The Questlove Show - Black Music Month QLS Classic: D-Nice

Episode Date: June 11, 2024

In late 2017, DJ and New York Hip Hop legend D-Nice sat down with QLS. He opened up about Scott La Rock's life and death, how "Call Me D-Nice" could have been "Call Me Biz Markie," plus Questlove gets some juicy tales from the Latin Quarter featuring Mike Tyson, David Copperfield and more.  See omnystudio.com/listener for privacy information.

This is an I-heart podcast. Guaranteed human. A win is a win. A win is a win. I don't care what you're saying. Yep, that's me. Clifford Taylor the 4th. You might have seen the skits,

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So let's get to it. Listen to the Clifford show on the IHeard Radio app, Apple Podcasts, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok podcast network on TikTok. This week on the Sports Slice podcast, it's all about the NFL draft. And we've got a special guest. The director of the NFL's East West Shrine Bowl, Eric Galco, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects. From hidden traits teams look for to the biggest mistakes franchises make to the players flying under the radar.

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On the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. Questlove Supreme is a production of IHeart Radio. What's up, everybody? It's Sugar Steve from Team Supreme. June marks Black Music Month. We often speak about it on Questlove Supreme. we've had some of the legends responsible for the recognition on the show. Every day this June, we are running a different episode from the QLS archives to honor the

tradition and intent of Black Music Month. This week, we are focusing on some of the great hip-hop conversations in the QLS catalog. Our leader, Questlove, has a new book out called Hip Hop is History. Check it out at questlove.com. D. Nice has become one of the top DJs, but his hip-hop journey is one of a man who wears many has. Listen back to this QLS. Suprema,

Sura, Sura Roll Call. Suprema, Suc, Sucrema Roll Call. Supreme a roll call. Suprema, Sucrema Role Call. Hello, Supreme Fam. Yeah.

Quest lovers flock. Yeah. Yo, what up, D. Nice? Yeah. Yo, what's up, Scott LaRott? Suprema, sub, sub, suprema roll call. Supremma, sub, sub, subprima roll call. Fonte's in the building.

Yeah. I'm willing and able. Yeah. Compared to me. Yeah. Y'all just crumbs on the tape. I hate you, Fonte. Supriamina.

Hey, hey up, hurry up. Hurry up. Supremma role call. Suprema, sub, sub, sub, supremo role call. They call me sugar. Yeah. They call me spice. Yeah.

They call me everything. Yeah. But D. Nice. Roll call. Supremea. Supriva. People will be mad. Supreme.

Role calls. Why is man? Su, Supriva. Who's next? I hate Fonte. Yeah. He stole what I write. Right.

So I'm just going to say, what? What up, D. Roe call. Wait a minute. Way to say safe sense. That was a bad. He took my join. Submina.

Submina. Suprema, roll call. I'm unpaid bill. Yeah. Start new drag. Yeah. Just can't take it. Yeah.

Jetland. Roll call. Hey, Supremma. Westline. Supremma. Roll call. Supremma. So, Supremma, roll call.

My name's Laia. Yeah. Oh yeah, that's right. Yeah. That fine is over there, though. Yeah. His name den nice. Ro call.

Suprema. Supriva. Suprema, Suprima, Rock is taking it. Suprema, Subrema, Roll Call. Yeah.

I don't know what to say. Yeah. I haven't written a rhyme since back in the day. Roll call. Supriva, Sucrema, Sucrema Role Call. Suprema, Sura, Rold Call. Suprema, SUPriam Roe Call. Suprema, Srema Role call.

Suprema, Sura Role. All right, Boss Bill, with the field goal with a field goal with one second left. Half point half court buzzerbie. Yeah. No one had a 25 to life reference. I was going to do that. That's why everybody was going to do that.

I didn't touch. Call me D. Nice. I was like, let me leave. Call me D. Nice song. Because someone else is going to do it. Right. So then I was like, okay, crumbs on the table. I don't think nobody would do that one.

And low and bow. You called me with the Scott Rock, though. I wasn't. What was your one? It was literally almost the exact same shit. Like, I tell no fables. Compared to Boston, y'all just comes on the table. Great minds.

Well, ladies and gentlemen, welcome to another episode of Quest Love Supreme. I'm Questlove. It's Team Supreme in the house. Hello, guys. Our guest today was 16 when he entered the game back in 1980-something, and I believe that he's 17 some 30 years later. Thanks to that early morning drinking. QLS coffee brought you back

QLS coffee I'm just saying that out of anything that he's done in history I'm more curious about how you've yet to age in hip hop but he's a hip hop legend he was part of the

legendary Boogie Down Productions crew from the South Bronx that really literally changed the face of of hip hop and advanced it to an intelligence level where nerds like us could participate and engage in the culture. And he's had the craziest journey since.

I mean, as a photographer, as a DJ, as a producer, and as a coffee maker, apparently. Ladies and gentlemen, welcome to Questlove Supreme, D. Nice. Yes, up. Yes, thank you for having me. You're taking out you suckers and you don't know how I did. So how did you take out those suckers? I still don't know how I did it, man.

Yeah, side note, D. Nice has half of us in this room engaging in Kuzlav's Supreme Coffee, which is... It's very nice. It's coffee and Syrac. It's anti-thug passion. Coffee and Sarat. It's Neo-Soul Thug-Pathouse. Black Lives Matter Thug fashion.

Black Lodge Lime's hilarious Shout out to Diddy and Alyssa For the Sarat Oh wait, thank you It's Diddy in this room I forgot Oh my fault Shout out to my twin brother love Brother love

Brother love And Alyssa For this Surratt How's it going So you said you had a rough night Last night? I had a rough night man What'd you do man?

So it's crazy kind of being in this world Where you I met with an investor last night That offered me like A few million to open this business Hey So I went out to celebrate after that, and I celebrated a little too hard at a restaurant called Charlie Bird.

I mean, I probably had like five bottles of wine. Nothing hard, but it was fantastic wine. The song just kept bringing, first of all, I sound mad nerdy. Like the song is a million years. You're the house of nerds right now. The song brought out, I mean, everything was just amazing, man. So I'm recovering from that right now. Congratulations. Good for you. Yeah. I'm super excited. He said that sentence. Like, it happens all the time. You know, I met with some investors. No, but I'm saying, well, that's what I was going to go to. How many jobs do you have mine?

Man. Here's the thing, man. Coming into the hip-hop back in 86, I had no real role in BDP. You know, I wasn't a real emcee at the time. I wasn't really producing at the time. And the one thing that Scott LaRoc told me early on was, dude, you have to know how to do everything in this room

in case something were to happen to one of us. So that's how I ended up becoming a DJ. That's how I learned how to write. rhymes. It was really because I had no real role, so I tried to fit in, and I did a little bit of everything. And to this day, I just feel like I can do anything, you know? So in terms of, like, businesses, you know, I'm trying, not even trying. I'm about to open the club, you know, working on that now. You know, the DJN takes me all over the world, obviously. Photography has been great to me. You know, I've shot campaigns, I've done America's Next

Top Model, Hennessy campaigns with this guy over here, you know, you know, and it's just great. I forgot. He's like, who? I was looking around like, who are you talking to? You know, but I just, I love being created. That's it. I love being created. So, you know, I, I know you, but I'd never, ever nerded out.

Because I knew I was going to get you on the show one day. And, you know, I have so many questions about just your journey, your entry into hip-hop and, and all those things. First of all, where were you born? Can I assume that you were born in this? I was out. No, no, no. I was actually born in New York.

Damn. I was born in Harlem Hospital. South New York. So, yes. How come people that come on the show that represent a city and they're just, they're never born from that city? We're never, they don't represent that. No, I wish I was born in the Bronx, but no.

My heart is always there, but I was born in Manhattan in Harlem Hospital, but raised in the Bronx. And the funny thing is I wasn't even raised in the Bronx. the South Bronx. So what part of the Bronx, well, I'm assuming when I say you guys, what I'm saying BDP, like what part of the Bronx? So KERS was from Brooklyn. So he wasn't really from the Bronx.

Yeah, Marley, then Marley. Carest was from Brooklyn. So South Bronx actually represented where he lived at the time. He lived in the men's shelter. And DJ Scott LaRock was a social worker there. Karras, you know, his name was. wasn't KERS, he was bed number, five, seven, six, six, whatever. But no, he lived there, and my cousin was a security guard at the shelter,

the men's shelter in the Bronx. So when they talk about, or not even they, when we talk about South Bronx, it really represented that particular area, really with Scott lived. And I was a part of the group because, you know, back in the day, when you say how many jobs, like I loved cooking growing up. And one day, this is really. how it happened. I was cooking something for my cousin

and brought it over to the shelter, and then he introduced me to Scott LaRoc. And Scott looked at me and said, you're going to be in my group just like that. Dead ass serious. He was like, you're going to be in our group. He had no, he had no clue of what experience you had. The very first day that I met him.

He wanted you to cook, maybe for the group. Probably. No, but yeah, it's crazy. When I think about it, man, it's insane. What was your musical experience prior to that? Like, were you at least observing what hip hop was becoming back in the 80s? Like, were you at park jams? Any of those things?

Or was that, like, after your time? No, no, no. I was always into music, but oddly enough, it wasn't hip hop. So I grew up, which, you know, I'm not just saying it's because you're here. But I grew up listening to just soul music. So when I hear that in a party to this day, it's actually the reason why I DJ. I grew up listening to, you know, just a lot of James Brown stuff, like Melbourne Moore. like everything in the 70s was like that was my era and the first hip-hop record I

fell in love with wasn't even like a full-on record I remember walking by a laundromat and someone was playing like pebbly pool so that was like the first time that I like really fell in love with hip-hop because she was it was like on an old mixtape and she was rhyming and you know and I knew like man I want to be involved with it and but yeah so that was my music really started with hip hop with KRS. Like that was, you know, outside of the Pebbly Pooh stuff, I never wanted to rap until I met them,

until I met Scott and KRS. Wow, that's, okay. Well, so then how to become like, you know, you, you're in the group until, you know, you actually, you guys doing things and, like, how do they develop as a band? First of all, who, Who's in BDP?

