0:11

He is drinks chests, motherfucking podcast makes

0:14

He's a legendary queens rapper.

0:17

He ain't agree.

0:17

That's your boy in O R E.

0:18

He's a Miami hip hop pioneer

0:21

put up as d J e f N.

0:22

Together they drink it up with some.

0:24

Of the biggest players, you know what I mean, and the

0:26

most professional, unprofessional

0:28

podcast and your number one source.

0:31

For drunk drink chans.

0:32

Mothers Day is New Year's c That's

0:34

it's time for drink champs.

0:37

Drink up, motherfucker?

0:43

Would good be you hoping this would have stupid? This is your boy in

0:46

O R E. What up is DJ e f N.

0:48

This is Militopa crazy wore drink Champs.

0:50

Ye.

0:56

When me and e f N started this show, got

1:00

together and we said, we

1:02

want to give flowers, we

1:05

want to give props, we want to give love

1:08

to the people who came way before us.

1:11

You know, to the icons. To

1:13

literally if.

1:14

This man that we're about to introduce right

1:16

now, if it wasn't for him, this show wouldn't

1:19

exist, DJs

1:21

wouldn't exist, Hit records

1:23

wouldn't exist.

1:25

This man has been there, He

1:28

is is all and is all.

1:32

Legendary icon, they

1:34

said, the first time you ever heard of a scratch

1:37

period in hip hop, it

1:39

was his fingers. We're

1:41

gonna make sure we get a fingerprint of his fingers today.

1:45

He is a legend

1:48

of a legend. We

1:50

are so when we started this show

1:52

seven years ago, we wanted to give this man his flowers

1:55

so bad and we

1:57

are so happy today. Me and EFN as

2:00

been like, this is Christmas, even though

2:02

it is a New Year's gift for you motherfuckers, this

2:05

is Christmas for me and e FN because

2:07

we we're gonna start this out

2:09

with the flowers. Is the flowers here? We

2:11

we we we we we go right into

2:13

it.

2:14

We don't stop theself.

2:15

You know what, why we do the flowers. This

2:18

is why we get the flowers. It's

2:20

in case you don't know who the fuck we're talking

2:22

about.

2:23

We're talking about the one.

2:33

Man.

2:34

Yeah, we are so happy to have you

2:36

here, and I'm so happy that you're you're

2:38

like crazy because you got you got.

2:40

Notes, you have got

2:42

back. I think it's the only people who came with notes.

2:45

I'm gonna key.

2:46

Yes, you know I didn't think mathematically

2:49

and with science. That's that's

2:51

pretty much how I do

2:53

things.

2:53

You know what I'm.

2:54

Okay, so we're gonna start this off. We're gonna

2:56

start so I'm gonna get straight to it. Did

2:58

you ever do cocaine?

3:00

James? No,

3:12

actually, Rick James. Rick

3:14

James was a musical mentor. Okay

3:17

to me. Okay, so this is what

3:19

I mean by that. We were on tour

3:23

and our tour buss busses were close

3:25

together, and I seen Rick and Rick sat

3:28

me down and said, the records you got is

3:30

really big, man. You're publishing

3:33

should be huge. Wow you I

3:35

said, you didn't know about publishing.

3:37

At this time.

3:38

I said, what is it I thought about I thought it was a book.

3:40

You didn't say what is published?

3:44

Publishing? Yeah, because books

3:47

are publisher So me

3:49

and Rick were talking. He broke it down

3:51

to me what it was. So

3:53

when we got back home from the tour, you

3:56

know, I went to the the first five tour,

3:59

the Grand Master Fest,

4:02

went back to the office and I

4:05

started asking questions.

4:09

So let's just.

4:10

Say, you know, things

4:12

got a little rocky. You know, things is

4:16

got a little strange because you got realized coming

4:18

from the hood and doing this thing in the streets, we

4:20

was kings. You know what I'm saying that going to the record

4:22

business. We know what this ship was, you know what I mean? So,

4:25

uh, let's just say you

4:28

me going too long into the story. Things

4:31

started to get really really

4:34

strange because you could

4:36

be an expert of

4:38

what you do in the streets, but

4:40

getting in the record business, there's there's so many

4:43

legal factors. There's so many things that

4:45

you don't understand

4:48

how it works, and it works in layers

4:51

legal this, that that. That uh

4:56

got really rocky after that, And

4:58

I just want to say that

5:01

thank God that

5:03

I had so many people that loved

5:06

me then, that loved me

5:08

now and understand that

5:10

I am one of the architects

5:14

mathematically and scientifically of

5:16

this culture. Absolutely, so with or

5:18

without records, I still

5:20

would have been here, you know so. But

5:22

for me, I could honestly say I

5:24

didn't have a fucking clue about the record business at

5:26

that time. Who

5:31

Rick put us onto the record business, put

5:33

me on about certain things, how published

5:35

it works, this and that and that. And then when I asked the questions.

5:39

Did you hear about warranties back then?

5:42

Yes, I heard roughly about

5:44

royalties, but the publish that they didn't have a clue

5:46

about that, you know so, and there was

5:48

a lot of other business factors that I didn't know about.

5:50

Uh, to find out about

5:52

it late in the game, shit

5:56

got really ugly, you know what I

5:58

mean.

5:59

That's pretty much.

6:00

And it's crazy that even it's early

6:02

in the game that you got in in terms of hip

6:04

hop being monetized, and

6:06

still it took decades, almost a decade

6:09

or more for hip hop to

6:11

get hit to the publishing game and the

6:13

and the and the legalities of the industry

6:15

and how the industry was working.

6:16

Right, like for example, me

6:19

being the first human sampler. Like

6:23

even the lawyers at that time couldn't

6:25

figure out this division

6:27

of music is taking a portion of

6:29

an existing composition and they and

6:32

they're inserting it into

6:34

a new composition. How

6:36

do we quantify that? The

6:38

music business couldn't figure out even how to quantify

6:41

it. And it got down to the point where they finally

6:43

got smart, even James Brown's

6:46

Huh, you had to pay

6:48

royalties on it if you asserted it into a new

6:50

composition called the sampling.

6:54

Okay, come on, because

6:57

we had I think we had someone on here and they said

6:59

that Molly was the first person to

7:01

sample on record. But you're saying

7:03

you're the first person in the sample period.

7:07

He invented. What I actually

7:09

invented was sampling. Okay,

7:12

what I actually invented is human sampling.

7:15

I took a particular area

7:18

of the existing composition,

7:20

preferably the area where

7:23

there was no singing, just

7:25

the drummer and maybe light accompaniment

7:27

might be the drummer in the bassis, the drummer in

7:29

the throw this. And

7:32

when I did this with two copies of record,

7:34

this particular area of the song was ten seconds

7:36

long.

7:37

That pissed me to fuck off.

7:38

So I had to figure out the way, how can I

7:40

take this ten seconds from this? Pop rock, jazz,

7:42

blue funk, disco, R and B, alternative, Caribbean

7:45

Latin this one particular section and elongated

7:49

just enough so that the breakers

7:53

could have a steady beat to dance on. Later,

7:57

it became the music bed for

7:59

the rapper to speak on. Today

8:02

they called it rap. Back then, we called

8:04

it him singing. I

8:08

gotta.

8:12

But by way go ahead, because we still didn't

8:14

get a yes and no.

8:15

If you sniffed copd no, no you

8:23

never said yes.

8:23

I know, but

8:26

but I know because I feel like we're

8:28

jumping a little bit further than I would want to

8:30

because I go back.

8:31

I want to go back.

8:32

Let's go back.

8:33

What's you because you started

8:35

as you were a kid, we started doing this. So who's

8:38

around you? What does influenced you? What is happening and

8:41

shaping hip hop at this time? Where

8:43

are you at when when Hirk's doing the parties?

8:46

Like, where is this all beginning for you?

8:49

My beginning was.

8:52

My father was an avid collective of records, but

8:54

he's his main job was a track

8:57

repairman in New York

8:59

for the subway.

9:00

Wow, my

9:03

dad had this closet.

9:06

And the rules in the Saddler house was this, never

9:10

go in that closet where Dad's music

9:13

lives, and do not go

9:15

into the living room where the brown box lived.

9:18

And as a single digit toddler, I was

9:20

wondering, why

9:23

is that Dad

9:26

would come home, Mama

9:29

feed and his dinner, he'd

9:31

gave this alcoholic beverage. He

9:34

would go to this closet and

9:36

he will open this closet and

9:39

e there

9:42

was these square things with art

9:44

on it, a train, flowers,

9:47

people, picture of a can.

9:50

I'm wondering.

9:53

What is he going to do with that?

9:56

And inside this square thing he pulls

9:58

out this black circular

10:00

thing. I

10:03

wasn't allowed in the living room unless

10:05

I was accompanied by an adult. He's

10:07

an adult, So I follow him into

10:10

the living room where the brown box lives. He

10:12

pulls out this circular, brown black

10:15

thing. He puts it inside this brown

10:17

box and this

10:21

arm thing goes up. The

10:23

record goes down as the

10:25

sound comes out of the brown

10:28

box. I thought my dad

10:30

was a fucking magician. How

10:34

could he pull this off? I

10:37

say to myself. I say to

10:39

myself, guys, I'm gonna

10:42

watch that. Dad comes home about box

10:44

six o'clock. Mom feeds food,

10:47

he goes over with the closet. I'm

10:51

following him for a couple of weeks. Now, I

10:56

said to myself when he was at work, hmm, what

11:00

if I when

11:05

so I went to the kitchen, got

11:07

a chair, dragged

11:10

it over to the closet because the knob is kind

11:12

of high. Turn the knob, open it.

11:15

I see many of.

11:17

These square things in this

11:19

closet. I I

11:24

grabbed the nearest one. Now. Remember

11:26

now, I've been watching him the

11:29

routine. So

11:32

I take the nearest square one. I

11:34

pull out this circular thing. I go over to

11:36

the brown box. I watched him do the routine.

11:39

How you press the button. He puts it on this stick

11:41

thing. It sits up, the arm goes up, the

11:43

vinyl goes down. Was it called vinyl? Do you know what

11:46

it was called? The arm goes down? Music comes

11:48

out of there. I'm dancing in the living room. Mom

11:50

comes in the living room and says, Dad, am

11:54

I allowed to say? Yeah? Whatever? Dad,

11:59

Well, I'm gonna use was because moms didn't curse

12:02

God wrestler. So Dad's

12:04

gonna tear your backside

12:06

up. So I'm

12:09

getting your wrisk. I'm taking a black thing off. I'm putting

12:11

it back into the square. I think I'm going back to the closet, and I put

12:13

it in the closet. I close the door. I'm scared

12:15

as fuck. All right, Dad

12:18

comes home, He

12:21

does the routine. He goes

12:23

to the closet, He opens the

12:25

closet. We're

12:29

all home. Violet, come

12:32

here, Cometta, Penny,

12:34

Lily, little Joe who

12:37

was in my closet,

12:41

Violet, which I think was his favorite. Oh Dad,

12:43

you know, I don't message your records. And Committa said

12:45

I don't. I got my own records. And Penny, He's like no. And

12:48

Lily was too young. She was the youngest saw by

12:50

the time he's getting to me, I'm like this. I

12:55

get my heine hand,

13:00

I get my dinner fit to me. I

13:02

have to go to bed early. Now

13:06

I have to figure out not

13:09

when he comes home from work, but when

13:11

he leaves. So my

13:13

dad had his pouch because he was attract me, and he

13:15

had on his tools, and I can hear

13:18

the pouch go over his shoulder,

13:20

clink, the door opens

13:22

up, the door slams. I wait, I

13:26

go back in the kitchen. I get the chair, I

13:29

drag it over the closet. I pull out the nearest

13:31

one. After a while, it was like me getting

13:35

my hindee tanned and my

13:37

dad just not being able to stop

13:40

me doing this. Eventually,

13:43

Dad left left Mom

13:46

to take care of all of us. I come from the projects

13:48

twenty seven to thirty two Avenue. I was on welfare,

13:50

the food stamps, the whole nine yards. You know, moms

13:52

had to take care of us. I

13:57

still hadn't understood where

14:00

the music was coming from. Mom

14:03

was a seamstress. When

14:06

Mom wasn't looking, I went into

14:08

her plastic needle case and I grabbed the needle.

14:12

I grabbed this needle.

14:14

I turned the stereo partially

14:16

on so that the arm went and go up, and

14:18

I took the needle and I put it down

14:21

on the black disc. I

14:25

felt vibration coming through my fingers.

14:29

Oh, the music

14:31

lives in the black tunnels. From

14:35

this point on, I got goosebumps.

14:37

My nigga, hold on, I'm sorry, man, this

14:39

is getting real goo ahead.

14:42

From this point on, I

14:45

figured out where

14:47

the music was coming from. As

14:52

I got older, I

14:54

now wanted to I just could not understand.

