Latest / The Real Report with Tony Yayo and Uncle Murda / A-Trak on Kid Cudi's 'Day 'N Nite' taking over the world, touring with Kanye West, Fool’s Gold records, playing at the FIRST Coachella, becoming DMC World Champ at 15, & G-Unit Going Global

Transcript

A-Trak on Kid Cudi's 'Day 'N Nite' taking over the world, touring with Kanye West, Fool’s Gold records, playing at the FIRST Coachella, becoming DMC World Champ at 15, & G-Unit Going Global · The Real Report with Tony Yayo and Uncle Murda

• 0:00
  Speaker 1: You know.
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  Speaker 2: One thing I remember too is there's a point in
• 0:03
  Speaker 2: time when J Unit was really touring internationally. I think
• 0:08
  Speaker 2: a lot of people in North America I might not
• 0:10
  Speaker 2: realize that there wasn't that many rappers or wrap crews
• 0:14
  Speaker 2: that were really international like that, because when I started
• 0:19
  Speaker 2: working with Kanye and we were going international a lot,
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  Speaker 2: and I was already doing those overseas circuits as a DJ,
• 0:26
  Speaker 2: and then I was working with Ya and we were,
• 0:28
  Speaker 2: you know, going to Japan and Nigeria and anywhere. Everywhere
• 0:33
  Speaker 2: we went, G Unit had been. It was g Unit
• 0:36
  Speaker 2: eminem akon. There was a point in time where even
• 0:40
  Speaker 2: Hove hadn't started doing the international thing. Then he became international.
• 0:44
  Speaker 3: I was locked up, but Rihanna was overseas. She just
• 0:49
  Speaker 3: came out.
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  Speaker 2: Yeah, yeah, but yeah, I was. I remember that. You
• 0:56
  Speaker 2: guys really went and hit the whole world in a
• 1:00
  Speaker 2: way that at that point in time, not not that
• 1:02
  Speaker 2: many artists that.
• 1:03
  Speaker 4: He did get sat.
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  Speaker 5: Yeah, this is Turbulent's Tony and this the Boy Live
• 1:24
  Speaker 5: Jed Lenny Rot and.
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  Speaker 6: Welcome to the Real Reports Show.
• 1:29
  Speaker 5: Make some Noise for DJ, A track Man, a track
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  Speaker 5: and the build it.
• 1:33
  Speaker 3: We got the legendary a track in the building. Things
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  Speaker 3: for coming yy man. We're doing make sure y'all like
• 1:39
  Speaker 3: Sham subscribed. We got one of the fastest growing shows
• 1:42
  Speaker 3: on the Value Her. We got to Yeah, hopefully we
• 1:46
  Speaker 3: get that plaque about to get that. Appreciate you and
• 1:51
  Speaker 3: you know what a track we we we we bring
• 1:53
  Speaker 3: different things like on our show, we have like a
• 1:56
  Speaker 3: mogul segment.
• 1:57
  Speaker 6: Okay when we talk to.
• 1:58
  Speaker 3: You know, all kind of mogul and stuff like that.
• 2:01
  Speaker 3: Like you too, because your mogul, you have a You're
• 2:04
  Speaker 3: not only a DJ, right yeah, you have a record label.
• 2:08
  Speaker 6: Not too many DJs have done it.
• 2:10
  Speaker 3: It who else DJs had a record.
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  Speaker 5: Labels a lot, But it's all the success that this
• 2:18
  Speaker 5: guy right here might have had.
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  Speaker 1: Maybe like that definitely it's.
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  Speaker 6: On another level.
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  Speaker 3: But what I'm saying to you guys is a lot
• 2:23
  Speaker 3: of uh DJs had like like albums like Clue, Yeah, Flex.
• 2:30
  Speaker 2: Well you know what it is, and we can get
• 2:32
  Speaker 2: into that too. But like I've bounced around like different
• 2:35
  Speaker 2: pockets of the DJ world, you know what I mean,
• 2:37
  Speaker 2: And like mixtape DJs is one thing, but I mean
• 2:40
  Speaker 2: I even bounced around between hip hop and electronic music
• 2:43
  Speaker 2: on the electronics side, it's more common for DJs to
• 2:46
  Speaker 2: have labels. Yeah, I mean, DJ has just become so broad,
• 2:51
  Speaker 2: you know what I mean that, Like there's certain DJs
• 2:53
  Speaker 2: that do the compilation album type of thing, like like
• 2:55
  Speaker 2: clue like you said, but you know.
• 2:58
  Speaker 6: You're talking about the electronic music because we are overseas.
• 3:00
  Speaker 7: Yeah, you know that's so big the world, Like when
• 3:06
  Speaker 7: we get in the music that we would never dance
• 3:09
  Speaker 7: to ever in my life no words, yeah yeah.
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  Speaker 2: But the thing about that is because it has no words,
• 3:16
  Speaker 2: you can bring together like the whole planet, like and
• 3:18
  Speaker 2: people from every country, I will get down, you know
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  Speaker 2: what I mean?
• 3:22
  Speaker 6: So how was it? How was it? Because torn for
• 3:24
  Speaker 6: us we love like going to your.
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  Speaker 2: Right right, but even before, like I just want to
• 3:29
  Speaker 2: say thanks for having me here, big, my pleasure, my pleasure,
• 3:36
  Speaker 2: same to you, to say both both of you auely.
• 3:38
  Speaker 3: I appreciate that when you talk about electronic music. Was
• 3:42
  Speaker 3: it working with like a big, a big, a big
• 3:44
  Speaker 3: guy like Duck Sauce.
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  Speaker 6: So Duck Sauce produced.
• 3:49
  Speaker 2: All right, So Duck Sauce is the it's kind of
• 3:51
  Speaker 2: a group name for myself and a guy by the
• 3:55
  Speaker 2: name of armand Van Helden, who's a legendary house house
• 3:58
  Speaker 2: music DJ. He also came up in New York, so
• 4:02
  Speaker 2: like in the mid to late nineties all the way
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  Speaker 2: to two thousands. Arman Van Helden's one of the most
• 4:06
  Speaker 2: famous house music DJs. But he's kind of like me
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  Speaker 2: in the sense that he grew up a hip hop
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  Speaker 2: kid and then got into house music just from being
• 4:17
  Speaker 2: in clubs and stuff. But we kind of speak the
• 4:18
  Speaker 2: same language. Like when we met, we clicked. We're like
• 4:21
  Speaker 2: eleven twelve years apart. He's older than me, but we
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  Speaker 2: kind of clicked because we both grew up in hip
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  Speaker 2: hop and then make house music. So we got together
• 4:30
  Speaker 2: and around two thousand and nine we formed a kind
• 4:33
  Speaker 2: of a duo. That's another thing you see a lot
• 4:34
  Speaker 2: in house music, and EEDM is DJ's you know the
• 4:37
  Speaker 2: same wather like Daft Bunks a duo or like Basement Jacks,
• 4:40
  Speaker 2: the Chemical Brothers. There's groups like there's you know. Yeah,
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  Speaker 2: So we formed Duck Sauce and we made music like
• 4:46
  Speaker 2: that as a duo, and in twenty ten we made
• 4:51
  Speaker 2: a record. The title of the song was Barbara Streisand
• 4:55
  Speaker 2: and that song, that song went crazy Yeah No, the
• 5:04
  Speaker 2: title song was Barbara Streis saying, and we didn't even
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  Speaker 2: we didn't even think that much.
• 5:09
  Speaker 1: Of it was naming the song. Net that was a
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  Speaker 1: good I was good.
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  Speaker 2: Eventually got eventually it got to her. Look at that lot,
• 5:18
  Speaker 2: I'm told. But really it was just it was just
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  Speaker 2: one of those like you know when you make a
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  Speaker 2: record and and you don't even think that's gonna be
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  Speaker 2: the one. You think it might be a B side.
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  Speaker 2: It's just something that you may cash like just for fun.
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  Speaker 2: It was one of those, but it had like a
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  Speaker 2: contagious sort of catchiness to it. It ended up being
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  Speaker 2: a record that charted and it was like number one
• 5:39
  Speaker 2: in twelve countries and something crazy.
• 5:42
  Speaker 6: I'm still gonna say. Always the one that says he
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  Speaker 6: worked with I would to look it up. I would
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  Speaker 6: have and said.
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  Speaker 3: The soul is called it's all good, you know what
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  Speaker 3: I mean. I don't know too much about the electronics.
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  Speaker 3: Just give me to write on the hip hop side.
• 6:02
  Speaker 3: I do know you had kick cutting a lot of people.
• 6:05
  Speaker 3: I know for Kik Cuddy's record Day and Night was label. Yes,
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  Speaker 3: that came out, So had that whole process all right?
• 6:12
  Speaker 2: So I founded this label, Fools Gold with a couple
• 6:17
  Speaker 2: of friends around two thousand and seven, and I had
• 6:20
  Speaker 2: just moved to New York. So I grew up in Montreal, Canada, Canada.
• 6:24
  Speaker 3: Yeah, you know, I was supposed to be for Montreal
• 6:26
  Speaker 3: when my family first came from Haiti bombs came to Montreal.
• 6:30
  Speaker 6: There's a lot of Haitius.
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  Speaker 2: I know, I was gonna talk to you.
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  Speaker 6: I found you could go.
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  Speaker 3: I've been on tour all over Canada. I've been Sasatoon
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  Speaker 3: Montreal to my man, Peter Jackson. I went on a
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  Speaker 3: whole Peter Jackson, that's my man. And Montreal has the
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  Speaker 3: best Haitian food.
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  Speaker 2: That's for sure. Yes, Montreal, shout.
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  Speaker 6: I tell you know about the Haitian food.
• 6:52
  Speaker 2: Yeah, yeah, I grew up with Haitians in Montreal for yeah.
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  Speaker 6: Yeah.
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  Speaker 1: Back to the Kik cutting that whole.
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  Speaker 2: Okay. So, so I moved to New York. I had
• 7:02
  Speaker 2: already established myself as a DJ. I got known as
• 7:05
  Speaker 2: a battle DJ when I was younger. But I moved
• 7:08
  Speaker 2: to New York in two thousand and six. I started
• 7:10
  Speaker 2: this label called Fools Gold And that was the point
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  Speaker 2: in time where like the scene around the DJs was
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  Speaker 2: was changing and DJs were starting to play a lot
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  Speaker 2: of different music, and DJs we was starting to branch
• 7:23
  Speaker 2: off and do their own thing, you know, the same
• 7:25
  Speaker 2: way that now you might hear about like a DIPLO
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  Speaker 2: or a scrill X or you know, Calvin Harris, they
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  Speaker 2: do their own thing. That was the point in time
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  Speaker 2: where one DJ's were really coming into their own as DJs.
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  Speaker 2: But two also the music that we were all playing
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  Speaker 2: was changing. It was like the genres were coming down
• 7:43
  Speaker 2: and became very eclectic, and we were all just like
• 7:46
  Speaker 2: I say, week, I was connecting with a lot of
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  Speaker 2: DJs at that point in time. We were all experimenting,
• 7:51
  Speaker 2: and there was even like this sort of like like
• 7:54
  Speaker 2: fun club music was coming back, you know how sometimes
• 7:57
  Speaker 2: club music will be kind of cheesy and not that exciting,
• 8:00
  Speaker 2: and then there's other time periods where club music is fun.
• 8:03
  Speaker 2: We started Fools Gold as DJs. It's a label run
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  Speaker 2: by DJs. We speak to DJs first. If if other
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  Speaker 2: people get down, that's cool, but we like our audience
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  Speaker 2: is the DJs around the world, and real quickly we
• 8:18
  Speaker 2: found a lot of new music that was just different, exciting.
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  Speaker 2: It was just you know, you probably remember if you
• 8:24
  Speaker 2: think of two thousand and six, two thousand and seven,
• 8:26
  Speaker 2: two thousand and eight, like everything was changing. It was
• 8:28
  Speaker 2: kind of a changing at the guards. So mind you,
• 8:32
  Speaker 2: we were just an independent label. You know, we didn't
• 8:34
  Speaker 2: have like a big machine, but we had a lot
• 8:36
  Speaker 2: of people's attention because people knew that we were tapped in.
