. It

291
00:15:15,000 --> 00:15:17,320
Speaker 1: speeds up, you know you hear the perfect loop.

292
00:15:17,520 --> 00:15:20,240
Speaker 2: Yeah, but it's not when you take it apart, it's.

293
00:15:20,560 --> 00:15:22,600
Speaker 1: Right and it's not like now where you could just

294
00:15:22,760 --> 00:15:26,120
Speaker 1: like manipulate it so it fits four perfect bars. So

295
00:15:26,760 --> 00:15:31,080
Speaker 1: they actually I went to see them that show. It

296
00:15:31,200 --> 00:15:34,400
Speaker 1: was New Year's Eve. It was day Last, Soul Tribe

297
00:15:34,520 --> 00:15:35,640
Speaker 1: and Souls. I went to that.

298
00:15:35,960 --> 00:15:38,320
Speaker 2: I went to that show ninety two New Year's e Yes.

299
00:15:39,120 --> 00:15:42,200
Speaker 2: I remember watching Souls do ninety three till Infinity and thinking,

300
00:15:42,520 --> 00:15:44,800
Speaker 2: is this gonna sound weird, like because it's ninety four

301
00:15:45,000 --> 00:15:47,960
Speaker 2: now or something now thirty years later, still listening to it,

302
00:15:48,000 --> 00:15:49,800
Speaker 2: but anyway, Yeah, I was at that show. That's crazy.

303
00:15:49,960 --> 00:15:53,360
Speaker 1: Yeah, So I think that was the last night that

304
00:15:54,560 --> 00:15:58,560
Speaker 1: Tarik and I were like fans, right, We had a

305
00:15:58,640 --> 00:16:00,920
Speaker 1: good four year streak of into like all of our

306
00:16:01,000 --> 00:16:04,440
Speaker 1: favorite shows and beat in the front row like there's no.

307
00:16:05,280 --> 00:16:07,480
Speaker 2: There was no like aware artists too. We better not

308
00:16:07,720 --> 00:16:08,440
Speaker 2: like no no no.

309
00:16:08,840 --> 00:16:13,080
Speaker 1: We were fans like the era of yelling go go

310
00:16:13,680 --> 00:16:17,080
Speaker 1: go and jumping and jumping like I was off with.

311
00:16:17,520 --> 00:16:20,080
Speaker 1: We were there for a caras One doing that Many

312
00:16:20,120 --> 00:16:22,480
Speaker 1: a Day, last show, Many a Tribe show, whatever. But

313
00:16:22,600 --> 00:16:25,280
Speaker 1: we were there that night and the first time I

314
00:16:25,320 --> 00:16:28,480
Speaker 1: had notes, I was like, ah, man, they should have

315
00:16:28,720 --> 00:16:31,920
Speaker 1: filtered the midsmore so we could hear the baseline better.

316
00:16:32,880 --> 00:16:35,280
Speaker 1: You know, they tried, it didn't work. And also remember

317
00:16:35,360 --> 00:16:39,760
Speaker 1: Raphael Sadik coming out to do Electric Relaxations and midnight

318
00:16:39,840 --> 00:16:42,240
Speaker 1: to play bass on it and his base wasn't up

319
00:16:42,280 --> 00:16:44,480
Speaker 1: at all. Yeah, I was like I was in the

320
00:16:44,520 --> 00:16:46,400
Speaker 1: front row. But then it was also like should I

321
00:16:46,440 --> 00:16:48,680
Speaker 1: go to the sound? Yeah. So the first time I

322
00:16:48,800 --> 00:17:02,720
Speaker 1: ever had notes was that. Have you ever had a

323
00:17:02,800 --> 00:17:06,480
Speaker 1: DJ gig where it's sort of like everyone like, wow,

324
00:17:06,640 --> 00:17:09,520
Speaker 1: look at him, go like you're really killing that Mark Ronson.

325
00:17:09,880 --> 00:17:14,320
Speaker 2: I think I've definitely, I know I have. They all

326
00:17:14,520 --> 00:17:17,440
Speaker 2: blur together a little bit. After thirty years of this,

327
00:17:17,760 --> 00:17:19,920
Speaker 2: you know some of the highlight. There's nights that I

328
00:17:20,000 --> 00:17:23,520
Speaker 2: remember something very special and transformative happening, like the night

329
00:17:23,600 --> 00:17:26,679
Speaker 2: that like I decided to drop back in black by

330
00:17:26,720 --> 00:17:29,680
Speaker 2: ACDC at Cheat on a Monday night, like like like

331
00:17:29,800 --> 00:17:32,000
Speaker 2: something that had never been done and said like could

332
00:17:32,040 --> 00:17:35,719
Speaker 2: have gone either way. I remember DJing in Japan at

333
00:17:35,760 --> 00:17:39,320
Speaker 2: that hip hop club Harlem, and I remember I had

334
00:17:39,480 --> 00:17:41,760
Speaker 2: never ever got on the mic because like at that

335
00:17:41,960 --> 00:17:44,760
Speaker 2: point and in New York, like just white DJs like

336
00:17:44,880 --> 00:17:45,560
Speaker 2: did not get on.

337
00:17:45,640 --> 00:17:46,880
Speaker 1: The mic, like how's everyone doing?

338
00:17:47,040 --> 00:17:49,760
Speaker 2: Yeah, yeah, with the owner of a blue super has

339
00:17:49,840 --> 00:17:52,000
Speaker 2: been parked at Double Park, Like that was the only

340
00:17:52,040 --> 00:17:53,719
Speaker 2: time you got on the mic. And I don't even

341
00:17:53,760 --> 00:17:55,920
Speaker 2: want to make it like a race thing. There was

342
00:17:56,040 --> 00:17:59,879
Speaker 2: something just about we knew that we were sort of

343
00:18:00,080 --> 00:18:01,399
Speaker 2: privileged to be in hip hop'space.

344
00:18:01,400 --> 00:18:03,480
Speaker 1: But there's there's a voice. I don't think it's black

345
00:18:03,480 --> 00:18:06,560
Speaker 1: and white, because I to this day, as much as

346
00:18:06,640 --> 00:18:07,359
Speaker 1: I wanna.

347
00:18:07,960 --> 00:18:10,840
Speaker 2: You don't get aius, Like I don't have the voice

348
00:18:10,880 --> 00:18:13,000
Speaker 2: that's like what's that motherfucker? Like right?

349
00:18:13,160 --> 00:18:14,840
Speaker 1: Right? So I just do sound bites.

350
00:18:15,200 --> 00:18:17,240
Speaker 2: You could and you definitely have a lot of a

351
00:18:17,400 --> 00:18:19,680
Speaker 2: much better voice for it than a lot of people

352
00:18:19,720 --> 00:18:22,160
Speaker 2: who are presently doing it, but you observe that it's

353
00:18:22,200 --> 00:18:23,240
Speaker 2: not something that you should be.

354
00:18:23,480 --> 00:18:26,960
Speaker 1: Yeah, it was a busy concentrating the records and yeah.

355
00:18:27,480 --> 00:18:30,720
Speaker 2: Yeah, but but I remember one night there was something

356
00:18:30,800 --> 00:18:32,840
Speaker 2: I was playing in Tokyo and it was right as

357
00:18:33,000 --> 00:18:35,000
Speaker 2: two thousand and three, right as my record UI with

358
00:18:35,080 --> 00:18:36,840
Speaker 2: ghost Face and Nate Doggie came out, and it was

359
00:18:36,880 --> 00:18:39,359
Speaker 2: a big record, and there's something you know what it's

360
00:18:39,400 --> 00:18:41,159
Speaker 2: like when you go into the booth, like or you

361
00:18:41,240 --> 00:18:45,920
Speaker 2: step on stage. Japanese crowds are so grateful, enthusiastic. There

362
00:18:46,040 --> 00:18:47,879
Speaker 2: was this thing, but I could just tell I was

363
00:18:48,040 --> 00:18:50,399
Speaker 2: ripping it doing all this stuff, and I could just

364
00:18:50,600 --> 00:18:54,480
Speaker 2: tell the crowd was like in this weird nervous like

365
00:18:54,680 --> 00:18:58,320
Speaker 2: purgatory between having a good time and and I just was.

366
00:18:58,480 --> 00:19:00,000
Speaker 2: I just looked down at the mic by the booth

367
00:19:00,040 --> 00:19:01,440
Speaker 2: and I was like, I know what it is. I

368
00:19:01,560 --> 00:19:04,080
Speaker 2: know until I say something to this crowd, I haven't

369
00:19:04,119 --> 00:19:06,800
Speaker 2: given them permission to let loose, like this is not

370
00:19:07,200 --> 00:19:09,199
Speaker 2: New York White Go. Every week I'm going to see them.

371
00:19:09,240 --> 00:19:11,399
Speaker 2: They need me to say something. And I remember getting

372
00:19:11,440 --> 00:19:14,440
Speaker 2: on that mic and then the place just like fucking exploded.

373
00:19:14,520 --> 00:19:17,400
Speaker 2: You know, listen, I've had some of my favorite ever

374
00:19:17,560 --> 00:19:21,720
Speaker 2: performance experiences djaying like, That's why I keep coming back

375
00:19:21,760 --> 00:19:24,520
Speaker 2: to it. That's why after thirty three years and I've

376
00:19:24,840 --> 00:19:27,320
Speaker 2: beat up ears and back and all that stuff, because

377
00:19:27,440 --> 00:19:29,800
Speaker 2: on any given night, you can just go into a

378
00:19:30,240 --> 00:19:32,680
Speaker 2: into a room like I went into Gabriella's a couple

379
00:19:32,800 --> 00:19:35,880
Speaker 2: months ago and Williamsburg, Brooklyn. I hadn't played, I hadn't

380
00:19:35,880 --> 00:19:38,399
Speaker 2: played a while, I hadn't played Vinyl and just like

381
00:19:39,240 --> 00:19:42,119
Speaker 2: to play it again to remember, like, oh, not like

382
00:19:42,200 --> 00:19:44,359
Speaker 2: in some way like, oh, thank god I still got it,

383
00:19:44,440 --> 00:19:46,200
Speaker 2: but yes, in a little way, thank god I still

384
00:19:46,240 --> 00:19:48,520
Speaker 2: got it playing for kids half my age or kids

385
00:19:48,520 --> 00:19:52,160
Speaker 2: who weren't even around when Cares's Step into a World

386
00:19:52,240 --> 00:19:55,399
Speaker 2: First came out, weren't even alive, Like, so I can't

387
00:19:55,520 --> 00:19:58,159
Speaker 2: remember like the one gig where it was like the

388
00:19:58,240 --> 00:20:01,080
Speaker 2: Peewee Tour de France experience. You talk, but there's just

389
00:20:01,240 --> 00:20:04,359
Speaker 2: moments and snatches of these things that just kind of

390
00:20:04,480 --> 00:20:07,119
Speaker 2: beat everything that It's why I keep doing it.

391
00:20:07,320 --> 00:20:10,879
Speaker 1: Okay, So then the other side of that coin is

392
00:20:10,960 --> 00:20:14,400
Speaker 1: can you tell me the story of the worst gig

393
00:20:14,920 --> 00:20:21,840
Speaker 1: of established Mark Watson's life. Yeah, I mean devastating. When

394
00:20:21,840 --> 00:20:24,520
Speaker 1: you do a bad gig, you feel devastated or yeah.

395
00:20:24,440 --> 00:20:26,520
Speaker 2: Oh it's terrible, and I go home and I'm like,

396
00:20:26,640 --> 00:20:29,320
Speaker 2: I'm gonna quit now, I'm gonna save face, Like why

397
00:20:29,359 --> 00:20:31,640
Speaker 2: am I still doing this? I think there's a lot

398
00:20:31,680 --> 00:20:34,680
Speaker 2: of it, you know. Sometimes it's what happened to me,

399
00:20:34,840 --> 00:20:37,280
Speaker 2: And I talk about this about in the book. You know,

400
00:20:37,400 --> 00:20:39,680
Speaker 2: in the nineties and the early two thousands, before I

401
00:20:39,840 --> 00:20:42,440
Speaker 2: was quote unquote Mark Ronson, I was just a gigging DJ.

