Drink Champs - Episode 394 w/ Grandmaster Flash

Episode Date: January 26, 2024

N.O.R.E. & DJ EFN are the Drink Champs in this episode the champs chop it up with the legend himself, Grandmaster Flash!Grandmaster Flash shares his journey. The creator of the Quick Mix Theory, Grandmaster Flash explains how he created the technique which gave birth to scratching, cutting, and transforming!Flash shares stories from the early days of his iconic group “Grandmaster Flash and the Furious Five” and much much more! Lots of great stories that you don’t want to miss!Make some noise for Grandmaster Flash!!! 💐💐💐🏆🏆🏆 🎉🎉🎉 *Subscribe to Patreon NOW for exclusive content, discount codes, M&G’s + more:  🏆* https://www.patreon.com/drinkchamps *Listen and subscribe at https://www.drinkchamps.com  Follow Drink Champs: https://www.instagram.com/drinkchamps https://www.twitter.com/drinkchamps https://www.facebook.com/drinkchamps https://www.youtube.com/drinkchamps  DJ EFN https://www.crazyhood.com https://www.instagram.com/whoscrazy https://www.twitter.com/djefn https://www.facebook.com/crazyhoodproductions  N.O.R.E. https://www.instagram.com/therealnoreaga https://www.twitter.com/noreagaSee omnystudio.com/listener for privacy information.

This is an iHeart Podcast. Taser Incorporated. I get right back there and it's bad. Listen to Absolute Season 1, Taser Incorporated, on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts. Why is a soap opera western like Yellowstone so wildly successful? The American West with Dan Flores is the latest show from the Meat Eater Podcast Network. So join me starting Tuesday, May 6th, where we'll delve into stories of the West and come to understand how it helps inform the ways in which we experience the region today. Listen to the American West with Dan Flores on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts. I'm Clayton English.

I'm Greg Lott. And this is Season 2 of the War on Drugs podcast. Yes, sir. Last year, a lot of the problems of the drug war. This year, a lot of the biggest names in music and sports. This kind of starts that a little bit, man. We met them at their homes. We met them at their recording studios. Stories matter, and it brings a face to them.

It makes it real. It really does. It makes it real. It really does. It makes it real. Listen to new episodes of the War on Drugs podcast season two on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts. And it's Drink Chats motherfucking podcast. We'll be right back. biggest players in the most professional unprofessional podcast and your number one source for drunk back what a good be hoping this will assume me this is your boy in.O.R.E. What up, it's DJ EFN. This is military crazy war.

Drink champs, Yappy Hour. Make some noise! When me and EFN started this show, we got together and we said, we want to give flowers. We want to give props. We want to give love to the people who came way before us. You know, to the icons.

To literally, if this man that we're about to introduce right now, if it wasn't for him, this show wouldn't exist. DJs wouldn't exist. Hit records wouldn't exist. This man has been there. He is all and is all Legendary icon They said the first time you ever heard of a scratch Period

In hip hop It was his fingers We gonna make sure we get a fingerprint of his fingers today He is A legend of a legend We are So When we started this show

Seven years ago We wanted to give this man His flowers So bad And we are so happy today Me and EFN Has been like This is Christmas

Even though this is a New Year's gift For you motherfuckers This is Christmas for me and EFN Cause we We're going to start this out With the flowers with the flowers. Is the flowers here? Yeah.

We, we, we, we, we. Go right into it. Yeah. We're going to start this out. These are why we do the flowers. These are why we do the flowers. So in case you don't know who the fuck we're talking about, we're talking about the one, the only, Grandmaster Favre.

Man. Wow. Yo, we are so happy to have you here. And I'm so happy that you're like crazy because you got notes. You and Gormega, I think, is the only people who came with notes. I'm a geek, man.

Yeah, yeah. You know, I do things mathematically and with science. That's pretty much how I do things. You know I do things mathematically And with science That's That's pretty much How I do things You know what I mean Okay

Yeah So we're going to start this off We're going to start this off We're going to get straight to it Did you ever do cocaine With Rick James No No actually, Rick James was a musical mentor to me. Okay, wow.

So this is what I mean by that. We were on tour, and our tour buses were close together, and I seen Rick, and Rick sat me down and said, them records you got is really big, man. Your publishing should be huge. Wow. You didn't know about publishing at this time? I said, what is it?

I thought it was a book. You didn't say what is publishing. You did not answer what is publishing. You still say publishing with books, right? Because books are published. You're the author. So me and Rick were talking. He broke it down to me what it was.

So when we got back home from the tour, you know I went to the office. Now, what tour was this? The Furious Five tour? The Grandmaster Fast and Furious Five tour. The Grandmaster Fast and Furious Five tour. Went back to the office, and I started asking questions.

As you should. Let's just say, you know, things got a little rocky. You know, things got a little strange because you got to realize coming from the hood and doing this thing in the streets, we was kings. You know what I'm saying? Going to the record bidders, we didn't know what this shit was. You know what I mean? So let's just say, me going too long into the story, things started to get really, really strange.

Because you could be an expert of what you do in the streets, but getting in the record business, there's just so many legal factors, there's so many things that you don't understand how it works. And it works in layers. in layers legal this that that that uh got really rocky after that right and i just want to say that i thank god that i had so many people that loved me then that loved now, and understand that I am one of the architects, mathematically and scientifically, of this culture. Right. Absolutely.

So with or without records, I still would have been here. Right. You know, so, but for me, I can honestly say, didn't have a fucking clue about the record business at that time. Right. And Rick was the one who, Rick put us clue about the record business at that time. And Rick was the one who... Rick put us on to the record business,

put me on about certain things, how publishing works, this and that and that. And then when I asked the questions... Did you hear about royalties back then? Yes. I heard roughly about royalties, but the publisher didn't have a clue about that. And there was a lot of other business factors

that I didn't know about. To find out about it late in the publisher, they didn't have a clue about that. And there was a lot of other business factors that I didn't know about. To find out about it late in the game, shit got really ugly. You know what I mean? That's pretty much it. And it's crazy that even as early in the game that you got in in terms of hip-hop being monetized and still it took almost a decade or more for hip-hop to get hip to the publishing game and the legalities of the industry and how the industry was working. Right, like for example, me being the first human sampler, like even the lawyers at that time couldn't figure out this division of music is taking a portion

of an existing composition and they're inserting it into a new composition, how do we quantify that? The music business couldn't figure out even how to quantify it. And it got down to the point when they finally got smart, even James Brown's, huh, you had to pay royalties on it if you inserted it into a new composition called the sampling. Okay, come on.

Because I think we had someone on here and they said that Marley Mar was the first person to sample on record. But you're saying you're the first person to sample, period? What he invented. What I actually invented was sampling. What I actually invented is human sampling. I took a particular area of the

existing composition, preferably the area where there was no singing, just the drummer and maybe light accompaniment. It might be the drummer and the bassist, the drummer and the flutist. And when I did this with two copies of record, this particular area of the song was 10 seconds long.

That pissed me the fuck off. Wow. So I had to figure out a way, how can I take this 10 seconds from this pop, rock, jazz, blues, funk, disco, R&B, alternative, Caribbean, Latin, just one particular section and and elongated just enough so that the breakers could have a steady beat to dance on.

Later, it became the music bed for the rapper to speak on. Today they called it rap. Back then we called it MCing. Woo! I ain't gonna lie, I gotta make some noise. I ain't gonna lie. But gotta make some noise. I ain't gonna lie. But wait, we... Go ahead.

Hold on, because we still didn't get a yes or no if you snubbed Copeland. No, no, no. Nice. All right, cool. Moving on then.

No, no, no. I love Rick. I just have to establish that the blogs are running. He never said yes or no. You know what I mean? I'm so good. It's all good.

But I know, because I feel like we're jumping a little bit further than I would want to. Because I want to go back. Let's go back. What's you? Because you started this.

You were a kid when you started doing this. So who's around you? What has influenced you? What is happening in shaping hip hop at this time? Where are you at when when Herc's doing the parties? Like, where is this all beginning for you? My beginning was, my father was an avid collector of records,

but his main job was track repairman in New York for the subway system. Wow. My dad had this closet, and the rules in the Sadler house was this. Never go in that closet where dad's music lives. And do not go into the living room where the brown box lived. And as a single digit toddler, I was wondering, why is that?

Dad would come home. Mom would feed him his dinner. He'd get his alcoholic beverage. He would go to this closet. And he would open this closet. And E, there was these square things with art on it. A train, flowers, people, picture of a can.

I'm wondering, what is he going to do with that? And inside this square thing, he pulls out this black circular thing. I wasn't allowed in the live room unless I was accompanied by an adult. He's an adult. So I follow him into the living room where the brown box lives. He pulls out this circular black thing. He puts it inside this brown box.

Spinal. And this arm thing goes up. The record goes down. And for a kid looking at that. The sound comes out of the brown box. I thought my dad was a fucking magician. How did he pull this off? I say to myself,

I say to myself, guys, I'm going to watch dad. Dad comes home about five, six o'clock. Mom feeds him his food. He goes over to the closet. It's a routine. I'm following him for a couple of weeks now. I said to myself when he was at work,

hmm, what if I went, so I went to the kitchen, got a chair, dragged it over to the closet because the knob was kind of high. Turn the knob, open it. I see many of these square things in this closet. I grabbed the nearest one. Now, remember now, I've been watching him, the routine. So I take the nearest square one. Now, remember now, I've been watching him. The routine. So I take the nearest square one, I pull

out the circular thing, I go over to the brown box, I watch him do the routine, how he pressed the button, he puts it on this stick thing, it sits up, the arm goes up, the vinyl goes down, wasn't called vinyl, I didn't know what it was called, the arm goes down, music comes out of there, I'm dancing in the living room mom comes in the room and says dad

Am I allowed to say yeah, yeah, whatever it's chief dad Well, I'm gonna use cuz mom's didn't curse God rest her soul Dad is gonna tear your your backside up. So I'm getting nervous. I'm taking the black thing off. I'm putting it back into the square thing. I'm going back to the closet, and I put it in the closet,

and I close the door. I'm scared as fuck, all right? Dad comes home. He does the routine. He goes to the closet. He opens the closet. We're all home. Violet, come here.

Kameda, Penny, Lily, Little Joe. Who was in my closet? Violet, which I think was his favorite. Oh, Dad, you know I don't mess with your records. And Kameda said, I got my own records. And Penny's like, no. And Lily was too young. She was the youngest. So by the time he's getting to me, I'm like this.

I get my hiney tanned. I get my dinner fed to me. I have to go to bed early. Now I have to figure out, not when he comes home from work, but when he leaves. So my dad had this pouch because he was a track man,

he had all his tools. And I can hear the pouch go over his shoulder, clink. The door opens up, door slams. I wait. I go back in the kitchen. I get the chair.

I drag it over the closet. I pull out the nearest one. After a while, it was like me getting my hiney tanned and my dad just not being able to stop me doing this. Eventually, dad left mom to take care of all of us. I come from the Projects, 2732 Avenue. I was on welfare, the food stamps, the whole nine yards. You know, moms had to take care of all of us. I come from the projects, 2732 Avenue. I was on welfare, the food stamps, the whole nine yards. You know, moms had to take care of us. I still hadn't understood where the music was coming from.

Mom was a seamstress. When mom wasn't looking, I went into her plastic needle case and I grabbed the needle. I grabbed this needle. I turned the stereo partially on so that the arm wouldn't go up. And I took the needle and I put it down on the black disc. I felt vibration coming through my fingers. Oh, the music lives in the black tunnels. From this point on...

I got goosebumps, my nigga. Hold on. I'm sorry, man. This shit is getting real. Go ahead. From this point on, I figured out where the music was coming from. As I got older, I just could not understand, how is it, what is that little red light when dad pushes his button,

and everything in the house that was operable, let's say, was being plugged into this thing, into the wall. I'm like, what are these two little holes, and how are things happening? So as a young teenager, I was unscrewing the back of everything, the stereo in the living room, the table radio.

You reverse engineered everything. My sister's hair dryer, the whole shit. I became public enemy number one in my crib. If the hair dryer didn't work, Violet was saying, Joe! If the table radio didn't work, the stereo didn't work, the TV didn't work because when I opened up the back, y'all, I seen these things that look like light bulbs in the back. I'm like, what are these things that look like light bulbs in the back. I'm like, what are these things? When I opened up the hair dryer,

I would see these little tiny different colored objects in it. My mom said, listen, you have to stop doing this. I'm going to have to send you somewhere so that you can understand what it is that you are doing because you're taking apart this stuff, but you can't put it back together. She sent me to Samuel Gompers Vocational and Technical High School,

and this is where I learned about Tesla, Westinghouse, Banneker. Eli, what's Tesla? No, Nikolai. Nikolai Tesla. I was fucking with y'all. This is where I learned about amplitude,

modulation, AM, frequency, modulation, FM, solid state versus vacuum tubes. What is an ohm meter? What is a signal generator?

These are the things that you diagnose circuits. What is am meter, what is a signal generator, these are the things that you diagnose circuits, what is a breadboard, what is a resistor, what is a capacitor, what is a transformer, what is a step up, step down transformer, what is a diode, what is a vacuum tube, now I got to understand what these things was and how they worked. So, once I understood what Tesla did,

which is alternating current, and Edison did direct current. Now, behind the projects of the Throsnix project, behind 2730 Dewey Avenue, there was a junkyard. People threw out their stereos, burned out cars, burned out stuff was back there. So now, E and Nori, I'm dragging this stuff inside the crib. My moms, my sisters is like, what are you doing? I started to understand how I could take this piece from here and this piece from here and this piece from here and start building my own amplifier. To build my speakers, I had to understand how they work. Because you had your own speakers, right?

I built my own speakers. So listen to me carefully, guys, because we're getting ready to go. We're getting ready to go to the rabbit hole. I didn't do this on any other show. You say that's the difference between you and Herc is that you had your own speakers and Herc had his own speakers? Herc had a pretty sound system. My system was shit, so it's a difference. But here's the difference.

With me, I had to figure out how the speaker works. So I say my way was math and science. So math is bars. How to count them frontwards and backwards. This is what DJs do, right? The science is kinetic energy. And here's how I went about understanding. That's why I can't be a DJ. I ain't that smart. When you put the vinyl on the platter

and you allow it to spin up to speed and you put the needle on the vinyl, the movement of air is kinetic energy. Out of the turntable goes into the receiver. It becomes electrical energy. Out of the back of the receiver, it goes to the receiver becomes electrical energy Out of the back of the receiver to go to the speakers that returns back to kinetic energy That's science, right? There are those and I look at Wikipedia

I'm so angry at them. I Came up with this of building an amplifier, and human sampling from no one. My mom taught me what the value of a needle was, and my father kicking my ass taught me the value of what vinyl was. Samuel Gomp has taught me how to put it all together. So, when I go up on the turntables, this is what made me fall in love with DJing.

The disco DJ. Yo-E, Mboya, Larry Levan, Grandmaster Flowers, Pete DJ Jones. When they play, they don't play like us, but they blend. And it might be between two records for fucking five minutes. I'm like watching them.

And I'm watching, I'm hearing the other record arriving while the other one is departing. I'm like, oh my God, these people are amazing on what they do. But you and I, we have a shorter runway. So I had to figure out how to connect a short runway in a short amount of time. The right way to DJ is picking up the tone arm and putting it down and letting the record play. That's the way a lot't disco DJs. It is absolutely impossible to pick the toe and arm up and drop it back down on the beat and keep the floor rocking.

It's impossible. Pete DJ Jones gave me a term when I met him. He says people that cannot keep the beat on time, it's called train wreck DJing. I did not want to be that. So I had to figure out how, like the DJs would play the turntable, the vinyl, and the mixer the right way. By the time I figured out how to do this, I had to play the vinyl, the mixer, and the turntable the wrong way. This is the way that me and you play. It's called the quick mix theory.

I grew up in a home where it was pop, rock, jazz, blues, funk, disco, R&B, alternative Latin Caribbean, jazz, all of it. So where I come from, music has no color. Dope music is just dope music. So now, when I listen to Curtis Mayfield's song called Move On Up, that break, and that song was made in 1970. I would notice when my mom or my cousins gave house parties, when the drum part came, the heinies would move more. So in my mind, I said to myself, that's the best part of the record.

But when I started listening to other records, I noticed that that part was incredibly short. That made me so fucking angry. And that's when I had to figure out, how can I take this part that's like five, ten seconds and elongate it ten minutes seamlessly so the people at the dance floor wouldn't have a clue of what I was even doing.

No other DJ gave me this inspiration. The disco DJs taught me the law of being a DJ, respectfully for people who's on the dance floor. Heads should go like this if you're playing Good Times. Heads should go like that if you're playing Queen. Heads should go like that if you're playing good times heads should go like that if you're playing queen heads should go like that if you're playing jay-z heads should go like that if you're playing drake it should not be hold on okay head should not breaking the law of transition. DJing.

And that's where my shit comes from. Is DJ Hollywood considered a disco DJ? When I met Hollywood, he was bigger than disco. And he was actually king in the discos. And he was actually one of the first DJs I seen

that was able to have four or five parties in one night. Like we would set our equipment up and play from nine to four in the gymnasium or whatever, whatever. This motherfucker

was playing 11 o'clock at Club One in Manhattan and then maybe 12 to one in Brooklyn Club Two

and then Club Three in Staten Island. This motherfucker was getting cake, cake, cake, cake, cake, cake. I consider him like one of the smartest in the game at that time because he got five checks. He was doing his shit.

But he was doing disco. You know what I'm saying? That's why I broke him up because you said disco. Yeah. I know we're bouncing around a little bit. What is the term when's the first time you heard the term MCN The first time I heard the term

MCN MCN That's when I took the microphone Alright I was playing in 63 Park Bronx DJing people were looking at the table what is this magic trick and the shit he's doing

I needed somebody to take the attention off of me so I put a microphone on the other side of the table Nori and anybody that could talk to this new style of DJing. Lots of motherfuckers was whack, but it was this one guy

that I eventually met. His name was Keith Wiggins. Street name was Cowboy. Keith Cowboy? Keith Cowboy. If I played Apache or played whatever, he had a way of having the crowd,

I call it hip-hop aerobics almost. He had them here. So now, being the shy geek person that I was, I can go to my collection and go in because Cowboy going to stay with me. I asked him, do you want to stay with me so we can go to different parks and different areas to do this? And he said, why not?

That's the first time I heard MCing. Okay, let me interrupt you a little bit because, alright, but what are you playing? If this record wasn't made, what are you actually doing? I'm playing Apache. I'm playing Rufus Thomas. I'm playing an incredible bongo band. I'm playing oh man, I'm playing Curtis Mayfield. I'm playing Rufus Thomas. I'm playing an incredible bongo band. I'm playing... Okay. Oh, man.

I'm getting goosebumps, man. I'm playing Curtis Mayfield. I'm playing Early Mandrill. I'm playing Early Barry White. I'm playing... I'm in my head right now. Because I want to establish this. I want to establish this for all the listeners listening.

You're saying the very first hip-hop parties didn't play hip-hop? What he was doing was inventing what became the... Just think about the logic of what you're just saying. Because this is a hip-hop party. But remember, Nori, hip-hop isn't just the music of it. That's the thing. But we still got this crazy... So it's hip-hop happening. Hip-hop happening, yeah. But the music, the rapping side of it, the MC just the music of it. That's the thing. But we still got this crazy hip-hop happening. Hip-hop happening, yeah.

But the music, the rapping side of it, the MCing was developing when he came out. They actually wasn't playing hip-hop. Okay, see, now, see, this is where we differ. So the question is this. Okay. What was hip-hop back then? Right. Hip-hop was a regurgitation of using songs that already exist.

Exactly. Some of our dopest songs were white records and black records and foreign records and American records. They were R&B. They were disco.

They were jazz. They were Latin. They were, but we had to find that little drum beat. You just find the breaks to groove. Right.

So when I started playing, I can remember guys that used to use what I call heavy on the tone arm type DJing. Right. And as Pete would say, trade wrecking. I was probably the most hated DJ during this time. It's because connoisseurs are very careful

about how they handle their record. Like newborn babies, they take it out of the white sleeve, right? And they carefully put it on the turntable and they're very careful with it. When they're finished with it, they take it out off the turntable.

They put it back into the white paper and they carefully put it into the jacket. Me, I took two copies of the motherfucking record and just slammed it in one jacket. I was putting crayon marks on it and the whole shit so I could mark the breaks because I played in dark places, and I had to be able to find it immediately because, remember, our runway was really short. So when people found out that I was putting, I was the first DJ to make records dirty,

I tried getting jobs in clubs. Motherfuckers was like, yo. And some of the DJs that was playing at that time were my friends. Yo, tell the boss, man, let me get a job here. Yo, Flash, they know about you, man. You move the record back and forth.

You put your fingers on it. You put crayon marks in it. I couldn't get a job to save my motherfucker. Even though he's got a record. Why do they care what you're doing? But they figured maybe I probably was going to spread that formula to they fucking DJ. Yeah, so it wasn't until I went to this club on the off days

on the 167th Street in Jerome. This Italian guy's own disco club called Disco Fever. All right. Come on, Disco Fever. Disco Fever. It's been going on for 30 years. So I go in there, and I meet Ali and Sal. Sal's the son.