So there was the group Boogie Down Productions, which consisted of KRS1, Scott LaRock, and myself. Then in the crew, you know, how you'll have a crew of people just roll with you. There was always, you know, Miss Melody, Mick Boo, a gentleman we called Robo cop, manager Moe in ICU.

I see you. I'm still number one shot. I'm not. Yeah, I should have just fucking did the ICU. Should have did the intro to that record. but yeah no but that was like Willie D, that was the core of the crew but in terms of making records and producing in the studios

just K.R. Scott and I was it. Okay, so I guess could you tell me of just the genesis of like the first album that you guys made together and yeah, no, so there are a few things to talk about with the criminal-minded album

The only song that I actually worked on with the group was South Bronx. And South Bronx was done mainly by Scott LaRock. And that was my first time being in the studio. We were at a 16-track studio in Queens. Can I add something? That was the most evil intro of all time. And I always tease you about this because I know that you were, you know, obviously you were like, all right, you give us a shout up.

But your intro. Yo, what's up, Scott LaRoc? Like, we always, as a kid, me and my friends were always like, yo, D. Nice is a villain, man. Like, we had this image of you being like a snidly whiplash from the cartel. Meanwhile, I was this skinny kid. No, you just got out of here, like, yo, what's up, Scott LaRot? Like, just gritted teeth.

That was like, oh, he must be their bodyguard. Oh, shit. Oh, wow. Definitely. I think Kaira probably would have preferred me being the bodyguard than anything, man. But no, when we made criminal minded, like I said, I only worked on that one particular song with Scott, you know, and that was my first time in the studio, first time sampling, like anything. You know, that was a fantastic moment for me and doing the chorus, of course.

And the funny thing about South Bronx is I didn't even have a rap name. I didn't have a rap name until the end. end of the song. Like literally, I told him to call me Dee Ice. And he accidentally called me D. Nice. Dead serious. It was literally like Are you going to be Dice? I was going to be Dice. Instead of Denise.

So with the South Bronx, I've heard stories of what was the involvement with said G. or Paul C at the time because I've heard

Sedgis say, hey, I co-produced criminal-minded. I've heard Paul C's people saying that, well, I provided the drum patches that said G had that, I mean, just at the time, were those guys around? It's the Paul C thing. This is new to me. Okay.

You know, I met Paul, you know, shortly before he passed. I didn't know him like that. And he was never in any of the sessions that I was upon. of. Okay. Said, so here's the thing, man. Like, as you know, bro, like a lot of, and this is no disrespect to said, because said was truly there and said. I know what revisionism is in hip-hop, especially with the legends, so. Yeah, you know, like he definitely did drum programming, but sometimes people mix producing with programming a drum beat, you know, and said did a lot of programming. A lot of stuff was used, you know, a lot of his gear was used to produce those records, but I wouldn't say he produced criminal mind. I wouldn't say that, and I don't think KRS would say that. Did he program a lot of it? Yes, but, you know, he didn't do the bridges over.

I was there with South Bronx. I was there with, you know, a lot of those records. I think for some reason, like, I don't know where the, like, because in the real world, make, quote, making the beat is just arranging. Yes, right. But not in hip-hop. Like, I've heard, you know, on the off-the-wall masters, you hear Rod Temperton giving people like instructions.

All right, guys, you play this, man, on a count of three, one, two, three. So obviously, right, you know, if they were in hip hop terms, then Rod Timberton would get credit for three songs because, like, you hear him giving instructions. Right. And I don't know how, I guess with producing,

it's like you have to oversee the entire project and decide what's good and what's, you know, bad, but... It doesn't work that way in hip-hop, though. I don't think. Hip-hop is just... Do you think producer, you think beatmaker? and you don't really give consideration to the person that may have actually brought the song to completion,

you know what I'm saying? I mean, isn't in the quote-unquote real world, the producer handles the budget, the booking the studio and, you know, hiring all the musicians. Yeah, you like the overseer. Yeah, you like the executive producer, though, right? That's more on the label side.

Depends on the genre, I think. True. This is fascinating. It's like class. Okay. Yeah, I mean, because, I mean, I consider my than all of us, so. Well, no, no, no.

I mean, I consider. I consider myself a producer, but, you know, I only see it. I only take it to the 50-yard line because I hate doing vocals. I don't know. You always say that. But even with that, I don't even think you necessarily have to do vocals to be a producer. I think you're more so the producer is the person gets the final say. So if you get Steve or whoever to cut vocals, and then at the end, you come in and say,

okay, that's the one, then that's it. Yeah, but at the end of the day, like, I might not give Steve, like, produce his credit for sitting there for nine hours and figure out. What's the, wait, we're not starting to fight like you. I want credit. I want credit. I want credit. I'm sorry.

Okay. Hypothetically, you've gotten credit on stuff. I mean, I can settle. In hip-hop, producing is known as bringing the beat, making the beat. And then you got a producer for maybe the whole album to produce the album, but each song is produced by whoever made the beat. In rock music, other music, the producer is the producer of the whole project, the album, all the songs. And he may not have played one note. He may not have written anything.

That's the distinction. And there you have it. So continue, Dino's. Or you know. No, I love this. This is great. No. But like I said, no disrespect to said, man.

But that record was produced by Scott Lerock, in my opinion. So, okay. Well, since you were there for South Bronx, always wanted to know. being as though you guys were Okay, so that was done, I believe, October of 86. I remember the last half of 86 South Bronx was done. You guys could have laid claim to the first people to use James Brown's funky drummer.

But stayed, you just used the snare, like you cut up the individual drums. Like, no one thought at the time, like, yo, this is going to be breaking. be gold, why don't we just use the entire break? Or was it done on a SB 12, which only holds like four seconds? It's done on an SB 12. Damn. So that's why you get just

just truncated. Yeah, the truncated part. Yeah, and that's why there's a guy, because we use funky drummer. That's why there's a guy playing James Brown. The same guy to engineer the record is actually playing guitar, playing James Brown. Right, exactly. Yeah, yeah. Who engineered it? The same dude. I can't even tell you his name.

No, I couldn't even tell you his name. So he did it. everything. You don't remember his name. We don't care for doing vocals. What the fuck? I mean, at least cut us a check. Bill number one. I was 16 at the time. So were you

were you round for the... Wait, I'm not Bill. I'm sugar. These are bills over here. It's the bill couch. I don't get paid either, so it's not going to. That's why he's unpaid. I think I'm going to my second glass. You'll be time for that. Here. I'll start this up.

I'm napping already. Thanks Diddy. Brother love. So were you around for the first round of BDPism, the kind of we got to advance. Pre. Pre. That's 1241.

That was the 1241. Wait, what was that mean? That was the name of the group. That was the name of the group, 1241. That I didn't know. Yes, yes, yes. That was the fresh print kind of sound and stuff. Yes, yes, yes.

It sounded like a PSA, like Just Say No to Drug. PSA type of stuff. Yeah, that's what it's on like. Yeah, 1241 was the name of the group. When Scott was DJing at Dance Teteria, like very old school New York Club, he was a DJ there, and he used to go on at midnight, and then he told me the story of why, you know,

I don't really remember, but the name of the group was 1241. And I wasn't, one of the sessions I went to when I was just hanging out with Scott was to one of those records, advanced. We got to do events. We got to advance. That was like a Theo Huxstable-type rap. Dude, it was horrible, man.

Which probably explains that's probably what, in my mind, that's what they played Mr. Magic. No more music by the suckers. Did this tell us it was something else, though? Say it again? Biz told us it was something else. Oh, the song that they played for him. They played for Mr. Magic. Didn't Biz tells us a lot of stuff.

Biz did tell us a lot. He said a lot of things. Well, no, no, no. There's like eight other songs. So, you know. I can tell you right now, none of the songs on Criminal Minded was played for Mr. Magic. Exactly. I can tell you that for sure.

I think that prompted. I think it was success is the word. Success is the word was 1241, and they probably played that song. But I know for sure I was in almost every one of those sessions, and I know those weren't the songs that was played for magic at the time. So what was the difference, though, because the eight songs that were kind of 1241-ish,

no. And then, you know, was it the anger of revenge that sparked them to, like, yo, we got to come with it? Because there's clearly a difference between, for our listeners that don't know, the legend of boogie down productions,

basically in their entry into the worlds, at least for us, the South Bronx and the bridge is over. All these songs are sort of heated responses to Mr. Magic who scoffed at them in a rude manner when they played

their demo for him. And I guess that anger prompted kind of a joker-esque way they get a load of me kind of response but I mean the music improved 10,000 percent so what was I always wanted to know

what was the difference or what happened in the creative process that turned the 1241 stuff which wasn't good to you know the blueprint of what hip hop would follow for the next 20 years with I know what it was

in terms of production. And at the time, we would hear, like there was this new wave of hip-hop coming in 86, 87. You had Eric B and Raqqq. Like, biz. But technically you guys were first, so... But we heard those records, though. Oh, so before they came out, you heard tapes and demos.

Yeah, we knew what was coming with Marley. Everything that Marley was doing was extremely important to our evolution. That's why, like, even though we had this beef, with the juice crew, the juice crew helped brand BDP in terms of like the sound, the samples. Marley had, you know, the bridge, clearly the bridge came out before South Bronx, you know. And that sound that he was doing was so hip hop

and so raw and like, you know, and you know, we kind of loved it. I remember being in the studio with Scott. And like I said, we were in this 16-track studio in Queens. And even the way that he was like sampling these records was just different from me, you know? Like, I didn't know anything about being in the studio.

And I know for sure that he wanted a record that would compete against the bridge. Like, he wanted that. Totally. There was no lyrics for South Bronx. It was strictly about the way that record felt. Scott wanted to be able to compete with that. And he was thinking from, like, a DJ perspective. Not to get all deep with it because it's not really that deep.

When we were in that studio, I remember that's what he was playing, and that's what he wanted to compete against. Did it take the make? Were you guys the like 17-hour mix or was it like three hours and Blam? Let's run into the radio. I can say the entire album probably took if it's 10 songs. I'm not lying to you. It was done.

I mean, clearly you can hear it because she's old school, but it was done in 10 sessions. Like 10 sessions to make criminal. Criminal Mind it was made for under $10,000 for sure. Okay. Under 10 grand. South Bronx, we went in there. We did that song and at the, at, at, This guy, we probably paid like $750 to make South Bronx.

