Drink Champs - Episode 492 w/ Fab 5 Freddy

Episode Date: March 13, 2026

N.O.R.E. & DJ EFN are the Drink Champs. In this episode we chop it up with the legendary, Fab 5 Freddy!Hip hop pioneer Fab 5 Freddy pulls up to chop it up for a deep dive into the culture he helped bring to the world. Known as one of the original ambassadors of hip hop, Fab 5 Freddy shares unforgettable stories from the early days of the movement, when graffiti, breakdancing, DJing, and MCing were all coming together to create something revolutionary.Freddy reflects on his role in bridging the gap between downtown art culture and the emerging hip hop scene in the Bronx and Brooklyn. From working with iconic artists and filmmakers to helping bring hip hop to mainstream television through Yo! MTV Raps, he explains how the culture expanded beyond New York and became a global phenomenon.Throughout the episode, the conversation moves through classic moments in music, art, and nightlife, with Freddy dropping gems about collaborations, historic parties, and the creative energy that defined the era. As always, the drinks are flowing and the stories get better with every round.Packed with history, humor, and firsthand insight, this episode of Drink Champs is a must-watch for anyone who wants to understand how hip hop culture grew from a local movement into a worldwide force.Make some noise for Fab 5 Freddy!!! 💐💐💐🏆🏆🏆Listen and subscribe at https://www.drinkchamps.comFollow:Drink Champshttps://www.drinkchamps.comhttps://www.instagram.com/drinkchampshttps://www.twitter.com/drinkchampshttps://www.facebook.com/drinkchampsDJ EFNhttps://www.crazyhood.comhttps://www.instagram.com/whoscrazyhttps://www.twitter.com/djefnhttps://www.facebook.com/crazyhoodproductionsN.O.R.E.https://www.instagram.com/therealnoreagahttps://www.twitter.com/noreagaSee omnystudio.com/listener for privacy information.

This is an I-Heart podcast. Guaranteed Human. Hey, I'm Jay Chetty, host of the On Purpose podcast. My latest episode is with Hillary Duff, singer, actress, and multi-platinum artist. You desire in family like this picture, and that's not reality. My sister and I don't speak. It's definitely a very painful part of my life. And I hope it's not forever, but it's for right now.

Listen to On Purpose with Jay Chetty on the Iheart Radio app, Apple Podcasts, or wherever you get your podcasts. I'm Clayton Eckerd. In 2022, I was the lead of ABC's The Bachelor. But here's the thing. Bachelor fans hated him. If I could press a button and rewind it all I would. That's when his life took a disturbing turn. A one-night stand would end in a courtroom. The media is here. This case has gone viral. The dating contract. to date me, but I'm also suing you.

This is unlike anything I've ever seen before. I'm Stephanie Young. Listen to Love Trapped on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. I'm Amanda Knox, and in the new podcast, Doubt, the case of Lucy Lettby, we unpack the story of an unimaginable tragedy that gripped the UK in 2023. But what if we didn't get the whole story? The moment you look at the whole picture, the case collapsed. What if the truth was disguised by a story we chose to believe? Oh my God, I think she might be innocent.

Listen to Doubt, the case of Lucy Lettby, on the IHeartRadio app, Apple Podcasts, or wherever you get your podcasts. I'm Nancy Glass, host of the Burden of Guilt Season 2 podcast. This is a story about a horrendous lie that destroyed two families. Late one night, Bobby Gumpright became the victim of a random crime. The perpetrator was sentenced to nine. 99 years until a confession changed everything. I was a monster. Listen to Burden of Guilt Season 2 on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts.

The human body is a beautiful machine, and keeping it running, it means understanding how it actually works. Which is why this podcast will kill you is doing a multi-part series on sleep. What it's for, why our bodies don't follow neat rules, and why modern life is not helping. When you consider what we know about sleep in human, humans, there's one rule that comes out. We are predictably unpredictable sleepers. We'll continue exploring how the body works with a multi-part series on digestive function. So listen to our newest series, which runs January 20th through February 17th with new episodes

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where every day is New Year's Eve. It's time for drink champs. Drink up, motherfucking. What up is DJEFN? What up is DJEFN? And this is military crazy war. Yappyawa. Drink champs, yappi yawahua.

Make some nuts. When we started this show, we started this, saying that we wanted to give flowers to legends, to people who are icons, people who came before us, people who have knocked down the door for us. In many

ways, this show wouldn't exist without this brother right here. Absolutely. This brother has lead, when you see so many people with podcasts, so many people owe him flowers. He was, at one point, everybody wanted to be in front the camera, they didn't want to be

interviewing the stars. He's, I did research and they said in hip hop he pulled off the first pull-up interview where they come to you he's been in Compton with EasyE We got to talk about that

He's been everywhere He's interviewed Tupac and Vicki Smalls Rest in peace He's a legend He's an icon He's a book writer He's a producer Blondy shouted him out

And should be called His name They owe him a check They owe me a check for sure. Wow. He is an innovator. He's the reason why we're here in case you don't know when we talk about Joe about the one.

Only five, but I'm going to drink today because I'm celebrating you. Thank you, man. Listen, man. What an introduction. I'm not going to lie to you. Thank you. We do research.

And every now and then I get like, you know, blown back, right? I've realized how much. Uh, uh, um, your MTV Raps was for that time, right? And then I started, then I realized you produced one of the very first MTV videos

that was hip-pop on MTV? Well, I was directed mad videos. The first video I directed a little before your MTV rap started was my philosophy for Karras. God damn. Hold on, hold on, because I don't want to all right, because I want

the kid and best eye, Brooke. Can you bring the mic up to yourselves a little bit? Yes, yes. I want them. You just said your first video, it's your first video, correct? That I directed. He directed, yeah. Okay, so.

But making wild style, that was my film school, I like to say. All right. All right. So, so let's, let's, let's, let's, let's, let's, let's, let's, let's, let's, let's, how did you, we get our camera? How did you, like, start, um, thinking that you, because music videos wasn't the thing at the time. No.

It was actually radioed records. Right. And then, and then, so eventually it got to be the, Well, until MTV that music videos really took up. It blew up on a national basis. Yeah. So how did you start directing? How did it all begin for me?

Yes. Okay. Well, I just written a memoir, which is just so many stories I've been just dying to share with people because it's been more than a blessing. But I definitely started out with a mission. But I came from someplace. So growing up around my people, I had jazz musicians. My pop's had an eclectic group of friends, very intelligent. young brothers that was wanting change, you know what I'm saying?

Things were beginning to happen as they were coming up. Max Roach was my godfather. Godfather and my dad's childhood friends. I used to pick up on a lot of the game around these guys. They was mad hip. It was puffing cannabis. Jazz was like the first hip-hop if you think about it. They were like gang-you-thew.

Thank you. Thank you. And even in the beginning of jazz, they were looked at as worse than gangster rap. They were trying to demonize jazz. Just, come on. Now, let's get it. Don't get it twisted. You're talking racist.

You know, one of them things that go on. So this is developing in the 1920s. So this was the way a lot of our culture had been pigeonholed and looked at. So for me, getting, having inspired and learning things, what I grew up around, my pop's friends, Max Roach, you know, these cats were incredible artists, but not always.

So I used to hear them complain about not being able to control like what they were doing. They were just as highly intelligent as anybody we'd know, but they imagined that in a time when you was being held back. I want to start a label. I want to do this.

I want to write the article. Not that, you know, the other folks that was, you know, loving the culture was all bad. But it's like, hey, I'd like to do this too. So those things kind of rubbed up. So growing up being a wild kid and best style doing, you know, whatever, you know, how we come up and doing. I began to, you know, I used to cut school and go to the libraries. Okay. You cut school and went to a different type of school.

That's hell. He cut school to get educated. Yeah, he got school to get educated. I would cut school and go to the museums in New York City. That was like going to Disney. I'd go to the Metropolitan Museum to Whitney. I was just mad curious. Going to Manhattan, though, right?

Correct. Back in the days, in the schools, they would give you every month you got a different pass where you can get on the trains and buses for free. I was just entertained myself and travel around. At the same time in the 70s, graffiti was strong. It was everywhere. And it was developing from just writing your name,

whatever it needed to be, to the letters, the characters and began to evolve. And so I began to have been in museums a lot and looked at the work of pop artist, Andy Warhol, Lichtenstein, Rauschenberg, like I just absorbed all of that.

I'm like, wait a minute, the stuff that we's doing in the subways is very similar. They inspired by the same stuff. Yo, I didn't realize that. That was the connection. So then I'm like, man, if I can figure out a way to, you know, tell this story and get to some people that would listen to this,

This is before there was any appreciation. Hip-hop is still not even hip-hop yet. It's just wild parties going on. I begin to think, like, what is happening there with the music? What's happening with this type of visual art, which is really evolving? There's the form of dance. This is a new culture. If I could get to a position where I can share that with people, you know, that would be a jump-off.

Plus, I was interested in taking my work from having done graffiti to getting into the gallery spaces. And the idea was to make this film Wild Style. So I had this idea to combine all of those things together. That's the directing part it comes from. No, that becomes the first film. I collaborated with a guy named Charlie Ahern. Okay. And I pitched the idea to him.

So your brainchild, to be clear, Walsall. Basically, the basic idea that Charlie was with it. He has seen Lee Kinyas's work. And Wynastall came out before B Street, correct? Wild Style is the first. The first. This is the mold right here. I don't know what you're going to see your own.

No, baby. You know, it's all good, though. Beach Street had some good elements in it now. There was a lot of other movies that came out rapping, breaking, breaking two, three, four. It was all trash, you know what I'm saying? Like, let's just cash in on this. Harry Belafonte and them, they produced that,

and they had good intention and a lot of good heads is in that. But they followed the blueprint that we laid down, which is how the game goes. You know, copy from the best. But basically, me and this cat Charlie got down, collaborated, went up to the Bronx together. I was up on that there was this new music. I'm from best style.

But nope, you had to know what was going on uptown. So I finally when I'm working with Charlie, we going to research and then we start heading uptown, Exeter C Garage. See Connection. One more time? It sounds like a place I like.

A lot. No, this is like. Just to put it in perspective, like obviously pre-internet. Like, this is, really free hip hop. This is, I'm saying, you're definitely pre- you're even naming it hip-hop. So, like, you had to, like, really go into these places

that you kind of heard something was going on to actually experience it. The way the music really traveled back then was via boombox. And I always had a double cassette. So if you was blessed enough to get close to it, yo, baby, run me a copy. That's what them double cassettes.

You've got, okay, man, I run off for 90 minutes, whatever, 60s, 10. And then the music spread. And that's how the music really got to the viral. That was the way to go viral. Perfection. That was the origin, the origins of viral. But it was hand-to-hand, you know, really great bond type of stuff.

And so the idea was to put all this stuff in the film and showcase it. And that's the movie we made, Co-Wile Style. But I learned a little bit about filmmaking because I was like, you're like the co-producer. And then what became, when I walked in, you know, was playing some of the, the instrumentals from the film. I wanted to use the real music. I'm like, what the hell? Everything was so underground, but we was connected with Theodore and Flash and Charlie Chase and Tony Tony Tony. You know, we was connected with the core of the scene. And Charlie said, no,

we can't use those records. And I said, okay, I'm going to go and make this music. So I'll pull together a bass player, a drummer, you know, listen to some beats, you know, and told him, yo, give me something like this. And then Chris Stein from Blondie, him and Chris and Debbie were the core of Blondie. I had hooked up with them and other people on the downtown New York scene and I would run these ideas by them.

And they became supporters looking out, guidance, hooking, introducing me to people like Andy Warhol, et cetera. What was that Blondie record? Yeah, that's, and so that record, Rapture. Right. Rapture. Comes out of me, yo, this is what's going on. She shots you out, right?

culture. They shouted me out, shout it out Flash, you know. So, Fab Fab Frii told me everybody's fly, by the way, as the title of my memoir. And it was just all love. But they really appreciated it. Shouted out what I was doing. You know, don't strain your brain, pain or train.

But nobody really knew who I was at the time. But it really put the spark in people like, what is this all about? And it just became a number one. Blondie was like the lady Gaga that era. Good description. Yeah.

You came up right here? And, yeah. That's a really good description. In fact, Lady Gaga was on the club scene coming up. My man Troy Carter, brother out of Philly, managed her in the beginning. George Carter's a genius. You need to have him come through here. Just like Madonna was exposed.

They were all in those club scenes intermingling with the hip-hop scene as well. That's right. And, you know, we was all tight. When she came on the scene, Mark Kamens, who produced some of her first records, He, you know, Fab, this is this girl just in from Detroit I'm working on her first records. Madonna's from Detroit? Yes.

Oh, really? Yeah. She's a hoodie, yeah. Yes, initially. Yeah, she's from eight months. Yeah. Okay, just throw that on her. Just throw that on her.

You know? You got Frank Ocean, Blondie, motherfucker. Yeah. Yeah. Yeah, Rapsia. There go. No, you got to go to Rapsha, right? You're trying to find that one.

Yeah. There go. Just. Now, now, what? I know you guys don't know, but in New York City, that record was terrible. I mean, I was only in New York City.

I didn't drive anywhere else. I didn't know. As a young wannabe DJ watching Wallace. I was like, yo, that's funny. Yeah, that's crazy. That became a number one record. It's a wild story. So how does this record come about?

So basically, once again, in my pursuit to make connections with people to get the movie made and connect and to get things popping and, you know, with my visual art and everything, we became really tight. And I'm playing tapes for them. I'm running it down.

And I'm seeing a comparison between what's developing in the Bronx and the way the new wave and the punk rock scene jumped off. Because I just happened to catch on to that early, and I'm reading. This is wow what they're doing. But that's kind of like what rap was doing, like, because they had the spikes. So people were staking it for punk rock at first, right?

Like a black version of punk rock. I'm sorry. That's exactly right. Because those things was happening. And some people, like, when flashing them got real wild, it was like a punk, funk thing. There was synergies there. But no, but they was also, they was looking at what Rick James and then was doing and whatever, which was all good. But it was in the air at that time.

But basically, they had told me that they wanted to make some funkier music. I mean, out of that new wave scene, they were literally like the biggest group. They just went mainstream in a really cool way. But they still was really about the underground in downtown. So my Blondie? I'm talking about Blondie. Okay, okay. And so they said they were.

They wanted to do something a little more funky, funkier music or whatever people could dance to. So then they jetted to go to Cali or whatever to work on their next album. When they came back, they called me to come over to the crib. They said, man, we want to check, drop some of these new tracks on you. They played me a couple of songs. And then they said, okay, here's something a little different. And then when they put it on, I'm like, you know, the singing part. I'm like, wow, this is fly.

And then when she starts rapping, I'm like, wow, this is crazy. I totally thought that this was just something they did in the studio goofing just to let me hear because they never said, we're going to try to do a rap record or whatever, whatever. And I thought just that they was playing around in the studio, here's a special little something just to play for Freddie, you know, whatever, whatever. So I loved that and that was so cool.

That's how I thought it was. It wasn't until two months later, I was in Paris for the first time after my second art show in Italy. and I'm hanging out actually with two members of the talking heads and we get into a cab on our way to a restaurant and I hear this song in a cab. I'm like, how is this cab driver? Like, no, it's you, right?

No, how does he get a copy of this song? Because that means it hits a radio. Yeah, yeah. They said, Freddie, this is the next blondey single. Do you know, wait, Lee? This is the next blindy single on a new album. Right, right. And I'm like, yo, I never thought it was going to be like a serious record.

I thought they was just playing. Right. It goes on to be number. Number one. God damn. Did you think that was good automatically? Did you think it was maybe they might be looked at as like a clowning parody of hip hop at the time? You know, hmm.

You know, it wasn't too concerned about that because rap, I mean, probably the only thing most people had heard at that time was rap as deep light. Right. So nobody was really up on it. Which was getting backlash as well from within the culture. Well, yeah, for obvious reasons. But in the country mainstream, people had, no, it was a fun record. People didn't know it was a real culture. That's one of the things I wanted to show in Wild Style, which is a part of what Wild Style ends up doing.

It shows who we are. Because our decision was to use all the artists, the musicians, the graffiti writers, the breakdances, the B-B-B-B-B-B-Girls. To play themselves. That was one of the concepts me and Charlie came up with for the film. But basically, it was a surprise to me that the record caught on the way it did. I was like, yo, it's cool that they did it, that they shouted me out. They talked about things we was doing. You know, he shouted out flash.

It was just like things I told them. I said, yo, as far as DJs, Flash is known for being, you know, super fast with it. Fly guys and fly girls is out of scene, you know, to be got people represent. And she took it. Put it in the rap. She freaked it. That's what the artist does. Yeah, exactly.

She put her own little spin on it. And it just was a lot of love, you know what I mean? And so, oh, so the other interesting thing about the video, so I had told Flash to come through. Because, you know, we're working on putting. Grand Master Flash, by the way, guys. Grand Master Flash. The legend. Can continue. Grandmaster Flash.

Because we're still in pre-production on Make the movie Wild Style. And so I knew Flash in them. I said, yo, come through. This record just came out. You know, you get a shout out. You know, shout me on the record. Come through and be in the video. Videos wasn't really a thing yet.

And Flash is, okay, I'm coming. But he never shows up. It's only recently that he's explaining me that Sylvia was like, yo, don't, you know, stay away from that, whatever. Sylvia wrong? Tulvia Robinson that ran

Sugar Hill Records. Sugar Hill Records. I'm on point. So Jean-Michel, that's my man, too, that we was on doing chit-chia, chit, chit, chit, chit, chit, chit, chit, yeah, yeah, let me just think something. That was the most complex. That's a plus ever. Joe Michelle, he didn't even call him Bosckeye.

Yo, come on, make the question. That was a place, right? You dozing too much. You doze it too much. Let me stop me for one second. Please remember that story, right? Yes. But the other day, I'm sitting there.

I had posted a picture with pun. And I go to a, I can forget, I think it was a sneaker store. And the kid is just telling me, and he's just asking me about fun. And I'm sitting there, and all the questions he's asking me, it was like normal questions. It was like, you know, he's just my friend. And I realized he looked at pun as a superhero. Wow.

And I realized he is a superhero. Yeah, yeah, yeah. He's my friend. You're just close to it. I'm too close. That's what I just said the other day. I didn't realize how dope mob deep was because I was like so much. Right.

So you're close to it. Yes. I know what you mean. Yes. So now with you. Yeah. I'm watching documentaries on you. I'm watching interviews.

And you always like you have the coolest friends ever. Let me just say that. Let me just say that, right? Therefore he's one of the coolest guys ever. But immediately after this guy asked me about pun, I thought about you and how you just said, John Michelle. Yeah. And you said it so nausea.

Hey, I'm Jay Chetty, host of the On Purpose podcast. My latest episode is with Hillary Duff, singer, actress, and multi-platinum artist. Hillary opens up about complicated family dynamics, motherhood, and releasing our first record in over 10 years. We talk about what it's taken to grow up in the entertainment industry and stay grounded through every chapter. It's a raw and honest conversation about identity, evolution, and building a life that truly matters. You desire in family like this picture, and that's not reality a lot of the times for people. My sister and I don't speak. It's definitely a very painful part of my life, and I hope it's not forever, but it's for right now.

Listen to On Purpose with Jay Chetty on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. In 2023, a story gripped the UK, evoking horrid. and disbelief. The nurse who should have been in charge of caring for tiny babies is now the most prolific child killer in modern British history. Everyone thought they knew how it ended. A verdict, a villain, a nurse named Lucy Letby. Lucy Letby has been found guilty.

But what if we didn't get the whole story? The moment you look at the whole picture, the case collapses. I'm Amanda Knox, and in the new podcast, doubt the case of Lucy Lettby, we follow the evidence and hear from the people that lived it to ask what really happened when the world decided who Lucy Lettby was. No voicing of any skepticism or doubt. It'll cause so much harm at every single level of the British establishment of this is wrong. Listen to Doubt, the case of Lucy Letby on the IHeartRadio app, Apple Podcasts,

or wherever you get your podcasts. I'm Clayton Eckerd, and in 2022, I was the lead. of ABC's The Bachelor. Unfortunately, it didn't go according to plan. He became the first Bachelor to ever have his final Rose rejected. The internet turned on him. If I could press a button and rewind it all I would. But what happened to Clayton after the show made even bigger headlines.

It began as a one-night stand and ended in a courtroom, with Clayton at the center of a very strange paternity scandal. The media is here. This case has gone viral. The dating contract. Agree to date me, but I'm also suing you. Please search for it. This is unlike anything I've ever seen before.

I'm Stephanie Young. This is Love Trapped. This season, an epic battle of He Said She Said, and the search for accountability in a sea of lies. Listen to Love Trapped on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. I'm Nancy Glass, host of the Burden of Guilt Season 2 podcast. This is a story about a horrendous lie that destroyed two families. Late one night, Bobby Gumpbright became the victim of a random crime. He pulls the gun.

Tells me to lie down on the ground. He identified Tremaine Hudson as the perpetrator. Termaine was sentenced to 99 years. I'm like, Lord, this can't be real. I thought it was a mistaken identity. The best lie is partial truth. For 22 years, only two people knew the truth until a confession changed everything.

I was a monster. Listen to Burden of Guilt Season 2 on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. I went and sat on the little ottoman in front of him. I was, hi, Dad. And just when I said that, My mom comes out of the kitchen and she says, I have some cookies and milk.

This is a badass convict. Right. Just finished five years. I'm going to have cookies and milk at my mom. On the senior show podcast, each episode invites you into a raw, unfiltered conversations about recovery, resilience, and redemption. On a recent episode, I sit down with actor, cultural icon, Danny Trail, talk about addiction, transformation, and the power of second chances. The entire season two is now available to bench

featuring powerful conversation with the guests like Tiffany Addish, Johnny Knoxville, and more. I'm an alcoholic. And without this trouble, I'm going to die. Open your free I-Heart radio app. Search the Cito Show. And listen now.

But the thing about it is, here's the deal. This is a person, this is, this is a person for me. Got you. I knew Pum was a legend, right, when I walked with him. I knew it was something special about him. I knew he was different.