14:57

How is it? What is that little red

14:59

light when Dad pushes his button, and

15:03

everything in the house that was

15:07

operable, let's say, was

15:09

being plugged into this thing into the wall. I'm

15:11

like, what are these two little holes? And how

15:13

are things happening? So,

15:17

as a young teenager, I was unscrewing the back

15:19

of everything, the stereo in the

15:21

living room, the table

15:24

radio, my my sister's

15:26

hair dryers, and the whole shit. I became public

15:29

enemy number one in my crib.

15:33

If the hair dry didn't work, body was saying yo

15:36

at the table radio didn't work, the stereo didn't work,

15:39

the TV didn't work. Because when

15:41

I opened up the backyarll, I

15:44

seen these things that look like light

15:46

bulbs in

15:48

the back, I'm like,

15:52

what are these things? When

15:55

I opened up the hair dry I would

15:58

see these little, tiny, different color objects

16:01

in it. My mom said, listen,

16:04

you have to stop doing this. I'm

16:07

going to have to send you somewhere that you

16:09

can so that you can understand what it is that you

16:11

are doing, because you're taking apart this stuff,

16:14

but you can't put it back together. She

16:17

sent me to Samuel Gofi's loo case doing technical

16:19

high school, and this is

16:22

where I learned about Tesla, Westinghouse

16:26

Banneker.

16:31

Nicola.

16:34

This is where I learned about amplitude

16:37

modulation AM, frequency

16:40

modulation FM, solid

16:43

state versus vacuum tubes. What

16:46

is her own meter? What is a signal

16:48

generator? These are the things that you diagnose

16:51

circuits. What is the bread board? What is

16:53

a resistant? What is the capacitor? What is

16:55

a transformer? What is a step up step

16:57

down transformer? What is a diode?

16:59

What is a tube?

17:01

Now I got to understand what these things

17:03

was and how they worked. So once

17:08

I understood what Tesla did, which

17:10

is alternating current, and

17:13

Edison did direct current. Now

17:18

behind the projects of the Throws,

17:20

next project behind twenty seven

17:23

thirty Dewe Avenue there was a junkyard

17:26

people throughout the stereos, burned

17:28

out cars, burned out.

17:29

Stuff was back there.

17:30

So now e and

17:32

NORII, I'm dragging this stuff inside

17:35

the grib. My moms,

17:37

my sisters is like, what

17:40

are you doing. I

17:42

started to understand how I could take

17:45

this piece from here and this piece from here and this piece

17:47

from here, and started

17:49

building my own amplifier to

17:54

build my speakers. I had to understand how they work.

18:00

You had your own speakers, right, I built my own

18:02

speakers, so listen to me. Can'tflee gods.

18:04

We get ready to go. We

18:09

get ready to go to the rabbit hole. I didn't do this on

18:11

any other show.

18:12

Difference between you and her is that you had your own

18:14

speakers.

18:14

That he had a pretty pretty

18:17

silence. So my system was shipped. So it's

18:19

a difference. But here's the difference.

18:23

With me.

18:24

I had to figure out how

18:28

the speaker works. So I say

18:31

my way was math and science.

18:35

So math is bars how

18:37

to count them fronts and backwards. This is what DJs

18:39

do, right. The

18:41

science is kinetic energy. And

18:44

here's how I went about understanding.

18:47

That's why we're gonna be a DJ. I ain't that some mark.

18:50

When you put the vinyl on the platter

18:54

and you allow it to spin up to speed, and

18:56

you put the needle on the vinyl.

18:59

The move of

19:01

air, it is connectic energy out

19:05

of the turntable, goes into the receiver. It becomes

19:07

electrical energy. Out of the back

19:09

of the receiver, it goes through the speakers that returns

19:11

back to connectic energy. That's

19:14

science. There

19:17

are those and I look at Wikipedia. I'm

19:22

so angry at them. I

19:27

came up with this of

19:29

building a amplifier and human

19:32

samping from no

19:34

one.

19:36

My mom taught me what.

19:37

The value of a needle was, and

19:39

my father, kicking my ass, taught me the value

19:41

of what final was. Samuel

19:44

gomp has taught me how to put it all together. So

19:50

when I go up on the turntables. This

19:53

is what made me fall in love with DJ

19:55

and the

19:58

disco DJ yo

20:00

E, my Boya, Larry

20:03

Levan, Grandmaster Flowers,

20:05

P DJ Jones. When

20:08

they play, they don't play like us, but

20:11

they blend, and they might be between

20:14

two records for fucking five minutes,

20:16

and I'm like watching them, and I'm watching

20:18

them here and the other record arriving

20:22

while the other one is departing,

20:25

I'm like, oh my

20:27

god, these people are

20:30

amazing on what they do. But you

20:33

and I we have a shorter runway.

20:37

So I had to figure out how

20:42

to connect a short runway and

20:44

a short amount of

20:47

time. The

20:51

right way to DJ is

20:54

picking up their tone arm and putting it down

20:56

and letting the record play. That's

20:59

the way a lot of the DJs played before

21:02

me, the

21:05

ones that weren't weren't

21:10

disco DJs. It

21:14

is absolutely impossible to pick

21:16

the tone of them up and drop it back down on

21:18

the beat and keep the floor rocking.

21:21

It's impossible. P

21:25

DJ Jones gave me a turn when I met

21:27

him. He says, people that cannot keep the beat

21:29

on time, it's called train wreck

21:31

DJ in I did

21:34

not want to be that, so

21:37

I had to figure out how like

21:41

the DJs would play the turntable, the

21:43

vinyl, and the mixer the right way.

21:46

By the time I figured out how to do this,

21:48

I had to play the vinyl, the mixer,

21:52

and the turntable the wrong way.

21:56

This is the way that me and you play. It's

21:59

called the quick mix. I

22:03

grew up in a home where it was pop,

22:05

rock, jazz, blues, funk, disco, R and B,

22:07

alternative, Latin Caribbean, jazz, all of

22:09

it. So where I come

22:11

from, music has no color. Dope

22:15

music is just dope music. So

22:17

now, when I listened to Curtis

22:20

Mayfield song called move On Up that

22:23

Break, and that song was made in nineteen

22:26

seventy, I would notice when when

22:28

my mom's or my cousins giving house parties,

22:31

when a drum part came, the high knees

22:33

will move more. So in my

22:35

mind, I said to myself, that's the best part.

22:37

Of the record.

22:38

But when I thought I listening to other records, I

22:40

noticed that that part was incredibly

22:45

short. That made

22:47

me so fucking

22:50

angry. And that's when I had

22:53

to figure out, how

22:55

can I take this part thatst like five

22:58

ten seconds and e law gated

23:01

ten minutes seamlessly, so the people

23:03

on the dance floor wouldn't have a clue of

23:06

what I was even.

23:08

Doing. No

23:11

other DJ gave me this inspiration.

23:14

The disco DJs taught me the law

23:17

of being a DJ respectfully

23:20

for people who's on the dance floor, heads

23:24

should go like this. If you're playing

23:26

good Times, heads should go like

23:28

that. If you're playing Queen, heads

23:30

should go like that if you're playing jay Z, heads

23:33

should go like that.

23:34

If you're playing.

23:35

Drake, DJ should

23:37

not be hold on okay, head

23:40

should not when the DJ transition. Head

23:42

should not be going like this trying to find

23:45

a beat that

23:47

is breaking the law of

23:50

transition DJAN.

23:54

And that's where my ship comes from, right

23:56

Is DJ Hollywood considered a DJ

23:59

just because DJ When

24:01

I met.

24:01

Hollywood, he was bigger than disco and he was

24:04

actually king in the discos and

24:06

he was actually one of the first DJs

24:08

I seen that was able to have four or

24:10

five parties in one night, like we

24:12

would set out, set out equipment up and play form nine

24:14

to four and the gymnasium or whatever whatever.

24:17

This motherfucker was playing eleven

24:20

o'clock at Club one in Manhattan

24:22

and then maybe twelve to one in Brooklyn,

24:25

Club two, and then Club three. Is that lowland?

24:27

This montherfuckers getting kk Kate Kate Kate

24:30

Kate. I considered him like

24:32

one of the smartest in the game at that time because

24:34

he got five he got five checks.

24:37

He was doing this shit, but he was he

24:39

was doing it disco, you

24:42

know what I'm saying.

24:43

Because said disco. Yeah, I

24:45

know, we bouncing around a little bit.

24:47

What is the what is the term?

24:49

When's the first time you heard the term.

24:51

Mc in.

24:55

The first time I heard the term mc in?

25:05

That's when I took the microphone.

25:10

All right. I was playing in sixty three park Frox.

25:15

Steve jaying. People

25:17

were looking at the table. What its his magic? Tricking

25:20

that shit he's doing. I needed somebody

25:23

to take the attention off of me.

25:25

I'll put a microphone on the other side of the table,

25:27

Norrie and anybody that I

25:30

could talk to. This new

25:32

style of djy in lots of

25:34

motherfuckers was whack. But it was this one guy

25:37

that I eventually met. His name

25:39

was Keith Wiggins. Street name

25:41

is Cowboy, Keith

25:43

Cowboy, Keith Cowboy. If

25:48

I played Apache or play whatever, he

25:50

had a way of having the crowd.

25:53

I call it hip hop

25:56

aerobics. Almost he had

25:58

him here. So now, ain't a

26:00

shy geek person that I was. I

26:02

can't go into my collection and go in because

26:04

Cowboy go and stay with me. I

26:08

asked him, do you want to say me so we could go to different

26:10

park to different areas to do this, and he said why not.

26:14

That's the first time I heard am saying.

26:17

Okay, let me interrupt you a little bit, because all

26:19

right, but what are you playing? If this record wasn't

26:22

made, what are you actually d.

26:23

I'm playing Apache, I'm playing Rufus

26:25

Thomas. I'm playing an incredible bob Go band.

26:27

I'm playing oh Man. I'm

26:32

playing Curtis Mayfield. I'm playing all

26:36

early Man Drill. I'm playing early

26:40

Barrier White. I'm playing I'm

26:42

in my I'm in my head right now because I want

26:45

to establish this.

26:45

I want to establish this for all the listeners listening.

26:49

You're saying the very first hip hop parties.

26:53

Didn't play hip hop. What

26:56

he was doing was eventually just think about

27:00

thinking about the lagic of what you're just saying,

27:03

like, because this is a hip hop Remember

27:05

hip hop isn't just the music of it.

27:07

But we're still think and we still got this hip

27:11

hip hop the wrapping side of its

27:15

developing. When he came out, actually wasn't

27:17

playing hip hop.

27:19

And now see this is where we different.

27:22

So the question is this what

27:24

was hip hop back then?

27:26

Hip hop was a regurgitation of using

27:29

songs that already exist exactly. Some

27:31

of our dopest songs were white records

27:33

and black records and foreign records. On American

27:35

records, they were R and B. They would disco,

27:38

they were jazz, they were Latin,

27:40

they were but we had to find that little So

27:44

when I started playing, I

27:47

can remember guys that used

27:49

to use what I call heavy on the toe

27:52

arm type DJ N and

27:55

as Pete would say, trade records. I

28:00

was probably the most hated DJ

28:05

during this time. It's because connoiseus

28:09

are very careful about how they handle their record,

28:12

like newborn baby, say,

28:14

take it out of the white sleeve,

28:17

right, and they carefully put it on the

28:19

turntable, and they're

28:21

very careful with it. When

28:24

they finished with it, they take it out off

28:26

the turntable, he put it back into the white paper

28:28

and they carefully put it into the jacket.

28:31

Me I took copies of the motherfucking

28:33

record and just slammed it in one jacket. I was

28:36

putting crayon marks or in the whole shit so

28:38

it could mark, so I could mark the bricks because

28:40

I played in dark places and I had to be able to find

28:42

it immediately, which remember our runway

28:45

was really short. So when people

28:47

found out that I was putting, I was

28:49

the first DJ to make records dirty.

28:53

I tried getting jobs and clubs. Motherfuckers

28:57

was like YO.

28:58

And some of the DJ that was play ain't at that time

29:00

when my friends aren't YO

29:02

telling the boss man, let me get a job.

29:04

You're like YO, last day know about you?

29:05

Man?

29:06

Like you? You moved your record back and forth,

29:08

you put your fingers on it, you crayon

29:11

marks in it. I couldn't get a job to

29:13

save my mother, but

29:17

they thinking maybe I probably was gonna spread that for me today

29:20

DJ. So it wasn't until

29:24

I went to this club on the

29:26

off days on one hundred and sixty seventy

29:29

set in Jerome and it's Italian guys own this

29:31

disco club called disco Field.

29:33

All right, come on.