• 8:39
  Speaker 2: So like the next thing, right, we were down with
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  Speaker 2: It's a group called the Cool Kids that are still
• 8:45
  Speaker 2: down with Fools Gold from Chicago. They were doing some
• 8:48
  Speaker 2: new stuff, a couple of artists like Flostro, Damas Kids Sister.
• 8:51
  Speaker 2: It was just everything was different and new. So meanwhile,
• 8:54
  Speaker 2: at that point in time, I was DJing for Kanye,
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  Speaker 2: So yeah, I tour It was so yeah, I toured
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  Speaker 2: with with Kanye from two thousand and four.
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  Speaker 6: I mean I didn't I didn't know.
• 9:06
  Speaker 1: It's let me ahead.
• 9:10
  Speaker 2: I got through all of that, right, So I was
• 9:12
  Speaker 2: touring with Ya and from basically from right after college dropout.
• 9:18
  Speaker 2: You know, I was involved with Late Registration. I just
• 9:22
  Speaker 2: scratches on on Gold Digger. I was involved with those
• 9:24
  Speaker 2: Common albums, yeah all right, you know Commons Record, Go,
• 9:31
  Speaker 2: Commons Record, Shy City. I scratched on that. And then
• 9:34
  Speaker 2: when when YA worked on Graduation, I helped out with
• 9:37
  Speaker 2: some of that stuff, the daft punk sample and then
• 9:39
  Speaker 2: you know, stronger that record. And so there's this guy,
• 9:45
  Speaker 2: Plain Patt. He was Kanye's an R, and Plain Pat
• 9:49
  Speaker 2: pretty much discovered Ki Kudi or he was definitely, you know,
• 9:52
  Speaker 2: the first person that helped connect some dots, shout out
• 9:56
  Speaker 2: to shout out to uh to the genius also who
• 10:02
  Speaker 2: you know really was probably the first person that that
• 10:04
  Speaker 2: you know, gave Cuddy time and day and gave him
• 10:07
  Speaker 2: some beats. But between Dot the Genius and playing Pat,
• 10:11
  Speaker 2: Cuddy was unknown. He was just working at the Babe
• 10:13
  Speaker 2: Store in New York, right and playing Pat, who I
• 10:17
  Speaker 2: knew from my work with Kanye because he was Kanye's
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  Speaker 2: an R. He knew that I had this new label
• 10:24
  Speaker 2: that was that had the ear of people that understood
• 10:28
  Speaker 2: new stuff. So Cuddy was starting to make music and
• 10:31
  Speaker 2: it sounded like nothing else. It was just different. So
• 10:34
  Speaker 2: Pat sent me these two records, maybe two, maybe a
• 10:37
  Speaker 2: third one, I'm not sure. It was a while ago.
• 10:39
  Speaker 2: He definitely sent me Day and Night and that new
• 10:41
  Speaker 2: New and pretty much right away I was like, I
• 10:45
  Speaker 2: want to, you know, let's do a single on Fools Gold.
• 10:47
  Speaker 2: So we put out Day and Night and and and
• 10:49
  Speaker 2: we just built it even though we didn't have this
• 10:51
  Speaker 2: big machine no no dotor Genius produced. Shout out to
• 10:56
  Speaker 2: doctor Genius and shout out to Cuddy himself.
• 10:59
  Speaker 6: Diamond, right man.
• 11:01
  Speaker 2: So there's a there's a point when Cutty signed his
• 11:04
  Speaker 2: album deal. He signed to Motown Universal a couple of
• 11:08
  Speaker 2: months after that, and then they ended up by buying
• 11:11
  Speaker 2: that master and they whatever the I don't you know,
• 11:14
  Speaker 2: we don't have the plaque ourselves, but we got it
• 11:16
  Speaker 2: off the ground for that was like, it's huge. And
• 11:21
  Speaker 2: the thing that was really special with Day and Night
• 11:24
  Speaker 2: is there was a there was a remix because we
• 11:26
  Speaker 2: were talking about that E d M thing just a
• 11:27
  Speaker 2: minute ago, right, there was a remix by these Italian guys,
• 11:30
  Speaker 2: the Crookers. They were also on some different ship they
• 11:33
  Speaker 2: did exactly exactly. So that was one of those that
• 11:38
  Speaker 2: was a rare record exactly. There's a rare, rare record
• 11:42
  Speaker 2: where the original version was was popping off and making
• 11:46
  Speaker 2: its way in North America especially, and then the Crookers
• 11:51
  Speaker 2: remix was blowing up, especially overseas, so you had two
• 11:54
  Speaker 2: versions that were blowing up at the same time. And
• 11:56
  Speaker 2: but that was on fools gold.
• 11:58
  Speaker 3: Remember, because we was going overseas at the time, was everywhere.
• 12:01
  Speaker 3: You hear it, every club, but it was organic.
• 12:04
  Speaker 2: That's the thing that's special. We didn't have and we
• 12:06
  Speaker 2: didn't have a full school was like five people. We
• 12:08
  Speaker 2: didn't have like an overseas department or whatever. But we
• 12:10
  Speaker 2: just we just had people's ear.
• 12:12
  Speaker 6: That's what.
• 12:13
  Speaker 3: But this is how I feel because you don't murdered.
• 12:15
  Speaker 3: This is the thing with DJ's like him, DJ Snake.
• 12:19
  Speaker 2: Yeah that's my homie, damn Mouse.
• 12:21
  Speaker 6: You know what I'm saying.
• 12:23
  Speaker 3: Remember when we went to Snake, You've seen the crowd
• 12:27
  Speaker 3: and he'll have like millions of dollars of pyro and.
• 12:31
  Speaker 6: Fire put on the show. Another another big DJ. We meant, right,
• 12:38
  Speaker 6: That's what I'm saying. I told him murder he has
• 12:41
  Speaker 6: a big change on. This guy had the littlest chain on.
• 12:44
  Speaker 3: Yeah, since your guys get million of show, no jury, like, yeah,
• 12:47
  Speaker 3: it's crazy.
• 12:48
  Speaker 5: But back to my baby, he Mada. He had a
• 12:50
  Speaker 5: little change. Okay, I had the big change.
• 12:54
  Speaker 3: Yeah, that's at this level with the DJs. You know
• 13:01
  Speaker 3: what I'm saying. And the question I wanted to ask
• 13:04
  Speaker 3: you was like, how do you feel like being here
• 13:08
  Speaker 3: versus being overseas, because my experience is like, like I
• 13:13
  Speaker 3: remember that song We're hold On.
• 13:15
  Speaker 1: Yeah, listen when that used to come home, like.
• 13:20
  Speaker 3: We was overseen and like the vodka's flowing, like I
• 13:23
  Speaker 3: really felt free. Overseas people are still dancing while it
• 13:27
  Speaker 3: feels like in the US it's more Yo bottles.
• 13:32
  Speaker 2: Well, it's it's more to it than that. And by
• 13:36
  Speaker 2: the way, Bob Sinclair who made that record World hold On,
• 13:40
  Speaker 2: you know, we look at it kind of from the
• 13:43
  Speaker 2: outside from a North American perspective, and we just think, oh, yeah,
• 13:45
  Speaker 2: he makes house music, dance music. If it might seem
• 13:48
  Speaker 2: like we're all from different worlds, but I've I've become
• 13:51
  Speaker 2: good friends with Bob Sinclaire and this guy all he
• 13:54
  Speaker 2: wants to talk to you about is like DJ Premier
• 13:56
  Speaker 2: Records from the Night. He just wants to talk about.
• 13:58
  Speaker 6: Gangs in the truck world.
• 14:02
  Speaker 2: Right, and parallels to be like Yo. But Jeru's album
• 14:06
  Speaker 2: Jerry the Damage, the first album you have the World
• 14:10
  Speaker 2: the World.
• 14:11
  Speaker 5: He's in the notes you don't understand music.
• 14:14
  Speaker 6: This is what people understand. Music bring back what memories?
• 14:17
  Speaker 3: Yes, so wow, And that that year when that dropped,
• 14:21
  Speaker 3: we was in the club like overseas, overseas party and
• 14:25
  Speaker 3: number one, you feel free overseas because it's less pistols.
• 14:28
  Speaker 3: So you're feeling like, all right, let's it's going to
• 14:30
  Speaker 3: be a physical somebody might pull a Knight for a
• 14:32
  Speaker 3: razo me.
• 14:34
  Speaker 2: But so to your question, what I would say is
• 14:39
  Speaker 2: the same way, even though hip hop traveled the world
• 14:42
  Speaker 2: and now house music travel the world and everything's everywhere now,
• 14:46
  Speaker 2: for a long period of time, the way that hip
• 14:49
  Speaker 2: hop was youth youth music in North America, you know,
• 14:53
  Speaker 2: in the nineties and two thousands, most if you find
• 14:56
  Speaker 2: a teenager somewhere, they're probably listening to, depending what period
• 14:59
  Speaker 2: of time, either fifty or whatever it might be, or
• 15:03
  Speaker 2: Fab or Lil Wayne or you know what I mean,
• 15:07
  Speaker 2: tang right, any of that, that fourteen year old in
• 15:12
  Speaker 2: Spain or in Italy, they were listening to house music
• 15:15
  Speaker 2: or techno or trance or whatever like. That's that was
• 15:18
  Speaker 2: always the youth music, or now I was always before
• 15:20
  Speaker 2: a long period of time, that was the music of
• 15:22
  Speaker 2: the youth, especially in Europe and even other places too.
• 15:26
  Speaker 2: But so that's why it's so big when you go
• 15:30
  Speaker 2: to Europe, is like that's just what they grew up with.
• 15:33
  Speaker 6: That's why I always liked who Kid because who Kid
• 15:35
  Speaker 6: was like always prepared.
• 15:36
  Speaker 3: For Yeah, he would know have like yeah big overseas records,
• 15:41
  Speaker 3: like for instance, afrobeats.
• 15:43
  Speaker 6: We was in London with this is one song that
• 15:46
  Speaker 6: came on. I forgot how it goes.
• 15:48
  Speaker 2: You know what I'm saying.
• 15:52
  Speaker 6: You know what I'm saying.
• 15:53
  Speaker 1: When you was in London, Yeah.
• 15:55
  Speaker 3: It was an afrobeat. It's like the club shut down
• 15:57
  Speaker 3: when that came on.
• 15:58
  Speaker 1: Yeah.
• 15:59
  Speaker 3: So when you go overseas and you hear different music,
• 16:02
  Speaker 3: it makes you open to the world for sure. So
• 16:04
  Speaker 3: for me, I had better times overseas partying in the US.
• 16:09
  Speaker 2: Yeah, for me, well, you know what I mean. There
• 16:12
  Speaker 2: definitely was a point in time where clubs in the
• 16:14
  Speaker 2: US became more about the bottle service and the sections
• 16:18
  Speaker 2: and all that, and that's not fun. I mean, there's
• 16:20
  Speaker 2: money that comes in that way. But like for me
• 16:23
  Speaker 2: as a DJ, I don't really like playing a club
• 16:26
  Speaker 2: that has a bottle section. I want people to be
• 16:28
  Speaker 2: on the dance floor, right And for you you might
• 16:31
  Speaker 2: be looking at it in a different way, but I'm
• 16:33
  Speaker 2: sure it's less fun too. But overseas it stayed a
• 16:36
  Speaker 2: little bit more about the music, and that festival culture
• 16:39
  Speaker 2: is really from Europe too. Now you find it in
• 16:42
  Speaker 2: North America too, and now even since the pandemic, but really,
• 16:46
  Speaker 2: like gradually in the last fifteen years or so, there's
• 16:49
  Speaker 2: a lot of clubs that opened up in North America
• 16:51
  Speaker 2: that are back to being about the music, so it's
• 16:55
  Speaker 2: less separated. But yeah, for a long time, I man,
• 16:59
  Speaker 2: I started going to Europe. My career started when I
• 17:02
  Speaker 2: was a teenager in ninety seven. Basically I started traveling
• 17:06
  Speaker 2: to DJ I I was fifteen. The way that my
• 17:09
  Speaker 2: career started, I won the DMC World Championships, scratching and
• 17:12
  Speaker 2: all that. No DMC, it's the most known DJ battle.
• 17:19
  Speaker 1: Right, so I said, this is out in Canada.