He goes on and becomes even more of a folk tale, more of a legend, more of a, like, you know what I'm saying? Like, more of a, a story. In your situation, with Boski, we only really have stories, right? Like, he's the Jesus that we actually got a picture of. Wow. Right? he's changed culture he's changed shit

and you were like you guys were fucking tight as hell yeah like I'm getting in your business man I'm getting in your business man I'm getting to share and it gets even deeper in these pages

that's okay and everybody can you tell you another one so how did you meet Bosca how did this and let me get let me get to the first question sure now

sure no did you know how special he was when he was here? In a way, yes. Like, the way you knew Pum was special. Right. Or somebody that you rock with, that you all become like comrades in the game.

Right. And you respect him, you respect you, and you're all trying to get it, get it popping. Right. It's like, it really was just that. But let me cut you off for one second. But pun, there was a heavy D. There was a biggie before him.

There was, there's no other Baskiat before. And there's having to be no other Bosciat after. So this is the reason why your question. The question is a little tougher. I'm sorry. No, no. You're 100% correct because there's very few black artists that were able to make the moves, particularly that Jean made, that we made. And these were things, what was so dope about connecting with him, like I told you, I cut school and used to go to museums. Museums all over the city. I got very familiar, essentially, with the history of art, not like on a scholarly level, but a lot of jobs.

but a lot of different genres of art I looked at in the museums I would look at books and read a little more You became well versed in it I got you know it's an ongoing process but I was like wow and then like reading about a certain painter or seeing some work that you feel

and then you could stand right in front of it like in a museum like in the gallery first and that was like oh my God I felt like a connection to that so when I connect with people on the down downtown scene in New York, like Kristen Debbie from Blondie, Glenn O'Brien, rest in peace. It was a whole bunch of cool people I connected with that I got plugged into that downtown scene. And Jean-Michel shows up right around that same time.

He had started out doing these street little, him and another cat named Al Diaz initially was called Samo. And he would tag up, like the tag was Samo with a copyright symbol. But he would write these little phrases like they would be. checking people or really make you think, like messages, if you will, kind of poetic, but he would be putting people in check. Like when I remember, he was like, Samo checking those who are on the scene trying to play art with Daddy's Money or little things like that that would be like, ooh, yeah, that's really what's going on.

He was street writing it? Yeah, this would be little tags. If you Google it, you'll see what these same old tags look like. And he was just writing them. So they were very like, you would see them if he was moving through the village. He would hit a few trains. Him and his cat Al Diaz did it together. But then John just, you know, became like the, he became the, like, face of it, so to speak.

Right. And so he had did that for a while, but he also was very creative. He was trying to figure things out and thinking about being an artist. He was in a band for a while. That was a cool thing to be on that downtown scene to be in a band. So we meet, and then it's like right away, he's very aware of art history. Because, you know, coming up in best style, I'm hanging, you know, I'm thugging. You know what I'm saying?

I'm doing this, that and the third. But I'm just knowing about the art stuff was not what I'm trying to kick with cats on the corner or whatever. Your hip-hop niggas was in the art at that time, right? Yeah, nobody in the hood. So it was a very, like, rare thing. So when me and Jean Connect, and I'm like, yo. And he hood. He from Haiti.

he from Haiti but you know we had similar backgrounds both our fathers was like accountants and whatever but he was like you know he basically had left home his pops wasn't with it yo you know and john just broke off so he was in the village making moves bouncing around and so when we connect it was like yo I know about Warhol jasper Johns Rochenberg all these artists contemporary artists abstract expressionist I was like oh my god this is incredible somebody like my age who's up on this stuff and we could talk about this stuff. And so right away, it was on a similar mission in a similar part of town.

We just became tight because it wasn't too many brothers on the scene at that time trying to make moves. And right away, we linked up. I'm putting them on, yo, it's this new kind of music going on uptown. Put him on the hip hop. Well, once again, it ain't even hip hop yet. Not even hip-hop. But I'm tapped in. I got

I got cold crushed tapes. I got taste. It's fantastic because I'm getting next to the scene now. Yo, this is that new shit right here because you couldn't hear this anywhere. You feel me? He was like, John was like, oh, yeah, man, you know. And then we making moves going to the downtown clubs.

That was the move like the mud club and places like that. We bouncing around the East Village downtown, and that's how it all got popping. And Jean's star begins to rise, you know, like rather quickly, just being a cool cat on the scene. Right. Then we, as people see the things that I've done with the art thing, and I'm opening and bringing other good help and other graffiti castes. Me and Lee, the name starts to, our name start to ring a little bit.

And then we're working on Wild Style where we're going to feature this. So other cats that's real official graffiti people, they start coming, getting into the mix too, because it's this opportunity now to, like, look at our work in galleries. So it was an alternative type galleries.

Like a gallery in the South Bronx called Fashion Motor. A gallery opened in the East Village really to show our work exclusively. called the fun gallery. And this changed the whole game because it had been in Soho, which was where the contemporary art scene was really

popping. And we shifted the whole game with our energy. And then this gallery opened to show our work, myself, Futura, Lee, Crash, Days, Pink. And then the scene caught fire like real quick. And it was crazy. Does Warhol come around you guys in this moment?

Warhol began, because, you know, and then one of the things I did because I was such a fan and dug his whole, like just the whole impact he had on culture and the cool factor going on. And to let people know that some people doing graffiti was really hip to art history. I did a train covered in Campbell's Soup Cairns. Lee Cignonist got down on it with me.

It was the idea I had to let them know that we was hip to art history and that we was coming. We was, you know, the move was on, you feel me? and it began to take, it began to, you know, come together in ways that, you know. I mean, look at the impact to today. Like, we're in Winwood right now. Which is an example of what that ended up. Exactly right.

So let me ask you. Like I said, I knew Pumann was special. Yeah. I didn't know how special he was. I didn't know how legendary he was. I didn't know how much he meant to the people until after he passed away. And I got to see it. And I got to see the impact.

And I got to realize that my friend always. belonged to the world. I thought he was just my friend. You know what I'm saying? Phenomenal rapper. Unbelievable. But what we got to do was I got to do records for him. He got to do records for me. And there's a bunch of records that's laying around. Yeah,

you want to try the watermelon seltzer mix? Please, just try it one time. Because you're going to mix yours with seltzer? Yeah. Yeah. Try the watermelon salsa. Just one drink. Just one drink because you're going to turn into Kool-Aid. So me and Pundon, we got a chance to do that, right? Right? Did you ever, like, be around Vascar?

I'd be like, man, draw me some for me. That's funny. No. But people ask all the time, because of the whole unbelievable phenomenal success of John, everything, it's really, it's really like a remarkable thing. And the numbers associated with his work, which are just insanity. People often always ask, yo, you got any of that work? Because, you know, shit's ridiculous. I got a pun verse somewhere laying around.

Yeah, no, it's such a great comparative, you know, type of situation. You and pun, me and John, and me and other friends that were artists. Well, artists oftentimes would do is they would give each other work or just make a trade. Like, yo, man, I like that. Yo, okay, I got you. You know what I'm saying? So those kind of things is how we dealt with each other in terms of the work or whatever. But, yeah, with John, like, it was just a unique situation.

He had a sincere understanding of going for it in a really hard way. Then he was such a unique individual. Like, you would cut his hair real wild kind of ways, you know, dreadlocks growing hairs. Yeah, he was wild. He was wild. He would do real wild different things. It looks so cool now. Did it look cool back then?

Yeah, but sometimes, like, being that, you know, you got the ignorance that goes along with, like, racism and whatever. A lot of people was real cool on the scene, but sometimes we'd be making a move. walking down certain areas. This is before Soho or any of that downtown was anything like it is now. And people sometimes seeing us, but particularly John, they cross on the other side of the street. Why?

Because his head. It's head. Wow. People, dreadlocks were still a new thing. But that's like a, come on, you being so stupid. Then that becomes a style now that people replicate all over the world. But at that time, it was really extreme. You really didn't see a lot of that.

But people would just react really negatively. John told me sometimes he'd be getting on an elevator. and folks would see him and get, you know, like, and get off. So that went on. Cabs wasn't trying to pick us up. So it was a lot of, like, stuff that you had to deal with more than. What years is this around? This is, like, the early 80s, essentially.

When it began to start popping for us, early 80s going through. But it began to change because a lot of the, like, the white guys that were cab drivers, like, they moved on, and cab drivers, the yellow cab drivers, primarily became people of color. Yeah. Things changed. But definitely, John, you know, it's just an incredible cat. Real cool.

We had a lot of fun going to clubs, doing things. But, you know, he definitely is just exploded, which was amazing to see it happen. Was he like the, because we hear other, and this is pure ignomous question. Go ahead. It's okay. We have other black artists, but we don't hear other black cool artists, right? Right. Was there other artists before him?

Yeah, there was definitely other black artists. Because of the segregation and the da-da-da-da-da, there was a black art scene for sure that goes back to the time of the Harlem Renaissance and like in what have you. You know what I'm saying? Artists like Romar Bearden and Jacob Lawrence. There's incredible black artists that made incredible work. A part of the Harlem Renaissance happening was black folks for the first time in our history being in this country. And you obviously know the history. We was coming, we was migrating.

It was called a Great Migration from me. the South. And still oppression after slavery ended, black folks was like, we're going north. We're trying to get to Chicago. We're trying to get to New York. Even though they probably raised the prices on us, we was trying to get away from all that pressure that we were still under. And I like to think that the celebration that went on of kind of feeling free for the first time, that really creates the Harlem Renaissance. So people began to start writing intellectual stuff, you know, like Harlem. The arts flourish, right. In that way. You know, Marcus Garvey, like, we move in politics.

Like, we really exercising all the elements. And so there were artists, incredible visual artists at that time. And there were writers like Langston Hughes, like Zoranil Hurston. There's a whole-te. Why was Boschiat the artist's hip-hop embrace? That's a great question. And I guess it's the cool factor. This is so great to see all this transpire.

I'm trying to throw you to the, But is that now? But yeah, absolutely. Because it was it back then was that scene embracing him? Because I want to look at it. Sorry, I want to look at it like you, you are the go, all right? This is art and hip hop, right? Yeah.

Hip hop is art, right? Correct. That's one million percent. Absolutely. But I want to credit you. This is my opinion. This is not fab saying this. It's me saying it.

What the person who brought art into hip hop. Yeah, well, that's true. Because now you see Swiss B's. You see Jay-Z. I had a whole conversation with Jay-Z for two minutes, and he was talking to me about art. I knew nothing he was talking about, but I was like, uh-huh. So once again, this is.

Like, I was like, yep, because I didn't know. So at that point in the game, clearly you're getting, I'm the kind of helping lay down the foundations of this, and it's not too many people, but in the conversations John and I would have, these are things we would sometimes talk about. We knew that we would eventually get it. It's just that we was in position at a time.

We was just way ahead. And so what I think, a part of what happened is, which was fascinating for me, because most people know me from what I've done, even though my foundation and background is making art, exhibiting, all of that stuff, along with genre and all these other people, I had other interests as well to work in film,

to work in music, Jean did as well. So, John starred in a film called Downtown 81. We talked about producing movies. We was into foreign films. He turned me on the foreign films. I turned him on this stuff, like the surrealist

films of Louis Bouni that Salvador Dali worked with them doing wild stuff on film. So we was... He pronounced everybody named. Salvador Dali was out of it. He was... Yeah, he was like a surrealist, but he was a brilliant guy. Yeah, yeah, yeah.

That was a big influence. on what Andy, because he was the most famous artist until Andy, like, he became that. That was a very specific thing. And so, damn, these are just things that we were all focused on, you know, at the time. And, you know, and John definitely, we were, this is the part of the thing that we shared.

We were both aware of, you know, how the game had been played. But being artists of color, how to maneuver and how to make moves into the scene. So we had that synergy, like that punk rock and that New Wave thing was a lot of people that were open that we connected with that Doug and saw what we were doing and looked at it in the proper way. And that's how, once again, some of the first shows and stuff began to happen. You know what I'm saying? It felt like all of these scenes are like the counterculture scenes of the time that were united.

Correct, correct, correct. They kind of saw kinship and all being counterculture. Absolutely. And that's the part of what I dug too, even though I'm a little kid, when I'm reading about stuff that happened in the 60s, when Andy just popped off. Andy Warhol. Andy Warhol, we're talking about the 60s.

We're talking rock and roll. We're talking that whole cultural revolution that went on. And Andy controlled, he didn't control. Andy was like dominant forcing that. And so looking at those other elements. And plus, they was having mad fun. We'd all look so cool to us. So we definitely were inspired by that and looking to do in some regards our version of that.

You know what I'm saying? And eventually when we began to get it popping, Andy came around. Like, yo, y'all doing it. You know what I'm saying? And make connections with him. It was an encouraging thing. And it just kind of continued to grow. Now, someone was the same question with Andy Warhol, right?

If a person has an Andy Warhol in their house, that is like, a safe. That's like, you know, you shouldn't even have it in your house. Yeah, it's crazy now. That's why once again, the question that I get asked about if I have Boskiy eyes.

It's like, wow, it's an awkward question. I feel like you got his, like, stuff that he do-le. That's my man. Because of what? Because of the value. Like, you got people that have, you know, when the art gets that crazy,

you have to have, you have to secure it. It has to be insured. You have to have next levels of, you know, So security, sometimes it's like, do you want to have, you know, you got to make sure everything is right. It's crazy. Do you feel weird, though, that you're, sorry to coach you, but do you feel weird that your friend's work is so valuable and that you, now you have maybe something of value that, but this was just your friend? You know, it is, you know, the whole thing about, John, not just that, the whole way it's developed, it's just phenomenal. That his, unfortunately, it's so unfortunate that his life was so.

short, but that the effect continues and resonates at a level that's just unprecedented. And that's so dope for me. 27. Which unfortunately, people talk about... The 27 Club. Exactly. Oh, that's crazy. Jimmy Hendrix. Jim Morrison.

Amy Whitehouse. Someone just recently just passed it just 27. I forget. Because that's why... There's a bunch of 60s, once again, iconic people that just was popping and running things. So Jim Morrison, right? Jim Morrison, right? and Jimmy Hendricks, Janice Joplin, probably some others.

So it's just an unfortunate thing. But, oh, the other thing, I lost a train of thought to answer something you brought up before, which was brilliant. What I have noticed, and it is when people get curious about Jean and they lean in, they see that we had this close connection. And once again, most people know me from, you know, being on TV, you're on TV rabs, this, that, and the third. not knowing a bunch about my art background, which is all good. Then they go, oh, my goodness. And so that got a lot of hip hop folks curious. People would run up on me.

You fav, like I was checking, you know, this cat out, Jean-Michel, whatever. You know, it's hard to say his name at first. Now people can say it right. Yo, I saw that, you know, y'all was hanging and everything. Like, what's up with that? And I'm like, yo, and I love that so much because I'm like, this is one of the things, once again, John and I wanted. We wanted our people to connect with it. people coming from where we're coming from to understand us.

And that has happened in great ways now. So as far as black artists that I talked a little bit about from the Harlem Renaissance or whatever, and it was popping black artists all through time. They just was kind of like everything largely was segregated. Now there's a lot of younger black artists that are doing things that are definitely making serious inroads. And because of the awareness, more people are now looking at those older black artists that didn't get the treatment from the museums.

Exactly. So now this is all happened within the last, I say, 10 years, where they decided, man, we have all this work in the museum, but we don't have enough from our beard and Jacob Lawrence and a bunch of other very important artists that they should have had. More appreciation. And so that has happened now. Can I ask another stupid question?

This is not stupid. Who painted the Good Times poster? Oh, that's a great question, by the way. That's an artist named Ernie Barnes. Okay. Ernie actually was an NFL football player, I understand. What the fuck? And his side thing was just doing, he had this unique style or doing them characters.

And then being in good times and Marvin Gay's album, I want to say, what's going on? What's going on? That's the cover. He did the cover art. It made him iconic. And once again, I think he's passed away. But there's people now realizing his work that that value and, you know, is, you know, is, And I believe Ernie Murphy said he has the original.

Exactly. And I believe it's $8 million or something. Once again, which is a reflection of the fact that people are like, oh my God, this is an important work of art. It was also connected to this TV show, to the great album. So that's another very good point. Like Ernie Barnes, incredible artists. Yes, yes, real quick.

I want to go back to the Making a Wild style. Yes, yes. the place, the time frame that is being made. Is this pre-Zulu Nation or Zulu Nation around this time as well? That's a good question. I think that's probably around this time because we, like, we're doing this early 80s. And a lot of that happened, you know, the story about Zulu Nation, whatever. Bringing all the gangs together.

The gang's coming together. So the gang thing kind of ends. That's a wind down late 70s. I'm from Brooklyn, but that was kind of, you know, you look at documentaries. And so that they began after that. And as the parties grew, you know, you would hear, you know, the Zulu Nation. Because Bam's name was growing as playing records at that side of the Bronx and whatever. He was strong.

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But, yo, Wild Style was like, I would say when we started making a movie, had rappers the delight. I don't think had really even come out. That came out the time Charlie and I had began to really work on the film. There was some local records that came out that I thought. were very important, like on the label called Enjoy, like Super Rapping, and then Spoonie G. It was like a solo. So there were a few things that came out, but it was Sugar Hill.

The Rappers' delight really opened a lot of people up because it charted across the country. This is the Boscaat? Yes, that's one of the kind of things he would do. Yeah, this is a good one. Same over. For those of us who merely tolerate civilization. Wow. And you see these things and people were like, is this some type of like a conceptual artist?

Because everybody else was doing their names and tagging and had their own style or how they did their graffiti. So a lot of people, once you, if you were tapped into the downtown scene, they were very curious. Like, who is this cat? And when he emerges and we actually meet at this party, it's a great story in my memoir. I meet these guys that have a big loft. and they're trying to create this scene, like this art scene, and me and Lee connect with them, and we painted these big plastic sheets.

Lee Kenyonis, the star of wild stuff. Okay, okay. Is he Puerto Rican? Yes, he is. He's Puerto Rican. Lee Kianonis. Yes. He thought it was him.

His name is Mr. Lee. Mr. Lee. Okay. He thought he got excited. But no relation at all. No relation at all. Yeah, yeah, yeah. Now, Lee was like the pinnacle of graffiti.

What he had did that was like, groundbreaking at that time. Obviously, most graffiti really is on the size of trains, the letters, the characters are developing, the colors. Lee paints an entire handball court of the image of Howard Beck. Can you remember

this story? Bleak, can you just say something? I didn't realize how racist people are. Whoa. I went to a handball court the other day. Oh, shit. All my comments was, now we really know you Puerto Rican. I'm like, damn. Oh, wow. Yo, it was the most racist.

Black people played handball too without pop. But you know what's the fucked up shit? Whoa. Was they did just attack my Puerto Rican side, bro. Like, they destroyed me. Like, they was like, it was like, yo, only Puerto Rican is going. It was the coldest day in Miami. I saw it.

In Miami. And I found out there was a handball tournament. I could not resist. I had to go. And everyone was like, that's real Puerto Rican shit. I'm like, I'm sorry, I'm sorry. I had a brain part.

He said that he used to do pizzas at the handball court. Lee did this giant handball court with an image of Howard the Duck. It was like, wow, nobody had did anything like that. You know, it was up about 20, 30 feet, you know. And so Lee was the master of the game. And when I connected with him with these ideas, once again, we said he was like, let's get busy and do this. And that led to us having an exhibit at a gallery in Rome,

A very prestigious gallery. Crazy. Got our first little item written up in the village voice, and this Italian art dealer had been seeing the work on the trains, and he was thinking like I was. This is like a next level of pop art. And when he saw who we were, and I was standing in front of Lee's wall, in fact,

because Lee, along with being super dope, one of the best that was doing it, definitely not Arlie. He was the, no, Lee Cignonas. He was the most wanted graffiti artist in New York. City. They literally have like posters by the law. Let's be clear. Wanted by the by the transit police at the time.

It was like real serious. So Lee had the kid. Part of his skill of being nice in the game is not getting caught. So he was stealthy with it like a super low key. And he's like, yo, you go out and beat a face and get it popping like that, which I did. And so that

me standing in front of his wall, telling the story of who we are, little young kids taking it from the trains. You know, we, in by the same stuff as Warhol, Roy Lichtenstein, whatever, whatever. This art dealer gave us the show. And that was huge.

He's like the original, the British dude that's anonymous. What's his name? Well, Banksy. Banksy is inspired by Lee's character. The way you're describing it, that might be of Benzzi, yeah. Well, Banksy, yeah, because Lee... Badgeo said he wants to meet Bankski. Yeah, he's super low-key, but he's...

You met Banksy? No, but we've exchanged, you know, Because he keeps it low-key, but he definitely... If he didn't, he ain't going to... He's super... No, no, but you gotta, you have to reach... There's people that have engaged, but what he's doing is so specific.

You have to respect the gangster of all that, because it's brilliant. But I'm told he was inspired by Lee's character in Wildstyle, whoa. Lee's character and Wild Style is Zorro. Essentially, none of the graph people know who he is. Right. Which is inspired by how Lee actually got down.

So that was weird. The ideas of the story of wild style come from things that were going on all around us. That's dope. Like, we're about to connect with the art scene. We go to the art collector spot. You know, Patty Astor plays the journalist coming to write about us. And, you know, so it captures that period

when the culture is just beginning to get taken serious and looked at in a, wait a minute, what's going on here? What are you guys doing? And so, yeah, so that was. But it's so rough. feels like a documentary reality. That's exactly. Yeah.

Yeah, yeah. It feels so raw. It's sort of like a docu drama because we intentionally wanted it to have an energy like that because all the people that play the characters were really who they were. So we gave them a little direction.

Here's the idea of what we want you to say. Say it how you'd say it. Like the busy beep stuff is... And then you have people like Busy Bee who literally is like a star. He steals every scene he's in. So when me and Charles, are going to the parties constantly taking notes

on who we want to put in the movie. Busy just had this most unique personality. In fact, the first time we go to the Bronx to start our research, we go to a park. It's called a valley, way up in the North Bronx. And we walk in, and we checking things out. It's me and this white dude, Charlie. And we walk up on Busy and Busy kind of,

what's going on? And then Charlie is like, hey, I'm Charlie. This is Fred. We're here to make a movie on the rap scene. And Busy goes, what? Busy runs right up on the mic, brings Charlie up. Yo, y'all, he's here to make a movie about me. About him.