29:39

So I go in there and I mean Ali

29:44

and sal Sal's the son,

29:46

Ali's the father, And I say to him,

29:48

well, uh,

29:54

did you do you think I could get a night in here? Because

29:57

Salad already heard of me, and

30:00

I found that out recently. He went to the park and seeing

30:02

this thing that I was doing. So by the

30:04

time I got to him, I was like, yosel, you

30:07

did I could get a Saturday night in

30:10

your club? He looked at me like I was

30:13

fucking crazy, right, he says.

30:15

No.

30:16

He says, what I will do is I'll give you a

30:18

Tuesday. I

30:20

was angry as a fucking He said, flash, if you

30:22

do this, I promise you this is gonna make you huge.

30:26

I was angry at first. Two

30:28

months later Tuesday was rivaling Saturday.

30:31

Then I got a Wednesday. So

30:33

this is when I started playing in clubs

30:35

with this. So I bought hip hop into

30:38

disco Fever. And the people that used to come

30:40

there hecked the Mansall Camacho, the Gap

30:42

Band, like all the big stars that if they were

30:44

in town, they came to disco Fever. They

30:46

hecked a mas cocaine in the club. No

30:57

you're I mean, so are

31:00

you? At that time, Oh man, I was the

31:03

disco Fever. I want to say, in my early

31:05

twenties, maybe crazy.

31:07

Okay, what is considered the first hip hop

31:09

club?

31:12

WHOA?

31:13

You know, it's hard to say because when

31:16

we was playing in the parks

31:18

and this is where I

31:21

kind of step out of this. In

31:24

my humble opinions, I do

31:26

not think a DJ came

31:29

up with the title

31:32

h I P H

31:35

O P. They

31:39

said Cowboy or love Bucks Dartsky, but

31:41

they both were rappers, So

31:46

it's still up

31:48

for whatever for debate,

31:50

debate where he

31:53

came from. I personally think, in my opinion,

31:55

when we was doing this earlier, early and early on,

31:57

I think that it didn't have a title yet. I

32:00

think we were creating something because the monster

32:03

at that time was disco,

32:05

and with disco you had you had to have a hard

32:08

bottoms suit, jacket, no

32:10

jeans, no hoodie, like we dressed

32:13

the way that we dressed pretty

32:16

much. So as disco was fading, hip

32:19

hop came alive. But musically

32:22

and how it happens is the

32:26

graffiti artist was already out

32:29

there, and

32:31

I was told by these other breakdances

32:34

that they were already out there as

32:36

well. They connected

32:39

to herk and to flash

32:42

and to bam the

32:45

rapper as we know it. Because

32:47

we jackshits, we jack words

32:50

from other things. So when they say

32:52

am singing, M seeing really means

32:54

I'm talking to you right now, and I'm a master

32:56

of ceremonies and I'm sort of presiding

32:59

over the room and I'm speaking. But

33:01

we jack ship to call

33:04

it something else. Me, I think that MC

33:07

is ridically talking to

33:09

the beat of a DJ's rhythm.

33:13

That's what I I personally

33:15

called it. So

33:19

it started with Keith Cowboy. That's

33:22

what I say that I'm saying.

33:24

That's what I say. The others say,

33:27

you know, and this is where I'm really

33:32

said Cowboy here as well. I'm kind of confused.

33:35

It is because, Okay,

33:38

put it this way.

33:40

Coo Hurk incredible, incredible

33:43

sound system, he played incredible

33:45

music.

33:46

His crew, Cocar Rock, Timmy

33:49

Tim Clark.

33:51

Say, Coclar Rock was one of the first MC

33:54

two as well.

33:55

When I went to go see them, Coca

33:59

Rock was a DJ. So

34:04

I don't understand where that comes from. So

34:09

if I'm seeing, if we jack

34:12

the word, I'm seeing from

34:14

the masses, and

34:16

it's defined as a human

34:18

being who talks rhythmically on

34:21

the beat of music. Wasn't

34:24

nobody doing that back then? We

34:28

all had echo chambers. HRK had the best echochamber.

34:31

We were just blabbing out whatever, but

34:35

serious speaking to the beat of music.

34:41

Maybe I'm going crazy. I

34:45

didn't see that yet. It had it happen

34:47

yet. And this is why I'm saying, out of

34:49

all the four elements, the rapid

34:52

did come last, but they are undisputedly

34:55

the crown jewel all of this. They

34:57

took this thing where it had to be,

35:01

and I'm saying there was no steady beat for them

35:03

to rhyme on at that time because people were

35:05

using the tone arm

35:08

and the beat wasn't steady, so it had been absolutely

35:10

impossible for a rapper to wrap on that. So

35:13

you're saying you bring that to the game, I'm saying that

35:15

I did.

35:21

Very humble.

35:22

I just had the ball even

35:24

showed, because I don't think people would understand what he

35:26

means by picking up the tone arm, the DJ wasn't

35:29

mixing, blending and bringing it on beat. They were literally

35:31

picking up the record and putting it on

35:34

the record like.

35:36

Beat was crashing into the right. They weren't

35:38

trying to make it sound smooth.

35:40

They were just bringing it close enough by

35:42

just bringing it up and down, bringing it, just dropping

35:45

the needle on the record to switch

35:47

the record.

35:48

I'm going to remonstrate that when I get up

35:50

there, you know. So for me, like

35:57

last summer, I

36:01

sit back, I watch all the press that comes

36:03

out hYP

36:05

Hop fifty. You know, first of all, they shot

36:07

it on the Bronx for years and years

36:09

and years. Oh this place has

36:12

all the fires, the political upheaval,

36:14

cops taking payoffs. You know, the Bronx

36:17

is fucked up, and all of a sudden, now the

36:20

Bronx is the blomb now and it's this, that, that

36:22

that, and now it's mainstream. You

36:24

know. So I'm saying, I'm saying to myself,

36:27

well, if

36:29

that is the case, why

36:33

is it that all

36:36

the press that I look at they

36:38

say, let's start it right here, and

36:40

I just say you three And it's in two thousand and four, So

36:47

what the fuck happened to

36:51

where it started? And carefully

36:55

chronologically speaking, going how

36:58

it got here? You know why that's

37:00

so important because people who are

37:03

eighteen, right, thirty,

37:08

forty fifty,

37:11

you actually have to say you were near sixty

37:14

to say that you were in the park with

37:17

us. So much

37:20

respect to the PR and to all

37:22

the depressed people. There's

37:25

a whole forty

37:28

eight years that

37:31

has not been put in the press that

37:35

is unfair to people

37:37

like myself, like Africa

37:39

Bambada, like Coolhirk,

37:42

like DJ Breakout. Why

37:45

isn't this press being definitively

37:47

put in so that the babies,

37:49

because things work in trends right

37:52

now with the shit right now become

37:54

August fourth is grand Master last day August

37:56

eleven is cool. Heirk day from August twelfth

37:58

as the next fucking trend. Maybe microphones,

38:00

Maybe it's a fucking.

38:01

Bottle of water.

38:03

We need we need to get this ship right now

38:06

because we're trending, because

38:08

after that it goes into history

38:11

history books incomplete or

38:14

incorrect. And this is why

38:16

I find it critically necessary that I do as

38:19

much speaking

38:21

and I'm only one of four, what

38:24

I want to do as much speaking as possible

38:26

because Norwy, you

38:28

need to know, because you're

38:30

an expert in your field. You

38:33

need to know where this shape

38:35

came from. Like you said when you opened up the show

38:37

before you you should know where

38:40

it does come from, who, what, where and

38:43

why. And this is the reason

38:45

why I'm going to be going to all the sunny colleges.

38:48

I'm going to the y m c A, to all the babies,

38:51

all the corporates. I'm doing this birth of a Culture

38:53

corporate tour. I'm gonna

38:55

go around and speak as much as I possibly

38:57

can because I have to. This

39:00

is this is, this is our thing, and

39:03

long after I'm going I'd

39:06

like to know that this thing is correct

39:08

because being quite frankly, a lot of

39:10

people celebrate their birthday, right. I

39:13

don't give a fuck about a birthday. You know what I care

39:15

about my death day? What

39:18

am I leaving so the babies

39:20

could build on that? That's where

39:22

I'm at. So this is why I got

39:24

to speak.

39:26

You said one of the four, who's the

39:28

other three?

39:29

Quirk bam botta breakout

39:32

flash? The four of us the

39:34

ship ain't just one person at one time

39:37

frame. This is a combination of a lot of things.

39:39

I got a bullet point thinking, Man, I'm gonna go

39:41

all now, I'm a fucking

39:43

geek. Imma, I

39:49

gotta I gotta do this. Like you know, we

39:52

need to to congratulate the breakdances,

39:54

to congratulate the like the producers.

39:57

Why the fuck are we not talking about

40:00

to producers? Because I'm telling you what I did.

40:03

Human sampling. There

40:06

was just a machine that came into play called

40:08

the computer and the sampler. They

40:11

took that same piece of information

40:13

and inserted in the computer. Hit the spacebom

40:15

and tell the space to tell the computer

40:18

to repeat this loop. It's the shit that I

40:20

did. If

40:23

we don't give love to these producers, this

40:25

ship would have never become big business.

40:28

It's not possible somebody had

40:30

to go in and do that.

40:33

And this is why I talk about these I

40:35

think it's really important that journalists interview

40:38

to the producer because a lot of your rappers,

40:41

you'll come in and say to Ron, you get the fuck out and keep.

40:43

Going, right.

40:44

Somebody got a say in the room and put that bitch together,

40:47

yep, And that is the producer. Why

40:50

aren't we talking about these people?

40:53

Premiere Dre Oh

40:56

shit, I gotta fucking lift Pete Pete

40:58

Rock Can I missed exactly?

41:03

Timberlind like exactly? We

41:06

have to Kanye West. Let's talk them about that because

41:11

the nine times out of ten, if you would have asked a rapper

41:14

with his truncation with a sampling,

41:17

what is equeuing? We don't

41:19

know that ship right, Oh,

41:22

thank you so much. They don't want to have a

41:24

clue to this. So it's

41:28

just important on how I did my

41:30

science. But it's just important

41:32

as some producers in the studio in

41:34

their science to deliver the

41:37

master to the record companies, and then the record

41:39

companies they should get love too, because

41:42

they didn't have to put this ship out. We had there

41:44

was no bootprint before this to say that this ship

41:47

was gonna be the ball. They

41:49

took a chance with this ship to the Sylvia

41:51

Roans and the rest of them. They took Sugarhill

41:54

Record. Yeah, Sylvia Robinson, all

41:56

these people. They didn't have to do this so

41:59

that we could sit here and live

42:01

comfortable and eat off this ship that we

42:03

love. I'm walking

42:06

into the room. I'm walking into the up to the

42:08

to the to the room here that

42:10

I'm in, and I'm like, oh, let's just fly as a mother

42:12

fucking may back right there.

42:13

I said, who fucking maybag is that?

42:15

No?

42:16

You looked at me and said, hey, man, so

42:24

let me ask you a question.

42:25

I was clear something you mentioned Marty Mark what I think?

42:27

What what he said and will is that he

42:30

recreated with flash. He was

42:32

one of the first producers or the first producer

42:34

to recreate on record.

42:36

Yeah, on record, that could be possibly

42:38

true because it was Cold

42:40

Child and Water Brothers was probably

42:42

one of the first. But then it was Death Chair

42:44

two. You know, it's it's up

42:47

for debate, but the insertion

42:49

of music inside

42:52

of a new production and the human beings

42:54

speaking on it. There were three major

42:57

labels that was pretty much doing

42:59

that, and

43:01

that was Cole Chilling, Cole Chilling, Warner Brothers.

43:04

Marley mar was and he was a producer

43:07

for all the artists, but Big Daddy Kane and bis Walking

43:09

all of them, you know. And then there was sugar Hill, and

43:11

then they then came Russell Simmons

43:13

with jam and Leo Cohen, you know what I'm

43:15

saying.

43:16

And it just went from there, and it was Uptown.

43:19

Records, bad Boy Records, and it goes

43:21

on and on and on and on and on. So

43:23

this thing has so

43:26

much of a story of substance.

43:29

And when I look at the press that's

43:31

happening, I'm like, who

43:36

is controlling the narrative

43:38

of the press, because they're leaving

43:40

out so many things?

43:43

But it isn't. I'm sorry, but

43:45

this is kind of like the NBA, Like like

43:47

when you look at the NBA right now, right the NBA

43:50

and anybody playing in the NBA, I got so

43:52

many friends, so many people who have my phone numbers,

43:54

so.

43:54

Do not call me.

43:55

Not talking about you particularly, but the NBA

43:58

kind of seems soft right now, right And it's

44:00

like like and and when

44:02

you compare it to the nineties, right and

44:05

it's like if you don't have these old clips.

44:08

Of the nineties.

44:08

These people don't understand that the NBA was like playing

44:10

right as out. It was like right as a boy,

44:13

and now it's like playing in fucking Barbie

44:16

Land.

44:16

You know what I'm saying, like like Disney learned.

