The Questlove Show - Fab 5 Freddy Part 2

Episode Date: June 15, 2026

The second half of Fab 5 Freddy's in-studio conversation with Questlove explores the enduring legacy of Wild Style and revisits key moments from Yo! MTV Raps. Fab shines a light on the unsung heroes of the graffiti movement and reveals how a botched audio recording shaped one of his film's most iconic sequences. The conversation also traces his role in bringing N.W.A to television, directing a classic video for Snoop Dogg, and helping develop a groundbreaking Chicago Rap group as an executive. Along the way, he reflects on the legacies of Jean-Michel Basquiat and Keith Haring, and discusses building a modern-day renaissance through art and cannabis advocacy.See omnystudio.com/listener for privacy information.

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The Questlove show is a production of IHeart Radio. All right, welcome back to the Questlove show. Now, last week we gave you part one of my in-studio conversation with Fafi Freddie. His memoir, Everybody's Fly is out now. Now, we spoke about Fred's Brooklyn childhood This coming up from a family with ties with legendary figures and jazz and activism And he schooled me on the late 1970s graffiti scene

If you haven't heard that, check it out. All right, now, with Part 2, as a reminder, please, please, drop us a rating A review or tell a friend. Okay, without further ado, here is Part 2 with Fab 5 Freddie on the Quest Love show. Of course, in the mainstream, you hear about celebrated artists. You hear, of course, Herring and Bosquiat.

You hear other names like Lee Keonis and all that. Yeah, yeah. Who's the unsung hero that just never got any flowers, even in the age of us celebrating all these great writers? Well, you know, hmm, that's a good question. I couldn't give you a clear answer right now because there's been many that didn't get, And that's an objective determination who got what they really deserve.

Because when we transitioned a charge that I led into these other spaces of people that can really look at our workforce, aesthetic value as opposed to the like criminal illegality of it, which we've just kind of talked a bit about. But that was the idea is to move us into space. Because a lot of guys doing this, like I said, primarily teenagers. And at a point when you're 18, 19, and it's like, it's time for college, it's time to grow up and be an adult and pay to pay rent and stuff like that. It's like, you know, most guys would grow out of it, so to speak. And I was like, man, this is, I saw some value that really represented something a lot stronger that could transition and could live on in that way.

So understanding how to move in the art world is the education process that a lot of other cats do. didn't really grasp. There were people that I pulled in, if you will, under my wing, so to speak, Ram LZ, Futura, what we did with Wild Style and the graffiti painters that we included, crash, days, pink. These guys learned quickly how to make moves in the art world and go out for themselves and know how to move in that space. Was there ever a, you know, like some artists are, they'll get in their own way. Was there ever a fear of like, ah, man, like the commercialization of it all?

There was some people. In fact, Zephyr, who is a legend in the graffiti space and is in Wild Style and plays a character a lot like how he was. He's like a purist. So literally, we have a confrontation in the film Wild Style where he's trying to tell Lee, whose character, Zorro, man, I'm bringing the publicity. There's a journalist coming to cover what's going on. And we have this confrontation where he said, no, man, later for this chick, he wants to bring a reporter into the yard.

Nah, man, fuck that. And then classic line cutieb used to always laugh. And people go, I go, man, fuck this guy. I know how the publicity machine works. You might not get the money like right now, but you'll have money like Barry White, man. I mean, this is one of my, babe. But it was so cool doing that scene because what we decided to do in Wild Style was use all the real people in roles comparable to what they were doing.

Right. So Zephyr, this was how he really got down. He was a purist and still is in a way. In fact, Zephyr matriculated into painting the freight trains, which is a huge ongoing scene that mirrors exactly. what we were doing on the subways. A great documentary, if you Google freight train graffiti painting that came out of just a couple of years ago,

Roger Gassman was involved, produced, he's a brother of Cap from behind the streets. And I was blown away to see that these freight trains run coast to coast. There's guys in their 50s with families that are out still painting freight trains and having beefs with each other. This guy and the other.

state, if I catch him, I'm going to whip his ass. I'm like, holy shit. It's still going on. The same shit that I've just talked about in Star Wars. So that still goes on. But like I said, there have been guys that didn't get, but those that transitioned into galleries, some were able to get recognition and be able to move on. Some touch galleries, but weren't able to figure out how to navigate those spaces.

So there's a lot of guys. But what has been good is there were legendary. guys that painted the trains. Like there was one that was a huge inspiration to me. He passed, it was about 10 years ago now, stay high 149. Okay. And this was an older brother that people,

when you heard about this guy, I mean, he was one of the most prolific. He had this little stick figure character smoking, a joint that always went alongside his name. He would make these New York City subway maps and he would embellish them with his tag. He gave me one of them things, man.

Literally, for me, it was like meeting Michael Jackson to encounter Stay High. He was that huge. Phase two was another cat that was a pivotal pioneer that then make the transition into the art world. He was like a scholarly cat. In fact, he was the inspiration for my character in Wild Style because I'm one of the few people literally acting.

A lot of people think I'm from the Bronx on the strength of me. I thought of it. Yeah, that's what because I, you know. Wow style to me was almost like the first reality show. Was there an actual script or was it like... It was a semblance of a script. Because once again... Like when she got stuck in the...

When her car broke down up there... That was sort of scripted. What we said and how it was said, we left leeway. Okay, here's the idea, you've got to say this. But say it how you say it. We didn't like adhere to say every line on the page. The idea was, okay, here's what needs to happen in this scene. Say it in the way you would actually.

Kind of like a reality show. That's how it is. They feed you what the scene is. Very much like reality, which is a kind of a stepson of the documentary format, if you will. If you want to look at the origins of the reality genre, it grows out of the documentary kind of context, if you will. So, yeah, we did do that in Wild Style and we allowed people to have leeway in how they would say it to keep it authentic. Hence the scene between me and Zephyr, he's pretty. much freestyle and

but it's a lot of the passion that comes out in that scene is how he really felt. And that's what we wanted to do and that's what we were successful doing. You've closed the thing for me because basically as a soul train head, there's a moment where Don Cornelius

is interviewing Mike D of the Beastie Boys. And he actually quotes that. He's like, yeah, you know, we just out here trying to get money like Barry White. And the joke didn't quite land. Like, Don thought it was silly, but I instantly knew. That's so funny. Yeah. Yeah. That's a wild style reference.