402
00:20:43,200 --> 00:20:46,080
Speaker 2: Eighty five ninety percent of my gigs were club gigs

403
00:20:46,119 --> 00:20:48,119
Speaker 2: where I'm playing to a crowd, a crowd that I know,

404
00:20:48,240 --> 00:20:50,159
Speaker 2: a crowd that I love, that has great taste, and

405
00:20:50,280 --> 00:20:53,680
Speaker 2: maybe ten percent were corporate gigs or these kind of things.

406
00:20:53,760 --> 00:20:56,200
Speaker 2: And then the shift starts to happen and you spend

407
00:20:56,240 --> 00:20:58,439
Speaker 2: your time in the studio, you're not djaying out as much,

408
00:20:58,520 --> 00:21:00,879
Speaker 2: you're not in the mix, and suddenly it starts to

409
00:21:00,960 --> 00:21:04,840
Speaker 2: creep towards like, oh now it's like seventy five percent

410
00:21:05,280 --> 00:21:08,080
Speaker 2: weird corporate gigs on one offs and twenty five percent

411
00:21:08,200 --> 00:21:10,840
Speaker 2: actual gigs where you're playing for the love and whatever.

412
00:21:11,480 --> 00:21:15,520
Speaker 2: And sometimes those, yeah, those corporate ones you'll end up at,

413
00:21:15,600 --> 00:21:18,960
Speaker 2: like playing something for like I don't know, some luxury

414
00:21:19,080 --> 00:21:21,640
Speaker 2: brand in Singapore, or just staring out into the sea

415
00:21:21,720 --> 00:21:26,520
Speaker 2: of like mild disinterests like and then but somehow there's

416
00:21:26,560 --> 00:21:29,280
Speaker 2: this thing because I come from the clubs in that

417
00:21:29,720 --> 00:21:32,879
Speaker 2: mindset where you're like, I know, whatever costs, I'm gonna

418
00:21:32,920 --> 00:21:34,600
Speaker 2: call my way through this scene till I play that

419
00:21:34,680 --> 00:21:37,000
Speaker 2: one record that then gets you, and then for the

420
00:21:37,119 --> 00:21:40,560
Speaker 2: next few hours we're all laughing and parting. But yeah,

421
00:21:40,640 --> 00:21:43,399
Speaker 2: there's there's so many of those. I do know that,

422
00:21:43,920 --> 00:21:47,800
Speaker 2: maybe more often recently, like that terrible feeling of like

423
00:21:47,880 --> 00:21:50,240
Speaker 2: that mixture of like that nightmare you have as a

424
00:21:50,280 --> 00:21:53,280
Speaker 2: kid when you get up on staging you're naked. I

425
00:21:53,400 --> 00:21:56,399
Speaker 2: never specifically had that dream as a kid, but I

426
00:21:56,560 --> 00:21:58,320
Speaker 2: know the feeling, like you go to school and you

427
00:21:58,359 --> 00:21:59,600
Speaker 2: stand up naked at the assembly.

428
00:21:59,760 --> 00:22:04,399
Speaker 1: See now I'll say that probably okay, I called the

429
00:22:04,480 --> 00:22:07,640
Speaker 1: robin Hood theory, which is basically and you know the deal,

430
00:22:07,880 --> 00:22:12,800
Speaker 1: like corper gigs good money. Now, usually those carper gigs

431
00:22:12,920 --> 00:22:17,480
Speaker 1: are older people my age, So I take advantage of

432
00:22:18,080 --> 00:22:21,800
Speaker 1: whatever was popping when you were sixteen to twenty six,

433
00:22:22,960 --> 00:22:25,560
Speaker 1: that's memory. So for corporate people, forty and forty five

434
00:22:25,640 --> 00:22:30,000
Speaker 1: year old people, Jesus to listen to Duran Duran if

435
00:22:30,040 --> 00:22:32,160
Speaker 1: that was their thing. Well, if you're sixty, it's Duran Duran.

436
00:22:32,520 --> 00:22:36,640
Speaker 1: If you're forty, might be the spice girl. So that's

437
00:22:36,680 --> 00:22:40,160
Speaker 1: almost become too much of a comfort zone. And then

438
00:22:40,440 --> 00:22:43,200
Speaker 1: when I'll do an occasional hole in the wall where

439
00:22:43,280 --> 00:22:44,840
Speaker 1: it's just like I'm not doing it for the money,

440
00:22:44,840 --> 00:22:48,159
Speaker 1: I'm just doing it just to sharpen up. Ah, that

441
00:22:48,320 --> 00:22:53,320
Speaker 1: was a rude awakening me not knowing and the methods

442
00:22:53,359 --> 00:22:56,320
Speaker 1: that I'm using now just to see what I should

443
00:22:56,359 --> 00:22:59,080
Speaker 1: be spinning. Like I'm doing everything I promise i'd never do.

444
00:22:59,240 --> 00:23:02,520
Speaker 1: I'm on every YouTube page of every DJ set seeing

445
00:23:02,560 --> 00:23:04,119
Speaker 1: what they play, like, oh, that's it.

446
00:23:04,400 --> 00:23:06,400
Speaker 2: And who are you watching when you go to those

447
00:23:06,440 --> 00:23:09,159
Speaker 2: YouTube page? Are you watching like the Black Coffees? Are

448
00:23:09,160 --> 00:23:11,600
Speaker 2: you watching like the open format guys, or like I'm

449
00:23:11,680 --> 00:23:12,280
Speaker 2: just curious.

450
00:23:13,320 --> 00:23:15,920
Speaker 1: I mean, it's now to the point where like a

451
00:23:16,040 --> 00:23:19,560
Speaker 1: lot of the established like Black Coffee is now playing

452
00:23:19,600 --> 00:23:22,640
Speaker 1: Madison Square Guard and he's playing a lot of his stuff. Yeah,

453
00:23:23,280 --> 00:23:27,520
Speaker 1: and so unless the one thing I'm not doing, which

454
00:23:27,520 --> 00:23:29,560
Speaker 1: I probably should be doing. Lord knows what all the

455
00:23:29,960 --> 00:23:33,520
Speaker 1: masters I have and everything is my own remixes and

456
00:23:34,160 --> 00:23:36,960
Speaker 1: putting on my own show. But just like to spin

457
00:23:37,160 --> 00:23:41,280
Speaker 1: records to spin records, it's kind of hard. Like I'm

458
00:23:41,560 --> 00:23:44,480
Speaker 1: at the beginning. I'm the most nervous I've ever been

459
00:23:44,640 --> 00:23:49,520
Speaker 1: djaying like I just did Heidi Klum's Halloween.

460
00:23:50,160 --> 00:23:52,639
Speaker 2: I saw you did that, And of course, because because

461
00:23:52,680 --> 00:23:56,160
Speaker 2: we have such a shared things are a musical taste

462
00:23:56,200 --> 00:23:57,800
Speaker 2: and where we are and like the kind of parties

463
00:23:57,840 --> 00:23:59,879
Speaker 2: we play, I'm like, I wonder what he played at that,

464
00:24:00,119 --> 00:24:03,040
Speaker 2: Like what is that? Is that Halloween?

465
00:24:03,119 --> 00:24:06,159
Speaker 1: So there's thriller, I swear to god, you know what,

466
00:24:06,280 --> 00:24:09,080
Speaker 1: there's the one year I didn't get the thriller. Okay,

467
00:24:09,200 --> 00:24:13,800
Speaker 1: So based on your wedding, who's old boy that played

468
00:24:14,080 --> 00:24:16,280
Speaker 1: your after party the wedding dj.

469
00:24:16,840 --> 00:24:19,959
Speaker 2: Oh at my sister's. Yes, it was Charlie, that kid

470
00:24:20,000 --> 00:24:22,439
Speaker 2: who was playing like all the fifty right.

471
00:24:23,240 --> 00:24:26,760
Speaker 1: So I realized that it's been a while. I was like,

472
00:24:26,880 --> 00:24:30,040
Speaker 1: do I know a good thirty records that have that

473
00:24:30,200 --> 00:24:37,359
Speaker 1: shuffle jazzy right? And so I decided normally when I

474
00:24:37,440 --> 00:24:40,520
Speaker 1: was DJ, sometimes I have to be my own opening act.

475
00:24:41,480 --> 00:24:44,440
Speaker 1: So for me naturally, and I think you feel the

476
00:24:44,480 --> 00:24:48,040
Speaker 1: same because we come from hip hop. The magic spot

477
00:24:48,520 --> 00:24:53,399
Speaker 1: used to be ninety three bpms to like one hundred

478
00:24:53,400 --> 00:24:55,760
Speaker 1: and three bpms, Right, that's where you can get all

479
00:24:55,800 --> 00:24:57,080
Speaker 1: the classic hip hop stuff.

480
00:24:56,880 --> 00:24:59,600
Speaker 2: Out of your neap tins and tribe and everything.

481
00:24:59,680 --> 00:25:03,119
Speaker 1: Right, So normally I would start off, I'd let like

482
00:25:03,240 --> 00:25:06,479
Speaker 1: ten records, go slow until the place starts to fill up,

483
00:25:06,560 --> 00:25:09,400
Speaker 1: and then my first records really the tenth record or whatever. Yeah,

484
00:25:09,640 --> 00:25:13,600
Speaker 1: So normally I'm a slow starter and then faster and

485
00:25:13,680 --> 00:25:15,280
Speaker 1: faster and faster, and the end of the night you

486
00:25:15,400 --> 00:25:17,920
Speaker 1: end up in house and disco. Lie, this is the

487
00:25:17,960 --> 00:25:21,040
Speaker 1: first time where I decided I'm gonna go backwards and

488
00:25:22,600 --> 00:25:25,160
Speaker 1: start at one hundred and seventy one bpm. So I'm

489
00:25:25,200 --> 00:25:27,560
Speaker 1: like starting with you know, you got to start at

490
00:25:27,600 --> 00:25:28,879
Speaker 1: least three Teflon records.

491
00:25:29,119 --> 00:25:32,080
Speaker 2: So for me, like, hey, I will never die no

492
00:25:32,240 --> 00:25:36,320
Speaker 2: matter what. So like, hey, y'ah, I don't worry. I'm

493
00:25:36,359 --> 00:25:40,640
Speaker 2: not taking notes or anything. Hey you are, Hey still

494
00:25:41,000 --> 00:25:41,639
Speaker 2: is still working?

495
00:25:41,720 --> 00:25:45,520
Speaker 1: Okay, Hey ya is a Teflon song? Okay, Okay, someone

496
00:25:45,640 --> 00:25:51,520
Speaker 1: took chapel runs hot to go and shop the song

497
00:25:51,600 --> 00:25:58,320
Speaker 1: in half. So set a ding. It's like did so,

498
00:25:58,560 --> 00:26:01,160
Speaker 1: which kind of feels like Pressen is bigger than hip

499
00:26:01,200 --> 00:26:04,920
Speaker 1: hop dolls. Yeah, like I started that fast and slowed down.

500
00:26:05,240 --> 00:26:08,360
Speaker 1: I'll say that half the stuff where I'm really ignorant

501
00:26:09,200 --> 00:26:13,840
Speaker 1: is I should be really knowledgeable. I shouldn't know twenty

502
00:26:14,160 --> 00:26:17,240
Speaker 1: awesome reggae tone song, especially now with the way that

503
00:26:18,040 --> 00:26:21,160
Speaker 1: is willing. You know, I'm doing the worst things. I'm

504
00:26:21,160 --> 00:26:25,000
Speaker 1: going on chat GBT, I'm gone on right, I'm calling

505
00:26:25,080 --> 00:26:27,760
Speaker 1: people in a way it's exciting that I have to

506
00:26:27,840 --> 00:26:30,199
Speaker 1: start all over again. How was that party?

507
00:26:30,320 --> 00:26:30,679
Speaker 2: Actually?

508
00:26:30,800 --> 00:26:30,840
Speaker 1: Like?

509
00:26:31,200 --> 00:26:34,000
Speaker 2: Did you have a good time teaching at? I was relieved,

510
00:26:34,040 --> 00:26:36,159
Speaker 2: I survived, Okay, what was the biggest record?

511
00:26:36,240 --> 00:26:37,399
Speaker 1: Like the biggest record of the night?