About him. And we became immediately connected because he was like, what's going on? Like, you didn't see no kind of white folks going out to the Bronx at that time. And the stick-up part? You've talked about this before. There's like the part where the guys come up to, like, to rob y'all or something. Oh, God. Yeah, that's at one of the parties we was at, and this cat was on dust, big, strong, overly muscle-bound cat.

And I'm looking at this cat, like, yo, this dude is crazy. And I'm like, Charlie, you know, because this is, you're going to stick up kids and all this is going on at this time. Every time, wow, wow, wow. You know how I used to get down. And so going into the Bronx, which is not my territory, I'm constantly thinking this every time. But you know what busy told me, and I'll get back to the, you know, the big, the big, guy I was smoking dust. Busy told me when we first walked up to him, he thought we was the police.

Like the Maude Squad or some shit. Like a typical Bronx people. We didn't. We looked like, who's this white guy? Who's this black guy with him? Yeah, yeah. They got to be undercover. They got to be plain-closed cops.

This can't be happening. And anyway, so we had this party one night, and this dude is walking around looking crazy. He had a shirt off. He cocked, diesel. Everybody's moving out of his way. And this is at a jam. So it's, you know, people thugging it.

Jam is a party, guys. Yeah, part of the case you all, okay. And the whole night we did. You know, Kaz is there. I remember Cole Crush is on the mic. You know, a bunch of castor characters, you know, typical uptown party at that time. And I'm constantly going, man, I hope this cat

don't lock on to us because this looks like it would be crazy. And then me and Charlie, because Charlie would always have a camera. We'd taking pictures, you know, how we did all the research. Like, you look in the early history, some of the earliest photos now. Our photos that Charlie and I took in making wild style and doing our research. At some point, I look up and this cat locks on to us.

It's really Charlie. And I see this cat start sliding through the party across the party coming our way. I'm going, yo, this is going to be crazy. Dude, six, six. Everybody, yeah. On dust. He definitely dusted because he, dude's moving kind of crazy. It's like, the fuck is going on.

And so I'm looking for something to get my hands on because I'm thinking, yo, it's about to go down, for real. So he walks right up to us. He's standing there. And Charlie goes, Fred, I think he wants me to take his picture. This shit was super white, funny. And the dude, looked at Charlie. And he just turned and slid off.

The shit was must have. I mean, I'm like, I swear to God, like I felt like I didn't breathe for two minutes because I'm like, yo, this shit's about to go down. He's about to hit my man. You know I got to jump in it, but this dude looked crazy, you know. Anyway, that was just one of many, that was a, you know, nothing really went down, which basically is the whole thing.

Everything was cool. And we made the movie, which still is like a remarkable thing. It's a classic, man. We got a lot of great sense. A whole lot more turns. And so, like I said, so one of the things I did I made, All the instrumental beats, because which Charlie was like, no, which I mentioned earlier. And so I went into the studio and made basically what I was considering, like, a record of break beats, about 11 tracks, all instrumental.

Christine put all the different sound effects and the guitar shit to make it sound weird because I played him different break beats, Marty Grau, seven minutes. You know, things in that nature. That the DJs. The classics, right. Classic shit. and then we use those tracks and we pressed up about 100 pieces of vinyl and that's what each DJ is cutting.

So they were playing them in the film. Yeah, they're literally playing them and then that becomes our soundtrack. We record the Cold Crush, the fantastic, busy and them, double trouble or rhyming in the movie. That becomes our soundtrack. But the reason why I went and asked about Zulu

is because it sounds like, When you made wild style, you kind of made a decision to bring these elements together that later on everybody would package as hip hop. Yeah, well, that's a part of... Because later on, hip hop, you know, corporate America, the industry comes in, soaps in, grabs rappers, and kind of divides and conquers the culture and divides the elements again. Very true. And we've been all ever since trying to hold it together. Very true. Wow. You definitely see it clearly. Yeah, so at least, you know, our attempt, not that we could predict everything,

we was just trying to represent it for what it was based on that initial idea I had. I wanted to show this was all one thing, and I had this idea to make a film. Charlie was like, great idea, let's make this film. We made that film, and it kind of carved kind of an understanding of what the culture actually is, and Wild Style does that. And, yeah, it was this an incredible blessing. And then the way it spread around the world was something I could not have predicted that people of other languages would become. Yeah, man.

That blew my mind. Because some of the first tours to Europe, we did. The first tour to Europe, which was France primarily, about 20 or 30 of us. Yes. I remember you saying. You know, we did that. And they went crazy. That's still the second biggest market for hip hop in the world.

And then we went to Japan the following year, 83, about 20, about 30 of us, rock steady crew. Rap is DJ's whole shit. This is 88? 83. 83. We go to Europe in 82. We go to Japan in 83. Crazy Lex told us about that.

Yeah, crazy. That was an incredible trip. And that plants the disease. But we had no idea it was going to take like it did. It's still remarkable to this day. Yeah, I mean, hip-hop is global. And global in every kind of way you can imagine. And sometimes represented even better in other countries.

That's so true. You know, but you know what I find that I like is when you go to places where people, it's like a level of poverty that, especially in New York, you don't see anymore. Like, you know. That's what it is. And these people, when you see the way it's applied and the way they adopt it, it's like it reminds me of where it came from and how the Bronx was really bombed out. It was the most, like, horrific ghetto on the planet because it was a poster child.

And from that logic, the way to be it. The way the Bronx looked in the 70s. When I'm researching you, that's when I found out that it was actually landlords that was burning down their property. Yeah, a lot of the apartments. I didn't know that. That's a big part that happened. It was a combination of things with people. They're burnt down Bronx.

But I didn't know that it was self-inflicted. Listen, I'm saying. Like, I didn't know that. A lot of it was. A lot of it was because what it was. It was people own property. What it was was, they can. get more and get out

with the insurance money. Yeah, I did not know that. That was crazy. It was huge in the Bronx. Yeah. And it was ramping. They had people that was just like, that's why it was a whole blocks in the South Bronx where maybe one or two buildings left. It was just rubble. It was unbelievable. It looked like literally like bombs have been dropped. There's a famous

I seen I talk about in my book. In the 77, yeah, in the 77 World Series when the Yankees is playing. 1977? 77. Reggie Jackson. That whole shit. I remember watching. I was born that year. You could see two or three fires glowing not far.

In Yankee Stadium. Wow. You go on YouTube and watch that. Wow. That's how the Bronx was burning for real and the gangs come out of that. Because it was like, come on. It was like the warriors. I always have family in the Bronx and that was always like our little like, you know,

a joke. Like, oh, the burn down Bronx. But we didn't know that. Yeah. It was primarily the South Bronx. Yes, yes, yes. That was really devastated the most. Us from Queens, we just, the Bronx was the Bronx.

You know what I'm saying? I'm from Brooklyn. I didn't really know all of that later. Like, years later, you know what I mean? And this is where hip hop is born out of. Like, did you watch the Rubble King's document? I thought that was so amazing. You were so important.

You said largely. What do you, why did you say largely and not totally? In terms of hip hop coming out of those ashes? Yeah, yeah, yeah. Oh, because the origins of hip hop are what leads to hip hop. This is a lot of people, yeah, no question is, look, and people are entitled to their opinion. Okay.

But this is what happened. Tell us. This is what happened. Tell us for no, yes. There were DJs, and there's, wait, before I go, I'm going to get, I'm going to run this down. It's incredible doc here. Do you want a shot? Do you want a shot or something?

Let's wait for quick time. Okay, okay, okay, okay. Because I feel like you, you get in here. No, no. Listen, I've been waiting. Yeah, yeah. I'm sitting down like, although I'm not, listen, I am in school right now. Oh, man, stop, though.

You know what? I can tell you wanted. No, this is, this is a good one that I'm passionate about. Okay, okay. Because obviously there's a lot of different stories. Yes, there is. About the Jamaica connection and whatever and the dance hall. I'm deep into that.

Since the 70s as well, growing up in Brooklyn. You know, I'm going to, you know, hearing all them early dance hall records. But there were DJs that damn there go back to the late 60s that were mobile DJs. They wasn't cutting or scratching. They was mixing one record to the other. That was the big. innovation. Everybody else had a record player going back, 70s going, you can go on further back. You put four, five, 45s, and the arm would swing, drop a record it would play.

And that's how people listen to music. You understand what I'm saying? Largely. And they were considered DJs? What? They were considered DJs? No. You were just playing record. Yeah, just playing records. Now, the idea of the DJ, what is that short for? Disjockey. Thank you. Who was the disc jockey in those people? Thank you. This is a real inspiration for what the dance hall DJs, that sound system scene did in Jamaica and what these early DJs were doing here. They were emulating the black radio DJs, like, and because they was the ones talking kind of slick. So doing the talking over. You had a little job talk, hip slang. It was Jocko, who was out of Philly in New York, had a little slick shit kind of rhyming.

When you look at the history going down to the scene in Memphis, Stacks Records, Pee Wee Markham, he was on the radio. Wow. Slide Stone, he was on the radio. That's how he built his name in San Francisco. So the big inspiration on the idea of a DJ is the disc jockey on the radio. They were the ones who played the music, had the flavor, talk that slick shit, sound fly, and play the records you wanted to hear. That's really who the DJs were in. fired by because it's like, oh, this is like

the radio, he's playing and, you know, the beginning of people getting on the mic would like emulating what the radio guys did. And transitioning the records by talking over them and doing the same. Well, just really bigging up who the DJ was and shouting him out and promoting him. That was what the original foundation was. Because

even the hip-hop, the DJ was the man way before. Thank you. Okay. The DJ was the man. He had the system. He bought the music. That's a foundation. You better believe it. Okay. That was 100% And that was a huge scene that developed like through the 70s. Like Hercl will tell you, Pete D.J. Jones, the original Grandmaster Flowers,

my boy, there was a list of these cats. Queens had people like the disco twins, you know, the Infinity Machine. My boy, Hassan and Ron Lawrence, Ron Amin Ra, who was one of the, you know, hitman mad, man. He's doing all them cool, like AI clips now with people talking about hip hop. he takes the photos and make a move a little bit. Uh-huh, yeah. They made a documentary a little over 10 years ago called Founding Fathers.

That details, yeah, it was only on, it was on YouTube for a bunch of time. It's about to be on Tooby. Okay. And the Founding Fathers really interviews and talks about this era of the game. And these DJs. When we say Founding Fathers, I just want to reiterate that we're talking about the founding fathers are hip-hop, correct? Well, that's what it implies, but it's really like, it doesn't say that in the title. You're 100% right.

Okay. But in terms of what led to that, boom. What Herk did, once again, is genius. Because he took that structure of the DJs that was mad popular all over the city. And then he brought something new to the table with the brakes. The brakes? Picking up, doing that like needle drop type of technique. And flashing them will tell you, they got what he was trying to do.

It was incredible. But they couldn't catch the beat all the time. And Flash went and did the research to figure out what turntaker. But it was the research. But he did, he did research with every turntable until he found out that the technique, 1200 was the one that had the direct drive. Right. It wasn't belt drive.

And then he, yeah. So the other ones, there was a drag before you got to the beat. So we had Flash on here. Flash was amazing. He's such a jazz on here. Yeah, Graham Astin. Yeah. We had crazy legs on here.

Yes, I've seen that. And I feel like all of them do say they credit Herc. Yeah, they credit him for what becomes hip-hop. But just that a lot of them may not know, Flash will tell you about Pete DJ Jones and the DJs that made you want to be a DJ. It was a thing. I think, was it Herc on here or maybe Flash told a story?

We love to have Herc on here. We never have. Not Herc, I meant to say Kaz. Cas or Flash told a story about, if I'm not mistaken, and feel when he went to battle, and soon as Pete DJ Jones turned his system on, he was like, yo, it's time to pack up and go. Because these dudes

not just was nice with the records, but they knew how to put the systems together. It took some, it took bread. And you had to have some real technical. That was the gatekeeping in these errors. Like, you had to be able to have access to this equipment or a studio or whatever. As you know, the story goes

to black out of 77, when cats got their looting on. A lot of Bronx cats got access to equipment because let's be real. The Bronx was the poorest borough in the city at that time. It took some money. A lot of times you hear stories about cats that have big sound systems in Queens or whatever. Their parents spent two, three, four, five K. That's a lot of money back then. But then after the black, a bunch of DJs. That was incredible when Cass ended up told a story, a lot of cats went to where the entertainment

electronics stores was and got busy, got mixes, got real stuff for the first time. You know, and so that... I was born in 77. I helped that shit. Look at you. It was me. It was my magic. Incredible.

So those are so many incredible stories about how it really got built. But definitely what Herg did was take it in another direction. Also, the other thing that's interesting about those DJs that I mentioned, the flowers and the P.D.J. Jones, there were clubs that came up in Manhattan where promoters went out like a restaurant. And they would take the chairs out and they would promote that as a party. For people coming from the burrows. Not in the grill, because I heard you took it.

No, this is way before the grill. This is like Nell Gwyns. Okay. I didn't go to these places. I'm still a shoddy, but I'm well aware. Studio 54 type of shit? Way before all of that. It's places.

This was a legit club. It was. These was legit clubs too. But this is what, once again, turn the heat up on this whole idea. DJ. Your mobile DJs go from playing in the streets to getting hired by these promoters, their names are getting bigger and bigger and bigger.

They're the ones that's really developing this whole disco thing. Frankie Crocker. So this is pre-disco. You're saying this is how disco comes in. This is what makes it. And Frankie Crocker doesn't get enough credit. I go into him deep in my memoir because when he took over BLS FM, most black people or most people listen to their music on AM when Frankie Crocker takes control of BLS.

It's stereo for the first time. In fact, it was a big thing when you would hear that to speak, they would do the station ID, they would go, W-B-L-S, it would go from left speaker back to right. People would be like, oh, my God, that's next level. And that made people want to go and get stereo systems because most people, it wasn't about stereo.

And so Frankie Crocker became the dominant DJ. His style was more smooth. He had like a suave kind of vibe. He drove a Rose Royce, you know. He was like on some player, swab, sophisticated, but he followed the DJs, these mobile DJs that I'm talking about,

and he'd be at these parties. If he saw the DJ broke some record and the crowd went crazy, Frankie would put that record on BLS. And he broke a lot of the acts that became the big acts in disco. He was super duper dime. He doesn't get enough props

for how influential he was because I'm listening. Then I'm hearing him promote the parties of these DJs. Next thing you know, the record, that he's breaking become hit records, you know what I'm saying?

The records out of the foundations of disco. Frankie broke most of those records. He would interview the artists on the radio. He was Frankie Hollywood Crocker. That was his whole thing. He was real smooth, real fly influential. And so with his energy and everything I'm telling you, that takes it over the top.

Then we get Studio 54. Then we got high-end clubs, because now it's the thing. Did it go to Studio 54? One more time? You never did cocaine or two years? I didn't go to the street. That was some shit where they invented.

I'm still a shorty kind of sort. I ain't really deep in the mix yet. But they would pick you. That's where that whole velvet rope thing started. And they would diss a lot of people. I went up there once just to watch it going because it was obscene. People would be crying. Oh, please.

They can't get in? Man, listen, it was the biggest thing in the media to get up in there to get picked. That's where the whole rope thing started. When my shit got popping and the mud club did, the reverse instead of the velvet rope. The mud club had a little chain outside. And when me and Jean-Michel rolled up, it'd be like, oh, Freddy Jean, come right on in.

You know, we had five or six cats with us. So that was our scene, which was a change from the whole Bougie Studio 54. But that was, Super 54 was huge. But it was like, yo, man, you know, FAB, and they downtown, they got the white girls. Hey, well, that's all that was there. We were, you know, we was equal opportunity,

equal opportunity. You know, we was, hey, you know, we wasn't trying to discriminate. You asked about one white girl, and then you asked about the other white girls. This is my friend, Sunny D over there, right? I thought he's a white people whisperer. Oh, shit.

Like at first I thought it was embarrassing. He likes to skeez. And then I thought about it. I was like, yo, these white people, like, as soon as he talks, they let their guard down around him. Like, he's, he's, no, I'm just being honest. He is a white person with him. I don't think he can relate to other Haitians.

What do you get related? He can relate to him. That's crazy. Do you think you, do you think, do you? Do you think you're white people whisperer? Well, you know, at that time, that's mostly who was on the downtown scene. And, you know, it was a crowd that was very open. That's the thing.

Everybody in New York, you know, New York was really polarized back in the days. Like if you, you know, cast in different neighborhoods, they didn't really intersect. Like segregated in that way. Yeah, it was more or less, it was very segregated. You know, you could roll through different neighborhoods. It was a fine. Like, you know, even when people like me, when we're shorty's going through Brownsville, Casper would check you, what's up?

You have to get busy on some knuckle shit. You know what I'm saying? You just don't know about the 52 block for real. You know what I'm saying? You had to know how to handle your shit. And that's New York, you know? And so certain neighborhoods where you had tough, you know, Cass would get busy.

And so that was the dynamic. But on the downtown scene, it was very open. People was on some arty shit. It was different. So we, even though, me, Jean, a few other brothers were among the few people of color. The crowd, all of them was

like looked at as outcast as well. You know, punk rock, making shade, heads. Was CBGB popping at that time? CBGBs was popping. I'm up in there. You know what I'm saying? I'm making moves through all of them spots at that's one of the first venues that that was for the punk rock, yeah. But hip hop was was one of the first spots and they allowed

hip hop to perform in there. Okay, I missed that part. But wasn't like B-C's in them like all up in there? Well, the Bisties, yeah, they wasn't doing anything. I was around the B-Ces when they they came up, Beastie Boys, you know what I'm saying. They definitely had that punk rock energy. They were a punk rock group, I think.

Well, they had a punk rock thing. They had a punk rock attitude, but they was mixing hip-hop with it. Their first record that I loved blew up was called Cookie Puts, which probably never came out. When they recorded this TV commercial for Carvel Ice Cream, and they just sampled these shit, it made a wild, crazy, goofy record. It was a lot of fun, but it had a punk sensibility. but they was rapping.

And that's a part of Russell's genius, seeing these white cats and thought this could work. You know, Rick Rubman stepped in to work with them. And that shit blew up way beyond. But we was all hanging in that same downtown scene at that time. Because some of the clubs that we frequented, as different rap records are beginning to come out, Sugar Hill, other artists doing things, you know, Houdini and whatever.

The downtown clubs were spinning them. You know what I mean? They was beginning to get into that. because the things we were doing. Like, I curated an exhibit at the mud club, the same club I'm talking, and we did a show. Keith Herring had put me on, he said, yo, the owner of the club wants you to curate a show. Which is a flex.

Keith Herring is a flex right now. Yeah, that's my dad. He was a part of the whole team at that time. And he said, the owner, Keith is just starting to come up, and we were super tight. And he asked me to curate a show, which I did called Beyond. words. And I included a lot of these other graffiti artists I'm talking about Jean-Michel, Futura, Crash Days,

a few other people to show that we're moving into this scene. And the dude knew I was connected to this rap thing, which is starting to bubble. He said, yo, can you get some of them groups? So I got like, bam and cold crush and busy. All them came down to perform at the opening. And that

was a lot of people's first experience with hip-hop culture on that downtown scene. John Michelle was then. They was just Yo, this is dope. They felt it beyond expectation. And then more and more people began to mess with it. And so that became a place where we began to do our thing, so to speak.

And people were open to this new thing coming on. There's a venue for the group. Still not called hip-hop. Yet. No, not totally yet. When do you hear it called hip-hop? Like what is your- Okay, so what happens is, oh boy.

And I elaborate thoroughly in my memory. The book, right. There was no name for it, officially. And looking at New Wave and Punk Rock, those scenes were named, and you could know the styles of the different groups, like the Sex Pistols, Clash, and groups like that, the Dead Boys were punk rock, but their New Wave were, like, were like, blondie, talking heads, B-52.

But these scenes were clearly defined, and they were being written about and further defined and defined and, explained. And working on Wild Style, as we were coming towards the end and going into post-production, I'm like, Charlie, what are we going to call it? We had did an event, there were two events that, well, it was an event that we did, which was, because, you know, I used to spit on the mic a little something, something, and we come together. It was the photos of Henry Chalfaun and Martha Cooper. Those were two, the first official graffiti documentarians. They would photograph the stuff, the rock steady crew, a DJ from.

my block in Brooklyn, DJ Spy. I got on the mic and another cat that I brought into the scene named Ram L. Z. And this event, we were calling it graffiti rock. But Charlie and I were like, well, that was the term we had used.

We were like, what are we going to call it? So every other rapper at the time, many rappers would, in between rapping, they would, and I used to consider it an opportunity to catch your breath and think of your next rhyme. They would go to the hip, the hop,

hibby, dibby, dibby, you don't stop. That was a part of the like, a break in between your rhymes, throw your hands in the air, different things that a lot of the foundation rappers would do. I told Charlie, I think we should use this term to define the whole scene because the scene we were trying to showcase in the film

was the painting, was the music, the DJs and the dancing. And a lot of people were saying it. And so we helped push that into the mix as a way to describe what the movie was about. Because once again, seeing how punk and new way were written about, we were anticipating something similar, being that I had the instinct to connect with people

that were big supporters of us, that were the key principal people in that scene. Right. And so that's essentially how that began. I helped nudge that into place. Because to promote the film, the first real descriptions, nobody was writing about this as a culture. And in the promotional wild style,

this is the beginning of it being seen as this broad picture, as you know. Together. Together. The culture, the elements, four, five, whatever people would determine. And this is what it's called. So it's more organic. It's not like, hey, I've named, which, no, it was a name and a word, a phrase that was a part of the culture. I like to consider, I just helped nudge it into place because we needed to tell the story, promote the film and what the film was about.