I just thought Barry White was one of my favorites, and it was an album where he had like all his gold jewelry and stuff laid out on some ink. I mean, Barry was everything. I think I know how the legend of that. There is an episode, there's a 77 episode of Soul Train in which Don actually goes offset and host it from Barry White's crib. Oh, wow.

It was like opulent. And, you know, it's like waterfalls and everything like. And he performs its ecstasy like in his pool. I love to see that. Yeah, it's crazy. And yeah, I think that's where the myth of Barry White get money. Like it was an complete episode of Soul Train at Barry White's mansion. Yeah, that was ever, yeah.

I just thought Barry White was so cool the way he was like kind of talk singing his vibe. The whole image of him was just incredible. His love unlimited orchestra. I was a big Barry White fan. I have a quadrillion wild style questions, but I'll, we'll look down to a few. Number one, okay, let me just get this out the way. Sure.

Because the flash scene seems very disconnected because... Ah, yeah. Let me not say that. No. How hard was it to get flashed? No, it wasn't hard at all. So let me explain what happened with getting flash. And why wasn't there more footage?

Yeah, because what happened was the flash scene where I'm in his home as he's cutting in his kitchen. which is now become an iconic moment. You've seen it a, if you follow the culture, you've seen it before. Yes. That literally was me, there was some dialogue that accompanied that

with me getting him to bring the group to perform at what was the final concert moment in the film. Okay. We'd film that moment with the original Flash and the Furious Five, the Cold Crush, We had a couple of thousand kids come out. We screwed up the audio for that big moment as well as the other big performances at the Dixie Club. We screwed up back then.

You would record sound on a recording device called a Nagra. And we had a stereo Nagra. This was like a super heavy duty little reel-to-real machine. We didn't know what the hell we were doing. We didn't have the sound adjusted right. We screwed up all the audio. So we had to go and reshoot. So there's no audio?

The audio was garbage. In fact, somebody just mentioned to me, and I ran it by Charlie, hey, man, you know, AI. AI might be able to. I will allow this. We can get some AI experts to reach out to us that may want to help with this because it's. The restoration of it all? So what shot that we don't haven't seen? Once again, you've seen the Wild Style film, the performances at the Dixie Club,

where you see Busy B, Double Trouble, Cold Crush, Fantastic, in a club. That's the Dixie Club. Then we have the big final jam outside at the park, the amphitheater, the climax of the movie. We had to reshoot all of that. So what you see now is what we reshot because we screwed up all the audio.

And we had just restage and reshoot all of those moments because we had a big boo-boo in what we did. The audio came back. This is the classic old school where we had. We have the Steinbeck editing. We got the film separate. We got the audio set. You put it on the machine.

And, you know, this is old school film editing, analog, classic analog. And we put this audio one and we couldn't believe the sound and shit. We were like, what the hell happened? And we just totally botched. We didn't have the machine set up right. This is classic independent filmmaking. This is what happened.

So we could have seen an authentic Grandmaster Flash in the Furies Fy performance of that era. I'd never forget. because by the time we reshot six months later, or however long it was, flashing those guys had elevated. Now they're opening for Rick James and they're going on real R&B big tours

and they were gone. Like we blew that moment. So using that flash scene, we had a brilliant editor, Rest in peace, Steve Brown, who intercut that with the break dancers. And we just had these moments. So, you know, it's somewhat disjured.

based on what the original idea was. But still, when people, this is Grand Master Flash, doing the amazing things he did, the world had not seen any of this yet. And for most people, this is their first look at what a DJ does. And watching Flash do that when he spinned around, he had the classic Grand Master Flash letters,

the press on letters, and I'm just sitting there loving it. Because, I mean, that was everything to see him. it was such a mystery at that point in time. And like I said, it was so remarkable that, and I detail all of this and how we set all this up in the book, Everybody's Fly, but it was just such a remarkable that we were able to pull a film out of all of this

because it was, we had some, we had a few problems here and there, as you often do, we create stuff. Can you talk about the scoring of it all? Like, I'm assuming that Chris Stein is part of the rhythm section. Well, yeah, so what happened was I wanted to use the original breakbeats. I mean, it was so early on.

I'm really just grasping the essence of what this culture is about. It was super underground. It was little to know maybe Rappers D. Light had maybe come out by then. I'm like, Charlie, let's use the original music. Charlie, thankfully, it was like, no, no, no, we can't, Fred. Somebody will eventually come for us.

I was like, ah, it's okay, I'll go and make. So is that why they're not rhyming? over catch a groove and impeach the president, like the original breakbeat? I always wonder, I'm like, that's why. Everyone has a copy of this one record. So here's what happened.

Down by law is classic and shit. Thank you so much. So what I did was I said, okay, let me figure this out. So of course, I'm friends now with Chris Stein and me, I've met all these cool people on the New Wave post-punk scene. We're all tight.

And I go, okay, I'm gonna definitely, it was bouncing everything off of Chris anyway because they were super supportive and helpful. I said, okay, so I'm going, so I'm going to produce this. So one of the things that the Supreme Teams radio show would do is they would have a section where they would play breaks. And these were the real break beats

that the real hip-hop, early hip-hop DJs used. So he would play these and I had a recording of some dope stuff. So I got this cat named Lenny Ferrari. His actual name was Lenny Ferraro, but we would call him Lenny Ferrari, who was a real cool cat, white cat. but he had played for Rita Franklin. I mean, he was a dope-ass drummer.

So I said, Lenny, I didn't really understand how the recording process. I later learned I should have had the bass and drums record together, but I did the drums separate. Oh, so the drums were first. The drums are first. I don't know what the hell is doing.