• 17:21
  Speaker 2: No, it's I mean the eliminations, Like the first round
• 17:25
  Speaker 2: that I did was in Canada. But that took me
• 17:26
  Speaker 2: to Italy, it took me to France, it took me
• 17:28
  Speaker 2: to the UK. But yeah, at the age of fifteen,
• 17:32
  Speaker 2: I mean, I came up idolizing DJ's like rock Raider
• 17:36
  Speaker 2: Rest in Peace. You know, you guys probably remember the
• 17:38
  Speaker 2: x Men, ex Executioners and a bunch of other DJs
• 17:42
  Speaker 2: like that. Obviously, Jazzy Jeff people like that, you know.
• 17:45
  Speaker 2: So I got on winning this big DJ battle and
• 17:48
  Speaker 2: from that point on, I started traveling. So already when
• 17:51
  Speaker 2: I was fifteen sixteen, I was going overseas to play.
• 17:53
  Speaker 2: I was going to Korea, I was going to the UK.
• 17:56
  Speaker 2: And even though at that point in time and the
• 17:59
  Speaker 2: beginning in my career, I was just a hip hop kid,
• 18:01
  Speaker 2: like I mentioned, like you said, I was traveling the
• 18:04
  Speaker 2: world and I was observing like, oh, in Asia they're
• 18:07
  Speaker 2: into this kind of music. Okay, in Europe there like this,
• 18:09
  Speaker 2: and really Europe's not just one thing. In the UK
• 18:12
  Speaker 2: they might like this, but then in France and it's
• 18:14
  Speaker 2: you know. And I was kind of picking up on that.
• 18:17
  Speaker 2: So many years later when I started expanding the styles
• 18:21
  Speaker 2: of music that I play and I started getting into
• 18:23
  Speaker 2: the house music thing and everything else, I was already
• 18:26
  Speaker 2: like absorbing that information for a while. And and but
• 18:30
  Speaker 2: I the fact that I started my career is so young,
• 18:34
  Speaker 2: it kind of put me in a position where there's
• 18:37
  Speaker 2: not that many people that can that know the roots
• 18:41
  Speaker 2: of DJing, the roots of hip hop, and like we're
• 18:43
  Speaker 2: like I could talk to Grandmaster Flash and you know
• 18:45
  Speaker 2: what I mean, yeah.
• 18:46
  Speaker 3: Yeah, but on some DJ so I could tell you,
• 18:50
  Speaker 3: like like the first house song that was playing like
• 18:53
  Speaker 3: back then in the clubs. Yeah, so I didn't even
• 18:58
  Speaker 3: know where it was because I was just hip hop
• 19:01
  Speaker 3: when I came on.
• 19:03
  Speaker 2: So okay, but I'll give you I'll give you an example.
• 19:05
  Speaker 2: So so my because my big thing over the years
• 19:08
  Speaker 2: has been to try to like connect the dots between
• 19:10
  Speaker 2: these different branches, because really all house and techno and
• 19:15
  Speaker 2: you know, e ed M and all of that and
• 19:17
  Speaker 2: hip hop, it's all branches that come from the same tree.
• 19:19
  Speaker 2: It all comes from Planet Rock, it all comes from
• 19:21
  Speaker 2: Africa and all of that. Right, So the you know,
• 19:24
  Speaker 2: we we remember like the sugar Hill and Planet Rock
• 19:27
  Speaker 2: kind of stuff. Sugar Hill that was disco and at
• 19:30
  Speaker 2: one point hip hop slowed down. I got to the
• 19:33
  Speaker 2: Run DMC thing and everything, and it became the hip
• 19:35
  Speaker 2: hop that we know. Shout out to Queens Queen, right, but.
• 19:39
  Speaker 6: Number one group in the world Run DMC.
• 19:42
  Speaker 2: You forget that, right, paved a way rights J recipes
• 19:47
  Speaker 2: but that right. But but it's it's a family tree.
• 19:52
  Speaker 2: So if you if you start with Planet Rock, and
• 19:54
  Speaker 2: you start with with the sugar Hill and that kind
• 19:56
  Speaker 2: of stuff. Hip hop went to one branch and house
• 19:59
  Speaker 2: and all that stuff into another branch. But that song
• 20:01
  Speaker 2: that you were just singing hot music by an artist
• 20:05
  Speaker 2: called Soho but he's also known as it's also known
• 20:08
  Speaker 2: as Pal Joey. Just to give you an example of
• 20:10
  Speaker 2: my but my thing about how hip hop and house
• 20:14
  Speaker 2: music are cousins. That dude that made that record, he
• 20:18
  Speaker 2: was making beats for for karas One and and so
• 20:23
  Speaker 2: it's always Yeah Joey. So it's it's always Pal Joey.
• 20:28
  Speaker 2: You know there's there's Yeah there's karas One Records where
• 20:30
  Speaker 2: he shouts him out when he made the beat.
• 20:32
  Speaker 6: So so step into the world.
• 20:35
  Speaker 2: No, he didn't make Step into the world. I think
• 20:37
  Speaker 2: I think Kris's brother made that made that Yeah, yeah on.
• 20:42
  Speaker 6: The show Real hip Hop.
• 20:43
  Speaker 3: Yeah, that's what I love about music and like DJ Yeah,
• 20:46
  Speaker 3: because I remember like going to parties with my man.
• 20:49
  Speaker 6: My best friend was a DJ.
• 20:51
  Speaker 3: So we used to go to Jamaica Avenue Hot Wax
• 20:54
  Speaker 3: and that was you know, there was no CDJs, there
• 20:56
  Speaker 3: was nothing, So.
• 20:57
  Speaker 6: You know we do these holy old parties. All of
• 20:59
  Speaker 6: them got shot up. You know what. My man got
• 21:01
  Speaker 6: ten crates.
• 21:02
  Speaker 2: Yeah, someone's got to help him.
• 21:04
  Speaker 3: Yeah, right, dunking after the shootouts, Crates Not nobody's leaving
• 21:08
  Speaker 3: it crates.
• 21:09
  Speaker 6: Yeah, and you got everything in there.
• 21:11
  Speaker 3: So that kind of made me musically inclined. So listening
• 21:14
  Speaker 3: to the old kind of music.
• 21:16
  Speaker 1: Right, did you see that Vinyl is so like I
• 21:18
  Speaker 1: think like they said a bill.
• 21:19
  Speaker 2: Yeah, I saw. I just saw that today.
• 21:21
  Speaker 1: I was surprised when I saw it.
• 21:23
  Speaker 5: Yeah, it's got there buying viny They buying them back as.
• 21:26
  Speaker 2: I said, Yeah, it's it's a bit of a different
• 21:30
  Speaker 2: thing where like people buy it almost like a collectible object.
• 21:34
  Speaker 5: Actually white are they buying it like just to hold it? Yeah,
• 21:37
  Speaker 5: DJs is not using.
• 21:38
  Speaker 2: Not as barely right. Everything's digital, whether it's whether it's
• 21:42
  Speaker 2: on the laptop with Torado or whether it's.
• 21:45
  Speaker 6: This murder DJ's got it easy now. Back in the day, listen.
• 21:48
  Speaker 3: Back in the days, twelve hundreds, Gemini mixer, party gets
• 21:53
  Speaker 3: shot up.
• 21:54
  Speaker 6: You got twelve.
• 21:55
  Speaker 3: Crates, we gotta carry nigga got a computer like said
• 21:59
  Speaker 3: the party, you.
• 22:03
  Speaker 6: Go fuck out of here.
• 22:05
  Speaker 3: I don't been into clubs with the best jays in
• 22:07
  Speaker 3: Jamaica Queens, grim Master, Vic, DJ Roughheads, gold Fingers, The
• 22:13
  Speaker 3: Rockaway twins, DJ dog Tome like, come on, bro, we
• 22:18
  Speaker 3: we were talking DJ jd Lorello from Merrick. This is
• 22:22
  Speaker 3: when people was doing blends, just before DJ clue, you
• 22:26
  Speaker 3: know what I'm saying, DJ, And then you know, you
• 22:28
  Speaker 3: got your twelve unders and then they got the needles
• 22:29
  Speaker 3: and all that.
• 22:30
  Speaker 6: My best friend was at DJ. We go to my
• 22:32
  Speaker 6: man's house. Rest in peace right now.
• 22:34
  Speaker 3: He got about one hundred crates right if you go
• 22:37
  Speaker 3: through a ship classics. Yeah, and this he was doing
• 22:41
  Speaker 3: this at fifteen. I never even knew that about you.
• 22:45
  Speaker 5: You think you think social media helped the game for
• 22:49
  Speaker 5: the DJs or hurt it a little bit?
• 22:51
  Speaker 1: What you think about.
• 22:51
  Speaker 2: It both both? I think. You know, now there's there's
• 22:56
  Speaker 2: a newer generation of DJs that are able to get
• 23:00
  Speaker 2: known off of social media, and I love seeing there's DJs.
• 23:04
  Speaker 2: There's young DJs that are honestly they're like eight, nine,
• 23:06
  Speaker 2: ten years old. Maybe their parents are hand them out.
• 23:09
  Speaker 2: They're learning how to scratch, and they're posting their videos
• 23:11
  Speaker 2: on TikTok and on reels. You know, that's a new
• 23:15
  Speaker 2: way to get known and there's a lot of information
• 23:18
  Speaker 2: that gets shared. But at the same time, that thing
• 23:22
  Speaker 2: with the phone and everybody trying to create these viral moments.
• 23:27
  Speaker 2: It's to a point where that's a little bit artificial.
• 23:30
  Speaker 2: You know, people are sort of forgetting that just the
• 23:32
  Speaker 2: feel of being at a party and just dancing to
• 23:35
  Speaker 2: the music and not worrying about, oh, is someone going
• 23:37
  Speaker 2: to see me on such and such a story tomorrow,
• 23:40
  Speaker 2: what should I film this, asking for requests all that stuff.
• 23:44
  Speaker 2: It's a little bit like, yo, you got to put
• 23:45
  Speaker 2: the phone down. I just enjoy yourself. So it helps
• 23:49
  Speaker 2: in terms of exposure, but it hurts in the way
• 23:53
  Speaker 2: that it just feels artificial. It feels like the feelings
• 23:57
  Speaker 2: not quite the same. Yeah, yeah, some of.
• 24:00
  Speaker 6: The biggest festivals you did, because I.
• 24:01
  Speaker 2: Know, yeah man, I mean I played the first Coachella ever.
• 24:07
  Speaker 2: I played Coachella a bunch of times, but yeah, cello,
• 24:10
  Speaker 2: yeah I played. I played it a bunch of ninety
• 24:13
  Speaker 2: nine I believe ninety nine. Yeah, I was like, I
• 24:15
  Speaker 2: was like seventeen. It was a raid, really, it was
• 24:18
  Speaker 2: just it was just a party in the desert, and
• 24:20
  Speaker 2: then they built into this, they built it into this thing,
• 24:23
  Speaker 2: and then I've got to play it many times since,
• 24:25
  Speaker 2: whether it be solo, a trax, set or duck sauce
• 24:28
  Speaker 2: or collaborative stuff. But yeah, that when I played a
• 24:32
  Speaker 2: bunch of times and lollaplouos, I played a bunch of
• 24:34
  Speaker 2: times and yeah, but overseas, I was like that.
• 24:39
  Speaker 6: Yeah, I mean, but he's seventeen years old. That's That's
• 24:42
  Speaker 6: what I'm saying.
• 24:42
  Speaker 3: What gives you the drive in the smarts to win
• 24:46
  Speaker 3: your first big battle contest worldwide at fifteen years old?
• 24:51
  Speaker 5: Motivate it is great, man. Yeah, it's like a worldwide
• 24:54
  Speaker 5: on me. Yeah yeah, yeah, oh yeah's crazy.
• 24:56
  Speaker 1: I was.
• 24:56
  Speaker 2: Yeah, I was going up against you know DJ's that
• 24:59
  Speaker 2: were France, UK, Japan, whatever. So, like I mentioned, I
• 25:03
  Speaker 2: grew up in Montreal. I got an older brother. We're
• 25:06
  Speaker 2: super tight. We still make music together. My brother Dave.
