Latest / The Breakfast Club / INTERVIEW: Grandmaster Flash Master Class: Quick Mix Theory, Slipmats, Sampling + More

Transcript

INTERVIEW: Grandmaster Flash Master Class: Quick Mix Theory, Slipmats, Sampling + More · The Breakfast Club

• 0:00
  Speaker 1: Wake that ass up in the morning. The Breakfast Club.
• 0:05
  Speaker 2: Morning everybody, it's the j n V. Charlamagne to God,
• 0:08
  Speaker 2: we are the Breakfast Club. You got a special guest
• 0:10
  Speaker 2: in the building.
• 0:11
  Speaker 3: Come on, man, one of the architects of this thing
• 0:13
  Speaker 3: we call hip hop. Man, one of the people who
• 0:15
  Speaker 3: helped later foundation for this thing we called hip hop.
• 0:18
  Speaker 4: We wouldn't have jobs if it wasn't for this brother.
• 0:20
  Speaker 2: Right, wouldn't be a DJ, if it wasn't for this brother,
• 0:22
  Speaker 2: and most people out there, most DJs out there wouldn't
• 0:25
  Speaker 2: be DJs. If it wasn't No, all DJs wouldn't be
• 0:28
  Speaker 2: it wasn't for this brother, Ladies and gentlemen, grand Master Flash, welcome, thank.
• 0:33
  Speaker 1: You, good morning, black Man, thank you, thank you for
• 0:35
  Speaker 1: having me Man.
• 0:36
  Speaker 4: I appreciate it. Come on, man, happy to have you.
• 0:38
  Speaker 1: Absolutely appreciate this man.
• 0:39
  Speaker 3: You know, we celebrated the fifty years of hip hop,
• 0:42
  Speaker 3: you know, this year, and Nby and I was on
• 0:44
  Speaker 3: the radio having a conversation and it just felt like,
• 0:47
  Speaker 3: you know, the architects, like that era of the eighties,
• 0:51
  Speaker 3: you know, wasn't getting honored properly, and none of us
• 0:53
  Speaker 3: to hear if that, if that foundation isn't late you
• 0:56
  Speaker 3: said the eighties seven, the seventies. Yeah, the seventies from
• 0:58
  Speaker 3: the beginning, and the eighties I feel like weren't getting
• 1:00
  Speaker 3: on it, you know, properly. How do you feel about that,
• 1:03
  Speaker 3: Grand Master Flash?
• 1:04
  Speaker 5: And that's one of the reasons why I feel that
• 1:06
  Speaker 5: it's paramount that I do lectures. I do corporate towards
• 1:10
  Speaker 5: the lectures, and I've been doing them for private people,
• 1:13
  Speaker 5: but now I kind of want to do this for
• 1:15
  Speaker 5: the public so they could understand that this thing didn't
• 1:18
  Speaker 5: just fall out of a tree. It didn't just go
• 1:21
  Speaker 5: from the seventies to where we are. You know, there
• 1:25
  Speaker 5: was four DJs that did this. Coolhork was on the west,
• 1:31
  Speaker 5: AB was Bronx River, African DJ Breakout was the north.
• 1:37
  Speaker 5: I was the east, and pretty much this is how
• 1:41
  Speaker 5: it really started. And you got to realize this, ladies
• 1:43
  Speaker 5: and gentlemen, we did this with no Internet, no social media,
• 1:48
  Speaker 5: no apps, no.
• 1:52
  Speaker 1: Quick hardware where it would just work a lot of
• 1:55
  Speaker 1: these things.
• 1:55
  Speaker 5: As I was telling you, Envy, I had to do
• 1:57
  Speaker 5: this with nothing going into the backyards and you know,
• 2:02
  Speaker 5: getting old receivers and old turntables and stuff and kind
• 2:05
  Speaker 5: of like jury rigging my sound system.
• 2:06
  Speaker 2: For people listening when he says the West to South
• 2:08
  Speaker 2: to nor if he's not talking about West Coast, he's
• 2:10
  Speaker 2: talking about New York. The Bronx, the Bronx, Bronx. I
• 2:13
  Speaker 2: wanted to clear it up. And also, you know I
• 2:15
  Speaker 2: was talking to of course grandmass Flash behind the scenes.