We're figuring. We're making it up as we go along. Went to a Rinky Dink studio that I've never forget the studio had tubes. I know that became a hot thing of late. People trying to recreate the quality of those early 60s, 70s recording. This two-bit studio I found,

which I remember was on the same block as the Beacon Theater. I can never remember the name of it. It was upstairs. They had affordable enough. I know it wasn't 24, maybe a 12 track, whatever. I know the board had tubes because I remember you look. I was like, oh, man, there's tubes. You know, that was typical TVs.

Old school, high fives had tubes. Anyway, I record the drums there. Later get a buddy of mine who played bass to lay the bass down. That's when I learned, oh, you should do the bass and drums together because it was a couple of points when they weren't jelling. It kind of wasn't jelling. Right. So I was able to get it.

And then Chris Stein came in. I brought Chris in. I think we went to another studio at the time because Chris would do a lot of stuff out of a studio called blank tapes. And Chris had all these effects and things that he could trigger from his guitar, all these little toys that he would. So I said, Chris, we got to make them more. So basically it was like the whole idea was I'm going to make a record of break beats. Nothing is going to be longer. in a minute. The purpose being the DJs

when we film will be able to cut and play these live as the rappers rap and that becomes the soundtrack, not quite the score but whatever. And so Chris comes in and with these 10 to 12 different little tracks he makes up different little sounds and plays different things. He

triggers it all from his guitar, all these little toys he had and that's how we create the original break beats and down by law becomes the most popular among the rappers, which most people use for performing. At the time, were you feeling like, ah, man, I'm making T-Moo breakbeats. Like, this is not the authentic,

what they, the real shit we need. Like, at the time, did you? I mean, I wasn't quite feeling like that because, once again, hip-hop is at a point where very few people understand what this is about. Right. Is the first rap records that come out, especially what Sugar Hill and them did,

hip-hop hadn't got, yeah, house bands, playing whatever they knew the popular records were their kids liked in the street. But the idea of hip hop understanding how to recreate the grit and the dirt and the funkiness of the sound. The patina, if you will, that would come later. People like

Molly Marr and even what Malcolm McLaren did with the Buffalo Girls record used and incorporated all the elements in a really interesting way. But overall, that wasn't known yet. Cats were working to get to that point. So I wasn't tripping if my main barometer was when I, so what we did was when I finished all those records, we pressed up a hundred pieces of vinyl. I believe at 45 speed. And I went

around and gave each of the DJs two copies. So that was Tony Tone and Charlie Chase from the Coal Crush. Graham was at theater. Just white labels, no. Just white label. I drew the shit. a couple that popped up. I heard any originals left. Sorry. Oh, Fred, man, come on. Listen, I remember meeting DJ Mark to 45 King and every real DJ cat

went back, yo, what's up with those records? I'd be like, y'all, we got a couple more. So those all went. But later, as the 90s really kicked in, it became the super sought after what the hell did they use because everybody assumed I had sampled something. Yeah.

Nobody knew this story that I'm telling you. So when I would meet guys, I would explain it. I remember meeting Jazzy B from Soul to Soul, and they were able to grab a couple of sections of Down by Law off the soundtrack and looped together his own kind of instrumental, if you will, because people became obsessed. I was blown away to learn that. That has provided many a deep snare, many an open drum, you know.

Oh, God. So that became a really fun thing. In fact, I used on the audiobook for everybody's fly, I use some of the actual down by law. And I tell the story of how we, this is a story I just shared with you, how luckily, because, you know, Nile Rogers was a friend and I got Nile to get us the ability to use good times

in the end at a decent rate. Oh, okay, okay. Mardi Gras is what Flash is actually, Cutting. Cutting. But instead of you just got made me funky? Yeah, he's his Mardi Gras, Bob James. But then one of the reissues that we did some years back, we weren't able to get that cleared.

So I had to find some guys that came in and did a close, a pretty good approximation. It wasn't the real deal. Real heads would be like, yo, that's not. You didn't know me then. But the recent reissue of Wild Style that just happened. able to get it cleared. Pride is like love. You feel it in your heart.

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All right, listen up. The Jonas Brothers here. Our podcast is called, Hey Jonas. We're here, since everyone has a podcast, we want it to as well. And we've had some incredible guests so far. And now our good friend, Nile Horn,

is joining the show. How's it going, boys. Hey, Nile. It's the same thing with slow hands. Slow hands is not about anything else, really, is it? You know, or taste so good can be about food. You do the same, Nick, with some of the stuff that you've done. You too, Joe.

Drop what you're doing and listen to Hey Jonas on the Iheart Radio app, Apple Podcasts, or wherever you listen to your podcasts. Can you explain or give me the history of making change the beat 12-inch, which of course, all you hip hop historians know that the last. The last second of that record has been cut up many of times. Yeah. This stuff is really fresh. Who's saying, is that Bill Lasbo or is that you? No. For a long time, I assumed it was me because it was put together after I had recorded.

And I was always like, yeah, that was me. Because the term fresh had just really begun. And I remember cast in the Bronx was like, yo, this is fresh. The fantastic romantic popularized that term first because a part of their routine, there would go, We're fresh out the pack and you got to stay back. We got one Puerto Rican and the rest are black. So being fresh out the pack was their thing. And they just abbreviated to fresh.

And so I knew where that came from. But it turns out that it was Bill Laswell's manager, I think Roger Trilling, had said it goofing around in the studio. So when they presented it to me, they were like, yo, do you approve this? because they tacked it on to the B side of the record. With the female, that was my French teacher, I decided to use her on the B side

as opposed to the B side being instrumental, which was the typical thing for rap singles at the time. She sounded great to me when she emulated, mimicked me with the rhythm. She didn't had the rhythm, but her French was perfect, her voice was sexy. Right, right, right. What am I going to be called? I got to come up with a rap name. I'm like, well, you're going to be on the B-side.

She was like, yeah, B-side, that's it. I'm going to call myself B-side. So that's how she was born. She would make a few other records after that. And so basically, I approved this weird sound on the B-side. Now, what makes it go viral, if you will, back in that time, was Grand Mixer D-S-T. Now, D-X-T was the first to use it on her. Herbie Hancock's rocket.