• 25:09
  Speaker 2: Anybody that knows my stuff, you know. He's also in
• 25:13
  Speaker 2: a band called Chromeo. They're well known for their music too,
• 25:17
  Speaker 2: but if you no, they live in New York too.
• 25:23
  Speaker 2: When we were growing up, we were just fans of
• 25:26
  Speaker 2: hip hop, fans of the music. We would go to
• 25:28
  Speaker 2: the record store. By the final study the liner notes,
• 25:32
  Speaker 2: see who produced what? Oh you know, what's who's havocs engineer?
• 25:36
  Speaker 2: Or who makesed that Pete Rock thing or that, like
• 25:37
  Speaker 2: just trying, you know what I mean, Oh, what's this feature?
• 25:40
  Speaker 2: Who's big noise? Like just looking stuff up, you know.
• 25:43
  Speaker 2: And so we're just students of the game. Grew up
• 25:46
  Speaker 2: in Montreal idolizing this music. My brother wrote graffiti too.
• 25:49
  Speaker 2: He would come down in New York and get into that.
• 25:52
  Speaker 2: Actually we had family and Queens, so he would stay
• 25:54
  Speaker 2: in Queens and you know, hey, I live in Brooklyn now.
• 26:05
  Speaker 2: But basically we both fell in love with hip hop
• 26:09
  Speaker 2: and to the point where, like if you think about
• 26:11
  Speaker 2: nineties hip hop too, like it's more than music. It
• 26:14
  Speaker 2: gave you like a code of how to live your
• 26:17
  Speaker 2: life onside, right, you know what I mean. And as
• 26:20
  Speaker 2: a kid that was from the outside of it, from Montreal,
• 26:24
  Speaker 2: I feel like we both paid like extra attention to it.
• 26:27
  Speaker 2: We would buy the magazines, whether it's The Source or
• 26:29
  Speaker 2: XXCEL or even before that ego Trip on the Go,
• 26:33
  Speaker 2: wrap pages all of that and absorb all that information.
• 26:37
  Speaker 2: And we were just passionate. And my brother was making
• 26:39
  Speaker 2: beats and I was scratching and djaying, and he was
• 26:42
  Speaker 2: kind of like my coach because he was a couple
• 26:43
  Speaker 2: of years older. So I'd be practicing every day coming
• 26:47
  Speaker 2: home from school and learning my scratches and learning these routines.
• 26:51
  Speaker 2: And at that point in time, especially if you were
• 26:53
  Speaker 2: into scratching and whatnot, there was these videotapes of the
• 26:59
  Speaker 2: d ms TA Battle. Like I mentioned, there's a couple
• 27:01
  Speaker 2: other ones, but that was the main ones. You go
• 27:03
  Speaker 2: to the record store by these VHS tapes and just
• 27:06
  Speaker 2: watch those DJ routines, watch rock Raider and DJ Noise
• 27:10
  Speaker 2: and Cubert and all these incredible DJs and study them.
• 27:14
  Speaker 2: And there was a point in time where I felt
• 27:17
  Speaker 2: like I was ready to enter a battle myself, because
• 27:19
  Speaker 2: it's you know, that was what I watched was battles.
• 27:23
  Speaker 2: So once I got and I got good pretty fast.
• 27:26
  Speaker 2: After two years, I was like, all right, I'm ready,
• 27:28
  Speaker 2: and I won a world championship.
• 27:31
  Speaker 3: Since you talk about battles, Yeah, give me your top
• 27:35
  Speaker 3: five hip hop DJs and then we're gonna go to
• 27:38
  Speaker 3: other jobs.
• 27:39
  Speaker 6: But give me your top five hip hop DJs and.
• 27:42
  Speaker 3: I'll give you my top five all right if you
• 27:44
  Speaker 3: want them talk.
• 27:49
  Speaker 2: All I like, you crazy to go my top five
• 27:55
  Speaker 2: in no order, just five, just five, all right? DJ
• 27:59
  Speaker 2: Crazy He won? He won, like all the craziest battles
• 28:04
  Speaker 2: around the scene. We were in the crew together, so
• 28:06
  Speaker 2: we were kind of like, all right, we're both killing ship.
• 28:08
  Speaker 2: We're not going to go against each other, and we're
• 28:10
  Speaker 2: gonna so shut out my man Crazy. Yeah he beat
• 28:14
  Speaker 2: me once.
• 28:14
  Speaker 6: Be all right.
• 28:16
  Speaker 2: I'm gonna say Jazzy Jeff, he's he's big bro for life.
• 28:19
  Speaker 2: He laid down the blueprint. He even laid down the
• 28:21
  Speaker 2: blueprint of how to go from battles to having a
• 28:25
  Speaker 2: career as a solo DJ, to producing to everything. I
• 28:31
  Speaker 2: mean those who know no, but I think nowadays I
• 28:34
  Speaker 2: want to make sure people know that Jesse Jeff is
• 28:36
  Speaker 2: the king.
• 28:37
  Speaker 1: Are you talking about j Jeff will Smith. I'm just
• 28:41
  Speaker 1: for people that don't know.
• 28:42
  Speaker 2: They're right. They might know him from it or even
• 28:44
  Speaker 2: just being you might not know he's the Illness DJ.
• 28:51
  Speaker 2: All right, so we got Crazy, we got Jazzy Jeff.
• 28:54
  Speaker 2: I'm gonna say, my man, Jay Rock from the Beat Junkies.
• 28:57
  Speaker 2: I don't know if you know the Beat Junkies in
• 28:58
  Speaker 2: l A.
• 28:58
  Speaker 1: Yeah, was that the right melody?
• 29:02
  Speaker 6: Man?
• 29:03
  Speaker 2: I'm not sure, but.
• 29:10
  Speaker 6: J Rock.
• 29:13
  Speaker 2: I'm gonna say premiere, even though he's a little more
• 29:15
  Speaker 2: known for his production, but Premiere scratches will always be
• 29:20
  Speaker 2: the funkiest scratches on any record. Everybody always wanted to
• 29:23
  Speaker 2: have the DJ premiere scratch on the record, right, And
• 29:26
  Speaker 2: that's Big bro To, So shout out to him. And
• 29:29
  Speaker 2: then the fifth name that I'll say if I'm still
• 29:32
  Speaker 2: thinking within hip hop, I'm gonna say Rock Rader Rest
• 29:36
  Speaker 2: in Peace. And he was a mentor team yeah you know, yeah, Okay,
• 29:41
  Speaker 2: go ahead, yeah, go ahead, all right.
• 29:43
  Speaker 3: First, I gotta go with Yes. I'm gonna tell you
• 29:47
  Speaker 3: what I'm gonna tell you. I felt like Jazz Jeffers
• 29:50
  Speaker 3: slept On because Will Smith was more of a commercial rap, right,
• 29:53
  Speaker 3: I say, that's more like a hardcore wrapper.
• 29:56
  Speaker 6: Yeah. So for me, I'm gonna go with Queens.
• 29:58
  Speaker 3: I'm gonna go with gim Master Jay because he set
• 30:01
  Speaker 3: trends with no laces, you know what I mean.
• 30:04
  Speaker 6: He was they just set trends.
• 30:07
  Speaker 2: So next he made everyone want to be Next.
• 30:10
  Speaker 6: I'm gonna go Terminator X.
• 30:14
  Speaker 3: I gotta go with Terminator X just you never can
• 30:17
  Speaker 3: forget Terminator X. He got the big glasses, fight the
• 30:20
  Speaker 3: power he scratched. That's what I'm telling you. When the
• 30:22
  Speaker 3: DJ was more in the eighties, DJ.
• 30:25
  Speaker 2: Was they were up on stage with the rappers.
• 30:27
  Speaker 3: They were saying Terminator X. He was always quiet. He
• 30:31
  Speaker 3: never said ship. He was like the scary motherfucking nigga
• 30:34
  Speaker 3: in the back or something, you know what I mean.
• 30:36
  Speaker 3: Then I definitely gotta go thinking about I would say
• 30:41
  Speaker 3: D Nice, yeah, because D Nice was he was DJing
• 30:44
  Speaker 3: for k Iris one until he came out with.
• 30:46
  Speaker 2: His name is D Nice.
• 30:48
  Speaker 6: I like that record. I just wasn't used to him.
• 30:50
  Speaker 3: Being a rapper right there. And then he think little
• 30:56
  Speaker 3: state number five because I.
• 30:57
  Speaker 6: Got four right, I think the three man? Get you
• 31:00
  Speaker 6: gone fo Yeah, I said, I said, what about?
• 31:03
  Speaker 2: What about? What about DJ scratch with E P M
• 31:05
  Speaker 2: d oh yes, increble and he and he toured with
• 31:09
  Speaker 2: bustuf time because I want to put scratches like my
• 31:12
  Speaker 2: scratch unable mentions. So you didn't just put him.
• 31:14
  Speaker 6: In here because I said, I said, I said, Master
• 31:17
  Speaker 6: J Terminator.
• 31:18
  Speaker 1: X, Eric b okay scratch, scratch, Yeah, I.
• 31:23
  Speaker 6: Gotta give it to scratch. Oh no ho whoa.
• 31:26
  Speaker 3: I love scratch, but I gotta give it to cut
• 31:29
  Speaker 3: Mass to see RECTI peach cut Mas to see that.
• 31:31
  Speaker 1: He came back in the day.
• 31:33
  Speaker 3: Come on, niggeh the flat Top chain and all that, okay,
• 31:37
  Speaker 3: because you got to think for me, the DJs was
• 31:40
  Speaker 3: as fly as the rappers that there.
• 31:41
  Speaker 1: Well, I feel like or mister C.
• 31:43
  Speaker 6: You mean, I mean I was lost.
• 31:49
  Speaker 2: We lost too many letters.
• 31:53
  Speaker 3: But mister C when he was doing High ninety seven
• 31:55
  Speaker 3: at that point, he was killing radio.
• 31:57
  Speaker 6: That the back in the day she was playing and
• 32:00
  Speaker 6: all that.
• 32:01
  Speaker 3: But I remember him being with Big Daddy came back
• 32:03
  Speaker 3: and how the d J kind of looked like the
• 32:06
  Speaker 3: drug dealer to Eric B. Come on that nigga look
• 32:09
  Speaker 3: at as much juryous fucking rock Ken.
• 32:13
  Speaker 5: Mister Rep so hard for Brooklyn he got meant to
• 32:16
  Speaker 5: Mister C used to go so odd.
• 32:18
  Speaker 2: Yeah, brook I mean, I.
• 32:19
  Speaker 6: Mean he DJ Big Daddy came and he found.
• 32:22
  Speaker 2: Big Yeah, and you know what, Rest in peace to
• 32:25
  Speaker 2: Clark Camp.
• 32:27
  Speaker 1: That's why we got to have the top.
• 32:33
  Speaker 6: Was my sneaker addict.
• 32:34
  Speaker 3: Yeah, man, definitely, that's why we get DJs like you
• 32:38
  Speaker 3: on here. So we talked about these classic moments because
• 32:41
  Speaker 3: it's like, Yo, the DJs meant so much back then.
• 32:45
  Speaker 6: The Lord said, be.
• 32:49
  Speaker 1: We mentioned them before. We definitely got to.
• 32:53
  Speaker 6: Got to say rest in peace.
• 32:54
  Speaker 1: Case you ain't lying about yes.
• 32:58
  Speaker 3: You got your you got your different DJs that are
• 33:01
  Speaker 3: old history, you know what I mean. Yeah, but like
• 33:04
  Speaker 3: when you hear a track and like loud Mouse and
• 33:07
  Speaker 3: DJ Snake, and I'm always thinking overseas even who Kid
• 33:12
  Speaker 3: like who Kids loves it overseas.
• 33:14
  Speaker 6: I love the US too, waiting like doing.
• 33:16
  Speaker 2: I just got back from it.
• 33:18
  Speaker 1: I got back from the place like home.
• 33:19
  Speaker 2: I got back from Europe on Monday. I was there
• 33:21
  Speaker 2: for ten days doing a little tour.
• 33:23
  Speaker 6: We went.
• 33:24
  Speaker 2: I went to Poland, I went to to to Paris,
• 33:28
  Speaker 2: and then I went in the south of France to
• 33:30
  Speaker 2: like in the Alps, close to Geneva, and then I
• 33:32
  Speaker 2: had something in Stockholm too, So I did those Yeah,
• 33:36
  Speaker 2: Sweden love it? Yeah, man, you like the food.