512
00:26:37,520 --> 00:26:38,040
Speaker 2: Surprised?

513
00:26:38,119 --> 00:26:44,600
Speaker 1: You see, I cheated because there are tefline memory records

514
00:26:44,640 --> 00:26:48,399
Speaker 1: that will never die. I wouldn't necessarily play want to

515
00:26:48,440 --> 00:26:51,960
Speaker 1: be by the Spice Girl in a normal setting, So

516
00:26:52,320 --> 00:26:56,480
Speaker 1: it's almost like I'm a dude totally to take notes.

517
00:26:57,720 --> 00:27:01,280
Speaker 1: I need a confirmation that I'm right, Like Lady Mama

518
00:27:01,280 --> 00:27:04,080
Speaker 1: a lot works. Want to be by the Spicy.

519
00:27:03,840 --> 00:27:06,080
Speaker 2: Original LaBelle or Lady Marmalade, like.

520
00:27:06,080 --> 00:27:10,200
Speaker 1: Oh the original, Little the original. Many of my Latino

521
00:27:10,280 --> 00:27:12,680
Speaker 1: brothers and sisters used to tell me that Suave Mine

522
00:27:12,880 --> 00:27:21,320
Speaker 1: was like a joke to them, which it's almost like

523
00:27:21,400 --> 00:27:23,960
Speaker 1: the irony records, the records that you would never play

524
00:27:23,960 --> 00:27:27,600
Speaker 1: in this lifetime, like even twenty years ago. Like Ice

525
00:27:27,640 --> 00:27:32,360
Speaker 1: ice Baby works now, whereas we would never play that bad.

526
00:27:32,200 --> 00:27:35,040
Speaker 2: Play Ice ice Baby sentimes. If it's the right crowd, I.

527
00:27:35,080 --> 00:27:38,600
Speaker 1: Will play under pressure. Yeah, and under Pressure now gets

528
00:27:38,680 --> 00:27:42,720
Speaker 1: the same response that Troy used to get for Peple Rockets.

529
00:27:42,880 --> 00:27:45,800
Speaker 1: You remember when you yeah, it plays me like, oh

530
00:27:45,880 --> 00:27:49,840
Speaker 1: my god, he's playing Oh my god. And one time

531
00:27:49,880 --> 00:27:51,959
Speaker 1: I was like, oh wait a minute. I know they

532
00:27:52,040 --> 00:27:54,560
Speaker 1: think I'm playing Ice ice Baby and I play Underpressure

533
00:27:55,280 --> 00:27:57,199
Speaker 1: and then it dies down a little bit because it's like, oh,

534
00:27:57,240 --> 00:27:58,200
Speaker 1: he's playing the original.

535
00:27:58,520 --> 00:27:59,960
Speaker 2: And then you hit and I was like, all right,

536
00:28:00,119 --> 00:28:02,560
Speaker 2: let me just see what happened, collaborate and listen.

537
00:28:02,800 --> 00:28:05,800
Speaker 1: And it works. So we we are in a very

538
00:28:05,960 --> 00:28:11,879
Speaker 1: weird upside down where the wackest thing. Yeah, I almost

539
00:28:11,920 --> 00:28:12,639
Speaker 1: feel now.

540
00:28:12,680 --> 00:28:16,080
Speaker 2: Would you know, Mama number five, I'm not I would

541
00:28:16,600 --> 00:28:19,080
Speaker 2: go to lie. That's the line you're not willing to cross.

542
00:28:19,720 --> 00:28:20,800
Speaker 1: Also, but it works.

543
00:28:21,280 --> 00:28:24,159
Speaker 2: I can see that it's no offense, Bega, No, it

544
00:28:24,359 --> 00:28:27,399
Speaker 2: was I'm in the no worse than Vanilla. I say, promise,

545
00:28:27,480 --> 00:28:27,919
Speaker 2: I'm in the.

546
00:28:27,960 --> 00:28:32,320
Speaker 1: Game of what works. And the thing is, I'm about balance.

547
00:28:32,400 --> 00:28:35,760
Speaker 1: I've never been like anti commercial. The reason why people

548
00:28:35,760 --> 00:28:37,720
Speaker 1: are like I men, I want to spend that commercial

549
00:28:37,760 --> 00:28:44,120
Speaker 1: stuff or is because it's almost like that's all that spun.

550
00:28:44,480 --> 00:28:45,200
Speaker 1: Got a balance.

551
00:28:45,880 --> 00:28:48,480
Speaker 2: What was Hayi Klum wearing. Isn't her outfit always like this?

552
00:28:48,600 --> 00:28:50,400
Speaker 2: She wore in a jab of the hot one year.

553
00:28:50,560 --> 00:28:54,360
Speaker 1: She was Meduca this year and she did she put

554
00:28:54,480 --> 00:28:57,880
Speaker 1: like hair jail or dippity dew on her body suit.

555
00:28:58,000 --> 00:29:01,120
Speaker 1: I was dressed up as Randy watching first of all

556
00:29:02,200 --> 00:29:04,440
Speaker 1: to be on the red carpet, and everyone's like, so

557
00:29:04,680 --> 00:29:08,680
Speaker 1: you're right. I'm like, look at me. They're like Rick

558
00:29:08,800 --> 00:29:11,320
Speaker 1: James and I was like, oh god, so you've never

559
00:29:11,320 --> 00:29:14,520
Speaker 1: seen Coming to America. They were like yeah, And then

560
00:29:14,560 --> 00:29:16,560
Speaker 1: I realized I'm the old guy at the club. So

561
00:29:16,960 --> 00:29:19,400
Speaker 1: I was dressed up as Randy Watson from Coming to America.

562
00:29:20,080 --> 00:29:22,560
Speaker 1: She was Medusa and she had all this slimy stuff

563
00:29:22,600 --> 00:29:25,320
Speaker 1: and she gave me a big giant hug. So I

564
00:29:25,480 --> 00:29:30,600
Speaker 1: had like, yeah, I've been in your head. What's the

565
00:29:30,760 --> 00:29:36,680
Speaker 1: theme song that is played in your biopic when you

566
00:29:36,800 --> 00:29:41,280
Speaker 1: walk into a room. Okay, let me take the biopic out.

567
00:29:42,560 --> 00:29:45,000
Speaker 2: It just in general and I can hear right now,

568
00:29:49,440 --> 00:29:54,280
Speaker 2: which is the curve your enthusiastic Okay, got excited to

569
00:29:54,320 --> 00:29:54,880
Speaker 2: let you finish.

570
00:29:55,040 --> 00:29:58,240
Speaker 1: What's the song in your head that plays when you

571
00:29:58,360 --> 00:30:00,200
Speaker 1: walk into the room people are looking.

572
00:30:00,520 --> 00:30:02,400
Speaker 2: Why I'm about to DJ or just like when I'm

573
00:30:02,440 --> 00:30:06,120
Speaker 2: going into in general? Well, now I can't really, I

574
00:30:06,240 --> 00:30:09,640
Speaker 2: think whatever the answer that question is, it's a good

575
00:30:09,720 --> 00:30:13,000
Speaker 2: psychological exercise because it's like what you think the world

576
00:30:13,120 --> 00:30:15,040
Speaker 2: thinks of you, or what you like to project, or

577
00:30:15,120 --> 00:30:17,280
Speaker 2: maybe it's just like the music you need to hear it.

578
00:30:17,400 --> 00:30:19,960
Speaker 1: Like, all right, make it a too. What's the actual

579
00:30:20,040 --> 00:30:24,640
Speaker 1: song in your head versus what's the song that you

580
00:30:24,800 --> 00:30:28,760
Speaker 1: think people hear in my head? Earth Wind Fire is running? Okay,

581
00:30:29,320 --> 00:30:31,160
Speaker 1: is the song that I walk to that's in my

582
00:30:31,320 --> 00:30:33,480
Speaker 1: inner walk man, when I like walk into a room,

583
00:30:34,080 --> 00:30:36,960
Speaker 1: and it's not notable at all, right, but that's the

584
00:30:37,240 --> 00:30:39,440
Speaker 1: running by earth Wind and Fire. Maybe it's because I'm

585
00:30:39,480 --> 00:30:41,480
Speaker 1: doing the movie, But for you, what is it?

586
00:30:42,000 --> 00:30:45,560
Speaker 2: I think in my head it's I'm just gonna the

587
00:30:45,680 --> 00:30:47,840
Speaker 2: first songs that kount of my mind are just songs

588
00:30:47,880 --> 00:30:49,840
Speaker 2: that I've made, because I guess it's like that is

589
00:30:49,920 --> 00:30:50,840
Speaker 2: sort of your theme music.

590
00:30:50,920 --> 00:30:51,280
Speaker 1: In a way.

591
00:30:51,760 --> 00:30:56,520
Speaker 2: In my head, I hear like probably like ghost Faces

592
00:30:56,600 --> 00:30:58,959
Speaker 2: in Nate dog OUI like la la la la la

593
00:30:59,040 --> 00:31:01,280
Speaker 2: la la, like big break beat, like fanfare strengths, and

594
00:31:01,360 --> 00:31:04,760
Speaker 2: in reality people probably hear do Dude do dude or

595
00:31:04,960 --> 00:31:12,240
Speaker 2: dot shot. So yeah, but that's our whole line that

596
00:31:12,360 --> 00:31:16,160
Speaker 2: we walk, you know, sort of credibility versus commerciality. It's

597
00:31:16,200 --> 00:31:19,040
Speaker 2: it's the entire conversation that we're having the reason that

598
00:31:19,120 --> 00:31:22,440
Speaker 2: it gives me some solace to hear you talking about

599
00:31:22,520 --> 00:31:26,440
Speaker 2: DJing because you're synonymous with like impeccable tastes. And the

600
00:31:26,560 --> 00:31:30,440
Speaker 2: fact is, I think of myself as like a serious

601
00:31:30,560 --> 00:31:32,640
Speaker 2: hip hop DJ in downtown New York who was playing

602
00:31:32,680 --> 00:31:36,280
Speaker 2: parties for everybody from Q Tip to to Puff to

603
00:31:36,400 --> 00:31:39,600
Speaker 2: jay Z to whatever. Who the same kid who was like,

604
00:31:39,840 --> 00:31:42,120
Speaker 2: you know what, fuck it, I'm gonna play ac DC

605
00:31:42,280 --> 00:31:44,320
Speaker 2: because no one's playing that and it'll be fun. And

606
00:31:44,400 --> 00:31:48,040
Speaker 2: maybe there was a tiny bit of like not troll mentality,

607
00:31:48,120 --> 00:31:50,239
Speaker 2: but like let me just see how close I can

608
00:31:50,280 --> 00:31:52,440
Speaker 2: get to the fire. And now, because I don't DJ

609
00:31:52,560 --> 00:31:55,440
Speaker 2: as much, my own credibility is so much in question,

610
00:31:55,640 --> 00:31:57,320
Speaker 2: like do I still have it? I still in touch

611
00:31:57,360 --> 00:31:59,600
Speaker 2: that I'm afraid to play those, which maybe it's just

612
00:31:59,640 --> 00:32:00,760
Speaker 2: in my So.

613
00:32:01,000 --> 00:32:03,440
Speaker 1: See, I thought, now that you are Mark Ronson, you're

614
00:32:03,440 --> 00:32:05,480
Speaker 1: allowed to, Oh, I take advantage of this.

615
00:32:05,600 --> 00:32:07,520
Speaker 2: Well that's what I That's what I mean. So now

616
00:32:07,600 --> 00:32:13,239
Speaker 2: I'm like, and yeah, side means that's what I mean.