Bill Laswell. Bill Laswell produced. Full circle. I get it now. He met Herbie through our little connection that we were all connected. And Bill brings, he's trying to turn Herbie on to this. Herbie's open because working with Miles Davis, Miles was open to working with doing different things, you know, as he did electrifying the horn and everything. So Herbie coming from working with Miles, Bill Laszell says, hey, man, here's this new thing popular.

He takes Herbie to the Roxy, whatever. And then they give him the basis of that track. And Dxte goes crazy. In fact, it's Herbie that said, DST, he's a pianist. He's a guitarist. You're a turntablerist. That term really begins with Herbie telling DXT, you're a turntabist. Because he had DXT go on a tour with him or run a tour as a part of the band.

Yeah, I've seen it. And that was the first at that time. And so DXT uses it and it becomes the ubiquitous example of scratching because so many other DJs on so many other records use that sound, which became synonymous with this idea of scratching. And that's my record. And not once have you tried to, because literally if you had $10 for every time that shit was used, you'd be a trillionaire. It's water, it's bread, it's just part of the fiber. It's been a blessing. I got to get to MTV.

I got to get to, I'm skipping so much. No. We must buy the book. No, it's a lot. Okay, for you, the NWA episode of. Yeah. There's so many I have to ask you, but. Yeah, that was a great one.

Most people's favorite episode is the introducing. Well, yeah, like that was my first, what even made you? Because I was resistant to them, you know, I saw. Jerry curls and whatever, like, all right, what they doing out in LA? Yeah, yeah. And then I saw that episode, and then we all ran to get that out. Like, what was that like? Man, it was incredible.

Like, you know, we had already developed a reconnection with Easy because he had We Won Easy. And Ted Demi, rest in peace, one of the original producers, and Easy had developed a really close friendship. And Easy was like, hey, man, we come on out to L.A. And I got a new group. I'd like, you know, to showcase the group. So we, one of the things was instrumental with YormTV raps with different groups

is finding a concept to interview the group that we could show the audience where the group's from. So we could really, you know, this is now rap spreading around the country. And so the idea we came up with is we're going to rent a flatbed truck and ride around L.A. Now, I'd been to L.A. a bunch of times, but I didn't really go too much out of West Hollywood. And I didn't know about Compton and the hood yet. He didn't know that stuff. So they said, we're going to rent his flatbed truck. We're going to ride around with Easy in this new group.

But he said, but listen, Fab, this is the night before. He said, listen, don't wear anything red or anything blue. So I was like, okay, I didn't know what that meant. So I had a black outfit, no problem. I show up the group's all in black. And we were at the Welcome to Compton sign was the first segment of that show. I asked everybody to introduce themselves. One of the people there who is a great story now,

who's going to be a part of the next paid and full benefit that I'm a part of is the DOC. And I don't know who any of these guys are except EZ. Ice Cube is in my ear in between segments asking me about GRA. You, Fab, what's up with GWRAP? Keep in mind, I haven't listened to the album yet. So he's like, I'm like, GWrap is cool, you know. Later when I listen to the record and I snatched the headphones off five times, I can't believe what they just. Oh, my God.

Emposy's not going to let this shit play. I'm going, they're so edgy. But I get why Cube kept asking me about Grap because he was the edgiest at that time on what would become gangster. And I said, oh, I get it. Anyway, that goes on to blow up. And that was my introduction to really meeting NWA

and a revolutionary aspect of the game. I would later direct Snoop's first video. Me and Drake. How crazy was that video? Shoot. the first day to shoot after he performs on the top of VIP records when we change locations. It's a near riot.

So the police flew in, helicopters, they shut us down. And Dre tells me, look, Fab, that was crazy. I knew Long Beach is a very crazy place. He said, but if you can hang out, I've got to finish Snoop's album. We will get the video done. I end up spending the rest of that summer with Dr. Dre at his house, really bonding with him in Calabasas. He had to wait until they finish the record.

Well, we would shoot, moments would come up and we would schedule some time to shoot this. We would shoot that scene. It was different pieces of the video, the whole picnic with all the, I had dog trainers and stuff. I had morphing technology going in. So it was a lot of pieces. It was a very complex video that took a lot of little elements. And in between, we would, Drey would let me know, look, I'm going to be good on this day, that day. So I would schedule some pieces to the video.

Sadly, the end of that summer happened with the murder was the case. Snoop got charged with murder because he was in a car when some guy got shot. Snoop wasn't, he didn't pull the trigger. But there was a whole morphing setup I never got to pull off of Snoop getting his hair braided. No, there's going to be a woman petting a dog and that was going to morph into Snoop. Morpher in his hairbraided. But anyway, I was able to get the video done. It's called What's My Name?

Yeah, of course. Introduce Snoop to the world. I also remember the Wu-Tang episode was craziest, but the one episode that I think was probably the craziest of them all was you were there when leaders of the new school imploded. Yeah. So what happened was... They literally broke up.

They literally implode. And luckily, this is the genius of what happened. The video shooter, the cameraman, had grabbed some footage. I had interviewed them initially on the show when they first pop up. It was a wow, great show. Dinko D, Charlie Brown, Buster, those guys were incredible. So they came, first record came out,

they blew up. In the interim period, and I'm not sure exactly what they were beefing about, but Buster has become a star. Scenario happens, and he might have guessed it on whatever else. Buster was on fire. Buster was having a moment. Buster was having a moment.