And Wild Style was the beginning of that. The initial stories were in the Village Voice and downtown publications. The first time it was used in print, this cat Michael Holman, who, once again, he did a TV show early, But the goofy cornball suits that he had to deal with didn't allow it to go. It was syndicated. And it was called graffiti rock. You've probably seen clips of it online where you see like Kumo D and running them perform. And he's the host on it.

He had the gazelle's on. You know, he was somebody that I put on and he dived right in. He would manage the New York City breakers. They were like the rivals to the Rock City crew. In an interview in an article in a downtown paper called an East Village Eye, he does a story. I had gotten his ear and let him know, listen, we're going to call it all this. We're beginning to promote the movie.

This whole special section in East Village Eye was like several articles. The first time this had ever happened about different aspects of the culture, Futura and Lee had art that was included in that issue. And Michael Holman does an interview with Bambata and uses that term for the first time in print. Bam Bada says it because that's what I've... No.

Well, Michael is talking. Michael brings his truck. In fact, to make it legit, to make me feel like I was on the right track, I called Bam. I said, bam, I'm thinking that to promote the movie

we're thinking of using it. And Bam said, yes, I totally agree. So he agreed. Because we're like, look, we want to call it something. On no flyer that you see, and the flyers are in collections everywhere,

no flyer called it. There was no name. Right. They would just promote who we would. rapping, who the DJ was. You know, those classic flies by Phase 2 and Buddy S. Y and so many others.

So we were like, what are we going to do? And so that's how we help. So we're kind of saying that you came up with the term hip-hop. Oh, no, no, no. I didn't come up with it. It was being used. Rapists was spinning it. Right, because Cass told us.

I forget who he said was saying it because they were going to the Army. Yeah, okay, the first, yeah. I tell that story great. And there's another component where Flash says a girl he was dating back then. It was her brother going into the army.

Flash says that she... Flash said that story. Caz. No, I heard Cases. I heard Cases and tell the story. But Flash just adds a little to it. Okay. This girl, it was this girl's brother.

And she was at the party, and she started it first. Then Cowboy from the Furious gets on, and they both is just teasing him. Teasing him, yeah. Pop, you know, like the way they would do the marching drill sergeant type of thing. And Keith Cowboy really got it going. first, and then they say that Lovebugs started utilizing it, you know, Love Bug Starsky,

the original Love, you know, Intersstrosky, and then it became a thing, where that was the thing you would hear often in between your rhymes. You know, something you could say, and then you think of what you're going what you're going to spit next. That's how the term became popular. So it's already there. You just... That's what I'm saying. Extracted from

that. I just said, let's use that because it seems like everybody's... Like, when people would talk about, yo, I was at this jam. And I remember people would say, what kind of music? Because you still had DJs that just played music. And they'd be, no, it wasn't just like music. It was one of them hibbitty hop joints.

And you would know, okay, because typically you would hear it at any party where people was rapping often. Somebody would do that oftentimes. So it became like a synonymous way to describe the kind of party it was. Makes sense. Which was different than people that was just trying to be a disco-type DJ. which was cool, but everybody wasn't with that or had somebody that would get on the mic and do that.

That wasn't a thing with every DJ. But the Bronx cats, they made that a thing. And it became the thing. So ballpark figure real quick, how many white girls you think is box? Oh, man. Like, I mean, you know, downtown. This is downtown.

I mean, you know, was it a guy. That's so funny. You got to go out of the college? I don't kiss and tell. Hey, I'm Jay Chetty, host of the On Purpose podcast. My latest episode is with Hilary Duff, singer, actress and multi-platinum artist. Hillary opens up about complicated family dynamics, motherhood, and releasing our first record in over 10 years. We talk about what it's taken to grow up in the entertainment industry and stay grounded through every chapter.

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Search the Cito Show. And listen now. Because I ain't going on. The culture to see the culture, man. Like... Well, listen, speaking of... I'm sorry for you know,

but speaking to Sean, Michelle, please. You may not know he dated... Madonna, right? Correct. Yeah. For a hot minute. Yeah, that's hard.

That was hard. Haitian nays dating Madonna. Sean is Haitian Puerto Ricans. What? Yeah. Oh, it happened to be. Yeah, John's Haitian Puerto Rico. He's Haitian Puerto Rico.

His father's Haitian... His father's Haitian. His sonny Norrie! What the father? Mom's Puerto Rico. He's... Yo. Yeah.

Yeah. Get out of here. I didn't know that. Oh, I got Boschios. And so John spoke, he could speak a little Spanish. Oh, and a little Creole? Yeah. Oh, he's knocking anything down. Yes, yes, yes.

Yeah, so I like, Madonna, man. I know we touched on her a little bit. Madonna is like, I don't want to say the person that's invited to the cookout. I think she's actually bringing ingredients to the cookout. She's like bringing, she's actually bringing her own version of three potatoes. That's a great description. That's a great description.

Not only she's invited, she's in the kitchen. Like, help and prepare. Like, Madonna has several kids and a couple of her kids, which she's raised for quite a while. Yes. They're African. Yeah. African, more than us. Yeah, they were.

More than me and you. Them' baffir. No, 100%. Yeah, okay. 100%. I ain't say niggas. I ain't mean to say niggas. I ain't mean to say a nigger.

I'm trying to say a nigger. Okay. Yeah. Big Daddy Kane and Madonna. He had the leper sit on. Oh, that was crazy. Yeah. That was the sex book.

Yeah. Oh, my God. That was wild. I remember when that came out. Flowers, flowers, man. That was crazy. Yeah.

Listen, our show is about giving people flowers where they can smell them. Oh, man. We've been waiting. We've been waiting for you. I'm so happy to be here with y'all, man. And we want to give you your flowers face to face. Yeah. It's better than the Grammy because it comes from his people.

Oh, man. And we're your people. And we want to, yo, let me just tell you something, man. I can't tell you how much. I appreciate. Nah, listen to me. Let me tell you something, man. Just.

We've been waiting to give it this. We've been waiting for 10 years. You know, and congratulations on 10 years. But let me just tell you something, man. Like, you made media fly, man. You know what I mean? A lot of people, you know, when you

look at people in the hood, they wanted to be the artist. They wanted to be the basketball player. They wanted to be the, you know, even hockey player, football player, whatever, whatever. Correct. They wanted to be an athlete or they wanted to be the artist.

When you look at you and your career, you interview those people, you highlighted those people, you showlighted that, you know, this is what you do, but this is the rewards of it. And you were just as cool or cooler than the people who interviewed was time. And for back then, you know, and you look at media now and...

Yes, wow. Look, look, all of us are walking in your foot, Absolutely. Every last one of us, if you look at your favorite artist has now turned into media, bro. And you were doing that shit 25 years ago, bro. 30 years ago? 30 plus.

30 plus, man. Let's make some fucking. And we all following your footsteps. You know what I'm saying? Thank you so much. Well, you're doing an excellent job, I want to say. You and DJ AFIN. That's right, yeah.

And he pronounces your name correct. He schooled me. I'm like, I thought it was F. He was like, no, it's EFN. I'm like, my bad. So did you ever think because, honestly, right, it was Ralph McDaniels. Yes, you better believe it. Video Music Box, baby.

Yes, I was locked in. And this is my friend, you know, and he always tells us sometimes. You know, New York, you guys were cocky, right? And I kind of don't realize it. It's about me. Yeah. Oh. Because I'm coming from the perspective of someone growing up in South Florida.

Yeah, but you're well researched. You know a lot of history I can see. So let me break it down. So what I didn't realize is when we had a show like Ralph McDaniel, which is video music box. Yes. It was on Channel 9 or Channel 12. Still comes on in New York cable. Yeah, okay.

Saturdays, I believe. Okay. Yes, which is great. So what I didn't know, and you said it to me, said to me very, very mean. but you did say it to me and you were like, yo, you know, we saw video music box but we had to see it on VHS.

Wow. You know, how before you, we were as New Yorkers, right? So, I'm just talking about it. And I'm just talking about it. I'm like, damn, you know, it only came on a certain channel.

U.HF initially, which is small other... And a certain cable, right? Yes. On a certain cable station. And then we had the rest of, of the world that was VHS, which he just asked you to sign.

So these tapes were circulating, right? And us in New York, we're so spoiled. We don't even know how special this is because this is on our public access channel. You're not looking at me like that. No, no, I'm not saying that. I'm looking at the world. I'm looking at you, but I'm looking at the world.

But this is where Kermit DeFrog comes on. This is not the same. This is not HBO or CineMax. You can see some tinnies or something. No, this is the public. So I didn't realize how spoiled we was. And you said it to me one day, I said to go out, you yelled at me. And I was like, damn, he's right, right?

It was very mean to me. But you're my friend. All right. But now here comes MTV. Yes. MTV is a rock and roll station. MTV, I remember, I'm old enough to say, fuck y'all. Fuck y'all.

But I'm old enough to say you had a choice at one point. You can say, I want HBO on my cable. I want Showtime. I want Cinemax. And then you can say, I want MTV. Right. At first, when MTV first came on the cable network in New York City, I cannot speak from anywhere else.

Most people said no. Right, because it wasn't playing. It wasn't for us. It wasn't initially. We would take off our cable to access the public access channel. Because that wasn't on, that was on local cable. That's the cable that comes with your apartment already. Correct.

So the cable that you pay for, you don't get Ralph McDaniel. So you had to unplug that. Wow. Then MTV drops. And then we get a show called, yo. MTV rap. MTV motherfucking rap. Yeah.

Yeah. And this is real. This is real. Thank you. Because this is real because this is me. I made my life do this. And then. Like, you know, I had cousins in Seattle.

I had cousins in Florida. Okay. I had cousins in South Carolina and North Carolina. So many places that I never could talk hip-hop to. Maybe they got it, but by the time they got it, it was three months later, and I was already on to another act or another such and such. Your MTV Raps was the first time. Wow.

I got to speak to people in real time. That's. Meaning. So deep. I saw Tupac's new video the same time my cousin. So y'all could talk about it.

So we could talk about it in real time. Wow. Wow. That was like the first. So this is a deep question. One, do you know how many lives you fucking changed? Wow. You know, it's a humbling feeling

and when you realize it. And I just want to say, I mean, look, MTV, At the time when it hit the incredible stretch, it wasn't a long stretch, but it was a pivotal stretch. It was a pivotal stretch for incredible artists emerging. Your first time seeing artists that define a whole host of spaces. You saw them first, and I'm super honored that they stood next to me, and I kind of was the first time you saw X, Y, and Z.

And you think they reached out to you to the host show because of Wild Style? That was a part of it. So there was a cat that I knew. initially named Peter Dorety who was on the downtown scene, he knew the moves I was making, he was at the mud club show I told you about.

He was a real underground music a fictionalado, and he got a job to be a producer at MTV early on. So he would get tickets to a rock concert. I mean, took me to see like Judas priest, and he actually

got me to see the Jackson 5 when it was on tour. So his name was Peter Darnie. and Peter knew what was going on He was close enough to know This shit is bubbling There was a few records had come out by this point That have gone gold

Some run DMC shit And some Houdini and you know Curtis Blow had to go Curtis Blow exactly Things are beginning the bubble And he was in their ear To do a show He used to mention it to me

I used to always be like Get out of here man Boom boom boom Then he linked up with another kid at MTV His name is Ted Demi That's my man And Ted Derry Yes, indeed.

My and Ted became, like, super tight. He was the nephew of the Oscar Award winning director, Jonathan Demi, who I became tight with later. Ted was a white kid from Long Island, grew up loving hip hop. Really got it down pat. Peter had seen the development he was tapped in. They lobbied and campaigned to get it popping. And Peter was like, he's the guy that should host it. I was like, what?

He's the guy that's in the rapture video. There's this film Wild Style he's in. He's connected. He's downtown. And so Peter was like kept telling me. It was their idea. It was Peter's the idea and got with Ted Demi. They were producers on the channel.

Wow. They wanted to do a show. Also, I must give props to a French chick, a black French woman named Sophie Bromley, that had been in New York early on hanging in the mix, taking pictures of the very early stuff, going to the fever, hooking up with, you know, bambottor, really snapping. She goes back to Europe,

and MTV Europe actually does a show called Yo First. Oh, wow. And Sophie hosts that for about a year or so. You can go on YouTube and see clips. Real attractive sister. And she got friendly with mad people, so she knew so many people. Her vibe is just incredible.

So they did that for about a year. Meanwhile, Peter's like, this is where it's born. This needs to happen here. And they were lobbying other executives. We got to do this. Look, like we're in, Boom, boom, boom. MTV was mirroring the way, quote-unquote, pop radio was, which pretty much was all white.

That was the radio was very segregated in most places. So MTV was just mirroring what radio was. That was what they were basically doing. But these producers pushed, and Peter was like pitching me to be the host. And then he said, man, like we actually did a screen test. He said, if you, if he knew I'm. creative and I'm getting busy. He said, man, how would you want to do this

if we ever did get to do it? I was like, well, you know, most of those VJs, you see them on for two, three hours or whatever with some crazy, goofy shit going on on the green screen behind them. I'm like, dude, I don't want to do that. That's whack. I said, I would feel more comfortable if I was in the street where artists is making the music in their basement,

you know, on the corner, I'd be more comfortable there. And he said, okay, boom, that's why we did the little screen test where I kind of fake introduced a Run DMC, LLQJ video, that was this little screen test. Next thing I know within a couple of weeks, we were shooting the first episode

and they bugged out and thought that the Nielsen ratings must have bugged out because it was the highest rated show that had the channel that had ever been on the channel. It was insane. That shit took off like a rocket being, you know, at first it was a half hour

and then we went to an hour and then they asked me after about a year did I want to host a daily version and I used to watch a lot of MTV waiting to see a Michael Jackson video waiting for Princess Doves Cry

or the few things you really wanted to see and then you'd be looking at these VJs I felt like yo you're corny motherfucker who are you you know play my shit you know I mean I said man I don't want to be overexposed you know what I'm saying

so they asked me if I wanted to do the weekend I said nah that's cool And so Ted knew as lover And Peter knew Dr. Dre Because Dr. Dre was a producer. He produced a couple of records on Def Jam real early on. I can't remember the name of it now. But it was some shit that had some 808 bass.

It was crazy. And they put them together as the week as a week crew, kind of like in a clubhouse like Abin Costello. The Weekly or Weekend? Weekly. And I did the week. You were there in studio. It was in studio.

And I was like running around, mostly out here, there traveling. And that's what I was really fascinated, because I'm mad curious anyway. So as I hear now, it's beginning to bubble in other places. I'm like, what are they making? Like, the first time Yo MTV Raps travel, it was to Miami to cover Luke Skywalker and the two live crew. Let's talk about that. Yeah. Miami, blah, blah, blah.

No, it's crazy. You know, this is before. South Beach got sexy. It was like a retirement community, if you remember. The older folks sitting out in folding chairs. But we went to Liberty City, and I got to hang with Luke, and he broke down what they were doing. I understood then, oh, this is just a lot of fun, because I'm into lyrics.

You know, I want bars and shit like that. Was it in the booty shaking? Once I saw how they get down. But two-life crew was spinning. They were just spinning that shit. But they were saying. Diggas ain't thinking about two-lifference. I felt like they were spinning.

but it was from the Ranchi strip club shit. That's what I'm saying. That's 100% what they were doing. But I realized, like, this is a whole different thing. And it was fascinating to be able to showcase it and then to go to other cities. That was the biggest, most exciting thing to me. To go to Houston, interview the ghetto boys

when mine playing tricks was the hottest record, you know, to catch being San Francisco with digital underground when, you know, the hump and all that just broke out. It was just the hangar-on. Yeah, when I first interviewed, they hadn't even put him in the mix yet. Wow. But then soon later, he would be in the mix, and then I would interview him. The first interview I did with Tupac was when they were filming above the, they were filming, oh, God.

Not above the rim. No, not above the rim. Juice, I'm sorry. Bang. And we did something special because I'm in juice. I make a cameo of juice at the DJ scene. We filmed that interview and held it several months. to the film was ready.

So we could drop the special episode, which we filmed on the set, to help to promote that film. And that was just incredible stuff. So a lot of artists like Pock, like Dre, Snoop, oh, man, a long list of practically everybody super important made their television debut with me on your MTV rap.

So it was real special time. And that was a catalyst to spread hip hop everywhere and inspire everybody. Oh, this is the thing I've been meaning say, the VHS tape then is so special to me. People later, your MTV Raps was one of the only shows MTV produced because MTV was franchised out in about six or seven other countries. It was MTV Europe, Brazil, Asia, here there.

Our show was the only show that was in all those other markets. But particularly in Europe, like the first time I went to Africa, I went to Nigeria, And I met some young Nigerians from affluent families. And they all recognize them. I'm like, what the hell is going on? How do you guys, you get it? Oh, we have the satellite dish. This is a satellite dish.

It's 12, 15 feet down. Yes, we have a dish. Which made me know, like, their people had paper. But they were able to pick up the European feed. And they were recording on VHS and sharing it with their friends. Like mix tapes, yeah. Just like mix tapes. So sometimes I'll meet.

somebody would be just so moved to tell me they had a relative or somebody would send them tapes of Yorm TV wraps and that's how they got tapped into the culture. That's mind-blowing. It's fucking. Mind-blowing. So that was, like you said, going viral back then. Yeah, man.

But the VHS tape and the cassette tape were critical to the culture. Absolutely. Shit, I remember speaking to Luke, even, well, this is pre-DVD. Luke was putting out them videos and them wild parties and them... The Luke Peep Show?

The Peep Show, yes. We'd be like, oh, my God. Luke was X-rated, but he was a brilliant businessman. We got to talk about when you went to Compton. Well, once again, so we had interviewed EZ on the show a few times where we won Easy, and they were great video. It came out before NW.A. It was E-1.

Yeah, it was first. A lot of people don't know that. They had been in the lab working on stuff, but I think the story goes, it might have been draying them that was like, yo, Easy, you should rap because Easy was bankrolling what they were doing. He was getting money on the street.

It was his label. Ruthless was his label. Yeah, exactly. So it was working on putting that together. And so they got easy to actually came out first. And it worked, right? So it was one of the early videos that we had. I remember when YOMTV raps takes off.

So after, you know, a month or so, period of time, a couple of months, we'd go out to L.A. You know, Ted was like, listen, EZ's got this new group. We're going to go out there and do a show with him in L.A. When you say, Ted, we're talking about Ted Demi. Ted Demi was talking about Ted Demi.

So I'm like, okay, EZEE was incredible. Videos were great, well-produced. A good friend of mine named Kevin Swain was the director, brother from Cali, who's produced a million things. But back then, he was cutting his tea for music videos as I was. And so we go out there to do this show with them. So we're in a new town now. We're like, okay, because Ted, we were in sync.

We got to do something interesting because we were conscious of wanting to show the rest of the country this new group, this new area where I had been out in L.A., but mostly West Hollywood, because I had had a big exhibit a couple of years prior at a really important contemporary gallery. Jean-Michel had been out there a year too early, showing with Gagosian. So Jean was like, you know, telling me about what it was like in L.A.

And then I got my chance. But now we're dealing with some hood shit, which I knew nothing about. So the night before we go out to do the NWA interview, Ted calls me in my room. He says, listen, everything is set up. What we're going to do is we're going to rent a truck, a flatbed truck. Oh, it was a flatbed? I thought it was a pickup. It was a flatbed.

Yeah, it was like a big flatbed, a big truck. It had like, you know, rails around that shit. It was like a hayride type of thing without any hay. We're going to drive around. We're going to meet with each. We're going to meet here in Compton. We're going to learn a little bit about Compton. Then we're going to go to the Swap Meet where they get their little street gear and whatever.

And then we're going to ride out to Venice Beach. So I'm like, wow, we're going to show people different spots in L.A. We meet at the Welcome to a Compton sign. And we taped the first episodes. This is where I meet the group for the first time. It's now Cube. It's Ren. It's yellow.

You know, it's the whole thing. And a bunch of other cats, including the. DOC. And the funny story I like to tell is I'm standing there and some cats roll up and a 64 or whatever. Once again, oh, and the night before Ted said,

oh yeah, don't wear nothing black, don't wear nothing red or don't wear nothing blue, yeah. We knew nothing about that. So we're in black. I didn't understand all this gang culture at that particular point in time. So while, and when we get out there, NWA is in all black.

So I'm like, okay, yeah, this is, you know, we're all good. And I'm standing there and a car rose up. it's like some cats in a 64, like Impala, and they kind of recognize me. So they're looking at me, and I go like, hey, what's up? And Cube comes over to me and says, you're fab. Like, I just got to tell you, man, out here,

if you do the P sign like that, that's a gang sign. I was like, oh, he says, so we, we have, you have to do it this way. I was like, okay. Which way you did it? You did it this way? Open-handed, yeah. You know, the cats pulled up? Oh, so you got to do it this way, he said?

He said this way, because that was some, some, some, some, some, some, some, sounds like a gang. Yeah. I know. I know nothing. But it was the first hit time hearing any of this and not understanding how ill it is or what that culture is really all about. And that was the introduction, which then turns out to be a lot of people's favorite show, because they get introduced to this group.

We drive around. I always remember something that stuck with me because in between segments, Cube kept asking me, You, Fab, I hadn't even listened to the record yet, by the way, too, keep in mind. What's up with G-Rab? Oh, yeah, I heard you too. He's cool, G-Rab cool, and then he asked me again, your Fab, tell me something about G-G-B. And that's when you discovered that he studies G-G-Rap.

When I later listened to the album, my mom was blown where they was going. They was also inspired to go as hard as Public Enemy was going, musically, which they was doing, but they was talking about, this is where we're from, this is what's going. on here. It blew my mind. So Cube going to what was it? Public Enemies, producers?

Yeah. When he gets to New York, I'm the first person he calls. I'm like, because we're tight now. We got everybody in numbers equal. And not only that, oh man, this is another good story. I had did an interview. Andy Warhol had a

magazine. It's called Interview Magazine. Wild. He starts his story with Andy Warhol. Yeah, Andy Warhol. I know I know Andy now and they would interview interesting people doing interesting stuff. It was a cool format like a big newsprint

the photos were big, beautiful. It was like nothing was like it and I was like yo let me reach out to them I wanted to interview this new group because I did a couple interview I did and I did an interview I interviewed LL for interview

I did a few people. The first one I did was for Spike Lee for she's when she's got to have it came and I'm in that for a second Anyway, I interview NWA, all of the group members on the phone, and then we set up this photo shoot, which is happening a few days later. And I talked to the photographer who's based out there, and I'm like, make sure you know, these are the members of the group, you know, make sure this, blah, da, da, da, so I set it all up.