617
00:32:13,360 --> 00:32:16,040
Speaker 2: And so I'm like, oh, yeah, that's what I used

618
00:32:16,080 --> 00:32:19,040
Speaker 2: to do when I was a kid. I loved seeing

619
00:32:19,080 --> 00:32:22,040
Speaker 2: what the line was and all this stuff. And you know,

620
00:32:22,680 --> 00:32:24,719
Speaker 2: it's fair to say both of us have earned our

621
00:32:24,920 --> 00:32:27,560
Speaker 2: right to play Happy Frog or whatever. But and I

622
00:32:27,720 --> 00:32:29,880
Speaker 2: love playing those kinds of records because some of them

623
00:32:29,960 --> 00:32:33,840
Speaker 2: I actually do love. I can completely appreciate what spice

624
00:32:33,880 --> 00:32:36,200
Speaker 2: girls want to be able to do to a dance form,

625
00:32:36,320 --> 00:32:38,400
Speaker 2: looking at them and seeing the joy. And I always

626
00:32:38,440 --> 00:32:41,800
Speaker 2: tell you the story. I remember walking into one of

627
00:32:41,840 --> 00:32:44,840
Speaker 2: the naughtiest Thanksgiving parties that you used to always play

628
00:32:44,920 --> 00:32:45,520
Speaker 2: on Thanksgiving?

629
00:32:45,560 --> 00:32:46,080
Speaker 1: Still do it?

630
00:32:46,200 --> 00:32:51,600
Speaker 2: Still do Nadia? And I remember you playing rhannav and

631
00:32:51,760 --> 00:32:56,120
Speaker 2: Calvin Harris and even that just being like, oh, you

632
00:32:56,240 --> 00:32:58,480
Speaker 2: can play fun records that people want to hear and

633
00:32:58,600 --> 00:33:00,920
Speaker 2: not they're not guilty pleasure. I don't believe in that

634
00:33:01,040 --> 00:33:02,880
Speaker 2: term because I think if you like something, you like something.

635
00:33:02,920 --> 00:33:06,280
Speaker 2: But oh yeah, so's it's even comforting, Like I have

636
00:33:06,400 --> 00:33:09,520
Speaker 2: to play some eighties party on Saturday night. Like as

637
00:33:09,560 --> 00:33:12,080
Speaker 2: we're having this conversation, I'm like, oh yeah, like I

638
00:33:12,160 --> 00:33:14,240
Speaker 2: can lean and i can play Betty Davis Eyes and

639
00:33:14,320 --> 00:33:16,440
Speaker 2: I'll be fucking worried about any of this shit.

640
00:33:17,040 --> 00:33:18,440
Speaker 1: Wow, you were worried about that.

641
00:33:18,640 --> 00:33:21,000
Speaker 2: I still think about those things. It's so weird. Maybe

642
00:33:21,040 --> 00:33:22,240
Speaker 2: it's just my own pow.

643
00:33:22,600 --> 00:33:26,320
Speaker 1: No, I'm about tabooing to death. Yeah, I'm about tabooing.

644
00:33:38,680 --> 00:33:42,960
Speaker 1: What is the first things that you do in the

645
00:33:43,040 --> 00:33:45,600
Speaker 1: twenty minutes of your day, the first twenty minutes, what's

646
00:33:45,640 --> 00:33:47,040
Speaker 1: the first twenty minutes of your day?

647
00:33:47,240 --> 00:33:49,920
Speaker 2: Like, well, now that we have an eight month old

648
00:33:50,080 --> 00:33:53,280
Speaker 2: and a three year old, so like the it's definitely

649
00:33:53,600 --> 00:33:55,760
Speaker 2: waking up with one of them, Like it's probably the

650
00:33:55,840 --> 00:33:58,120
Speaker 2: youngest one is screaming. So the first thing is like

651
00:33:58,240 --> 00:34:01,280
Speaker 2: going down to get her out of the crab quickly

652
00:34:01,800 --> 00:34:04,520
Speaker 2: giving her the bottle, or sometimes my wife will do it.

653
00:34:04,600 --> 00:34:06,560
Speaker 2: I'll walk the dog, come up, and then the older

654
00:34:06,600 --> 00:34:11,799
Speaker 2: one is getting up. So I also squeeze at an

655
00:34:12,000 --> 00:34:14,560
Speaker 2: entire lemon into a glass of hot water, and I

656
00:34:14,680 --> 00:34:17,680
Speaker 2: have coffee, and that's pretty much like that's the first

657
00:34:17,719 --> 00:34:20,040
Speaker 2: twenty minutes a day. It's like a walk in the dog,

658
00:34:20,120 --> 00:34:23,040
Speaker 2: waking a baby and drinking hot water and lemon.

659
00:34:23,520 --> 00:34:26,680
Speaker 1: All right, I'm only asking this based on Tarik's answer.

660
00:34:27,200 --> 00:34:30,080
Speaker 1: In your household the way it is now, when is

661
00:34:30,160 --> 00:34:33,880
Speaker 1: your alone time zone? Tarik now lives life where he

662
00:34:34,000 --> 00:34:38,000
Speaker 1: will go to bed at eight thirty pm just to

663
00:34:38,120 --> 00:34:41,560
Speaker 1: have the alone time first, just so that he wakes up.

664
00:34:42,520 --> 00:34:44,920
Speaker 1: For him, he needs to be completely alone to write.

665
00:34:46,040 --> 00:34:49,719
Speaker 1: So Tarik will go to bed at eight pm and

666
00:34:49,920 --> 00:34:52,920
Speaker 1: he'll wake up at three am. So from three am

667
00:34:53,800 --> 00:34:57,279
Speaker 1: to five thirty before the kids wake up, that's all

668
00:34:57,400 --> 00:34:59,840
Speaker 1: his time. That's how he knocks out projects and everything.

669
00:35:00,080 --> 00:35:03,360
Speaker 2: So but for you, what's lucky for me is that

670
00:35:03,719 --> 00:35:07,320
Speaker 2: I have much more time during the day to do that.

671
00:35:07,480 --> 00:35:09,759
Speaker 2: Like once I dropped my daughter at school nine and

672
00:35:09,840 --> 00:35:12,200
Speaker 2: go to jam. Maybe I'm done at noon, and then

673
00:35:12,239 --> 00:35:16,279
Speaker 2: I'll go to the studio straight to like whatever Ben

674
00:35:16,320 --> 00:35:18,759
Speaker 2: and bath time is, go home, do that and then

675
00:35:18,800 --> 00:35:21,080
Speaker 2: if there's if I need to, I'll go back to

676
00:35:21,120 --> 00:35:25,040
Speaker 2: the studio after but I am fortunate that I have

677
00:35:25,719 --> 00:35:28,880
Speaker 2: I can carve that like you guys are constantly obviously

678
00:35:29,000 --> 00:35:31,719
Speaker 2: because shows foul and everything. I can see why his

679
00:35:32,360 --> 00:35:34,200
Speaker 2: his day he doesn't have that in the middle.

680
00:35:33,960 --> 00:35:34,279
Speaker 1: Of the day.

681
00:35:34,680 --> 00:35:37,680
Speaker 2: But when I was writing this, because one of the

682
00:35:37,719 --> 00:35:39,719
Speaker 2: books that I read when I started to write was

683
00:35:39,760 --> 00:35:42,480
Speaker 2: the Stephen King Book on Writing, and it's just you know,

684
00:35:42,560 --> 00:35:44,440
Speaker 2: it just gives you all the rules you need for

685
00:35:44,560 --> 00:35:50,120
Speaker 2: like the stoic carving out That book I literally went into,

686
00:35:50,280 --> 00:35:53,239
Speaker 2: like McNally Jackson, I was just like, oh, where are

687
00:35:53,280 --> 00:35:54,360
Speaker 2: the books about writing?

688
00:35:54,440 --> 00:35:54,800
Speaker 1: Books?

689
00:35:54,920 --> 00:35:58,880
Speaker 2: Like I was so green? Picked up that and then

690
00:35:58,960 --> 00:36:01,160
Speaker 2: Mary Carr's The Art and more on a few other things.

691
00:36:01,239 --> 00:36:04,280
Speaker 2: But it was like, He's very much like knock yourself

692
00:36:04,320 --> 00:36:07,480
Speaker 2: in the basement, no windows whatever, five hours a day,

693
00:36:07,560 --> 00:36:10,400
Speaker 2: And you know, I realistically I could find three or

694
00:36:10,440 --> 00:36:13,320
Speaker 2: four hours a day, but I had to have that.

695
00:36:13,600 --> 00:36:16,200
Speaker 2: So like the number of times that I've been at

696
00:36:16,719 --> 00:36:19,440
Speaker 2: thirty Rock and been walking down the hallways and seeing

697
00:36:19,520 --> 00:36:22,440
Speaker 2: you like just like on the floor like on a laptop,

698
00:36:22,560 --> 00:36:25,160
Speaker 2: knowing that you're writing your like ninth novel and being like,

699
00:36:25,239 --> 00:36:28,080
Speaker 2: I don't even know how you are able to do that,

700
00:36:28,200 --> 00:36:32,239
Speaker 2: And cram that in between what I only knowing half

701
00:36:32,320 --> 00:36:34,400
Speaker 2: of your life, and it's one of the craziest schedules.

702
00:36:34,920 --> 00:36:37,120
Speaker 2: I had to find that, Like, yeah, I had to

703
00:36:37,160 --> 00:36:39,120
Speaker 2: find that, carve out that alone time.

704
00:36:39,840 --> 00:36:41,920
Speaker 1: Yeah, I just getn't wear fit in now. Yeah. So

705
00:36:42,560 --> 00:36:46,880
Speaker 1: what was your first creative project in your life? Your

706
00:36:46,960 --> 00:36:47,440
Speaker 1: first thing?

707
00:36:48,280 --> 00:36:51,440
Speaker 2: I would go in my stepdad's studio a bunch when

708
00:36:51,480 --> 00:36:53,680
Speaker 2: I was a kid and he had like this eight

709
00:36:53,800 --> 00:36:56,040
Speaker 2: track tape recorder that I sort of learned how to

710
00:36:56,120 --> 00:36:58,600
Speaker 2: use when I was like thirteen fourteen, and I would

711
00:36:58,640 --> 00:37:04,719
Speaker 2: record little demos. I remember he had a sinclavier, the

712
00:37:04,920 --> 00:37:09,400
Speaker 2: crazy programming sampling, giant keyboards in that era. Yeah, No,

713
00:37:09,480 --> 00:37:11,360
Speaker 2: it was insane. I mean he was like a successful

714
00:37:11,680 --> 00:37:13,880
Speaker 2: garner when it's a barn, the money.

715
00:37:16,120 --> 00:37:16,719
Speaker 1: That owns. Yeah.

716
00:37:17,520 --> 00:37:20,200
Speaker 2: I remember that I fucking around with it and hearing

717
00:37:20,680 --> 00:37:24,879
Speaker 2: the calliope sound from wishing Well that does the boooo yeah,

718
00:37:25,239 --> 00:37:28,200
Speaker 2: and I remember, oh fuck that that. I don't know

719
00:37:28,239 --> 00:37:30,080
Speaker 2: if that's where they got the sound, but whatever it was.

720
00:37:30,280 --> 00:37:33,320
Speaker 2: And then he taught me a little bit how to

721
00:37:33,480 --> 00:37:35,479
Speaker 2: program and sequence on it. And I was like twelve

722
00:37:35,560 --> 00:37:39,839
Speaker 2: or thirteen and I recreated Urnce Jurnt Darby's wishing Well

723
00:37:39,880 --> 00:37:41,919
Speaker 2: by doing like the drums first and then the bass

724
00:37:41,960 --> 00:37:44,040
Speaker 2: and listening to it to hear like what the base

725
00:37:44,160 --> 00:37:49,560
Speaker 2: going doom doom doom doom, doom doom doom doom doom do,

726
00:37:49,800 --> 00:37:52,600
Speaker 2: like starting to understand what arrangement was. So that wasn't

727
00:37:52,840 --> 00:37:54,800
Speaker 2: that's not so much creative because I was almost just

728
00:37:54,920 --> 00:37:57,480
Speaker 2: making like a crappy karaoke version of wishing Well. But

729
00:37:57,840 --> 00:38:00,279
Speaker 2: the times that I spent in my stepdad's studium making

730
00:38:00,760 --> 00:38:04,560
Speaker 2: demos and then recording my band's demo, that would be

731
00:38:04,640 --> 00:38:05,759
Speaker 2: the thing that comes to mind.