They reconnect for this next video, next album, and they go off to a huddle on the side. huddle on the side and the huddle goes from five to 15 to 20 minutes and we're like we're all waiting around so the cameraman grabbed a few moments okay of them having this huddle one of the moments you may have remembered seeing was buster turns to the camera and says yo b please don't don't shoot this man you know this is you know this business so i was like oh what happened was they were doing a yo m tv like special and they pull that footage because the show never was shot

because after this huddle Buster comes to me and says yo fadman I have to apologize man but we're not going to be able to shoot this so the beef that they were having and talking about got so intense I think they literally were breaking up right at that point

but we never had an actual episode that we filmed once again the cameraman had grabbed a moment and that moment completed visually telling the story. So that never officially came on the air? It was never

Not as an episode. Oh, it was like a retroactive. There was some YMTV rap retrospective look back and they were able to then shape that to tell the story this is what happened and what really emphasized it

when Buster looks at the camera like this he's just getting a little B-roll waiting to do something because we all dare to shoot and the Buster turns and says nah B you know it's like and with a real serious, dower look, the group was literally,

so it- I know Charlie Brown says something like, you know, I'm gonna look out for C. Brown, man, you know, I gotta look out for myself or whatever. And I see Buster look at him like, the fuck you're saying? Yo, it was crazy. And what I thought, once again,

without getting confirmation, it just felt like Buster was on fire. He clearly was getting paid for the moments he had, you know, was on fire for. I kind of assumed they thought they were supposed to be a part of that, is what I just assumed.

in my own accord without knowing the specifics. All right. So I first met you at this kind of a, I think it was Deanna Williams' I.M. Convention. It came to D.C. or whatever. Oh. And you had given us, I mean, we just started, so I don't even think you knew who we were.

I definitely knew. But you had these guys from Chicago with you that were dressed real crazy. Crucial conflict. Yes. and you said, I guarantee you've never seen nothing like this before. It's almost like, I mean, now it's like bounce, but back then, we looked at them like, what was this, country rap or something?

And you played hay. Yes. On the first time, yeah. And I remember like us driving back. And mind you, we just never heard of hip hop in that BPM before, that speed rap before. The way they was acting. The video was crazy. What was your involvement with crucial conflict?

Well, what happened was after having directed? there's so many music videos. You'd have a connection with a certain artist that you know we can continue this. Just like a great producer creates some good music, you'd want to continue that incredible synergistic relationship.

Oftentimes I do a video. I felt like we should work some more and the label would go off and you'd see the visuals not be up to par based on my judgment. I'd always say to myself, man, I wish I could have, At one point, I wish I could have a label or to run a label

so I could control the whole imaging of a group, video the whole nine yards. The opportunity came up. It was a wealthy Japanese man that had gotten involved in this label called Pallish Records. I knew some of the people involved. They weren't going good. They came begging for me to come in and help.

And I was like, hmm, I wasn't trying to, you know, I'm like a creative primarily. I'm like, wait a minute, this could be my opportunity to direct a label and run a label and create the whole imaging. So we took over this label and me and my business partner at the time,

brother named Roy Carmere, had talked about, you know, to us, most of the country feels and has a southern vibe, even though they might not be from the south, but from us New York northeasterners, we knew that guys that sound like that are going to be looking for their own heroes eventually.

So that was the target to find a star artist group. So you knew that there was an understanding, served community of... Yes, we definitely knew because everything dominant was from New York and also Philly. Like, there was the Northeast. I just thought they all adjusted to what we wanted. No. So what other people were trying to emulate New York, but they weren't being who they really were. Right. So this demo comes across the table at Pallish Records and me and Roy lose our minds. We're like, you know, what am I hearing? We hadn't heard anything like it. Some of their harmonies were a little bit,

own thugs in harmony, but their rhythms and everything, when we connect and lean in, they had developed their own iconography. They had this southern, western, hay in the middle of the bond, the rodeo, their style of music, they call it giddy up. I was like, oh, my God, this is perfect. But the surprising thing was these guys were from Chicago. So I would always be curious about Chicago and in developing and signing and working with this group, I immersed myself in the Chicago scene. Look into the blues history, knowing that it was when these Southern Mississippi Delta blues acts go to Chicago, they get electricity and the electric guitar for the first time.

So I was like, this is the shit that the Beatles, I was like, let me, I need to really understand what's going in. So I went into the rabbit hole, sign this group, and they blew the hell up. But what was surprising is black folks that migrated to Chicago in the Great Migration, those that went to the west side of Chicago retained a lot of their southern flavor. The whole energy was southern. And the group literally told me, look, man, we was trying to get on. And the one thing we realized we all had was a southern country vibe.

We was like, let's just build on it. That was the genius thing that they did. And when that thing... I'd never seen nothing like that. It was nothing like it. And I went to work. I did the first videos. We imaged them.

We put an independent team together. We got a couple of gold records. We could have went a lot further. Unfortunately, we didn't. They were literally rock stars. There was some street shit, unfortunately, too often times is the case that really made it all go sour. I mean, Kanye was in this peripherals because they had a deal. And we, Kanye was, I think he might have been with a group then,

But we were hearing about all these other little things. There was Twister. There was, oh, man, it was an interesting thing around them that was incredible. Because I'm like, this is a mega city. How come Chicago hasn't emerged with a hip hop group yet? And it was our turn. And they were ready. And we were able to have some success with them at that point in time.

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Stream us on your phone, or listen now at iHeartRadio.ca. I love the sounds, the buzzing from the stadium, the chanting, from the fans, the announcers calling the place soccer, football, it's home. Why do I watch the World Cup? That's like asking me, why do I breed? I inherited that fandom from my mom. It's a connecting force. From Futuro Studios, I'm Fernanda Chavari, and this is American Football, a show about soccer culture in the U.S. and its underdog roots. We go beyond the game to the people and the stories that make it great.

A soccer game is a festival. It's not just a game. It's your culture. I took an elbow to my head, which cracked my skull. It is an American game. The Brazilians don't like hearing that, though. Are they the only ones that don't like that?

Nobody likes that. As we get ready for the Men's World Cup this summer, listen to American Football as part of the MyCultura podcast network, available on the IHeartRadio app, Apple Podcasts, or wherever you get your podcasts. Hey, I'm Hoda Kotby, host of the podcast, Joy 101 with Hoda Kotby. Together, we're going to have meaningful conversations with the world's most fascinating people. Like when actress Olivia Munn shared how she overcame fierce health challenges.