And I talk to the photographer a little later. I go, so how did it go? He said, oh, Fab, it went great. I go, so who was there again? And he runs down all the members in the group. I said, wait a minute. What about Ice Cube? Are you sure?

I can't believe what he's saying. He goes, yeah, Fab, this is who was there. So Cube wasn't there. I couldn't understand why. And you didn't know he left the group. He just left the group. I called Cube and he tells me, I'm like, yo, dude, really you left the group?

That was crazy at that time. This is that point. Like, the money wasn't right. He figured it out. The math wasn't. in math and he was like, yo, and he was trying to get his paper. It's all now we all know the stories.

Documenting. Like the consumer, we didn't know until we saw America's Most Wanted. Like, that's how I found out. I was like, what is this? So when he comes to New York, I'll never forget, he called me, and I'm like, what's up? He's like, man, I can't work with the bomb squad, man. That's the only one I can get busy with. I'm like, whoa.

And then the rest is history. No vastly, all that shit comes out. It's ill. And I'm like, wow. Oh, you know, it was incredible about that moment that I really love. Cube was the one that probably like wore the jerry curl in beginning, which was a big L.A. style.

Black folks had the jerry juice, the jerry curl going on. When Cube did his first performance at the Apollo, he shaved his head off. He came out with the baldy. And Harlem went crazy. I'll never forget

how that hit so hard because everybody was used to seeing him like that. And that was that shit. Like, When that baldy hit, you know, that was a look right then. Like, that was, that was official. And that was the beginning of him becoming, like, you know, taking it to another level. Yeah, crazy. Yeah, crazy.

I'm going to do our drinking game. Okay. Drinking. So, uh... But he's your designated drinker. Okay, got it. You have a sip if you want. A what?

You got wine. We got whatever you want. Guy, go ahead. We got vodka, cup, soda. He said he's the Bacchia. See, I told you, man. You sent it? Has? You said it?

All right, so here are the rules of the game. We're going to give you two choices. You pick one with the choices. We don't drink. Nobody drinks. But if you give the politically correct answer, which is either both, you say I just says both or neither of them. Okay. We all love for both.

Yeah. Yeah, you say, I love both of them or I don't like both of them. I don't like both of them. We all drink. Okay. But this is really, this is not to diss any, but it's really for stories, anything that, any of these choices bring up a story for you. Please give us a story, you know what I'm saying?

Okay, okay. Okay. Is sunny you the bathroom? See, I'm sorry, my shit. I think you a... Where'd you send it, has? Shoot. Holy shit, man.

We got a million. No, I don't got it. You got it? I don't got it. Oh. You don't see that picture? The picture. Yeah, that's it.

Click, oh, above it. No, I don't see it. I see it. You ready? Yeah. Oh, Dick, I don't see it. Let me get it. It's right there.

Rodovask you are, all right? No, I don't see it. Oh, I see it now. My bad, my bad, my bad. Go ahead. I got it. Ready? Don't forget that I want to get on the talk about this.

Absolutely. I haven't forgotten that at all. Okay, yeah. Absolutely. Biggie or Bigel? Whoa. Your criteria. And it's your criteria and any stories with anybody as well? Because you knew you've been in both. Bigel, I met briefly strip club in the Bronx back then. Golden lady?

That's where you met Bigel. Golden lady, okay. I feel like. I feel like my mind was there. Yes. But I did a Yo MTV Raps with the whole digging in the craze crew, showbiz and A.G. And the other brother that passed away on the turrette-tables. One of the executioners, Rock Raider was there. And also there was... I'm glad you got scared for him, too.

Was Bigel. But at that point, I didn't know who he was. He was literally just getting on. Large professor was there. So the whole scene opens. Everybody's digging in the crates because that was their thing. So we was like, yo, y'all, what up? I'm here.

You know how I do my thing. We didn't help up here at show business in AG's live. And his homies are digging in the crates. Oh, I've seen this recently. Yeah, this is one of my yard. And so big, I'm like, after later, I'm like, oh, my God, that's big out. Right. So I love him.

But I'm a little, obviously, Biggie got to produce a bit more. You know, I got to connect with Biggie, put some blunts in the air. He was a blunt chain smoker. And it's bed style as well. Yeah, well, yeah, origin. But of course, we didn't engage at that point. But when we later met and connected, just the vibe was right. And then I do the whole interview with him at the bad boy offices, him and Craig Mack, you know.

So that's one of the-hisnizs Craig Mac. His national television introduction. Right. Yeah. Hey, I'm Jay Chetty, host of the On Purpose podcast. My latest episode is with his. Hilary Duff, singer, actress and multi-platinum artist. Hillary opens up about complicated family dynamics, motherhood, and releasing our first record in over 10 years. We talk about what it's taken

to grow up in the entertainment industry and stay grounded through every chapter. It's a raw and honest conversation about identity, evolution, and building a life that truly matters. You desire in family like this picture and that's not reality a lot of the time is for people. My sister and I don't speak. It's definitely a very painful part of my life. And I hope it's not forever, but it's for right now. Listen to On Purpose with Jay Chetty on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts.

In 2023, a story gripped the UK, evoking horror and disbelief. A nurse who should have been in charge of caring for tiny babies is now the most prolific child killer in mind. modern British history. Everyone thought they knew how it ended. A verdict? A villain. A nurse named Lucy Lettby.

Lucy Lettby has been found guilty. But what if we didn't get the whole story? The moment you look at the whole picture, the case collapses. I'm Amanda Knox, and in the new podcast, doubt the case of Lucy Lettby, we follow the evidence and hear from the people that lived it. To ask what really happened when the world decided who Lucy Lettby was. No voicing of any skepticism or doubt. It'll cause so much harm at every single level of the British establishment of this is wrong.

Listen to Doubt, the case of Lucy Lettby on the IHeartRadio app, Apple Podcasts, or wherever you get your podcasts. I'm Clayton Neckard, and in 2022, I was the lead of ABC's The Bachelor. Unfortunately, it didn't go according to plan. He became the first Bachelor to ever have his final Rose rejected. The internet turned on him. If I could press a button and rewind it all I would. But what happened to Clayton after the show made even bigger headlines. It began as a one-night stand and ended in a courtroom with Clayton at the center of a very strange paternity scandal.

The media is here. This case has gone viral. The dating contract. Agree to date me, but I'm also suing you. Please search warrant. This is unlike anything I've ever seen before. I'm Stephanie Young. This is Love Trapped.

This season, an epic battle of He Said She Said, and the search for accountability in a sea of lies. Listen to Love Trapped on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. I'm Nancy Glass, host of the Burden of Guilt Season 2 podcast. This is a story about a horrendous lie that destroyed two families. Late one night, Bobby Gumpright became the victim of a random. crime. He pulls the gun, tells me to lie down on the ground.

He identified Jermaine Hudson as the perpetrator. Jermaine was sentenced to 99 years. I'm like, Lord, this can't be real. I thought it was a mistaken identity. The best lie is partial truth. For 22 years, only two people knew the truth. Until a confession changed

everything. I was a monster. Listen to Burden of Guilt Season 2 on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. I went and sat on the little Ottoman in front of him.

Hi, Dad. And just when I said that, my mom comes out of the kitchen and she says, I have some cookies and milk. This is a badass convict man. Just finished five years. I'm have cookies and milk at them all.

Yeah. On the Ceno Show podcast, each episode invites you into a raw, unfiltered conversations about recovery, resilience, and redemption. On a recent episode, I sit down with actor, cultural icon Danny Trail, talk about addiction, transformation, and the power of second chances. The entire season two is now available to binge, featuring powerful conversations with the guests like Tiffany Addish, Johnny Knoxville, and more.

I'm an alcoholic. And without this trouble, I'm going to die. Open your free IHart radio app. Search the Cito Show. And listen now. Wasn't that the time you had introduced to Big Mac? Was that it? No, we injured Big Mac.

But we're both in the office. But I asked Biggie a question because it was similar. It was referenced one of his rhymes. I was like, he said sometimes the rap game, you know, was comparable to the crack game. And being that he had, he was like, yeah, you know, his answer was if I was flipping burgers, you know, if I was telling burgers, then I would have been rapping about that. One of the answers to that, that was a great moment with them, with them two spitters, hot spitters. Two Parker, EZE, rest and peace to both.

Oh, man. You met them both. Yeah. I met neither. Oh, man, no, no question. That's so, wow, wow. I go it easy. Yeah.

Just because we had a little, I mean, I love them both, but had that connection and introduced the whole scene if I got. But I loved the episode we did YomTV Raps. You had it on earlier when I walked in. Or Tupac. And Tupac. That was the first time it was recorded because I knew and it hadn't come out then. He hadn't become the megastar in terms of, you know, the movies and whatever.

But I knew he had a Black Panther connection. That's what you found out? Okay. And it's the first time he stated it. And Harlem directly, yeah. No, we were in L.A. Well, I'm saying because of juice and all in the... Oh, yeah, yeah, yeah, no.

The Panther 21 thing all happened in New York when his mom was involved. And he was conceived. It's a crazy story. His mom was in... And his brother that was his father. They were both a part of the Black Panther 21. They were on trial.

They were under heavy pressure. They had a moment together. in the holding cell or whatever when people that know they'll break it all down because they was caught up in the system for a while. That's how he was conceived.

It's crazy. Yeah. So he came out of that. So when I asked him about that in that episode and he says he breaks that down. Like I come from some, you know, from some revolutionary stuff.

Like my mother was a panther, my father, and they met. He was a hustle on 135th Street. and they got together, you know, but they was down trying to make revolution for real. It's crazy. So that was a good moment. Smith and Weston or M-O-P?

M-O-P. Love Smith and Western, too, but, you know, being a Brooklyn cat, the way M-O-P represent, like, they define Brownsville. But, Bruce is from Brooklyn and two, though. One more time? Smith is from Brooklyn, too, though. Oh, yeah, yeah, no doubt.

I should be more specific and say Brownsville. Okay, my bad. A very specific energy. The way they articulate is just, oh, my God, I feel like what, You know, like the best of Brownsville on some street wild shit. They're all my brothers, too.

Yeah, shout out to all. Carerest one or Rakham. Man, this is torture. I mean, come on. I mean, you know he's drink. If you don't want to pick, you know, he drinks. Oh, man, I'm sorry. And Bachia.

Thank you. Yeah, yes, yes. I don't want to. You don't want to pick? All right, cool, good. Oh, man. I'll take, I mean, you didn't have to remind him like that. Now we're going to drink like, hey.

No, thank you. I totally forgot. With rules, I'm like, man, I would have been said that. Like, yeah, half a hat. Happy hat. Thank you, man. I would have been. I'm spazzing out of hand.

You don't want to, you want a shot? You want a little beast? Come on, come on. Oh, shit. Somewhere where Jorge has? You know, y'all nicknamed him Jorge. I love it. Y'all be having a little bit.

Okay. Yeah, yeah, yeah. Come sit in and have a shot. Have a shot on Fab. Oh, man. All right. This is so much fun. Hold on.

Hold on. Take your shot. Take your shot. You took your eyes? Yeah, yeah, I took mine. Thanks for reminding me of the rules of the game. All right. I forgot. Duke Ellerton or John Coltrane?

Or John Coltrane? I can't. You got to take a shot. Go ahead. That's tequila? He likes tequila. Yeah. Go ahead.

Drink it up. Cool J-Rap or Slick Rick? Drink up. Oh, damn. Now I see what we go on with this. Damn, come on, me. You got any good stories? with any of them?

Once again... Coozy rapper Coozy. Yes, I mean, I directed... Oh, this is great. I love to tell people, because at this point when I'm directing... Get about the directed part of the game. Yeah, so I directed about 60 or so music videos. Right.

The first one... The original hype were youngs. My philosophy... Hype did his thing. He had a whole incredible style. So love hype. Love to see. That was incredible. A very... A very exciting period of just a lot of people learning how to use film. And once again, Wild Style was my introduction, and I had these ideas.

It was a period where I was frustrated with just making paintings, having shows. One solo show a year, a couple of group shows. I had this experience making Wild Style, and I wanted to do something with film again. And that's why I wanted to direct the videos. I was trying to do a Public Enemy video. the Jive Records, the woman that ran the head of the whole A&R, Anne Carly, had heard and hide me to do my philosophy video for a carous one. Oh, one of the first video. Yes, and I go on to direct a whole bunch of videos in our period, and I directed Road to the Riches for Cool J. Rap.

Crazy. And what I'm most proud of, in terms of where we were in that time, the crack game was really. really going on. And the song is about the rise and fall of a crack dealer. This is like 92-ish, if you will, time frame-wise. And you know, I'm from these streets, so I know that story. Bang. So I put that together.

And if you remember the video, what I was also proud is I'm the first video to put an image of Scarface. That became a super iconic thing. And I'm a film nerd as well as an art nerd. Like, I know this shit. And I went to see Scarface the first day to film up. I'm a Brian D. Palmer fan, who's the director. And actually it was Oliver Stone that wrote the screenplay.

So I was like, unbelievable film. And then to see it become such a big thing in the culture was fantastic. So, bang, I direct that video, once again, which is the story of the rise and fall of a crack dealer. Let's take a shot for that. I ain't going to lie. Yeah, let's take a shot for that. Go to the riches, Koogee rap.

And another little piece of that story. Is there was a brother named George Jackson, rest in peace. In jail, he died in jail. No, no, no, not the Black Panther. Okay, okay, my bad. That's okay. All right. I got a revolutionary on you?

No, no, no, I love that. And because, you know, it's funny, I used to think of that early on. But then as you got to know George, he was who he was. George was a brother from Harlem that went to Harvard on a football scholarship and worked his way into Hollywood. Whoa. And I think he worked on, he might have had something to do with Crush Groove. He was hanging around doing things with Richard Pryor.

And then he came, being that he was from Harlem, he had this idea to make a gangster film. And the film, George, came to me to assist with, is a film called New Jack City. I'm an associate producer on that film. Wow. Thank you. Thank you. The story was actually based on the Nikki Barnes' story, heroin,

whatever, but that's set in the 1970s. George didn't want to set the film in the 70s. He wanted to set it, which was... Current day. Current day, which was the early 90s when New Jack's wing is bubbling and about to explode.

So he wanted to do a contemporary scene and he knew I was tapped in. When George comes to meet with me to talk about this film, which I didn't know anything about, I'm finishing the rough cut of the Kooji Rap video Okay

Road to the Riches And when I show him the video If you remember There's an undercover There's a dude that's in Kooji Raps crew He starts off They scrambling on the street You know like real

You know real grimy How it used to be Hand to hand You know the jumbos and whatever Then we see them He's the boss now In the office and whatever And there's this cat

That you see several times Through the video That pulls out as the cops rush in. His man was undercover. Right. And you see, you go back and watch The Road to the Riches video. When George watches the video, he's like, oh, my God, this is the idea in the movie,

which I see is the cop, you know, infiltrating Nino Brown's organization. When George had this put this in front of me and he had gotten this brother, sadly, he passed not long ago, Barry Michael Cooper, who was from Hall. But he was nice with the words. His word game was crazy. And Barry had written a couple of articles. And being, he was from Harlem, like writers that was connected to our scene, our culture at that time hadn't emerged yet with a strong voice. And George was highly educated, but he was from these streets too.

When he saw a couple of articles Barry had written. And that, in fact, one of the very first articles on the crack epidemic about to happen. I think it might have been in Spin Magazine. George was like, this brother can write this script. And George got Barry to write the screenplay for New Jack City. And after he saw the video, I came on as a producer to help the flavor. Like the jury, you know, Wesley's clothes. Like I was hovering over all of those departments, getting the four-finger ring, right,

getting the right jury right at different times as they was rising, you know, the suits. and that was phenomenal. That's crazy. She said that five fingers down before I make some change. Exactly. I love Christopher Williams' moment. Nice-skinned niggas been out of style since. That was Western, yeah.

Listen, I remember when we were shooting that scene, New Jack City, where Wesley stabs Christopher Williams, and I never liked you anyway, pretty, motherfucker. That shit, every time we shot, there's moments when you're on a set. If you got actors at that level, when they do that, the whole crew is like, no. Everybody's real. Everybody has stopped doing what they're doing to watch.

Like, yo, he's doing his thing. And when he did that shit, it was so crazy. I was like, what? I never liked you. Like, just to stab a nigga, like, in the hand like that? Like, your crew and shit, you know? And that was a dynamic. He complimented them, too.

Let me tell you another interesting dynamic about that. And this was my role on that. film. Being that I know what time it was and George wanted to the archetypes were people in the game and the thing, the model for Nina Brown in our heads and this

me that know, you know, this is what I'm in the brought on to do was Big Daddy King. That was the model in terms of the archetype. We could see that I see was a character in the way his, the way he would do his rap thing

and some of his early videos. Boom. So we, you know, I see was definitely, you know. So I'm bringing all these names to the table. But we had auditioned cane. He was incredible. But we had heard about this brother that was, it was, I think it was, oh, my God, was it not Mobetter.

What was the movie Wesley debuts in? It might have been. Not white man can't jump. No. No. Oh, man. I'm spazzing. I'm going to be mad at myself.

A Mo Better Blues? Was it? That's what I'm thinking. Was it Moe better? Wesley's first film. I think he was about to start shooting. One more time? Bobcats? Wild cats? No, but I'm

talking about, no, not that this was specifically in Spike Lee film. Wild thoughts. Wild thoughts. Thank you. Jungle fever. I think it was Jungle fever. I think it was Jungle fever. And

George had had, you know, had gotten like a line on this guy. He said, yo, there's this young actor, Wesley Snipes. He's about to be in, he's just shot this next, this new Spike Lee film, I believe was Jungle Fever. He said, I think this could be our Nina Brown. And we went to the after party for Spike's film, and I meet him for the first time. He had been in another film about baseball.

He was playing a baseball player, but it didn't really blow up. It was like. Not Major League. I think it was Major League. Okay, yeah. He was in that. He was Willie May's Hayes, I believe. was his character.

Yeah, yeah, he was trashed. So we now, George, we're very aware of the dynamic amongst us of the dark skin and the light skin. And something was happening at that time with Michael Jordan, with Wesley Snipes. It was like, the dark skin now is emerging as an alternative, you know, getting some shine and some legit. Bobby Brown was on fire and about to explode. So we were like, you know what, as opposed to going the way Hollywood made typical one, somebody a little lighter, brighter, you know, curly hair like that, you're like, you know, whatever. We were like, we want to go to complete opposite. This was something that George and I were like, okay, that makes sense.

So the first time we go to meet Wesley, I remember we now knew, we know, we knew this shit's going to be fire, right, the film, like what we put in together. We got Teddy Riley putting the soundtrack together. We did. Teddy Riley on Monday. Yeah. Oh, my God. Tell him myself what's up. Tuesday, Tuesday.

Yeah. Tell Teddy, I talked about this. He's going to light up. Because I'm in the studio. Like, I'm hovering over, like, boom, boom. And we go, we pull Wesley to the side. And, you know, he's auditioned everything. Like, he's incredible.

Like, you know, he can do it. Like, he can cry in the scene that we need. He can do that whole shit. Like, he's a whole acting package. So we said, Wesley, like, yo, man, like, I'm telling him. I said, man, I said, this is. film is really going to make you a star. He said, no, Fab,

that's not going to happen, man. I said, what do you mean? Because we saw it. He says, I'm too dark. And I was like, wow. I remember George and I both laughed because that was exactly why we knew it was going to happen.

Because we felt the tempo, this was coming now. And the gangster was still, like, attractive with a dangerous, sexy, we had the whole shit mapped out, like what we needed this character to be, you know what I'm saying? Wow.

And shit worked, and Wesley blew up. It was just beautiful to see it all explode, even bigger than, I think, you know, I didn't know, people was, I mean, theaters was, you know, bullets was going. It was a, that weekend, it was quite a sensation. Wow. That was a long story.

Yeah. That was great. Thank you, G-Rap. That really led to me being a producer on New Jack City. Miles Davis or Lewis on, I'm strong. Oh, man.

Y'all got a drink, man. You just told you. I'm in. I'm in. I'll drink it. So, yes, Miles I met because of him and Max Roach were tight. And Max was a big fan of all the hip-hop stuff as it was just beginning to emerge. And so he was really into it. And as was Miles.

Like, I like to remind me. When you say Max, it took about Mike. Max, Max, who was a drummer. That was my godfather. Okay. If I didn't, if we didn't talk about. about him earlier. Yeah, we did.

And he was tight with Miles and Miles, and they would talk about different things going on. Miles was in, you know, he switched from the classic jazz and went into the jazz rock. Right. And they were basically very open-minded. And so... Now, is it true that Louis Armstrong

acts for a weed card? Yeah, that's in my film. Yeah. In the documentary I made about... I got a weed car right now, right? Yeah. This shit is legit. Yeah, the documentary I made...

for this shit. Yeah. Oh, yeah. So, yeah, now it's legal. But Louis, it was such a great logic. In the 60s,

he asked for that? What was this? It was known among many people. He said that you could get a gun license. If you could get a gun license. That's in my film. That's exactly what he said. If you get a gun license.

Yes. And that's it makes so much sense. It doesn't, thank you. If you get a gun license. He's telling his manager. His manager was a Golden Leaf. Yeah, his manager.

That's, yes. His manager was a real deal gangster that. They were super tight, and he was able to. The gangsters controlled a lot of the music industry and what have you. And Louis manager was, he was the real deal. And he wrote, they didn't write the letter, but he wrote, what Louis Armstrong would do, he would record how he felt there's hours of him just expressing himself.