44:19

I'm sorry, Like.

44:20

People, please don't hit me. I don't mean it like

44:22

that. But what I'm trying to say is, isn't

44:25

it isn't it? Isn't it? Isn't it?

44:27

Like when you see these young kids, right, these

44:29

young kids they twenty they they are twenty five

44:31

and under, and they would actually sit

44:34

there and be like, Okay, I'm gonna go get to the New

44:36

Jordan's. But they're making money through hip hop.

44:38

Yes, they're making money through hip hop, but there

44:40

would go and they don't. They haven't seen Michael

44:43

Jordan play or Doctor Dre But why wouldn't

44:45

they go? And yeah, yeah, why wouldn't they

44:47

do their research if they're making money through hip

44:50

hop?

44:50

That's my biggest thing.

44:51

Okay, But this new generation is like I

44:53

think you said it earlier, like like you said, the people.

44:55

Need to know and that's what they need to want

44:57

to know. That's the biggest problem too. But

45:00

you gotta teach them to know, like you have to

45:03

drop the science to these babies and say this is

45:05

what it is, this is what it is. Now go look at go look

45:07

for the rest. Like when I

45:09

play sometimes depending on

45:11

what country I'm in, Norrie, I

45:20

listen all over the world exceeds,

45:22

you know, like before COVID, I was I was

45:24

going to one hundred and fifty countries a

45:26

year before COVID for

45:31

the past, you know, eighteen years before

45:34

COVID. So for me, sometimes I'll

45:36

be playing the old school ship

45:38

all the way back to our time and

45:41

I see in the front row kids

45:44

like around seventeen, eighteen nineteen,

45:46

and I when I went backstage, I grabbed

45:48

two of the kids and I said, how

45:51

do you know this stuff? They

45:53

said, my mom, my dad, and my uncles.

45:55

You know, my aunts taught them. So it's

45:57

like what you're saying, Norri. You know, we

46:00

as eld, the state's people have

46:02

to inform the baby. So this is why

46:05

I'm saying the breadcrumbs from

46:07

the seventies to now, you have to put

46:09

all of them down. You can't just say the

46:12

Bronx say ship and then all of a sudden, the next

46:14

two years, the Bronx says the

46:16

ship, and it went putting this to that. So

46:18

how the fuck did it happen?

46:20

And who did it?

46:21

Some people lost their lives, some people ain't here

46:23

no more. That helped make this

46:25

ship what this ship is. And

46:27

this is why I find it really important. I think

46:30

the DJ is extremely

46:34

important because there was a time before

46:36

the game change. Record

46:39

companies like Death Jam and

46:42

all the other labels shoots to bring me white labels

46:46

one o'clock in the morning, knocking on my door

46:48

saying this shit is fresh off the fucking prints.

46:50

We need you to tell

46:54

us what this record is. Twing we

46:58

DJs.

46:59

You was the influence, said before influence, it was aflu.

47:03

And so all this constitutes

47:06

the building blocks of

47:08

why this thing is still

47:11

here. Why don't

47:13

we do this step

47:16

by step by step by step by step.

47:17

It's just.

47:21

Just boggles my mind. Let's continue

47:23

the mixtape. The mixtape.

47:25

Okay, wait, wait wait.

47:26

I love how you control on an interview, like.

47:37

Not get it to the mix tape. I like that. I like

47:40

that. I think that. I'm sorry, you

47:42

know, I'm just really crazy comfortable here.

47:44

What is the first term? First time you heard that term

47:47

mixtape? And was

47:49

it because it was mixes on the tape because

47:53

I actually got an album on the tape cassette.

47:58

There were two there were two versions

48:01

of mixed. There were two DJs that

48:04

would record this

48:07

shows when we was playing back then, me

48:11

and Bam Bam,

48:15

and.

48:15

That's what we called it because a DJ

48:18

was mixing on tape. There's

48:21

two types of tapes.

48:23

The Bam always have beats is one point.

48:25

He never had beats. I'm gonna talk about

48:27

Bam in the mix mixtapes.

48:30

Two types of mixtapes.

48:32

There's the tape. There's the one. There's the

48:34

one.

48:34

You pop in while we're performing and

48:36

the whole group is, you know, doing anything. The DJ is

48:38

the rapper. That is the customized tape. Let's

48:41

talk about the customized tape. I

48:46

would get called to do customized

48:50

tapes for the.

48:51

Drug dealers, the

48:57

street vendors, the.

49:00

Street, the street. My client teller

49:02

was the street farmaceutical people

49:05

and they lived in the hall in the Halem

49:07

and the Bronx, and

49:11

this.

49:11

Is what they would ask me. They

49:13

said.

49:13

I would say to them, just give me two

49:15

souls that you like. That would give me an idea

49:17

of what they like, and I would build around

49:20

that. I said, so, well, how long

49:22

do you want this cassette tape to be? If

49:24

they said sixty, I say,

49:27

here's my price, a dollar a minute,

49:31

so and I would look at the distreet

49:34

pharmaceutical person and say that's what it would course

49:36

they said, so what

49:38

they says, all I want you to do is this on

49:41

your echo chamber. I just want you every few minutes

49:43

to say my name, because you gotta

49:46

realize, these street

49:48

pharmaceutical people had the dopest cause

49:51

the dopest motherfucking sound systems,

49:54

and it was going through. So if their name was

49:56

drink Champ stream

49:59

tramp all through the through the city, show

50:02

the other the other pharmaceutical

50:04

people, You're like, yo, where the fuck you get that comfort

50:06

of mind?

50:07

They're wrong or we got that shit

50:09

from Grand Master.

50:10

And I would and I would say, all right,

50:13

what you want sixty ninety

50:15

one twenty Some would say ninety.

50:16

I say ninety.

50:17

Dollars one twenty one hundred and twenty. Some

50:19

wanted a real to real and it'd be sixty

50:22

minutes or one side and you reverse it and

50:24

that you recorded, and that was two

50:27

hundred dollars. So

50:29

this is the common kind of money I was making. When

50:32

I wasn't making money doing the parties. I actually

50:34

made more money do doing the tapes than

50:36

I was doing the parties. So now a mixtape,

50:38

I think now, correct me if I'm wrong.

50:41

It's like the pre album. It's like an artist

50:44

that's not signed what mix tape even.

50:46

Signed today today out of their

50:48

label Big Safe today, but finished with you.

50:50

Yeah, I'm not trying. I'm just trying to because I don't really know

50:53

what it what it became.

50:54

Today exactly, say today savent

50:57

finish with you?

50:57

What you think?

50:58

I'm thinking it's artists that

51:02

are so dope but they're not signs yet

51:04

and they can make money without the label.

51:06

This is what I'm thinking.

51:07

But it's it's artists that are signed as well doing

51:10

street albums.

51:10

But is it both?

51:11

Is he either or it's both? It's both, Yes, both

51:13

both.

51:14

It's both because even artists like Faustis

51:16

has a mixtape and he sampled

51:18

a bunch of beats, but he also actually

51:21

paid for the samples, you know what I'm saying.

51:24

So the fact is it's not an actual

51:26

album, so it doesn't go on sound scan as an album,

51:28

but it does, I guess because they still got to

51:30

pay the producers, and ultimately.

51:32

If you ask a newer generation

51:34

what a mixtape is, they just think of an artist

51:36

doing a street yes, street a street album.

51:39

So it's not just so.

51:40

It could be a street album that's signed to a label,

51:43

or a street album that's not signed to a label,

51:45

and it could be an incredibly dope artist that's not

51:47

signed to a label. Right, And it's usually using

51:50

beats that they're not paying for. Usually that's

51:52

what it is. That's really, that's what really is what the

51:54

mixtape became.

51:55

They're taking instrumentals, they're taking whatever, and

51:58

they're spitting over whatever they want and not

52:00

clearing any of these beats.

52:01

Okay, so okay, then I want to ask you, how

52:09

does the mixtape

52:11

today quantify

52:14

the sales? How do you know what

52:16

it sold?

52:17

Or is it more like we called

52:20

it an audio flyer or.

52:21

The first audio DJ drama.

52:23

That's how let changed after you

52:26

got everything with Internet from

52:28

the mixed ere I started doing mixtapes on cassettes,

52:30

then on CDs. I didn't like as much, but I did it. But

52:33

once everything went Internet, that to me

52:35

changed what it meant. A mixtape

52:37

meant the culture. Mixtapes to me ended.

52:40

Because even even like let's say fifty he kind

52:42

of like ushered in the artist mixtape, he.

52:45

Was still putting them on CD dipset as well,

52:47

and say so that's.

52:49

That culture of physical Once that physical

52:51

culture ended.

52:52

I feel like kind of like the mixtape era

52:55

ended in a sense, people still put

52:57

stuff on streaming said this.

52:58

Is my mixtape album all But

53:00

I.

53:00

Think at first when it got to the fifty dipset

53:03

era, I think that that they were the first

53:05

time that it wasn't hosted by DJ right,

53:07

or that was hosted by DJ yeah.

53:10

Most of the yeah, yeah exactly.

53:11

Still a lot of those those mixtape albums incorporated

53:14

the DJ putting it together and and

53:16

and doing like you know, drops Ford and hosting it.

53:18

Okay, got it, got it, got it? So okay,

53:21

I understand. So executives

53:27

got the record labels, man basically

53:29

get some love to man. Yeah, all

53:32

of them. There's some fund up people that

53:34

there is there, there there is by me, I'm gonna go with

53:36

a few that I know. Pretty cool, that's right,

53:38

And I'm sure you share the fucked

53:41

up when as I called him to you, Sylvia

53:43

wrong, Electra the

53:46

wrong. She

53:50

drew as album as well, yeah, Russell

53:56

Simmons and Leo Cohen Depth.

53:57

Jam specifically up even

53:59

though either my definitely.

54:01

Have no more flash, right, you know what I'm talking

54:03

about earlier Onstable

54:05

here, Yeah, yeah, historical yes, Tom Silvanan

54:08

and Monica Lynch, Tommy Boy Record Yeah

54:10

yeah, yeah, yeah, yeah, yeah, yeah, yeah, don't

54:12

know that one. Okay, Okay, Steve Stout r

54:14

c A Records, I

54:20

think what a J jay Z's

54:22

first record label, Sleeping Bag Records.

54:24

Will sockle Off Okay, yeah, wait,

54:27

hell his name is so off SoC st

54:31

Yeah, Steve uh will

54:33

will sockle Off Right, leave

54:36

that alone, Okay. Sylvia

54:38

Robinson, Sugar.

54:39

You Records, your Sugar Hell Records, you

54:43

had a second ago, Steve

54:52

Riston, Yeah, Aaron

54:58

Fukes, Tough City Records, Fred

55:03

Bounet, Select Records Back.

55:06

So there's a few, but there's so many more. And to the

55:08

people that's watching and listening, like,

55:12

if I do not say your

55:15

label, you know or

55:17

what you've done, it would take me like

55:21

five years to say all the names, so please

55:23

excuse me. So in the interest of time, I

55:25

had to put together a short list of.

55:27

That because we could have easily added and

55:30

easy with Ruthless Records, or yes with two

55:32

life with absolutely Skywalker

55:34

Records and a J Prince will.

55:36

Wrap a lot records right exactly. So

55:38

for me, this thing

55:43

has like, you know, I haven't been on the train

55:45

in fifty years, but if I were

55:47

to get on the local, not to express the local,

55:50

every stop is something, Every stop is

55:52

something, Every stop is something. Every there's

55:54

something to talk about until

55:57

you get to hear that's

56:00

it really really important. Man.

56:03

Let me ask you flash. Aliens come

56:05

down.

56:07

They come down, Aliens from a different

56:09

planet, a different planet. They

56:11

hire as a motherfucker right. They

56:13

high, They

56:17

on alien shit, they

56:19

on alien ship. They come to you, flash, they

56:22

flash. We need one

56:25

record to describe

56:27

hip hop, one

56:30

record to describe

56:32

this fifty years of hip hop, this fifty one

56:34

years of hip hop. They don't want one record? Nah

56:39

no, this is his question, brother Dominicans,

56:42

come a thing one

56:45

record for alien. Never heard one

56:47

never heard, he

56:49

never fingerpoped nothing, He

56:52

doesn't know nothing.

56:53

He just an alien. One record.

56:57

Nor can we go to no get

56:59

too alien? Say you know what, go ahead, you

57:02

want to you top three? It's

57:06

just too to its two records.

57:08

I think o that and

57:11

this is that that that are the absolute

57:17

top. If

57:21

you were to say these records

57:24

help start a movement, would be Coherks

57:28

discovery of Apache and

57:31

my discovery. I'll take me to the money grap

57:34

by Bob James, one

57:36

A, one B.

57:43

And look for the Remember who we're talking to.

57:45

Some people that don't even understand when you say discovery

57:48

of that record what that meant. Okay,

57:51

so record shopping

57:56

digging, by the way, can I stop me for my second?