I've gone through breast cancer and then helped my mother through breast cancer, and that was more difficult. There's a lot of people who understand postpartner depression. I was not prepared for postpartum anxiety. Listen to Joy 101 with Hoda Kotby on the IHeartRadio app, Apple Podcasts, or wherever you get your podcasts. Everyone is a fun of a surprise Because their new star is Javier Tichorito Hernandez Everyone sees me as a football player

But before anything else, I'm human Every single day I'm still learning How to live with problems, mistakes, relationships, emotions ever since I was born And I still have so many questions Where do we come from? What happens after death? How do you deal with cancellation? Cristiano or Messi?

Do aliens exist? What is love? Real Madrid or Barza From everyday and ordinary to the deep and extraordinary. This isn't a normal podcast. Everything here is spontaneous, real, and genuine. This podcast is like a deep talk with your closest friends,

where vulnerability comes out. Conspiracy theories end up on the table, and goals and lessons are shared. All in this life has a order perfect and everything is just. Wait, me, I'm going to pressuram and me will go to be going to connect. The Chicharito. I'm Javier El Chicharito. I'm Javier-Ram-A-Radio.

We're going to make the ordinary, extraordinary. Stay close. It is a carac. Listen to learning to be human on IHad Radio, Apple Podcasts, or wherever you get your podcast. All right, listen up. The Jonas Brothers here. Our podcast is called, Hey Jonas. We've here, since everyone has a podcast, we wanted to as well.

And we've had some incredible guests so far. And now our good friend, Nile Horn, is joining the show. How's it going, boys? Hey, Niall. It was the same thing with Slow Hands. Slow Hands is not about anything else, really, is it? You know, or taste so good can't be about food. You do the same, Nick, with some of the stuff that you've done.

You too, Joe. Drop what you're doing and listen to Hey Jonas on the Iheart radio app, Apple Podcasts, or wherever you listen to your podcasts. All right. So I luckily, and as I explained earlier, that we moved to Europe in 93. Wow, I didn't realize that. Where half the people I met, half the girls I met, like that's how they're learning English. Yeah. But what's through.

Oh, through Yorm TV wraps. I've heard that story. Oh, dude, it was true. What cigarettes are to. Prison. Wow. Tapes of Yom TV Raps was literally... Some of my favorite stories is hearing people share about how they viewed the show from...

Yeah. I would bring... VHS tapes. I go home and then bring it back to Europe and it was like I was the Internet. So we were lucky enough to get on the last week of the show, but the Ed and Dre version, how did YOM TV Raps end? You may not recall. I just want to refresh you, man.

I'm so glad you brought that up. So it was just a whole bunch of things going on. The videos having to be cut this out, got to cut that out, can't wear this brand, can't wear that brand. And that would be on the labels to have to make these edits when the videos were already getting exposed on other platforms. Whereas we had the free reign, the standards and practices as you know. But you guys had come in and did a performance and we turned that performance into a music video that we would play. if you may not recall that. You guys had performed in the studio

from my show, your MTV Raps, and we filmed it two or three cameras, there's the basic cameras in the studio, and we cut, I can't remember, it was from the first album. Yeah. And we cut that into a video clip that we then would air because we were so into

what you guys were doing. Even though Stetsasonic build themselves as a hip-hop band, you guys were an actual band. Don't say that. I want no smoke. Daddy-o. No, no. Daddy-O was definitely a band, but... Stadby, like, the Roots are a jazz group. I'm like, okay, I'll be a jazz group.

You guys had a full-on band. You remember the upright bass player and the whole stuff. Of course, of course. And I love Daddy-O. I directed talking all that jazz. I know you did. That's a sonic, which I love. But you guys were great, and we just loved what you were doing.

You came in with instruments, and we cut a performance you had did on a stage into a video. Anyway, we was just huge fans. Wow. Thank you. But, I mean, like, how did the show is doing? Well, once again, because we kept having to edit, I guess, you know, look, I didn't want to be married to doing it. I felt like it had a good run. Could have maybe got another year out of it.

But we were getting so much competition. It just, they just pulled the plug. But it's weird because, like, when y'all end it, that's when hip hop really became big-ass business. Yeah. So we kind of planted those seeds and set the stage for it to do what it did. Look, it was a miraculous thing that happened. I detail in the book. Peter Dardy was one of the original,

a good friend of mine that lobbied up and down the hallways to get this show on the air, pitched me as the host. I always thought that was a pie in the sky. Get out of here, Peter. Ah, whatever, but he kept at it. Ted Demi came into the mix.

He was a huge rap fan. He was campaigning along with Peter. They gave it a shot. Ratings broke. They thought the Nielsen machine broke. Was it, debatable or was it like we don't know this is going to work? MTV early on was following the radio

playlist so to speak. Gotcha. Which was pretty much segregated. Pop meant white. They had the soul, the R&B, there wasn't even a rap chart yet. A lot of black folks wasn't checking for rap. It was too ghetto-fied. They were trying to move on up George Jefferson style. They wasn't trying to be cast holding their dick standing on

the corner looking thuggish. The Frankie Crocker's, the Don Cornette, even though Frankie was a hero, these cats, I understood that wasn't their thing. They were trying to put the three-piece seat on and popped their collar. And they wasn't trying to represent that. But once again, MTV was following the model of radio, which was essentially segregated, essentially structured racism. And that's what it was.

And Rick James threatened to sue and other groups made a big. extinct. We all know the Michael Jackson stories, how Yetnikov, threatened to pull all the stuff that we heard. Peter lobbying these guys really got them to give it a go and the numbers were through the roof. So we had an incredible run. What makes the run for me so significant and important, it wasn't obviously just the fact that I was hosting, but it was so many pivotal groups define different moles of the culture. The first time you saw Ice Cube, you know, and W.A. Slicwick, we'd go to Philly. Somebody just shot me to link and when I went to Philly and did three times dope. Jazzie Jeff. I'm getting cheese steaks. That was, we got to do that.