And he played on it and he engineered it. He did everything. Who was the president of, was it, Rock Candy Records? So Rock Candy Records was, man, can we really talk right now? No, no, please. Rock Candy Records was a record company that started as they sold pillows. Remember the pillows they used to sell like on the corner, like the big stuff pillows? Yeah.

So they used to make the pillows, and they were all stuff with, like, shredded denim. Not making it. So the table on the album cover of Criminal Minded was also a table used to make the porn because they used to shoot porn as well. Wait, they stopped on the table. What? Damn, I don't want no girls off that taste. This company was definitely, like, they were a small record company called Rock Candy, but in there, wait, dude, and it gets better than that.

It was like, this Muslim dude, there was a Jewish guy who funded a lot of it. Always. Big a boy. But listen, they made porn. I'm not making this up. Always. They sewed pillows.

There's like, I'm just seeing you the link to it. There's a video of Scott LaRocke and I, performing South Braves. Chris couldn't make it. I thought you were to porn. No, no, no. No, not a pornist. But while we're performing South Bronx,

you see these pillows on the side of us. They were trying to have you all to sell the pillows. We had an early merch deal. Wow. What? We had an early endorsement deal. You know, the first 360 deal. Damn, bro.

Rock candy. I wonder what they are now. That's interesting. A Muslim and Jewish man coming together for such a, you know, to exploit black people. Yes. We agree on this, yes. Man, man.

You serious? No, I'm dead serious, bro. So that was Rock City and then what was B-Boy. Wait, wait. We got to go further than that. So who made the deal to get with these guys? I mean, there's profile records. There's...

We couldn't get deals. I'm telling you the real... Yes, dude. Chris could never tell you all of this because he wasn't there. Yes. The real deal is Scott and I were walking down the street. We were like, I don't even, it's like near like, well, you're not from New York. So there's like an old courthouse on the Grand Concourse.

We were in that area. And Scott saw, he had this newspaper and in the back of it, it had all of these companies. Okay. So Scott, we had no cell phones, none of that. Scott, it was Rock Candy Records. and he got their number from a newspaper, like some industry, like newspaper, called, set up a meeting.

I was on the next phone talking to this chick. And the importance of it, I know I'm going way, van, this conversation. We fall down rabbit holes. So in that one particular moment of him being on a phone setting up a meeting to meet with the rock candy people, I was on the phone just talking to just a friend of mine. I was 15 years old at the time.

Just a, I, so crazy, man. Like, I just, I didn't want to stand there not doing anything. And I wanted to be like, well, if he's on the phone, I need to get on the phone too. In that conversation, in that moment of, like, talking to this young lady, nothing flirtatious, none of that. Her dude grabs the phone from her, like, hey, I know you're trying to talk to my girl. When I see you, I'm going to kill you.

Not making this up. In that one conversation where we worked out this meeting to get with Rock Candy Records, I had this one conversation with this young lady. And the reason why I say I'm jumping the gun right now in this conversation is because that is the one conversation that I had with her was the reason why I ended up having issues when we had records out was some random dude rolling up on me. Wow.

That pulled the gun out on me. It had no idea why he was pulling the gun on me. Like, yo, you were trying to talk to my girl and fucking kill you. And that ended up being the situation that I was in that cost Scott his life. So crazy. So both seeds were planted at that moment. In that very moment. I never even talked about this.

I never even thought about that until now. Yeah, yeah, in that very moment. Damn. Wow. I'm sorry, I got to take a moment. Yeah, because you got to see a there for that moment. A win is a win. A win.

I don't care what you're saying. Yep, that's me. Clifford Taylor the 4th. You might have seen the skits, the reactions, my journey from basketball to college football or my career in sports media. Well, somewhere along the way, this platform became bigger than I ever imagined.

And now I'm bringing all of that excitement to my brand new podcast, The Clifford Show. This is a place for raw, unfiltered conversations with some of your favorite athletes, creators, and voices that not only deserve to be heard, but celebrated. One week, I'll take you behind the scenes of the biggest moments in sports and entertainment, and the next we'll talk about life, mental health, purpose, and even music.

The Clifford Show isn't just a podcast. It's a space for honest conversations, stories that don't always get told, and for people who are chasing something bigger. So if you've ever supported me or you're just chasing down a dream, this is right where you need to be. Listen to The Clifford show on the IHeart Radio app, Apple Podcasts, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok Podcast Network on TikTok. This week on the Sports Slice podcast, it's all about the NFL draft. And we've got a special guest. The director of the NFL's East West Shrine Bowl, Eric Galco, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects.

From hidden traits teams look for to the biggest mistakes franchises make to the players flying under the radar. This is the insight you won't hear anywhere else. If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice podcast on the IHeart Radio app, Apple Podcasts, for wherever you get your podcast. And for more, follow Timbo Slice of Life 12 and TikTok podcast network on TikTok. There's two golden rules that any man should live by. Rule one, never mess with a country girl.

You play stupid games, you get stupid prizes. And rule two, never mess with her friends either. We always say that trust your girlfriends. I'm Anna Sinfield. And in this new season of the girlfriends, oh my God, this is the same man. a group of women discover they've all dated the same prolific con artist. I felt like I got hit by a truck.

I thought, how could this happen to me? The cops didn't seem to care. So they take matters into their own hands. I said, oh, hell no. I vowed. I will be his last target. He's going to get what he deserves. Listen to the girlfriends.

Trust me, babe. On the Iheart radio app, Apple Podcasts, or wherever you get your podcasts. Damn. Now I'm going to ruin it with the nerve moment. So back to the porn. No, but you also mentioned something else. You said Scott was DJing at Dancatoria.

Yes. Was he a legendary New York DJ by that time? No, not at all. But I know that Dancetaria is a high-reputation nightclub. Jelly Bean Benitez was a DJ there. I know Madonna frequent there a lot. Yes. That's where the artist does.

Bosquiat and Bosquette and all this Like how did he get a gig at Dancetarian? So Scott used to DJ at a club Uptown in New York called Broadway International So Broadway International in New York City was kind of legendary and it was one of the first clubs Who allowed people to just play hip-hop

So at dance ateria Scott was He wasn't because you know early on like people We had no specific genre of music that you wanted to just play Like you played music if it felt good you played That's why I know all of these records as a DJ now because it was just about the groove. So Scott was probably an opening DJ at a place like Danceateria.

But at Broadway International, that was like a night that he did. So they knew him from that. But yeah, I mean, I was too young. My first club ever, like first time ever going to a club was Latin quarters. Here we go. It's been a while.

Do you have a story about Latin quarters? I actually do. Get the fuck out of town. Would you like to mean? They're mocking me because they think I might have... We don't believe it. What so fucking never. They think that I have a Latin quarter fetish,

but I know that history is made at the Latin quarter. That's why I purposely didn't mention the L word. Because you knew he was going to say it. Because I know we're going to go there, so it's cool, you know. Latin quarters, man. Wait, this is... All right, so I have a question. In reflection,

have you been to any of these gigs with With Scott as a DJ? No, no, never. You were too young? I didn't know him at the time. Oh, okay, cool. So by the time I met Scott, and he'd stop.

Yeah, it was strictly focusing on making the BDP records. And what's the age difference, real quick, between you and Scott at the time? He's still 17. Yeah, I was, no, I was 15 when we met, and Scott was probably like 25. Well, he passed at 25, so Scott was 24 at the time. So, yeah.

He was a kid, which is so true. Crazy. A year, though, that's this crazy, too. Because you basically saying you met him a year. Yeah, I was involved in his life for one year. And he changed your life. Changed my life, man. I, you know. Wow. I don't know where I would have been without DJ Scott LaRock. He'd probably still with you. No, for sure. Yes. So getting to the record labels, like Rock Candy was the first one you guys chose. And, well, I'm certain that it was a low-end deal because it's a, you know. you know because they had pillows they got pillows that was in events our events

a couple of throw pillows no it was it was a or was the artillery at least real on the cover of the album no no that was real oh yeah that was that was that was real that was nerve of me all that stuff was nerve and water guns the guns on that cover and also the uzi on uh on uh

on five means necessary yeah that was real we ain't gonna say we're Where it came from. It just appeared. It just appeared. I don't want to know that that much. I mean, I thought the statute of limitations. So once these songs are made,

what is the testing ground to see? Like, how do things go viral at that point? In 1986, how do things go viral? So in New York City was it, like in park jams in specific, was like, if you tested your record at a park jam and if people were rocking to it, that was it. Now, there were two moments that I clearly remember. One was Scott and I, back in the day, you know, before MP3s, they would have what's known as an acetate.

And we just had, we had like 12 of them, 12 to 15 of them pressed up. And matter of fact, it was like we went from Tom Coyne. Like, Tom, I know, I've known, man, we can talk music, bro. Tom was like, every record that we ever recorded was done by that dude. He mastered it. Everything. The legendary Tom Corporn. The legendary Tom Corp.

Sterling, man, mastered everything. From the South Bronx to Hamilton. That's right. That's so crazy. Yeah. But we went from, like, we had these plates done at a place on 42nd Street. I can't remember the name of it. But Scott and I would walk around to, like, Park Jams and play the record.

And I remember performing South Bronx. And all I ever said on that record was, yo, what's up Scott LaBron. That's it. But we would go to Park Jams, and because Chris lived in Brooklyn. at the time. Actually, no, he didn't live in Brooklyn. He lived in the, in, you know. In the men's shelter?

No, he lived in the, in the refrigerator, in the freezer. Oh, what? Of rock candy records. So. Wait a minute. Yo. Rock can't record might need the ESPN 30 for 30. Yeah.

Right? Them niggas, bro. We got told me. We got some diggas sleeping in freezers. Dude, wait. I'm not making this up. Chris and Miss Melody damn I'm going back I'm sorry about this

girl with this dude You know what the Supreme got me thinking about We live with a dude This is your own This is what it's for So what we made South Bronx In the same studio or the same picture of office that they made

The porn and we shot the album cover Downstairs It was like this A warehouse that the office was housed in In like the Cyprus area of the Bronx Okay with Sue's no, not Sue's

Rendezoo, what's the other, the other strip club, you know what I'm saying? I don't, a lot of foolishness going on over there. Anyway,

downstairs, there was a freezer in the garage. So you know, like, if it's like, if you, it was a place where you house,

like, food. Yeah. You back the truck in. Or dead bodies. Or dead bodies. In the freezer, that's what Karras live with Ms. Melody.