• 33:40
  Speaker 6: I love the food.
• 33:42
  Speaker 2: I love the food. I don't understand why people say
• 33:43
  Speaker 2: I don't like the food.
• 33:44
  Speaker 6: It feels like it's more. I don't know, it's more.
• 33:46
  Speaker 2: I feel like, yeah, yeah, you for sure that the
• 33:50
  Speaker 2: ingredients are more fresh.
• 33:51
  Speaker 6: What's up spot in Australia, we love we addicted.
• 33:53
  Speaker 2: To They got that Perry Perry That's right, I feel
• 34:08
  Speaker 2: But I feel like you you're like you're so like the
• 34:11
  Speaker 2: ultimate hype man, like your energy and what you bring
• 34:15
  Speaker 2: to the live show. As you know, with that voice
• 34:19
  Speaker 2: that you have, it's not that it's not very different
• 34:22
  Speaker 2: from a DJ, you know what I mean, You're kind
• 34:24
  Speaker 2: of you're you're almost like a DJ.
• 34:26
  Speaker 1: Like we're probably like taking over partys DJ.
• 34:29
  Speaker 6: That's what I.
• 34:32
  Speaker 3: Used to do that with my man Ruffians, I said,
• 34:35
  Speaker 3: I come from a real hip hop background, you know
• 34:38
  Speaker 3: what I'm saying. Like, I can tell you fifties first
• 34:40
  Speaker 3: freestyle of my man like we used to be down
• 34:43
  Speaker 3: there mixed records that new Wu Tang instrumentals used to
• 34:47
  Speaker 3: come out. I wasn't the best DJ. I was just
• 34:50
  Speaker 3: just playing around. I could put a blend together with
• 34:52
  Speaker 3: my man Roughians. Gold Fingers they was, you know, they
• 34:55
  Speaker 3: was the nice one, super fly they like they all
• 34:58
  Speaker 3: could kill a club, you know what I mean. And
• 35:00
  Speaker 3: then it was a little more special.
• 35:01
  Speaker 2: Because Fingers incredible.
• 35:02
  Speaker 3: I'm gonna give you. I'm gonna give you a perfect example.
• 35:04
  Speaker 3: Rest in peace, Mysticy not Master.
• 35:08
  Speaker 6: Still still alive. Shout to him too, you know, chat
• 35:12
  Speaker 6: with a knife was actually look so with that look
• 35:20
  Speaker 6: So with that being said, with Misteric he didn't even
• 35:24
  Speaker 6: know and rest of Peace, I called him, were talking
• 35:26
  Speaker 6: on the phone, and he didn't know about.
• 35:28
  Speaker 3: The gap being okay, yeah, share of troubles. That's like
• 35:32
  Speaker 3: the south Side anthem, many more than others. Like every
• 35:37
  Speaker 3: time grand Master Vic used to come on, like so
• 35:40
  Speaker 3: I was like grand Master Victim.
• 35:42
  Speaker 6: Yeah you hear that.
• 35:44
  Speaker 2: It's like, oh my god, Okay.
• 35:45
  Speaker 3: People start paying homage grand Master Vic projects, you know
• 35:49
  Speaker 3: what I mean, even wrong G.
• 35:51
  Speaker 2: Of course I.
• 35:52
  Speaker 1: Don't know murder no about ron G man the mixtapes
• 35:55
  Speaker 1: and all that.
• 35:57
  Speaker 3: No, I know, you know, but I didn't know if
• 35:58
  Speaker 3: you know about ron G number ten though, was a
• 36:01
  Speaker 3: class that was the one to me if you ever
• 36:03
  Speaker 3: go back and you could. Ron G had plenty of
• 36:06
  Speaker 3: dope tapes, but ron G number ten was like a
• 36:09
  Speaker 3: drug dealer's anthem. People on the block, all the drug
• 36:12
  Speaker 3: ron G number ten that's what was playing. That was
• 36:15
  Speaker 3: a blend era before DJ Clue came shout the clue too, yep,
• 36:18
  Speaker 3: because he's one of them. Do he changed the game?
• 36:20
  Speaker 3: It was they went from mixtapes because I'm still listening
• 36:24
  Speaker 3: to the Dirty Harry and all them.
• 36:26
  Speaker 2: Yeah yeah, I'm still listening to yeah.
• 36:29
  Speaker 3: Serious And then when I go overseas, it's a whole
• 36:31
  Speaker 3: nother element of music.
• 36:34
  Speaker 2: Of course, of course, but that yeah, ron G changed
• 36:36
  Speaker 2: the game with those blends. He influenced the production, so
• 36:39
  Speaker 2: I feel like him and then could compete with the
• 36:42
  Speaker 2: blends too, and the next thing, you know, you got
• 36:44
  Speaker 2: I didn't you gotta Yeah, we gotta talk about.
• 36:47
  Speaker 1: You watching right now that you think people sleeping on
• 36:50
  Speaker 1: the cool.
• 36:50
  Speaker 2: Kids for sure? Like I mentioned them earlier, they're from
• 36:52
  Speaker 2: Chicago and they just starting in the blog era, like
• 36:57
  Speaker 2: even a little before that, like from like two thousand
• 36:59
  Speaker 2: and six, so up until now, they just they set
• 37:01
  Speaker 2: trends all the time, and from the beats of the
• 37:05
  Speaker 2: rhymes to style, they changed, they changed the way a
• 37:07
  Speaker 2: whole generation dressed them. Shout out to Chris Krack, he's
• 37:11
  Speaker 2: on my label, Full's Bold. Yeah, there's a whole bunch
• 37:14
  Speaker 2: for sure. But I think what's cool about hip hop
• 37:18
  Speaker 2: now is like it's so broad that it's probably like
• 37:22
  Speaker 2: ten twelve different lanes of types of rappers, you know
• 37:26
  Speaker 2: what I mean? Like I think we can we could
• 37:28
  Speaker 2: sit here and reminisce about how how great the nineties was,
• 37:31
  Speaker 2: and at the end of the day, that's that that's
• 37:33
  Speaker 2: the era that shaped me. But I love the fact
• 37:36
  Speaker 2: that now you can have so many different types of
• 37:40
  Speaker 2: rappers that coexist and they find their fan base just
• 37:45
  Speaker 2: directly online.
• 37:46
  Speaker 1: It's yes, I just.
• 37:50
  Speaker 2: Think there's too much music that comes out.
• 37:52
  Speaker 1: Because because much because it's so easy because of social media.
• 37:56
  Speaker 6: Too much music.
• 37:56
  Speaker 3: But what I love about the music now is it's
• 37:58
  Speaker 3: so much lanes. Like day I might want to do.
• 38:01
  Speaker 6: Old school yeah Bird or flag yeh.
• 38:05
  Speaker 8: Fucking I don't know anybody, and then one day I
• 38:09
  Speaker 8: might want to do you know, the ratchet ship, like
• 38:13
  Speaker 8: fucking Pool Shike stand Because I'm listening to that, I'm
• 38:16
  Speaker 8: not Key Glock and sexy Red she want to fuck with?
• 38:20
  Speaker 3: That beat is take Key for real? When no matter,
• 38:24
  Speaker 3: that's what sexy Red is just ratchet. It's good music,
• 38:27
  Speaker 3: you know what I'm saying, Like take Key on the beat,
• 38:29
  Speaker 3: It's always the beat for me. So when I take
• 38:32
  Speaker 3: Key on the beat and then she got key Glock
• 38:34
  Speaker 3: on it, so to me, Key Glock is still up
• 38:36
  Speaker 3: there with Dolph. He's like holding his own. So I
• 38:38
  Speaker 3: might want to listen to some Whyian ship, and then
• 38:41
  Speaker 3: I might go to all the dead rappers, Pop Smoke,
• 38:45
  Speaker 3: Nipsey Tube, hoop biggie, my mind just be all over now.
• 38:51
  Speaker 2: So I like the fact that at the same at
• 38:55
  Speaker 2: the same slice of time, you could have like all
• 39:01
  Speaker 2: the all the stuff that Alchemist is producing, right and
• 39:04
  Speaker 2: the earth shout out to out.
• 39:06
  Speaker 6: He's another day.
• 39:07
  Speaker 2: Yeah, he's a legend. And and you know, it's amazing
• 39:10
  Speaker 2: that he's kind of at the biggest point of his
• 39:12
  Speaker 2: career now because we all remember the stuff he was
• 39:14
  Speaker 2: doing twenty five years ago.
• 39:16
  Speaker 6: He's doing a record album with right now.
• 39:19
  Speaker 2: Yeah, but the stuff that he's doing with with with
• 39:22
  Speaker 2: the Earl or like Surf Gang Mike, artists like that.
• 39:25
  Speaker 2: You got that pocket, you got like VS and like
• 39:29
  Speaker 2: I swear Veso and the Detroit guys. You got Kodak
• 39:33
  Speaker 2: doing his own thing. You got you know, all the
• 39:36
  Speaker 2: la stuff that's been popping, you know. I like all
• 39:39
  Speaker 2: the artists that Kendrick put on that last album, like
• 39:41
  Speaker 2: as Chik and people like that right album. But so
• 39:46
  Speaker 2: you know, all those different pockets and then the ratchet
• 39:48
  Speaker 2: stuff too, like you said, and and and the Memphis
• 39:52
  Speaker 2: Ship and all that, like that can all co exist.
• 39:54
  Speaker 2: There's a period of time where I think everybody was
• 39:56
  Speaker 2: trying to work with the same producer and everybody's trying
• 39:58
  Speaker 2: to make the same kind of record. But now everybody
• 40:00
  Speaker 2: can do their own individual thing and that's dope. But
• 40:06
  Speaker 2: the flip side of that is, as a DJ, I'll
• 40:11
  Speaker 2: tell you there's less records that bring everyone together. There's
• 40:15
  Speaker 2: way it's way harder to find, you know what I mean,
• 40:17
  Speaker 2: Like the way like put it through. Like I think
• 40:21
  Speaker 2: some of these artists and not not not saying the
• 40:23
  Speaker 2: ones that just named, but some of the current rap artists,
• 40:25
  Speaker 2: because they can just go straight to their audience and
• 40:27
  Speaker 2: their niche, they're a little bit less three dimensional because
• 40:31
  Speaker 2: when you think about the way that in the height
• 40:35
  Speaker 2: of you guys and stuff and the height of g
• 40:37
  Speaker 2: unit but also like a like a NAS record would
• 40:41
  Speaker 2: be lyrical for the heads, but it would be in
• 40:43
  Speaker 2: the clubs too. The girls liked it, the guys liked it,
• 40:47
  Speaker 2: you know, the beat heads liked it. It was for everyone,
• 40:50
  Speaker 2: whereas now lyrical is one thing, the club is one thing,
• 40:54
  Speaker 2: the girls is one thing, right, you know what I mean?
• 40:56
  Speaker 1: But who's making it trying to put it all together.
• 40:59
  Speaker 2: Right, because it's sense like Kanye at his height, Wayne
• 41:05
  Speaker 2: at his height, because that's even after you you guys
• 41:10
  Speaker 2: era in a sense, they were still making records that
• 41:12
  Speaker 2: ticked many of those boxes. It's a little bit harder
• 41:15
  Speaker 2: to find those records now that for me as a DJ,
• 41:18
  Speaker 2: where at any record I know, I'd be like, Yo,
• 41:20
  Speaker 2: this is the record of the year, Like this is like,
• 41:22
  Speaker 2: what's what's the biggie hypnotize of of last year? It's
• 41:27
  Speaker 2: harder to find those, you know what I mean. Yeah,
• 41:31
  Speaker 2: I mean there's a point in time where I started
• 41:33
  Speaker 2: messing around with house music.
• 41:37
  Speaker 1: Of course, Yeah, I.
• 41:40
  Speaker 6: Think it's.
• 41:43
  Speaker 1: I think it's the artist.
• 41:44
  Speaker 6: I don't think I think.
• 41:46
  Speaker 5: I think it's I think like you said, they can't
• 41:49
  Speaker 5: they know I got this audience.
• 41:51
  Speaker 1: They they already would be they rocking me. I'm cool,
• 41:54
  Speaker 1: don't That's whatduction?