Ali's the father. And I say to him, well, do you think I could get a night in here? Because Sal already heard of me, and I found that out recently. He went to the park and seen this thing that I was doing. So by the time I got to him, I was like, yo, Sal, you think I could get a Saturday night in your club? He looked at me like I was fucking crazy, right? He says, no. He says, what I

will do is I'll give you a Tuesday. I was angry as a fuck, and he said, Flash, if you do this, I promise you, this shit's going to make you huge. I was angry at first. Two months later, Tuesday was rivaling Saturday. Then I got a Wednesday.

So this is when I started playing in clubs with this. So I bought hip-hop into Disco Fever. And the people that used to come there, Hector Macho Camacho, the Gap Band, like all the big stars that, if they were in town, they came to Disco Fever. Did Hector Macho Camacho do cocaine in the club? I don't know. Somebody got to do cocaine somewhere, man. Come on.

Oh, my God. I'm a drug. I'm fucking with you. I'm fucking with you. Yeah, yeah, it's all good. It's all good. I mean, so, you know. How old were you at that time?

Oh, man, I was in Disco Fever, I want to say in my early 20s, maybe. Crazy. Okay, what is considered the first hip-hop club? Oh. You know, that's hard to say because when we was playing in the parks, and this is where I kind of step out of this. In my humble opinions, I do not think a DJ came up with the title H-I-P-H-O-P. Didn't they say Cowboy did?

They said Cowboy or Love Bugs Starsky, but they both were rappers. So it's still up for whatever. Up for debate? Debate where he came from. I personally think, in my opinion, when he was doing this early, early, early on, I think that it didn't have a title yet. I think we were creating

something because the monster at that time was disco. And with disco, you had to have hard bottoms, suit jacket, no jeans, no hoodie. Like, we dressed the way that we dressed. It was a counter to disco, if anything. Yeah, pretty much. So as disco was fading, hip-hop came alive, but musically.

And how it happens is the graffiti artist was already out there. And I was told by these other breakdancers that they were already out there as well. They connected to Herc and to Flash and to Bam. The rapper as we know it, because we jack shits, we jack words from other things. So when they say emceeing, emceeing really means, like I'm talking to you right now,

and I'm a master of ceremonies, and I'm sort of presiding over the room, and I'm speaking. But we jack shit to call it something else. Me, I think that emceeing is rhythmically talking to the beat of a DJ's rhythm. That's what I personally call it. Right.

So it started with Keep Cowboy. That's what I said. Yes, that's what some say. That's what I say. The others say, you know, and this is where I'm really. Cat said it too. Cat said cowboy here as well. I'm kind of confused.

It's because. Okay, put it this way. Kool Herc, incredible, incredible sound system. He played incredible music. His crew, Coca Rock, Timmy Tim, Clark Kent. I was going to say, Coca Rock was one of the first MCs. The first MCs. MC2 as well. When I went to go see them,

Coca Rock was a DJ. So I don't understand where that comes from. So, if MCing, if we jack the word emceeing from the masses, and it's defined as a human being who talks rhythmically on the beat of music, wasn't nobody doing that back then. We all had echo chambers. Herc had the best echo chamber. We were just blabbing out whatever.

But serious speaking to the beat of music, maybe I'm going crazy. I didn't see that yet. It hadn't happened yet. And this is why I'm saying out of all the four elements, the rapper did come last, but they are undisputedly the crown jewel of all of this. They took this thing where it had to be. And I'm saying there was no steady beat for them to rhyme on at that time because people were using the tone arm and the beat wasn't steady.

So it would have been absolutely impossible for a rapper to rap on that. So you're saying you brought that to the game? I'm saying that I did. Okay, say it. I got a friend. He was being very humble. I just had to strike the ball.

I just had to strike the ball. But to even show, because I don't think people would understand what he means by picking up the tone arm. The DJ wasn't mixing, blending, and bringing it on beat. They were literally picking up the record and putting it on the record. But one beat was crashing into the other. Right, right.

They weren't trying to make it sound smooth. Right. They were just bringing it close enough by just bringing it up and down, just dropping the needle on the record. To switch the record. I'm going to demonstrate that when I get up there. Okay. You know, so for me.

I know a lot of cops, and they get asked all the time, have you ever had to shoot your gun? Sometimes the answer is yes. But there's a company dedicated to a future where the answer will always be no. Across the country, cops called this taser the revolution. But not everyone was convinced it was that simple. Cops believed everything that taser told them. From Lava for Good and the team that brought you Bone Valley comes a story about what happened when a multibillion-dollar company dedicated itself to one visionary mission.

This is Absolute Season 1, Taser Incorporated. I get right back there and it's bad. It's really, really, really bad. Listen to new episodes of Absolute Season One, Taser Incorporated on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts. Binge episodes one, two, and three on May 21st, and episodes four, five, and six on June 4th. Ad-free at Lava for Good Plus on Apple Podcasts. The American West with Dan Flores is the latest show from the Meat Eater Podcast Network, hosted by me, writer and historian Dan Flores, and brought to you by Velvet Buck. This podcast looks at a West available nowhere else. Each episode, I'll be diving into some of

the lesser-known histories of the West. I'll then be joined in conversation by guests such as Western historian Dr. Randall Williams and best-selling author and MeatEater founder Stephen Ranella. I'll correct my kids now and then where they'll say when cave people were here. And I'll say, it seems like the Ice Age people that were here didn't have a real affinity for caves. So join me starting Tuesday, May 6th, where we'll delve into stories of the West and come to understand how it helps inform the ways in which we experience the region today. Listen to The American West with Dan Flores on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts.

I'm Clayton English. I'm Greg Lott. And this is season two of the War on Drugs podcast. We are back. In a big way. In a very big way. Real people, real perspectives. This is kind of star-studded a little bit, man.

We got Ricky Williams, NFL player, Heisman Trophy winner. It's just a compassionate choice to allow players all reasonable means to care for themselves. Music stars Marcus King, John Osborne from Brothers Osborne. We have this misunderstanding of what this quote-unquote drug thing is. Benny the Butcher. Brent Smith from Shinedown. We got B-Real from Cypress Hill. NHL enforcer Riley Cote. Marine Corvette.

MMA fighter Liz Karamush. What we're doing now isn't working, and we need to change things. Stories matter, and it brings a face to them. It makes it real. It really does. It makes it real. Listen to new episodes of the War on Drugs podcast season two on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts.

And to hear episodes one week early and ad free with exclusive content, subscribe to Lava for Good Plus on Apple Podcasts. Mm-hmm. About Hip Hop 50? You know, first of all, they shit on the Bronx for years and years and years. Ah, this place has all the fires, the political upheaval, cops taking payoffs, you know, the Bronx is fucked up, and all of a sudden now, the Bronx is the bomb now,

and it's this and that and that, and now it's mainstream, you know? So I'm saying to myself, well, if that is the case, why is it that all the press that I look at, they say where it started and carefully, chronologically speaking on how it got here, because you know why that's so important? Because people who are 18, right?

30, 40, 50. 30 40 50 you actually have to say you were near 60 to say that you were in the park with us so much respect to the PR and to all the

press people there's a whole 48 years that has not been put in the press. That is unfair to people like myself, like Afrika Bambaataa, like Kool Herc, like DJ Breakout. Why isn't this press being definitively put in so that the babies because things work in trends right now we're the shit right now right but come august 4th is grandmaster flash day august 11th is cool her day come august 12th there's a next fucking trend maybe it's microphones maybe it's a fucking bottle of water we need to we need to get this shit right now because we trending because after that, it goes into

history, history books, incomplete or incorrect. And this is why I find it critically necessary that I do as much speaking. And I'm only one of four. But I want to do as much speaking as possible

because Nori, you need to know because you're an expert in your field. You need to know where this shit came from. Like you said when you opened up the show before you. You should know where this comes from, who, what, where, and why. And this is the reason why I'm going to be going to all the SUNY colleges. I'm going to the YMCA, to all the babies, all the corporates. I'm doing this birth of a culture corporate tour.

I'm going to go around and speak as much as I possibly can because I have to. This is our thing. And long after I'm gone, I'd like to know that this thing is correct. Because me me quite frankly a lot of people celebrate their birthday right I don't give a fuck

about a birthday you know what I care about my death day what am I leaving so the babies can build on that that's where I'm at so this is why

I got to speak right you said one of the four who's the other three Kurok Bambata Bamb You said one of the four. Who's the other three? Kourk. Bambada. Bambada.

Breakout. Flash. The four of us. The shit ain't just one person at one time frame. This is a combination of a lot of things. I got a bullet point thing here, man. I'm going to go all the way. I'm a fucking geek.

I'm a scientist. I got to do this. Like, you know, we need to congratulate the break dancers and congratulate the producers. Why the fuck are we not talking about the producers? Because I'm telling you what I did. Human sampling. There was this machine that came into play called the computer and the sampler.

They took that same piece of information and inserted it in the computer, hit the space bar, to tell the computer to repeat this loop. It's the shit that I did. If we don't give love to these producers, this shit would have

never become big business. It's not possible. Somebody had to go in and do that. And this is why I talk about these. I think it's really important that journalists interview the producer because a lot of y'all rappers, y'all come and say the rhymes

and get the fuck out and keep going. Somebody got to stay in the room and put that bitch together. And that is the producer. Why aren't we talking about these people? Yeah. Premier, Dre. Oh, shit, man.

I got to fucking listen. Pete Rock. Pete Rock. Alchemist. Diamond D. Go, go, go. Diamond D. Go, go, go.

Exactly. Timberland. Right, exactly. We have to. Kanye West. Kanye West. Let's throw him out there. Come on. Let's not forget him. Because the nine times out of ten, if you have to... Kanye West, let's throw him out there. Come on.

Let's not forget him. Because the nine times out of ten, if you were to ask a rapper, what is truncation? What is sampling? What is EQing? We don't know that shit. Right.

Oh, thank you so much. They wouldn't have a clue to this. So, it's just important on how I did my science, but it's just important as the producers in the studio and their science

to deliver the master to the record companies. And then the record companies, they should get love too. Because they didn't have to put this shit out. We had, there was no blueprint

before this to say that this shit was going to be the bomb. They took a fucking chance with this shit, too. The Sylvia Rones and the rest of them. They took a shot, too. It was the first peccable Sugar Hill record. Yeah, Sylvia Robinson.

All these people, they didn't have to do this. Right. So that we could sit here and live comfortable and eat off this shit that we love. Right. I'm walking up to the room here that I'm in And I'm like oh that shit's fly ass Fucking made back right there I said whose fucking made back is that

And nobody looked at me and said Hey man So let me ask you a question You mentioned Marley Martin I think what he said Is that he recreated what Flash did. He was one of the first producers

or the first producer to recreate that. That's what I'm saying, on record. Yeah, on record. And that could be possibly true because it was Coach Hill and Warner Brothers

was probably one of the first, but then it was Def Jam 2. You know, it's up for debate, but the insertion of music inside of a new production and a human being speaking on it, there were three major labels that was pretty much doing that. And that was Cold Chillin'.

Cold Chillin' Warner Brothers. Which Cold Chillin' and Marley Mar was. Yeah, and he was a producer for all the artists, for Big Daddy Kane and Biz Mark and all of them. You know, and then there was Sugar Hill. And then came Russell Simmons with Def Jam. And Leo Cohen. You know what I'm saying?

And it just went from there. Then it was Uptown Records, Bad Boy Records. And it goes on and on and on and on and on. So this thing has so much of a story of substance. And when I look at the press that's happening, I'm like, who is controlling the narrative of the press? Because they're leaving out so many things.

But isn't it, I'm sorry to interrupt, but isn't it kind of like the NBA? Like when you look at the NBA right now, right? And anybody playing in the NBA, I got so to interrupt, but isn't it kind of like the NBA? Like when you look at the NBA right now, right? And anybody playing in the NBA, I got so many friends, so many people who have my phone number, so do not call me. And I'm not talking about you particularly. But the NBA kind of seems soft right now, right?

And it's like, and when you compare it to the 90s, right? And it's like if you don't have these old clips of the 90s, these people don't understand That the NBA was like Playing Rikers Island Absolutely It was like Rikers Island At one point

And now it's like playing In fucking Barbieland You know what I'm saying Like Is it like Disneyland I'm sorry I'm talking about people

Please don't hit me I don't mean it like that But what I'm trying to say is Ooh Isn't it Isn't it Isn't it Isn't it

Like when you see These young kids right These young kids right These young kids They 20 They 25 and under And they would actually Sit there and be like Okay I'm going to go

Get the new Jordans But they're making money Through hip hop Yes They're making money Through hip hop But they will go And they don't

They haven't seen Michael Jordan play Right or Dr. Dre But why wouldn't they go And go Why wouldn't they go Do their research If they're making money

through hip hop? That's my biggest thing for this new generation is, like, I think you said it earlier, like, you said the people need to know. And that's what,

that's, they need to want to know. That's the biggest problem too. Yeah, but if you don't teach them, but you gotta teach them to know. Like, you have to drop the science

to these babies and say, this is what it is, now go look for the rest. Right. Like, when I play sometimes, depending on what country is, now go look for the rest. Like when I play sometimes, depending on what country I'm in, Noreen, in... I love that part.

I love that part. I love that part. I love that part. I love that part. I love that part. I love that part. I said this man has been all over the world. 16.

You know, like before COVID, I was going to 150 countries a year before COVID. Did I tell y'all? Did I tell y'all? Did I tell y'all? Did I tell y'all? I was going to 150 countries a year before COVID. That's a beautiful thing. That's a beautiful thing. That's a beautiful thing. For the past 18 years before COVID. So for me, sometimes I'll be playing the old school shit all the way back to our time. And I see in the front row kids like around 17, 18, 19.

And when I went backstage, I grabbed two of the kids and I said, how do you know this stuff? They said, my mom, my dad, my uncles, you know, my aunts taught them. So it's like what you're saying, Nori. You know, we as elder states people have to inform the babies.

And this is why I'm saying the breadcrumbs from the 70s to now, you have to put all of them down. You can't just say the Bronx ain't shit and then all of a sudden these next two years, the Bronx is the shit and it went from this to that. So how the fuck did it happen? And who did it? Some people lost their lives. Some people ain't here no more.

That helped make this shit what this shit is. And this is why I find it really important. I think the DJ is extremely important because there was a time before the game changed, record companies like Def Jam and all the other labels used to bring me white labels. One o'clock in the morning knocking on my door saying this shit is fresh off the fucking press. We need you to play this song and tell us what this record is doing.

We DJs. You was the influencer before. Influencer was our influence. Absolutely. All this constitutes the building blocks of why this thing is still here. Why don't we do this step by step by step by step by step?

It's just, it just boggles my mind. Let's continue. Let's go. The mixtape. Wait, wait, wait. I love how you control the interview. I like that. I like that. I like that. I control the interview I like that I like that

I like that I like that I like that I like that Oh he is the big man No no no Not here Not here

Let's get into the mixtape I like that I like that I like that I'm sorry Let's talk the mixtape You know I'm just really crazy comfortable here Really what is the first term

First time you heard that term mixtape And was it because it was mixes on a tape? Because I actually got an album on tape. Cassette. There were two... Versions of mixtapes? There were two DJs that would record their shows when we was playing back then. Me and Bam.

Bam. And that's what we called it because a DJ was mixing on tape. There's two types of tapes. Did Bam always have beats? Is there one point he never had beats? I'm going to talk about Bam in a minute. Mix tapes. Two types of mix talk about Bam in a minute. Mixtapes. Two types of mixtapes.

There's the one you pop in while we're performing and the whole group is doing their thing. The DJ and the rapper. Then there's the customized tape. Let's talk about the customized tape. I would get called to do customized tapes. For the drug dealers? Fuck yeah.

I mean, let's just keep it real. The street vendors. Street pharmaceuticals. The street, my clientele was the street pharmaceutical people. And they lived in Harlem and he lived in the Bronx and this is what they would ask me I would say to them just give me two songs

that you like that would give me an idea of what they like and I would build around that I said so how long do you want this cassette tape to be if they said 60 I said here's my price a dollar a minute So

And I would look at the street pharmaceutical person And say that's what it would cost They said So what It's just all I want you to do is this On your echo chamber I just want you every few minutes to say my name Because you got to realize

These street pharmaceutical people Had the dopest cars right the dopest motherfucking sound systems right right and it was going through so if their name was drink champ you would hear drink champ all through the through the city so the other the other pharmaceutical people be like yo where the fuck you get that customized shit from? Oh, we got that shit from Grandmaster. And I would say, all right, what you want? 60, 90, 120, some would say 90, I'd say $90. 120, 120, some wanted a reel to reel. And it'd be 60 minutes on one side and you reverse it,

and then you record it, and that was $200. So this is the kind of money I was making when I wasn't making money doing the parties. I actually made more money doing the tapes than I was doing the parties. So now a mixtape, I think now, and correct me if I'm wrong, it's like a pre-album, it's like an artist

that's not signed. What mixtape? No, even signed. Or they're doing an out-of-their-label album. A mixtape today, but go ahead, finish what you think. Yeah mixtape? No, even signed. Are they doing an out of their label album? A mixtape today, but go ahead, finish what you think. I'm just trying to,

because I don't really know what it became today. So what do you think of mixtape today? Yeah, that's what it is. Finish what you think it is. I'm thinking it's artists

that are so dope, but they're not signed yet, and they can make money without the label. This is what I'm thinking. Nah, but it's artists that are signed as well doing street albums.

But is it both? Is it either or? It's both. It's both. Yeah, it's both. Both. It's both. Because even artists like Fabulous has a mixtape.

Yeah. And he sampled a bunch of beats, but he also actually paid for the samples. You know what I'm saying? Okay. So the fact is, it's not an actual album, so it doesn't go on SoundScan as an album,

but it does, I guess, because they still got to pay the producers and things like that. Ultimately, if you ask a newer generation what a mixtape is, they just think of an artist doing a street album. Yeah, a street album. A street album. So it could be a street album that's signed to a label or a street album that's not signed to a label. Right.

And it could be an incredibly dope artist that's not signed to a label. Right. And it's usually using beats that they're not paying for, usually. Right. And it could be an incredibly dope artist that's not signed to a label. Right. And it's usually using beats that they're not paying for, usually. That's what it is. That's what really is what the mixtape became.

They're taking instrumentals, they're taking whatever, and they're spitting over whatever they want and not clearing any of these beats. Okay, so then, I want to ask you.

I know a lot of cops, and they get asked all the time, have you ever had to shoot your gun? Sometimes the answer is yes. But there's a company dedicated to a future where the answer will always be no. Across the country, cops call this taser the revolution. But not everyone was convinced it was that simple. Cops believed everything that Taser told them.

From Lava for Good and the team that brought you Bone Valley comes a story about what happened when a multi-billion dollar company dedicated itself to one visionary mission. This is Absolute Season 1. Taser Incorporated. I get right back there and it's bad. It's really, really, really bad.

Listen to new episodes of Absolute Season 1, Taser Incorporated, on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts. Binge episodes 1, 2, and 3 on May 21st and episodes 4, 5, and 6 on June 4th. Add free at Lava for Good Plus on Apple Podcasts. The American West with Dan Flores is the latest show from the Meat Eater Podcast Network, hosted by me, writer and historian Dan Flores, and brought to you by Velvet Buck. This podcast looks at a West available nowhere else. Each episode, I'll be diving into some of the lesser known histories of the West. I'll then be joined in conversation by guests such as Western historian, Dr. Randall Williams

and bestselling author and meat eater founder, Stephen Ranella. I'll correct my kids now and then where they'll say when cave people were here. And I'll say, it seems like the Ice Age people that were here didn't have a real affinity for caves. So join me starting Tuesday, May 6th, where we'll delve into stories of the West and come to understand how it helps inform the ways in which we experience the region today. Listen to The American West with Dan Flores on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts.

I'm Clayton English. I'm Greg Glod. And this is season two of the War on Drugs podcast. Yes, sir. We are back. In a big way. In a very big way. Real people, real perspectives. This is kind of star-studded a little bit, man.

We got Ricky Williams, NFL player, Heisman Trophy winner. It's just a compassionate choice to allow players all reasonable means to care for themselves. Music stars Marcus King,

John Osborne from Brothers Osborne. We have this misunderstanding of what this quote-unquote drug thing is. Benny the Butcher. Brent Smith from Shinedown.

We got B-Real from Cypress Hill. NHL enforcer Riley Cote. Marine Corps vet. MMA fighter Liz Karamush. What we're doing now isn't working, and we need to change things. Stories matter, and it brings a face to them. It makes it real.

It really does. It makes it real. Listen to new episodes of the War on Drugs podcast season two on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts. And to hear episodes one week early and ad-free with exclusive content, subscribe to Lava for Good Plus on Apple Podcasts. How does the mixtape today Quantify the sales? How do you know what it sold? Or is it more like

We called it an audio flyer Or the fast audio DJ drama That's how it is Yeah, it changed After everything went internet I'm from the mixtape I started doing mixtapes onettes then on cds i didn't like it so much but i did it but once everything went internet that to me changed what it meant a mixtape meant the culture mixtapes to me ended because even even like let's say 50 he kind of like ushered in the artist

mixtape he was still putting them on cd dip set as well and dip set unit so that's that culture of physical once that physical culture ended i feel like kind of like the mixtape era ended in a sense people still put stuff on stream and say this is my mixtape album okay but i think at first when it got to the 50 dip set era i think that they were the first time that it wasn't hosted by a dj right or it was hosted by a DJ. Well, yeah, Who Kid was doing most of the, yeah, yeah, yeah. Exactly. So a lot of those mixtape albums incorporated a DJ putting it together and doing like, you know, drops for it and hosting it.