The ghetto boys in Houston. We got to go to Liberty City and film when it was Luke Skywalker and a two live crew. So to show that for the first time and to really shake up the viewership of the country, black, white, and otherwise all tapped in at a pivotal. time when those groups all emerged. Tupac, who was on the show numerous times. So so many people that define the culture, even to this day, if you will, you got to first see

them along with me and also Ed and Dre on YomTV Raps. What was your favorite episode? Like, what is your... Well, the NWA episode ranks high, but... I feel like that's an important episode.

Yeah, no, it's an important episode. But my favorite episodes, because I'm globalists, we got to travel. A lot of people don't know that MTV was sort of a franchise at that time. We were the only show that was on in every other market around the world. So that was MTV Europe, MTV Asia, MTV, Brazil. So to get to travel to those places and film your MTV to be in Rio interviewing hip hop acts, it was incredible for me because I'm like, I can't believe I'm here doing this. To go to Japan in the early 90s and interview hip hop. to find Japanese rap groups

and showcase the culture there, to go to Europe, to be in England. So the times when I went out of the country were for me the most significant and important because I knew that the show was being seen in the gospel of hip-pop. And just to be, to see, I'm curious and fascinated,

how did you guys connect with this? Right. Was a big thing for me. What episode were you not able? Like, surely there has to be an episode that you thought was going to happen and didn't happen or like... Well, what becomes that episode is that leaders of a new school breakup, it was only a moment that the cameraman caught

that showcases what was happening. But it's just one of the most incredible things that occurred, unfortunately, a really impactful group. And Buster goes on to become a superstar. I'm sure the other guys would have as well. But it was just, it was a lot of great moments. I tell you, one of the greatest moments for me early on was when the Grammys finally decided to represent hip hop,

but not to televise the rooftop episode. The episode. Yeah. And so what we came up with was we're going to give a post-Gramies boycott the Grammy party that everybody showed up. This was the big thing, including Little Richard, including Malcolm Forbes, the billionaire, owner of Forbes magazine, Dennis Hopper, a whole array of people.

Like, I couldn't believe I'm getting to interview these people on Yom TV Raps in support of this something that now, you know, is rappers get the television time when the Grammys happened. But it didn't happen at that point. Okay. As I wind down, yes, my final questions. Look, I know y'all like, you didn't ask about, trust me. I could Jimmy jam this and literally make.

make this a six-hour interview. Jimmy Jam. No, it's like a seven-hour interview. I got a day job, though. So as far as your artifact or your art collection, which I'm sure now is in the Schaumburg. A lot of stuff is in the show. What is your not most valuable?

What is your most prize possession as an artifact collector? Well, you know, I don't know if it's most prize. I have collected and saved a bunch of stuff. What is your art game like? I always wanted to know what you're... You know, listen, when you're an artist and your other friends are artists,

you typically give each other work. So among my friends that were artists, Keith, Jean-Michel, Basquea, Futura 2000, Lee Cignonas, we would give each other work. I have work from my friends that made art. They have work of mine. You have the greatest art collection of all the time.

It's not the greatest. They're not the most important pieces, you know, but I have work. And they're like, mementos from friends that you just look at as almost this is my friend you know what I mean it's not like oh I have this thing and it's now worth this because that gets kind of crazy particularly around Jean-Michel you know those those numbers went so out of this world crazy how does that feel to see the I don't I wish there was a better word than commercialization of it all

but would you ever imagine the day we're like with Herring and with Bosquiat that they're now It's unimaginable, the level of success. But what's so satisfying is that this was what we all planned and talked about when we were homies hanging. We basically aware, and that's what grew me and Jean-Michel to be close because from a very young age, cutting school and going to museums, which was a big adventure of mine as a kid, I learned about and became very comfortable around the idea of making art. I read about Georgio Vasari, the person that literally invented the idea of the Renaissance and understood the significance and why I and Jean and Keith wanted to force ourselves into that space and find a way around the kind of gatekeepers to be looked at and accepted as visual artists.

The fact that we were able to pull that off is remarkable. The fact that Jean-Michelle and Keith are not here is sad as fuck because clearly, you know, they just fit this, you know, live fast, die young model, if you will, that's unfortunate. It's a part of whatever, but the things that particularly Jean would have went on to do, we both talked about making music, making film, being involved in other areas. Jean put his foot in those waters and would have continued. He starred in a film called Downtown 81 that all of our crew is also in.

He made a record. After I turned him on the hip hop, he took Ram LZ and this kid K Rob into the studio and made this record beatbop. And he would have went on to do a lot more that. We would have probably produced films together. Keith was very fascinated with animation. Early on in the Times, the Spectrum board in Times Square, which was this little digital thing. It looks like a pixel. It's so low-budget looking compared to where we are now with digital imagery.

I remember when Keith got to put his little characters on that spectrum. And all of us went to Times Square to watch his stuff in Times Square. That was exciting. He would have went on to do so much more with animation, probably would have came up with a family guy type of animated ever because these are other interests that we had and wanted to pursue. So it's sad that these dear friends of mine are no longer here, but it is so satisfying to see their legacies thrive.

and undisputed, like, major figures in modern art. And that's just incredible that that happened. Okay, so because you're a Renaissance person, what would you say your three proudest achievements are in everything that you've done? Helping people, probably the first and foremost and somehow connected, is the idea that I brought to Charlie for Wild Style is to show these forms as coming from one,

place or space, so to speak. There was no connection between this idea of, and keep in mind, everybody doing graffiti wasn't into hip hop and vice versa, but to make it a strong representation of youth culture in New York at that time, I wanted to tell this narrative, and that was what I proposed to Charlie Ahern,

who said, let's make this movie. There was no previous connection between this music, this dance and this form of visual art as such. And the idea was to make a film that showcased that because not just that I want to create a platform for myself as a visual artist, but I wanted to represent us in general

because there was only negative depictions of young, hip, urban, black and brown youth in New York press. It was always connected to some negative criminal shit I'm like, we are more than that. And I didn't want to be perceived as a folk artist, an outsider artist, you know. And I didn't come from a fly expensive art school, but I wanted to like figure out a way to slip in and get in. That was the mission. When I connected with Jean-Michel, he was in sync with that whole shit.