• 42:00
  Speaker 3: Because like back like like in the nineties, eighties and
• 42:04
  Speaker 3: early two thousands, it be a beat like you hear
• 42:07
  Speaker 3: a beat like method Man, what was that?
• 42:11
  Speaker 2: How high? Bring the pain?
• 42:14
  Speaker 3: Yeah? Bring the one personal have that beat? You know what,
• 42:18
  Speaker 3: biggie who shot you? It was like one person. You'll
• 42:21
  Speaker 3: never hear a beat like that again, you know what
• 42:24
  Speaker 3: I mean. It's different Like when I say dons effects.
• 42:28
  Speaker 5: I get what you say. Nowadays, do it and do
• 42:30
  Speaker 5: a lot of beats, do sound familia.
• 42:33
  Speaker 2: There's just too much of everything. There's incredible producers. Now
• 42:36
  Speaker 2: there's producers that are doing some.
• 42:37
  Speaker 1: Ship shut out the Great John and the Beat by
• 42:39
  Speaker 1: the way.
• 42:40
  Speaker 3: Yeah, I'm just saying that EPMD you got, I know,
• 42:44
  Speaker 3: when certain things came on, it was just.
• 42:47
  Speaker 2: Like yeah, god right, yeah. Look, every every generation has
• 42:53
  Speaker 2: their classics, and people that are just going to the
• 42:56
  Speaker 2: club now they're twenty years old, they'll they'll hear it
• 43:00
  Speaker 2: might be Osama's son or someone like that, and they'll
• 43:02
  Speaker 2: hear that record be like, oh, that's my ship or
• 43:04
  Speaker 2: the Obviously Cardi and Uzi are super important to the
• 43:07
  Speaker 2: last five ten years, right, so if a Cardi recond
• 43:10
  Speaker 2: comes down, people will be like yo, that Like they'll
• 43:12
  Speaker 2: react the same way as maybe reacted.
• 43:15
  Speaker 1: You got to thinking the jay Z.
• 43:19
  Speaker 5: It's just the same way we felt about back then
• 43:21
  Speaker 5: how these young people feel about right now.
• 43:25
  Speaker 3: But a lot of music is mike a wave music
• 43:27
  Speaker 3: like you could play do you.
• 43:29
  Speaker 5: That's to us though, as I'm realizing now, that's to
• 43:31
  Speaker 5: us because you realize how the older you remember, the
• 43:34
  Speaker 5: older generation used to hate.
• 43:35
  Speaker 2: On right, they would be like what they talk about
• 43:38
  Speaker 2: the same.
• 43:38
  Speaker 1: Real hip hop. They talk about streets the same real
• 43:41
  Speaker 1: hip hop.
• 43:41
  Speaker 5: Because they got away from the hip then they was
• 43:44
  Speaker 5: a little mad at at that time they wasn't respecting
• 43:46
  Speaker 5: the street music.
• 43:47
  Speaker 6: Of course, all I'm saying.
• 43:48
  Speaker 3: Is this as a DJ, right, yeah, we're not just
• 43:51
  Speaker 3: talking about hip hop when we go to Queen's clubs. Right,
• 43:55
  Speaker 3: you could play hip hop music like when we was
• 43:58
  Speaker 3: going to the Hole in the World, but it was
• 44:01
  Speaker 3: a time with Nigga. You better have that jamaking ready,
• 44:04
  Speaker 3: you better have this ready like that that. Sorry, we
• 44:12
  Speaker 3: can't say that was every block party. And baby, we
• 44:19
  Speaker 3: know that Rekie could play somewhere overseas.
• 44:22
  Speaker 6: It's still knock.
• 44:23
  Speaker 7: Yeah, the difference is too much you have.
• 44:29
  Speaker 3: But still as a DJ, you know you still have
• 44:32
  Speaker 3: to have your ship together.
• 44:33
  Speaker 2: Yep, yep, you gotta. You gotta be able to shut
• 44:36
  Speaker 2: up at that party. You might you might think it's
• 44:38
  Speaker 2: gonna be one style and you show up and like
• 44:40
  Speaker 2: you said, they might want reggae, they might want old school,
• 44:43
  Speaker 2: they might want some regional ship. As we we like
• 44:48
  Speaker 2: us DJs, we need to be able to, like we
• 44:50
  Speaker 2: was overseas, get there and flip their formula.
• 44:53
  Speaker 3: Shout to DJ Robbie Rob not to disrespect him, but
• 44:56
  Speaker 3: we went overseas.
• 44:57
  Speaker 1: You sound like you're about to disrespect I'm just.
• 45:00
  Speaker 6: Say you like now.
• 45:02
  Speaker 3: But he thought he was gonna go overseas and do
• 45:04
  Speaker 3: all that American ship that she was out the window.
• 45:08
  Speaker 3: Different ship, afro beats, you know what I'm saying, Different
• 45:13
  Speaker 3: ship when you go other places. And he learned this lesson,
• 45:17
  Speaker 3: like you ain't gonna say, yo, when you come over
• 45:18
  Speaker 3: here for your first time coming overseas, you can't just
• 45:22
  Speaker 3: think the American records are gonna rock for you.
• 45:24
  Speaker 6: I haven't seen that who Kid.
• 45:26
  Speaker 3: I always give it to who Kid because who Kid
• 45:28
  Speaker 3: will have the world hold DG like how he know?
• 45:32
  Speaker 6: Yeah, that's one of his joints. That's that's his joy.
• 45:39
  Speaker 3: That's what I'm saying for DJ. You gotta be prepared
• 45:42
  Speaker 3: because what's the worst feeling.
• 45:44
  Speaker 5: Throw a record on and people come on, nobody moving,
• 45:47
  Speaker 5: but you want that ship. You know.
• 45:49
  Speaker 2: One thing I remember too is there's a point in
• 45:53
  Speaker 2: time when g Unitt was really touring internationally. I think
• 45:58
  Speaker 2: a lot of people in North America might not realized
• 46:00
  Speaker 2: that there wasn't that many rappers or wrap crews that
• 46:04
  Speaker 2: were really international like that. Because when I started working
• 46:09
  Speaker 2: with Kanye and we were going international a lot, and
• 46:13
  Speaker 2: I was already doing those overseas circuits as a DJ,
• 46:16
  Speaker 2: and then I was working with Ya and we were,
• 46:18
  Speaker 2: you know, going to Japan and Nigeria and anywhere. Everywhere
• 46:23
  Speaker 2: we went, G Unit had been. It was g Unit
• 46:26
  Speaker 2: eminem akon. There was a point in time where even
• 46:30
  Speaker 2: Hove hadn't started doing the international thing. Then he became international.
• 46:35
  Speaker 3: I was locked up, but Rihanna was overseas when she
• 46:38
  Speaker 3: just came out.
• 46:38
  Speaker 2: She was yeah, yeah, but yeah, I was. I remember that.
• 46:46
  Speaker 2: You guys really went and hit the whole world in
• 46:49
  Speaker 2: a way that at that point in time, not not
• 46:51
  Speaker 2: that many artists story.
• 46:53
  Speaker 3: My story is crazy. I remember opening up for Cash
• 46:59
  Speaker 3: Okay Wayne, Lil Wayne was he was young, he was
• 47:04
  Speaker 3: on stage like rich already these niggas. Was had all
• 47:08
  Speaker 3: of the fucking props flying up on the stage, a
• 47:11
  Speaker 3: million girls fire.
• 47:12
  Speaker 2: I'm like, oh Ship, shout out many Fresh, that's.
• 47:15
  Speaker 3: My man, whole cash money come on you.
• 47:22
  Speaker 1: Pastor what what's next for ah track?
• 47:26
  Speaker 6: Question?
• 47:29
  Speaker 1: I got what's next for a trick?
• 47:31
  Speaker 2: So I got a couple of different projects. That's one
• 47:34
  Speaker 2: thing with DJs too, is we collaborate a lot, right,
• 47:37
  Speaker 2: So I mentioned my brother, me and him have a
• 47:39
  Speaker 2: project we're doing together called the Brothers Macklevich. That's our
• 47:42
  Speaker 2: last name, Macklevich. So Brothers Macklevich were dropping a couple
• 47:45
  Speaker 2: of songs with that, and we do we go on
• 47:49
  Speaker 2: the road, we do some some gigs like that. I'm
• 47:53
  Speaker 2: working on a new EP myself, but I'm always doing
• 47:55
  Speaker 2: remixes and collaborations without the DJs, and I'm working. I'm
• 48:00
  Speaker 2: working on a new kind of concept of like a
• 48:02
  Speaker 2: new live thing that I'm gonna bring out on the
• 48:04
  Speaker 2: road probably in a year or so. But I'm really
• 48:07
  Speaker 2: just always churning out like the way that now a
• 48:11
  Speaker 2: lot of the music industry is kind of coming around
• 48:13
  Speaker 2: to doing singles and EPs rather than just albums. Us
• 48:17
  Speaker 2: the DJs, we've been doing that for years. DJs is
• 48:20
  Speaker 2: all singles and EPs. So I'm just churning out a
• 48:23
  Speaker 2: bunch of music, keeping Fools Gold going. I got another
• 48:27
  Speaker 2: there you go, you gotta say fools and I got
• 48:33
  Speaker 2: another label called a Track and Friends. That's again that
• 48:36
  Speaker 2: singles because Fools Gold is more projects. A track and
• 48:39
  Speaker 2: Friends is house music singles. We do parties that are
• 48:44
  Speaker 2: that are branded as a track and Friends. So even
• 48:46
  Speaker 2: just this weekend, I got an a Tracking Friends event
• 48:48
  Speaker 2: in l A week after that, I got one in Miami.
• 48:51
  Speaker 2: I'm gonna do one in London this summer. So just
• 48:55
  Speaker 2: building that and just keeping it going.
• 49:00
  Speaker 6: All night.
• 49:01
  Speaker 5: All people want to I love It's you made a
• 49:03
  Speaker 5: bunch of money off this year, right, Do you still
• 49:05
  Speaker 5: love it?
• 49:06
  Speaker 6: Do you still yes?
• 49:08
  Speaker 2: Yes? Of course. It was never for the money, and
• 49:10
  Speaker 2: it's in there's a ton of stuff I could have
• 49:13
  Speaker 2: done for money that I passed on if it didn't
• 49:15
  Speaker 2: feel authentic to me. I'm still like I got into
• 49:19
  Speaker 2: it because I was telling you, like as a young
• 49:22
  Speaker 2: you know, thirteen fourteen year old in Canada falling in
• 49:25
  Speaker 2: love with the music and trying to understand listening to
• 49:28
  Speaker 2: records by the Beastie Boys in Farside and Day Last Soul,
• 49:31
  Speaker 2: Try called quest what are these samples? How did they
• 49:34
  Speaker 2: make this beat? That passion? That's still why I do it.
• 49:38
  Speaker 2: And then there's a point in time where I went
• 49:40
  Speaker 2: from being the student to also being in a position
• 49:44
  Speaker 2: where I could put other people on. So that's even
• 49:46
  Speaker 2: the Kit Cutti. Thing that we talked about Danny Brown,
• 49:49
  Speaker 2: who you got to talk to Danny.
• 49:52
  Speaker 6: I found one of the nicest yo.
• 49:55
  Speaker 2: You were early on Daniel Brown.
• 49:58
  Speaker 3: Danny Brown got ba He's man. He's a machine. He'll
• 50:02
  Speaker 3: sit in front of the computer, used to be in
• 50:03
  Speaker 3: my house. He won't even leave the studio.
• 50:05
  Speaker 2: He'll record himself, record twelve grades.
• 50:07
  Speaker 6: You know, you record himself.
• 50:09
  Speaker 2: He will record to any kind of beat you you
• 50:11
  Speaker 2: give him the sound of like a water dripping from
• 50:14
  Speaker 2: a faucet, He'll find a way to flow around that.
• 50:17
  Speaker 6: Yeah.
• 50:17
  Speaker 3: Tell you one thing, Cutty wasn't playing when Jim Joe
• 50:20
  Speaker 3: he do with that record, motherfucker, that's.
• 50:22
  Speaker 2: My record right, hold on a seconds.
• 50:27
  Speaker 6: I don't like like cut him a couple of times.