Okay, got it, got it, got it. So, okay, I understand. So, executives, you got the record labels, man. They should get some love too, man. Yeah. Not all of them. There's some fucked up people out there. No, there is.

There is by me. I'm going to go with a few that I know that are pretty cool. That's right. I'm sure you hear they fucked up as I call them to you. Let's hear. Sylvia Rhone, Elektra.

Let's make some noise for Sylvia Rhone. She just threw out a Busta Rhymes album as well. Yeah, that was dope, that was dope. I love Busta Rhymes. Russell Simmons and Leo Cohen, Def Jam. Yes, Russell Simmons, Leo Cohen, Def Jam. Even though either of them are at Def Jam no more, Flash. Right, right.

We gotta let you know that. I'm talking about early on. I'm talking about historical here. Yeah, yeah, historical, yes. Tom Silverman and Monica Lynch, Tommy Boy Records. Tommy Boy Records, yeah, yeah. Yeah, yeah, yeah, yeah, historical, yes. Tom Silverman and Monica Lynch, Tommy Boy Records. Tommy Boy Records, yeah, yeah, yeah. Yeah, yeah, yeah, yeah, yeah, yeah. Don't know that one.

Okay, Steve Stout, RCA Records. Yeah! I think one of Jay-Z's first record labels, Sleeping Bag Records, Will Sokoloff. Okay. Yeah. Wait, his name is Sokoloff? Sokoloff.

Say it three times. Yeah. Steve, Will. Will Sokoloff, right? I'm going to leave that alone. Okay. Sylvia Robinson, Sugar Hill Records. You're Sugar Hill Records, Sylvia Robinson.

He got the same thing you had a second ago. But he still said that name. You see it, bro? Yeah But he still said their name. You see? Yeah, yeah, yeah. Steve Ruskin, Loud Records. Aaron Fuchs, Tough City Records. Okay. Fred Bounet, Select Records.

Select Records. So there's a few, but there's so many more. And to the people that's watching and listening, Select Records. That's the record. So there's a few, but there's so many more. And to the people that's watching and listening, like, if I do not say your label, you know, or what you've done,

it would take me like five years to say all the names. So please excuse me. So in the interest of time, I had to put together a short list of that. Because we could have easily added an Eazy with Ruthless Records.

Yes. With Two Life. Absolutely. With Luke Skywalker Records. And a J Prince with Rap-A-Lot Records. Right. Exactly. So for me, this thing has, like, you know, I haven't been on a train in 50 years.

But if I were to get on the local, not the express, the local, every stop is something. Every stop is something. Every stop is something. There's something to talk about until you get to here. Right. That's really, really important, man. Let me ask you, Flash.

Aliens come down. They come down. Aliens from a different planet. A different planet. They high as a motherfucker. Right? They high. What are they on?

I don't know. They on alien shit. They on alien shit. They come to you, Flash. And they, Flash, we need one record to describe hip-hop. One record one record to describe hip-hop. Oh.

One record to describe this 50 years of hip-hop, this 51 years of hip-hop. They don't want one record. Or whatever. Nah, nah. This is his question, brother. Dominican's Camote.

One record. For an alien, never heard hip-hop. One? Never heard hip-hop. Not two? One? He never finger popped nothing He doesn't know nothing

He just An alien One record Nori Can we go two No Let's get two Aliens say you know what

Go ahead Give me two You want me to give you top three It's just Two Two It's two as I think that And this is good that that are deep absolute

Top If you were to say these records help start a movement would be Kool Herc's discovery of Apache and my discovery of Take Me to the Mardi Gras by Bob James. Wow. One A, one B. And look, remember who we're talking to. There's some people that don't even understand

when you say discovery of that record, what that meant. Okay, so record shopping. Digging. By the way, can I stop you for one second? Let me just tell you something. It's your show, man. If you have a DJ friend and y'all are on the road, if you ever want to do something cool for your DJ friend, find a record store for him.

Take him to a record store. It's like leaving a gambler at a casino. It's true. At a casino. I can take Butch Rock anywhere in the world and I can leave him

at a record store and a casino and I can go him at a record store and a casino and I can go out for six hours. No one would ever know which rock is missing. So if you ever know to any DJ,

listen, any artist, anybody who you've ever, a DJ friend, go overseas or go somewhere, you can bring him

to a record shop or her, or her, or they, you know this shit is real out right now. You know what I her Or they You know this shit is real Out right now You know what I'm saying

You know what I mean We don't want to offend nobody Everybody can use Every bathroom But If you want them To a DJ friend You bring them

To a record store And They will Enjoy The shit out of They stuff By the way These records

Don't have to speak English No It don't matter These records don't have to speak English. No. These records don't have to be hip-hop. You prefer... These records can be ballerina. They can be opera. But DJs are so crazy, they can listen and be like, oh, I'm taking this.

I'm just telling you, DJs and producers, that's a treat. I'm sorry, I gave you all the cheat code. Make some noise for me for knowing that. So, record shopping. Record shopping. I'm in my teens. During the week, I have to do my chores, do my homework,

do schoolwork on the weekend. I'm getting up about 8 o'clock in the morning, getting dressed, wash my ass. I am going record shopping. I'm going to, which I think was really the godfather of eclectic records was Downstairs Records. Nick and Barry, okay? In the village?

What street was that, 30-something street? It's been so long. I thought you were talking about the one by Great Bias. That one was much later. Okay, okay. I would go down to Downstairs Records and Nick and Barry would, hey Flash, how you doing?

I'll say, I just want to go through some stuff because somehow or another, these two white boys knew how to go out and get records that would possibly work. That's crazy, so they're like curating before you guys. Yeah, so I'm in there. Actually, Nick and Barry would have two rooms. There's the public room that people come in from the street.

Then there's the room in the back. Yeah, you have to have the VIP. You have VIP before VIP. I respect it. Go ahead. We in there all day on the turntable. I'm in there listening to the cup. One, I'm holding the record up in the air because you could see the break on the record.

And how you could see this, the area of the composition has a bright spot. So that tells you that most of the band members are not playing, the singer's not playing in that area. I would find that pop record, put it on, The members are not playing, the singer's not playing in that area. I would find that pop record, put it on, all I needed was four bars. I'm buying two copies of that.

That was the love there. But then you would go to the big stores where you have no clout, like there was this store on 34th Street in 8th Avenue called Disco Matt. And this motherfucker, this store must have been the size of a Walmart. So you just in there just searching. And I would go to the pop section and rock all of them.

And I would look at the cover. That's what spoke to you first. That would speak to me first. And I remember this one particular one was I was in a rock session. The fucking album said toys in the attic. I'm like, who the fuck

wants to put their toys in the attic? I held it up, put it down. I said, I'm going to just think about that and just search for others. But that shit was talking to me.

And Disco Matt, no privileges. Once you break the street rap, you buy it. If there's nothing on it, you fucking stuck with it. You got to go to the cash register and pay for some, I call it a stiff. That's what Scram Jones still call it. And I went over to the turntable and I played

most of the records. Whack, whack, whack. Whack, whack, whack. But the drum breaking in front of that shit, I'm like, oh my God. This group was new then. Columbia Records.

Didn't nobody know much of who they was. And they had this, they had a really real weird name. Arrow Smith. And the cut on it, I would have missed it because the end of the cut prior, it got the wham, wham, wham,

this nasty fucked up guitar piece, but I stuck with it and I let it play and then it got quiet onto the next section. I was like, oh my God, I'm taking two of those. But there are times, E, when I look at the album cover and the fucking shit was whack.

But I bought two of them. I got to go to the cash register and buy them. And in my room, mom's house, I had a stiffs crate. So this is the purpose of this crate. When you're playing, sometimes DJs from other camps, you know, because some weeks it's Herx and most of the crowds come to see him.

Sometimes it's Flash. Sometimes it's flash, sometimes it's breakouts, sometimes, you know, it's whoever. They'll send spies. You won't know who they are, but they, 20 feet away, looking at the label. So this is what I did. I took the two copies of the stiffs that I'm stuck with, and I soaked them in the bathtub.

And I soaked the heat in the bathtub too until the label came up, and then I switched them. So now, follow me. So when that DJ would come there seeing what that shit was, and I got to tell you, years later, we all laughed. They said, Flash, we cleaned our house, cooked the food,

let the fucking album play, and the break was never there. We had a way of keeping our secrets, but today, you know, there's no more secrets. I think it's important that the kids know, but we had to have a way.

I used to mark the record with Magic Markle or scrape the label out and call it, if the shit was called fucking Fiji, I'll call the shit Can,

C-A-N. So now the motherfuckers go looking for a record called Can. But we had to have secrets. We had to. That's wild. To keep our fans.

Right. And that's what record shop was to me. And I might record shop from nine in the morning to 10 o'clock at night. And I may go to a record shop and find one. It's only one copy in the fucking store. And I'm like, yo, you can't get another one. He said, man, this is a small label.

And this is all they had. One copy. Now, I'm calling stores in Brooklyn, Queens, this is a small label, and this is all they had. One copy. Now, I'm calling Storjum. Brooklyn, Queens, Long Island. Do you have a fucking, do you have this record? Because you had to have two. Why did you have to have two? So he could bring it back, keep looping it.

Right. To continue it. And this is their version of having an exclusive. That's why he's saying they're hiding the record so the other DJs can't concede and get that record. Exactly. So that drum beat, to contain that drum beat, Nori,

I had to continue it. But I had that shit covered because I didn't know who was in the building and I wanted my fans to stay with me.

So I wanted all my heat to stay with me. Herc was always up high. Bambada had goons. Breakout was way up in the north. So everybody was just protecting their own shit. But record shopping,

I can remember going for 12, 13 hours and not finding it, getting up Sunday and going again. And just trying to calling around, calling around, begging, pleading.

I need one more copy of this record. Sometimes the copy would be printed and it might be a red label. But the same album, somebody reprinted it. It might be a white label. You know what I'm saying? And I got two odd labels. I didn't give a fuck.

This is Logan's. I was able to keep that beat going and keep that crowd rocking. These are the things that, you know, I find very important to talk about. Absolutely. But let me ask you, because what you're saying and you're describing right there is,

you're describing a DJ like being a producer, right? That's actually kind of like, that's kind of the producer. So it's kind of like to say, if you do it the way that you're describing, which is the wrong way, because you don't play a turntable that way. I came up with the wrong way. The quick mystery is the wrong way. He revolutionized't play a turntable that way. I came up with the wrong way.

The quick mystery is the wrong way. He revolutionized that. But what you're saying is basically, if you're a DJ, you're an automatic producer. But if you're a producer, it doesn't automatically make you a DJ. Right. But I'll tell you this much. Okay. And we're going to go back to the producers. If there were 50 producers

on the first batch that went out in the 80s, 48 of them were DJs that understood the law of a seamless loop. So from Dre to Pete Rock to Premier

to Battle Cat to Chris the Glove Taylor, all of them. They were DJs So they knew how one to make a seamless loop is which I'm going to show you what that is over there Oh, we use it and the sampler insert it at New kicks snares make that shit sound incredible So the rapid could come in and say what he can say then he'll go leave. And then it's the producer and that track and making

that track as fat as possible. That's what the majority of the DJs at that time coming out that made all them incredible records Q-Tip, all of them, they were DJs. And that's why all them records to this day,

like if you in the club or you in the spot where you playing for a couple of hours, it is almost impossible to not have to go back there and grab one or two. It's almost impossible because that music never died. It's all still here pretty much.. So, I'm going to go over here. Yeah, let's go. Now, you said that's the first beat machine in hip-hop?

Oh, yeah. What is that? Yeah, the beatbox. Okay. It's called the beatbox. Beatbox. I always thought Dougie Fresh was the beatbox. No?

Okay, so now, me and Dougie are going to talk right after. We're going to talk later on today, too beatbox. Beatbox. I always thought Dougie Fresh was the beatbox. No? Okay, so now, me and Dougie are going to talk right after. We're going to talk later on today, too. Okay. So, Nori, this was my secret weapon. Okay.

Every DJ back then had turntables, right? Now, there was this guy, name escapes me. He lived in a Jackson Projects, and I would hear this machine being played out the window. I made it a point to keep going back there, keep going back there, keep going back there

until finally I met this guy. And I asked him what was it that he was playing. He was playing this. He was a drummer. But when he would practice, he would practice playing this. He was a drummer. But when he would practice, he would practice with this. I said to myself, if I can learn how to play this just basic,

I can come off the turntables and jump on this. So Ray Chandler, our manager at that time, said, we're going to put that on the flyer. Secret weapon, the beatbox. The Furious came up with the song, it was a party and people. So, Fuckin' up my childhood. Yeah. So, this became a secret weapon,

and this got us more fans. Years went by later, and there were these super people, I called them, Biz Markie, rest in peace, Dougie Fresh, that decided to replicate the sounds of a drum with their mouth and they made huge records off of this. But this is this box that I found and I called it the beatbox. So I'm gonna just mess around a little bit. Woo! So pretty much. Woo!

And Melvin the Boys wrote a song on it. So now, see Norrie, these are the kind of things that I'm talking about and I appreciate you. That was the first MPC. You, you, you, huh? That was the first MPC. You could say that. That was the first. You were, huh? That was the first MPT? You could say that. That's the first drum machine in hip hop, period.

Predecessor for the quarter castle. Yeah, the castle didn't even have a seat yet. It wasn't even sealed, it wasn't around yet. You know, this is why I found it critically important to come here and I appreciate the EFN and Nori for allowing me to expound on this. Because I'm dragging you guys in and out of the rabbit hole. No, we love it.

This is what we started from. Okay, so. So. This song right here. Some of 1970s when it was made Curtis Mayfield. At the house parties at my mom's house or my cousin's house, the backside used to move more. And this brick,

still going. Still going. Now, I thought back then, and I was 12 or 13, all records have the break like that. But when they didn't, that's when I became very angry. And that's when I had to come up with this thing where I extended the break. I'm gonna move through a couple of things here. I'm gonna try to stay within a five second law,

but try to do that, okay? Do what you gotta do. We got it. So, the genius of the producers, Dr. Dre, like, they all love me, Dre loves me, and he's, as huge as he is, he's not afraid to say that I inspired him to do what he does.

Right, absolutely. You know what I'm saying, so. So. You're enough. Hold up y'all, hold up. Hold up. That was all. Thank you. The change of the producer to put this in a computer and a sampler. And the incredible rhymes of Nas.

Let's continue on. And some of these records were popular, rock, they were jazz, they were blues, they were funk, they were disco, they were R&B. You know, so when people ask me, Nori, to do a set, I play pop, rock, jazz. They're like, what the fuck? No, no, what the fuck you doing? I'm playing a hip-hop set.

I'm playing what I know. This song here has the worst name in the world. Sweet Green Fields, Seals and Crofts. The producer that did this one. Seals and Cross. The producer that did this one. The producer that did this one. The producer that followed me. Woo!

Woo! Now... Woo! Now. That's a back part. No, no, no, no, no, no, no, no. So all the producer did is take this seamless loop theory that falls under the quick mix theory and made big records. Why doesn't the press talk about this? Buster was in front of me. I would keep the beat steady.

He can still do it. Let's continue on. Thank you. Thank you. Let's see. Let's see. Let's go a little further. Let's go a little further. Let's go a little further.

Check the rhyme. If Biggie was in front of me. Jariah. If Biggie was in front of me. So won't you stay with me And let everybody hear Woo Woo Woo Woo Woo Woo Woo

Woo Woo Woo Woo Woo Woo Woo Woo

Woo Woo Woo Woo Woo Woo Woo Woo

Woo Woo Woo Woo Woo Woo Woo Woo

Woo Woo Woo Woo Woo Woo Woo Woo

Woo Woo Woo Woo Woo Woo Woo Woo

Woo Woo Woo Woo Woo Woo Woo Woo

Woo Woo Woo Woo Woo Woo Woo Woo Woo Woo Woo It's crazy, he's showing you the genius of what he started and how that transcends into production. This one's quite special. This record probably would have been double-edged, never sold a copy until this incredible rapper put his voice on this beat. One of my favorites. So... That's the whole point. Just Blaze produced this shit out of this goddamn record right here. Oh, my God. Let's play some disco. Let's play some disco. Let's play some disco.

Let's play some disco. Let's play some disco. Let's play some disco. Let's play some disco. But the motherfucking producer just said to himself, mm, let me, let me slow this down. And... These are the things the press is not talking about. Why not? I'm not.

Jazz, Herb Alvarez. Who in this room gave a fuck about this record, nobody? I'm not too big into this. There we go, y'all. I'm too big to be this. That's crazy. Thank you. That's enough. Thank you for that. I watched the press last summer. Right. I'm like, how on earth? How on earth could he let

Stuff like this goes by I'm sure Bam got a story I'm sure Breakout got a story I'm sure Herc got a story So now Should I wait for Nah we can keep talking Okay

Let's get geek I'm going to take you guys down a rabbit hole Let's go Let's go over to the To the easel I don't know Yeah okay so Guys Let's go. Let's go over to the easel. I don't know. Yeah, okay, so, guys.

This took much thinking because the way DJs play music, the right way was heavy on the tone arm. But in order for me to connect the short runway, I needed a quicker way to do this. This took me about two and a half years to put this formula together because I kept saying to myself, the non-disco DJs are heavy on the tone arm. The disco DJs, they're heavy on the tone arm. I have to stay heavy on the tone arm.

And it turned out that I couldn't. Right. And here's my formula. It's called the quick mix theory. This is pretty much the math in me. This is how I did it guys. Wait, how old are you coming up with this? How old are you now?

About 15. Look at this. Come on, we got this. You got to put that into perspective. About 15, 16. So. And. There are DJs that make incredible sounds with this.

But I'm not talking about the sound. I'm talking about the sound. I'm talking about the mechanics. The reason why you do it. And here's the math, guys. Four bars forward equals six counterclockwise revolutions equals full loop extraction. And I'm going to do this on the turntables in a little while, but I'm going to show you. We deep in the rabbit hole right now, guys.

Final one. Can you watch out so I can see? Clockwise. Thank you. My drawing is fucked up. I'm not good like that. DJ Mixer. Other side table. And this one is going

counterclockwise. Counter. And is this without you cueing it in headphones? Is this why? You can. But I didn't figure that out until later. Right. But you could.

But you're absolutely correct. Counterclockwise. So. Four bars forward. Is equal. Is equal. is equal to six counterclockwise revs, R-E-Vs. This way of DJing, the mechanics of this has not changed in 50 years. on the internet many years ago. I'll put up 10 grand for anybody that can do this without using my mechanics.

Not the machine, not a computer, I'm talking about human beings like you and me. Let's see. Still waiting. Hey, you want to do the honors, man? So, God is wonderful. I've been able to, Nori. I'm trying to figure out what's going down. when you, if then,

I did this when I was 16. I'll be 67 in a week and a half. God is absolutely wonderful. I can't. Bring a chair in for Scram Jones. Let's bring Scram Jones in. Because I want to get into the music, but before we get into that,

where somewhere you played overseas that you was just like, wow, that you was shocked that you went to? Brazil. Brazil? 90,000 people. Ah. Brazil? 90,000 people. Ah. See,

but there were a few that played 60,000. On average, I play 25,000, 15,000 now. Light work. I don't, I don't do,

I'm black. Black. Then you put him over there by E, on that side, my bad. Yeah, over there, on that side, yeah, yeah, by E, my bad. Oh, shit, come on, you're supposed to be holding the chair, not Jamie.

Jesus. I was doing the camera. Yeah. Scram. We're going to scram in? Yeah, yeah, yeah, yeah, yeah, yeah. Scram. I call this dude Super Fingers.

What the fuck? Scram Jones. You just want to shine? Get out of here, bro. We didn't call him Buddy Jones. Scram Jones. Yes, baby. Scram Jones. You just want to shine? Get out of here, bro. We didn't call him Buddy Jones, we said Scram Jones. Yo, baby! Scram Jones.

Woo! Woo! Woo! Woo! Woo! So you said Brazil is- 90,000 people. Yeah?

Scared the shit out of me. Well. What was really cool about it, it's like, the big EDM DJs, they do that shit on the regular. Right, right. So when I first got into playing with them on the lineup, I remember my agent said,

I'm going to put you on the lineup that's a little different from what you're used to doing, the clubs, you know, and the whole shit. You know, it's just EDM DJs. I'm like, what does that mean? Electronic dance music. I'm cocky as a motherfucker. You know, I'm leaving, what does that mean? Electronic dance music. I'm cocky as a motherfucker. You know, I'm leaving the office, the whole shit.

We drive to the thing for the sound check. It's your first time here at EDM? I'm looking at what I'm getting ready to play in front of. Nervous as a motherfucker. I'm like, I never did no shit like this outdoors. Right. Me and my little lonely turntables

in this gigantic ass stage with nothing on it. I said to myself, I'm going to have to do this a little, I'm going to have to go seriously hip hop with this shit.