And this was one of the things that he had talked about, numerous times, about why they pressuring me for this plan, which is virtually basically harmless and I should tell him his manager in the sense, which I think it was a letter if I'm not mistaken, but there's tapes of him talking about the illogical nature of cannabis being criminalized and him

kind of being pressured when, which is what my whole film Grass is Greener gets into. Right? On Netflix. Yeah. You must go out there and make sure you get it. Yeah, it was heavy duty pressure that they targeted people in the music game.

and they knew Louis and other people that got pressured the most for this plant that never killed anybody. And Louis was, you know, he was well renowned. And we believe, and the research I did with other, like, cannabis experts, because he sometimes referred to it as the golden leaf. Golden Leaf. I've been looking for the Golden Leaf. We felt that his connection really knew how to cultivate cannabis for the flour. When we was coming up, most people just smoked everything damn there. You didn't know, like, you know, like, you know.

when the weed got that sticky stuff on it, that's the flower giving you like the real state of the art in cannabis, you know, like a sativa, like an indica. We believe that's what Louis had a direct line on. So his weed was consistently great. Louis had Branson back then. It's exactly interesting. All right.

You're going to get into Branson. I love that part of your documentary. Thank you. Yeah. Branson and Biggs on film. And that's probably two of the two of the ones. the last filmed people in the world. Listen, Branson is my boy.

It was really hard work to get Branson. And the day we initially was shooting him, he stood up my whole crew. And I'm like, I got major people my DP, Malik Saeed. These are feature level cinematographers, you know,

brother in the game. That's my man. He was Hype, Hype Williams' main cinematographer coming up. They designed that look of what hype was doing. But yeah, that was heavy pressure. So let me just say something while we're here. I tell a famous story of one time I was drunk on 124th Street.

This was the first, I believe it was fruits of life. And we were drinking, we were drinking. I'm in Harlem, obviously. I live in Jersey. But I was drunk, but I was sober enough. to know if I make it to Branson Block, I'm safe.

No, I told the story and Branson recently co-signed the story, right? Yeah, he's been on a pod, right? He did, all right? Let me bring it down because there's a part of this story that's super missing. Wow. No, it's with me and I'm telling Jay to Kiss this.

Jay to Kisses knows exactly what it is. Okay. I'm sitting there in Harlem. I drink Tiger Bone. This is Tiger Bone. Vanson, we had that tagabon on deck. So I'm on 124th, but I'm at Futa Life. I live in Jersey. I'm on my way headed to Jersey, and I'm like, I can't make this.

There's no way. I don't even want to risk my life. Like, my life is too important. So I go to the safest place in the world that I think. You know what the safest place in the world was at that moment? Wrensen. Was Branson Bluff. Wow.

I drove my car to Branson Blot. And this is, I love the fact that he co-signed my story, but I want to reiterate how important this man is in our community and is to the cannabis lifestyle. Legend, he's a legend. There was at times where, right now in New York City, if you go to certain restaurants, they're stick up kids outside of these restaurants.

If you go to certain weed spots, just stick up kids outside of this weed spot. Branson has so much love and so much power that you can walk into Branson and Red Man would be behind the thing. Pause, sucking on a lottie pop. Pause. They had the best lottops at this time.

Just chill. Just chill. That's the Japanese candy. Then they had the Japanese candy. Yeah, a lot of exactly. I'm dead serious. You will go back there and you'll go use the bathroom. Biggie Smalls will be coming out.

the bathroom. Yep. I kid you not. For us, Branson created a experience. It wasn't about going to buy,

but I come from Queens. I'm literally almost an hour and a half with traffic, and there's always traffic in New York City. That's so true. I would come from

Queens 97-1037 Avenue and go all the way to the Tribor and get, What? I would not leave. Branson, when I saw him on your documentary, I saw how comfortable he was,

and I know he's not comfortable with entertainment. There's so many people who big him up. That's so true. And so many people would big him up, and he's always, like, took the back. So I want to reiterate this part of the story that the reason why I parked at Branson, and I pulled up.

You know you could say, yeah. I had a 600, just a brand, 600 Ben. Jay de Kess knew the story. Jay DeKis was like, yo, where did you go? Because I was drinking with Jay the kids. The reason why, his idiot ass was there with me. But

I went and I parked the car and I just looked at the first person that I know I saw in Branson. And I was like, yo, I can't drive. I gave the kid my key. Is that the kid that had the dreads? No, no, no. You took about Eddie. You took my Eddie. You took my Eddie. No, no.

No, no. That was a That was his people inside. This was people from the block. This is how much Branson had love in the block. I knew anybody who knew him, I was good with. I gave this guy my key, bro. I don't know him from nowhere. I gave him my key.

And I called what we called OJ. This is New York shit. OJ. That was early. That's the car. That's the car. That's a car. Uber.

For real. That was a great way to start That was a fly shit back in the day And I went and I went home And I woke up And I had no worries in the world I promised you I went right back to the same block

And everything was good That kid was sitting there waiting for me Like yo you good You're like yeah That was the right thing you did You couldn't have made it to wherever the fuck you And what I'm trying to say to you is Branson

When Branson answered this story He answered it as if it was the respect for me. I have to take that away and say... Your brons is a modest cat, so that's right. He's a modest, humble guy.

No, no, no, no, no, Branson. There was a reason I went to that block. He, that was the safest block in America, bro. That's right, that's, yeah. Branson sold you triangle bags, and I seen that when you was,

and then I've seen you, you actually went on that podcast, you stole the envelope. or the $5. Y'all made how the weave back used to look. I had you taken back. But let me just describe to you because you also, in your documentary, you said over 60 rappers shouted out France.

That's right. He had a big statement that they put together. So let me tell you why, guys. You come from Queens. You come from Staten Island. You come from Jersey. You come from anywhere in the world. And then with those three blocks,

because he did not only have that one block. He had all these other blocks. I would buy my butt, bring some champagne, and I would sit there, a queen's dude. Wow. I get my car washed out there. That's that old school Harlem. Let me tell you something. There has never been experience like Branson.

So when I kept, I just kept rewinding your documents, you just looking at that because this is the first time that he talked and he was still humble. You better believe it, yeah. So I'm going to brag for him. I'm a brag for him, Branson, bro. We all owe you a lot. You gave us a sense of safety and sense of comfortability. Incredible. Like, we couldn't even get, I'm talking about,

I'm speaking on behalf of all rappers. I feel you. We couldn't get that comfortability in our own hood because people would judge us. But for that block, I don't know what he did to that block. But they loved him. Go ahead, I'm sorry. It is just so beautiful to hear you articulate it like that.

That's something. I've got to get so. No, listen, I love it. And when I moved up to Harlem in the early 2000s, I got really tight with Eddie. And he would tell me how they got down. And the way Branson, numerous times, he would have cookouts and he would buy food. The real classic Harlem stuff that went down that you hear about, you know, Branson did that. He's cut from that cloth of those cats from that 70s era.

He didn't go that direction, obviously, but he treated people like that. He was super tight with another Harlem legend, rest in peace, my man, Vaughn Zip. Von Zip, yeah. And Zip had 118th Street the same way. They took care the whole lot. I've been to Zip's club, Zip Code. Yes, Zip Code came later. Yes, indeed.

He had an incredible fly club in Harlem. He managed Mike Tyson for a minute, along with my dear friend, Jimmy Rosemond, you know, aka Jimmy A's... Yeah, you know, that's my man. So Branson had that classic Harlem Get Down that really, unfortunately, you know, nothing lasts forever. But that's a big... I think a big part of the reason

why the block shows you just was... The way that went down is just unbelievable. But just think about it. I'm telling you, listen, I'm smack. Drunk out of it. But I still knew enough. I knew enough to say I know where it's safe at. Yeah.

I'm already in Harlem. It's 124. And I believe, correct me if I'm wrong, I believe Branson was on 150th or 149. It was St. Nick. St. Nick. 15. The fifth spot is right down the block.

Right. That's how I get the Branson. I go to the fifth spot. I go up two steps down. And then I go to. Look at you. Yes. Yes.

Yes. What's that? Famous fish? That's famous on 145. 145. Yeah. 145. Yes.

And St. Nick. That's the best fucking fish in the world. Get the fried fish. That's the only thing. Miami, I need to understand fried fish like that. Yes, I need a fried fish. That's the southern thing. So it's mostly

fried poggis and whities. This is what's typical in New York. And then some fries, you know what I mean, a few other sides. But it's mainly like fried whitings and fried poggis. It's typical what you get in most fish. They might have a red snapper here and there. No, what is it cool? I have one spot that I love.

of here. It's in the hood. Snappers? It's snappers. Okay. Okay. Oh. It's all right.

That's what you got. Okay. Yo, I ain't got a lot. I think my New York thing is up and you're listening. I got New York fish out here. They're like, where?

So now, let me just. They'd be like, this not it. Okay. I'm sorry for jumping. Like, it was just an exciting moment. So, so Branson, because he's exactly how you described. Classic Huxland,

I'm not just. trying to be telling everything. I'm not trying to, that's so much a weird part of the culture now. Cass is ready to tell everything. Branson is cut from that classic cloth of you don't talk. Nobody's talking. Classic, real classic hustling street shit. And so that's, I think, a part of why he was like, I had said all this up. Because I also told Branson, look, man, I had no idea I would get into the cannabis business. But just, really, that is a part of how this happened because I said, man, let's say, man. I'm going to meet these people, Branson. You basically created a brand without realizing you created a brand.

Because over 60 rappers, including Biggie, which I use in my film, and mentioned a bunch of others, rapped about, you know, I got a jar from Branson. I'm uptown with that Branson. Can I stop people one second? Because, let me just say something. When you say jar, jar is different because something you broke down in your documentary is his 20s was in triangle.

Correct. And his 50s was in brown bags. Okay, but no, I think he might have had two sizes of triangles Because I remember sometimes it's like a 20 No, no, because sometimes he had toastic And sometimes he had the green So he had the brown, oh, I'm a brass express of me, trust me

I love it. Trust me, I might have been the brass in him at one point. That's incredible. I love it. I'm going to bring toilet tissue there. It's classic. Because I'm going to take a shit. It's going down. I'm dead serious. I'm dead serious. This is perfect. I love this so much. So they had to hit a toadstick in the 20s.

Then he had the green in the 20s as well. But then the brown bags were the 50s. And then if you had a jaw, a jar was 150 or more. Yeah, that's like about a, was that a, was a jar a quarter or like a half ounce? I ain't going to lie to you. I don't know. It was between the two of one of them. Yeah, but that was too.

When you was a baller. Exactly. That's a rapa weed. That's what they called the rabberie at that time. which is the way you would hear it referenced. You had some paper and you knew he had the most consistent, high-quality cannabis that you can get. He was really like a dispensary.

Hey, I'm Jay Chetty, host of the On Purpose podcast. My latest episode is with Hillary Duff, singer, actress and multi-platinum artist. Hillary opens up about complicated family dynamics, motherhood, and releasing our first record in over 10 years. We talk about what it's taken. to grow up in the entertainment industry and stay grounded through every chapter. It's a raw and honest conversation

about identity, evolution, and building a life that truly matters. You desire in family, like this picture, and that's not reality a lot of the time it's for people. My sister and I don't speak. It's definitely a very painful part of my life. And I hope it's not forever,

but it's for right now. Listen to On Purpose with Jay. on the Iheart Radio app, Apple Podcasts, or wherever you get your podcasts. In 2023, a story gripped the UK, evoking horror and disbelief. A nurse who should have been in charge of caring for tiny babies is now the most prolific child killer in modern British history. Everyone thought they knew how it ended. A verdict, a villain, a nurse named Lucy Leppie. Lucy Lepe has been found guilty.

But what if we didn't get the whole story? The moment you look at the whole picture, the case collapses. I'm Amanda Knox, and in the new podcast, Doubt the case of Lucy Lettby, we follow the evidence and hear from the people that lived in, to ask what really happened when the world decided who Lucy Lettby was. No voicing of any skepticism or doubt. It'll cause so much harm at every single level of the British establishment of this is wrong. Listen to Doubt, the case of Lucy Lettby.

Lettby on the IHeartRadio app, Apple Podcasts, or wherever you get your podcasts. I'm Clayton Eckerd, and in 2022, I was the lead of ABC's The Bachelor. Unfortunately, it didn't go according to plan. He became the first Bachelor to ever have his final rose rejected. The internet turned on him. If I could press a button and rewind it all I would. But what happened to Clayton after the show made even bigger headlines. It began as a one-night stand and ended in a courtroom with Clayton at the center of a very strange paternity scandal. The media is here. This case has gone viral. The dating contract. Agree to date me, but I'm also suing you. Please search warrant. This is unlike anything I've

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He identified Tremaine Hudson as the purpose. traitor. Germain was sentenced to 99 years. I'm like, Lord, this can't be real. I thought it was a mistaken identity. The best lie is partial truth. For 22 years, only two people knew the truth, until a confession changed everything. I was a monster. Listen to Burden of Guilt Season 2 on the IHeart Radio app. or wherever you get your podcasts.

I went and sat on the little ottoman in front of him. I was, hi, Dad. And just when I said that, my mom comes out of the kitchen. She says, I have some cookies and milk. This is a badass convict. Right. Just finished five years. I'm going to have cookies and milk.

Yeah. On the Ceno Show podcast, each episode invites you into a raw, unfiltered conversations. about recovery, resilience, and redemption. On a recent episode, I sit down with actor, cultural icon Danny Trail, talk about addiction, transformation, and the power of second chances. The entire season two is now available to binge,

featuring powerful conversations with the guests like Tiffany Addish, Johnny Knoxville, and more. I'm an alcoholic, and without this trouble, I'm going to die. Open your free I-Heart Radio app. Search the CETO show, and listen now, I'll never tell the story. I've got to tell the story.

Capone gets locked up. Pohn's like, Jula's calling him. Capone's like, yo, you know, I need some bud, you know what I mean? Some like, I'm sitting there butt. He's like, nah, I want that, I want that pants. So I was like, I,

I go up town about everything that I need. then I buy everything Capone. I don't know. I don't know how to wrap shit up for jail, niggas. What the fuck? Okay, okay, okay. Like, I don't know how I do this shit. He tells me to go meet a girl.

Yeah. Go meet the girl? I give her a bar. I don't rap this shit. He hit me like, man, that shit ripped her shit up. Oh, shit. Whoa, so the triangles. I got...

Good. God, okay. I got like 10 of them. Whoa. So she had to stop the shit. Whoa, whoa, whoa, whoa. Whoa, whoa. He's like, yo, why you ain't wrap it up?

I'm like, what the fuck, nigga? Like, I got instructions to buy a bud. He didn't know where it was actually going to go, I'm sure, too. Is that my problem? Wow. Like, I'm paying for it. Wow, wow. And when I tell you, when I tell you, Jesus.

Every, that whole week, Pohn called me was like, he was the man. Like, he had the whole. Old jail smoking Branson. Yes, yes. This is how... It's allegedly, anyway. No, it's not allegedly. That's how he made his name.

He consistently had that fire before anybody... Had a person like Fad, a person like me, a person like us, had we knew that you could legalize this shit eventually? Yeah. Like, this guy was the first of everything, Branson.

He's a pioneer. I'm just being honest. Like, he's my friend. I love him. I don't want to say that he doesn't want this props. I just, I want to say what you said. He's from that old school where it's like, you don't claim this shit, but I got to claim this.

I got to be cocky for him, bro. This is the first time. Like, I would be stressed out. This is like therapy for me going to Branson. Wow. Like, I would go there and I would just chill. I mean, by myself, like a Queens dude chilling in the heart. them with a fucking 600 bins parked outside sitting there rolling arguing with Eddie

arguing with Eddie like, because I argue with Eddie like, oh, you know, man, shout up, man. Yeah. He's like, man, y'all queens niggas. Come over here. He gets your car wash. I'll get my car wash. I'm sitting there. It was a great experience, bro.

There has been nothing like that. And God bless me, Branson, because I know he probably, we're going to watch this and be like, damn, no, you went too far. But they have Every dispensary in California Has bit Your stuff Yeah

And I What you presented Mm Like they come and you can chill They can roll up You can buy some candy And you can sit outside and chill Mm-hmm

No No he's a real pioneer So I'm sorry Branson I'm sorry but I had to give you your flowers Because I heard I said this story

And he responded But he responded in the so much of a humble way. And I was like, nah, bro, the reason why I parked there because I knew the respect that they had for you and I knew the respect that they had that I always come in there to see you. That's so real right there.

And I got to give Branson this spot. So, too, you not only got Branson to speak, but a person who managed me and EFM both is Biggs. Yes, yes, yes. And you got Biggs to speak. Right. I was blown away just sitting back. I was like, because, and you got Biggs to speak.

speak about cannabis and not only that, Biggs got convicted of cannabis. Well, he sort of referenced that. I didn't want to go expand too much on that, but that was part of the dynamic in terms of the injustices that too many people have had to go through for this plant, which is basically a harmless medicinal plant

that has been, going back to the 1930s that I illustrate, they just whipped it into a frenzy. They lied. They created this cannabis, conspiracy film like Reefer Madness. And they spook people to the core and got cannabis criminalized and then targeted people. So Biggs was one of the victims of that.

Wasn't it a guy who killed his whole family or something like that? And they said it was for weed. And he was a schizophrenic. Yeah, but thank you. The guy was a schizophrenic. But they whipped it and made it seem like this was a cannabis store. That was a part of the lies that they used. to whip and get congressmen to, like, criminalized cannabis in 1937.

Which was always racially motivated as well. The guy's name was, yeah, but the guy's name, but it was only because people of color were using it, and as well as Spanish people, they even gave it the name. That's why people in the cannabis business never used serious people that get this. Don't use the term marijuana because that was invented. That's a Mexican, right? It was invented by the people that went,

that wanted to criminalize cannabis to make it sound Mexican. That word did not exist for the plant in Mexican society. So they got marijuana like Tijuana, you know, just chicken by film. So there's real serious racism when you dig in to how they targeted certain people. We were victimized largely for that. And then people around. Guana. You follow me?

Yeah. Fuck, man. Go ahead. Yeah, that became a nickname for it. So those were all things that they used to get cannabis criminalized. But cannabis is largely medicine. And that's the thing that we now know more of. When you get especially good cannabis, there's medicinal value.

And once scientists really looked at the plant and studied it and understood, there's these various cannabinoids, different components, begin to isolate the CBD and be like, oh, this really heals pain. It takes the inflammation away. And it's the medical usage of the plant that have broken down all these lies. And states like California, Colorado, which were out front in terms of going medical first, then all the lies that it's going to just the gateway drug. Come on.

What has created taking people to a opioid crisis was legally pushed, you know, the oxycodone and the whole opioid thing. Cannabis has helped so many people, and that's what changed a lot of the negative perception. It's usually medical first, a couple of years, and then people are like, look, it's helped me with this, it's helping me with that. It helps people with pain issues. So a lot of these things are in the process. And, you know, I happen to make a film talking about this, showing this history, the music connection from the jazz people to the hip-hop people. Snoop gave it up for me.

I got my man, you know, Be Real was in the East. And them really speaking about the plant. That's the only part I had. Be Real's to the Mount Rushmore. He was like him, Snoop, Mav. Well, that was, yeah, that was... Like, yo, what the fuck? I'm holding up on my invisible?

Oh, my God. I'm fucking with you. I'm fucking with you. I'm fucking with you. I love it. But I was like, damn, nigga, I've been here for years. I love that's so true. Yeah, yeah, yeah.

You know, you clearly... Yeah, yeah. But segue into your product. So basically, once again, loving cannabis growing up, my dad, all those jazz guys with bigger fictionados. It's actually my business partner, Ron Samuel, where I, he was from Cali. He's a brother that was in the game.

In cannabis, seriously, moving packs around. You know, he was in the game, hustling doing his thing. But he sort of the legal business opening up and he wanted to dive in. But being that he had got caught up in the system, had, you know, spent a little time. they forbid, which are the people that really pioneered it, they forbid you in a lot of these states to be able to get into the business. So he was frustrated.

If you have a criminal background. Correct. And you've been convicted and, you know, felony, whatever it may be. So boom. His whole thing was, I want to be a part of this. And he was going to the conventions thinking, you know, it's going back 10 or so years as it became a medical thing and a big business in California.

How could I be a part of this? Because I know this. I've done this. Right. And we had a conversation one day. This is back, like, I think about 2016, 2017. He said, yo, I figured it out. I'm going to start a consultancy company,

and I'm going to call it 40 acres and a greenhouse. And so the idea was to play off for, like, the 40 acres, which really didn't get, always given and taken away. And that was the idea that, and to get into the game and be a consultant because all these business guys are getting in that really don't know cannabis. He's the cat that did it all up and down. Cali, Humboldt, grows, you know, moving packs of serious high-quality cannabis. And so when he said that, I just cracked up.

And I was like, oh, what a great idea. What a great name for the company. And this is my business partner in cannabis, a brother named Ron Samuel, who's been in the game a long time. He said, I'm going to start a consultancy company. and call it 40 acres in the greenhouse. And I said, that's great. And in the conversation, we crack it up and talking. I'm like, well, wait a minute.

You know, black folks made jazz records and bigged up to plant back then. Then reggae artists did the same thing. Peter Tosh sang about legalized it over 40 plus years ago. And then in my era, artists that I introduced to the country, Snoop, you know, Red Man, Method Man, all these cats were the modern-day proponents making big hit records. about the plant. What a great way to do a documentary. And that was when it was like, man, I have music. I'll be able to show, like get the hip-hop people to talk. I'll get the historical footage of the jazz people doing it. But then I knew I was going to have to focus on the criminal

justice side of all the people that have gone to prison and lives have been upside down. And that's how you discover Be Noble. Well, how I discovered, or how Be Noble came to be, the story that I chose to focus on to illustrate just the unfair, just harshness of this criminal justice system was a brother from Louisiana that was given a 13-year sentence for two joints worth of cannabis.

What he did? Eight years or seven years? He was seven. Okay. His name was Bernard Noble. So all people that were fighting. Two joints. Two joints work of cannabis.