• 50:30
  Speaker 2: I was about to say I'm about to go on
• 50:32
  Speaker 2: tour with Cuddy. When you say you're still cool with Yeah, Yeah,
• 50:36
  Speaker 2: that's my bro. That's my bro.
• 50:39
  Speaker 6: He cond tour forever. He got hit records, YEA and
• 50:41
  Speaker 6: Night that had to go Diamond.
• 50:44
  Speaker 2: He's got probably a dozen classics. So in May, I'm
• 50:49
  Speaker 2: going on the tour with Kit, Cuddy and m I
• 50:51
  Speaker 2: A and Big Boy from Outcast. So sure will be
• 50:55
  Speaker 2: name name, the city will be there, so that's dope.
• 50:58
  Speaker 3: Yeah, yeah, because you gotta remember day and night. I
• 51:01
  Speaker 3: remember like being overseas that had to be played every
• 51:06
  Speaker 3: club at least ten times a night.
• 51:09
  Speaker 2: Yeah, and in every type of club. I'm always a
• 51:11
  Speaker 2: fan of records that are just like that stand out,
• 51:14
  Speaker 2: that don't sound like anything else. Like there's there's hits
• 51:19
  Speaker 2: and classics that sound like their era, that sound like
• 51:24
  Speaker 2: other stuff that comes out, but the ones that really
• 51:27
  Speaker 2: really survive the decades are the ones that sound like
• 51:31
  Speaker 2: nothing else. You know. I'm always just I'm always looking
• 51:34
  Speaker 2: for stuff that's kind of left the center, a little weird,
• 51:37
  Speaker 2: a little you know, stuff that doesn't really fit in
• 51:39
  Speaker 2: the box, because I know that that has the potential
• 51:42
  Speaker 2: to reach even more people. You know. But I feel
• 51:46
  Speaker 2: like even just like both of you as artists have
• 51:48
  Speaker 2: always been clever and like figuring out ways to stand out,
• 51:51
  Speaker 2: because you the way that you would always do the
• 51:54
  Speaker 2: wrap up records for every year, Like I feel like
• 51:56
  Speaker 2: that's like that's almost like a thought that a j
• 52:00
  Speaker 2: would have, like what can I do? What can I
• 52:02
  Speaker 2: do that's different? That can you notice? Yeah, just kind
• 52:06
  Speaker 2: of every year have people talking, Yeah, what what year
• 52:10
  Speaker 2: did you start?
• 52:11
  Speaker 5: What was the first started in two thousand and fourteen?
• 52:14
  Speaker 5: Okay fourteen.
• 52:16
  Speaker 2: Yeah, that's something in DJ would do the same way
• 52:19
  Speaker 2: DJ would think of a bland. You were like, all right,
• 52:22
  Speaker 2: what can I do? That's that's not gonna be like
• 52:24
  Speaker 2: everybody else's.
• 52:25
  Speaker 5: It's gonna keep it going, shut out the mad skills
• 52:27
  Speaker 5: because I know he's gonna.
• 52:28
  Speaker 2: That's the whole yea and him cool, Yeah, he just
• 52:35
  Speaker 2: wanted he want to know, he.
• 52:37
  Speaker 1: Just wanted to grant me something like that.
• 52:38
  Speaker 2: Yeah, for like a spoken word album, because he made
• 52:40
  Speaker 2: he made a different type of album. It's it's poetry
• 52:42
  Speaker 2: and it talks about it's some real like.
• 52:45
  Speaker 6: Murder with the God.
• 52:54
  Speaker 5: He even acknowledged that he recognized that wrap up is murder.
• 52:59
  Speaker 5: Murder kind of took that.
• 53:08
  Speaker 3: How do you feel about the technology? Like how said
• 53:11
  Speaker 3: the Crates. That's say, let me give you a scenario.
• 53:15
  Speaker 3: You got your computer, fucking your DJ and somebody spilled
• 53:20
  Speaker 3: some ship on it.
• 53:20
  Speaker 6: Fry.
• 53:23
  Speaker 2: You gotta be ready. You gotta have like the flask
• 53:25
  Speaker 2: drive in your pocket something. But yeah, I mostly play
• 53:29
  Speaker 2: off the flask drives. Now it's even more portable. I
• 53:32
  Speaker 2: show up with my headphones, plug my ship in, let's go.
• 53:35
  Speaker 3: So you think that's like the equipment is better now,
• 53:38
  Speaker 3: like the mixes and you know how they got like
• 53:40
  Speaker 3: the echo chambers.
• 53:41
  Speaker 2: In there's you can do more with the equipment. Now,
• 53:47
  Speaker 2: you can do more effects and loops. And I'm a
• 53:50
  Speaker 2: DJ that does tricks, Like I told you guys, I
• 53:52
  Speaker 2: started with scratching and you know DJ battles. So all
• 53:57
  Speaker 2: the new equipment that has all the technology, it just
• 54:01
  Speaker 2: gives me ideas. I'll be like, oh shit, I'm gonna
• 54:03
  Speaker 2: have a loop on this one, and I'm gonna have
• 54:05
  Speaker 2: this other thing underneath and then the drum beat, and
• 54:08
  Speaker 2: I'll just come up with crazy tricks with with all
• 54:10
  Speaker 2: all the gear that I get. But I do think
• 54:14
  Speaker 2: that when it was just two turntables and a mixer
• 54:18
  Speaker 2: and no effects and and and just vinyl and the
• 54:21
  Speaker 2: ten crates that you talked about, you had to get
• 54:24
  Speaker 2: creative and you had to Everything that you were doing
• 54:27
  Speaker 2: was really use just from your hands to to the
• 54:31
  Speaker 2: to the vinyl and to those faders and and there's
• 54:34
  Speaker 2: no no way to cheat it. Tomi Gemini, Yep, you know.
• 54:43
  Speaker 5: When it when it comes to artist, like as far
• 54:46
  Speaker 5: as you looking for to sign what you look for.
• 54:50
  Speaker 2: Well, it's kind of like the thing I was saying,
• 54:52
  Speaker 2: where like it needs to stand out. You know, maybe
• 54:57
  Speaker 2: there's other you know, because a fool's goal. I wear
• 55:00
  Speaker 2: many hats like you know, but I'll be I'll be
• 55:02
  Speaker 2: the A and R the same way that I will
• 55:04
  Speaker 2: organize the events the same whatever. So if I'm putting
• 55:06
  Speaker 2: my an R hat on, there's probably other an rs
• 55:09
  Speaker 2: out there that are better at finding the quick hit,
• 55:12
  Speaker 2: finding the thing that will hit the charts now. But
• 55:15
  Speaker 2: I just I just try to find stuff that that
• 55:18
  Speaker 2: that stands out because I think that stands the test
• 55:21
  Speaker 2: of time more. And there'll be stuff that I'm excited
• 55:23
  Speaker 2: about where I'll think about the different pockets of DJs
• 55:26
  Speaker 2: that I could try and reach with with those records.
• 55:29
  Speaker 2: So the standing out thing is important. I mean, there's
• 55:32
  Speaker 2: so many artists that I've been involved with that are
• 55:34
  Speaker 2: just their characters, you know. They they got that extra
• 55:38
  Speaker 2: little thing to them.
• 55:40
  Speaker 6: And the standing out keeps you torn. That's just torn.
• 55:43
  Speaker 6: Now he's torn.
• 55:44
  Speaker 2: He's still look at the road.
• 55:48
  Speaker 6: Yeah, Brown, he's still torn.
• 55:50
  Speaker 3: Just like when we go overseas and we running the
• 55:52
  Speaker 3: j rud of damage Ye or Boys to Men or
• 55:57
  Speaker 3: Kris One.
• 55:58
  Speaker 6: We ran in the blouse, that's.
• 56:03
  Speaker 2: In the house.
• 56:07
  Speaker 3: Yeah, yeah, that's why we bring DJs with you.
• 56:12
  Speaker 6: Like I looked at you as just d M d J.
• 56:15
  Speaker 3: I didn't know you was like in the hip hop
• 56:18
  Speaker 3: like because I looked at him with Fool's Gold record,
• 56:22
  Speaker 3: you know what I mean? And I thought I looked
• 56:23
  Speaker 3: at him like on the E d M side, because
• 56:25
  Speaker 3: you know he's like there with Diplo and you know
• 56:28
  Speaker 3: so so when he tells me these hip hop stories
• 56:30
  Speaker 3: and how he was cutting out, I'm like, man, I
• 56:32
  Speaker 3: gotta gotta go around.
• 56:34
  Speaker 1: He look like you work with Kanye. What's going on?
• 56:38
  Speaker 3: Not even the Kanye to me? So win a DJ
• 56:42
  Speaker 3: tournament at fifteen worldwide, you got to be. I was
• 56:49
  Speaker 3: in the party. I told you my best friend was
• 56:52
  Speaker 3: a DJ.
• 56:53
  Speaker 6: I had this. I know how it is.
• 56:55
  Speaker 3: When you bought you go to your your storm Montreal
• 56:58
  Speaker 3: and you know something WU tangers about. Like I remember
• 57:01
  Speaker 3: when they came out with a double album back then.
• 57:03
  Speaker 3: Yeah it was an instrumental album too. Remember when that
• 57:08
  Speaker 3: came When that came out.
• 57:10
  Speaker 2: Come on, when Cuban Links came out. Nothing sounded like that.
• 57:15
  Speaker 2: With that come and nothing sounded like that.
• 57:21
  Speaker 6: Label?
• 57:22
  Speaker 1: What do you think about that?
• 57:23
  Speaker 2: I mean, I have an independent label. I'm very pro independent. Certainly,
• 57:28
  Speaker 2: if there's an artist that's making records that are just
• 57:31
  Speaker 2: made for radio that need to hit those international departments
• 57:37
  Speaker 2: that are the majors, can still do that like no
• 57:39
  Speaker 2: one else. But everything else, I think at this point
• 57:43
  Speaker 2: it's it's it's independent because especially now that you know
• 57:48
  Speaker 2: what I was going to say the other thing I
• 57:50
  Speaker 2: was going to add to when you ask what I
• 57:51
  Speaker 2: look for with the artists that I might want to sign,
• 57:55
  Speaker 2: I think now it's also important to have artists that
• 57:57
  Speaker 2: are clever with the own marketing and that know how
• 58:00
  Speaker 2: to how to go and find an audience. You know,
• 58:04
  Speaker 2: it's for better for worse. It's it's not just about
• 58:08
  Speaker 2: the music anymore.
• 58:10
  Speaker 1: Social media, you got to have a following.
• 58:12
  Speaker 2: And I'm not saying I'm looking for someone that knows
• 58:14
  Speaker 2: how to do a TikTok dance, but it might be
• 58:17
  Speaker 2: they might not even look at it as marketing. But
• 58:19
  Speaker 2: sometimes you hear someone's name, you see the way that
• 58:21
  Speaker 2: they look, the way they address, the way the way
• 58:23
  Speaker 2: they get their friend to do their artwork and everything
• 58:25
  Speaker 2: just it just stands out even visually. Yeah, that too,
• 58:31
  Speaker 2: they're not jumping on every tent, every trend every six months.
• 58:34
  Speaker 2: It's just you know what I mean like that that
• 58:36
  Speaker 2: that consistency is important too. So so what we're saying
• 58:41
  Speaker 2: just now about the independent thing. You know, every project
• 58:46
  Speaker 2: now should be marketed in its own way. There's no
• 58:49
  Speaker 2: longer just one way to do things. And I think
• 58:51
  Speaker 2: a lot of the majors stayed in that sort of
• 58:53
  Speaker 2: cookie cutter thing where they just those departments are doing
• 58:56
  Speaker 2: they're trying to fit you in the same old, same
• 58:59
  Speaker 2: mold as an artists they put out the previous quarter.
• 59:02
  Speaker 2: But the indies they'll they'll custom tailor and and they'll
• 59:07
  Speaker 2: go straight to their audience and sell them the vinyl
• 59:09
  Speaker 2: and and do the and take take the email addresses
• 59:13
  Speaker 2: from the tour pre sale and use that for the
• 59:16
  Speaker 2: marketing on the album rollout, and that it's just more
• 59:20
  Speaker 2: it's it's more involved in more custom tailor.