One thing about the EDM DJs, they grab, they acquire those audiences very easily, but they ain't asking the audience to do anything. I'm like, oh. I'm going into laptop, E, hip-hop parade. I'm going to flip this motherfucker upside down and yup

Apache take me to the Mardi Gras Burnt that bitch Down From that point on I said to myself. This is what I want to do on this level I got an insert hip-hop in every anti- hip-hop circuit possible so they know what we fucking DJs can do.

To see 90,000 people go like this. Stupid. That energy must have been crazy. Mind boggling. And then I talked to some of these EDM fans. They says, we come from 90s hip hop.

Yep. I'm like, what? He says, yeah, we come from 80s and 90s hip hop. But we just got introduced to this. This is where we are. So when I'm playing these joints, motherfuckers is reacting and I'm like, let's go hard, let's go Apache,

let's go this and that, flip the whole room upside down. Wonderful look, man, wonderful look. What's going on with the scrams? So good to see you, baby. Likewise. Because when scram play EDM, he takes ecstasy. Exactly. I guess you got it.

You don't have that experience you don't fuck with the I'm just asking you know what I mean? I'm straight sober when I play

because I got I'm seeing things go reverse forward reverse forward, four, six, six, four, four, six, the inversion. I got to be really sober when I do it. You know, but you know, out of all of this,

I love the idea of watching my mechanics and watching people like Scram play. Now the name Flash, right? Was you a comic book guy No I got Flash No I lived

927 Fox Street in the Bronx And then down the block One of my best friends was named Gordon Now what I did do Is I ran fast I ran fast so Gordon named me Flash. And then three years later, I moved my set and I got down with a gentleman by the name of Mean Gene

and it was on Boston Road where I started doing my parties at a place called The Black Door, right? And I want to say 72, 73, 74, I can't remember exactly, one of the most notorious gangsters. Like, when we did our parties, we knew all motherfuckers was going to try to fuck it up.

So we had security. Some people were allowed to carry the guns. Some weren't. Joe Kidd was allowed to carry the gun. We knew he wasn't going to pop off with nobody. He was kind of just watching my back. Him and the Casanovas, right? Casanovas.

Casanovas. Yeah. They were security. They were my security, you know, along with the Boston Road crew. And it was New Year's, I want to say 73, let me say 74, let me just say, I'm bad with dates. After the party was over, he says, you handle those turntables like a grandmaster. I'm like, what did you just say? He says,

you handle these turntables like a grandmaster. The next day, I went to every library possible trying to find out what that word meant. Karate, right? Karate and the people that do the chess.

The chess players. The grandmasters. Bruce Lee was big with people that do the chess. The chess players. Grandmasters. Bruce Lee was big with us back in the day. If we wasn't DJing and partying, we was going to see Bruce Lee. Bruce Lee was big. And I can remember after Joe Kidd did that, I'm walking down the street

because I was just DJ Flash. Now I'm going, Grandmaster Flash. Grandmaster Flash. Now I'm going, Grandmaster Flash. Grandmaster Flash. And I got used to it. And then Ray Chandler put it on the flyers. Grandmaster Flash in the beat box. You know, and then our crowd just got bigger and bigger and bigger. Now, you and Grandmaster Cass ever had anything because of the Grandmasters? I mean, Grandmaster Cass was called something else before that.

He's saying you're the original Grandmaster. Did he just go out there and say that? He did. Come on. You know, I mean, we love each other. Of course. We ain't beefing with each other. Of course.

Right. But so how did you feel, like, because you was the first Grandmaster, then he was going by a different name, then he came out with Grandmaster. I mean, we grew up together. Right. I didn't have no problem with it, you know. It's just that I learned quickly, because I was an idiot when I signed to Sugar Hill. When I got older, it was like, anything you do, copyright it.

Trademark it. Because of what happened to him? Because of what happened to me in the record business. So I, you know, if you're going to use it, if you're going to use Grandmaster, I'm going to pop up first. So there are a few people that want to call themselves Grandmaster, but they're saying Joseph Sadler

is the owner of the title. Joseph Sadler is me. But you learn. You learn when you get burned. You learn. And it was a time when I was ignorant. I was dumb. So you get smart after a while,

and you figure shit out. You know what I mean? Right. How competitive were you guys, the different crews back then? You know something? We didn't really battle with each other too much. You know, hindsight is this.

We were like four corporations. Breakout had the North. Kuherk had the West I had the East Bam had Bronx River The American West with Dan Flores is the latest show from the Meat Eater Podcast Network

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Whenever I wasn't playing, I'd go see Herc, or I'd go see Bam, or I'd go see Breakout. Me and Breakout never played together. I think that Bam and Herc played together but I never played with Herc. Me and Bam played together. This thing didn't become a battle thing until the next tier came.

Because now people is battling for their existence. The four of us was already kings in our own right. we were established so all the crews that became the understudies or became our prodigies now they're battling for this

and that's when a lot of people were going into different territories but with the first four the problem why we didn't play with each other a whole lot is because the gang violence was nuts. You go into a wrong area, you might not make it out of there.

So, and I'm talking about the Black Spades, the Black Pearls, Savage Skulls, Seven Immortals. This is pre-Zulu Nation because that's what BAM helped alleviate. Right, now. Right. Now we're going to go into Bam. Right. So, Bam, shopping for records, having the most beats. Numero uno.

Bam had more beats. If you played Apache, he had four different versions. Oh, shit. If you played The Bell Apache, he had four different versions. If you played The Bells, he had six different versions. He had records like, where did you get that from kind of records. You couldn't fuck with his

collection. So, let's not look past the situation that he's in right now. If I were to do a short blurb on Bam, king of the beats, absolutely. And he's the one that calmed down this gang violence shit.

And I think personally, in my opinion, if he didn't do that, there wouldn't have been too many block parties because them motherfuckers would have been up in there shooting, stabbing the whole shit so a lot of them groups he turned them around

and then these groups became security for a lot of us like a lot of the black spades and pearls became Casanovas they were my crew that rode with me on security along with the Boston Road crew. So that day, he did a big thing there.

You know what I'm saying? I miss him, but, you know, considering the situation that he's in, he was big on that. Herc, if I do a short blurb on him, he had the sound system that we all wanted. He could play some of these old house party records on his sound system, and that shit was absolutely amazing.

His shit was incredible sounding. His record collection was also pretty decent. The technical aspect, me and him, we go back and forth with that. I say me, he say him. Wait, say that again?

What part? The technical part of who did what on the ones and the whole shit and how it works out. You know, his thing is called The Merry-Go-Round. Mine is called how it works out. You know, his thing is called the merry-go-round. Mine is called the quick-mix theory.

You know, and I love the ground he walks on. You know, when he got sick, I was one of the first people looking for him. And I went to Yankee Stadium, not to only see the acts, but just strictly to go see him in his dressing room. That was amazing. And see how he's doing. And I'm saying, what's up, old man?

He said, yo, I'm cool, old man. I says, man, lots of wars. Lots that we went through. You know, he looks at me. I look at him. I said, I ain't fighting no fucking war. He said, I ain't fighting no more either, man. We too old for that shit.

You know what I'm saying? But now, it's the time. Yeah, yeah, because me and Herc, we and Herc, we battle about who did what and what did who right you know so me i think these years now this year especially nori is show and tell no more quiet holding it marking it you know and hiding what what it is It's time for Herc's crew to talk. It's time for Breakout's crew to talk. It's time for band...

It should be. And quite frankly, I would love it if all of us could sit down at one table. This would be the biggest... This would be the biggest

story in hip-hop ever. Just sit down, have dinner, and tell stories. How was it at your mom and dad's house, and what got you into it? I'm telling my portion of it, but it's three more. Right. And that adds on to how this thing progressed. All right, so it's four of y'all that get together, and then y'all say, we want to add one MC.

Why you got to fuck with me, Doreen? God damn it. You gave me that after you. You actually gave me that after you. That's the point. If I want to have one MC, one rapper on in this... Y'all four and one rapper on, in this. Y'all falling, one rapper. At any era in time?

Any era in time. I'm getting the fuck up outta here. Any era in time. Oh man. It's on you, everyone say Flash, and it's you who pick the MC. Man, every MC want to be there, too. One.

One. I'm not, yeah. Yeah, I was warned about your fucking, I was warned about your, when I first, when I took on this responsibility command, they said, nor are you going to ask a fucking tough ass fucking question.

Yes, sir. One. One MC. Join y'all at dinner and talk some shit. It's up to you. Not two. One. Just one. Yeah, yeah, yeah.

I gave you two before. Yeah. If you were still here I would say cowboy Keep cowboy Yeah Let's make some noise for that Don't forget the fourth Okay

Do the blurb for the fourth But You said Bambada You said Herc Yourself Yeah And breakout Yeah

Did you say the blurb for him What you would say about him Oh Breakout Because he's like Out of everyone for him? What you would say about him? Oh, Breakout. Because he's like, out of everyone that you name, he's like the least known of. Right, that's true. That's why I want to hide it. Breakout.

First DJ to have a female MC. Ooh. Shaw Rock. Shaw Rock. Welcome to Shaw Rock. We've met at Monster. And Shaw Rock, you know, like now, I feel so sorry for us

because this is a male-dominated... That was the group of... Not no more. You don't see that? They pussy around and they pull your whole brown right now. I don't know if you know. I'm talking about back then,

she had to fuck with all of us. I don't know. They ain't running shit right now. You are absolutely correct. I'm talking about... I'm going back. I now. You are absolutely correct. I'm going back. I'm going back to the beginning. I'm going back to the beginning. Like she was only a female MC

and she had to contend with all of us. Right. You know, so DJ Breakout and the Funky 4 Plus One. So Breakout, Hatshot Rock. Hatshot Rock. Wow. Sound system.

It wasn't pretty like Herx, but that shit was loud like Herx. And if I could speak scientifically, his bass bottoms were reversed. The Wolf was put in reverse and he drilled a hole in the back. They were ported

and he had them angled. They were garbage cans, the big garbage cans with the space bottoms. So when he played the big beat, boom, boom, pow, boom, boom, like the bass was dumb. It was incredible. He had an amazing sound system,

it was called the Mighty Sasquatch. Herk was called the Mighty Sasquatch. For sure. Herc was called the Herculoids. Mines was called the Gladiator, but mine was kind of whack. Bams was just, I don't know what Bams was called, but I don't think Bams had a name,

but these are the things that I love talking about. Right. And we love hearing it. Now, White Lines, how much cocaine was in that studio session? Oh.

Y'all made the song, not us. Oh, shit. This guy. Let me be totally honest with you. By that time... By the way, we was looking at the lyrics

coming here. Y'all invidicates the rap. Y'all invidicates the rap. I don't write lyrics Okay so Like We were probably the tightest unit in the streets Me and the five

You know with disco being easy Mike Then when we got into the record situation, and I realized that we were in a great situation, I was the first one to want to leave. But it didn't happen that way. So from the six of us, three went with me to Elektra, and three pretty much stayed back. That record was on its way to being made.

We left by then. So Mel and the rest of them made that record. So that's actually Melly Mel's record. Wow. I'm not going to lie. Whenever I'm at a white industry party and that record come on, I'm not going to lie, whenever I'm at a, like a white industry party and that record come on,

I know the white people about to go crazy. I know they about to sniff on some shit. It's a great song and Melly Mel's a great writer, but by that time

we had split, you know, and yeah, that was his record. You found out Sample, The Cavern? Of course I did.

Yeah, so it's still your record too. Yeah. Because people credit that to the, some say reality rap, Yeah. Because people credit that to the, some say reality rap, right? Some people say that's the first song

that details reality rap. And then some people outright say that that is the first gangster message. A message is what you're thinking about. But they're the most. No, no, because white lies. But the message was first. Yeah, but there's broken glass everywhere.

These niggas talking about getting coked up. Yeah, that's the message. That's the message. I ain't going to lie, man. I don't lie. That's the message. That's the message was first. Yeah, but that was broken glass. These niggas talking about getting coked up. That's the message. I ain't going to lie, man. I don't lie. Come on. What the fuck? White line. My line.

Come on. And we thought they were subtle until this morning. We listened to the white lines. I mean, it doesn't sound like a white line at the time of the episode. Diego, I'm like, damn, Diego, you know this record better than me. But come to find out, Diego, he's reading the words. And I'm like, damn, these words are pretty foul. Mel was a great writer.

I mean, by that time we split. By that time we split. And they continued on and we continued on with An Electro. Pretty much. Sylvia Roan wasn't there yet. Sylvia Roan was there. Right. She wasn't in the powerful position that she's in now, and she deserves every bit of what she did.

Right. Because she was always the first one to say, let's work it out. She didn't really, Sylvia wasn't really business talking, it was more like friendship. Like, what do you want to do? How could we make it work? Could we tweak it a little bit? You know, she had like a heart. That's how I remember Sylvia, Sylvia Roll.

And how about the masters? Did you guys go back and get your masters? Like everyone? No. Whoa. So, yes and no. That got a little messy with the record label and the group. You were staffed?

Yeah, because after a while, we broke up. We all went out in separate ways. I went on and did what I had to do. But then we got back together to figure out how we could make this happen. Because new world now. Shit could be played on things like Spotify. It's all these new lanes and the whole shit.

So we had to get together and figure out how we could. So we got a company who handles that right now. So we get royalties coming in. I get a couple of checks now, finally. So it's not bad. I do think if I had understood the business back then, things would have been financially much better now. But you live and you learn, you know,

there's some things you know, a lot of things aren't perfect, that type shit, contractual, illegal, and this and that, didn't have a clue about that. But now, our shit plays, we get paid. And Rick James was the first person to tell you. Because there's rumors, like, even of Prince not wanting to deal with artists who didn't own their masters. Oh, I didn't know that. Yeah.

He didn't want to deal with artists. What do you mean? Like, he didn't want to. Like, Nas, it's a famous story. We asked Nas, like, what is the person that turned you down? And Nas said, one time, he asked Prince to get on the record and Prince just asked him, do you own your masters?

And then Nas was like, no. And he was just like, yeah, well, get back to me when you own it. Oh, so he probably, he knew what the game was like. He knew, and this is back then. You got to remember,

Prince been dead like 22 years. Like, I don't know. He said something like, I don't want to put the, like the executives at the level, I don't want to put their kids through college. I'll put yours. That's hard. That's hard.'ll put yours. That's hard.

That's hard. That's hard. You know what I mean? Think of how young Prince was and think about how much he must have, like Nas, my brother, think how much he must have fucked Nas up. You don't expect that answer.

Like, yo, can you do a record with me? Yeah. Do you own your own masters? You know what I mean? That's probably like the smartest answer you could probably you know um answer with yeah so um whoa i didn't know that but i didn't know that about prince i didn't know that about rick james because like rick telling you like yo schooling you about publishing was that like like that type of incentive i i knew i was in trouble after i talked to Rick, business-wise. I knew...

Cocaine and all that, Rick still knew his shit. I knew we was in deep shit. We know, learning the business, because we learned the business too late. Wow. We was really young, so. But, I'll say this again. With the work that I put into this, that's why I say, birthday I don't give a fuck about it. On death day, what am I going to leave behind

for you younger people? Left behind hip hop. Yeah, he's right. Yes, yes, yes. Nah, because man, I'm going to just tell you, man, like, you all, like, I'm going to read a message, and I'm going to,

y'all tell me. And I want to talk about some people, man. Okay. You got to return whatever you, you set something up over there, too. Yeah, get me to do something. Get me to do the analog version. This is someone,

he says, Grandmaster Flash, did not hear his name mentioned in the Crazy Legs with disrespect. FYI, Kurt cannot DJ as we do today. He cannot blend records. Flash invented turntablism as we know it today. There's no debating this.

Flash invented the slip mat. Yeah, I'm getting ready to show you that. Yes, we are. Which required a slip mat and the art of juggling a record to seamlessly extend a break which allowed a rapper to rap cowboy was the first one to do it herk and bambada did it like jamaicans i don't know if that was i don't know if that was like a shot you know anything no no we're not jamaicans Hold on, hold on, hold on. I'm committed. He's Beijing. Like Jamaicans did. I was born in the Bronx up there. Yeah, yeah, yeah.

Herc and Bamba did it like Jamaicans did. They just chucked records and breaks on without blended. Herc refused to learn how to juggle Flash style and has invited Flash to this day. Flash can tell you the story himself. You need to interview him. He's the godfather of hip hop. Herc was the godfather

of hip hop party. Bambaataa had the streets. Ooh. Big. Big. I got deep. I got deep. You got deep.

I got deep. I got deep. And who said this? I don't know. I wasn't saying it. They took a shot said this? I don't know what was I saying. Dude, they took a shot. What? Yo, what do you think about that?

Hold on. Whoa, you got deep. Let's go to the slip, man. Yo, give me the enemy. Okay. Okay. Ladies and gentlemen. The enemy, that's the enemy.

That's what comes with the turntables. Don't cut me off. I want you to cut me off. So, when you first buy the turntable, it comes with this. And I'm going to tell you, ladies and gentlemen, Okay, Mike, move it.

I do not, to this day, 52 years later, I don't understand what the purpose of this survey. Because, To this day, 52 years later, I don't understand what the purpose of this survey, because like I told you earlier in the interview, the disco DJ had a long runway. Our runway was really short. Right.

So, when I... Move the microphone closer to him, guys. So, when I put the record I'm saying to myself I gotta get to the beat quicker And connect The duplicate records quicker To make the seamless loop

When I put The needle down Because this is the right way But she's being sarcastic When he because this is the right way. But she's being sarcastic when he says this is the right way. Yeah, this is the right way to DJ because that's the way DJ did it. That's the way they DJ.

But when I started figuring out, when I looked at the record, I knew to myself, Flash, it is fucking impossible. Because you look at the record, I knew to myself, Flash, it is fucking impossible. Because you look at the record, this shit got 10 million grooves. How can I pick the arm up and hit that spot

every time and keep it seamless and smooth? It's impossible. And that's when I started thinking to myself, I have to learn how to play the turntable the wrong way. I have to go outside of what the norm was according to the disco DJs and the non-disco DJs that were heavy on the tone arm. And my first move was to study the components.

The cartridge. The cartridge comes in two classifications, ceramic and magnetic. The ceramic cartridge came out in the 60s, the 70s, but it didn't translate well over records that had heavy bottom. So here comes the magnetic cartridge. Then I studied the needle. The needle was called a stylus. Stylus comes in two classifications. There's the elliptical.

Now if this is the groove The elliptical needle sat in the groove halfway Because when I tried to spin it back it kept spinning out of the groove It's a spherical conical needle was shaped like a nail So when that sat in the groove and I went back and stayed in the groove Although the elliptical needle Sound better

The conical needle sound like shit But it stayed inside of the groove Needle figured out Turntable I went in the backyard, took as many turntables out of this brown box stereo that was in the backyard, Magnavox, Fisher-Price, Zenith. One day I was coming home from school, and there was a store in a Hunts Point part of the Bronx called Vic Mar. There was this gray battleship, nasty-looking table in the window.

It had these things on it, looked like they had the mumps. I go inside this store and I say to the first salesperson, I'm doing a study on turntables. Is it possible, could you take that turntable out of the window because I'm doing a study? He says, I'll be right back. He comes right back with two football player dudes because he was under the impression that I was trying to steal or take the turntable. I says no sir I was not I'm doing a study on turntables and I just want you to just put it on the counter plug it in because I want to test something and what I wanted to test is when when the platter is in a state of inertia how long does it take to pick up the speed turntables back then took a whole turn, a half a turn, three quarters of a turn. This particular turntable picked up in a quarter of a turn, which

meant the torque, the muscle on that platter will be able to go clockwise while I went counterclockwise. Big problem was, I didn't have the money, so I asked Vic at Vic Mall, which was the name of the store, how much were the turntables? He said, there's $75 a piece. And I looked down at the company. I never heard of it before. It was this little label called Techniques.

$75 a piece. I went and got me a messenger job. I worked at Crantex Fabrics, 1412 Broadway, and I was delivering swatches to different companies. And swatches is like the material that designers use before they make the outfit. I also used to go to the supermarkets, and any elderly person that needed help

with their bags, their groceries and stuff, I would help them to their house. So I had to make $150 to get these two turntables. And when I finally got them, and I got them home, there was this big nasty rubber thing on this. Now in my mind, I'm already saying to myself, I have to be able to go counterclockwise. And when you try to go counterclockwise with that,

you will notice the whole platter is going counterclockwise. I'm like, no, this is not working. My mother was a seamstress. I watched her make our clothes. Polyester, rayon, silk, cotton, leather, suede, felt. Give me that space, baby. Felt. I remember felt because in grade school, we used to cut out letters,

and if you cut out letters looking really good, you get five stars, you'll be going home. Mommy would like, love love you open that up so felt it's limp, great limp great lip this became the enemy well mom was it looking no before mom I ran to the material store because I used to watch mom make clothes. I'm going through the aisles. Polyester, rayon, cotton, silk, felt. I bought two pieces of felt that was the size of two albums.