732
00:38:06,440 --> 00:38:09,200
Speaker 1: Okay, So I'm gonn apply this also to djaying and

733
00:38:09,880 --> 00:38:13,520
Speaker 1: beat making. So when you first get your turntables, and

734
00:38:13,640 --> 00:38:16,680
Speaker 1: this is the thing, like most people don't know that

735
00:38:16,880 --> 00:38:21,480
Speaker 1: when you first get your equipment of choice, whatever it

736
00:38:21,600 --> 00:38:24,080
Speaker 1: is that you do, probably the best thing to do

737
00:38:24,920 --> 00:38:31,239
Speaker 1: is mirror and sort of shadow whoever inspired you to

738
00:38:31,320 --> 00:38:33,880
Speaker 1: do in the first pet. You know, I got a

739
00:38:33,960 --> 00:38:36,120
Speaker 1: drum machine by the time, like the bomb squad was

740
00:38:36,160 --> 00:38:38,680
Speaker 1: really hidden with the public enemy productions and all those things.

741
00:38:38,719 --> 00:38:41,759
Speaker 1: So of course I'm trying to recreate revel without a

742
00:38:41,840 --> 00:38:44,520
Speaker 1: pause and base heads like as practice. Yeah, but for

743
00:38:44,640 --> 00:38:47,960
Speaker 1: you like when you're djaying, what's the amount of hours

744
00:38:48,040 --> 00:38:54,920
Speaker 1: that you're practicing in spending like yeah, before you're actually

745
00:38:55,040 --> 00:38:55,960
Speaker 1: testing in this autum.

746
00:38:56,000 --> 00:38:59,239
Speaker 2: Well, the thing was that, and I talk about this

747
00:38:59,320 --> 00:39:01,120
Speaker 2: a bit in the books. So I didn't know anybody

748
00:39:01,160 --> 00:39:04,040
Speaker 2: who dj' There was this one older kid in my school,

749
00:39:04,120 --> 00:39:06,359
Speaker 2: this cool kid who graduated by the time I got

750
00:39:06,400 --> 00:39:09,480
Speaker 2: my turntables, and I somehow I think I stole the

751
00:39:09,560 --> 00:39:13,120
Speaker 2: alumni list from this. The alumni office got his number

752
00:39:13,920 --> 00:39:15,920
Speaker 2: and called him and he was like, this cool kid

753
00:39:16,000 --> 00:39:18,600
Speaker 2: named Manny Eames is sadly I think passed like a

754
00:39:18,680 --> 00:39:21,759
Speaker 2: couple of years ago in COVID and he used to

755
00:39:21,840 --> 00:39:23,880
Speaker 2: work up at the stretch and Barbido show was like

756
00:39:23,920 --> 00:39:26,239
Speaker 2: an intern and he DJ'ed and I called him up

757
00:39:26,280 --> 00:39:28,480
Speaker 2: and I was like, Hey, would you come over and

758
00:39:28,520 --> 00:39:31,800
Speaker 2: give me lessons? And he was like amazingly disinterested, like

759
00:39:31,880 --> 00:39:34,440
Speaker 2: who are you again? I was like, I was like, oh,

760
00:39:34,640 --> 00:39:37,960
Speaker 2: I'm Mark Ronson and he was like like, did you

761
00:39:38,040 --> 00:39:40,120
Speaker 2: have that weird blonde streak in your hair? Because my

762
00:39:40,239 --> 00:39:43,200
Speaker 2: mom made me get diet blonde streak per oxide scheeking

763
00:39:43,280 --> 00:39:45,239
Speaker 2: my hair like right before my bar mitzvah, because she

764
00:39:45,320 --> 00:39:47,600
Speaker 2: said like so you won't look boring like all the

765
00:39:47,680 --> 00:39:51,120
Speaker 2: other boys. And I remembered that and I was like,

766
00:39:51,600 --> 00:39:54,160
Speaker 2: I chose to take it as an identifier, not an insult.

767
00:39:54,280 --> 00:39:56,480
Speaker 2: So I was like, yeah, that's me right. So he

768
00:39:56,640 --> 00:39:58,200
Speaker 2: was like, well, what do you know about DJing And

769
00:39:58,280 --> 00:40:00,520
Speaker 2: I was like, well, I listened to Stretch arms and

770
00:40:00,600 --> 00:40:02,799
Speaker 2: he's like, you know, Stretch went to our school, right.

771
00:40:03,000 --> 00:40:05,760
Speaker 2: I was like what, I was like, Stretch went to collegiate.

772
00:40:06,160 --> 00:40:08,440
Speaker 2: I had listened to Stretch of Armstrong. I just discovered it,

773
00:40:08,560 --> 00:40:10,719
Speaker 2: listened to it on the radio and he had that cool,

774
00:40:10,840 --> 00:40:13,359
Speaker 2: deep baritone voice and I was like, there's no way

775
00:40:13,440 --> 00:40:15,600
Speaker 2: that I would have ever put that together with our weird,

776
00:40:15,640 --> 00:40:17,800
Speaker 2: buttoned up school in two and I was like, no,

777
00:40:18,160 --> 00:40:20,160
Speaker 2: no way us and he was like, yes, Stretch of

778
00:40:20,239 --> 00:40:24,080
Speaker 2: Armstrong is Adrian Bartow's like class of whatever eighty seven.

779
00:40:24,120 --> 00:40:26,600
Speaker 2: I was like, and then I was like, Stretch Armstrong

780
00:40:26,800 --> 00:40:28,560
Speaker 2: is white, Like it was so stupid.

781
00:40:30,680 --> 00:40:30,879
Speaker 1: Yeah.

782
00:40:31,120 --> 00:40:33,160
Speaker 2: This kid finally decided to come over and teach me,

783
00:40:33,680 --> 00:40:35,799
Speaker 2: and he was like, just do me a favorite before

784
00:40:35,840 --> 00:40:37,960
Speaker 2: I come over, and make sure you have two copies

785
00:40:38,040 --> 00:40:41,040
Speaker 2: of the same record. And I was like, oh right,

786
00:40:41,120 --> 00:40:43,560
Speaker 2: because I just got my turntables for graduation. I had

787
00:40:43,680 --> 00:40:46,160
Speaker 2: four records, but they were four different records. I didn't

788
00:40:46,239 --> 00:40:48,760
Speaker 2: understand that you needed. He got me to the same records.

789
00:40:48,840 --> 00:40:51,120
Speaker 2: He came over showed me the basic thing how to

790
00:40:51,239 --> 00:40:53,719
Speaker 2: mark up the records with tape to know where you know,

791
00:40:54,200 --> 00:40:57,480
Speaker 2: how to play doubles, and I started to practice all

792
00:40:57,560 --> 00:40:59,719
Speaker 2: the time. I spent every waking hour practice. But the

793
00:40:59,800 --> 00:41:02,680
Speaker 2: thing was instead of maybe spending my first six months

794
00:41:02,760 --> 00:41:06,239
Speaker 2: or a year in the bedroom practicing, Peter Geishin, who

795
00:41:06,360 --> 00:41:09,000
Speaker 2: owned all the big important nightclubs in New York at

796
00:41:09,000 --> 00:41:11,080
Speaker 2: the time, he was literally called the King of clubs,

797
00:41:11,440 --> 00:41:13,960
Speaker 2: lived in my building and his daughter and I were

798
00:41:14,000 --> 00:41:16,640
Speaker 2: good friends, and she got me a gig opening for

799
00:41:16,760 --> 00:41:18,880
Speaker 2: the opener of the opener of what like a one

800
00:41:19,000 --> 00:41:22,279
Speaker 2: night at a club USA on a Thursday. So I

801
00:41:22,480 --> 00:41:26,480
Speaker 2: was already getting pretty insane gigs really early. So I

802
00:41:26,680 --> 00:41:29,920
Speaker 2: always kind of regret that I didn't have that extra

803
00:41:30,120 --> 00:41:33,080
Speaker 2: year of like just only practicing in the bedroom, because

804
00:41:33,280 --> 00:41:35,160
Speaker 2: my skills would be so much higher. But at the

805
00:41:35,200 --> 00:41:37,719
Speaker 2: same time, I was just like I wanted to be

806
00:41:37,760 --> 00:41:39,440
Speaker 2: in the party. I wanted to be rocking it. So

807
00:41:39,560 --> 00:41:42,640
Speaker 2: probably what I lost a little bit in like that

808
00:41:42,880 --> 00:41:46,080
Speaker 2: bedroom skill thing I gained in crowd reading because it

809
00:41:46,160 --> 00:41:48,400
Speaker 2: was just like I was just straight from the frying

810
00:41:48,440 --> 00:41:50,920
Speaker 2: pan into the fire as a seventeen year old kid.

811
00:41:51,640 --> 00:41:53,760
Speaker 2: And then a year later I was, you know, opening

812
00:41:53,840 --> 00:41:55,600
Speaker 2: for stretching some of these guys downtown.

813
00:41:56,480 --> 00:42:00,400
Speaker 1: So yeah, you mentioned Club USA. So a lot of

814
00:42:00,520 --> 00:42:03,880
Speaker 1: my for the first four Roots records, we would always

815
00:42:03,880 --> 00:42:07,840
Speaker 1: stay you know, like midtown any Ian Schrager Hotel, so

816
00:42:08,360 --> 00:42:11,280
Speaker 1: we would like live in the Paramount Hotel. I believe

817
00:42:11,480 --> 00:42:13,560
Speaker 1: Club USA might have been around the corner.

818
00:42:13,640 --> 00:42:16,279
Speaker 2: It was, yeah, forty seven between Eighth and Broway.

819
00:42:16,000 --> 00:42:18,480
Speaker 1: Okay, So I never went to Club USA, but I

820
00:42:18,480 --> 00:42:22,640
Speaker 1: remember one night coming home. I remember this so well.

821
00:42:22,800 --> 00:42:27,480
Speaker 1: We we just we just finished mixing Da Scat And

822
00:42:28,080 --> 00:42:33,320
Speaker 1: normally Bob Power is a daytime person. He is starts

823
00:42:33,360 --> 00:42:36,680
Speaker 1: at eight am and we might be done at six pm.

824
00:42:36,760 --> 00:42:38,320
Speaker 1: Because this thing is like I want a life. I

825
00:42:38,400 --> 00:42:40,919
Speaker 1: want to leave here at seven and have a life.

826
00:42:41,000 --> 00:42:44,520
Speaker 1: And you know, but I remember we had to recall

827
00:42:44,640 --> 00:42:46,920
Speaker 1: like two songs or whatever. But whatever the case was,

828
00:42:47,200 --> 00:42:51,640
Speaker 1: like it was like eleven o'clock and I'm getting back

829
00:42:51,680 --> 00:42:54,440
Speaker 1: to the Paramount. There used to be an arcade, like

830
00:42:54,520 --> 00:42:58,000
Speaker 1: I don't know New York as I should. I'm doing

831
00:42:58,120 --> 00:43:01,280
Speaker 1: things like getting a Turkey's sandwich at the Howard Johnson's

832
00:43:01,280 --> 00:43:04,680
Speaker 1: on the court, going to be arcade like I didn't.

833
00:43:05,000 --> 00:43:07,320
Speaker 1: And one time I decided to rnch around the corner

834
00:43:07,840 --> 00:43:14,200
Speaker 1: and I saw Tupac and all this Tupacnis leaving.

835
00:43:14,960 --> 00:43:17,080
Speaker 2: That's a famous night. There's pictures of that. So you

836
00:43:17,200 --> 00:43:19,360
Speaker 2: saw the night that Tupac was at Club USA.

837
00:43:19,960 --> 00:43:21,440
Speaker 1: Wait? Was that the one time he was? Like?

838
00:43:21,520 --> 00:43:23,560
Speaker 2: Well, I mean I know that there's this one night

839
00:43:23,600 --> 00:43:25,759
Speaker 2: that it's like one of the most famous pictures of

840
00:43:25,800 --> 00:43:27,000
Speaker 2: the club. So I don't know if he was there

841
00:43:27,040 --> 00:43:28,960
Speaker 2: many times. He certainly wasn't there many times. He might

842
00:43:29,000 --> 00:43:30,120
Speaker 2: have been there two or three times.

843
00:43:30,200 --> 00:43:33,520
Speaker 1: Yeah, well this was his ninety four ninety three, ninety four.