57:58

Let me just tell you something, Just show me she have a

58:00

DJ friend and

58:03

y'all are on the road.

58:05

If you ever want to do something cool for your DJ.

58:07

Friend, find a record store.

58:13

It's like leaving a gamber

58:20

at a casino.

58:22

I can take.

58:23

Anywhere in the world, and I can leave

58:26

him at a record store and

58:28

a casino and I could go out for six

58:30

hours. No one would never know what's

58:33

mission.

58:34

So if you ever know to any DJ,

58:36

listen, any artist, anybody you've

58:39

had a DJ friend, go overseas

58:41

or go somewhere you can bring him to a

58:43

to reconstr herm

58:45

and her or her all they you know

58:48

this ship is real out right now?

58:49

You know what I'm saying.

58:50

You know what I mean?

58:51

If you don't want to fend nobody. Everybody can

58:53

use every bathroom.

58:55

But if you want him to

58:57

a DJ friend, you bring him to a record

59:00

store and they will enjoy

59:04

the ship out of the store. By the way, these

59:06

records don't have to speak at English.

59:09

Don't matter.

59:09

These records don't have to be hip hop.

59:11

You prefer they

59:16

could be harmor. But DJs

59:19

are so crazy they can listen and be like,

59:21

oh, I'm taking this.

59:23

I'm just telling you DJ's and producers, that's

59:25

a treat.

59:26

I'm sorry. I gave you out a tea cold for.

59:31

So record shopping.

59:32

Record shopping.

59:34

I'm in my teens.

59:37

During the week I have to do my chores

59:40

and do my homework. Uh,

59:44

do school work. On the weekend, I'm

59:47

getting up about

59:50

eight o'clock in the morning, getting

59:52

dressed, washing my ass. I

59:55

am going record

59:57

shopping. I'm

1:00:00

going to which I think used

1:00:02

to Will the godfather of eclectic

1:00:06

records was Downstairs Records, Nick

1:00:09

and Barry. Okay, in the village,

1:00:11

and what street was at all thirty Street,

1:00:14

it's been that

1:00:17

was much later. So I

1:00:21

would go down to Downstairs Records, and Nick and

1:00:23

Barry would hey, Flash, how you doing

1:00:26

I'll say, uh, I just want

1:00:28

to go through some stuff because somehow

1:00:30

or another, these

1:00:33

two white boys knew

1:00:36

how to go out and get records that

1:00:39

would possibly work.

1:00:42

That's crazy. So they're like curating before you guys.

1:00:44

Yeah, so I'm in there.

1:00:49

Actually, Nick and Barry

1:00:51

would have two rooms. There's

1:00:54

the public room that people come in from the street.

1:00:58

Then there's the room in the pack VIP.

1:01:02

You have VIP before VIP. I respect

1:01:04

it.

1:01:05

Go ahead. We in there all day in the turntable.

1:01:08

I'm in there looking in the cup one. I'm

1:01:10

holding the record up in the air because you

1:01:13

could see the break on the record,

1:01:16

and how you could see this the area

1:01:18

of the composition has a bright spot,

1:01:20

so that tells you that the most of

1:01:23

the band members are not playing. The

1:01:25

figures not playing in that area.

1:01:28

I would find that pop

1:01:30

record, put it

1:01:32

on. All I needed was four bars.

1:01:34

I'm buying two copies of that. That

1:01:37

was the love there. But then you would go to the

1:01:39

big stores where you have no cloud.

1:01:42

Like there was a storm who was just

1:01:44

thirty fourth Street and eighth.

1:01:45

AVEU called disco mad and this motherfuckers

1:01:48

this store must have been the size of a Walmart.

1:01:51

So you just in there, just searching. And I

1:01:53

would go to the pop session in the rock all of them,

1:01:55

and I would look at the cover. That's

1:01:58

what spoke to you first, That would speak to me first.

1:02:01

And I remember this one particular one was

1:02:07

I was in a rock session. The

1:02:12

fucking album said toys in

1:02:14

the attic. I'm like,

1:02:18

who the fuck wants to put

1:02:20

their toys in the attic? I

1:02:24

held it up, put it down.

1:02:26

I said, I'm gonna just think about that and just search

1:02:29

for others.

1:02:29

But that shit was talking to me.

1:02:33

And Disco Matt no privileges.

1:02:36

Once you break the street wrap, you buy it.

1:02:38

If there's nothing on it, you fucking

1:02:40

stuck with it. You gotta go to the cash register

1:02:43

and pay for some I call it a.

1:02:44

Stiff as

1:02:47

a scram. Joe still call it.

1:02:49

And I

1:02:51

went over to the turntable and I played

1:02:53

most of the records whack whack, whack,

1:02:56

whack, whack whack.

1:03:01

Then the band put the.

1:03:03

Bam boom bampoo, put

1:03:05

the drum break in a front of that ship.

1:03:08

I'm like, oh my

1:03:11

god.

1:03:14

This group was new then, Columbia

1:03:17

Records, didn't nobody know much of who it

1:03:19

was, and they

1:03:22

had this they had a really real weird

1:03:25

name, arrow Smith,

1:03:31

and the cut on it. I would

1:03:33

have missed it because

1:03:36

that end of the cut prior

1:03:38

got the man, this this nasty,

1:03:41

fucked up guitar piece. But I stuck

1:03:43

with it and I let it play, and then it

1:03:46

got quiet onto the next section. I

1:03:52

was like, oh my god, I'm taking two of those. But

1:03:55

there are times when

1:03:59

I look at the album cup and the fucking shit was

1:04:02

whack right, But

1:04:05

I bought two of them. I gotta

1:04:07

go to the cash register and buy them. And in my

1:04:09

room mom's house these

1:04:12

I had a stiff's crate. So

1:04:16

this is the purpose of this crate.

1:04:19

When you're playing. Sometimes DJ's

1:04:22

mother camps, you know, because some

1:04:25

weeks it's hurts and a crap. Most

1:04:27

across come to see him. Sometimes it's flash, sometimes

1:04:29

it's breakout. Sometimes you know whoever, they'll

1:04:34

send spies. You

1:04:37

won't know who they are, but they

1:04:40

twenty feet away looking at the label.

1:04:42

So this is what I did.

1:04:45

I took the two copies of the Stiffs that I'm stuck

1:04:47

with, and I soaked them in the bathtub,

1:04:50

and I soaked the heat and the bathtub

1:04:52

too, until the label came

1:04:54

up. And then I switched them.

1:04:57

So now follow

1:05:01

so when that DJ would come there seeing

1:05:05

what that ship was, and I got to

1:05:07

tell you years later, we all at they said, flash,

1:05:10

we cleaned our house, cook

1:05:12

the food, let the fucking album

1:05:15

play, and the break was never

1:05:17

there. We had a way of keeping our

1:05:19

secrets. But today, ah,

1:05:22

you know, I I there

1:05:25

no more secrets. I think it's important that the kids

1:05:27

know.

1:05:27

But we had to have a way.

1:05:29

I used to mark the record with magic marcle

1:05:31

or scrape the label out and

1:05:33

call it. If the ship was called fucking Fiji,

1:05:36

I'll call the shit can C

1:05:39

A N. So now the motherfucker's going looking

1:05:41

for a record called can. But we had to have secrets.

1:05:43

We had to to keep our fans.

1:05:46

And that's what record shop was to me. And I might record

1:05:49

shop from nine in the morning till ten

1:05:51

o'clock at night, and I may go

1:05:53

to a record shop and find one

1:05:58

and twenty one copy in the fucking store. I'm

1:06:00

like, I'm like, yo,

1:06:02

you can't get another way. He said, Man, this is a small label

1:06:05

and this is all they had one copy.

1:06:08

Now I'm calling stage in Brooklyn,

1:06:10

Queen's Island. Do you

1:06:12

have a fucking do you have this record?

1:06:15

Because you had to have two? Wait,

1:06:17

why did you have to have two? So he could bring

1:06:19

it back, keep blooping it right to

1:06:21

continue it.

1:06:22

And this is their version of having an exclusive

1:06:25

ry, saying they're hiding the record so the other DJ's

1:06:27

camp couldn't see right and get that record

1:06:30

exactly, so that.

1:06:31

Drum beat to continue that

1:06:33

drum beat, norway, I had to continue

1:06:37

it. But I had that shit covered

1:06:39

because I didn't know who was in the building,

1:06:42

and I wanted my fans to stay with me, so

1:06:44

I wanted all my heat to stay

1:06:46

with me. Herk

1:06:49

was always up high, bam

1:06:51

Barda had goons, breakout

1:06:53

was way up in the north, so everybody

1:06:56

was just protecting their own shit. But record

1:06:58

shopping, I can remember going for twelve

1:07:01

thirteen hours and not finding it, getting

1:07:04

up Sunday and going again and

1:07:06

just trying to calling around, calling

1:07:08

around, begging, pleading, I need one

1:07:10

more copy of this record. Sometimes the copy

1:07:12

would be printed and it might be a red label

1:07:15

for the same album somebody

1:07:17

reprinted it. It might be a white label, you know what

1:07:19

I'm saying. And I got two odd labels. I didn't

1:07:21

give a fuck. This iss log as I was able to keep that beak

1:07:24

on and keep that crowd rocking. And

1:07:26

these are the things that you know, I

1:07:28

find very important to talk about.

1:07:30

But let me ask you because what you're saying, and you're describing

1:07:32

right there, is you're describing a DJ like

1:07:35

being a producer.

1:07:36

Right.

1:07:36

That's actually kind this is kind

1:07:38

of a producer. So it's kind

1:07:40

of like to say, if you do it the way that you're describing.

1:07:43

Which is the wrong way, louse. You don't

1:07:45

play a turntable that way. I came up

1:07:47

with the wrong way because your theory

1:07:49

is the wrong way.

1:07:51

That But what you're saying is basically, if you're a DJ,

1:07:53

you're an automatic producer. But

1:07:56

if you're a producer, doesn't automatically make

1:07:58

you a DJ.

1:07:59

Right, But I'll tell you this much, and

1:08:02

we're gonna go We're gonna go back to the producers.

1:08:05

If they were fifty

1:08:08

producers on the first batch

1:08:10

that went out in the eighties, forty

1:08:12

eight of them with DJs that

1:08:15

understood the law.

1:08:17

Of a seamless loop.

1:08:20

So from Dre to Pete Rock

1:08:23

to Premiere to Battlecat

1:08:26

you know, to Christ

1:08:28

the Glove tailor, all of them they

1:08:30

were DJs.

1:08:31

So they knew how one.

1:08:33

To make a seamless loop, which I'm

1:08:35

going to show you what that is over there. Use

1:08:38

it and the sampler

1:08:40

inserted at New

1:08:42

Kicks Snaars make that shit

1:08:45

sound incredible. So the rapid could come in and say

1:08:47

what you can say that, he'll go leave, and

1:08:49

then it's the producer and that

1:08:52

track and making that track as

1:08:54

fat as possible. That's what

1:08:58

the majority of the DJs are at

1:09:00

that time coming to help. That made

1:09:02

the only incredible records Q tip, all of them they

1:09:05

were DJs, and that's

1:09:07

why all them records to this day, like

1:09:10

if you if you were in the club on

1:09:12

you in the spot where you playing for a couple

1:09:14

of hours, it is almost

1:09:17

impossible to not have to go back there and grab

1:09:20

one or two. It's almost impossible

1:09:22

because that music never died.

1:09:25

It's all still here pretty

1:09:28

much. So I'm gonna go over here. Now.

1:09:36

You said that's the first beat machine in hip hop?

1:09:38

Yeah?

1:09:40

Yeah, what is that?

1:09:41

Yes? The big box? Okay, it's called

1:09:43

the beat box B box.

1:09:45

I always thought Dougie Fresh was the B box c

1:09:47

B.

1:09:48

Doug You're gonna talk right after. We're gonna talk later

1:09:50

on today too okay, so nor

1:09:54

Red, this was my

1:09:57

secret weapon. Evy DJ back

1:09:59

then had turntables. Right now, there was

1:10:01

this guy uh

1:10:03

Dame escapes me. He

1:10:06

lived in a Jackson Projects and I would hear

1:10:09

this machine

1:10:11

being played out the window. I

1:10:15

made it a point to keep going back there, keep going

1:10:17

back there, till finally I

1:10:19

met this guy and I asked.

1:10:21

Him what was it that he was playing?

1:10:24

He was playing this. He was a drummer,

1:10:27

but when he were practice,

1:10:29

he would practice with this. I

1:10:33

said to myself, if I can learn how

1:10:35

to play this, just basic, I

1:10:39

could come off the turntables and jump on this.

1:10:45

So ray Challa, I'll manage. At that time said

1:10:47

we're gonna put that on the Flyer. Secret

1:10:51

weapon, the beat box. The

1:10:55

Furious came up with the saw. It was a party

1:10:57

and his

1:10:59

own me I was

1:11:01

on this sand and people.