And it was very, very limp, the felt. So when mom wasn't limp, the felt. So when mom was looking, I took this spray starch, and I sprayed it on what I call the wafer, and I called it a wafer, ladies and gentlemen, because during Easter, mom used to get us shot and take us to the neighborhood church, and I don't know if you guys know about this, but during Easter, they gave you this us shot and take us to the neighborhood church. And I don't know if you guys know about this,

but during Easter, they gave you this little white wafer thing to eat. I called it a wafer. And when I ironed it, and I put it on the turntable, I called it a wafer. Give me the other ones. Today, but there was one component missing.

Let me get that part. When I put the wafer on top of the platter and I put the record on top of the wafer, there still was a degree of resistance because I could feel it. My sisters or my mom used to make these chocolate chip cookies on this type of paper. I cut out

the circle amount of it and then I put I put the wax paper on this on the platter then I put I put the wax paper on this on the platter and I put the wafer on the wax paper and I put the record

on the wafer and now no resistance when I went counterclockwise. Problem solved. How long was that process? Give me a second.

Four blocks forward, six counterclockwise. This is where I got stuck, and this is where I almost walked away when I walked away for about two or three weeks. I got stuck. Why is it the vinyl going four bars? Let's take good times. Four bars. Mm, mm, mm. Do, do, do, do, do, do, do, do, do, do, do, do, do, do, do, do, do, do, do. Four bars. So statistically, it takes the brain four bars to understand a new song.

So for me, the problem for me was I had to play the songs the wrong way. So what I did was, first things first, I put crayon On the mark Because this break happens to be on the top So now we're going to do this With one record first Four bars first And we're going to count four bars

One Two Three And four Right Now two, three, four, right? Now, four bars forward. Why is it, if I bring it back, four bars, why am I in the wrong place? Four bars just went by.

It passed the line four times. And this is what stopped me. Yo, Scram. You're wearing four bars. Why can't I wear four bars? Don't need one of y'all. Don't need one of y'all. DJ motherfuckers. No Why Why? RPM. Why? Stay out of it. What an EFF.

Stay out of it, Scram. Yeah, sorry, we got it. It's not really clear. Scram, don't answer that. It feels like. The bar has nothing to do with the speed. No, it doesn't. To me, that's one thing.

The speed is what you bring to the bell. These conversations are not necessarily a bar. Stay out of it. Stay out of it. Stay out of it. Stay out of it. Stay out of it. Stay out of it.

My father was. I want to know why DJ's got this right. No, I'm fine. Okay, I feel terrible. It's because the average, you were close, the average speed of an album that's 12 inches side spins 33 and the third... Because a 45, that would be different. No, the 45 would be the same theory. So the third constitutes for the two more in-bounds. So that I can re-arrive to the top of the brick.

And I'm going to show you how it works. And this is the birth of the quick-bake theory. It took you three weeks to figure this out? Three weeks. I walked away. I was mad as a fox. Four bars forward. Why can't I go four bars back? And I'm in the wrong place. I got a question. Three weeks I was mad as a fuck for boss forward Why can't I go for bars back and I'm in the wrong place?

Right Okay, I'm gonna show you right now letize it, I remember it's not memorizing. I would've held, but I'm kinda fearful. Okay, I'm gonna show you right now. Let's do it, let's go through it, man. Let's go through it, let's go through it. Now. Yo, this is wild. This is, let's do it. Let's go.

And I'm doing it real basic, no fancy shit. Seamless loop. One, two, three, four, five, six, check. Throw. One, two, three, four, five, six, check. Throw. No, that's what I'm saying. Let's do it with a rap record,

but I call it hip hop. Fuck that shit. Fuck that shit. Please don't do that. That's not right. Let's go. We're the white boy record now. We're the white boy record right now. Here we go.

One, two, three, four, five, six, check. Throw. One, two, three, four, five, six, check. Throw. One, two, three, four, five, six, check. Throw. Let's use a jazz record, let's use a jazz record. Let's use a jazz record. Let's go. One, two, three, four, five, six, check. Now. Now. So now, now there's some songs that are an exception to the rule, where it's just two bars.

And if it's two bars, now this becomes 2BF, and this becomes three counterclockwise revolutions. Full loop extraction. So, at this, how I almost slipped on this record. When I heard this I put the needle down. I almost missed this one When I was in a record shop This death beat It was annoying as fuck It was long as fuck

I almost missed this bitch Until I let it play for a little while One, two, three, check, go. One, two, three, check, go. One, two, three, check, go. This is the quick next theory. Huh? That's because it was a faster BPM? No, it's because the drum beat was so short.

But, but, yeah. Double time. Okay. So if, because most of those were similar BPMs, so my question is, would that apply for a 120 BPM, like a house record or something? I'll try that, I never tried that. But it has to be four bars. Because four bars

Four bars This device This device is static. So four bars on a house record would still be six counterclockwise to get back to the beginning of that particular section.

You dig what I'm saying? If it's a house beat and it goes into something funky for four bars, you still will have to go six counterclockwise to get back with it because this is static. So this works with a pop record, a rock record, a jazz record, a blues record, and every genre of records in the world. So when I figured this out,

this, yes, all of them, this is what made me dangerous. So this is what made me dangerous. This is what made me dangerous. And this is what made DJs have to go back and retool. Because they all, and I'm going to try, I'm going to try I'm going to try this is what I call

let's use seven minutes of funk. Let's use that. Heavy on the tone arm. I don't give a fuck who you are. It is impossible to do what I just did by just doing the tone arm. Right.

The American West with Dan Flores is the latest show from the Meat Eater Podcast Network hosted by me, writer and historian Dan Flores and brought to you

by Velvet Buck. This podcast looks at a West available nowhere else. Each episode, I'll be diving into some of the lesser-known histories of the West. I'll then be joined in conversation by guests such as Western historian Dr. Randall Williams and best-selling author and meat-eater founder Stephen Ranella. I'll correct my kids now and then where they'll say when cave people were here.

And I'll say, it seems like the Ice Age people that were here didn't have a real affinity for caves. So join me starting Tuesday, May 6th, where we'll delve into stories of the West and come to understand how it helps inform the ways in which we experience the region today. Listen to the American West with Dan Flores on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts. I know a lot of cops, and they get asked all the time, have you ever had to shoot your gun? Sometimes the answer is yes. But there's a company dedicated to a future where the answer will always be no. Across the country, cops call this taser the revolution. But not everyone was convinced it was that simple.

Cops believed everything that taser told them. From Lava for Good and the team that brought you Bone Valley comes a story about what happened when a multibillion-dollar company dedicated itself to one visionary mission. This is Absolute Season 1, Taser Incorporated. I get right back there and it's bad. It's really, really, really bad. Listen to new episodes of Absolute Season 1, Taser Incorporated on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts.

Binge episodes 1, 2, and 3 on May 21st and episodes 4, 5, and 6 on June 4th. Ad-free at Lava for Good Plus on Apple Podcasts. I'm Clayton English. I'm Greg Lott. And this is season two of the War on Drugs podcast. We are back. In a big way. In a very big way.

Real people, real perspectives. This is kind of star-studded a little bit, man. We got Ricky Williams, NFL player, Heisman Trophy winner. It's just a compassionate choice to allow players all reasonable means to care for themselves. Music stars Marcus King, John Osborne from Brothers Osborne. We have this misunderstanding of what this quote-unquote drug thing is. Benny the Butcher. Brent Smith from Shinedown.

We got B-Real from Cypress Hill. NHL enforcer Riley Cote. Marine Corvette. MMA fighter Liz Karamush. What we're doing now isn't working, and we need to change things. Stories matter, and it brings a face to them. It makes it real. It really does. It makes it real. It really does.

It makes it real. Listen to new episodes of the war on drugs podcast season two on the I heart radio app, Apple podcasts, or wherever you get your podcast. And to hear episodes one week early and ad free with exclusive content, subscribe to lava for good. Plus on Apple Podcasts.

Now you have no control of the record. You're doing this. Pete Rock calls this train wrecking. A rapper cannot rap on this. A dancer, maybe they could dance all that. Now you have no control. No control. Transition, the law. Come on, don't talk in private, that's it.

I was saying the signs between the needle drop, like I see when I'm getting a scratch on it, like bringing it back. Now needle drops. Needle drops something else, but what's the science with that? This is DJing the right way. This is DJing the right way.

You don't put your hands on a record too much, you don't, you know, and you put the needle down, and you move it over, right? Scram. We break the law We turn this into a morse code We break the law We're touching our fingertips We are making the record dirty

We're putting stress on the platter This is breaking the law And it took me almost three years To break the law And it took me almost three years To break the law And when I did this When a rapper is in front of me He's in good hands Telling his story

And this is when the rappers Who were, I mean the producers Who were DJs, they knew how To take a seamless loop And put it into a machine And then produce the shit out of the fucking beat so when people like Nori walk in and say his rap's in Get Out he's in good hands.

Producer gonna complete the mix, and you know how a recording console's like 52 faders, it's a lot of fucking work to put a record together. This is the type of shit that I'm talking about, Nori, that needs to be talked about. Throw him in jail. He's been breaking the law for a long time. What about 45 minutes? Tente.

Yeah, but harder. It's harder. Yeah, but it's not material. It's not fucking material. Quick time. You can break for a minute. No, no, no, no, no, no, no, no, no, no, no, no, no. I was letting y'all finish up.

All right. No, no, I'll wait for E to come back for that one. Damn. I ain't never done nothing better. Okay. We didn't actually We was talking about Rick James But we didn't talk about The meaning of that record

Which one? P-I-M-P The S-I-M-P Simp Oh that's Mel did that record with him I didn't even know about the record Simp to Pimp

Something like that Yeah Pimp to Simp Pimp to Simp. Pimp to Simp. Yeah, it says your name on it. You know what it is? And this is the shit that got Sylvia so pissed off because... Sylvia wrong. Sylvia Robinson.

Sylvia Robinson. Because... Sugar Hill. Motown called Sugar Hill for Mel to guest star on a Rick James record. Ooh. So, but Rick James knew who I was. He knew the group. And he knew that Grandmaster Flash was the trademark,

was the mark that was going to sell the record. Wow. So when he didn't put Melly Mel, that made Sugarhill Records very angry. But that was a Mel, and that was a deal long after I left. But they got your name on it. Nothing happened. Let's just put it that way. But if I had to do it over again, I'd do it the exact same way, man, because I love what I do.

Let's talk about Get Down. Was that on Netflix? Is that based on you? No. Here's the thing about Baz Luhrmann. Baz Luhrmann would take this beer can, and he would make this shit look like the most incredible shit ever. And this is why I love Baz Luhrmann so much, because nobody else other than the people who made Wild Style gave a fuck about wanting to come into the Bronx and film it.

So when I met him, he wanted me to just be, to help him with how the clothing was back then. And kind of like a you know a small role but then what was happening was um as he was filming it and putting it together and he would ask me to come down to say what do you think about this scene I'll say that was the wrong area of the Bronx like he was spending you know a lot of money on the wrong area shooting. And so, then he asked me to be a producer with him. And then he asked me to stay home for my tours. I said, well, if you can master money that I make on my tours,

then I'll stay home. And he did. So, from there, then one day, you know, shooting, he says, man, I need to put you in this, I need to find somebody to play you in this. I to find somebody to play you in this I'm like let's get the fuck out of here

talking about get down you know he told me this you know I'm going to my area to work he's going to his area to work like passing each other in the hallway like I'm like yeah whatever about three weeks later I come to work he asked me to come in his office

you know he and I walk into the office and I'm like I come to work. He asked me to come in his office. You know, he... And I walk into the office, and I'm like, who's your mother? This motherfucker look just like me. Oh, shoot. Who's your mother? Wait, tell him.

Hold on, tell him. Yeah, he said, who's your mother? Who's your... That's how you walk into the office? Who's your mother? No, no, I walked in, I looked at him, and I said, I was like, what's your mother? That's how you walk in the office? Who's your mother? No, no, I walked in, I looked at him, and I said, I was like, what's your mother's name? Because he looked just like me.

Oh. Oh, shit. And sometimes we do things, you know, and we don't. No. You thought your mom was on a hunt? No. I thought that he was my son. Oh.

And I didn't know about that. Oh. Oh. OK, man. OK. I think you got it. Oh, slow, slow. Okay, let's go. I think you're doing it. I think you're doing it. I know. You got other bad things about you now.

He's too smart, he's too smart. So, Boz got his, Boz, you know, he said that shit to me and passed it in the hallway. So, I didn't take that shit serious. And then he says, yo, Flash, come to the office. I want you to meet somebody. it in the hallway. So I didn't take that shit serious. And then he says, yo Flash, come to the office. I want you to meet somebody. I walk in there. He looks at me, I look at him.

I ask him what's his mother's name. Respectfully, because I mean, I'll say, I had fun on the road and I did some things, you know. I want to just clarify for the people that is new listening to this. He is saying he was the original sniper. He is the original. Oh, my God. Why you go over there?

He invented sniping? He invented sniping. That's what he said. He invented sniping. He's been bringing the bomb and taking shit down for years. So I asked him and then I found out, you know, he told me his background, his family background. I was like, okay, let's go to work. Let me teach you.

So I taught him somewhat of the basics. I didn't want to play the role. He needed somebody younger to play a young Flash. So he had to scout a role in front of somebody, and he found this dude that shit. I'm like, that made me think on planet Earth, we all have a duplicate. The doppelganger. That's what they call it.

Is that what they call it? Yeah, that's legitimate what they call it. A doppelganger. Everybody has an exact twin somewhere in the world. Yeah, doppelganger. Oh, shit. I seen Kevin Hart. Doppel, right? Oh, that's big. Doppel, doppelganger. Oh, shit. I seen Kevin Hart. Doppel, right?

Like, not doppel. Oh, that's big. Doppel, doppel. He should stick somebody up. Word. I'll find my twins. That shit through before a loop? Yeah, yeah.

Good kid, man. Good kid. Took me about a month to teach him how to just do the basics, you know, so that he could perform on a get down. So let me tell you something, Nori. That was not a realization of the hood in the Bronx, but that wasn't the intention. Right, right.

The intention was to take elements and then glorify it with his story. And the one good thing about that, that shit gave attention to the Bronx. Right. Even motherfuckers are saying, that fucking shit was whack. It wasn't real.

It wasn't whatever. Gave attention to the Bronx. Even motherfuckers are saying that fucking shit was whack, it wasn't real, it wasn't whatever. Gave attention to the Bronx. Was you an executive producer on that series? I was a producer. I was a producer, Curtis Blow was a producer, it was a few of us that was producers. It was a great experience to be able to just see how a soundtrack is written and seeing the motherfuckers with the strings and the whole shit. And to see how a movie is made. To be in the back room and see how it's constructed. Fucking amazing.

It wasn't filmed in the Bronx? It was filmed in the Bronx. And it was filmed. And then Boz rented an area in Queens. And this must have been the size of 10 fucking Walmarts. And they replicated a bedroom in the 70s. They replicated

and this is where you asked me to go to the clothing department to make sure the right clothing at the time. You know what I'm saying? Silver Cup Studios in Queens?

Was it? I don't know. I don't know. As soon as you get off the bridge? Yeah, this shit was like a whole city block, you know what I mean? Yeah, yeah, yeah.

And each room had a replication of the kitchen, a bedroom, clothing, and the whole shit. And he asked me to just kind of oversee a lot of this. And then from there, he did this glorifying thing that he does. But it wasn't real. But he damn sure put Bronx on a map with that shit there for real. I thank him for that. Now, on that soundtrack, you got Pinnigraf on that soundtrack. Yeah. Did you work with Teddy Pinnigraf?

No, I actually did the remix on it. Oh, that's the remix. So what happened was they needed certain records in the show with less talking. So he I guess he cut a deal with Sony

and Sony allowed me to go into the vault and see the masters. And I was able to take masters. I wish I could go back in there now. You know, you and I, we look for that shit forever and ever. But imagine going in there

and seeing motherfuckers with really white coats on. You got to put gloves on. Because these masters are so old that they can break. You know what I'm saying? I'm looking at, like, Miles Davis. I'm looking at, like, fucking Cheryl Lynn. I'm looking at, I'm like, oh, my God. I'm looking at the master that made these songs that I cut up and do what I do.

I'm looking at the fucking original master. And there was tons of them. And they just said, go around and just pick what you wanted. Wow. And they're going to let you open it up and... No, they just said, pick what you want, and then they baked the copy. Oh, you can't do the stems.

You can't say, I need a bass line for this or nothing. No, no, no, no. They gave me the bass. I'm asking for a lot. And then they put it in the studio. They let me do it, and they cooked the stems back because they don't want us to have that shit. That's a museum.

Yeah, yeah, yeah. That's dope. Yeah, so that's pretty much that, man. You ever met Prince or Michael? I met Prince. When I did the Chris Rockshaw Was his music director And to sit down with him And just

Talk to him about life Very low speaking Very calm Very intelligent That shit blew my Motherfucking mind man To see that shit man Prince

Prince I never got I never got Cause she's really She's a little guy She's a little guy You know so fucking mind, man, to see that shit, man. Prince. Prince. I never got a chance. He's a little guy. He's a little guy. He was wearing heels, though, man. Platforms.

Whatever it was, he was a great fucking artist. You know what I'm saying? That was the shit back in it. Doing that, I got a chance to meet... That's probably the first chance I got to sit and talk with Jay-Z because he came on the show. Wow. You know, so it was quite a moving experience

to learn TV. So I've been behind movies and I've been behind TV shows. And I remember when the Chris Rock show was on, the shit was supposed to be just a pilot. But the shit went five years. Wow. And then on year five we both said, let's jump off while the shit is still hot because

sometimes you can do a sequel, a sequel, a sequel, a sequel, and this shit just get whack after a while. So we jumped off when this shit was hot. It was pretty cool. Let's talk about B Street. B Street, that wasn't me, that was Mel. 12 inch single vinyl? Mel.

Get the fuck out of here. Nope. Damn, yo, you got your name on everything. Yeah, I did now. I ain't even gonna lie, your name is all over. Nori, the business did what the business did. Damn, yo, you got your name on everything. Yeah. I didn't even lie. Your name is all over. Nori, the business did what the business did. I'm much smarter now.

Right. I'm much smarter now. So, all right, let me let you... For people who's tuning in, right? When you Google this, when you Google this actually comes up. What? Right, all of these records with your name attached.

You're saying, for people who don't know, that most of this, this was the record label because your name was hotter at the time? Or was that name Grandmaster Flash

and the Furious Five together simultaneously? It's like Uten Clan? No, okay. It's like this here. Grandmaster Flash and the Furious Five is six people.

All right. Grandmaster Flash was hot from the streets made hot by the record label and there was a time when I had to go in to court to fight for my name because it was getting a little bit

out of hand I think at that particular time I lost To fight for my name. Because it was getting a little bit out of hand. Wow. I think at that particular time. I lost everything. But when the day came. When the judge says. That this marriage has to be ended. And Joseph Sadler is awarded his name.

This is the courts downtown with the white steps. Who was fighting for your name? The label? The label was trying to keep it. Right. So when the judge awarded me. What label is this? Sugar Hill.

Sugar Hill, yeah. So when the judge awarded me my name, I ran out the, the judge said it in judge terms and my lawyer's looking at me like, what's the matter with you? You just got your name back. I ran out of that courtroom and the way the courtrooms are

is like the white steps. I fell down on my knees and I thank God and I was crying like a baby because all I wanted was my name back whatever you took from me financially okay fine please take that because I think at that particular time I had done enough imprint in the business and our little business of hip-hop that the world

would take me in and they did so that's when I started all over again. I started in clubs and I started playing alone. And I took the theory to the next level. And 18 years later, here we are. So it was rough. But you know, there's faith and there's belief.

And I'm very spiritual. I'm big on God. You know, a lot of things that I do. Now, what was your name before? DJ Flash. No, before DJ Flash. I know you said your boy named you that because you was fast at running. I ran fast.

So, did you have a name before that? No. No? No. Mine was MC Yahoo with the bald bean. I had a fucked up name. You ain't have a fucked up name? You just always had a fly name?

You just always had a fly name? Repeat that shit again? Mine was the name MC Yahoo with the bald bean. The bald bean with the bald bean. You didn't come out with a record with that name. No, I did not. You know you need to. Oh, so why didn't you?

You need to. Oh, you need to. That's your street mix thing. Oh, shit, that's big. Oh, so why didn't you? You need to. Oh, you need to. That's your street mix thing. Oh, shit, that's big. That's fucking big. You always came out with Flash. You always had the Flash. Yeah, Flash, yeah.

Okay, okay. That Grandmaster was put in front of it, you know, but other than that, no, I wasn't nothing else. Right. So, um... We got a quick time? Y'all did a quick time?

Yeah, yeah, they can do a quick time, but Scram's going to be the designated drinker because you're not drinking, all right? I'm not drinking. I'm not drinking. No! Oh going to be the designated drinker, because you're not drinking, all right? I'm not drinking. I'm not drinking. No! You're the designated drinker.

Come on, Scram. He put it in no reason. I'm fancy. No, no, no. Yeah, Scram's going to take shots, man. Yeah, come on. He's got to do it in the name of Motherfucker Grandmaster Flash. I got three questions for Flash, too.

Okay, at the quick time. At the quick time. Tell me my question. You want to do it at the quick time? Yeah, at the quick time. Okay, start with quick time. He wants you to. Tell me my question. At the quick time? Yeah, at the quick time. Okay. Start with quick time. He wants you to drink.