Now, what's crazy about this is, you know, the rolling paper, like when you're doing, and like big shipping, you use the rolling paper brown. We laid that down as carpet. Put their bed in there and that's where they lived.

And Chris had to be home at a certain hour before they closed. Because once you were in, that's when they locked it up. This, I'm telling BDP. In a bathroom, no. They didn't have one. No, once you're in, you're in. So you're in the freezer. They lived in the freezer.

Wow. When you get them on. So wait, at a men's shelter, it's strictly just sleep in overnight. So you had to be in a certain time. And then in the morning, what time is it let out? So in the morning, I mean, I never lived in the men's shelter. I just want to make that very clear.

I'm certain that you know his schedule. But no, in the morning, they had to get up, you know, 7 a.m. and get out, try to find a job or whatever. And then they had to be in at a certain time. So in the men's shelter was like KRS, Just Ice. I see you lived there. Scott LaRock was the social worker. Manager Moe, who, you know, still one of my best friends.

and managed our group was a security guard there. So that men's shelter was extremely important to, like, early hip-hop. Did they not have families or, like, what? I'm certain that I know that the conditions in the Bronx were, like, in dire straits, but was it just because they didn't have family issues or? I don't know what Chris's situation was and why he was in the men's shelter. You know, I couldn't tell you why, you know, I didn't meet Kenny Parker until maybe like

when we did Jack of Space So it was around that album Okay so Jack of Space came out That was 89 No no it wasn't 89 no no no it was like 88 88 Because it's super amazing to me that

Like just in general Like we're so dismissive of the homeless That they're damn near invisible To us in society because I think a lot of us fear that that, you know, a lot of us are, you know, two checks away from that. Yeah, so it's like, it's hard to look at it, you know, to look them in the eye and deal with it.

But it's like, I'm more amazed that in general, people didn't scoff and just be like, you know, like, you're almost like, but there's the future of music in this situation. So it's amazing to me how they pulled themselves out of their position. But isn't it amazing? to that Scott LaRock was like a social worker

already? At 24. 24 years old, too, on the flip side. Actually, I want to take something back. I don't think Justice lived there. Just was friends. I want to clear that up. Just was friends with care. Okay. I thought they were brothers. Okay. But I see you.

Definitely lived there. Chris definitely lived there. You know. And they're how old at the time? Chris was pretty much the same age as Scott. So yeah, Chris was roughly around 23, 24 years old. Yeah. man yeah yeah and I mean we that's off to them for changing their situation around yeah to go from sleeping in the freezer to having a record so how were they able to learn because let's not forget they changed hip-hop so how are they able to learn technology and I have these records like most of us have the comfort of oh yeah my mom and dad have these records in our home like what are the resources they have to know

to change things. Remember, Scott was the social worker. Okay, so Scott's situation was great. He was college educated. He went to school in Vermont. Like, Scott was always... Wait, he was? Yes, yeah, he went to... I can't remember which school.

But he went to school, he went to school in Vermont. Scott was a straight nerd. Like, he would be sitting here doing his podcast with you. Oh, wow. Like, he was a straight-up nerd back then, bro. Like... What? But he was a nerd dude that loved music, that loved hip-hop.

And, um, listen... I never heard of an interview. Let me tell you, man. I'll tell you how much I love Scott. He was a nerd, but we also, anytime something happened, we would figure it out. So I'll give you a funny story, right? First time I ever been on a plane after South Bronx was out

was our very first show was in Rochester, New York. WDKX, so in Superhold. WDKS is DKS. Oh, no. So we were doing the show in Rochester. South Bronx was the only record we had out. Dude, this is crazy. So we went, we had no place to stay.

It was a one-way ticket. Didn't have a flight back. We were going to do this show, and it was great. I lost my virginity at this show. I'm not making it so close. This show is extremely important. That's how you remember it so well. Clearly.

What is this chapter going to be called Bill? This is a... Rochester. Rochester. That's it. Cock chest. Cog chest. That's it.

That's it. So we went to this show. We performed. We didn't have a hotel room. So the guy that brought us up, his name was Scotty. I remember this, man. Like, it's crazy. So Scotty, I can't remember his sister's name.

And I lost my virginity to it. Shout. The sister's the name was Thaddy. Damn. If I'll tell, you want to roll. So wait. So it's crazy. Scott, we flew into Rochester, and he brought a young lady with us.

So it was Karras, Scott LaRock, myself, and this young lady. And the guy that produced the show brought us, he asked us to stay at his house. So in the middle of the night, not me, yo, this is crazy. In the middle of the night, his mom woke up, she was super Christian. And when she found out that there was a young lady staying with us, yo she walked around the house and she had like the holy water and she was putting crosses on our heads and she said what and she told us to get out of her house and only the young lady could stay so we had no place to go we had no money it's me scott and care as dude we broke into like a motel

six what we broke into a motel six and we the three of us stayed in this one room Scott slept in the bed, Kara slept on the floor, I slept on the desk. But we knew we had to get out of the room before they came to clean or whatever. How did you get in the room? Like literally, bro, it was a motel 6, so I'll, you know.

I thought you crashed the windows to... No, no, no, like kick through the door. Just stay in... Not crashed the windows, kick through the door. Yo, man, I thank y'all. Y'all went through the fire to make my life easy. That's crazy. The social worker, the 15-year-old,

I can't. No, it's crazy. I'm like, did you guys have tour support? Yeah, tool support. I slept on a desk. We didn't have a tech rider. We didn't have any of that. No, so the story gets better, though.

So after breaking into this hotel room, we left like five or six in the morning, and we fell asleep on these steps. And it was the steps of a school. And I swear to you, the three of us woke up to, like, these little kids throwing candy at a second. Wake up. What? Wake up.

It's crazy. And what did you said you did last night? You said you broke it a million dollars. Okay, man, you come a long way. The song, the song came and hooked him up. The song. The song. It was throwing candy at them.

$5,000 bottles of candy. Not a bad life. How did you guys organize shows in those early days when you didn't have, you know, a 10-song catalog to perform for the audience? When you only had three, songs like would you just go back and forth or big beat for 20 minutes or somebody say ho or like how did you you only had a little bit of vegetable in in meat but you needed a lot of broth like what was it a show back then for 20 minutes i'm sorry that was a good soup reference

is either sports that was a solid soup metaphor and a first of many please we um no there we didn't do a lot of freestyle stuff at all you just do your one song and that's it was yeah We did the one, well, we always had two songs. So we had South Bronx and the P is Free. So that was my involvement. That's right. You're the TR808. Yeah, I was doing the beatbox on the P is Free.

It was my first time. Impropper, no, the first and I think the second time beatboxing was on, no Razzel, by the way. No Razzel, no Razzel. Only beatboxed on two records, P. is free. And on the, by all means necessary album, there was a song where... Oh, breath control. Breath control.

That's you? Was that by the me necessary? The blueprint. That was on the blueprint. Yeah. That is you. Yeah, that was my shit. Damn.

Nice, nice, nice. That was me with the sample. You know what sample that is, right? Well, he starts with Ray Charles and then. Is that Duke Gallington? No, no. The beat is, um. Bitch, you ain't guess it.

Oh my gosh. It's Hey Jude. Who did Hey Jude? Not the Beatles. Not the Beatles version. Oh, the soul version. Clarence William? Not Clarence William.

The 100th Street. What's that? What's his name? I will wait through the midnight hour. What's his name? Wilson Pickett. Wilson Pickett. That was Wilson Pickett's version.

So I sampled that. It is. Yeah, yeah. I sampled that. The organ. Okay. So that was there. That was the Wilson Pickett version of Hey, Jude.

Nice. Okay. So, okay, I got to get to the rivalry part. So, you know, are you guys, were there any? meetings between, not meetings, rivalries or whatever, between the Jews crew and you guys

after that initial meeting. Like, because New York hip-hop community is small, so surely there has to be a run-in or two. So, with the juice crew, I don't know what happened before I was involved with the group, so I, you know, I really,

part of South Bronx I didn't understand because I, you know, I wasn't there to experience that first meeting that Karras and Scott had. afterwards my best friend was in the juice crew and still one of my best friends to this day big daddy cane so before any i was still used to give him shout out yeah came was always came was my dude like that was i mean he in krs or he actually helped krs move into his first department so even though we had this rivalry with the juice crew it was more about records than anything i mean there was some animosity there because y'all talk about it at all it was just like no no we never had those conversations

At least I was never a part of those conversations. I don't know if Chris did with Magic or, but no, it was strictly about records. So it was just Magic and Shan versus those guys. Yeah, because, Marley, come on. You know, Marley worked with Chris, man. Like, Molly was always a good dude. And the thing about me is, you know, back then. And even now, man, I was always a lover of hip hop and producers.

Like, once I became involved with it, it's like I wanted to know everything about the culture. like everything. And when I met the players, you know, when I met Marley or when I met Dougie Fresh or, like, I was always a fan. So even though we made these records and Bridges over, I was still a fan of those dudes. Like, they walked into a room. I remember being in a club in the Bronx on Tremont Avenue.

And I was there by myself at this club. And I remember when the Juice crew walked in, there was this swag about it, like, you know, to see Shan walk in with Biz and T.J. Swan. and they're walking in to do a show, she was crazy to me. Like, even though we were competing against them, they'll still respect there.

Yeah, because they really had a crew. We didn't have a crew. It was Scott LaRock Keras and myself. I thought y'all rolled 10 billion deeps. No. Based on that My Philosophy video, I was like, yo, y'all. I couldn't even tell you who half of those people are.

All fat by Freddy's friends. Exactly. So I got to go there. what give us all right there's a nightclub in midtown Manhattan oh yeah we can

I don't know if you heard about it but it's called the Latin quarter I think I have been there before man uh so for you can you just give us a general synopsis of reopen the Latin quarter or at least make a documentary about it

no no no that's one of the docs I want to work on is on the Latin court because it was First of all, I had no idea. It wasn't until 2000, like roughly around 2005, 2006. I was at our buddy Chris Lighty's house. And we were in the backyard playing basketball

and we talked about the Latin Quarter. I had no idea that it was a juice bar. Like, they served no alcohol. Wait, what? Listen, there was no alcohol served at our parties. Nobody has said this. No. Wait, during the hip-hop era?