1:11:08

So l.

1:11:11

So this became

1:11:14

a secret weapon. And this got

1:11:16

us more more fans. Years

1:11:20

when by later and they were these

1:11:23

super people. I called them this Markey

1:11:25

rest in Peace, Dougie Fresh

1:11:28

that decided to replicate

1:11:31

the sounds of a drum with their mouths,

1:11:34

and they made huge records

1:11:37

off of this. But this is this

1:11:39

box that I found and I called it the

1:11:43

beat box. Wow.

1:11:45

So I'm gonna just mess around a little bit.

1:11:58

Wow, so

1:12:11

pretty much. And

1:12:18

Meldon the Boys wrote a song on it. So

1:12:21

now see knowing these

1:12:23

are the kind of things that I'm talking about, and I appreciate you.

1:12:26

First, you will eat Huh. That's the first

1:12:29

you can say the person first drum, drum machine

1:12:31

and hip hop period credecessor

1:12:33

for yeah, the cast cast

1:12:36

didn't even have a C yet.

1:12:37

It wasn't even see you on cast.

1:12:38

It wasn't around yet.

1:12:39

You know, this is why I found

1:12:41

it critically important to come here. And I

1:12:43

appreciate the EFN and and and nor to

1:12:46

allow me to expound, expound

1:12:49

on this. Appreciate you because I'm dragging

1:12:51

you guys in and out of the rabbit hole we

1:12:55

started. Okay, so so.

1:13:02

This song right here some

1:13:19

of nineteen seventies, when it was me try

1:13:24

to snap here.

1:13:31

At the house Parkings in my mom's house or my

1:13:33

bucker's house, the backside

1:13:36

used to move more and

1:13:38

his break still

1:13:42

going, still

1:13:46

going now,

1:13:51

I thought back then, and I was twelve or

1:13:53

thirteen, old records

1:13:56

have the break like that, But

1:13:58

when they didn't, that's when I became

1:14:01

very angry and that's when

1:14:03

I had to come up with this thing where

1:14:05

I extended to break. So now all,

1:14:13

let's I'm gonna move through a couple of things

1:14:15

here. I'm gonna try to think within the

1:14:17

five second law, but try to do that, okay. So

1:14:22

the genius of the producers doctor

1:14:28

Dre, like like

1:14:33

they all love me, Dre loves me and

1:14:36

he's as huge as he is, He's not afraid

1:14:39

to say that I inspired him to do

1:14:41

what he does. Absolutely, you know what I'm saying, So.

1:15:00

Hold on.

1:15:04

That was all the

1:15:23

genius of the producer to

1:15:27

put this in the computer and a sampler and

1:15:31

the incredible rhymes of

1:15:33

nas.

1:15:37

Let's continue on.

1:15:40

And some of these records were popped. Were rocking with

1:15:42

Jason and Blues, were funking with disco, they were

1:15:44

R n B.

1:15:45

You know.

1:15:45

So when people ask me know where to do a set, I

1:15:48

played pop rock, They're like, what the

1:15:51

no, what the fuck are you doing. I'm saying, I'm playing a hip

1:15:53

hop set. I'm playing what I know.

1:15:56

This song here has has

1:15:58

the worst name in the even in

1:16:01

the world. Uh Sweet

1:16:03

green Fields, Shields

1:16:05

and Cross. The

1:16:08

producer that did Cliff one. The

1:16:12

producer that took Cliff one, the

1:16:15

producer.

1:16:15

That followed me.

1:16:27

Now that's

1:16:38

the black part.

1:16:49

So all the producer did is

1:16:51

take to see this loop theory

1:16:54

that falls under the quick mix theory and

1:16:56

made big records. Why

1:17:00

doesn't the press talk about this? But

1:17:08

it was in front of me. I

1:17:11

would keep it beat steady, those

1:17:13

you can still do it. Let's

1:17:19

gettue on. Oh, thank

1:17:25

you, thank you. Let's

1:17:30

shit. Let's go here. Uh

1:17:36

m hm, Let's

1:17:57

go a little further. Let's go a little fir Let's go a little first,

1:17:59

Let's go a little check

1:18:03

the Ryan.

1:18:06

So much, so

1:18:08

much.

1:18:11

If Piggy was in front of me so

1:18:24

much, it's

1:18:47

crazy. He's showing you the where

1:18:50

he started and how that translated in the production.

1:18:56

This one's quite special. H

1:19:01

This recon probably would have been double leg that

1:19:04

was sold a copy until it's

1:19:07

incredible. Rapper put his voice on

1:19:09

this feat one of my favorite freaky

1:19:17

mules.

1:19:19

Y're going, it's like it's

1:19:41

where.

1:19:46

So that's wh just

1:20:01

playing this produced this ship out.

1:20:03

If it's not damn record right, mel hold my god

1:20:05

up. Let's

1:20:08

play some disco. Let's

1:20:11

play some disco. Let's

1:20:15

play some disco. Let's

1:20:18

play from disco. Let's

1:20:21

play some disco. Let's play some disco.

1:20:25

But the motherfucking producers, he said to yourself,

1:20:28

let me let me slow

1:20:30

this down. And

1:20:40

these are the things are Presice not talking about.

1:20:43

Why not jazz

1:20:55

heard Albert don't

1:21:00

care about this racket? Nobody? Yes,

1:21:19

crazy, I

1:21:38

watched the press last last summer.

1:21:42

I'm like, how on earth, how

1:21:47

on earth could he let stuff

1:21:49

like this goes by? I'm sure Bam got a story.

1:21:51

I'm sure Breakout got a story. I'm sure

1:21:53

her got a story.

1:21:55

So now sure

1:21:57

should I wait?

1:21:58

For now?

1:21:59

We canna keep talking. Okay, let's

1:22:01

get geek. I'm gonna take your guys down a rabbit

1:22:03

hole. Let's go, let's go over to the to the easel.

1:22:07

Yeah, okay, so.

1:22:10

Guys.

1:22:17

This took much thinking because the

1:22:22

way DJ's playing music the

1:22:25

right way was

1:22:28

heavy on the tone R. But

1:22:32

in order for me to e

1:22:36

to connect the short runway, I

1:22:39

needed a quicker way to do

1:22:41

this. This took me about two and a half

1:22:43

years to put this

1:22:46

formula together because I kept

1:22:48

saying to myself, the non

1:22:50

disco DJs I heav

1:22:52

you on a tone are to disco DJs

1:22:55

to heavy on the tone. Are I

1:22:57

have to stay heavy on the tone ar

1:23:01

And it turned out that

1:23:03

I couldn't right. And

1:23:06

here's my formula. It's called the quick mix

1:23:08

theory. This is this is

1:23:10

pretty much the math in me and

1:23:14

this is how I did. How old are you coming up with this?

1:23:16

How old are you now? About

1:23:19

fifteen? Look at this. You

1:23:21

got into perspective.

1:23:23

About fifteen sixteen.

1:23:31

And there

1:23:35

are DJs

1:23:38

that make incredible sounds

1:23:40

with this.

1:23:44

But I'm not talking about the sound. I'm

1:23:48

talking about the mechanics, the

1:23:51

reason why you do it. And

1:23:57

here's the math. Guys.

1:24:01

Four bars four.

1:24:04

Way equals six

1:24:07

counterclockwise revolutions

1:24:09

equals full yeah,

1:24:13

loop extraction.

1:24:20

And I'm gonna do this on the turn tables in a little

1:24:22

while, but I'm gonna show you to be deep

1:24:24

in a rabbit hole right now. Guys, final

1:24:30

one. Any watch outs I

1:24:32

can see clockwise?

1:24:54

Thank you.

1:24:58

My drawing is fucked up. I'm not good like

1:25:01

that DJ mixer. I'll

1:25:12

this run table.

1:25:16

This one is going counterclockwise

1:25:26

counter and

1:25:28

is this without you queuing it in headphones? Is this

1:25:30

why you can?

1:25:31

But I didn't.

1:25:32

I didn't figure that out until later. You

1:25:34

could, But you're absolutely

1:25:36

correct counterclockwise, so

1:25:40

four bars forwards,

1:25:47

it's equal to

1:25:52

six counter

1:25:57

clockwise revs

1:26:03

r evs. This

1:26:08

way of DJing, the

1:26:12

mechanics.

1:26:13

Of this has not changed

1:26:16

them fifty years.

1:26:17

That's not.

1:26:22

I said something on the

1:26:25

internet many years ago. I'll

1:26:32

put up ten grand for

1:26:35

anybody that

1:26:39

can do this without

1:26:41

using my mechanics. Not

1:26:44

the machine, not a computer.

1:26:46

I'm talking about human.

1:26:47

Beings like you and me.

1:26:50

Let's see still waiting, Hey,

1:26:55

do you want to do this?

1:26:56

Man? So, God

1:27:02

is wonderful. I've been

1:27:04

able to Nori.

1:27:09

I'm trying to figure out what's going when you Okay,

1:27:12

If then I

1:27:16

did this when I was sixteen, I'll

1:27:19

be sixty seven in the week and a half. God

1:27:24

is absolutely wonderful.

1:27:28

Bring bring

1:27:30

cheering for Scram Jones. Is bring Scram Johnson.

1:27:35

Because I want to get into the music.

1:27:36

But before we get into that, we're somewhere.

1:27:39

You played overseas that you was just like

1:27:41

wow, that you was shocked that

1:27:43

you went to Brazil.

1:27:46

Brazil, ninety thousand people

1:27:50

she but there were

1:27:52

a few that I played sixty thousand. On the

1:27:54

average, I played twenty five thousand,

1:27:57

fifteen thousand. Now light work, I

1:27:59

don't. I don't do.

1:28:01

I'm like, you

1:28:06

put them over there by on that side, by bad,

1:28:08

yeah, over there on that side, yeah yeah, by my

1:28:10

bad.

1:28:11

Oh, come on, you're supposed to be holding the chair, not Jamie

1:28:13

Jesus.

1:28:14

Yeah, riggers,

1:28:17

ramming, yeah, yeah, yeah, yeah, yeah yeah.

1:28:20

I called us do super fingers. The

1:28:23

fu's Graham Jones.

1:28:25

You just want to shine out of here, bro.

1:28:35

So you said Brazil is ninety

1:28:37

thousand people. Get the ship out of me. What

1:28:40

was really cool about it?

1:28:41

It's like.

1:28:43

The big E d M DJs. They do that ship in

1:28:45

the regular So when I first

1:28:49

okay, got into playing with them on

1:28:51

the lineup, I

1:28:53

remember my my agents said, I'm

1:28:55

gonna put you on the lineup. That's a little different from

1:28:57

what you used to do in the clubs, you know. And the whole

1:28:59

ship, you know, it's this E

1:29:02

d M DJ So I'm like, what does

1:29:04

that mean? Electronic dance music. I'm

1:29:08

cocky as a motherfucker, you know. I'm even the office,

1:29:10

the whole ship. We drive

1:29:12

to the to the to the thing for

1:29:15

the sound check. This is the first time here at a d M.

1:29:18

I'm looking at what I'm getting read

1:29:20

of the plane in front of Nervous

1:29:24

is a motherfucker. I'm like, I never did

1:29:26

no ship like this outdoors, me

1:29:30

and my little lonely turntables in this gigantic

1:29:33

ass tape stage with nothing on it. I

1:29:38

said to myself, I'm gonna have to do this a little. I'm

1:29:41

not to go seriously hip hop with this ship. One

1:29:44

thing about the E d M DJ is they grabbed. They

1:29:47

acquired those audiences very easily, but

1:29:50

they ain't asked the audience

1:29:52

to do anything.

1:29:53

I'm like, oh m

1:29:57

hm, I

1:30:00

I'm going.

1:30:00

Into laptop e

1:30:05

hip hop paray. I'm gonna flip this motherfucker

1:30:07

upside down and

1:30:10

yep, Apache take

1:30:12

me to the Mardi Gras.

1:30:15

Weren't that bitch.

1:30:18

Down.

1:30:20

From that point on, I said to myself, this

1:30:22

is what I want to do on this level.

1:30:24

I got to insert hip hop and every

1:30:27

anti hip hop circuit

1:30:31

possible so they know what

1:30:33

we fucking DJs can

1:30:35

do.

1:30:36

To see.

1:30:38

Ninety thousand people go like this,

1:30:44

yes, stupid

1:30:47

that energy Mine Woggley

1:30:50

And then I talked to some of these idiom fans.

1:30:52

It says.

1:30:55

We come from nineties hip hop.

1:30:57

Yep.

1:30:59

I'm like, well, he says,

1:31:01

yeah, we come from eighties and nineties

1:31:04

hip hop. But we just got introduced

1:31:06

to this is where we are.