That means you have to answer everything because if you don't answer it, I got to take a shot. Oh, you got to explain the rules. Oh, shit. Explain the rules. Explain them. I'm going to ask you one thing or the other.

Some controversial. A question is that's one thing or the other. No, you're making it more complicated, bro. Yeah. It's just we're going to give you two names, two things. You pick one, nobody drinks. If you say both or neither of them,

then we all drinking. You're not drinking. Two rappers, two. You'll see, it's so easy. But just answer everything. Multiple choice, get two, pick one, nobody drinks. You say both Or neither We drinking We drinking with you

Are you ready You ready Here Scram Let me get Scram His shot glass Come on Can you get this Easy

Yeah yeah These guys write it It's not me Okay You ready Come on You guys been having Side class

Jamie get tequila Yeah yeah yeah What you drinking What you drinking? What you drinking over there? I'm not. I'm not. The fuck, bro? I'm not.

You ain't drinking? Yeah, I'm with you. You said you ain't drinking, so I'm with you. I'm not. I'm with you. I'm not. I'm not.

I'm not. I'm not. I'm not. I'm not. I'm not. I'm not. I'm not. I'm not.

I'm not. I'm not. I'm not. I'm not. I'm not. I'm not. I'm not. I'm not.

I'm not. I'm not. I'm not. I'm not. I'm not. I'm not. I'm not. I'm not.

I'm not. I'm not. I'm not. I'm not. I'm not. I'm not. I'm not. I'm not.

I'm not. I'm not. I'm not. I'm not. I'm not. I'm not. I'm not. I'm not.

I'm not. I'm not. I'm not. I'm not. I'm not. I'm not. I'm not. I'm not.

I'm not. I'm not. I'm saying. Load up, scram drink. And this is actually a positive thing. We want to talk about these people in a positive way. It's not that you're dissing one or the other. Yeah.

We're scram drink. Melly Milk or Keith Cowboy? Yeah. Melly Mel. Okay. Got it? Yep. Cool Herc or Bambada? Bambada. Oh man.

Just either or. Either or. But you could say both or neither. Both. If you say both scram drinks. I'm sorry, man. I'm sorry. I'm sorry.

Oh, I get it now. Oh, I'm sorry. Yeah. I'm sorry. It's light. We ain't going crazy. I got one. Hold on, hold on.

Let me get to them. I'm adding to it. Oh, I did? Okay, cool, cool. The B-Boys or the MCs? Hold on, hold on, hold on, let me get to them. I'm adding, I'm adding to it. Oh, I did? Okay, cool, cool. The B-boys or the MCs? Oh man, Scram, I really love you, man. You can't leave the witness, man.

You got to let him just... Both. Go Scram, go Scram. Do more, Jamie. I'm sorry, Scram. I'm sorry, man. Houdini or Run DMC? Y'all set me up. Oh, my God, man.

That's that, this shit. No, but these guys come up and these guys don't even speak English. Run DMC. Run DMC, that's cool. All right. You got it? The Beastie Boys or Fat Boys? Oh, the Beastie Boys.

Red Alert or DJ Breakout? Oh, shit. I'm sorry, man. Both. Go ahead, Scram. Scram, diggity. Dale que tu puede, bro. I don't got no line.

I don't got no chaser. It's drink champs. It's not nice champs. Damn. Biggie. You want some water to go with this? Biggie or Big Al? What is this, water?

Yeah, it's water. You want to chase it, that's what it is. What? Well, you said Biggie or what? Biggie or Big Al? Big Al. Curtis Blow or Big L. Big L. Curtis Blow or Slick Rick? Both.

Go ahead, Scram, Jiggity. You supposed to be doing one of me, actually. Yeah, eventually. I'm drinking the alcohol. You're the guest. You're the guest. We got a cater. Go ahead.

I'm the guest. I'll do shots of you. That's right. That's right. I can do more. Come on. Get that tough alcohol. You need to relax.'ll do shots for you. That's right. Come on. Get that tough alcohol. You need to relax. Get that tough alcohol going.

Let's go. Two minutes. Oh, my God. Only because this is an honor to be drinking. That's right. Thank you. Thank you. Crush Groove or B Street?

Crush Groove. Damn. Ooh, the next one. I know we drink. I thought you would have went B Street. Let's see. Let's see. Primo or Pete Rock?

Both. All right, but don't lead the witness. Don't throw out things out there, man. I was going to go both. I knew you was going to say both. Yeah, both. I'm skipping in between.

George Clinton or Rick James? Bitch. I don't know why. You got to say that. You got to say that part. You got to say that. Both. Both again that, boy. You got to say that. Both. Both again!

Sorry. I'm sorry, man. I owe you one. I'm sorry. Damn. Last word. Curtis Mayfield or James Brown? Oh, my God.

Just pick a better one. A better set. Yeah, you got to say both. I have to say both. I have to say both. You have to say both. Go ahead. Go ahead. Look, I want you.

I want like seven shots. That's okay. It's tiny shots. And you're spinning tonight, right? Yeah. Yeah, spin a little. I got to tell you, man. I'm high as fuck.

I ain't going to fuck with no motherfucking weed in years. I'm fucked up right now. This is a drink chance, baby. And we see other shows taking this question. We don't mind. Show us love. A lot of shows.

It's all love. It's all love. Favorite fan goodies. DMX or Tupac? Great question. I got it. Both. Yeah.

Go ahead. I'm sorry. Hey, man. Go ahead. I'm sorry. He wants you to have fun. I'm a DJ too tonight. Don't worry, bro.

I thought it was a mutual thing. I didn't learn some shit. I'm here with you, bro. I got the beatbox and everything. Shots by Sus Bad Luck. No, it's not. It's the two-form ratio. Go ahead. Go ahead.

I'm drinking with you. Hold on. Okay. Biz Markie or ODB? Te Pasate, where you at? Biz Mark. Next one's good. Analog or digital?

I ain't got to go with my world, man. What's up? I'm an analog. Don't leave the witness. My bad. My bad, judge. Yeah, bro. No, I did it a couple times already.

I'm analog for sure. Yeah, yeah. So we, judge. Yeah, bro. No, I did it a couple times already. I'm analog for sure. Yeah, yeah. So we're taking a shot. No. No, get him. Scram Jones or Scram Jones? All three Scram Jones. Take a drink.

Take a drink. I'll drink for you. I'll drink for you too. Shot for Scram Jones. Take a shot for yourself. Oh'll do it for you too. Shout out to Scram Jones. Take a shot for yourself. Oh. Okay. Look at this.

LL Cool J or Big Daddy Kane? Now, this is offensive because I'm thinking they're saying light skin against brown skin. I'm thinking this is what they're going with. They both lick their lips a lot. Hey, yo. Both of them. Both of them. Let's go.

Let's go. Let's go. Damn, this is lethal. This is lethal. What do you need? Grandmaster Cash or Kumo D? Kumo D. Sounds like y'all still got a little smoke. No, I love him.

No. I love him. I love him. We talking bullshit. Hey, I love him. No. I love him. We talking bullshit. There you go, man. Okay. Give me some sweet bones. You got it?

Molly Ma. You put your head back. What's going on? Molly Ma or Diamond D? Oh, shit. Both. Sorry. Both. Sorry. Both.

Both of them are incredible. Fuckwild or DR Period? Fuckwild. DJ Clue or Funkmaster Flex? You're getting political now. I can get the car now. Right.

Say it again. I'm going to change it. You can also say neither. Or you can say both. Or you can say none. Clue or Flex? DJ Clue or Funkmaster Flex? He's like the last of the masters, right?

Funkmaster? Both. Both? Okay. Okay. Then I get the word. Then I get the word. Hey, man. I'm drinking out of my cup now.

I'm switching in. I'm just... Look, I'm just doing you a favor. I feel like I'm a legend. Okay, this is a good one. This is a good one. This is a good one. You could have a good one. This is a good one. This is fucking crazy.

Rakim or K-Rus1? Oh, boy. Both. Both. Marvin Gaye or Smokey Robinson? Scram. Oh, Marvin. Marvin.

Oh, I smell that shit too. Wow. Oh my God. I feel for you, dog. I feel for you. Kanye West or Pharrell Williams? Both.

Chill out, bro. I'm sorry. I'm sorry. I'm going to hold you up, man. As soon as, you know, as soon as we're done here. Go ahead. Go ahead. Go ahead. All right, man, as soon as, you know, as soon as we're done here. Go ahead, go ahead.

Go ahead. Go ahead. All right, man. It's like a pledge thing. He's going to throw them. Michael Jackson or Prince? Come on. Both.

Dang it. Double fisted, brother. He wants you to go like this. Where's your shot? Don't worry, man. I'm respecting. I'm going to flash. Two sober, two not sober.

No, no, that's not the way this works. Come on, you're going to follow the rules. Come on, follow the rules. He's saying he's Grand Mastinori right now. Yo, MTV Raps or Video Music Box? Don't bring me no more. I'm getting a music box. Ralph McDaniels, we love you wherever you're at.

We need you on here. Oh, yeah, yeah. Yeah, yeah. Love you. Stop. It's a good question. Stevie Wonder or Ray Charles? We need you on here. Yeah, yeah. Love you. Scott. It's a good question. Stevie Wonder or Wade Charles? Scram.

Scram, bro. Scram. Yeah, scram. Scram at the whole deal, man. Both. Both? Yeah. I can see that coming.

Oh. You can see that. You're clever. He said, you in the DJ podcast. Killed that. What about you? Can you do a shot with me, Flat? Oh, God. I can't do that, man.

I'll sleep for a week. All right. You ready? I'm up. Lionel. I'm so sorry. You ready? You got to take your shot.

You got a lot of shots you ain't taking. Bro, look at this. Yeah, but look at that. It's OK. We have 25. Come on, bro. Come on? You got to take your shot. You got a lot of shots you ain't taking. Bro, look at this. Yeah, but look at that. It's okay. We have 25. Come on, bro. Come on. You're embarrassing us right now.

Come on. At least, come on. Come on. I'm on to the next one. You just got to take at least two of those. Come on, bro. You're embarrassing us. Jamie's sitting over here.

You're not even, come on. Jamie's like, this, this, this. He's like, this is the worst shot guest ever. Come on. Come on. I've never been a designated shot. Yes. 30. Yes. We have have been a designated shot. Yes. Yes.

We have to pay for every shot. But where's my toaster? We brought you the He-Man of the DJs. You take the shots. What do you say? Take the shots. Flash, do you want me to take the shots? Keep it real.

Don't put me on. Don't put me on. Flash, do you want me to take the shots? And I'm the DJ. Do you want me to take the shots? Flash, go ahead. It's okay. You came here to have fun. Take a shot for me, please. take a shot? And I'm going to DJ. Do you want to take a shot, Blass? Go ahead. It's okay. You came here to have fun.

Take a shot for me, please. Thank you. All right, you ready? His liver suffers so we can be here today. Who likes tequila? Not me, bro. I ain't serving you drinks. Hold on, hold on.

Lionel Richie or Teddy Pettigrew? Some horrible ass shit. They ain't serving your drink. Hold on, hold on. Lionel Richie or Teddy Pettigrew? Some horrible ass shit. They both was dope. Right. Yo, this segment is over, bro. Nah, it's not. We almost over. Only 30 more questions.

I'm going to say Teddy. Teddy? Yeah. Okay. Gangstar or EPMD? Oh. Oh. Come on, Scram, Dickity.

We're not going to give you new shots. At least take care of your five older children. You're speeding, though. You're speeding. You're speeding. All right. Chill out. I mean, just chill out.

You're never going to be invited back. I called you personally. Yo, can you come out here? I'm sure you're going to be a good, you know. I flew a front. Yeah, come on. Go on. They're good people.

They're good people. They're good people. I ain't going to let you shit on Frontier Airlines. They're good people. He own stocks. Go ahead, man. You want to take in a goddamn cherry? Come on, just take a shot.

This is Kosta. This shit is stanky over here. Kosta Migos, my foot. Go ahead. All right. Oh, man. Tribe Called Quest or De La Soul? Oh, damn, man.

You know, Scram. Man, the segment's over, bro. No, no, come on, Scram. We talking here. Both. Both? Yeah, man. Okay.

NWA or Wu-Tang Clan? Oh, my goodness. Both. I was going to let you do the Ice Cube. No, no, there's... The executioners or the scratch pickles? Both. That's three.

Yeah, that's three you owe, Scram. Come on. Ice Cube or Scarface? Holy shit. I think I need two more shots. Both. He's got enough for the three. Yeah, yeah.

Three and then you got this. You're almost out. You're almost surviving. You got to take those three though, come on. I'm drinking the eight day water fast and I almost surviving. You got to take those three though. Come on. I'm drinking an eight day water fast and I'm drinking. Oh my God. Now welcome to Tequila.

Welcome to Drink Champ's Christmas party. You got that. You want to get nice and drunk like that. This is absolutely the last one to get back to the interview. Loyalty or respect? Say both so he could just... It's both, man. You got to take all of those shots.

I'm going to take a shot with you, though. Oh, thanks for taking one shot with me. One shot? I took a couple. What are you talking about? Now, Flash, we ask this to every guest, and it's almost like a cliche type of question, but it really isn't,

especially with an accident to you. Give me water. I'm mad at you. Oh, shit. Hey, no side conversations. You heard him. We're in the resource room let's stay in there

that shit stinks did you ever think that hip hop would make it this far back then like you got to see it from the no

no I think especially during that era Disco was very neat Why do people always burp it? Disco was very Neat Like they had it together

Yeah it was very neat And hip hop even to this day is tattered Right You know we swag a little different. We wear our clothes a little different. We dress a little different. We wear our hair like this, this, or like this. Like, we do things.

We break the laws. Many flavors of hip hop. Yeah, we break the laws too much. I didn't think that a major corporation, a major situation would say, Oh, we're going to take these guys who wear their hats backwards, who don't dress like the average party goer, and we're going to invest money in them. Never in my wildest dreams, but you know, wherever I am, whether I'm in Australia or Japan or England or London or California or right here, I thank God that I see this

like this whole shit that I did could have missed right but what happened was people said what is that so just that little bit of daylight of what is that was the saving grace

for me for hip hop this is when all the producers were coming in town like what is this thing these kids is doing what is that for me for hip hop. This is when all the producers were coming in town. Like, what is this thing these kids is doing? What is that? It could have been ill.

And ill, I don't think none of us would be here. We would probably be doing some other shit. I know I'll be doing something different. I would have hated it, but I would have been

doing something different. You wore a lot of spikes back then. I didn't, but yeah, the crew did, yeah. No then I didn't But yeah Crew did Yeah No I didn't wear no spikes You know

You know we wore We wore a lot of leather We know We've heard different stories Why But what's your take on Why that was the I think we wanted to be

The ruling trend We We We We We We We

We We We We We We We We

We We We We We We We We

We We We We We We We We

Rock and Rollers Rock and Rollers Rock and rollers. Parliament. And parliament, punkadelic. They dressed one way when they went in the streets and they dressed that way

when they were on stage. So we were like, let's not go buy leather. Let's hire somebody and fly them around the country with us to make our shit. Wow, I didn't know that. So we had a letter,

the name was Mickey. Y'all had stylists from back then? Yeah. So if we wanted turquoise and black, you know, this way, that way, he would fly home and then a week later he would come with six suits.

Boom. Is he French? Huh? He's black. He's black? Yeah, black. Black French? He sound like he black? He's black? Yeah, black. Black French? He sound like he got

some type of French in him somewhere. He had another shop. He had another shop in Soho. Okay. We told him, close that shit down.

We gonna pay you. Wow. And he took care of us. Wow. God damn it, man. Take a shot for that, man. Take a shot for that. Take a shot for that.

Take a shot. Take a shot. You a drink champ. Listen. You a drink champ. This Take a shot for that. Take a shot. You a trickster. Listen. You a trickster. This is boss side right here. Do you like going in the studio making records or do you like performing records? What is it?

I like doing both. Okay. I like doing both because producing records is technical. And that's where I come from. That's the scientist in me. But then the performance side of me is the other side. All right. Playing.

So I would say both, Nori. I say both. Let me ask you because the way you broke this down, this was very scientific. This was very biology. This was like A science project Right How you broke it down

But then I got a lot of Friend DJs that's dumb How do they get over DJing Because they not smart He did all the hard work For everybody Oh you No literally

I didn't know all this shit And somehow It transcended to me As a DJ Like we He did all the hard work And it just All that information came to us.

Oh, this is top tier. I'm learning how to DJ. Y'all don't all got to go to this class. Yeah, yeah. You know how we all just screw in the bulb? All right. But we didn't fucking do all the shit for the light to turn on. Thomas.

Right? The DJs afterwards, don't get me wrong. There's DJs that are really technical, really amazing. But for the most part, he did the hard part. He created the bulb. We just screwed it in. That's probably a good way to put it. Okay, so basically, you ever walked into a party

and a DJ is DJing off his iPod? I haven't seen that yet, but I've heard about it. I haven't seen that yet. What would you do? If you walked in a party right now, would you say, damn, it's come a long way, or would you be like, tsk, tsk, tsk? For the Dominican Republic was back there jamming to his phone. Yeah, Mr. Lee is running in the mirror.

That's DJ Mr. Lee right there, the Dominican guy. Wait a minute, wait, wait, wait, wait. That's DJ Mr. Lee. So let me ask the question, would it be like a party with people dancing and stuff? Yeah, people dancing. And he's DJing. Yeah, but he's looking in the mirror, though, when he's doing it. I can't imagine you doing that.

You know, I say to myself, I'm a scientist, right? And I'm always wanting to see people push the envelope. To see somebody DJ off their iPod. Is it two iPods or one? It's an iPhone now. There's no more iPods. It's his phone. He got no space. So he's just pretty much just playing.

He's playlisting. They actually have little turntable apps in the phone, and some people are actually... I've never seen it. Yeah, yeah. Yeah. Yeah? Yeah. Show them this despicable shit.

You've never seen it? Yeah, show them it. I've heard about it. Never seen someone do it. Yeah, no. I've seen you in your phone sometimes. I just play it. I just play it.

I think anybody just playing a playlist off their phone saying they're a DJ, that's the most disrespectful shit in the world. Yeah. At least have the app that you're doing like a chicka chicka and then fucking go. I think I've seen Shaq get busy on his phone one time. I bet you, no, I bet you he has, he's a DJ, bro. No, he's a DJ. He has, I bet you he has the app. What's the Shaq?

Who else? That's big in sports. Playing for the Lakers. Point guard. You know who I'm talking about. Playing for the Lakers. He's a DJ? Early Lakers, when the Lakers, point guard. Y'all know who I'm talking about. Playing for the Lakers. He's a DJ? Early Lakers, when the Lakers was killing it.

Magic Johnson was a DJ. Really? Hell yeah, he played college. Magic's been an owner for 25 years. Yep. He's a DJ, playing for the Lakers. Magic Johnson was a DJ. He's up in there, he wants us right now.

Remember this guy. The magic was a DJ. I didn't know that. I thought you was talking about Russell Westbrook. I'm not a wrestler. A what? Russell Westbrook. I thought you said a wrestler. You know what else I want to show love to?

The break dancers. Who? Like, I seen them. I seen these. You ever see these motherfuckers do that shit? Crazy Leg? Like, Crazy Legs and. And Shaw that's going to the Olympics.

Yeah, it's incredible. Like the way they contort their body and do that shit they do. Yeah, absolutely. Shout out to... Doing it on concrete. Early Breakers, my Early Breakers, Bam's Early Breakers,

and then the second tier that came along, the Breakers, you know, it's absolutely wonderful. Can we actually go back to the convo of how that's when you, that's the beginning of you wanting to continue those breaks was for the breakers. For the breakers. The breakers were the stars.

The rappers hadn't arrived yet. Right. They hadn't arrived yet. And sorry to cut you, but the audience came to hear you and see them. Right. They hadn't arrived yet. You know, it's... And sorry, it's a culture, but the audience came to hear you and see them. Right, right. Or you could see a breakdancer with a boombox on any corner, street corner, doing their shit.

With the cardboard. With the cardboard, exactly. Can I look at the back of your shirt real quick, please? I want to make sure we get this established. And we laced you with some drink champs gear right there. I got you.

Yes, can you read that for me, Scram? Scram after he drank. First DJ to make the turntable an instrument. Make some noise for that. Keep going, keep going. First DJ to have a rapper.

Let's make some noise for that. First DJ to be in the Rock and Roll Hall of Fame. Let's make some noise for that. First DJ to be on SiriusXM. Ah, shit! Make some noise for that. First DJ to get a Grammy. Let's make some noise for that.

First DJ to get a Polar Prize. Yes. Can you read the front and the back? Thank you. You're good? Yeah. I think we got you. Yeah, you took a lot of them shots, man.

You good? He took it for the culture. He took it for the culture. What do you do with your Grammy right now? Like, do you sip out of it? Ooh. Actually, I do a show on Twitch every Tuesday, noon, high noon experience, and then Thursdays, 8 p.m.

My Grammy's in my studio. Okay. Where I do my show. The Twitch show. Yeah, you know, like one is on one podium, the Rock and Roll Hall of Fame one is on the left podium, the Grammy's on the right. I like the flow.