A couple of grams of cannabis in his pocket. This is what it came out to. So basically enough to roll two joints. We break it down to two joints, but it was just a little bit of weed. He maybe could have rolled like one blunt, but basically. Some shit like that, right, two point whatever grams. And this just illustrates how a lot of the prison system still works, unfortunately, in certain states. They look and to put people in prison just to make money off that prison industrial complex, all that nonsense.

It's a third strike state that there's guys for a joint. Thank you. Thank you. Thank you. Listen, when Bernard Noble, which is the brother's name, We interview his family because I'm covering the jazz scene in my film. And Louis Armstrong, who's a big part of my film, as you've seen, is from Louisiana. That's where jazz is born.

So we're covering that. But then we interview his family, his mom and sisters, they break down. It's really a sad moment. He's still in prison. And those are the ones that you were there. That's his family. I'm in the house. It's all three girls.

Yeah, it's the mother and his three sisters, I believe, two or three sisters. this really sad moment that illustrates what this has done to families over two joints worth of the weed. His case had become celebrated, and a lot of people were campaigning, illustrated. In fact, Vice had did a show called Weedeket, and that's how I had first seen this episode, his story a couple of years before. They had a show called Weedacet on Vice TV. I didn't see that. It was like an Indian guy that hosted.

Yeah, yeah, yeah. I know that guy. Different topics around cannabis. What was it about? this particular episode of this show, which would do all different types of cannabis coverage, did a show on this brother that was in prison. I remember him talking to his kids

and maybe you maybe heard him on the phone. He might have called in. But when you hear how much weed and how much time he got, it was just unbelievable. So I was like, that's the story I'm going to focus on in the film. Wow. But after I interviewed the family, about a week later, I got a call that he had,

because people were campaigning on his behalf. that he finally got a parole. And he'd be coming home in a couple of weeks. So we fly back to Louisiana to capture that moment. And when he comes out, he says, man, I didn't know what was going on. There's people in there for less weed. Than him. Wow.

I'm like, he's just blowing my mind. I mean, I interviewed former prosecutors that said I couldn't do that anymore, looking at how unjust. There's certain towns in some of these states. The money is made. from this local prison, which they got to keep full. And this goes back to a film Ava Duvine made, a documentary also on Netflix called A 13th,

which is about the 13th Amendment, which is supposedly the ending of slavery, but it shows how the prison system still manages to enslave people and has them working for slave wages. And it was like... It's big business. It's big business, unfortunately, like publicly traded private prisons. That's crazy.

You know, you know what's... So that motivated me to do a brand in the brother's name, and we work with him. And we made a connection with this company, Curleaf, which was really big cannabis company. And so we've been in numerous states. There are nine states already, right? Correct.

Yeah, we've been up to nine. And this was our initial product, which is a two-joint pre-roll, which reflects the amount of weed. He got popped for. Little stuff mentions that. I'm taking that. Yeah.

I'm sorry. I'll get you so. This is, yeah. No, no. And then the QR code. I'm taking that part out. No, no, no, 100%. We got you.

We got you covered. And I got, you know. Don't worry, boy, fan. Yeah, no, we got you covered. And the flower is really incredible. Like, from really high quality flour that the company's been making sure as a premier brand with a compelling story. I mean, come on. Cannabis is big business.

Right. But a lot of brands is just like colorful packaging and my weed's better than yours. Our weed is killer, incredible. Plus, we're doing something, giving back. and raising awareness about these issues, which people are still in prison. Like, while cannabis is a multi-billion-dollar growing business, there's still states where people are still in prison.

Like, Bernard could technically still be in jail now, you know? Yeah. He only did seven. So we're going to finish a quick time with slime, because, yeah. And by the way, we started another new brand called Jungle Girl, which is only in New York, but this is a female-focused cannabis product here, the sister named Natalie from Cali

who has a fashion brand called Jungle. So Ben can't drink it? Oh no, no, no, anybody can smoke it. But what we learned in the cannabis scene, particularly people, a lot of people that are new to- You don't get bathroom breaks.

Talk about it, dogs. I love about casualty women since. This is a girl. What we learned in the business since we've been doing this now for like a few years now, a lot of women are now now getting comfortable,

people, a new audience is getting comfortable with cannabis. And a lot of the chicks can't roll. Because if you think about it, it takes some time to learn how to prepare and put a joint together. So pre-rolls, particularly for women, are very easy access. So that's a pack of pre-rolls. Yeah, there's a five-pack of those kind of nice, medium, small joints. And we have various, like, vibrant, you know, euphoric and different kind of things. So we're not trying to get into all the wild names.

of various strains, people want to feel a certain way without making it too complicated. Right. So this is taking off really well in New York. We're in a bunch of dispensaries with Jungle Girl. And the Be Noble brand, you know, we're expanding. And it's just really been an incredible run, you know, helping to inform people about these aspects of cannabis, like just to keep in mind that a lot of people have suffered. As a lot of states legalized, you're supposed to be able to expunge your criminalizing.

on the record and stuff. I mean, even when I made grasses greener, I didn't realize that people could get kicked out of public housing. A lot of stuff was still in cannabis in New York, up until we went a completely adult use. And I get heavy on that in my film. I didn't realize what the cannabis laws actually would like. So a lot of...

And some of the companies that are benefiting off of it being legal are these huge corporations. Marlboro. No, not yet. Well, the company that we did this licensing deal with Curele, They're literally big. They're very big name, many states. They started medically, hence the name, Cure Leaf, Curing.

But they really wanted to step up and represent a brand that was speaking to this issue. Because when you understand cannabis, a lot of people's lives have been jammed up. You know, a lot of people who we know. Like when I go to dispensaries in New York, which has one of the most progressive cannabis, like, rules or regulations and stuff like that. And the OCRM, the Office of Cannabis Management, a lot of people that got first on the list for dispensaries had did time that got caught up. It was seriously.

And they were brothers of color, right? Oh, yeah, mostly, you know. I mean, it's white folks as well, but mostly they was pressuring us. Whereas in the white neighborhoods, kids were smoking just as much weed. Popo wasn't doing stopping first and running down on them in the same way. So as a hint, you have so many people getting jammed up. They really structured the legislation,

particularly this state representative Crystal People Stokes out of Buffalo. She fought hard for the legislation that we have. And whereas Governor Cuomo tried to chop up pieces of the bill, she was like, no, we got to have it like this. And then finally, he signed it. So that's how people get on like that. Other states have talked about helping people, but it never really came to fruition.

You know what I mean? That they helped as many people as they said they wanted to. But New York, there's a lot of people. people I, you know, have dispensaries now giving it a go. And pick up to a rich player. He got to be noble, baby. Fat boys or Beastie Boys? Beasty boys.

Jay-Z or Big Daddy Kane? I mean, you? I can't touch that. Y'all got to drink up. Love them both to death. Big Daddy Kane is not far from where I'm from in bed style, you know? I'm from Hancock, Lewis and Garvey. Used to be Lewis and Sumner. And Kane is from Lewis about four or five blocks away. Goddame.

Yeah, Big Daddy. He was on one of the first episodes of Yorm TV Raps as well. Him, rock him, yes. Wow. Okay, Charlie Chase or Red Alert? Wow. Wow. I mean, I can't do neither one

I love both for them. Man, wow. This list is murder, but y'all gonna get drunk messing with me up, man. Take a shot? No, I'm cool. No, I'm just saying. No, I'm saying.

No, we took a shot already. Oh, yeah. No, they did. Yeah, yeah, yeah. They knocked it back. Yo, drink champs are serious, yo. This is serious, you know. They're really doing this up in here.

Debbie Harry or Cindy Lopper? Oh, man. You know, I love Cindy Lopper. I got to get my shot ready. Debbie Harry is Debbie Harry's family. Okay. So, you know, love me some Debbie Harry. B Street or Wild Style?

I mean, come on. Come on, y'all. You know it's Wild Style? The first, the best, the original. Run DMC or EPMD. You know I ain't touching none of that. Should I directed one of the EPMD's early videos. I directed Strictly Business.

What? Strictly Business. Oh, God. Damn. Strictly Business. EPMD. Okay, Naz or L.L. KulJ? I directed one of early, when Naz is the early videos.

Which one? One love. Wow. Yes, yes. One love. Did you know that? No, I did know that. That's crazy.

I literally filmed in his apartment in Queensbridge. His moms were still up in that apartment. Nas was just beginning to take off, but I shot the scenes right in that apartment. So let's tell us about that. All right, so you get the call from Faith Newman? No, no, no, not at all. I know Faith going way back.

Yeah, Bigger Ferry. What would happen often, which was really a blessing? I'm hosting YomTV rap. So Nas, once again, makes his national television debut with me on YomTV raps. Of course, the buzz was phenomenal. You know, I, of course, heard, you know, live at the barbecue. Back to the grill again, too, had happened already?

I think, I'm not sure about that one, but definitely live at the barbecue. And then there's buzz about this incredible phenomenon that, you know, and listening, I'm like, unbelievable. This is incredible. So then, boom, he comes through to do the show. And I really had, you know, I was looking at his videos. And a couple of things, the first ones that came out. And I just felt like his personality was so held back in a way. And I wanted, I knew, like, I wanted to get a chance to work with him

because I wanted to bring more him out. I felt like I saw it. Because even sometimes in talking to him initially. He was very protective. I know what you said. He would talk, like, he'd be real laid back and like, okay. But then, like, reserved. Right.

He'd be like, yo, but so and boom, boom, boom. I'd be like, oh, okay. I saw this thing in there. You know, now's what you're. You know what I'm talking about. When you really get him going, he'll come out of it. So I knew I wanted to, and then, bam, when, so when we did the interview on YomTV Raps, he was, he told me the story how, yo, man, I can't believe I'm sitting here with you.

This was, no, this is actually on the part of the interview. He says, man, like, my pop took me to see Wild Style, like when I was 10, and I can't believe I'm sitting here talking to you and da-da-da-da-da. And so then he's asking me questions in between. and I told him, oh, I directed this. I did that. He said, yo, man, I want to work with you. And so that's how that started right there because he realized other things I made. Like, I did just to get a rep, of course.

But I also did, um, yeah, just to get a rap for gang club. For gangstiles, my bad. And, um, Road to the Riches for Grap. Those is real narrative storytelling that I, that's, you know, I knew I could, can handle that. And so, yeah. Well, it's full circle being. that he used Wildstyle in the project, too.

It was just a connection was incredible. Plus, being that his father was a jazz musician, I could sense that sensibility in his whole attitude and flow. And then as you learn more later, that was true. His fact, as Pops used to live near me in Harlem, Olu Dara, is his dad, who's a really renowned, you know, horn sax player. And his dad introduced him to a whole lot of, you know, conscious stuff. And, you know, it just, it was just perfectly.

It worked out perfectly. Right. He made a young prodigy. And so that song, one love was like a script. I mean, it's perfect. The constructed that song. You suggested you filmed that, or they called you the same? Well, when I met Nazan, I told him things I made.

And he said, oh, you know, you made Jessica get a rap. You did, wow, you know, I want to work with you. My philosophy. Because the videos then, only MTV at a point started putting the director's name up. Mostly you didn't know, and then, you know, people didn't know who directed what. But then MTV started doing that, so it was really a good look. People got to know. Oh, you know, Hype Williams, you know, Fav or this one, Lionel Martin, different people were directing. It was people began to pay attention. But with Nas's thing, it was perfect.

I was like, oh, man, I got this. And the hard thing was the casting. And something that I'm really flattered about with the One Love video is hype did a scene. in belly, which was very... Yeah, yeah. The young kid sitting out in the bench. And so... That's the one love. Yeah, and they recreated a scene very similar with Nodz sitting on the bench talking to this young wannabe thug type cat.

The problem I would often have with music videos, the budget wasn't enough for me to really hire actors. So oftentimes I would have to run out and try to find somebody that can be the character that I needed. So I know I need this young kid for this scene that I have in my mind. I'm riding around. I don't know where I'm going to find this kid, but we was in Harlem one day, and I saw this kid.

This is before cell phones was really mad common. These two young kids on the corner with a house phone or Carlis House phone, front and like they're on a brick. Like they're on the brick phone. Yeah, not as big as a brick, but the same idea. there. I got a cell phone. And they was front and like, and they really was swagged out. They was like

13-ish. And so I drove by and I seen these two kids on the corner, I said, yo, I told my man, I said, yo, spin back around. Let me run over and hollered this young Shorty right here. So I rolled up on him, you know, and just like I'm back, he was trying to be thugged out.

But I'm like, hey, how you doing, Shorty? What's your name? What you doing? Blah, blah, blah. So we had a little conversation with him. And as I'm talking to I said, yo, I think this kid could do that. Because he was trying to be like a lot older. He had a real hard rock swagger. And boom, I got his mom's number.

Little now. And I reached out and boom, and I made it happen. That's great. So that's the kid that's on the, that plays at home. Yeah. You know? Damn. That's all.

I can't remember the lyric. But when I come back home, nobody's out for surety. You do. rolling two Phillies together in the bridge we call him ooh-op. And, you know, the whole thing and shit. The kid played the shit off lovely. You know, I wear bulletproof a pack of, you know, he was that.

He had that whole shit that I need. So that kid was from Hall. Caught him on the corner, B, and just got him to play that character. I talked to him. I always thought he's from Queensbridge. Damn, man. But he put him out! No, no, that's okay.

But, so in the scenes, When Nans, you know, I do the whole shooting scene and whatever, those was real, those was the real Queensbridge cats. Like, people was really playing themselves. Then I do the jail scene, you know, and I bust a bunch of them cats out to this. We found a local, like a local jail that looked like an old-style prison, had tears and shit. And that's where we did the jail scene where his man that's writing him is in jail, you know?

That's great. So that was fun to do that video because it was, song was perfect. I just had to put the right pictures again. No one kind of like made a song like that prior to that, right? No, no. I don't think, I don't think everyone. Not with that level.

I mean, I would like to think so. People, like, I think people tried to be, like, cinematic and tell a story, but that was my thing. I knew I could handle that. But not only was he telling the story. He was telling a story for right now for a person that's in jail. Oh, you mean, nah, in terms of the way the strong. Yeah. And he wrote a letter.

No, listen, no, it was beyond. It was a triple-on tantra. Yeah, no, it was, yeah. Oh, man. So let me tell you another thing we did. There was a cat in the directing game that came up under me, brother from Brooklyn named Black, named Brian LeVar.

That was my man. And he got on, you know, he was a PA on some videos, but I saw he had flavor. He was a real-deal cat out of Bushwick, Brooklyn. So he worked his way up to where, I knew it was time for him to get a shot directed. So I'm setting up and developing everything to shoot the video for One Love. From Blunt?

That's old school. Thank you. Bring it back. This is a Philly Blunt. Beautifully rolled, too. It's Boris. From Peru. The Peru.

All he is chicken and fries. All he eats is chicken and fries. That's it. And he's a vegan. So basically, I'm preparing to do the One Love video, and Nanz calls me and says, yo, I want you to do this other video I want to drop. It's a remix to the world is yours. He wants me to do that too.

But, you know, I'm like, man, this is a lot. So, but my man who was like my right hand on doing videos, he was assistant, director. Like, he learned the entire game and wanted to direct. So I basically got him to direct the remix to the world just yours. And what we came up with, what I told my man we should do is, I said, listen, because the box was really popular then. Yeah, that's what you knew the numbers. You order it, 99 cents.

Exactly. You call it up and you could pick the numbers. You did it late at night. The video would come right on. So I said, listen, come up with a story in the video where there's a kid. that a character, we'll both cast him together. I'll make sure he's right. And then at the end of whatever you come up with,

this kid is going to run away to get away from like Po Poe or something. Like some setup he had with the Poe Poe was raiding like a gate and dude got away. And he ran. And that cat who ran, we worked it all out with the same outfit and everything, is the kid that you see in the beginning of the moment. one love video running and this is the kid that plays that whole character in jail, whatever

that Nas is writing the letter suit. Right. And you see the kid run. The video opens with him running and the police jump out and they lock him down. And Nas is in the project window and he's like, damn. And that's so we, though the whole idea doing that was so that on the box, you could play

both videos and the video would go from the world is yours ending. Dude would be running when the same outfit, and then when one love comes on, that's the same cat. He's running. And then boom, five-o gets him. He says, yo, what up, kid? No shit is rough doing your bid.

When the cops came, you should have slid to my crib. What up? Fuck it black. The town of looking black is done. Pups, congratulations. You know you got a son. By that point, you look like you. By that point, you're seeing him in jail now reading Naz's letters.

In fact, I think that was in the child time. That is genius. That was a moment. I was so proud of. And my man got to direct, and now he was in the game, because now he'd have made his first video. He went on to do a lot of, he did a lot of shit. In fact, he did a video for Big Al, you know,

and he got his, he got his shit on then. He's still in the film game. My man, my man, Black. What up, Black? Yeah, man. So that's a fun story. Fuck yeah. Yes, yes, yes.

It's big time. Oh, yeah, please. All right. Seen or Zephyr? Oh, man. Y'all gonna have to drink on that. I love both for them cast. I mean, Zephy is one of the stars of Wild Star.

The scene is incredible, man. My man, scene from the VX. Yes. 80s or 90s hip-hop? Wow. Wow. Hmm. Damn.

Nah. Y'all got a drink. I love them both. 80s or 90s. How are y'all? I'm so cruel with these, it's hard to shit on nothing. It's the cocaine section over there. How'd you shit on anything over here?

We drink for the... I drink for this one. No, I did. Not that you go get to play. Look, look. I'm waiting for it. Come on. VIP.

BIP. I'll take it. Hey, I'm Jay Chetty, host of the On Purpose podcast. My latest episode is with Hillary Duff, singer, actress, and multi-platinum artist. Hillary opens up about complicated family dynamics, motherhood, and releasing our first record in over 10 years. We talk about what it's taken to grow up in the entertainment industry

and stay grounded through every chapter. It's a raw and honest conversation about identity, evolution, and building a life that truly matters. You desire in family like this picture, and that's not reality a lot of the time it's for people. My sister and I don't speak. It's definitely a very painful part of my life. And I hope it's not forever, but it's for right now.

Listen to On Purpose with Jay Chetty on the Iheart Radio app, Apple Podcasts, or wherever you get your podcasts. In 2023, a story gripped the UK, evoking horror and disbelief. A nurse who should have been in charge of caring for tiny babies is now the most prolific child killer in modern British history. Everyone thought they knew how it ended. A verdict? A villain. A nurse named Lucy Lepe. Lucy Letby has been. found guilty. But what if we didn't get the whole story? The moment

you look at the whole picture, the case collapses. I'm Amanda Knox, and in the new podcast, Doubt, the case of Lucy Letby, we follow the evidence and hear from the people that lived it. To ask what really happened when the world decided who Lucy Lettby was.

No voicing of any skepticism or doubt. It'll cause so much harm at every single level of the British establishment of this is wrong. Listen to doubt, the Case of Lucy Letby on the Iheart Radio app, Apple Podcasts, or wherever you get your podcasts.

I'm Clayton Eckerd, and in 2022, I was the lead of ABC's The Bachelor. Unfortunately, it didn't go according to plan. He became the first Bachelor to ever have his final Rose rejected. The internet turned on him. If I could press a button and rewind it all I would. But what happened to Clayton after the show

made even bigger headlines. It began as a one-night stand and ended in a courtroom with Clayton at the center of a very strange paternity scandal. The media is here. This case has gone viral. The dating contract. Agree to date me, but I'm also suing you. Please search for it. This is unlike anything I've ever seen before.

I'm Stephanie Young. This is love trapped. This season, an epic battle of He Said She Said, and the search for accountability in a season. of lies. Listen to Love Trapped on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. I'm Nancy Glass, host of the Burden of Guilt Season 2 podcast. This is a story about a horrendous lie

that destroyed two families. Late one night, Bobby Gumpright became the victim of a random crime. He pulls the gun. Tells me to lie down on the ground. He identified Tremaine, Hudson as the perpetrator. Germain was sentenced to 99 years.

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I went and sat on the little ottoman in front of him. I said, hi, dad. And just when I said that, my mom comes out of the kitchen. She says, I have some cookies and milk. This is a badass convict. Right. Just finished five years. I'm going to have cookies and milk.

Yeah, mom. Yeah. On the Seno Show podcast, each episode invites you into a raw, unfiltered, conversations about recovery, resilience, and redemption. On a recent episode, I sit down with actor, cultural icon Danny Trail, talk about addiction, transformation, and the power of second chances. The entire season two is now available to binge featuring powerful conversations with the guests like Tiffany Addish, Johnny Knoxville, and more. I'm an alcoholic. And without this trouble, I'm going to die.

Open your free I-Heart radio app. Search the Cito show. And listen now. All right. Vasquia or Warhol. Oh, man. Damn, man. Every time there's people that I really love, like...

He said go with Haiti. He said go with Haiti. He said, go to Haiti. Aye, T. Both of them. I love both of them, man. You say both, man. Come on, man.

No, Andy. Andy, yes, yes. Rest of peace. Yes, indeed. Rest and peace of both of them, man. Both my homies right there. That's great. All right.

The Ramones or agnostic front? Oh, wow. Definitely the Ramones. I know. Queens, right? Who, the Ramones? I think they was. That's right.

Really? Yes. The Ramones are from Queens? Yeah. You don't watch the entourage? I mean, it's been a long time. They showed the Ramon being from Queens. I think they definitely was from Queens.

Yeah, they was definitely New York Cats out of a great. Interesting. Yeah. All right. Rock and roll high school. Talking about that. So Queens with BX. Wow.

Don't say both, man. Wow. I mean, I'm from Brooklyn, so. You should be like, Needs it. Yeah, Nees it. Yeah, neither. I can't sit on Queens. Qualified Queens. In the boogie down Bronx, you know.

Grandmaster Flash or Cool Herk? Y'all got a drink, man. Jesus, Christmas. Neither. One of them, B. We're not going to be able to be here with you right now. They're foundational, man. Y'all got to come with some, whoa, crazy shit. You should have some people that were certified.

No, no. This is cocaine killers over there. All right. Oh, we got to drink that. Sorry. The Dominican and the Colombian. Oh, my God. Cyprus Hill or House of Pain?