1:31:07

So when I'm playing these joints, motherfucker's just

1:31:09

reacting. I'm like, let's

1:31:14

go hard, let's go apatche, just go this and that that

1:31:16

flip the whole room upside down. Wonderful,

1:31:19

look, man, wonderful. Look what's

1:31:21

going on with the scram Scoop? So good to see your baby.

1:31:24

Because when scramplay DM, he takes ecstasy.

1:31:28

I guess you got it. You

1:31:31

don't have that experience. You don't, I'll

1:31:39

just ask, you know. That's what talk

1:31:42

about. I'm straight sober when I play because

1:31:44

I got I'm seeing things go reverse

1:31:47

fort reverse forward four six

1:31:49

six four four six, the inversion.

1:31:51

I gotta be really sober

1:31:53

when I do it, you know. But you know, you know, out

1:31:56

of all of this, I love the idea of watching

1:31:59

my mechanics and watched

1:32:01

people like Scram play.

1:32:04

Not the name Flash right? Was

1:32:07

you a comic book guy?

1:32:09

No?

1:32:11

I got Flash on Flash Gordon.

1:32:13

No.

1:32:14

I lived nine

1:32:17

twenty seven Fox Street in the Bronx and then down

1:32:19

the block. One of my best

1:32:21

friends was named Gordon. Now what I

1:32:23

did do is I ran fast. I

1:32:26

ran fast, so Gordon named me Flash.

1:32:29

And then three years later I

1:32:32

moved my UH

1:32:34

set and I got down with a gentleman

1:32:37

by the name of Me and Jean, and it

1:32:39

was it was on Boston Road where

1:32:41

I started doing my parties at a place called the Black.

1:32:44

Door, right, And.

1:32:46

I want to say seventy

1:32:49

two, seventy three, seventy four, I

1:32:52

can't remember exactly.

1:32:55

One of the most notorious gangsters.

1:33:00

Like, when we did our parties,

1:33:04

we knew our motherfuckers is gonna try to pluck

1:33:06

it up, so we had security. Some

1:33:09

people were allowed to carry the gun, some weren't.

1:33:12

Joe Kid was allowed to carry the gun. We

1:33:15

knew he wasn't gonna pop off for nobody.

1:33:17

He was kind of just watching my back him

1:33:19

in a castanovs, right. So yeah,

1:33:25

they were security. They were my security, you

1:33:27

know, along with the Boston Road Boston

1:33:30

roll crew. And it was New

1:33:32

Year's seven. I'm gonna say

1:33:34

seventy three, let me say seventy four.

1:33:36

Let me just say I'm bad with days. After

1:33:39

the party was over, he says, you handle

1:33:42

those turntables like a grand master. Oh,

1:33:45

I'm like, what did

1:33:48

you just say? He

1:33:50

says, you handle

1:33:52

these turntables like

1:33:54

a grand master. The

1:33:57

next day I went to every library possible

1:34:00

trying to find out what that word meant.

1:34:02

Karate, right, and then karate

1:34:05

and the people that do the chest. Bruce

1:34:10

Lee was big with us back in the day. If

1:34:12

he was a DJing party and we was going

1:34:14

to see Bruce Lee, Bruce Lee was big so

1:34:18

and I can remember after Joe

1:34:20

Kidd did that, I'm walking

1:34:22

down the street because I was just DJ Flash.

1:34:24

Now I'm going.

1:34:25

Master, grand Master flash.

1:34:29

Master, rand Master, rand

1:34:31

Master Flash.

1:34:32

And I got used to it, and did Rach Hanner put

1:34:34

it on the flyers grand Master

1:34:37

Flash and the beat box, you know, and then

1:34:39

our crowd just got bigger and bigger and bigger,

1:34:41

you know.

1:34:41

And now you, you

1:34:44

and Grandmaster Cast ever had anything

1:34:46

because of the grand Master's.

1:34:48

I mean.

1:34:50

Grand Master Cast was called something

1:34:52

else before that original

1:34:55

grand Master. You

1:35:00

know, I

1:35:03

have, I mean me and it.

1:35:04

We love each other, we ain't

1:35:06

be for with each other, right, But.

1:35:09

So how did you feel like because you had

1:35:11

to use the first grand Master, then he was

1:35:14

going about a different name and then he came up with grand

1:35:16

Master.

1:35:17

I mean, we

1:35:20

we grew up together. I

1:35:23

didn't. I didn't have no problem with it. You know, It's

1:35:25

just that I learned quickly

1:35:28

because I was an idiot when I signed to sugar

1:35:30

Hill. When I got older, it's like anything

1:35:32

you do copyrighted trademarket

1:35:36

because what happened to me in the record business. So

1:35:39

I you know,

1:35:42

if you're going to use it, if

1:35:44

you're gonna use grand Master, I'm gonna pop up

1:35:46

first.

1:35:48

So there

1:35:50

are a few people that want to call himself.

1:35:53

Grand Master, but they're saying Joseph

1:35:55

Sadler is the owner of the title.

1:35:58

Joseph Sadler's me.

1:35:59

You know, you learned. You learn when

1:36:01

you get burned, you learn. And

1:36:04

it was a time when I was ignorant. I'm dumb,

1:36:06

So you get smart after a while

1:36:09

and you pick a shit out, you know what I mean?

1:36:11

How competitive were were you guys,

1:36:13

the different crews back then?

1:36:16

You know something, we didn't really battle with each

1:36:18

other too much. You know now that you know hindsight

1:36:21

is this. We were like four corporations.

1:36:24

Breakout had the North, Cork

1:36:28

had the West, I had the East, Bam

1:36:32

had Bronx River. Whenever

1:36:40

I wasn't playing, I go see herk or

1:36:42

I'd go see Bam, I go see Breakout.

1:36:47

Me and Breakout never played together. I think

1:36:49

that bad or HERK played together, but I never

1:36:51

played with HERK. Me and band

1:36:54

played together, but it wasn't. This thing didn't

1:36:56

become a battle thing until the next

1:36:58

tier came, because

1:37:00

now people is battling for their existence.

1:37:04

The fourth fors Hacken was already kings

1:37:06

in our whole lives. We were established.

1:37:08

So all the crews that became

1:37:11

the understudies or became prodigies,

1:37:14

now they're battling for this. And that's when

1:37:16

a lot of people were going into different territories.

1:37:18

But with

1:37:21

the first four, the

1:37:23

problem why we we didn't

1:37:26

play with each other whole lot is because the gang

1:37:28

violence was.

1:37:31

Nuts.

1:37:32

You go into a wrong area, you might not make

1:37:34

it out of there. So and

1:37:38

I'm talking about the black space of

1:37:40

Black Pearls, Savage Skulls, seven,

1:37:42

Immortal Freeze Donation, because that's what right

1:37:45

now. Now we're gonna go into Bam

1:37:48

so Bam

1:37:55

shopping for records having

1:37:57

the most beats Numero

1:38:00

Uno Bam

1:38:03

had more beats. If

1:38:05

you played a patche he had four different versions.

1:38:08

If you played the bells, he had six

1:38:10

different versions. He had records like

1:38:14

where did you get that from? Kind

1:38:16

of records. You couldn't fuck

1:38:18

with his collection. So

1:38:23

let's not look past the situation that he's

1:38:25

in right now.

1:38:26

If I were to.

1:38:29

Do a short blurb on Bam, King

1:38:32

of the Beats, absolutely and

1:38:34

he's doing that calmed down

1:38:36

this gang violent shit.

1:38:39

And I think, personally, in my opinion, if

1:38:41

he didn't do that, they

1:38:44

wouldn't have been too many block parties because

1:38:46

their motherfuckers would have been up in there shooting,

1:38:49

stabbing the whole shit.

1:38:51

So a lot of them groups he

1:38:54

turned them around, and then

1:38:56

these groups became security for

1:38:59

a lot of us, like a lot of the Black Spades

1:39:01

and the Pearls became casting overs. They

1:39:04

were my crew that rode with me on security,

1:39:07

along with the Boss and road crew. So he that

1:39:09

that day he did he did a big thing there. You

1:39:11

know what I'm saying, Uh, I

1:39:14

miss him, but you know he's sitting on the

1:39:16

situation that he's in.

1:39:18

He was big on that.

1:39:19

Uh HERK

1:39:23

if I do a short blurb on him. He

1:39:26

had a sound system that we all wanted. He

1:39:30

could play some of these old old house

1:39:32

party records on his sound system, and

1:39:35

that ship was absolutely

1:39:39

amazing.

1:39:39

His ship was.

1:39:42

In incredible sounding.

1:39:48

His record collection was also pretty

1:39:50

decent. The

1:39:53

technical aspect, me

1:39:55

and him, we go back with that, back and forth with that.

1:39:57

I say me, he say him, wait it

1:40:00

again for part, the technical part or

1:40:02

who did one on the ones and

1:40:04

the whole ship and how it works out? You

1:40:06

know, his thing it's called America around minus

1:40:09

is called the quick Mixedterey, you know.

1:40:11

And I love the ground he walks on. You know.

1:40:13

When he got sick, I was one of the

1:40:15

first first people looking for him, and

1:40:17

I went to Yankee Stadium, not

1:40:20

to only see the acts, but just strictly

1:40:22

to go see him in his dressing room

1:40:25

and see how he's doing.

1:40:26

I'm saying, what's up, old man?

1:40:28

He said, Yo, I'm cool, old man, I says, Man, lots

1:40:31

of wars, lots of we

1:40:33

went through, you know.

1:40:35

He looks at me. I look at him.

1:40:39

I said, I ain't fight no fucking more. He said, I ain't fight

1:40:41

no more either. Man. We're too old for that shit.

1:40:42

You know what I'm saying.

1:40:43

But now it's a time.

1:40:46

Yeah, yeah, Cause me and Heck we hurt. We battle

1:40:49

about who did what and what did who?

1:40:51

Right?

1:40:51

You know so me.

1:40:55

I think these years now this year especially

1:40:57

Nori is show and tell no

1:41:00

more quiet, holding it, marking it,

1:41:02

you know, and hiding what it is. It's

1:41:05

time for Hirk's crew to talk.

1:41:08

It's time for a Breakour's crew to

1:41:10

talk. It's time for band like it should

1:41:12

be. And quite frankly, I would

1:41:15

love it if all

1:41:17

of us can sit down at one table.

1:41:21

This will be the biggest

1:41:24

This would be the biggest

1:41:28

story and hip hop ever,

1:41:31

just sit down, have it and tell stories.

1:41:34

How was it at your mom and dad's house and how

1:41:36

was it and what got you into it? I'm

1:41:38

telling you my portion of it, but it's three more

1:41:42

and that adds on to how

1:41:44

this thing progressed.

1:41:46

All right, So it's four y'all to get together.

1:41:48

And then y'all say we want to add one MC.

1:41:55

Why you gotta fuck with me regard actually

1:42:00

give you if I want

1:42:02

to have one MC, one

1:42:04

wrapper one in this.

1:42:09

Y'all falling one rapper at

1:42:11

Eddy ever in time, any area in time. I'm getting

1:42:14

the about it any

1:42:17

aer in time, won man, It's on you,

1:42:19

everyone say flash just you will to pick the m C.

1:42:23

Every MC want to be there too, Okay,

1:42:30

m HM one

1:42:35

one. I'm not Yeah,

1:42:38

that was warned about your father.

1:42:43

Want to he said, are

1:42:45

you gonna ask.

1:42:47

Getting questions? One?

1:42:49

I want see join y'all at dinner and talk

1:42:51

some ship.

1:42:54

It's up to you not

1:42:59

to one one Yeah, yeah, yeah,

1:43:01

I get you too.

1:43:01

Before if

1:43:09

you were still here, I would say cowboy que

1:43:11

cowboy yeah makes a noise, fag.

1:43:16

Don't forget the fourth the blurb for the

1:43:18

fourth. But you said body

1:43:20

he said, hrk yourself.

1:43:22

Yeah, and breakout?

1:43:24

Did you say the blurb for him? What you would say about him? All?

1:43:27

Breakout because he's like, out

1:43:29

of everyone that you name, he's like the.

1:43:31

Least known of right.

1:43:32

That's that's why I wanted.

1:43:35

Breakout first

1:43:38

DJ to have a female MC shot

1:43:41

Rock up the shot Rock Shot

1:43:45

Rock, you know, Like

1:43:48

now, I.

1:43:50

I felt so sorry for us because this is the male dominated

1:43:53

that.

1:43:54

Was grew up on my

1:44:00

back down right

1:44:05

now, absolutely connected, I'm

1:44:08

going back get it. She

1:44:11

was only the MC that and

1:44:13

she had to contend with all of us. You

1:44:16

know, So DJ Breakout in

1:44:18

the four plus one, so break your Shot

1:44:21

Rock has shot Rock sound

1:44:24

system. It

1:44:27

wasn't pretty like herks, but that ship was loud

1:44:29

like hurks and if I

1:44:31

could speak scientifically, his

1:44:34

base bottoms will

1:44:38

reverse. The

1:44:41

wolf was put in reverse and

1:44:43

he threw the hole in the back. They

1:44:45

re poored it and he had

1:44:48

him angled. They

1:44:50

were garbage cans, the big

1:44:53

garbage cag with the base bottoms.