844
00:43:33,520 --> 00:43:36,279
Speaker 1: I just remember seeing I was on the corner of

845
00:43:36,320 --> 00:43:39,799
Speaker 1: a bodega and it just felt like you know when

846
00:43:39,840 --> 00:43:44,600
Speaker 1: you see a tornado coming or whatever. Yeah, and there's

847
00:43:44,719 --> 00:43:47,080
Speaker 1: a clip of Tupac walking out of court where he's

848
00:43:47,120 --> 00:43:51,600
Speaker 1: like strutting like this or whatever. Like Tupac was walking

849
00:43:51,800 --> 00:43:54,600
Speaker 1: out of what I later found out was Club USA,

850
00:43:54,640 --> 00:43:57,000
Speaker 1: because I was like, what's going on here? They're like, oh,

851
00:43:57,040 --> 00:44:00,360
Speaker 1: Club USA's down there. Tupac had just left the club

852
00:44:00,520 --> 00:44:03,960
Speaker 1: and it was just like how you imagine what the

853
00:44:04,080 --> 00:44:06,480
Speaker 1: life would have been in ninety four? Yeah, like a

854
00:44:06,600 --> 00:44:10,239
Speaker 1: bevy of women. I think Trench might have been with

855
00:44:10,400 --> 00:44:14,840
Speaker 1: him or whatever. And I never went in the Club USA.

856
00:44:15,160 --> 00:44:18,759
Speaker 1: I did the tunnel once, like I don't know why. Yeah,

857
00:44:19,360 --> 00:44:22,120
Speaker 1: to me, the tunnel was almost like what I imagine

858
00:44:23,680 --> 00:44:30,120
Speaker 1: general population being club in as what was Club USA? Like?

859
00:44:30,280 --> 00:44:30,320
Speaker 2: Like?

860
00:44:30,560 --> 00:44:30,719
Speaker 3: Was it?

861
00:44:31,080 --> 00:44:34,560
Speaker 2: Club USA? Was much more so like all the Petergations

862
00:44:34,600 --> 00:44:37,480
Speaker 2: clubs had this like specific like they had, like the

863
00:44:37,600 --> 00:44:41,360
Speaker 2: Limelight was this sort of gothy, debauched thing played in

864
00:44:41,520 --> 00:44:42,960
Speaker 2: was a little bit more high end and had the

865
00:44:43,040 --> 00:44:47,200
Speaker 2: Keith Harringham baskeat Murals. Club USA because it was in

866
00:44:47,400 --> 00:44:51,480
Speaker 2: Times Square like really lent into the camp and Broadway

867
00:44:51,600 --> 00:44:54,640
Speaker 2: sleeves and there was a three story slide that went

868
00:44:54,760 --> 00:44:56,680
Speaker 2: down the middle and people would ride down it and

869
00:44:56,800 --> 00:44:59,760
Speaker 2: come out there naked, and they had these money drops,

870
00:44:59,800 --> 00:45:02,640
Speaker 2: like they would drop ten thousand dollars from the from

871
00:45:02,680 --> 00:45:05,320
Speaker 2: the ceilings and they'd be like people clawing at it

872
00:45:05,520 --> 00:45:08,640
Speaker 2: like you know, dressed say what yeah, Like it had

873
00:45:08,719 --> 00:45:13,320
Speaker 2: this very camp, decadent silly There were photo booths that

874
00:45:13,480 --> 00:45:17,080
Speaker 2: like definitely doubled as like you know, blowjob havens, and

875
00:45:17,360 --> 00:45:19,560
Speaker 2: and they had all these crazy it was like that

876
00:45:19,800 --> 00:45:23,440
Speaker 2: adult fun house vibe that was very much like doesn't

877
00:45:23,520 --> 00:45:26,719
Speaker 2: really exist. It was like it was very silly. And

878
00:45:27,719 --> 00:45:30,160
Speaker 2: and then also you know, there would be nights where

879
00:45:30,160 --> 00:45:32,719
Speaker 2: they'd have Leonardo DiCaprio or Tupac and stuff like that.

880
00:45:32,840 --> 00:45:35,360
Speaker 2: Jessica Rosenbloom had a hip hop night, so that was

881
00:45:35,400 --> 00:45:39,080
Speaker 2: probably the night that Tupac was there. Yeah, it was debauched,

882
00:45:39,280 --> 00:45:43,279
Speaker 2: but it wasn't dark. And then all those clubs when

883
00:45:43,320 --> 00:45:46,440
Speaker 2: Giuliani started his warn club Land and he really went

884
00:45:46,480 --> 00:45:49,520
Speaker 2: after petere Gation was like public enemy number one, really

885
00:45:49,760 --> 00:45:52,560
Speaker 2: and he went after him, and they closed down Club

886
00:45:52,680 --> 00:45:54,960
Speaker 2: USA first, and it was you know, because of the

887
00:45:55,120 --> 00:45:57,160
Speaker 2: way that these clubs are run, it was pretty easy

888
00:45:57,239 --> 00:45:59,640
Speaker 2: to get them all on technicalities and stuff they would do.

889
00:46:00,160 --> 00:46:04,520
Speaker 2: Giuliani would do this thing over at Limelight where he'd

890
00:46:04,920 --> 00:46:08,200
Speaker 2: send his dance police or whatever to make them close

891
00:46:08,280 --> 00:46:10,680
Speaker 2: the door so they weren't allowed to let anywhere, and

892
00:46:10,680 --> 00:46:12,239
Speaker 2: they make up some bullshit reason we got to look

893
00:46:12,239 --> 00:46:14,719
Speaker 2: around the place. So the line would grow and grow

894
00:46:14,800 --> 00:46:17,120
Speaker 2: and grow and grow longer to for after two hours,

895
00:46:17,160 --> 00:46:18,880
Speaker 2: so there were a thousand people on it, and then

896
00:46:18,880 --> 00:46:21,040
Speaker 2: they would slap the club with the summons for unruly

897
00:46:21,200 --> 00:46:23,239
Speaker 2: behavior on the sidewalk like they were just doing whatever

898
00:46:23,239 --> 00:46:26,359
Speaker 2: they could. They finally got him on some tax evasion shit.

899
00:46:26,440 --> 00:46:28,920
Speaker 2: But this was that's also in the book. You know,

900
00:46:29,000 --> 00:46:31,360
Speaker 2: I wanted to Like, I had this really brilliant editor

901
00:46:31,560 --> 00:46:34,600
Speaker 2: named Hannah Wilentz who works at The New Yorker, and

902
00:46:34,719 --> 00:46:38,000
Speaker 2: she kind of put me to task to really put

903
00:46:38,080 --> 00:46:40,960
Speaker 2: stuff not just my own experience, but like, oh yeah,

904
00:46:41,040 --> 00:46:43,800
Speaker 2: and then these clubs closed and then bottle service came in.

905
00:46:43,880 --> 00:46:46,800
Speaker 2: She's like, no, put this against the climate of like

906
00:46:47,000 --> 00:46:50,440
Speaker 2: what Giuliani and what policies in New York and gentrification,

907
00:46:50,600 --> 00:46:53,719
Speaker 2: how that affected what was going through. So it was interesting,

908
00:46:53,840 --> 00:46:56,200
Speaker 2: like I did a deeper dive to put that stuff.

909
00:46:55,920 --> 00:46:58,520
Speaker 1: In the book. Okay, this is a weird question. One.

910
00:46:58,680 --> 00:47:02,360
Speaker 1: Have you ever been in a car crash? Yes? What

911
00:47:02,560 --> 00:47:04,880
Speaker 1: song was playing when you were in your first car crash?

912
00:47:06,040 --> 00:47:10,280
Speaker 2: I actually can't remember the song, but I remember driving

913
00:47:10,400 --> 00:47:13,120
Speaker 2: back from visiting a girlfriend at the time who was

914
00:47:13,200 --> 00:47:16,640
Speaker 2: working at MassMOCA and the Taconic State Parkway that goes

915
00:47:16,719 --> 00:47:20,000
Speaker 2: Upstate is quite famous, I think for the way it

916
00:47:20,120 --> 00:47:23,040
Speaker 2: has these windy turns and at night. It's like when

917
00:47:23,080 --> 00:47:25,279
Speaker 2: it was first built, I think quite a lot of people,

918
00:47:25,480 --> 00:47:27,720
Speaker 2: like there were quite a lot of deaths and accidents,

919
00:47:27,760 --> 00:47:29,440
Speaker 2: and I think this could be like urban myth that

920
00:47:29,680 --> 00:47:33,480
Speaker 2: whoever designed the Taconic committed suicide out of like guilt

921
00:47:33,600 --> 00:47:36,560
Speaker 2: or something, but it's true. There's something about the turns

922
00:47:36,600 --> 00:47:38,680
Speaker 2: and the thing that will lull you into a sleep

923
00:47:38,719 --> 00:47:42,760
Speaker 2: if you're if you're tired. So I just remember like drifting.

924
00:47:43,040 --> 00:47:45,399
Speaker 2: I don't remember, but I remember waking up and there

925
00:47:45,400 --> 00:47:49,120
Speaker 2: were tree branches slapping the fucking thing. I'd driven up

926
00:47:49,200 --> 00:47:52,440
Speaker 2: the divide into like where the trees were, and I

927
00:47:52,560 --> 00:47:54,839
Speaker 2: look back at my dog. My poor dog's being thrown

928
00:47:54,880 --> 00:47:56,719
Speaker 2: around in the back, and I came to just quick

929
00:47:56,800 --> 00:47:59,719
Speaker 2: enough to like straighten out the car. But luckily, if

930
00:47:59,760 --> 00:48:03,480
Speaker 2: I if my arm had like slipped going this way

931
00:48:03,640 --> 00:48:05,360
Speaker 2: as I was sleeping, as opposed to going to the

932
00:48:05,440 --> 00:48:07,279
Speaker 2: left instead of going up the divide, I would have

933
00:48:07,280 --> 00:48:11,239
Speaker 2: gone off the fucking ravine. So I don't remember, and

934
00:48:11,320 --> 00:48:13,400
Speaker 2: there wasn't a song playing. I don't remember if there

935
00:48:13,520 --> 00:48:16,360
Speaker 2: was a song playing, but that would be crazy actually,

936
00:48:16,400 --> 00:48:18,600
Speaker 2: because have you been in a car crash of the songplane.

937
00:48:19,120 --> 00:48:22,600
Speaker 1: To this day, I can't listen to Atlantis marsis ironic

938
00:48:22,800 --> 00:48:24,879
Speaker 1: without thinking of my first car Cress. Oh whoa.

939
00:48:25,200 --> 00:48:27,640
Speaker 2: She's in a car in that video, which is also ironic.

940
00:48:27,840 --> 00:48:31,200
Speaker 1: She's literally driving on the black My farm is now Yeah,

941
00:48:31,200 --> 00:48:34,600
Speaker 1: I just found out she shot up steps but weird enough,

942
00:48:34,880 --> 00:48:37,919
Speaker 1: the same conditions. I think I've told the story before

943
00:48:37,960 --> 00:48:43,200
Speaker 1: about driving thirty miles per hour to It took me

944
00:48:43,280 --> 00:48:45,600
Speaker 1: three hours to get to New York in the icy conditions,

945
00:48:45,640 --> 00:48:48,080
Speaker 1: so I can do hand collaps on Valerie.

946
00:48:48,280 --> 00:48:51,920
Speaker 2: Yeah, oh my god, I remember that. I didn't realize

947
00:48:51,920 --> 00:48:55,400
Speaker 2: that you like risked your life to like come cy.

948
00:48:55,480 --> 00:48:57,640
Speaker 1: I was not the second you said yes, I was like, no,

949
00:48:57,840 --> 00:48:59,480
Speaker 1: this will never happened again in this lifetime.

950
00:49:00,000 --> 00:49:02,319
Speaker 2: The greatest hand claps of all time. Like I still

951
00:49:02,440 --> 00:49:05,880
Speaker 2: sometimes like get psyched out and clap the wrong rhythm

952
00:49:06,000 --> 00:49:08,600
Speaker 2: on it when it's when we're playing it live because

953
00:49:08,600 --> 00:49:10,719
Speaker 2: I break down the to just to the vocal and

954
00:49:10,760 --> 00:49:12,719
Speaker 2: the clap stem sometimes when I DJ it.