And then all the other awards are kind of, you know, spread around, you know. It's all good. Because KRS said that he boycotted, not boycotted, but he didn't want to participate in the Grammy's ceremony because he felt like 50 years of hip hop. He's like, yo, that could have started at 47 and gave us a warning. You know what I mean? And he's like, you guys just wanted to ignore us for 50 years of hip hop. He's like, yo, that could have started at 47 and gave us a warning. You know what I mean? And he's like, you guys just wanted to ignore us for 50 years. No, but he said that he didn't feel that hip hop was fully represented in that. Yeah.

Like the B-boys, the B-girls, the comedians. I mean, I would agree. That needs to be seen on a major network. Four elements. Nobody has done that yet. So I do respect KRS-One. Four? Four elements is to break up. Four elements. Nobody has done that yet, so I do respect KRS-One. Four elements is to break up. Yeah, and then the fifth is

graffiti artist. Yeah, four elements. And the knowledge of self and beatboxing are always like... Beatboxing, I don't know what that is because the beatbox is right there. So when you think about beatboxing, that falls under rap because it's speaking, you know, musically.

Holy moly guacamole. Do you feel that everything... For 50 years? Yeah, for 50 years of hip-hop, whether it was authentic or not, was it positive? Because, you know, obviously a lot of corporate interest took advantage of, oh, okay, it's hip-hop 50, so we're going to do all these things.

So your question is what now? Do you feel that it was positive in general for hip hop? Yes, I do. In general. I just think that, as I said earlier, the detail of where it came from and what it took to get here

has not been properly represented. And this is what I say to the PR people and to the press people. Like, if you want to know, like, at the beginning, beginning, beginning, you got to ask somebody that's around 60. You have to. You can't ask somebody 30 or 25.

You just cannot. And this is why I find it critically important to speak. It's because, like I said, once August 12th gets here, it's a new trend. New shit. You know what I'm saying, Nori? What is it? 520 Cedric? What is it? 1520

Cedric. That's Herx Place. Mine says 2730 Dewey Avenue. That's a two-part question. Is that actually the first hip-hop party that ever was there? I didn't see it. Okay. I didn't see it. I don't know it was here, and I've never talked to anybody that went to this party.

And I'm not saying that it didn't exist. Yeah, for sure. But I haven't seen anybody on the Internet talk about, I was there. That's what crazy, like, that's what crazy. He said the discrepancy with that party is one of the biggest contested things in the history. He feels that that flyer keeps getting remixed, where people keep adding names, taking names away. Yeah, he said it on the show. He said that that's a contested event.

Not that it happened, but how it happened or who was involved or what. Yeah, I'd love to know who was there and how the party turned out. How many chicks was there versus guys? Were you breaking? Like, I want to know that, too. Like, I want to know the merry-go-round. I want to know what that technique of mine is, the quick-mix theories. I'd love to know, you know, what was that first party and what's the merry-go-round

when did you first hear about that party like when was it first like when did people start saying this is the first party identifying it as the beginning of hip-hop that's why that is that you remember because that's that's crucial you would be the one to tell us because we wouldn't know that's way before our time right you would You would say, hey, you know what, guys? I really didn't remember this being talked about as much. And that's kind of like what Crazy Legs was kind of talking about. I don't want to... I don't remember. I don't remember what he said. I can't

remember. Because it's all rallying around that point. That's why we're celebrating 50. Right. But then, if we're going to celebrate 50, then we got to talk about the party, who was there, where it was, what happened. And this is probably why he's saying that. I would respectfully love to sit down with Hurricane,

or sit down with his crew. That's why it's crucial that he does what you're doing. It's extremely important. And I can tell you, even on my streams, I have people who were at my parties in the beginning when I was nothing. That will tell you what when I was nothing. That will tell you what my party was like. They remind me of shit that I forgot

about. Cookie Monroe, Anna Monroe, Jacqueline Tucker. These people, they're still here. One of them actually works with me in my company. They remember shit that I totally forgot. This was really critically

important because that kind of verifies when you got the layman and the partygoer saying yep that was true and it's verified i'm still yet to hear and i'd love to hear who was at that first party if it happened at the center what happened at the center, what happened at that center? What was going on? What was happening? We need to know that. It's critical that this happens before

August 11th. That's just my opinion. Respect. August 11th will make it 51 years? After that, it becomes 51 years and then it's over. Next 50 years, I ain't going to be here. Do you think, because I remember you're 51 years? After that, it becomes 51 years and then it's over. You know, next 50 years, I ain't going to be here.

You know, so. Do you think, because I remember that was another thing that Crazy Legs was pointing out was that hip hop is older than 50. Yeah, he's saying because,

and DMC said this. He said, documented hip hop could, we can call it 50. But he said hip hop was happening before that.

That's what DM, even DMC was saying that, yeah. Okay, let's define it. If we define it, guys, it's the DJ only. And playing what we call bastard music, the C cuts, the D cuts, the F cuts off the album. That's where hip-hop, to me, that's where we had no title.

It wasn't named yet. That's why it could be up for discussion. You know, because there's two ways to look at it. When it was fully formed and all four elements came into play, that would make

it me, 74. Because that's when Cowboy joined me. But if we go pre, then it was just the DJ and the breakers and the graffiti artists. Cocoa Rock says he's a rapper,

but he's not. He was a DJ. I used to go watch him. And if he was hooking on the mic, you know, with the echo chamber, it's rambling. So there are some things that are up, that are subject. And I want to give Herc all his flowers. He deserves everything that he's done. But there are some things that are up for question. And I think either all of us or one at a time, like Coke La Rock, Timmy Tim, I think he's passed away, Clark Kent, the original Clark Kent, you know,

and the twins, you know, they got to start speaking. It would be great if it would be a lot of you guys together because you could cross-reference, debate things, and hash it out at that moment. Speak you could cross-reference debate things and hash it out at that moment. Speaking on cross-referencing, Wikipedia. They have been extremely disrespectful to me.

They're supposed to be the standard for information for the world to see. Right. Old and new, right? They got my birthday wrong. 58. Supposed to be 57. I was born in the Bronx.

You know, their process on how they say yes or no to something. I tried even talking with them. They said, Mr. Sadler, I did this. They said, Mr. Sadler, there's no reference to you

doing this. I'm saying there can't be a reference. Wikipedia wasn't born then. You mean to tell me all these things that I'm telling this, there can't be a reference because Wikipedia wasn't born then. So you mean to tell me all these things that I'm telling you that I did, and they kept just, as he was talking with them, they kept knocking like, no, you can't. The beatbox, no. The cutting, no. The quick mix theory, no. Wow.

So Wikipedia is saying to me, you, there's no reference to this stuff. Of course there's no reference because I didn't talk about it. I didn't start talking for a long time and I'm going to tell you why. Because talking these things and this math is geeky. And for a long time, geeks weren't cool.

So I shut the fuck up for a long time. Now, geeks rule the cool. Right. So I shut the fuck up for a long time. Now, geeks rule the world. I'm talking. You got some fucking dumb hip hop right here. So yeah, you know, like, Wikipedia, why don't you hire me? Yeah, Wikipedia, hire motherfucking Grandmaster Flash, please. Yeah, hire me. I can really help you with,

especially with the historical area and your process on how you say something is credible versus something that's not. Because they allow people to go in there that are like Wikipedia approved to input stuff. Like how can they, you can't for yourself say that's wrong.

Right. They talking in a horse's mouth. You're talking to the person. No, we're sorry. We'll get back to you. When we get back to them, we couldn't find no reference. You ain't going to find no reference. What is he on? There's no link when links weren't available at that time.

But you know what the reference is? The streets. Right. That's the reference. No one's going to check you. Who's going to say that I didn't do it? All right. There's the math and the science and that I physically done it.

That leads me to a thought. And I don't know if you guys brought it up before when I went to the restaurant, but is there any documentary that you would co-sign and say, this is the best documentary right now that tells you the history? Oh, man, there's so many. I've seen shit. There's so many that I've seen. Oh, I can't answer that question right now.

There was a few that was pretty good. Like, Rubble Kings was really dope. I don't know if you saw that. No, I didn't see that one. There was, oh. And then Fresh Dress, which felt like it complimented Rubble Kings. I don't know if everybody saw that,

but I felt like those two documentaries. I need to look at those. It tells the Bronx history, like what was happening, the gang wars, hip hop and all that stuff. I think for me, the documentary that I'd love to see is if someone paints a picture of the beginning and then slowly take it up here. A few of the documentaries I did see, they're incomplete. They're not wrong. Right, right.

They're just holes in it. You know, you can poke holes in it because you got to say, wait a minute, if that was that, then how did that get to that? Right. And that there, I'd love to see.

All right. You ever got to meet Biggie? No. No? Wow. How about Tupac? I sat next to Tupac at a gathering

and we talked for a few minutes. But I didn't get to talk to these two. I would have... I think... When I heard what happened to them two, I cried. I didn what happened to them two,

I cried. I didn't really know them. I never had coffee and tea with them. I didn't know their parents. I didn't know nothing. But they've done so much for the culture. I think this thing has to stay. If it has to exist, it should stay competitive. Nobody should lose their life

over this. That there is insane. Like, why did they have to die? And then, here's the crazy shit. Police can't find out who did what. It's still a question mark. Right, it's a conspiracy. We don't know nothing.

What the fuck is up with that? Why is this still a conspiracy? And both of them were killed in public places where there's mad witnesses. That there makes me crazy. And them two going at it, East and West,

was healthy there, Pop. It was healthy competition. Right. But people losing their life come on. I cried like a baby and I never met them personally Healthy competition. Right. But people losing their life. Come on. Right. I cried like a baby, and I never met them personally because of what they meant to the culture. Real talk.

How about Big Punt? You ever met Big Punt? I met him once for a brief period of time. I didn't get to talk to him much either. Right. If you get asked to do a party right now, and this party is 16 to 21, and they're saying they want new music,

what is a new artist, a new artist that Grandmaster Flash is getting the party jumping to? Can I be totally honest with you? Yes. Please. I have a lane. And respectfully, if I'm not an expert

in what I do in my lane, I don't go near it. I don't know enough about the music that the 16 to 21s love. I couldn't play a two-hour set. I don't know enough to play, to know this. And Scram could definitely identify. There's the 9 o'clock record, and there's a 9 o'clock record, and there's a record you hold to 1 o'clock.

I'll probably play the 1 o'clock record at 9, like I will probably screw the whole fucking shit up. You know what I'm saying? My children, they tell me about records all the time, you know, and I check it, but... I am not going to... I know a lot of cops, and they get asked all the time, I check it, but I am not going to. I know a lot of cops, and they get asked all the time,

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And service, because I'm a servant. And if I can't serve you properly, then I won't serve you at all. Respectfully. It's like one time I was hanging with Buss, and I might be paraphrasing or thinking this in a different form. So if I get it wrong, then I apologize. But Boss, one time someone called him and they wanted him to perform at an old school event.

And the fact that they called it old school, I don't even think he wanted to participate. You know what I mean? Because he felt like, yo, I might be old school to some, but I'm not old school. So he didn't want to participate in that. Is that something like,

if it's like a new school jam, like you don't want to indulge him because... No, I'm not old school so he didn't want to participate in that is that something like if it's like a new school jam like You don't want to like indulge him because no I'm not saying I don't want to indulge it I don't do him. Yeah, I don't write cuz I'm gonna do me right and they're gonna say what is he playing? Yeah, yeah, I'm gonna do what we understand. I'm gonna do what everybody in this room understand, but a 16 year old gonna say What is that right? And why are you playing that? We don't want to hear that. It has nothing to do about

whether I love or hate or whatever. I don't know that music enough. Anything that I want to sink my teeth into, I'm really having to master it and understand it and know it so that when I get on them once, I know where to take you.

All right. What else you got in your notes? Let's, let's, let's, let's... Oh, let's see. You want to make sure we get everything. Yeah, exactly, exactly, exactly. Oh, let me just...

I want to make this clear. There are so many DJ techniques that has happened. And I want to make sure people truly understand. DJs play turntables the right way. I don't know how to play that way. I play DJs, I play the wrong way. I don't know how to play that way. I play DJs. I play the wrong way. So,

there are some of the DJ techniques that I didn't create. There's a few that was created by me because everything that's going to last has to be taken to another level. There's incredible DJs out there. What I'm trying to say to the world is,

the actual, the mechanics of this, putting your fingertips on the vinyl, where the vinyl has two purposes, the sound source, and also used as a controller. Your other hand on the fader and opening and closing the circuit. If you look at any DJ playing, he is using the mechanics, the how-to hands, whether you're going counterclockwise, forward and back, you're opening and closing the fader. These mechanics are what I invented. That is the quick mix theory. That I want people to understand, the mechanics,

the how to, the fundamentals of what it is. I don't know how to play where they're putting the needle down, I don't know how to do that. It is why I took three years of my life to reinvent DJing, the mechanics, and this led to the rapper, and this led to the producer, and this led to the big business that we are at right now. That's crazy.

And they fact checked, they said that, in fact, Magic Johnson is a DJ. Ooh, you can chat. Yes. You got the Googlers out there? Yeah, so let's sort of move, Jack. Flash, can I ask you a question? Okay, but before you do that, can I just shout out some people, please?

Absolutely. This is your platform. Let's go. Let's go. All right. These people I'm going to talk about made hip-hop big business. Wyclef, Arthur Baker, DJ Scratch, Egyptian Lover, Herbie Lovebug, The RZA, Molly Mar, DJ Tump, Pete Rock, Rick Rubin, Warren G, Jazzy J, Kid Capri, DJ Battle Cat, The Bomb Squad,

Kanye West, DJ Premier, Teddy Riley, Manny Fresh, Q-Tip. Please forgive me for anybody. For anybody that I did not say, because I know you guys are going to, and I'm going to get help for this when this thing comes out. If I had two years to mention everybody, I would. But I just want to say,

these people deserve flowers. What's your question, man? My question is, you just showcased what the fader does, but the fader never existed when they just had the knobs when there was no dual turntable action going on. So, what's up with the invention of the fader? Do you have anything to do

with it when it was created? Okay. Let's go back in the rabbit hole. The actual terms for the fader is called the panteometer. And the round knob is called the potentiometer. Oh shit. Potentiometer and the panteometer. Yeah, please research it, you'll find that it's true. Back in the day, right, the crossfader wasn't there. We were doing the up and

downs. All the knobs. Up and downs. Up and downs. Up and downs. The fader had to come into play. I seen the fader come into play when it was accompanied by the name of Gemini. The DAC

2000X Silverface. That was my first mixer and when I made that mixer, the industry standard mixer, I have been looking for someone who has that mixer. I'll pay them any money for it. I'm saying it on television because it's a mixer that I brought to, to the world. Bring it out, EFN. So, and then the first turntables was the SL23s. That is how I created the seamless loop so that Cowboy and the Boys can rhyme.

You know, so these are the things I need to talk about. And the breakdancers, can I talk about the breakdancers too? Of course. You know to talk about. And the breakdancers, can I talk about the breakdancers too? Of course. You know, let's go to the breakdancers, the DJs, the breakers. The breakers, like the original breakers were, they were black. And here's some of the names. Sasa.

Trixie. Sasa. Trixie. Dancing Doug. Black Jerry. Easy Mike. Flippin' Mike. Female break dancers. Sister Boo. Mother Earth.

Janice. Then as years went on, is where the Latins got involved. Spanish people got involved. And here's some of the names. Rock Steady Crew. Dynamic Breakers. New York Breakers.

Electric Boogaloos. Here's some soloists. Future 2000. Fab 530 was a breaker Lady Pink Scene Lee Quinones These are the kind of people I want to talk about

Because they're part of the story They're part of this whole Movement That she can't be Yeah And now we right here And we driving nice cars and we living comfortably

so how did the fucking shit happen in the beginning how did it happen that's where I'm at have you ever went to a hip hop show and been disgusted like people rhyming over

the vocals they're not having no routines you know I think okay you're talking about the performance aspect yes yes that's what I've been my bad I think it okay, you're talking about the performance aspect. Yes, that's what I meant.

My bad. I think it's extremely important. If you know your craft. Right. Know your craft with no net. Meaning, you should not be rhyming over the vocal version. Right. Because even if you make a mistake,

that's what makes the performance so incredible. Right. Like when Jay-Z was at the Garden, and he tell the DJ, throw it, boom, it's the instrumental. He would say the rhyme, say the rhyme, and he would stop rhyming for a few seconds, and he'll jump back on, just to let y'all know. Yes.

No net here. Right. You know what I'm saying? So for me, you know something, Nor, you know what I would love to see? If one of these newer rappers rapped on one of them breaks. Nah, they won't. That would be,

because some of them rappers today, they're incredible. But to see, like I love to see, I love to get Drake on a break. I love to get Nas on a break. Jay-Z already knows how to do this. You know what I'm saying? Nas done it. Nas has done it. I don't know about live footage, but I know Nas has rapped over breaks.

Drake would be dope. Yeah. I'm sure Nas did. You know, let the beat down, bring it down, throw it back in, let it break down. Like, what's his name? Red Man and what's his partner? Method Man. Method Man. And LL Cool J's thing.

Them with the DJ. This motherfucker was pulling that shit down and throwing it back in and rubbing it. And it was, I'm like, that, and I walked up to them, and I said, that was fucking hip hop for sure. And the DJ was, excuse me, please excuse me, but they were so, when you become one with your DJ, Nori, when you become one with no look, like you ain't got the word,

you ain't got to turn around. Never. You know that when you say what you say, he going to do what he do. He got your back. Little cold words. Yeah, little cold words. You know,

doing the pull up, fade it down for one ball, pull up and bring it back. You know how to do it. That's hip hop. Yeah. That's when like the DJ's name was always first. Eric B and Rakim,

Jazzy Jeff and the Fresh Pins Grandmaster Flash It's like You know that's Yeah I think it's an injustice To people who pay $40 To come in

Or $100 to go see you To talk To rhyme over your talking Yeah Now you're just getting an appearance But you're not getting a performance Yeah It's not

It's not fair Some people call it lip sync. And it's lazy. Even though it's not lip sync. But some people, yeah. Lip syncing. Lip syncing when you rhyme more than vocals. I think that rappers should rhyme to the instrumental

of their track and make a mistake if you have to. Or add a new line in it and then go back to the record. Have the crowd do it. Yeah, or go like, put the mic out and let them say it. It's live. Bring the audience into do it. You know what I mean? Or go like, put the mic out and let them say it. Like, bring the audience into your performance. You know what's crazy? You know how I found that out? I did it overseas one time.

And like, I had to do like an hour show. And at the time, all I was doing was like, you know, the hits or whatever. But over there, they wanted it. It was in the contract, an hour show. So like, you know, in America, I do, you know. And as soon as I finished, I was like, I killed that, right? And. So like, you know, in America, I do, you know, and as soon as I finished, I was like, I killed that, right? And they were like, you had the vocals. Wow.

And I was like, You thought you were doing them a favor doing the- Like the hour, I thought I was doing like an hour. And they were like, yeah, we liked that you did an hour, but, and I was like, I'd never did that shit again. I had never did that shit again, but it was overseas. It wasn't even people in America whose school beats are that at first. O had never did that shit again but it was overseas. It wasn't even people in America

who schooled me to that effort. Let me tell you something. Europe. They take this hip hop shit like the performance aspect of this shit. They take this fucking shit

deadly, deadly. Like we take advantage because we here. You fly over that motherfucking ocean And you land Your shit better be tight Or they gonna let you know

Word up I remember one time I say this on the show All the time I went to do a show And the promoter He paid us and left And we're like

What the fuck And he came back Because he went and did A graffiti piece With our name Capone and Noriega And he came back Because he went and did A graffiti piece With our name Capone Noriega And he comes back His paint all over the shit

And I want to look at him And be like It's not that serious Like but But I'm also honored I'm also like You know what I mean That shit would never

Happen in America Like he really Literally showed us A piece that He They love you We don't I think that

That's the one thing That one of the other things that I think needs to happen in this country is that we need to appreciate this culture because it's appreciated around the world.

It's actually one of the, I would say it's one of the biggest cultural exports this country has. Yes. And it's impacted the world, but we're losing our grasp on the world

because they are looking at us as sellouts to the culture. Right. I had a person, like I was coming out the back door grasp on the world because they are looking at us as sellouts to the culture. I had a person like I was coming out the back door of the concert and this guy he pushes through the crowd and he takes off

his fucking shirt. I'm like shit's about to hit the fan. This ain't ready to be a real mean one. He had me he had a picture of a tattoo of me DJing on his fucking back I fell to my knees like whoa

you painted your fucking back life for life that's there for life they take that shit so serious

so they know like did you have a drink with him you had to drink with this guy no I just gave him a hug he didn't he didn't drink with him I had to drink with this guy no I just gave him a hug he didn't he didn't drink with him

I gave him a hug and I jumped in the car and I was like just quiet all the way to the hotel like this motherfucker and it looked like

he wanted to start a fight with me and fight backwards but that wasn't it that motherfucker said look boom big

nah it's truly appreciated It's a love thing What the fuck I just Yeah you gotta sign that for me Don't tell me you don't co-sign it Cause then I'm gonna

Come on No of course I co-sign this Of course I do It's that record He walked in He threw your record Whatever record you have No no no

My homie gave it to me He's like I ain't fucking with that But you signed this one for me I know you're saying You didn't Jesus Christ Let me tell you why Because one for me. I know you're saying you didn't. Jesus Christ. Let me tell you why.