• 2:17
  Speaker 2: A lot of he didn't know, you know, where we
• 2:19
  Speaker 2: had the ability to go to these stores and buy equipment.
• 2:22
  Speaker 1: He had to actually make it.
• 2:23
  Speaker 2: So his first sound system actually came from old cars
• 2:26
  Speaker 2: in the junk yard. He would pull the speakers out
• 2:28
  Speaker 2: of the cars in the junk yard and make sound
• 2:30
  Speaker 2: systems to play at parks and parties and wherever wherever
• 2:33
  Speaker 2: it was. So you had to actually know electronics. And
• 2:36
  Speaker 2: it just wasn't just about DJing, right, So what what
• 2:39
  Speaker 2: got you into wanting to be a DJ? I know
• 2:42
  Speaker 2: you were telling me the story behind the scenes that
• 2:44
  Speaker 2: you know, you were just intrigued by electronics in your
• 2:46
  Speaker 2: house when your mother and father plugged something in and
• 2:48
  Speaker 2: you wanted to understand how it works. So you would
• 2:50
  Speaker 2: start effing up the crib pretty much to figure it out.
• 2:53
  Speaker 5: Yeah, and when I was a toddler, everything in that
• 2:56
  Speaker 5: house that was electrical. I was intrigued, Oh how did
• 3:01
  Speaker 5: that happen? So I used to unscrew the backs of
• 3:04
  Speaker 5: the stereo in the living room. My sister's hair dries
• 3:07
  Speaker 5: the table radio, all these things. And also what got
• 3:11
  Speaker 5: me into this when I was a toddler. My dad
• 3:14
  Speaker 5: was a collector of records. And I'm on this respectable airwaves.
• 3:19
  Speaker 5: So I will just say when I got caught touching
• 3:23
  Speaker 5: his vinyl as a toddler, he used to heavily repermnd me.
• 3:28
  Speaker 1: Right, I can say that. And what I used to
• 3:33
  Speaker 1: do was a kid, I.
• 3:34
  Speaker 5: Waited for him to go to work, and when the
• 3:36
  Speaker 5: door slammed, I went back in that closet and the
• 3:40
  Speaker 5: rule was, you know, don't touch the brown box in
• 3:43
  Speaker 5: the living room.
• 3:45
  Speaker 1: And I used to watch Dad when he came home
• 3:47
  Speaker 1: from work how he operated it.
• 3:50
  Speaker 5: So I figured out how to get into this closet
• 3:53
  Speaker 5: where his stuff was, and I would take this square
• 3:56
  Speaker 5: thing that had a black disc and he would put
• 3:59
  Speaker 5: it in this brown and sound would come out of it.
• 4:03
  Speaker 1: That was probably my first love.
• 4:06
  Speaker 5: But then moving forward, guys, when I heard a drum
• 4:11
  Speaker 5: break from one of the most important black artists of
• 4:15
  Speaker 5: that time, his name was Curtis Mayfield.
• 4:18
  Speaker 1: Move on up that break and then you and I
• 4:22
  Speaker 1: can relate here. That break was.
• 4:25
  Speaker 5: About i'd say about five minutes of just the drums.
• 4:30
  Speaker 1: And I thought all records was like that.
• 4:33
  Speaker 5: So when I started collecting my records, the drum break
• 4:37
  Speaker 5: was like five ten seconds. So what also got me
• 4:43
  Speaker 5: into the DJing is I used to watch the disco
• 4:46
  Speaker 5: DJs like my Boyer Flowers, Pete Jones, and I noticed
• 4:52
  Speaker 5: that their transitions were glass smooth. But then my boys
• 4:58
  Speaker 5: knocked on my door at my mom's house and said,
• 5:01
  Speaker 5: we want to take you to this other side of
• 5:04
  Speaker 5: town to watch these other DJs. And respectfully, I was wondering,
• 5:11
  Speaker 5: why is it that everything that he was doing was
• 5:14
  Speaker 5: a train wreck. He was playing the incredible music, had
• 5:19
  Speaker 5: the incredible sound system, but why was.