During the hip-hop era, Y'all weren't getting nice? No, that's... So when Chris said, yeah, it's crazy that it was a juice bar, I was like, what are you talking about? Because I was too young to drink. I was in there when I was like 15, 16. They served no alcohol.

So all that aggression was just dudes probably getting nice before the club and the way hip hop made them feel. And when I tell you that this club was everything, this was the mecca of hip hop at the time. You know, like everything changed from this club. That was the first place we ever played South Bronx. That was the first time I ever heard Eric Ian Rakim. Matter of fact, it was the first time that I met Mike Tyson.

So here's my Mike Tyson story. Two links together. Mike Tyson was a beast. We were all young, young, dude. So we walked. Was he Mike Tyson by this point? No, he was Mike Tyson, but he didn't have the belt there. So this was 06.

I mean 06. 80s. Too much of this goddamn, Sarat. It was 86. This was 86. So I remember walking into the restroom, into the... I'm a little nice right now. I'm a little boogey, so I walked into the bathroom.

I walked into the bathroom. And Mike Tyson was next to me taking a piss. This is real shit right here. Mike accidentally stepped on the dudes, stepped on the sneakers. Oh, no. The dude was like, yo, you stepped on my shoe, blah, blah, blah. And Mike hit him one time. Knocked the dude out in the bathroom and then stepped over him to exit the bathroom.

No lie. My buddy manager mode was there. He can tell you. No words. Like he didn't say nothing to him. You serious? Knock this dude out. That's how you feel.

And then stepped over him and walked out. We have another Mike Tyson punch somebody story. I swear to God. We had the Naomi Campbell story. We have Naomi Campbell. So, I mean, you know. He didn't punch him. He didn't push Naomi, right?

He put her out the car? He kept her out the car? Did you know Heather Hunter? Because you know she lived at the Latin Quarter. We have a lot of. I've known Heather since back then. In the freezer. Yeah, since the freezer days. With the pillows.

I don't know her in the freezer or with the pillows under her back. I don't know any of that. None of that. You ever see that apartment? She says that looked like the cotton club and whatnot up there. Oh, in Dumbo? No, inside the Latin Quarter. She lived in the Latin Quarter.

Oh, with David Copperfield? What? What? Wait, wait, David Copperfield lived in the Latin Quarter? So the guy who owned the Latin Quarter was a guy named Mike. I can't remember Mike's last name, but Mike managed David Copperfield back then. So he was making his money from that and probably some other things. Yeah.

But no, for sure, he managed David Copperfield. That's for a lot. I remember. So every time I see David Copperfield's name in Vegas, I'm like, I could make it too. He was back in the Latin Quarterfield. I can do this. Wow. Was you making shit disappear at the Latin Quarter? I don't know.

You got to make this doc happen. No, that's crazy. I didn't know you were obsessed with the Latin Quarter's, man. It was serious. I'm obsessed with hip-hop history, but I'm more, I'm trying to figure out why, because of, okay, it's one thing for you to be like a legend or in the industry and you roll with a lot of people. Like, if you're carrying Red Alerts Records or something, you're kind of protected. You're in the DJ booth or whatever.

But I mean, it's to the point where people were coming from all walks of life to get in this club. And, you know, your chain could be Vic. You could be, it's like going to the prison yard. But everybody, but everyone that sits and tells the Latin Quarter story has such romantic kind of amazing stories. Like, but people are getting jacked and fucked up. Yeah, but when you're a part of it, you don't realize that you just got jacked and fucked up. You're like, just happy to be there. Like, is it, you know, one person that just has a fuck Latin Quarter stories?

Like, I got my- I don't know anyone. And I'm telling you, I've seen a lot of shit happen in the Latin quarters. Here's another story, right? So, we're in the Latin quarters. And this is why this shit being a juice bar is so crazy to me, because I cannot believe that everyone was fighting like this. Sober?

It was fighting like this sober, dude. Like, there was a dude. who worked at the front door. They called, he had a doll made after him like in the 80s. He was called Sunman. Wait, wait.

Wait, wait. He was like, he was one of those dudes that was literally built. His whole body was like a why. Like, and they called him Sunman. Like, I'm not making this up. MC Search.

You asked Search. Search was there. Michael Rappaport was there. Like this, listen. He was bold enough to get, go there? Michael Rappaport was everywhere. Was everywhere.

Was everywhere. I'm not lying, bro. I believe that. Michael Rappaport is the truth. People, believe it. People look at him sometimes, they're like, ah, you culture, no, he was there. Right.

Like, he was there. All this shit he talks. I swear to you, Michael Rappaport was there. He was there. The one skinny, skinny kid, skinny white kid in the middle of hip-hop party, was Mike Rappaport. Is this son, man?

Right here? Right here? Is that the doll? So that's the doll from back in the day. Oh, shit. That's, yo, the guy was, that is model he does

like the letter why he doesn't have a moment I'm not like wait you pulled up sun man and what was

sun man special power I don't even know he blocked the sun being the letter before Z because dude . Sun man

word sun man so what do so what do you do so he was the guy he was he was the security back at the Latin quarter

so he let certain people in but anyway so Once we were inside, you always felt safe, but not really because she always was out. You thought you were safe because Sunman was at the door. How many people were at the door? Man, I couldn't even tell you. I do remember Sunman.

I remember Sunman. God damn, I have his number in my phone. I'm going to remember this. Oh, he's still alive. He's still alive. No, but these dudes, I'm not being. This is too much to rock, by the way. Brother Love, I love you.

I can be extremely honest. These dudes, if there was a fight going on in front of the Latin quarters, I swear to God, they would lift up the cars and move the cars. They were that strong. It was like four dudes that was at the door. And they weren't in full force. No, they weren't in full force. But they weren't dressed like them.

But they would, like, I swear to you, bro, like move cars. It was crazy. You know, the Latin quarters, by far the best experience I ever had in my life. life in terms of being in the club and just pure hip-hop moments. There was a moment in the quarters, right? Where the Decepticons were fighting against the A-Team.

Wait, there was the A-teen? I heard of the A-Team. I heard of them. I'd never heard of the A-Tempsons. So they were all there were a bunch of dancers that could fight well. What? That's the best line I've ever heard. A bunch of dancers who could fight well. So it's like, really? Yeah.

Like, yeah. I'm a great dance spot. I'm a I'm going to dance your assholes. They tied their arms together, they did the whole thing. They're a bunch of dances that can fight well. By the way, if you're still alive, no disrespect. But no, this moment was so crazy. So we're in the club.

I don't know why they started fighting. I just remember LL had his big cool J ring. Oh. So you know the story. I've heard of this story, yes. So the story, I was there. I saw the fights happening. I was safely in the DJ booth with Red Alert.

But Red Alert, listen, man, Red Alert is an OG. Chris Lighty, OGs. L.L., you can say what you want about him licking his lips. That man is an OG. L.L. Kool-J. OG, man. The fights happened. People were trying to, like, trying to rob L.L.

pretty much. What? This was, I'm telling you, it was like the Wild Wild West, bro. So the lights were on. But with dancing. With Wawa, West with dancing. The video.

WaiWiWWest with choreography. Yeah, all right. It was like the Bina video. Dude, it was crazy in all of these sections of people fighting. The Decepticons, the A team, and just regular party goers

and no one was drunk. It was a juice bar. So everyone was fighting. I'm in the DJ booth like, yo, this is crazy. This is crazy. Red alert. was trying to jump from the DJ booth because it was on the second level.

Right. He was trying to jump out of the DJ booth because Chris Lighty was fighting. Oh, shit. Chris Lid's fighting because Chris is trying to protect LL. And Chris used to carry Red Alert's records at the time. So Chris is fighting. Everyone's fighting. Scott LaRoc and I in the DJ booth.

I don't know if KRAS was there. I honestly don't know. But what I do know is this. Once the fighting stopped, L.L. had handled his. Word? L.L., you know, like, look, I'm telling you. With this Adorn? With his lips licked.

Licking his lips. But Lowe's not you all the beach. He handled this, bro. Like, Chris Lytie was a beast. Like, for real, for real. I've heard that about Chris. Chris was a beast. Chris walked into the DJ booth,

and I won't forget this moment. He kept saying my back is burning, my back is burning. Oh, no. And he pulled his shirt off in front of Scott La Rock and I in this DJ booth. And that was the first.

I didn't know what razor blade slices looked like. So when he pulled his shirt off and he bent his back, everything just opened up. Oh. Crazy. How many was it? Was it like Denzel and glory? Like, give me a... Just sip of sororoccuric.

Wasn't quite like... Like slave lashes. It wasn't a slave lashes. So you're saying that weapons would still get inside of... With sun man at the door. Damn you sun man Can we get Sunman on the phone? That's fair

No No yeah It's crazy man It's crazy I'm exhausted She said I'm exhausted Yeah no I've seen I've seen some things man

Latin quarters man They should definitely be a documentary On the Latin quarters Or at least like a fictionalized Yeah Something Yeah something A BET Tales

I'm sorry I say it deserves What's the next Exeter A Lifetime movie network No, definitely Netflix. A lot of dancing, a lot of dancing. A lot of dance photography.

So the way that it is today where, you know, unless you're a bona fide celebrity, i.e. you put a Drake song on, you know, oh, that's Drake, or there's the new Migos or whatever. Maybe Cardi B has at least a three or four second pass of playing untested material and you know when that's her voice. And so it's like, all right, we'll give that a chance. you know, whatever, Kanye, or whoever's winning at the moment.

But, you know, I hear that a lot of these songs were tested at the Latin quarter and went off like gangbusters without people really knowing that, like, you know, these guys weren't celebrities. So it's like you're hearing, you're hearing Rebel Without a Pause the first time, knowing that you didn't think too highly of Public Enemy's performance the year before. whenever they first performed.