1:44:56

So when he played the big beat boo like

1:45:00

the bass was like gum. It

1:45:03

was incredible. He had an amazing sound system.

1:45:05

Was called the Mighty Sasquatch was

1:45:08

called the Hercules Mines, was called

1:45:11

the Gladiator. But my ship was kind

1:45:14

of whack. Bands was just I

1:45:16

don't know what bands was called. I don't think BAM had a

1:45:18

name, you know, but these are the things

1:45:21

that I love talking

1:45:24

about.

1:45:25

We love hearing it now, White lines how much

1:45:28

cocaine was in that studio session.

1:45:37

This guy, let me be totally

1:45:39

honest with you.

1:45:39

By that time, by the way, we was looking at the lyrics

1:45:42

coming here.

1:45:47

I don't write lyrics, okay,

1:45:57

So like we

1:46:01

were probably the tightest unit in the streets, mean

1:46:04

and five, you know, we just go being easy, Mike.

1:46:07

Then when we got into the record situation

1:46:10

and I realized that we weren't weren't in a great

1:46:13

situation. I

1:46:15

was the first one that wanted to leave. Uh,

1:46:19

but it didn't happen that way. So

1:46:21

from the six of us, three went

1:46:24

with me to Electra and

1:46:26

three pretty much stayed back. That

1:46:29

record was on its way

1:46:32

to being made. We

1:46:34

left by then, so

1:46:38

Mel and the rest of them

1:46:41

made that record. So that's actually million

1:46:43

Maail's record.

1:46:44

Wow, I'm not gonna lie.

1:46:46

Whenever I met a like a like a like a white

1:46:48

industry party and that record, come on, you

1:46:50

know, I.

1:46:51

Know the white people, but I

1:46:53

know it's a great Millie

1:46:55

is a great rid. But by that time we had split,

1:46:58

you know, and yeah,

1:47:00

that was his record.

1:47:01

You found out sample of the Cavern.

1:47:03

Of course I did right your

1:47:05

record because people credit

1:47:07

that to the some say reality rap.

1:47:10

Right, so people say that's the first song

1:47:12

that details reality rap.

1:47:14

And then some people.

1:47:15

Outright say that that is the first message

1:47:22

because white message was first. Yeah,

1:47:25

but that's broken glass. Everybo thea

1:47:27

talking about getting coked. That's a message

1:47:29

I ain't gonna live man, white.

1:47:38

And we thought they were subtle until this morning

1:47:41

we listened to the white White.

1:47:44

Dig I'm like, Diego, you know, it's

1:47:46

record better than me. But I come to find out Diego's.

1:47:49

He's he's reading the words

1:47:51

and I'm like, damn, these words are pretty

1:47:54

foul.

1:47:55

Like a great writer, tell

1:47:57

me split by till me split, and uh

1:48:02

they continued on, and we continued on with an

1:48:04

electro pretty much.

1:48:06

Sylvia Rome wasn't there yet all

1:48:09

Sylvia Rome was

1:48:11

there.

1:48:14

She's not.

1:48:14

She wasn't in a powerful position.

1:48:16

And she said now and she deserves

1:48:19

every bit of what she did because

1:48:22

she was always the first one to say, let's

1:48:26

work it out.

1:48:28

She didn't she she didn't really Sylvia.

1:48:31

It wasn't really business business

1:48:34

talking was more like friendship, like

1:48:36

what does you what you want to do?

1:48:38

How can we make it work? Could we

1:48:41

tweak it a little bit?

1:48:42

You know? She had like a heart. That's

1:48:45

how I remember m Sylvia

1:48:48

Sylvia Rome.

1:48:49

And how about the masters? Did you guys

1:48:52

go back and get your masters?

1:48:53

Like everyone?

1:48:54

No?

1:48:55

Whoa so yeah?

1:48:57

I said no. That

1:49:00

got a little messy with

1:49:04

the record label and the group.

1:49:09

Yeah, you know, because after a while we we

1:49:11

broke up. We all went out in separate ways.

1:49:13

I went on and did what I had to do, but

1:49:16

then we got back together to figure out how

1:49:18

we could.

1:49:20

Make this happen.

1:49:21

Because New

1:49:23

World now, shit could be played on things

1:49:25

like Spotify and all this. It's

1:49:28

a new all these new lanes and the whole

1:49:31

ship. So we had to get together and figure out how

1:49:33

we could. So we got a company who handles

1:49:36

that right now, so we get royalties

1:49:38

coming in, you know, I get a couple of checks

1:49:41

now finally, So it's it's not bad.

1:49:43

I do think if

1:49:47

I had understood the business back then, things

1:49:49

would have been financially much

1:49:52

better now.

1:49:52

But you live and you learn.

1:49:53

You know, there's some things, you know a lot of things.

1:49:56

I'm perfect at that type ship contract

1:49:58

with illegal and this and that that that didn't

1:50:00

have a clue about that.

1:50:01

But now our ship

1:50:03

plays, we get

1:50:05

paid.

1:50:06

And Rick James was the first person to

1:50:09

tell you because this like roomors like even

1:50:11

a prince like not wanting to deal

1:50:13

with artists who didn't own their masters

1:50:16

that, yeah.

1:50:17

He didn't want to deal with artists like not not not to with

1:50:19

it, like he didn't want to nas.

1:50:21

It's the famous story like we act nas like what is the

1:50:23

person that turned you down? And now I said,

1:50:26

one time he asked Prince to get on the record,

1:50:28

and Prince just asked him, do you own your master's and

1:50:30

then Nas was like no, and he was just like, yeah,

1:50:32

well get back to me.

1:50:33

When you own you probably you probably he

1:50:35

knew what the game was like. And this is back

1:50:37

then Prince ben dead like ye,

1:50:40

Like.

1:50:41

He said something like I don't want to put the like the executives

1:50:44

of the I don't want to put their kids through college.

1:50:46

I'll put yours. That's hard, that's

1:50:48

hard, that's hard, you know what I

1:50:50

mean.

1:50:52

I think of how young Prince was and think.

1:50:54

About how much he must have like NOAs

1:50:56

my brother, think how much he must have fucked Nas up.

1:50:59

But you know, you know, you don't expect that, like

1:51:02

you can't do a record with me? Yeah, do you own your own

1:51:04

master's you know what I mean? Like that feels

1:51:06

it's probably like the smartest answer you could probably

1:51:09

you know, answer with So.

1:51:11

WHOA I didn't know about I didn't know that about prin don't

1:51:13

know that about Rick James.

1:51:15

Because like Rick telling you, like yo, you're schooling

1:51:17

you about publishing? Was that like like that

1:51:19

type of insensative I knew

1:51:23

I was in trouble after I talked to Rick.

1:51:25

Business wise, I knew cocaine

1:51:28

and all that. Rick still knew his ship.

1:51:31

I knew we was in deep ship. We

1:51:34

know, uh learning

1:51:37

the business because we learned the business too

1:51:40

late. Wow, we was really young.

1:51:42

So but

1:51:46

I'll say this again, with

1:51:48

the work that I put into this, that's

1:51:52

why I say birthday,

1:51:55

I don't give a fuck about it my

1:51:58

death day. What am I going to be behind

1:52:00

for you younger people?

1:52:03

Yeah, because

1:52:07

man, I'm gonna just tell you man like

1:52:10

you are, like, I'm gonna I'm

1:52:13

gonna read a message and I'm gonna y'all

1:52:15

tell.

1:52:15

Me and I want to talk about some people.

1:52:17

Many you gotta return whatever you you said something up

1:52:19

over there too. Yeah, get me to do some Get me do

1:52:21

the analog version.

1:52:22

This is someone who says Grandmaster

1:52:24

Flash to not hear his name mentioned in the Crazy

1:52:26

Legs with disrespect. F y I Kirk

1:52:28

cannot dj as we do today,

1:52:31

he cannot blend records. Flash

1:52:33

invented turntable lism as

1:52:35

we know it today. There's no debating this.

1:52:38

Flash invented the slip matt,

1:52:42

which required a slip matt and the

1:52:45

art of juggling a record to seamlessly

1:52:47

extend a break, which allowed

1:52:49

a rapper to wrap.

1:52:51

Cowboy was the.

1:52:51

First one to do it Kirk and Bambarda

1:52:54

did it like Jamaican's.

1:52:55

I don't know if that was I don't know if that was like

1:52:57

a shot.

1:53:04

Yeah, hold on, I

1:53:09

was born in the Bronx and did

1:53:12

it like Jamaicans did. They just chucked the

1:53:14

records and breaks on

1:53:16

without blended. Herk refused

1:53:18

to learn how to juggle flash style

1:53:21

and has invented flash

1:53:23

to advised Flash to this day,

1:53:25

Flash can tell you the story himself. You

1:53:28

need to interview him. He's the godfather

1:53:30

of hip hop. Herk was the godfather

1:53:32

of hip hop party. Bambada

1:53:35

had the streets, big

1:53:39

Big, I got

1:53:41

you, I.

1:53:42

Got I got said,

1:53:47

I don't know what they

1:53:50

took a shot?

1:53:52

Yea, what did you?

1:53:52

What do you think about?

1:53:53

The hell?

1:53:53

On?

1:53:54

Who?

1:53:55

Well?

1:53:55

Just let many.

1:54:00

Okay, y okay, okay, lady.

1:54:03

The enemy, that's the enemy. It

1:54:05

come to the turntable wants

1:54:09

to cut me off. So

1:54:13

when you first bought the turntable, it

1:54:16

comes with this.

1:54:17

And I'm gonna tell you, ladies and gentlemen, okay,

1:54:20

Mike move man.

1:54:21

I do not to this day, fifty

1:54:24

two years later, I don't

1:54:26

understand what the purpose

1:54:29

of this survey, because, like

1:54:32

I told you earlier in the interview.

1:54:35

The disco DJ had a long runway

1:54:38

I roll with it was really short. So

1:54:42

when I moved the microphone closer to him,

1:54:44

guys, So when

1:54:47

I put the record, I'm

1:54:52

saying to myself, I gotta get to the beat

1:54:54

quicker and connect

1:54:57

the duplicate records quicker

1:54:59

to make the seamless loop when

1:55:03

I put the

1:55:06

needle down, because this is the right way,

1:55:10

which is being sarcastic. That's when he says the way,

1:55:13

Yeah, this is the right way to DJ, because

1:55:15

that's the way we're doing it. That's the way

1:55:17

they DJ. But when I started

1:55:19

figuring out when

1:55:22

I look at when I looked at the record, I knew to myself,

1:55:26

Flash, it is fucking impossible.

1:55:29

Because you look at the record this she got ten million

1:55:32

grooves. How can I pick the arm

1:55:34

up and hit that spot every time

1:55:36

and keep it seamless and smooth.

1:55:39

It's impossible. And that's when I started

1:55:41

thinking to myself, I

1:55:44

have to learn how to play the turntable

1:55:47

the wrong way.

1:55:50

I have to go outside of what the

1:55:52

norm was according to the

1:55:54

disco DJs and

1:55:57

the non disco DJs that were heavy

1:56:00

on their tone arm and

1:56:02

my first move was to

1:56:05

study the components.

1:56:11

The cartridge.

1:56:13

Contriin comes in two classifications, ceramic

1:56:16

and magnetic. The

1:56:22

ceramic culture came out in the sixties the

1:56:24

seventies, but it didn't translate

1:56:27

well over records that had

1:56:29

heavy bottom. So

1:56:32

here comes to the magnetic cartridge. Then

1:56:36

I studied the needle.

1:56:39

The needle was called the stylist. Stylist

1:56:42

comes in two classifications. There's

1:56:45

the elliptical. Now this

1:56:47

is the groove. The

1:56:50

elliptical needles sat in the groove

1:56:53

halfway because when

1:56:55

I tried to spin it back, it kept spinning out

1:56:58

of the groove. It's

1:57:00

epherical. Conical needle was shaped.

1:57:01

Like a nail.

1:57:05

So when that sat in the groove, and

1:57:07

I went back and stayed in the groove. Although

1:57:10

the elyptical needle sound

1:57:12

better, the conical

1:57:14

needles sound like shit, but

1:57:17

it stayed inside of the groove. Needle

1:57:22

figured out turntable.

1:57:29

I went in the backyard, took

1:57:32

as many turntables out of this brown Blox

1:57:35

stereos that was in the backyard. Maga

1:57:37

the box Fisher price seen

1:57:40

if One

1:57:43

day I was coming home from the school, there

1:57:47