Oh, man. Neither, man. I love both of them guys, too. Man. So you say both or neither? Yeah, you said both. Both. That is the same shit. Yeah.

They're the same crew. That's what I'm saying, Bay. Basically. I mean, come on. We got a drink. Both of them debuted your TV rap. You, relax, sunny, man. I didn't even... Oh. Come on, man.

You're so good chance, bro. We got drinks. Yo, this drink championship is real. I see now. Y'all, they play it over here. Yeah, when we take the pictures like, we can have Bernie's. Oh, God. What an experience you guys have. This is so dope, man.

NYC Breakers or Rock Steady Crew? Oh, man, definitely rock steady crew. Okay. I was a favorite to say both, and I'm not... I mean, respect to New York City Breakers, but rock steady crew for sure, baby. Come on. We made history together here. No, it is your favorite.

Oh, really? Extrawn Wild Style, baby. Wu-Tang? Oh, wait, wait, hold up. So NYC Breakers were not at all at Wild Style at all. No, no. Just rock steady. Just rock steady.

Okay. Yeah. Wu-Tang or NWA? Oh, man, I can't mess with that. Me neither. Why you're touching my shit, though? Man, how do y'all come up with these questions? Don't touch another man's shop, man.

That's the Colombian and Dominican section of idea. They come over with the questions. What? Y'all is dumb. Yo, that's why you're pointing your out. Oh, my goodness. Oh, man. How could you do this?

We think they own that thing. All right. Rap City or video music box? Do your music box. All right, you picked. Come on, 100%. Mm-hmm. All right.

Here we go. Last one. The loyalty of respect. Wow. I mean, both are essential. Shit. Both are mandatory. So we got to do both.

I like it, but I want to hear his perspective. That's grown for. Oh, what the fuck, man? You don't even... No, both are mandatory. Yeah, he's been around. Yeah, no, I've definitely been around. And those are...

I know I'm getting rid of those and shit. That's foundational right there. That's a foundation. So you need both. Loarity. Man, you know what's incredible? DJ premiere, that was this, 2019, right before the pandemic. So my film drops on 420 in 2019.

Grass is greener. My documentary on Netflix, over 2 million people viewed my joint. It was crazy. I'm sure a lot more sense. That was numbers I got back then. DJ Premier called me up. So I did two videos. Well, I did just again.

get a rap and then I did another video for Guru and a French rapper that was a real pivotal pioneering French rapper that opened up the scene named MC Solar. Oh, yeah. Not the other MC Solar that was... There's two of them? The one that was involved with Guru towards the end. That was another one. I'm talking about the original one in my book is a French cat.

Which is the one in Guru's album, the... So hear me out. This is the story I'm getting to. That's the story I'm telling you. This is French Guru. I'm sorry. M.C. Solaq. And the song is called La Bien La Bain La Malle,

who was on that Jazz Matage record. I direct that video. And so, yeah, I shot it in Paris. It was the idea of the video, which was, you know, being in Paris. I used to, I fell asleep on the Paris Metro once and woke up. And I was like, man, wouldn't this be amazing? Like, if you was on the train in New York, and you woke up and you was in Paris or vice versa.

Because the subways are so similar. But you're going to wake up naked. in New York. If you're going to sleep in New York, you're going to wake up naked. You know, you want to try to... You know how you just doze off on a train and you wake up. A dozo off is different from wanting to sleep.

No, you're right. It's like a dozo. You know how you're doing the train in New York. And you just be... It's amazing how you can go to sleep on a train packed with people. But if you ride the subway in New York, that's something you can do.

And I would have this, like, a vision of this happening. So the way that video opens, that video for that song, guru gets a call from MC Solar. He runs down in New York City subway. He comes out of the Paris Metro. And we run all over Paris,

filming them do this song together. So that I was like, you know, a really, uh, but anyway, so I did two videos. That and the, um, just to get a rep. And so Primo calls me and he says, listen, man, there was a legal fight with this other Solar person.

And, um, we got back to rights. or all the other materials that guru when he passed, this dude had held on to everything. Yeah, she was crazy. Primo and his family. So you know the half on that. So Primo was like, listen, man, I got this one track

and I created a new beat for it. It's called Family and Loyalty, this track. The most recent. This is the most recent. You know I got it on my playwright. Yeah, it's real good. So the idea was, in the hook of the song, diamonds. It's a reference to like diamonds.

Diamonds are forever. Like, you know. Yes. Diamonds are forever. Like, like, like, he just... Like loyalty, you know. Thank you. Thank you. Thank you. So it's this whole thing about diamonds. And I'm like, man, how do I deal with this without being like a gratuitous, bling, bling kind of thing?

But how do I address these diamonds? So I came in with this concept, which the video opens with a reading. of Guru's will. And in his will, this lawyer states, in Guru's will, these raw diamonds were given to him by an African prince. And Guru's son, Primo was like his son has to be in it. Sun's like a young man now, 22, 20 whatever. And basically, the concept of the video is when the son gets these diamonds,

I shoot him going around Harlem, cast on a T-Sourge on the street, go to this juice bomb 145th, and they bless the people with these raw diamonds, like on some gratitude shit. So it's a whole other way of dealing with the stones and stuff. Anyway, it was a fun video. And Jay Cole is also on that joint.

Thanks for remembering, yes. No, I know. Jay Cole. That's from the newer gang, the newer gangster jointed. Yeah, no, he knew us. Yeah, Jay Cole, we go down to North Carolina, and I shoot Jake Cole. Anyway, it was just such a special vibe that Guru,

an artist that I work with, and here's a song, you know, like a new song. So it was a real privilege to do that video, which felt like videos back in the 90s. Like I did it real rough, running gun, you know. And, yeah, anyway. Thank you. Man, I can't thank you enough, man, because... This has been so much fun. I'm waiting my turn.

No, no, no, no. Not your turn. This is your house. Ah, thank you. This is your place. You know, the fact that black media is taking control of black media or hip-hop is taking control of hip-hop media. And me and Eiffin could, like, sit back and say that, you know, we kind of, like, was trying to do that.

But when we spoke about that, it's always been about what you've done. for us. And that's meaning like put hip hop first. Yes. Like, you know, in my running club, we have something called run first, right? Run first? Run first. In my running club, right?

Okay. Right. But in life, it's always been hip hop first. Hip-hop has always been the catalyst to get us to the next place. Thank you so much. Thank you. And I just want to thank you because hip hop is really bring us to the fucking forefront of everything in life.

That's right. It's really beyond my expectations. It's really, it's a thrill and a blessing that, you know, just seriously to be kicking it like, all I kept to keep it real basic and organic is I'm still my My mind's blown that just continues in such an incredible way, especially not just, I mean, everything has gone on here. I see how real this is. But once again, like I said, you see how it's touched people around the world, you know.

It's like beyond the world. Not as wild. Yeah, it really is, man. And that's one of the sad things in a sense because we're in a culture now that technologically has completely changed. And things happen at hyper speed, literally, from the technology that's coming into play every other week. this and AI advancement and this is happening and more and more people getting to do these things. But at the same time, it's like, I think one of the reasons hip hop was able to develop so incredibly is because the aspirations were so real and so humble.

Like, I'm just trying to be somebody. I'm trying to be nice on my block. It wasn't completely motivated by how much money you wanted to have. And just an exaggeration of riches, just really trying to be somebody. He's really trying to stand up and say, yo, baby, check me out. Like I'm really here and I'm going to break it down to you in the fly as way possible. Props was a currency. Completely.

And so all of that, I think, the roots went down really deep. And that's, I think, significant to where it has blossomed so much fruit. That's so continuous. And this thing, when it seems kind of flat, it'll switch up on you in real unexpected way. That's optimistic, man. I hope that to be true. Well, it's been consistent for me. There's been many times.

And, you know, I've been involved for quite a while when it seems like it's kind of flat, it's kind of corny, it's kind of whatever. And then there's a whole new energy. That's why I don't just different styles. Like a lot of times, older heads are just, you know, try to say people mumbling or just skinny jeans. And, you know, I get that because people lock into the error

when they emerge, what they hear. Absolutely. But you got to remain open-minded, which is what I force myself to do. Like, I'm not going crazy over every little thing that gets made, but I'm examining and listen. I want to understand, like, you know, what's motivating some of the things that go on.

You know, I've always been curious about that. Yeah, my only concern with it is confusing what the over-corporatization of it versus what the real art is. Like, don't let the corporate push convince you that this is what it is when... Yeah. Let your heart tell you what the art is, you know what I'm saying? I don't know if that makes sense. No, it makes a lot of sense, but along that line,

And the way the dissemination of music now is so completely different. Right. With DSPs, I mean, anybody can post something on YouTube right now. I mean, it's kind of amazing. You know, it doesn't make sure, it doesn't guarantee you. You know what I mean? Right, right. So the democratization is there, but it's also like, you know, you know,

it's a whole new landscape of stuff that's more open. Like those companies that had control, that's no more. I want to take a quick advantage, a homie of ours. Scam, come over here really quick. Just really quick, just show your face. So because of the art aspect that you bring to everything you brought to hip-hop, he's the guy that created our logo. I don't know if you know scam.

This? Yeah, but he did the album cover for Beach Rhym and Life for Tribe Call Quest, the M&M artwork, amongst a lot more. I always use those two. Beach Rhyms and Life, which one is that? That's the... Oh, my God. And he's an MC as well.

Wow. Tracks with Eminem. and many other people. Oh, man, damn. Alex, Val, wow. Tiff's a good buddy of mine, man. We and him connect all over. That's amazing.

Congratulations. I'm sitting here. That's one of your images. I just want to shout out of Skam because he hasn't been here in a long time. That's yours. What's on the show to know? Oh, yeah, yeah. Okay.

Yeah, he's from here from Miami, homegrown. Harold City. Yeah, yeah, yeah. Mario, yes, yes. Man, that's, well, I love the logo, man. That's really fun. He helped us. We have an iconic logo.

And this is definitely wow Congratulations Yes This is a great logo Great logo Great branding Yeah man You know

Yeah For pleasure man Yeah So this has been iconic man Oh man Thank you man I was so I've been wanting to do

This is so great You guys got such great energy This is your house though One more time This is your house Oh thank you so much I will be back I appreciate it so much

I used to feel so bad I know people on your team Hit me up a few times And I just had, you know, the last few times I was in this neck of the woods in Miami was to go on the reggae crews. Like the people that promote that put that together. Yeah, the Marlies. Say what? I want to smoke weed in a regular club.

Oh, no, man. Listen, be on the high seas with all that great reggae. It's such. I was a big reggae here. You know, I directed all the, mostly all of Shaba ranks this video. Get the fuck out of here. Yes, I did shitloaded out. And I was deep into that scene.

Trail of Loaded Girls. Mr. Loving Man, slow and sexy. Yes. Yes. Yes. I did most of Shabbas, about at least five videos for Shaba. Wow.

At the same time, I was... If you got Shaba, just that far, I just want to throw it out there. I'm sure he would love. Shabber. We love Shabba. We love Shabba rinks over here. Man.

I was deeply immersed in that dance-hall scene, because we would cover it on Yerm TV raps, but coming up in Brooklyn, I was around, like, you know, from back when the posse's was popping, and I'm hearing, you know, the earliest dance hall people. I was tuned in. So when I got to work with Shaba,

I was able to go to Jamaica for the first time and meet some of the illest cats, you know, and really get immersed in the ghetto culture, you know, Williard God and Bogle, like I was moving with them cats in jungle. And because once again, I'm coming down there. I met Super Cat. He was coming off the stage performing at Sting.

He introduced me to Wiliat God and Bogle. That's a Rose's crew. And so we became tight because the next time I would come back to Jamaica and Kingston go to House of Leo I see Willie, he said, man, people call him in from everywhere from London and see me with you. I'm like, whoa.

So we got tight and I'd hang with those cats quite seriously. That was a fun experience, man. Wait, the book comes out? What's the day? Yes. March 10th, everybody's fly in bookstores everywhere.

So do we take a shot for the book? Just one shot for the book? Let's do it. Let's do it. We got to let you choose. What we got here? What's that? This is my Mahuana.

Dominican Mama Hwana. What is that? That's some shit made in a bathtub. You could do a religious ceremony or you can enjoy your drink. Maybe go with this. You're going to go with Fibol? I wouldn't suggest that neither. Oh, you want to do Fibol?

I'll just. Oh, shit. No, that's not me. I thought about it. You want to do. I'll just. If you do fireball, I'm going to take a little bit. I'm a small job.

Thank you so much. I just want to taste it. What is that? Okay, all right, all right. All right. All right. You guys do fireball too? You got one too, buddy.

I got, I got, I remember some runners drink. Come on. I'm taking a sip. Come on. Don't you run. You threw me under the bus to help me off. I just thought the story behind it was so dope. I mean, I want to taste something that runners is with.

All right. But hold on. Let me just see this. Let me just see this. Me and my partner right here. Yes. We love hip-hop. Man.

Absolutely. I might love the more fashionable part of hip-hop. He might love the more grittiest part of hip-hop. Wow. But me and him have the same exact passion. Absolutely. And when we know that we have Favrety, fucking Freddie, we were so excited. We both, like, I love the fact that no matter what we are,

in life, we always come together and say, this is what we want to do. Wow. And when we have a person like you, we want to salute you, we want to respect you, and we want to let the people know how much you should be honored, and we are going to honor you. And we are honoring you. Everybody here, we sincerely, this is real shit, bro. I came home, you know, to watch yo on TV raps. Wow.

And that shit changed the culture. Yeah, it changed lives, man. And I will never, ever in my life not respect that. So you don't have to take a shot. But if you want to. I'm tasting. That's what I do. I'm going to taste some cinnamon.

Lemon whiskey, the brand is Fireball. Take the motherfucker. The fact that people have run. Get the fuck up. How are you the guy? Stop tap it. Yo, this tastes good.

See, I told you. It's like mouthwash. What do they call those drinks? Liquor that you mix with other... Trust me. It tastes good. It can give you the muscle. That's how you means.

Yo, y'all. So one more time. Go on your. Bye. Yeah, let me tell you something, man. Thank you so much. Thank you for what you did because I want you to, on a Sunday. Mm.

On a Sunday? On a Sunday. I want you to open up. It's called Black Internet. Just open it up. Mm-hmm. And there's going to be 15 million podcasts. Mm.

that you could look at. And I want you to say to the, y'all owe me flowers. Because the first black media that made it cool, national, worldwide. Yes.

You said Germany. You mentioned Italy. Yeah. God bless me. That's the reason why I said that story earlier with Ralph McDaniels. We were so cocky. We were so,

but it was really only just New York. New York. You had the chance to do MTV and broadcasts. You made black people all over the world be seen. And I will always salute you for that, man. Hip hop in general. Hip hop.

That's true. Thank you, man. You just fide five friend, man. Who is the motherfucker on the planet? Hey! You hug on Madonna and Tupac. This is great. But I want to tell you face-to-face, man, the man,

we love you and God bless you. Thank you, man. I love you guys too, man. This is definitely one of my, like, top hip-hop media experiences, I want to say. Because you guys are so passionate. I've watched Salute on 10 years in the game. Like, you can feel it. And even everybody in the room that's down.

I've heard people clapping. I get to see everybody up in the building. This is really. special. You guys are doing it. So salute for doing something so real and definitely carrying on. Like literally the baton in terms of

realness, this is it. I mean, you don't fake this shit. That's why a lot of people are going to try this because you guys are a mile. Take a picture. We got some picture and drive. Yes, yes. You on like white people's shows. Yeah.

And I said, this thing is swar. Yeah. Yeah. Because it's like, all, cool. I've seen what, like, envy. Like, let's my man. Amy's my man. Like, certainly, like, when I was watching interviews, then I watched Vlad, then I watched.

And I was, you know, I'm trying to be official, you know what I'm saying? But when I see you, and I'm like, you know how to do that. Right. Think about, this is your gift, my brother, just in case you don't know. You know how to move in different. 100%.

Audiences. 100%. You know how to move a different algorithm. That's a real gift, bro. Yeah. Like, don't downplay that. Like, don't ever, like, acknowledge that. Like, I was watching you.

Yeah. Because I wanted to do my job, but I'm like, I'm looking at it. I'm like, that's not something. Like, you had to teach that to yourself. Right. That comes from. Yeah, my bad. That's a false sense of learning.

Right? So it's like I adapt to every room that I'm in. Right? No matter what room that I'm in, prison allowed us the time to read things, study things and stuff like that So it's like if I'm in a peaceful room, I'm peaceful Right

If I'm in the room on some bullshit Then I'm with that too If I'm on a room That's if I'm in a room that's about progression Then that's what we're talking about That's what we're on Adaptation

Abedeptation Right being able to adapt That's the way you're We ain't always going to be hot, nigger. Mm-hmm. Niggas gonna be like, oh, you washed up, you old, nigger, you ain't who you used to be. Mm-hmm.

But that don't define you. You still gotta be able to be able to be able to to adapt to the times, to be able to adapt to the time, to be able to adapt to climate, to be able to adapt to the rooms that we in. Nah, nigger, that's me. But, I mean, that's not normal. Like, you're a genius, man.

Like, trust me, like, I was taking a jog this morning, from my boy Henry and I was watching all your interviews watching it all and I was like, yo, this dude is mad, smart. Like, and it made me mad that six years ago people were, that's all they were saying oh, you're a street dude

and I'm looking at your progress to where you're at. I'm like, no, man, you're a smart dude, bro. Me being a street nigga is a footnote in my life, bro. That's a little. That's a small part in my life. You know what I'm saying?

That ain't that ain't going to ever be something that I deny. That ain't ever going to be something that I'm ashamed of. What I come from, what I come from, what I've been through, the issues that I had. Yeah. But that also helped define you. Yes.

Right? Because what you've been through helped shopping you in a certain way to make you who you are, right? Whatever it's meant to be will be. So it's like, yeah, I've been through prisons. I've been through wars. I've been through... I've been through extreme violent situations, right?

L.L. told me this... L.L. told me, say, yo, don't let your past failure is handcuffed me. I said, what you mean? He said, you might drop a white album. It won't sell. But the fuck that. Keep going.

Niggie, act like you did... Nick, act like you just went platinum. Don't let your past failures. And that's attributed to every angle of life. If you've been in prison, you've been in the street light, just because you started one way doesn't determine how you finish. So what? We've been involved in this.

That don't mean that we can't put our suits on and sit in these rooms and talk to these people about life and build on some progress. It don't mean that. It don't mean that at all, my nigga. You know? Man, I can't thank you enough, man. I thank you, man.

Wanted to give you your flowers, man. Thank you for giving me my motherfucking flowers, I never had too many flowers before. Yeah, come on, that's good. Good. And I'm a fog, I want to put you on something because I'm here. I'm down here for the weekend because a friend of mine just opened up a restaurant in Miami. And it is probably going to be the top restaurant in the city.

Let's talk about it. It's called Nouveau. Shout out to my people. Ebony Akira. Shout out to Rob. Shout out to Yandy because she's involved with that. It was a big, yes, big grand opening last night. And this is why I'm down here.

We out here celebrating that. You see what I'm saying? Where's it at? It's in Winwood. Okay. So it's right here. It's right here. In the area.

Right here. It's newvo. When I'm telling you, the food is good, you like, y'all, come on, I've been at dinner. Let's go right now. Yeah, we can do that. Yeah. Absolutely.

Right now, let's go. We can do that. All right. Hey, we can do that. Hey, you know, we can do that. Let's go. Absolutely. I'm like a high big mom.

Take it the picture. Let's go. Drink Champs is a Drink Champs L-L-C production, hosts and executive producers, N-O-R-E and DJEF. Listen to Drink Champs on Apple Podcasts, Amazon Music, Spotify, or wherever you get your podcasts. Thanks for joining us for another episode of Drink Champs, hosted by yours truly DJEFN and NORE. Please make sure to follow us on all our socials.

That's at Drink Champs across all platforms. At the real Noriega 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. Hey, I'm Jay Chetty, host of the On Purpose podcast.

My latest episode is with Hillary Duff, singer, actress, and multi-platinum artist. You desire in family like this picture, and that's not reality. My sister and I don't speak. It's definitely a very painful part of my life. And I hope it's not forever, but it's for right now. Listen to On Purpose with Jay Chetty on the Iheart Radio app, Apple Podcasts, or wherever you get your podcasts. I'm Amanda Knox, and in the new podcast, Doubt, the case of Lucy Letby, we unpack the story of an unimaginable tragedy that gripped the UK in 2023. But what if we didn't get the whole story?

Evidence has been made to fit. The moment you look at the whole picture, the case collapsed. What if the truth was disguised by a story we chose to believe? Oh my God, I think she might be innocent. Listen to Doubt the case of Lucy Lettby on the IHeartRadio app, Apple Podcasts, or wherever you get your podcasts. I'm Clayton Eckerd. In 2022, I was the lead of ABC's The Bachelor. But here's the thing. Bachelor fans hated him. If I could press a button and rewind it all I would.

That's when his life took a disturbing turn. A one-night stand would end in a courtroom. The media is here. This case has gone viral. the dating contract. Agree to date me, but I'm also suing you. This is unlike anything I've ever seen before. I'm Stephanie Young. Listen to Love Trapped on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. I'm Nancy Glass, host of the Burden of Guilt Season 2 podcast.

This is a story about a horrendous lie that destroyed two families. Late one night, Bobby Gumpright became the victim of a random crime. The perpetrator was sentenced to 99 years until a confession changed everything. I was a monster. Listen to Burden of Guilt Season 2 on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. The human body is a beautiful machine, and keeping it running, it means understanding how it actually works. Which is why this podcast will kill you is doing a multi-part series on sleep. What it's for, why our bodies don't follow neat rules, and why modern life is not.

not helping. When you consider what we know about sleep in humans, there's one rule that comes out. We are predictably unpredictable sleepers. We'll continue exploring how the body works with a multi-part series on digestive function. So listen to our newest series, which runs January 20th through February 17th with new episodes every Tuesday. From the exactly right network, listen to this podcast will kill you on the IHeart radio app, Apple Podcasts, or wherever you get your podcasts. This is an IHeart podcast. Guaranteed human.