Chuck said that they had a horrible performance at the Latin quarter that really didn't go off well and, you know, Mel was disrespected him, but it's just... Wait, Mel, disrespected them too? Oh, yeah. Can you give me some Mel and Mel and disrespect? Yeah, Mel was like the heckler at the Latin quarter

from what, from different stories we've heard. Like, he'd be in the back just... If he was whack, he touched you. Why are that Mel would try to skip the record in the DJ booth if he didn't like a particular act or, you know... Crazy. I thought it was his BDP. I mean... Because, I mean...

I mean, by that point, Mel was, what, he was like 32, 33, so it was like the new generation was, I mean, be like me trying to go to One Oak right now. Like, yeah. You don't know me? If you are worried about what, you know what? You know what I mean?

You know what? That's not like any. Wait, wait, wait. Wait, you want to hear something even crazier? One year is something even crazier? So now, if it's an all-ageous show where kids are there, and by kids, I mean, like, the kids of, like, whoever, like, our real roots fans are, like, they bring their 12- and 13-year-old.

Yo, motherfuckers think that we're now doing the Drake song. Oh, Drake. Oh, my God. Like, my Drake check is awesome. For what? One of those songs, Doran, if you're reading this. You're reading this, okay. Shut me neither.

I mean, oh. You got me is one of his hooks. Shut up. Like, he does it twice at the end, but when we do it, the look on their face is like, they're doing Drake. Like, it's good. That's great, yeah. I mean, it's good, but it's just, it's an error.

It's an era. Makes you feel old. That made me feel old. That made me feel old. I wouldn't give a damn. They know the song. That's all I get out. No, I mean, I don't get the check.

So I just feel old by listening to the story, you know. That's what I felt. Yeah. Wow. Can you just sing the hook? again. Look, man, Questle of coffee's in full of...

Get it. You sing it. If you are a baby, baby, baby. If you want for a little baby. I was just the young boy.

I'm playing with my toes. I got a fine. When we get back to the interview? Yeah. More stories? We shot. I'm sorry. We just needed a five heartbeat.

What are we? We had a dayd coffee, please. More coffee. So why did Mel come up to you guys to pick a battle? Was it because it was all about you guys or, you know. Right now, Melik Mel, if you're listening, I love you. Back then, I looked at him. He was a straight hater.

Yeah. Straight up hater. And I'll tell you a story, brother. Tell me a story. And I remember this clearly because at the time I was mad at KRS and I was getting my first apartment. and Don Lewis. I know this is all...

This is all random. Wait a minute. Different world. Cosby people were coming to them? Yes, yes, yes. Dawn Lewis was like my big sister.

Dawn, I love you. Her brother Lee. Where is she now? She's still making stuff. She's still making stuff. She's in L.A. But no, Dawn,

Dawn was... This is why I remember these stories because of moments in my life where it was so important and pivotal moments. I had my first apartment when I was 16. I didn't have a bed. I used to sleep on these coats.

I'm not lying. I had a one bedroom apartment, but I didn't have a bed. All I had was a stereo system. That's all I wanted was in music. No bed, not a sofa, not even a plate. I had an apartment. The apartment had like, you know,

back in the day they used to glue the carpet to the floor. Oh, wow. Just imagine no carpet, and it was all half scraped. Oh, wow. You kind of stick it to it. So these are my memories of like that time. What part of New York? I was living in Washington Heights on Edgecombe Avenue

in like 163rd Street, Edgcombe, right by the bridge going into the Bronx. So I remember that vividly. And going to the quarters this one particular night. And this night that I went to the quarters, Melly Mel was there. Miss Melody was there. It was, you know, regular rap show with like a thousand people on stage, don't really know, but everybody just wants to be on stage. You know, it's the rap shit.

The posse. And Melly Mel said, fuck these niggas. Fuck that shit. We had South Bronx out. So when Karras performs poetry, when he said, say something now, thought so. He did that rhyme that night before poetry was done. We only had South Bronx out. So Mel said what he said

And Chris was on the mic, rhyming and doing poetry. So that's the one time of like Freestyleing that I personally remember where Chris was like, say something now and put the mic to Mel's face. And he said nothing. Kind of like when you asked me to rhyme earlier

without really asking me to rhyme. And then he was like, thought so. And the crowd went crazy. That's the Melly Mell experience that I remember where I lost all respect for Mel. I was strictly, because even though I'm in a group, I'm like, KERS is the king. Whoa.

His rap is going to shit down. But no, KERS was the king, bro. Like, the king of disrespecting early on. So that was my Latin quote. He would just have these rhymes on standby. He just had rhymes, man. I don't know. Outside of, literally outside of like Black Thought and Big Daddy King,

I don't know anyone, and Tupac, Tupac had rhymes for fucking years. We'll still hill two park records and we're like 90. Brand new joints. But those dudes were, in my opinion, true emcees that was always prepared, always had something. They always had something for you. Chris told me, he showed me like a couple of, he had at least four compensation notebooks. Yes.

And the last thing he left us with, the last thing he left us with, he says, hey, I even got a black thought this. No, he said he would write this is for rappers. Yeah, Chris would write, he would have disc records for everyone. So we laughed. He turned to the page. He had some paragraphs. No, he's. And he was like some next movement.

Like he had, he had it. Just in case. Yeah. I'm ready for you. I never knew. Keras always had lyrics for every emcee that was hot from Kane. Everything. And Kane was our boy.

But he was still in the juice crew. So Chris was always prepared to battle anyone. And that was something. that I was never really, I didn't know about that, any of that. You know, I made records because it was, I just love music. I wasn't prepared. I wasn't really prepared for that kind of emceeing, you know. A win is a win.

A win is a win. I don't care what you're saying. Yep, that's me, Clever Taylor the 4th. You might have seen the skits, the reactions, my journey from basketball to college football, or my career in sports media. Well, somewhere along the way, this platform became bigger than I ever imagined. And now I'm bringing all of that excitement to my brand new podcast, The Clifford Show.

This is a place for raw, unfiltered conversations with some of your favorite athletes, creators, and voices that not only deserve to be heard, but celebrated. One week, I'll take you behind the scenes of the biggest moments in sports and entertainment, and the next we'll talk about life, mental health, purpose, and even music. The Clifford Show isn't just a podcast, it's a space for honest conversations, stories that don't always get told, and for people who are chasing something bigger. So, if you've ever supported me, or you're just chasing down a dream, this is right where you need to be.

Listen to the Clifford show on the IHeart Radio app, Apple Podcasts, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok Podcast Network on TikTok. This week on the Sports Slice podcast, it's all about the NFL draft, and we've got a special guest. The director of the NFL's East West Shrine Bowl,

Eric Galco, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects. From hidden traits teams look for to the biggest mistakes franchises make to the players flying under the radar.

This is the insight you won't hear anywhere else. If you want to understand the draft like an insider, you don't want to miss this episode.

Listen to the Sports Slice podcast on the iHeartRadio app Apple Podcasts or wherever you get your podcast and for more follow Timbo Slice of Life 12 and TikTok podcast network

on TikTok. There's two golden rules that any man should live by. Rule one, never mess with a country girl. You play stupid games, you get stupid prizes. And Rule 2, never mess with her friends either. We always say that trust your girlfriends.

I'm Anna Sinfield, and in this new season of the girlfriends... Oh my God, this is the same man. A group of women discover they've all dated the same prolific con artist. I felt like I got hit by a truck. I thought, how could this happen to me? The cops didn't seem to care. So they take matters into their own hands. I said, oh, hell no.

I vowed. I will be his last target. He's going to get what he deserves. Listen to the girlfriends. Trust me, babe. On the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. So talk to me about regrouping in the group's future after Scott passed. Like, at that time, was it just like, okay, well, I guess that's it?

No more? or was it like, we got to do this in Scott's memory? No, it was like how, what, what happens? So just to tell, you know, the QLS audience, Scott LaRock passed away coming to my aid. You know, I had an issue with a young, not even with a young lady, some random issue. It wasn't even an issue of my own.

Scott came to my aid, and this is, this was so crazy, bro. Like, we're in the Bronx, high bridge area. of the Bronx. This is probably, I don't even remember the exact street, but we're in a high bridge area of the Bronx, not too far from Yankee Stadium, that's where I grew up. We're in this area, walking down the street, 8 o'clock in the morning, a group of people rolled up on me, had no idea who they were, and had this beef with them where they pulled the gun out, smacked me with the pistol, and ran off. The first person that I called was Scott. I went to a pay phone called Scott, told him what happened, and Scott already had this crazy

day of locking himself out, locking himself, not laughing at his death at all, but locking himself out of his apartment and hanging a rope from a fire escape. Oh, then had to repel down to business? Yes, to his apartment to climb into the window. It was just one of those days of like... You used to have to be some die-ha-all-ish-you.

Back in the day in the Bronx, this is what you had to do, man. So that's why I'm like, man, this life is great. This life is great. So, Scott, after having that situation, I called Scott up and he, the one thing he told me was, look, man, we don't need any issues. We don't need any issues. We need to squash this. Like, it needs to be done.

I'm going to come over. We're going to find the people and make sure everything is cool. And our mission of peace was strictly about peace until this one guy, this one guy that we had with us, we called him Robocop. So he was the original guy, not the one K of S mentions his own, like I'm still number one. But he was the original guy that we work with. He also was like a security guard at the Latin Quarter. But what we didn't know was that he was the East Side Rapist. Wait, what?

God! I know this sounds crazy. The detourous. Wait, why are you turning around like here? I don't know what to do. I just got nervous. I don't know. He was the East Side Rapist.

So later on, if you Google him, East Side Rapist, New York, Darrell was his name. I'm afraid to. How many he got? I know he's doing it right now. I need to know how many Vicks he got on the Delta. I don't know. Okay. But it was, wow.

Like, but anyway, so this guy. was a hothead dude, you know. And so the mission of peace of like going to the Bronx to find these guys that that rolled up on me became a mission of like, we're looking for trouble only because of this one person. So he, we were at the projects, high bridge projects in the Bronx.

We were on one side of the street. K7 was there before he was K-7. He was in another group before that. T-K-A. Yeah. So he was around there. Like, we were. I remember this.