Because we was already going. I know you said it. And I already said, this record got jerked. Yeah. Yeah, but just here, guys. All right, well, you signed my figure right here. Jesus Christmas. What's that record, though?

You don't got to say it. What is it? No, that's White Lines. He talked about it. No, the other one was the Sleeve to Sugar Hill record label. Oh, OK. That's why. I prefer not to on this here.

It's all good. We got a couple other things for you to say. It's all good. You guys enjoying yourself so far? This is history. We live in history right here. This is history, man. Go ahead, man.

You got questions? Let me just say this, and I'll give you the question, man. We wanted to do this for so long, man. You're really, you know what I'm saying? Day one. This is day one, man. You know what I mean? The thing that we wanted to do.

March is eight years of Drink Champs. Yes. Eight years? Yes. We can't believe it. Whoa. Yes. A lot of shit like this come and go because it don't last.

Right. It's a lot of work. Yes. It's a lot of fucking work. But our platform, as big as it got Whatever it is It's always been For people like you You know Because we are

You know I might be I call myself A major label type of guy He calls himself An independent type of guy Okay But besides all of that

Our heart is hip hop Hip hop If you cut And you cut my skin We're going to bleed hip hop Yeah it is You know what I'm saying You cut my heart

We're going to bleed hip hop I believe that And that's really what it is It's like we have these But it's the icons It's the people who paved the way before us It's the people that can tell these stories Like even us asking about the party in Cedric

And you saying you haven't been there It opens up this mysterious box of hip-hop That like, you know what I mean? Like Crazy Legs has his version You got your version Kool Herc has his version There's Bambada who got his version there's so many but the the thing is it all all is in this beautiful pot of hip-hop yes it is this beautiful soup it's in this beautiful gull yes it is whatever it is of hip-hop you understand what i'm saying yes and when we get

pillars like you we get legends like you we get icons get icons like you. I think this is one of the most quietest I've ever been. And I heard you guys go in. But it wasn't because I was quiet because I didn't have things to say. It was quiet because I was soaking up the knowledge. And as much as I've been, I still learn things. Like, I'm still learning. And this is so beautiful

to see you. And then a lot of these people, you know, like, it's so good to see you in great spirits. It's so good to see you, you know what I mean, spreading the, of hip hop

because so many people, like some of your statesmen, you know, they don't open they self up to people. You know what I mean? They're like, you know what?

I'm part of the Royal family. Fuck you. You know what I'm saying? So it's vice versa. Like, I know I feel it's critically important that this information gets shared because once again, Wikipedia, this is not on the Internet.

A lot of this stuff that I talked about today was not on the Internet because I didn't talk. And BAM would say the same thing, and Herc would say the same thing, and Breakout would say the same thing. And it's wonderful to have platforms like this because there's a lot of new type platforms out there. So a platform like this to say, let us play honor to the people who did things that have passed. That's right.

It's wonderful. That's right. That's right. That's right. I think I want to add to what Nori was saying. It's what I think is what we're trying to do and what's critically important to hip hop, I think, right now, most importantly, is that we steer people away. The young generation that looks at social media numbers to dictate who are the leaders of the culture. This is why.

Algorithms. Just numbers in social media. That doesn't matter because what taught us is i remember listening to artists speak about what was going on before i even understood what was going on and you know i'm saying like like i'm not from the generation that you guys came up in but there was the artist i was listening to my ogs in a sense telling me no these are the people that i grew up on so i respect them therefore respect you. Then I dig in the crates. I find out about you.

Then you are who you are in my mind. We need to do that. We need to elevate the real leaders of the culture, not let social media or popular whatever dictate this. You are the leader. Thank you. Thank you so much. So what's up, man? Well, I got to give you your flowers, too.

You invented hip hop. You know, you invented hip-hop. You invented hip-hop. You invented rap music. And you invented turntablism. And that's what I've been obsessed with my whole life. Thank you, man. Because you are incredible on them ones, baby. Thank you, man.

But it's just crazy that you actually, it's actually surreal that you invented what we do on them turntables. And you invented rap music. Because there would be nobody rapping over them breakbeats and you invented rap music because it would be nobody rapping over them break beats if you wasn't bringing them back and passing the mic off the cowboy or whatever so it's kind of surreal when you really think of that so that's just to dumb it down for the listeners like you you are the number one inventor i'm just gonna give you that you know what i'm saying you're the thomas edison so you know what i'm saying i just want to say that beat not beat not beat around bush. What's the dude that invented the peanut?

Oh, yeah. George Washington Carver. Oh, Washington Carver Jr. Carver. Yeah, yeah. You like Carver, this motherfucker. You made your wonders with a peanut. You made your all-time shit with a peanut.

You know what I mean? You got real. So I got two questions, and I'm jumping around, but all your stories was in the Bronx. My question is, what was your relationship with the other boroughs? What was going on with hip hop? Did you tapped into Queens and Brooklyn and Staten Island? What was they doing?

Or were you in your own little bubble? You know what I'm saying? Did you even know what was going on in Queens, Brooklyn, Staten Island? Good question. Okay. And this is, I think I said this earlier. Well, Hollywood did. Hollywood would do five parties in one night.

So what we started doing was renting a sound system that wasn't ours, because that's what takes the longest, to take it apart. No shit. Renting a sound system, renting other DJs and hip hop groups. We would perform for like an hour,

jump in a car, go to Queens, play, jump in a car, play Brooklyn. So we knew what the five boroughs was doing. It's just that the major ones, which was Herc, myself, Bam, Breakout, a lot of us didn't move around like that.

I definitely moved around to see who was going to be the next Kingpins and Harlem because they were right next door to us. And then from there, it went to Brooklyn. And then from there, it went to Brooklyn. And then from there, it went to Staten Island. So all these places. But what did you see? Were they way behind the Bronx? Or they had their own little movement?

This is what I would hear. We heard the tapes. And hearing the cassette tapes, we was asking ourselves, how the fuck is he doing that? That's how the word got around when we got near town to plays like, we want to see you do that live, because on the mixtapes,

this shit sounded impossible to do. So that was like an audio flyer that played a major role that allowed me to go to different boroughs and get an interest on, we want to go see these motherfuckers do this shit live, and we did.

So that's how we started to figure out what was buzzing in the other boroughs. But were they following the Bronx, or were they just organically? They were following the Bronx because they knew what we was doing. They like, we was listening to y'all tapes. Copy.

You know what I'm saying? Yeah. That's how they figured out what we was doing. If they weren't able to make it to the Bronx, the tapes was the next translator on how we was doing what we was doing in the Bronx. So another question. A lot of people got their flowers.

Yourself, Kool Hark, but obviously Bambada was excluded. Do you think he should have been excluded this year due to what was going on? I would never exclude him. You didn't exclude him. I'm talking about the masses. I didn't see any tributes to him or anything.

I cry about that. Let me tell you something. I still don't know how that case, let's call it that case, how it's going to turn out or what's going to happen. But you can't deny history. I cannot there'd be a big hole in this story if I took him out of the mix of me speaking and then somebody would catch me out there okay well when the gangs were around what were you doing then one of my lines say oh the gangs was in it

no Bam turned him around it's just he plays a major role in this shit, man. The situation that he's in, I can't judge it. I am not a lawyer. I'm not, whatever it was and how it happened,

he played a major role. He is a king in this culture. Hands down. Last question. Blondie, how did you meet her? Was she the first female rapper? What was the whole thing with Blondie?

Shah Rok was the first female? No, I know it's Shah Rok, but I'm talking about this. Let me tell you how that went down. Vampire Freddy used to come to my parties. And he said, yo, I got some friends in Soho. You know, Blondieondie You know and her husband You know they're good friends of mine man And you know one day I'm going to bring them up

I'm like get the fuck out of here He's like yeah man these are my friends I'm like really He kept his word She seen me And she made it absolutely clear To Freddie I'm going to write She seen me, and she made it absolutely clear to Freddie, I'm going to write a song about the way he does those things

on the turntable. Freddie told me, I'm like, get the fuck outta here. And all of a sudden, in between, like when you record an album, you rest. You record an album, and then you rest. During the rest period, people say, yo, you got a record on? I say, nah, we resting. There's some record with some woman talking about cars and bars

and I'm like, what the fuck is this? And then when I heard it, I'm like, oh shit. She kept her word. She called Sugar Hill and asked him, can I be in a video? And Sugar Hill said, no.

Oh, wow. Oh, yeah, you weren't in that video. I seen the video. And that's why the other one, other person played the role in that. And I say this over and over again because what would have happened is if I'd have got on that video,

the DJ world would have went to... To the moon. To Pluto. Because I would have definitely took that light. Right. And I would have said, yo, it's like 500 more of us motherfuckers back home. Boom, boom, boom.

Promoters, the whole shit. Mainstream. Mainstream, boom. But she said no. So I never got on that. But I thank Blondie for bringing me into white people and German people and that other world. I needed to get in that world because I didn't want this thing to just be just black or just Latin. What year was that, though?

I'm just trying to put it in. You said Shaw Rocks. Shaw Rock was 70s. So Blondie made that record. In the 80s. Early 80s. Yeah, early 80s. Early mid-80s. Yeah, because we're makingie. Shy Rock was in the 70s, so Blondie made that record. In the 80s, early 80s? Yeah, early 80s. Early mid-80s?

Yeah, because now we're making records now. We're in the record business now. Is that close to when Wildstyle was filmed? No, no. Wildstyle probably was a few years back from that. From that, okay. Yeah, yeah, yeah, yeah. Yeah, shout out to Charlie with that, man,

to come in and do what he did. That was wonderful as well. And I can remember I was staying there all day waiting to get shot, and then it started raining. And Charlie had to return the camera back, it was a Sunday, he had to return the camera back to the movie house Monday. So they had to drop me off home. We never got to shoot me. The shooting team, the producer's team says, we got to use the bathroom.

I show up upstairs, Cypress Avenue on 38th Street. The shooter says, yo, Charlie, who's a producer, why don't we shoot Flash right there? Charlie says, right where? Because I had a kitchen that had a cutout. You could look into the kitchen from the living room and the counter was right there.

So the shooter says, let's shoot flash right there. Charlie says, this is not going to work. He says, yes, it can work. So they shot up all the cameras. I cut Mardi Gras and that came, one of the biggest scenes in the whole movie.

So shout out to Charlie. And that's another story that needs to be talked about. That's one of the first representations on film, right? Yeah, absolutely the first. Absolutely the first. And he cared enough

to come into the Bronx and film us. It's a wonderful thing. And 50 years from now, the kids are It's a wonderful thing. And 50 years from now, the kids are going to look at this and they're going to say, oh shit, they came back and looked. You know, because

it's like you said, either we allow the powers that be to rewrite the narrative, or you go find the people who wrote the narrative and let them tell you the narrative. Right.

And that makes this place, this thing you guys are doing, so wonderful. Thank you. So a director comes to you, say, for lack of, for the first person I think of, Al Pacino and Antoine Fuqua.

Okay. Together. Together. Comes to you and says, Flash, I want to do a movie about hip hop. Is this movie about you by yourself or is this movie the four people you've been naming this whole time? It's always the four people. But it's not really the four people. Hold on, hold on, hold on.

Let me finish my question. Go ahead, go ahead, go ahead. Because this is now we're getting to the lucrative part. Go ahead. Because they're saying, yo, you want a movie about hip-hop?

We don't mind if it's you or this four. If it's you, you eat this whole bag, whatever this bag is. But, we can take the story from you and you can break down these four stories

and we can get it from you. Or do you want to consult these other three people? Do you consult them or do you take the whole bag and say I'm going to tell the story? That's a difficult position you're putting. No, I go get them.

No, it's not the same. And I split the bag up. I have to. I have to because I like the answer. And the reason why I have to is because I to because I like that answer. And the reason why I have to is because I don't have the complete,

complete, complete, like have a corporate team. I don't have that story. I have what I've seen in public, but I don't know mom and dad, their mom and dad's story. I need that. And then we have our second tiers.

They play a major role to continue to push it as well. So I'd have to go back and say, this is what it is. All right. Do we do this together or do we not? I want us to sit down for free. And I've been saying this for the last five years. You guys need to do this.

I would love for us to be somehow involved in this. And to put the cameras wherever and just let us just talk. It's like the Mount Rushmore. Just call it the Mount Rushmore with your four. This would be absolutely wonderful because I'm sure that our stories run parallel. Some way or somehow

it runs parallel. And for you guys that are watching, it'll all come together like, oh, that connected to that, that connected to that, and that connected to that, that connected that and that connected to that and that's why that is that and that's what you don't have yet we don't have that story where we're all there her kiss not well but he's got a team of

people BAM is in a situation he's got a team of people break out bring yourself I bring my team unless they sit here and just have, I like, I eat fish only. Just get me some lobsters and crabs and shit, lots of that, and I'm good. We need to commit to that. We need to commit to helping everyone. We don't like that.

That could be a dream challenge present. We don't have to be there. You guys will be there. You guys will be the gods. We're in the game. You guys will be the gods. I want to commit to us trying to make that happen. Hell yeah, we definitely. But let me ask you, right, You got to be the godzilla of the game. You got to be the godzilla of the game. I want to commit to us trying to make that happen. Hell yeah, we definitely.

But let me ask you, right? Because me and EFN, it's something that we've been saying since we started the show as well, is that the hip-hop should have our own union, right? You know what I mean? Other than all the sports and all the other people, entertainers, other than boxing, hip-hop is the only other entertainment form that doesn't have unions. When you say union, what do you mean by union? Like SAG.

Like a SAG. Yeah, like insurance and getting tools. Like a SAG. You know what I mean? Like an actor's union. Okay, so let me throw the question back at you. What would be the duties of this union? To take care of our people if in need.

Okay, let me expound on that. I love this. I love this. If we can make a union that would police our own if a person is in trouble, if he's getting in trouble,

send him to the union. Like, there's too many rappers, you can see them on the way to going to prison. Right. From their own. Yeah, let's send them to prison. We got it. We got it.

Right, right. Before the car crash, let's... Before the car crash, let's grab them. Listen, hello. All right. Because some of these hip-hoppers may not have elders, people around them to say, listen, you know, you're getting ready to crash.

All right. If we could police our own, a lot of the shit that happens today would not happen. Right. That's just how I see it. We should police our own. It's a great, great idea. Nori, hopefully before I leave out of here, I would love to see.

Well, Chuck D and Karis and I think Curtis Blow, they created something. And Rock Kim and them just received some money. Well, that's not that created that fund. Yeah, but see, what I love about what Nas is doing, I think it is absolutely wonderful. No, it's beautiful. I think it is absolutely wonderful. No, that's beautiful. I think it's so beautiful. But there's so many people That's the thing.

that are much more needy. Was Rakim worth that? Absolutely. Was Scarface worth that? Absolutely. But there are three other elements of people

that don't have that are struggling doing that and if he'd have done it the four element way would have made that shit so much bigger. There's a lot of unsung

heroes that need their dues and the reason why I think SAG is such a good example of a type of union is because SAG is whatever you give into SAG, you get out of SAG. So that allows everybody at every level of hip hop to be a part of this union. Wow. SAG even has, and I mean, again, I don't know 100%. I'm not a scholar of SAG. I actually just joined SAG recently. But they have housing for B actors that never made it big in Hollywood.

That when they become homeless, if they become homeless, they can live in these homes. Oh, thank God. Oh, wow. But as long as their dues were, they were members for a certain amount of time. So I think that SAG is a good thing for us to look at. I think that Chuck D and them are aligned with SAG in some way. I think we need to look.

But the problem is is that it's such a big undertaking that you need someone that's well-schooled in finance and banking and insurance to be able, and nobody, like we all talk it.

Yeah, but to do the mechanics of that. That's it. I think Killer Mike can do it. I love Killer Mike. Killer Mike is amazing. I love Killer Mike. I give Killer Mike all the money.'s it. I believe Killer Mike. I think Killer Mike can do it. I love Killer Mike. Killer Mike is amazing. I love Killer Mike. I give Killer Mike all the money. Go ahead.

I love Killer Mike. Go ahead, Killer Mike. Actually, when I heard the name, I'm like, damn, this must be a real motherfucker, a killer motherfucker. Nah. I went to an event.

He's a teddy bear. I went to a family event in Atlanta, and he was there, and I sat down with this guy. This guy is off the hook intelligent. Oh, he's incredible, man. He. Like totally. Oh he's incredible man. He's incredible, I hope he wins that Grammy. I hope he wins that Grammy this year.

God. Hope he wins the Grammy. He's up for a Grammy? Yeah he's up for a Grammy, I hope he wins it. You should get that shit. Intelligent gentleman. Yeah. And really nice guy, really, really nice guy man.

I don't know if that name fit him though, Killer Mike, but he's like nice Mike. Yeah. Something like that, you know what I mean? He was killer with the words. Yeah. Something like that. You know what I mean? He was a killer with the words. Kill MC. Kill MC.

Fair enough. Fair enough. Accepted. So let me, so I'm, you know, I'm black, but I'm half Puerto Rican too,

right? What was the first Puerto Rican you ever seen in the hip hop? Or they were always around. Keep it real. DJ Charlie Chase. Charlie Chase. I'm going to say Charlie Chase.

The first Puerto Rican DJ ever See as you guys ask these stories You know To go from here to there It's ludicrous Yes it is We just had ludicrous On the show as well

It's here DJ Charlie Chase And The group he used to DJ for Was the Cold Crush You know what I'm saying Like He has a story

Yeah I know I've been knowing him For decades Yeah we Charlie Chase is ready to come on Drink Chats He lives in Orlando We gotta have him on

Yeah you should Have him on He got stories I only got A smidgen of what he is Only he could tell his story. And that's...

Huh? Dominicans? No, no, Dominicans. You ain't got to get him no problem. Oh, my God. I'll just fuck with you. Of course. God's fucking crazy, man. What's up, baby?

Listen, man. Let me just tell you, man. What's up, baby? What's next for us? Listen, man, let me just tell you, man, one more time, man. This has been an honor. How much we appreciate this. I can't lie to you, man. This is what we do it for. You know, I call Scram Jones. I call my DJ Butch Rock. Oh, Scram Jones is my DJ and Butch Rock.

You know, they're both kind of my DJs, and I wanted them to come in because I know how honored they are in the DJ field. As much as I am as MC, it's an honor to that. Thank you. It's always DJs. They're the people that not only throw flowers at your feet, but they're even the ones that pick the flowers to throw to your feet. Thank you.

And I want you to know how appreciated you are in hip-hop in its totality, but in the elements of hip-hop. That's why I wanted the other DJs to come and help me throw the flowers at your feet. Thank you. I appreciate it. You are the Princess Zamunda. You understand what I'm saying? You are exactly, you know, hip-hop royalty. You are

a I was, there's no artist in the world especially a hip-hop artist that you should be able to call and they not answer you within 24 hours. No, I've been blessed.

They do answer. We know, we know, we know, Flash. Let's give you flowers. We know that. But what I'm just saying, what I'm saying is, Thank you so much. If any artist is out there listening

from a 12-year-old artist to an artist that's 212, figure it out. If this man call, you drop your grandmama's pancakes out your mouth. You spit the Tic Tac out your mouth. You unlace your Balenciaga slippers. And you get to this man, whatever the fuck he asks you for. If he asks you to eat a honey bug in your nose.

In your nose. You do it. If he asks you to clip your toenails with watermelon pills. You do it. If he asks you to put oranges. In your espresso. And drink it as coffee mates. You do it.

There's nothing in this world that this man should ever need, ask, or want. And as long as Drink Champs is alive, we're going to be there to help facilitate that. Yes, we will be served. We're going to take a couple pictures. Everybody get some pictures. Drink Champs is a Drink Champs LLC production

in association with Interval Presents. Hosts and executive producers NORE and DJ EFN. From Interval Presents, executive producers Alan Coy and Jake Kleinberg. Listen to Drink Champs on Apple Podcasts, Amazon from interval presents executive producers alan coy and jake kleinberg listen to drink champs on apple podcast amazon music spotify or wherever you get your podcasts thanks for joining

us for another episode of drink champs hosted by yours truly dj efn and nore please make sure to follow us on all our socials that's at drink champ Champs across all platforms. At TheRealNoriega on IG. At Noriega on Twitter. Mine is at Who's Crazy on IG. At DJEFN on Twitter. And most importantly, stay up to date with the latest releases, news, and merch by going to DrinkChamps.com. Why is a soap opera Western like Yellowstone so wildly successful? The American West with Dan Flores is the latest show from the Meat Eater Podcast Network. So join me starting Tuesday, May 6th, where we'll delve into stories of the West and come to understand how it helps inform the ways in which we experience the region today.

Listen to The American West with Dan Flores on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts. I know a lot of cops. They get asked all the time, have you ever had to shoot your gun? Sometimes the answer is yes. But there's a company dedicated to a future where the answer will always be no. This is Absolute Season 1, Taser Incorporated. I get right back there and it's bad. Listen to Absolute Season 1, Taser Incorporated on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts. You met them at their homes. You met them at their recording studios. Stories matter, and it brings a face to them. It makes it real.

It really does. It makes it real. Listen to new episodes of the War on Drugs podcast season two on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts. This is an iHeart podcast.