955
00:49:13,040 --> 00:49:15,359
Speaker 1: Yeah yeah, like You're a Amy was the first time

956
00:49:15,400 --> 00:49:18,880
Speaker 1: where like a phenomenon to me was happening and I

957
00:49:18,960 --> 00:49:22,759
Speaker 1: had nothing to do with it. One I was glad, like, oh, okay,

958
00:49:22,840 --> 00:49:24,800
Speaker 1: there's something out there that moves me that I didn't

959
00:49:24,800 --> 00:49:28,960
Speaker 1: have to yeah you know, yeah exactly, but also like

960
00:49:29,040 --> 00:49:41,399
Speaker 1: I wanted to be a part of that magic. Can

961
00:49:41,440 --> 00:49:46,440
Speaker 1: you tell me what are the challenges of coaching Old

962
00:49:46,440 --> 00:49:51,200
Speaker 1: Dirty bastard? Wow? In doing vocals, he.

963
00:49:51,480 --> 00:49:54,719
Speaker 2: Was just, to be completely honest, he was pretty like

964
00:49:55,360 --> 00:49:58,120
Speaker 2: medicated at that time, So you'd come to the studio,

965
00:49:58,760 --> 00:50:01,319
Speaker 2: wasn't a lot of erratic behave. It was also sad

966
00:50:01,400 --> 00:50:04,319
Speaker 2: to see he was a little bit you know, yeah,

967
00:50:04,760 --> 00:50:07,200
Speaker 2: but he and you know who he really loved. He

968
00:50:07,400 --> 00:50:10,359
Speaker 2: loved Rhyme Fest. Rhyme Fest. There was a little bit

969
00:50:10,400 --> 00:50:14,640
Speaker 2: of like crazy recognized crazy in the most sweet artistic

970
00:50:14,800 --> 00:50:17,399
Speaker 2: way thing. And then Ryan Fest was such a fan

971
00:50:17,520 --> 00:50:19,520
Speaker 2: of Old Dirty and Ryan Fest was writing the rhymes.

972
00:50:19,560 --> 00:50:21,680
Speaker 2: I'd done the beats and I was like, oh, you

973
00:50:21,760 --> 00:50:24,120
Speaker 2: got to say this, like you know, And he really

974
00:50:24,320 --> 00:50:28,759
Speaker 2: channeled classic ODB like a great writer would Ryan Fest

975
00:50:28,800 --> 00:50:30,919
Speaker 2: when he's coming up with it. So we had fun.

976
00:50:31,000 --> 00:50:34,600
Speaker 2: And I remember watching that weird Old Dirty Basket documentary

977
00:50:34,640 --> 00:50:37,239
Speaker 2: that came out after he got out of jail, where

978
00:50:37,280 --> 00:50:39,120
Speaker 2: he's singing blue Moon in the car, And that's what

979
00:50:39,280 --> 00:50:41,760
Speaker 2: gave me the idea. I was like, you know, obviously

980
00:50:41,840 --> 00:50:43,280
Speaker 2: for better or for worse, I was like, we should

981
00:50:43,280 --> 00:50:44,719
Speaker 2: get him to sing build me Up, butter Cup. I

982
00:50:44,760 --> 00:50:47,279
Speaker 2: bet he loves that song. Yes, So so that was

983
00:50:47,560 --> 00:50:49,480
Speaker 2: something I wish the track was a little better. Maybe

984
00:50:49,560 --> 00:50:51,960
Speaker 2: what I should do is just take that a cappella

985
00:50:52,080 --> 00:50:55,160
Speaker 2: and actually do it properly with band, right, and and

986
00:50:55,320 --> 00:50:57,160
Speaker 2: it just take him singing build me U about it?

987
00:50:57,239 --> 00:51:00,520
Speaker 1: Hell ya, you just solved your yeah right? Theah? Okay,

988
00:51:01,120 --> 00:51:05,759
Speaker 1: what the hell is a glass mountain? Trust? Yeah? And

989
00:51:06,320 --> 00:51:10,919
Speaker 1: just give me the genesis of that D'Angelo collaboration. Yeah.

990
00:51:11,760 --> 00:51:14,640
Speaker 2: That was while I was working on my record collection

991
00:51:14,800 --> 00:51:18,000
Speaker 2: album and I'd written that song with a friend of mine,

992
00:51:18,239 --> 00:51:21,680
Speaker 2: Anthony Russelmondo, who like played in the Libertines and Dirty

993
00:51:21,719 --> 00:51:23,400
Speaker 2: Pretty Things. He was like an indie guy, but he

994
00:51:23,480 --> 00:51:26,120
Speaker 2: had this chord sequence that I really loved. And in

995
00:51:26,239 --> 00:51:29,480
Speaker 2: that era before I met Bruno and Jeff Basker and

996
00:51:29,600 --> 00:51:32,000
Speaker 2: kind of got like a little bit of like realigne

997
00:51:32,040 --> 00:51:34,799
Speaker 2: or I thing like you can't just jam with your

998
00:51:34,840 --> 00:51:38,480
Speaker 2: friends all day and necessarily think that like HiT's all

999
00:51:38,560 --> 00:51:40,680
Speaker 2: they're gonna come out of it. But at that time

1000
00:51:41,760 --> 00:51:44,640
Speaker 2: I was just bringing all my friends down to work

1001
00:51:44,680 --> 00:51:46,960
Speaker 2: on music, and there was also something beautiful about it,

1002
00:51:47,680 --> 00:51:52,600
Speaker 2: that spirit of jamming. And so we had this working title,

1003
00:51:52,719 --> 00:51:54,759
Speaker 2: you know, like in the back in the era of

1004
00:51:54,920 --> 00:51:57,759
Speaker 2: like you would make an instrumental and you would burn

1005
00:51:57,800 --> 00:52:00,400
Speaker 2: it on a CD and you'd write some silly working

1006
00:52:00,520 --> 00:52:03,000
Speaker 2: title on the CD, and it was just it was

1007
00:52:03,120 --> 00:52:07,680
Speaker 2: just said Glass Mountain Trust. And at the time, I

1008
00:52:07,800 --> 00:52:10,520
Speaker 2: hadn't seen our friend Dominic Chreneer in a while, and

1009
00:52:10,600 --> 00:52:13,520
Speaker 2: he drifted back into my life and I was really grateful.

1010
00:52:13,560 --> 00:52:15,640
Speaker 2: And he actually came in while I was working on

1011
00:52:15,680 --> 00:52:19,000
Speaker 2: that record collection and gave me really good like just

1012
00:52:19,280 --> 00:52:21,840
Speaker 2: help steer the ship. I was I little lost what

1013
00:52:21,960 --> 00:52:25,560
Speaker 2: I was doing, and he said, he's like, this instrumental

1014
00:52:25,640 --> 00:52:27,120
Speaker 2: is kind of oh, like you want me to play

1015
00:52:27,120 --> 00:52:29,239
Speaker 2: it for D? And I was like, of course, but

1016
00:52:29,440 --> 00:52:31,319
Speaker 2: like would he ever do anything? And this was at

1017
00:52:31,360 --> 00:52:34,480
Speaker 2: the time in between you know, Voodoo and Black Messiah,

1018
00:52:34,520 --> 00:52:38,120
Speaker 2: you know, I was he's working on his own record,

1019
00:52:38,120 --> 00:52:40,120
Speaker 2: this's long white the fuck makes me think that he's

1020
00:52:40,160 --> 00:52:42,480
Speaker 2: going to work on something for me. So he played

1021
00:52:42,520 --> 00:52:45,279
Speaker 2: it for D and then do you really. He said,

1022
00:52:45,400 --> 00:52:47,359
Speaker 2: he loves the track, he's working on it, and then

1023
00:52:47,440 --> 00:52:50,239
Speaker 2: he was working at that time with that lyricist that

1024
00:52:50,320 --> 00:52:51,800
Speaker 2: he worked with a lot, the girl who wrote a

1025
00:52:51,840 --> 00:52:56,160
Speaker 2: lot of stuff with George. Yeah, so you know, he

1026
00:52:56,320 --> 00:52:58,640
Speaker 2: was like, yeah, you'll get back something back pretty soon.

1027
00:52:58,719 --> 00:53:00,800
Speaker 2: And then you know, we turns to a month, and

1028
00:53:00,880 --> 00:53:03,719
Speaker 2: a month turns to two months. I've started to maybe

1029
00:53:03,800 --> 00:53:06,719
Speaker 2: let go of the probability of this happening, and then

1030
00:53:07,000 --> 00:53:12,480
Speaker 2: three months later he sends this songback with this incredible vocal.

1031
00:53:12,600 --> 00:53:13,839
Speaker 2: That's that's way.

1032
00:53:14,040 --> 00:53:16,920
Speaker 1: That's three months, so that's like five I know, I know,

1033
00:53:17,080 --> 00:53:18,640
Speaker 1: I know, and it's so.

1034
00:53:18,840 --> 00:53:22,239
Speaker 2: Much it's it's the vocal is so amazing that it's

1035
00:53:22,360 --> 00:53:24,200
Speaker 2: it's sort of the track is sort of now like

1036
00:53:24,360 --> 00:53:26,759
Speaker 2: unworthy of this vocal, which is another reason that might

1037
00:53:26,800 --> 00:53:29,319
Speaker 2: be nice to revisit that vocal and give it something

1038
00:53:29,400 --> 00:53:33,640
Speaker 2: that it deserves. But he said, he left me this

1039
00:53:34,040 --> 00:53:36,719
Speaker 2: voice message that said, like, yo, man, I'm sorry it

1040
00:53:36,800 --> 00:53:38,839
Speaker 2: took so long. I was really just trying to get

1041
00:53:38,920 --> 00:53:42,359
Speaker 2: to like the heart of like what Glass Mountain Trust meant.

1042
00:53:42,440 --> 00:53:44,680
Speaker 2: And I was like, oh my god, it's like that

1043
00:53:45,040 --> 00:53:47,760
Speaker 2: was just like this silly working title. But yet also

1044
00:53:48,040 --> 00:53:51,879
Speaker 2: so touched that, like he felt the honor the thing

1045
00:53:52,000 --> 00:53:54,880
Speaker 2: of this like made up working title that that's what

1046
00:53:55,040 --> 00:53:57,920
Speaker 2: it was. And it was just like and it's actually

1047
00:53:58,000 --> 00:54:00,160
Speaker 2: kind of cool, like what he found in and it

1048
00:54:00,320 --> 00:54:03,239
Speaker 2: is amazing. I'm going to break out to take all,

1049
00:54:03,680 --> 00:54:05,919
Speaker 2: like all the things in it. It was just cool.

1050
00:54:05,960 --> 00:54:08,839
Speaker 1: It's weird to me. So when a person does pass away,

1051
00:54:09,680 --> 00:54:11,800
Speaker 1: and this happened with Prince, this happened with Like this

1052
00:54:11,840 --> 00:54:14,560
Speaker 1: happened was that everyone, like I go back and listen

1053
00:54:14,640 --> 00:54:17,440
Speaker 1: to their work again and it's a it's almost like

1054
00:54:17,520 --> 00:54:20,360
Speaker 1: hearing it for the first time, Like I'm listening to

1055
00:54:20,600 --> 00:54:22,600
Speaker 1: Brown Sugar for the first time in my life, and

1056
00:54:22,719 --> 00:54:26,080
Speaker 1: same with Voodoo And despite me being there, I'm actually

1057
00:54:26,120 --> 00:54:30,839
Speaker 1: outside myself listening to it. And I didn't realize how

1058
00:54:32,360 --> 00:54:35,719
Speaker 1: great of a lyricist he is because this time I'm

1059
00:54:35,840 --> 00:54:39,880
Speaker 1: listening to it, I'm not distracted, I'm reading the lyrics lyrics,

1060
00:54:40,440 --> 00:54:43,440
Speaker 1: and I didn't realize like what a mark, like what

1061
00:54:43,560 --> 00:54:47,960
Speaker 1: an awesome lyricism he was. And so on the other

1062
00:54:48,040 --> 00:54:52,080
Speaker 1: side of that coin, I was talking to him, and

1063
00:54:52,160 --> 00:54:54,400
Speaker 1: what's weird is that he had a little bit of

1064
00:54:54,480 --> 00:55:01,160
Speaker 1: doubt of his ability and Selo made him very nervous,

1065
00:55:02,640 --> 00:55:07,319
Speaker 1: like three thousand made him nervous, but Celo really made

1066
00:55:07,400 --> 00:55:12,799
Speaker 1: him nervous, like oh no, like I'm not someone else

1067
00:55:12,920 --> 00:55:16,480
Speaker 1: is in the house with us or whatever. And for him,

1068
00:55:17,600 --> 00:55:20,920
Speaker 1: I know, the motivation to get through that it was

1069
00:55:20,960 --> 00:55:24,200
Speaker 1: almost like a person that had to Okay, I gotta

1070
00:55:24,280 --> 00:55:28,879
Speaker 1: be in fighting shape in six months for this event,

1071
00:55:29,040 --> 00:55:30,640
Speaker 1: so I got to get to the gym and work out.