It was one-way street. We were parked in the right-hand side. Projects were on the left. Still, that's rock talking. So if I slur a little bit, please forgive me. But anyway, Scott and I were, it was me, Scott, Manager Moe, Mick Boo, and the guy we call Robocop. So Robocop went to ask one gentleman,

hey, we're looking for blah, blah, blah. We didn't hear the conversation. Well, all we saw was whatever this dude said to him, angered him. And he picked, and he was like a 6-4, 6-5 dude, picked this young kid up and just slammed them now, which was, that was a crazy moment because if, if it wasn't all about peace for them at that point.

So us, it was like, we were coming and just make sure we had no issues. But in that moment, those kids were like, this is, it's on. It's on. And while we were standing there, maybe 30 minutes later, we were standing out there. And all of a sudden, shots rang. For 30 minutes? No.

I mean, you were just, we were there for 30 minutes. After the fact. After the fact. And all of a sudden, shots rang from the roof and from the bushes. So our guy was hit twice. You know, Scott LaRock was hit twice, shot in his head twice. Bullets literally went past us because he was on the, like I told you before, we were on the right-hand side of the street. He was in the passenger side.

They were shooting from the left side. So bullets went through past all of us. Right to him. To him. No lies, crazy. So this guy gave his life, you know, so I never want to just, when I talk about him, you know, I want to talk about the importance of like Scott LaRock and the importance to me. He introduced me to music, gave his life for me.

And to this day, his son is like someone that I love, that I try my best to make sure he's always straight because that's what his dad did for me. How old is Scott LaRock Jr.? Scott LaRoc Jr.? is probably like 32 now. 31, 32. Because I always wanted to, I mean, that whole Skylon Rock Jr., my pride and joy. I always wanted to know what had happened to him. Okay.

He's awesome, man. What does he do now? He's producing music. He's been putting out, like, putting out his compilations. You know, just recently, you know, we got together, got him a new MPC. You know, I want to do things with him that his dad did for me. You know, like, if you want to be involved, music let's do it like here use this gear i have this come and get it let's make music it's yours

because that's what his dad his dad gave me it's almost like you have this this guardian angel that came into your life put all these things in front of you and said hey do what you can with it like i would not have known red alert i wouldn't have known kr s for sure he didn't even like me he didn't even understand why Scott put me in the group matter of fact to get back to the original you weren't no Chris and I weren't we Bickering brothers are like real like

I don't like that kid for Chris when I think about it now as an adult Chris was probably angry with me because Scott lost his life I was going to say like I know the guilt you had to internalize still I don't how did you two to

deal with each other or talk with each other or after the effect or was it just a white elephant you guys never spoke of and then like years later it was like i don't i don't want to call it a white elephant chris definitely treated me a certain kind of way so i was in the group one third member of bdp we did a show i made a third of the show i left the group because scott wanted to pretty much be my dad. And I didn't grow up with a father. I didn't grow up with my parents. So anyone trying to have like that parental role to me was an enemy. Like I didn't want that. I didn't want you telling me what to do. And thinking, looking back as an adult now and as a father, man, this dude changed my life. All he wanted to do was make sure that I went to school. That's the only reason why

I'm not on a criminal minded album cover was I didn't want to go to school. And Scott said to me, if you don't go to school, then you can't be in the group. And I said, fuck this group. I'm going to go sell drugs in the street, and I'm going to be good. So that's the reason why I wasn't on the BDP first album cover, like the criminal-minded album cover. That's crazy, because I was going to ask, what is a 15-year-old doing touring the world or touring the country

with grown-ass men? Like, where were your parents? There were no parents. I slept on the floor and slept in the living room on one sofa, and my great-grandmother was on the other sofa. and my cousin, it was my cousin's apartment. So from the time I was like 13 until my, till 16 and a half when I got my first apartment, well, 17 when I got my first apartment, I, you know, that was what my life was.

So how do you attribute being, because just by optics sake, you look like to be a very involved father. You have two girls, right? Two daughters. How do you think you became such a great father that you didn't really have? To be the best parent. that I didn't have. You know, like, I wanted my kids and still want my kids to be better than I am,

and I want them to be great, and my kids inspire me, you know, and it was, I know it's directly related to the way I grew up. You know, I grew up, my dad growing up was Bill Cosby. In my mind. For a lot of, Mr. Huxstable. Yeah, the Huxable was, like, seeing that was, like, I wanted that for my kids.

I wanted my kids to have that experience. and I used to wear those ugly-ass sweaters all the time you look at self-destruction video as an ugly-ass Cosby sweater so even though you have Cosby sweaters

I had them joints bro did you produce that self-destruction yes I was 18 when I produced self-destruction okay how many 1,200 did you use because the beat switches every verse so did you just punch the sample in

for every? No no I used a Publa-San remember that? No So the Publisson was a rack mount sampler that would just loop whatever you had, it would loop it. That was your weapon of choice? That's how you made it? So, yeah. So I used that in a SB200. Okay.

So I'm sorry, SB 12, not even 1,200. I used the 12. You were still using a 12 in 88? I was using the 12. And then the first time, the very first beat that I made with the 1,200, I remember this because Keen and Ivory Wayans came to us and said, told Chris that he wanted to, use BDP on I'm going to get you Sucker Project and we were in

we were in where's Ali from I'm drunk as shit Ali Where's Ali from Ali Shahy Mohammed Oh Muhammad No Mohammed Ali

Kentucky We were in Kentucky Louisville right We were in Louisville And I jumped on the plane To go back to New York To go back to Samash Bought the SB 1200

Flew back on the road And we were on tour With like You personally? went to go get the $1,200? I didn't have, I didn't know anything about FedEx and all that. I went to get this.

I stayed at this hotel. Never forget this. God damn, I can't tell you everything because I remember staying at this particular hotel with someone's future wife, but... It happens.

Rewan. We won't go there. We won't go there. Anyway, I remember making up this SP 200 and then going back on the road. And the first beat. that I did on that SB-1200 was from a sample that I bought while I was in London. The Greedy G. And it was the Greedy G sample. And we used to, we used that sample, and I put the,

a sample the drums, you know the drums. Last 19, you know, right. Esther Phillip. Yes. Yep. With the Greedy G. And that was our show intro from that moment on. And then that ended up being a song that we did for the Jack of Spades for, I'm gonna get you suck it. By the time you got to the bio means necessary, what was the digging process like? Like you produced my philosophy? My philosophy. So I want to be clear about this.

I don't even want to say that I produced my philosophy. That beat is definitely my beat. Who found the samples? That's all me. There you go. Yeah, that was all me. I used to go to a spot called Downtown Records in New York City, and I would go to the House of Oldies,

and that's where I bought pretty much every record that I ever used. was the sample was between those two places. And I remember being in downstairs. And it was always Big Daddy Kane. Biz was there. Biz was there all the time. So if you found like a sample,

if you had a little bit of money, you would buy every one of those records there. So that... Because biz would buy the records. So that's the only reason why call me D. Nice isn't call me biz Marquis. Seriously. Because I was smart enough

when I found that sample it was a compilation with the turtles with Flo and Eddie on that compilation and like Dayla had a beat off of that joint. When I found that,

we also did so steady B Yeah, I was gonna say who did the steady B records? So that's, I found that, I looped that. Chris,

it was produced by KRS. Right. But I'm telling you right now that I found that. Saw them four joints off the Let the Hustle Swet album. Yes. So with that.

No, it was the Battle of the Band's album. I know. Okay. Yes. So with that album, I found those. I sample all of that stuff. And Call Me D. Nice, which was crazy to me. The lyrics for Call Me D. Nice.

I'm going to put it out there right now. Half of the first verse was written by KRS. It was the song Chris had written from me when I was like 16. And then I wrote the rest of it. But I did it on like an old B-Boy record album, old B-Boy compilation. I've had 12 inch. Yeah, and it was like super fast. I wanted everything fast.

Yes, you do. Everything wanted, every record I sample had to be like 120 beats per minute. Like, I needed it fast. You're trying to get that house, one of, that hip-hop house. Hip house. Him and Doug lazy. Even after I recorded the vocals, I had them speed up the tape, like, make it faster. Damn.

It needs to be faster. It was just bad. Anyway, so those records, I would sample the records and sent it to Chris, or not even send it, bring it to Chris on the tape. And at the time, I brought him, I brought him the beat for, I'm still number one for my philosophy. And the beat for Call Me D. Nice. And he heard the beat for Call Me D. Nice. And he said, ah, I don't like that.

What? And then he took, I'm still number one. I had it faster. Right. Because you know, the original samples. Slower. Right. He slowed it down.

I will give him that. He slowed it down. He was like, no, this is it. which ended up being, I mean, this is an incredible record. Yeah. You know, call me D. Nice. The only reason why I did that record was because after I did the beat and I played it for Chris, he didn't want it.

The second person that I played the record for was Kid Rock. Oh, wow. I was going to say, you discovered him? Yes. I mean, he was already doing his thing, but he was like an opening act of one of our shows. Kit Rock could have been in BDP. Kit Rock could have been in BDP. No.

No, it's not, it's down with us. Making America great again, it's down with us. It's crazy. I have kid rock stories too. But anyway, so I played it for him, and I did call me D. Nice, the lyrics to the beat because I wanted him to know how he could rhyme on it. Gotcha. And that's the only reason why I have like two versions of the song was because I did it for him.

I was like, no, you can do it like this. And then when I listened back to it, it was like, wait, this is actually pretty fucking dope. And yeah, man, and ended up putting that out as my first single. Well, so that was your first album. So when did you officially leave BDP, the time from when you left to putting out your first solo record? So I don't think that I ever actually left BDP. I think KER has had my music turn down extremely low at one show. And I was like, I guess I'm not in the group anymore.

We did a show at the Palladium in L.A. And that was the moment that I realized like some things were going on. But the moment that I realized I wasn't in the group was his sex and violence album. And his sex... In the credits, he said, These people are not...

These people are not down with us. And that was the moment that I realized that I'm no longer with the group. And honestly, I didn't do anything that would warrant that kind of, like, treatment. Like, it wasn't like we were beefing. Yeah. It was because I was.

because I was never a yes man. So half of the songs are, like, not that I, you know, I don't personally think that I made a classic album as D. Nice because I was a little confused with who I was at the time. I was, you know, 18, 19 years old. All I wanted was women. I wanted some ass.