• 59:24
  Speaker 3: I feel like like artists now that like like a
• 59:27
  Speaker 3: talent creator. You'll never be on the radio and be
• 59:29
  Speaker 3: a young boy. You'll never hear Danny Brown on the
• 59:33
  Speaker 3: radio with these guys a touring, Yes, making money. It's
• 59:36
  Speaker 3: different right now.
• 59:37
  Speaker 2: Yes, yeah, it is different. And and I think that
• 59:42
  Speaker 2: that is where the culture is now, is like sure,
• 59:47
  Speaker 2: if a record gets on the radio, will hit another
• 59:49
  Speaker 2: another plateau in numbers. But there's a lot of artists
• 59:53
  Speaker 2: that are on the radio that can't really sell out
• 59:56
  Speaker 2: the garden, right. Maybe they can do New York in
• 1:00:01
  Speaker 2: LA or maybe their hometown, but you you know, you
• 1:00:04
  Speaker 2: put them in in Madison, Wisconsin, and it's not it's
• 1:00:07
  Speaker 2: not moving like that. But the artists that have their
• 1:00:10
  Speaker 2: audience and that are and maybe they you know, maybe
• 1:00:14
  Speaker 2: the YouTube shit is popping or whatever it is, but
• 1:00:16
  Speaker 2: they're you know, they're they're going straight to their audience.
• 1:00:19
  Speaker 2: They're reaching people everywhere and they can go overseas two
• 1:00:22
  Speaker 2: And yeah, I think and and I'm I'm more a
• 1:00:26
  Speaker 2: fan of that approach because the other thing that just
• 1:00:30
  Speaker 2: to sort of connect the dots is like when I
• 1:00:32
  Speaker 2: came on the scene, even when I was just doing
• 1:00:34
  Speaker 2: hip hop, like ninety seven is when I won that
• 1:00:37
  Speaker 2: that big DJ battle ninety seven, who's also we mentioned
• 1:00:40
  Speaker 2: Lord Syr Rest in Peace because I went on the
• 1:00:43
  Speaker 2: Stretch and Bobido radio show that year too, like shout
• 1:00:46
  Speaker 2: out to Stretch and Bob. Ninety seven was a period
• 1:00:48
  Speaker 2: of time where in hip hop there was a revival
• 1:00:51
  Speaker 2: of that indie thing, Rockets Records and groups like Company
• 1:00:55
  Speaker 2: Flow and Dilated Peoples and non Fiction and.
• 1:00:58
  Speaker 6: All of that.
• 1:00:59
  Speaker 2: You know, it was it was. There was indie labels
• 1:01:03
  Speaker 2: Stone Throw that's still a big label now, and they
• 1:01:06
  Speaker 2: got known. They got even more known when they put
• 1:01:09
  Speaker 2: out the Mad Lip Stuff and Mad Villain with MF.
• 1:01:12
  Speaker 2: Doom and all that. Like that sort of alternative, independent
• 1:01:15
  Speaker 2: side of hip hop. That's that's what I was into
• 1:01:19
  Speaker 2: when I came on the scene. And that's what like
• 1:01:22
  Speaker 2: just going to Fat Beats and looking at all the
• 1:01:24
  Speaker 2: records on the wall and being like, yo, I want
• 1:01:27
  Speaker 2: to do this. Like that taught me a certain ethos
• 1:01:32
  Speaker 2: of you know, if you and your friends are doing
• 1:01:34
  Speaker 2: some cool shit and your friends got making music and
• 1:01:38
  Speaker 2: it's and it's different, you could just put the ship
• 1:01:40
  Speaker 2: out yourself, right And and I learned that by going
• 1:01:45
  Speaker 2: to Fat Beats and by listening to Stretch and Bob,
• 1:01:47
  Speaker 2: and by listening to these independent artists that were just
• 1:01:51
  Speaker 2: doing some different shit and and and they knew how
• 1:01:56
  Speaker 2: to get to their audience already.
• 1:01:57
  Speaker 1: Then you know he was fifty.
• 1:02:00
  Speaker 6: I never knew he was fifteen.
• 1:02:01
  Speaker 2: Yeah, I'm forty three now, so it's been a minute.
• 1:02:04
  Speaker 6: That's crazy. Thirteen years old, that's crazy.
• 1:02:06
  Speaker 1: That's dope, that's super dope.
• 1:02:08
  Speaker 6: Ye appreciate you have to stay on the crazy.
• 1:02:10
  Speaker 2: DJ I had. I had to say, yo, because if
• 1:02:16
  Speaker 2: you as.
• 1:02:16
  Speaker 1: Soon as you asked, my man, I'm gonna tell you.
• 1:02:19
  Speaker 3: Look, I'm I looked still circle one bow wow dj DJs.
• 1:02:28
  Speaker 3: He was like seven eight years old, like yeah, like
• 1:02:33
  Speaker 3: ten probably like so depending on how tull you.
• 1:02:37
  Speaker 2: Was, and I looked I looked eleven when I.
• 1:02:40
  Speaker 3: Was That's what I'm saying. So just set you know,
• 1:02:43
  Speaker 3: back then you had to call for everything.
• 1:02:45
  Speaker 1: Yeah, so did you have to stay on the casey sometimes?
• 1:02:49
  Speaker 1: And you know it correct?
• 1:02:51
  Speaker 2: He's right. And if you go to YouTube and you
• 1:02:54
  Speaker 2: look up nineteen ninety seven eight track d m C,
• 1:02:57
  Speaker 2: you'll see the video of me winning this battle and
• 1:02:59
  Speaker 2: I look like a child. He's gonna put it in. Yeah,
• 1:03:04
  Speaker 2: it's all good when I'm at yo. That's that's that's
• 1:03:10
  Speaker 2: where it all started for me. And yeah, I used
• 1:03:13
  Speaker 2: to have to travel with you know, I would go
• 1:03:15
  Speaker 2: to some of my gigs. And the bouncer wouldn't let
• 1:03:18
  Speaker 2: me in, and that was the DJ, and I would
• 1:03:20
  Speaker 2: have you know what I mean. I'd be like, I
• 1:03:22
  Speaker 2: am djaying, and they'd be like, I'm not letting you
• 1:03:24
  Speaker 2: in kids, and you still milk, And then they would
• 1:03:30
  Speaker 2: have to send out the promoter, and the promoter when
• 1:03:32
  Speaker 2: bouncer would get into an argument, the bouncer would be like, yo,
• 1:03:34
  Speaker 2: if the cops come in and they see him, that's
• 1:03:37
  Speaker 2: on me. A lot of gigs when I was first
• 1:03:40
  Speaker 2: starting out, they would just have me wait, like in
• 1:03:42
  Speaker 2: the manager's office, the club manager's office, wait for it
• 1:03:47
  Speaker 2: for it to be time for my set. All right,
• 1:03:49
  Speaker 2: come up, do my little thing.
• 1:03:51
  Speaker 1: All right, come back. That's crazy.
• 1:03:53
  Speaker 2: But I was just so passionate. That's you know.
• 1:03:56
  Speaker 1: Yeah, that's when you know you super dope.
• 1:04:00
  Speaker 2: You think.
• 1:04:02
  Speaker 3: So real DJ right here. You know, I thought it
• 1:04:04
  Speaker 3: was just you know, of course fools records.
• 1:04:08
  Speaker 6: We know you for that.
• 1:04:09
  Speaker 3: That's legendary label. I didn't know you. You know, the
• 1:04:12
  Speaker 3: DJ battles back at fifteen. Yeah, learned something new every day.
• 1:04:16
  Speaker 2: Man, That's what's up. But that that's again, it's also
• 1:04:21
  Speaker 2: that thing about being students of the game, about just
• 1:04:24
  Speaker 2: wanting to understand how these records were made and where
• 1:04:27
  Speaker 2: the samples were from, and knowing about your freestyles and
• 1:04:29
  Speaker 2: your freestyles and the mixtapes. Man, when you guys came
• 1:04:32
  Speaker 2: out with that run of mixtapes, no one was touching that,
• 1:04:36
  Speaker 2: you know, and and and you know, you could people
• 1:04:39
  Speaker 2: could look at it now as marketing or this or that,
• 1:04:43
  Speaker 2: but like it was, it was just like the best,
• 1:04:47
  Speaker 2: like those like fifty Cents the Future and and and
• 1:04:51
  Speaker 2: and come on, man, that was better than the albums
• 1:04:55
  Speaker 2: that were coming out.
• 1:04:56
  Speaker 6: That's what I'm saying, like nostalgic, nostalgic moments, Like I said,
• 1:05:00
  Speaker 6: going to Jamaica Avenue. Yeah, you're going to the Bootlegger
• 1:05:02
  Speaker 6: every mixtape.
• 1:05:03
  Speaker 2: The rootleg.
• 1:05:04
  Speaker 3: Yeah, like I said, our best friend was the DJ Ruffians.
• 1:05:09
  Speaker 3: He'll go to Hot Wax. What record is there? What
• 1:05:11
  Speaker 3: instrumentals is there? Because remember you had your A side
• 1:05:14
  Speaker 3: B side instrumental albums all of that, you know, so
• 1:05:17
  Speaker 3: that that was dupe because people wanted the instrumentals too. Yeah,
• 1:05:20
  Speaker 3: and it was like you know, now you get everything
• 1:05:22
  Speaker 3: on your phone, it's not a special nor more you
• 1:05:24
  Speaker 3: have to get on the dollar bend.
• 1:05:25
  Speaker 2: Yeah, you know what I'm saying you had to choose
• 1:05:27
  Speaker 2: no really also.
• 1:05:29
  Speaker 1: Had to get those instruments.
• 1:05:31
  Speaker 2: You know, you had to choose which records you were
• 1:05:34
  Speaker 2: buying that week because no one had enough money to
• 1:05:36
  Speaker 2: buy everything that came out, So maybe you might just
• 1:05:39
  Speaker 2: have enough money in your pocket to buy three twelve inches.
• 1:05:41
  Speaker 2: And you're like, all right, am I getting this Pete
• 1:05:43
  Speaker 2: Rock and Seales smooth and this you know, uh tribe
• 1:05:47
  Speaker 2: and this far side thing, But damn this Rakwon thing
• 1:05:50
  Speaker 2: is kind of different and cool or damn Meth the
• 1:05:52
  Speaker 2: man red Man, how hot? Damn sul and that one's
• 1:05:54
  Speaker 2: got an a cappella. If I buy that, I can
• 1:05:56
  Speaker 2: use the a cappella to do a blend. So you're
• 1:05:59
  Speaker 2: just sitting there, You're like, got enough record money for
• 1:06:01
  Speaker 2: three records?
• 1:06:03
  Speaker 6: So Okay, I didn't.
• 1:06:05
  Speaker 1: I didn't.
• 1:06:06
  Speaker 6: It wasn't was still was still the records. Yeah, I
• 1:06:10
  Speaker 6: had that cracked money. Give me can you instrumental?
• 1:06:17
  Speaker 3: You made the right enough, but we were happy to
• 1:06:22
  Speaker 3: have you in.
• 1:06:22
  Speaker 2: Thanks ship.
• 1:06:24
  Speaker 6: I learned a lot of ship about the culture.
• 1:06:26
  Speaker 3: I looked a lot of ship about DJing, loked a
• 1:06:29
  Speaker 3: lot of shout the fools goes record.
• 1:06:31
  Speaker 6: You want to shout anything out.
• 1:06:32
  Speaker 2: Yeah, I mean you said that you got coming, but
• 1:06:35
  Speaker 2: I got coming. The tour with Key, all these releases
• 1:06:39
  Speaker 2: on Fools, Gold and A tracking friends, brothers, Maclevich. We're
• 1:06:43
  Speaker 2: gonna do up more Duck Sauce soon. In the meantime,
• 1:06:46
  Speaker 2: my joints.
• 1:06:48
  Speaker 1: Definitely eight tracking the buildings records.
• 1:06:53
  Speaker 6: You know what it is.
• 1:06:54
  Speaker 3: We're doing it big and we don't do everything with
• 1:06:56
  Speaker 3: everybody else. Do make sure you're like share subscribed report.
• 1:07:00
  Speaker 3: You know the vibes man, you're out
• 1:07:08
  Speaker 1: H