1072
00:55:30,880 --> 00:55:33,360
Speaker 1: So I don't know what he did to get but

1073
00:55:33,440 --> 00:55:35,920
Speaker 1: I know the beginning of that process when you know,

1074
00:55:35,960 --> 00:55:37,200
Speaker 1: when I was talking to him, it was like I'm

1075
00:55:37,239 --> 00:55:41,120
Speaker 1: about to do this thing for ronson and but we

1076
00:55:41,239 --> 00:55:43,880
Speaker 1: were just always talking. There was a point where he

1077
00:55:44,120 --> 00:55:47,960
Speaker 1: just thought like, oh well, people now have a new

1078
00:55:48,800 --> 00:55:51,160
Speaker 1: soul leader and I'm not needed anymore. So a lot

1079
00:55:51,200 --> 00:55:54,120
Speaker 1: of that fourteen years was also just you know, the

1080
00:55:54,200 --> 00:55:56,480
Speaker 1: obstacles we put in our heads, our own heads that

1081
00:55:57,040 --> 00:56:01,160
Speaker 1: are not a factor at all. But for him, like

1082
00:56:01,400 --> 00:56:05,719
Speaker 1: when he said he finished it, yeah, I was like, great, Okay,

1083
00:56:05,840 --> 00:56:07,680
Speaker 1: now we can get to your record and get that,

1084
00:56:07,800 --> 00:56:08,600
Speaker 1: you know, get it out.

1085
00:56:08,640 --> 00:56:11,640
Speaker 2: But god, I can't even believe that, like that record

1086
00:56:11,920 --> 00:56:14,719
Speaker 2: was like that. Now I feel even more guilty that

1087
00:56:14,880 --> 00:56:16,520
Speaker 2: like him working on that. I thought like maybe he

1088
00:56:16,600 --> 00:56:19,439
Speaker 2: was working out it alongside working on Black my side.

1089
00:56:19,440 --> 00:56:21,000
Speaker 2: But I'm like, oh my god, my thing was like a.

1090
00:56:21,200 --> 00:56:25,640
Speaker 1: But like you could delay, you got to get out

1091
00:56:25,680 --> 00:56:26,799
Speaker 1: of your own way, right.

1092
00:56:27,160 --> 00:56:31,840
Speaker 2: I still think about lyrics that Dominic Chaneer like, and

1093
00:56:32,000 --> 00:56:34,080
Speaker 2: you would probably know this song because you played on it.

1094
00:56:34,239 --> 00:56:36,360
Speaker 2: There was a song that I know that was probably

1095
00:56:36,520 --> 00:56:40,040
Speaker 2: left off of Voodoo that still lives in my head,

1096
00:56:40,200 --> 00:56:42,920
Speaker 2: just dom singing me like what the hook was that?

1097
00:56:43,760 --> 00:56:47,000
Speaker 2: There was something like I used to get high and

1098
00:56:47,080 --> 00:56:49,480
Speaker 2: I only get a buzz. I wish things could go back.

1099
00:56:49,400 --> 00:56:50,239
Speaker 1: To the way way it was.

1100
00:56:50,719 --> 00:56:54,680
Speaker 3: Now it's on Uh it's on a blacks go back back,

1101
00:56:55,200 --> 00:56:57,600
Speaker 3: so it is it is a refrain, right, okay, But

1102
00:56:57,719 --> 00:57:00,920
Speaker 3: that well, it's he changed part two the malady a

1103
00:57:01,000 --> 00:57:02,279
Speaker 3: little bit or from what.

1104
00:57:02,320 --> 00:57:02,719
Speaker 2: It was on.

1105
00:57:03,200 --> 00:57:05,160
Speaker 1: He disguised it. And that's the thing when you now

1106
00:57:05,320 --> 00:57:07,880
Speaker 1: listen to it, like in Voodoo, I had no idea

1107
00:57:08,000 --> 00:57:10,640
Speaker 1: he was singing this is my testimony on player player,

1108
00:57:10,760 --> 00:57:13,560
Speaker 1: like at the very end, right before Devil Pile comes on, Yeah,

1109
00:57:13,719 --> 00:57:17,360
Speaker 1: you're this rules, And I just thought that was him

1110
00:57:17,560 --> 00:57:19,680
Speaker 1: making a stupid voice. And then I was listening he

1111
00:57:19,800 --> 00:57:24,560
Speaker 1: was like, this is my test deimony, but like seventh

1112
00:57:24,600 --> 00:57:28,960
Speaker 1: part harmony, like who does you'll hear? There's a lot

1113
00:57:29,000 --> 00:57:32,080
Speaker 1: of subliminal things that I didn't catch the first time

1114
00:57:32,160 --> 00:57:36,360
Speaker 1: around that now I pay attention to. But uh yeah, okay,

1115
00:57:36,480 --> 00:57:39,400
Speaker 1: so real quick and this is sort of a rapid fire.

1116
00:57:40,240 --> 00:57:44,760
Speaker 1: What are your three teflon will Never Die songs? As

1117
00:57:44,840 --> 00:57:47,520
Speaker 1: a DJ? No matter what, these will work?

1118
00:57:47,600 --> 00:57:50,400
Speaker 2: Did Dimitri in Paris want you back? Rework?

1119
00:57:50,960 --> 00:57:51,240
Speaker 1: Okay?

1120
00:57:51,640 --> 00:57:55,760
Speaker 2: Valerie and music Sounds Better with You by Stardust?

1121
00:57:56,200 --> 00:58:02,080
Speaker 1: Okay? What one song are you a little dismayed that

1122
00:58:02,560 --> 00:58:05,240
Speaker 1: might not make it to the next generation? Like for

1123
00:58:05,400 --> 00:58:08,320
Speaker 1: me the moment where I did that Troy intro and

1124
00:58:08,440 --> 00:58:11,520
Speaker 1: it didn't work right. Oh that broke my heart so much. Yeah,

1125
00:58:11,520 --> 00:58:14,000
Speaker 1: I wanted to cry you what was that song?

1126
00:58:14,520 --> 00:58:16,840
Speaker 2: There have been some songs that I've played recently and

1127
00:58:17,040 --> 00:58:21,560
Speaker 2: like been like, oh, like I think Sound of the Police,

1128
00:58:22,120 --> 00:58:25,959
Speaker 2: like still Rings off by Carros. But I remember playing

1129
00:58:26,080 --> 00:58:27,520
Speaker 2: Step into a World and I'm like.

1130
00:58:27,760 --> 00:58:30,200
Speaker 1: Oh this and the scream didn't happen in the beginning.

1131
00:58:30,160 --> 00:58:33,160
Speaker 2: The scream like that does that could have just been

1132
00:58:33,240 --> 00:58:36,760
Speaker 2: the crowd? But then I'm listening. Caros has so many bangers, Like,

1133
00:58:36,800 --> 00:58:39,280
Speaker 2: I'm not worried for him, but yeah, that was one

1134
00:58:39,360 --> 00:58:40,240
Speaker 2: that happened recently.

1135
00:58:40,800 --> 00:58:46,479
Speaker 1: And finally, will you do an adaptation of this as

1136
00:58:46,800 --> 00:58:48,000
Speaker 1: a series.

1137
00:58:48,000 --> 00:58:52,400
Speaker 2: Or well, it's been an option. The book was optioned

1138
00:58:52,440 --> 00:58:55,960
Speaker 2: by Plan B and Warner Brothers have picked it up

1139
00:58:56,360 --> 00:58:57,400
Speaker 2: for to be a film.

1140
00:58:57,800 --> 00:58:57,920
Speaker 1: OK.

1141
00:58:58,120 --> 00:59:01,360
Speaker 2: So it's exciting, Like, listen, there's part of me. They'd

1142
00:59:01,400 --> 00:59:04,640
Speaker 2: be so happy if there wasn't didn't need to be

1143
00:59:04,720 --> 00:59:07,160
Speaker 2: a protagonist called Mark Ronson. It's this film about the era,

1144
00:59:07,360 --> 00:59:09,680
Speaker 2: it's the DJ film. We all know that there hasn't

1145
00:59:09,720 --> 00:59:15,520
Speaker 2: been the you know, the definitive DJ story, and we're

1146
00:59:15,640 --> 00:59:17,640
Speaker 2: an entire culture of DJs now.

1147
00:59:17,640 --> 00:59:19,120
Speaker 1: So it'd Beef last Night.

1148
00:59:20,800 --> 00:59:22,720
Speaker 2: Yeah, yeah, So it would be wonderful if it that

1149
00:59:22,920 --> 00:59:25,840
Speaker 2: all facilitated that I plan be you know my friend

1150
00:59:25,920 --> 00:59:28,480
Speaker 2: Jeremy Kleiner who I grew up with, Like, they make

1151
00:59:28,760 --> 00:59:31,440
Speaker 2: such incredible films as Warner Brothers. You know, obviously I've

1152
00:59:31,480 --> 00:59:34,200
Speaker 2: worked on Barbieing Stars Born with them. It could be

1153
00:59:34,280 --> 00:59:37,040
Speaker 2: the thing to make the nineties Saturday Night Fever. It

1154
00:59:37,040 --> 00:59:40,800
Speaker 2: would be very exciting and we'll see how it turns out.

1155
00:59:40,840 --> 00:59:43,520
Speaker 1: But yeah, the music man, you know, that's all it

1156
00:59:43,640 --> 00:59:46,000
Speaker 1: counts I know, Mark, thank you very much for doing

1157
00:59:46,440 --> 00:59:46,880
Speaker 1: this for me.

1158
00:59:47,080 --> 00:59:49,800
Speaker 2: Thank you, I appreciate having me and of course always

1159
00:59:50,040 --> 00:59:51,000
Speaker 2: Mark Ronson.

1160
00:59:50,760 --> 01:00:00,280
Speaker 1: Thank you, sir. Quest of shows hosted to by me

1161
01:00:01,000 --> 01:00:04,960
Speaker 1: a mere quest Loove Thompson. Executive producers are Sean g

1162
01:00:05,520 --> 01:00:11,880
Speaker 1: Brian Calhoun and Me. Produced by Britney Benjamin and Jake Payne.

1163
01:00:12,920 --> 01:00:18,400
Speaker 1: Produced for iHeart by Noel Brown, Edited by Alex Conwoyan

1164
01:00:18,960 --> 01:00:24,400
Speaker 1: iHeart Video support by Mark Canton, Logos Graphics and animation

1165
01:00:24,560 --> 01:00:31,280
Speaker 1: by Nick Lowe. Additional support by Lance Coleman. Special thanks

1166
01:00:31,320 --> 01:00:38,320
Speaker 1: to Kathy Wrong Special thanks to Sugar Steve Mandel. Please subscribe, rate, review,

1167
01:00:38,480 --> 01:00:42,040
Speaker 1: and a share the Questlum Show wherever you stream your podcast,

1168
01:00:42,440 --> 01:00:45,360
Speaker 1: and make sure you follow us on socials That's at

1169
01:00:46,200 --> 01:00:51,320
Speaker 1: q LS. Check out hundreds and hundreds of QLs episodes,

1170
01:00:51,360 --> 01:00:54,880
Speaker 1: including The Quest Love Supreme Shows and our podcast archives.

1171
01:00:57,360 --> 01:00:59,920
Speaker 1: The Qustlam Show is a production of iHeartRadio.