Like, so my records reflected that. My name is D. Nice. I wanted them to know who I was. Chris was so prolific with his music and with his lyrics. And fucking motherfuckers up. And fucking motherfuckers up, you know? Physically. Chris got reputation

Yeah Chris has a reputation Even in music of being a little disrespectful But a lot of you know Oh Pete Oh okay But yeah So but with Chris With that moment

I you know like I didn't realize that I wasn't in the group Until those records in Until the Sex and Violence album Because I I'd done all of these records for BDP Which is so crazy Because in that moment The only reason why I put out my own record

Because I was on jive My deal was for $25,000 to make an album. And at the same time, Tribe signed for like a half, well, quarter of a million at the time, I believe. So they really never believed in me. And it's crazy because Barry Weiss is still like one of my friends now. And I see him and I get it. I get what it is. You want it KRS.

So I respect that. But we were never, like I never had one of those deals or people to actually believe in me. So even with Call Me D. Nice, I put Call Me D. Nice out myself. I went to the record, I went to Red Alert and had an acetate and asked him to play it and Red played it for Vinny Brown, who's the program director, and that's how that record came out four or five months later. It was because I was just aggressive, like, I just believed in it, you know. So I never really had those situations where people, like, really believed, you know,

had to, like, force every situation. So everybody I know you. When your next record, when you did To the Rescue, how was it a little better than, like, That video with 25 to Life was so drastic. That was a drastic-ass video. So 25 to Life, I mean, even though I love the song, shouldn't have been my first single off of the second album coming off of what I was doing in terms of like,

yeah, it was a shit. It was different. The problem was record companies, you know, like in people. That was like the first song that I did in the studio. And that song wasn't even supposed to be a song. It was a song that I did because one of my closest friends at the time was doing 25 to life. And he was the dude that when I was 16, he was a hustler dude, took me to D.C. I was hustling with him in D.C. in Paradise Projects.

Like, I've seen all of this craziness by the time I was like 16 and 17 years old. And the song was really written about him as my way of saying, like, not even saying thank you because it wasn't a thank you record. It was just like a story of like what he went through. and, you know, when I did the record, Jive immediately wanted to put it out. Wow. So it wasn't. Who shot that video?

Darnel Martin. She ended up being like, she directed a couple of movies. Yeah. With like the Mary J. Blige movie on BET. Oh, she did all that. She was like an NYU student. Oh, I thought you meant there was a Mary J. Blige movie of the week, like, of her life. No, no.

The movie would like Mary and Q-Tip. Oh, prison. Prison song. Prison song. She directed that. Oh, wow. So she directed all of my videos. Wow.

But yeah. Yeah, I always thought that was an odd choice for a single. I mean, I thought it was dope. But it was definitely odd. Yeah, because I was like, man. Well, it was only one verse. It was just one verse. It was abruptly.

It was abruptly. And a hook. Yeah. It was one of the videos where, like, you know, where my dad just happened to be in the room. And then the gunshot thing happens. And he just looked at me like, this is that bullshit again.

Right, right. But he was always coming to choice moments. where like, I'm like, dad, hip-hop's an art for him, you know, and he's just looking like. And then the 25 of the Life video. It's so crazy because that was like my first number one MTV video. I think that was actually my only number one MTV video. The only one.

I was like, it wasn't even supposed to be a single, nor the first person at Too Short did a song with on the East Coast was me on that record. On that second album was a song called Check Yourself. Short and I were on tour and we were both signed to Jive. And Jive had this brilliant idea of like, No, you guys should make records together. But when you think about it, no, we shouldn't have made records together. That's not who my audience was.

My audience was people, no disrespect to Shorts' audience, because Short is an amazing man. But at the time, coming from BDP, people probably expected a little bit more than what I actually gave them. But I was a fucking kid. I made records that kids would listen to. I was talking about chicks. I wanted to be hot in the streets. You know, I was a dude that was selling drugs in D.C.

and came back to New York and I wanted to be respected by these dudes. So I made those records where K.R.S. at the time... Excuse me, a little hiccup because I'm drinking this rock. Quest Love Juice. It's just Jesus juice I'm having over here. It's water right there. Oh, is that water? Okay.

That's for you. I need water. Wait, before I forget, real quick, because we got to wind it up. You're definitely coming on because we didn't even get to talk about the White House. No, the second part of your life. No, no. I'm purposely leaving the other half of your life out

just so we can have it. Because you're coming back, right? You're going to be the Sanger Bernhard of Questle of Supreme, just frequently. Just make them say it on tape on record. You're coming back, right? Are you kidding? I'm trying to sit in on every interview you have. I want to hit rock stories.

Yo, how did you convince Soul Train to let you perform, call me D. Nice Live? Because I never knew. That was your performance of that. When we finally went on Soul Train, I was like, yeah, we're going to do. the same thing denies did. We'll make up a trap as if it were live and then we'll lip sing it but it'll look live when it's on, you know, on television. But we got that from watching you. So why didn't you just do the typical lip singing to your version? Like, so no one had done that

at that point. You're right. And when I had the invitation to perform a solo train, I thought all these years I thought it was live. You know, I thought everyone was doing it live. And some of them Some of them were. Really? I didn't even know what that. Special episode, you know, Barry White. Yeah. Special people got the treatment. But it was costly for Don at the time to back, you know, gear and all that stuff. So for the most part, it was lipstick.

Well, when I performed, well, the night before or the day before, I couldn't believe that you couldn't do, you couldn't perform live. I was like, this is insane. What are you talking about? I want to perform this record. So I booked the studio session. I went in. It was me, my buddy, Tony Rassan, who lived at the shelter at the time at Franklin, but he ended up becoming, like, my partner in my management company.

We went in the studio, and I just did it live. Like, I wanted to do it. I wanted to feel the way I performed it. It was great. We did it. We did the whole, go, do you dice, go, do you guys? Wait, that was you guys? Yes.

Oh, damn, man. Because I was going to say, yo, you, that was the most hype I've ever seen around. The audience were like, go, dude. Wait, so we did all of that in the studio. Went in the next day, gave him the track. I was performing it, and I was performing it like it was live. Yes. And Don Cornelius, he was like, wait, wait, wait, stop, stop, stop, stop.

His mic is live. What's going on? He literally stopped us, and I fell out laughing. Like, no, dude, like, we did this last night. And he said, Youngblood, that's a good one. That was up. Man, that was great, though. That's great.

Did Trench write Time to Flow? No, he didn't. KG produced it. KG produced Time to Flow. And then I wrote my own verse, which was actually a mistake, though, man. You know what, man? Trench was on fire at the time.

I love that you asked me this, by the way. Trench was extremely on fire, and we'd been friends even before OPP, any of those records came out. And I watched, I was fascinated by Trette. Like I thought Tretch was, I watched Tretch Battle JZ to where Jay got frustrated and threw the mic down and walked off the stage. I'm not even lying to you. I've seen all of this.

And Tretch was like an emce god to me. So when we had a chance to do, that was like my first feature ever outside of KRS. That was the first time I ever performed with another artist. But we happened to be real friends with me, Chakim, Walthifa. Like, they were my family. You know, I was a part of Flavie Unit and work with Shia. like in work with Dana. So doing a record with Tretch was great.

The problem that I had was in is that I was so fascinated in memory by like my relationship with Tretch that I almost wanted to be that dude. And I didn't rhyme. I didn't rhyme like myself. I wasn't me. That's what made me ask it. Yeah, yeah. I was, I wanted to rhyme like Tretch.

I wanted to be like that was top level to me. And I wanted to be on his level instead of just being who I am. So there are some mistakes. that I had, man, that I... Actually, I don't even wish I can change it because I wouldn't be where I'm right now had anything been different. Well, for the record, I always liked you as an MC.

I always thought you were underrated as an MC. And you... I always like your delivery was always really clean. Like, your first on self-destruction... And timeless. Yeah, like, it was... Still works. Yeah, man.

I always thought you were dope as an Mish. My mom liked the sweater in the self-destruction video. So... AJ Lester, 128th Street, back in the day. Derek, we thank you for coming from the show. We're definitely going to have you back. to you. Yeah.

So we got to talk about the rebirth to everything. The rebirth and kid rock stories. Yeah, but thank you, man. I appreciate it.

I appreciate it. Give it up. It's great. Just want to let you guys know. You know, we rarely push our social media, but you can follow Questlove Supreme at QLS.

That's our Instagram and our Twitter. At QLS. And when you go on Facebook, Questlove Supreme. And you can email us. There's something new for 2018. Yes. Yes. You can email us with questions and

comments and criticisms. All right. And roll call help. Can't wait for that. Anyway, we're going to find, we're also going to find love for Laia by February. Hit us at Mailbox. M-I-L-B-O-X. Spelling out mailbox.

We're all used. Mailboxes out there. Mailbox at questlovesupstream.com. You guys got that? You guys got that? All right. So you can send all your hate to Millie Mailbox. So that's it On behalf of Quartz Love Supreme's Foncigolo, unpaid in boss bill Sogis Steve, it's Lai'eer

And our guest, Dee Nice. Who's coming back. Yes. Yes. Our returning guest, D'Nice, we'll be back. We'll see you on the next go-round. It's Questlove Supreme. Quast Love Supreme is a production of I-HeartRadio.

This classic episode was produced by the team at Pandora. For more podcasts from I-HartRadio, visit the I-Hart Radio app, Apple Podcasts, or wherever you listen to your favorite shows. A win is a win. A win is a win. I don't care what I'm saying. Yep, that's me, Clivert Taylor the 4th.

You might have seen the skits, my basketball and college football journey, or my career in sports media. Well, now I'm bringing all of that excitement to my brand new podcast, The Clifers Show. This is a place for raw, unfilled conversations with athletes, creators, and voices that not only deserve to be heard, but celebrated. So let's get to it. Listen to the Clifford show on the IHeart Radio app, Apple Podcasts, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok's podcast network on TikTok.

This week on the Sports Slice podcast, it's all about the NFL draft. And we've got a special guest. The director of the NFL's East West Shrine Bowl, Eric Galco, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects. From hidden traits teams look for to the biggest mistakes franchises make to the players flying. under the radar. This is the insight you won't hear anywhere else. If you want to understand the draft like an insider, you don't want to miss this episode. Listen to

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