You feel me? And we got busy. And that was the underlying thing. And then when we got the door open, we wanted to pull other heads in with us. So we was able to get it. get a lot of that done, I'm happy to say. And I go deep into all of that and everybody's fly. You better get your copy, baby.

Stop fronting it and the audio book is crazy. Yes, it is. It is. Audio book is crazy. By the way, you said something and it just hit me. I had an epiphany. So we are now living, I will call him the real hip-hop mayor with Madame. Wow, that's incredible.

Yes. Real hip-hop. He really is. Listen. I have a dream, and that dream is... Like, I think he will allow, if there's some sort of art week or graffiti week or whatever, like, what is the likelihood? If he were to greenlight a project in which you guys were, let's take 10 trains and tag the shit, like, really just, and it doesn't have to be every New York City train. But just, I have a dream and I believe that we are of age, which we now see it as art.

and we'll actually be there at 8.07 a.m. to go to work the seat on the Freddie train or we can't. Like, would you be willing to, like, how is your hand now as far as? Oh, it's there. I mean, it can happen, but I'm a big fan of the mayor. I'm so happy that, listen, as a filmmaker, his mom's films be Salam Bombay, Monsoon Wedding. I mean, big fan of those films, even. Kama Sutra was my major deal. date movie back in the day. You already know, baby. I get them over to watch

commasutra. He might not know what's really going down with the commasutra, baby. That was like a joint. You know, I've got this DVD. I think we should watch. So that was cool. So, no, but I'm super excited about the man, anxious to meet him, and I dig the family. You know,

a thing that we didn't touch on. So I made a film about cannabis about five or six years old called Grassers Greener, which led me to become a part of the cannabis business. I created a brand called B-Nobo. That's right. Inspired by a gentleman that was given a 13-year sentence for two joints worth of wheat.

So we've been working with cure relief, we've been in different states around the country with this. And we've expanded our business internationally and we've set up in Kenya and also about to do medical cannabis in Uganda. So my business partner, Ron Samuel, who's over there right now, has met people in Uganda.

who told him before he got elected, yo, I know this dude. We used to rap. We used to all hang out and rap together. I'm like, and my man told me, I was like, what are you talking about? And then he gets elected. I see the clips.

I see his videos. So the cannabis connection is real. And Mamdami, yeah, I'd like to talk. And I'm sure he's going to support the efforts for the hip-hop museum, which hopefully it was soon open in the Bronx and all that good stuff. So, yeah, super excited about all that.

I've always wanted to have this conversation with you. Great to hang out with you. I'm big fan forever. Remember I used to try to get at you about doing a Max Roach. Yes. Remix. Yeah. We finally have this conversation.

Thank you. Yeah. For coming. Oh, man. Thank you for having me. Thank you. Huge Roots fan forever and ever. Everybody's fly.

Best, one of the top five emcees that ever did it. Thank you. Huge fan. Thank you. Thank you. Thank you. Thank you. Please buy it.

We'll see you on the next go round. Thank you. The Quest Love Show. So pleasure. That's a pleasure to be here. What a lively discussion. Questlove show is hosted by me, Amir Kwaslov Thompson. Executive producers are Sean G.

Brian Cahoon and Meek. Produced by Brittany Benjamin and Jake Payne. Produced for Eyehart by Noel Brown. Edited by Alex Conroy. IHeart video support by Mark Canton. Goose Graphics and Animation by Nick Paloly. Additional support by Lance Colby. Special thanks to Kathy Braun.

Special thanks to Sugar Steve Mandel. Please subscribe, rate, review, and share the Questlove show wherever you stream your podcasts. Make sure you follow us on socials. That's at QLS. Check out hundreds and hundreds of QLS episodes, including the Questlove Supreme shows and our podcast archives. Quaslop shows a production of I Heart Radio.

It's that time to put on your jersey and wave your flag, whoever you root for. Why do I watch the walk up? That's like asking me, why do I breed? And it's beautiful. The guys are young and cute and fit. It's not just a game.

It's your culture. It's a connecting force. From Futuro Studios, I'm Fernando Chavari, and this is American football, a show about soccer culture in the U.S. and its underdog roots. Listen to American Football on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. Joy is essential and it's also elusive, but now there's a new and exciting way to start your journey toward a more joyful existence, Joy 101. It's a new podcast hosted by me,

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We've here, since everyone has a podcast, we wanted to as well. And we've had some incredible guests so far. And now our good friend, Nile Horn, is joining the show. How's it going, boys? Hey, Niall. It's the same thing with Slow Hands. Slow Hands is not about anything else, really, is it? You know, or taste so good can't be about first.

You do the same, Nick, with some of the stuff that you've done. You too, Joe. Drop what you're doing and listen to Hey Jonas on the Iheart Radio app, Apple Podcasts, or wherever you listen to your podcasts. Everyone sees me as a football player. But before anything else, I'm human. Every single day I'm still learning how to live with problems, mistakes, relationships, emotions ever since I was born. This isn't a normal podcast. Everything here is spontaneous, real and genuine, just honest conversations about what it means to be a

life. I'm Javier El Chicharito Hernandez and listen to Learning to Be Human on IHard Radio, Apple Podcasts, or whatever you get your podcast. What's up, fam? It's Isaiah Thomas. And I'm C.J. Toledano. It's our favorite time of the year on our podcast point game, the playoffs. We're digging into the biggest

surprises of the season, and I'm looking back on some of my greatest playoff moments. If we didn't talk ever again, I was part of you. You just understood. That's how personal it got. Wow. Then after that game seven, Marquis come to you. He's like, you know I love you, dog. You know, it's all love. This was just playoffs.

This was just basketball. So listen to Point Game on the Iheart radio app, Apple Podcasts, or wherever you get your podcasts. This is an IHeart podcast. Guaranteed human.