• 5:22
  Speaker 1: He playing like that?
• 5:23
  Speaker 5: You know, because the rules are the laws, and you know,
• 5:25
  Speaker 5: especially if you got people on the dance floor, the
• 5:27
  Speaker 5: idea is to keep everybody in unison correct. They should
• 5:31
  Speaker 5: not be trying to find it beat as you transition.
• 5:34
  Speaker 5: So from that point on, it's when I came up
• 5:36
  Speaker 5: with the quick mixed theory. You know what mix theory
• 5:41
  Speaker 5: from a mathematical perspective. I took sonics and through it
• 5:47
  Speaker 5: out the window. Because if I play a song, I
• 5:50
  Speaker 5: hear it a certain way. If I put the headphone
• 5:52
  Speaker 5: on your ear, you hear it a certain way, and shah,
• 5:55
  Speaker 5: you hear a certain way. So I said to myself,
• 5:58
  Speaker 5: I'm going to take that out of the equation and
• 6:01
  Speaker 5: I'm gonna just collect records from all genres pop, rock, jazz, blues, funk, disco,
• 6:06
  Speaker 5: R and B foreign American and just listen to the
• 6:10
  Speaker 5: drum break. And I found that, unlike Curtis Mayfield, these
• 6:16
  Speaker 5: drum breaks on these other records always always short. That
• 6:22
  Speaker 5: made me quite angry. I was disappointed. So in Mom's house,
• 6:29
  Speaker 5: I came up with a hand mechanic fingertips to vinyl
• 6:35
  Speaker 5: fingertips to cross Vader DJ style that is used by
• 6:42
  Speaker 5: every hip hop DJ on planet Earth. And I figured
• 6:47
  Speaker 5: out the way of counting the bars as the vinyl
• 6:50
  Speaker 5: went forward, and how many times I would have to
• 6:53
  Speaker 5: rewind it back to get back to the top of
• 6:55
  Speaker 5: the break and take that ten second break and make
• 6:58
  Speaker 5: it seamlessly ten minutes. So if you on the floor
• 7:02
  Speaker 5: and I'm playing a Michael Jackson drummer break. I'm playing
• 7:05
  Speaker 5: that for ten minutes and I'm gonna flip to a
• 7:08
  Speaker 5: London break or a drumming break or or whatever break.
• 7:11
  Speaker 1: And this became the way.
• 7:14
  Speaker 5: And then what happened was these incredible people called hip
• 7:19
  Speaker 5: hop producers took this style of the seamless loop and
• 7:24
  Speaker 5: I'm gonna show you that on the wheels to steal and.
• 7:26
  Speaker 3: Understand Me'm saying your quick mixed theory turn turned into
• 7:32
  Speaker 3: what people called sampling basically correct.
• 7:35
  Speaker 2: That's so that's exactly what you bring it back from
• 7:38
  Speaker 2: the beginning. But one thing you learn from this interview
• 7:40
  Speaker 2: with grand Master Flash is he's not just a musician
• 7:43
  Speaker 2: when it comes to turntables.
• 7:45
  Speaker 1: He's actually no disrespect.
• 7:46
  Speaker 2: He's a nerd and geek, like he wants to understand
• 7:49
  Speaker 2: the mechanics of it. Most people just want to understand
• 7:52
  Speaker 2: the success of it and be successful and be a
• 7:54
  Speaker 2: big name. But he under actually understands the mechanics of music,
• 7:59
  Speaker 2: DJ and trans positioning records, record players, mixes, just and
• 8:04
  Speaker 2: this is just having a thirty second conversation with Have
• 8:05
  Speaker 2: I figured out.
• 8:06
  Speaker 3: What I found so interressing about this? In the last
• 8:09
  Speaker 3: five minutes you explained where DJing started yep, and where
• 8:12
  Speaker 3: hip hop production start correct, So people will call you
• 8:15
  Speaker 3: an architect and say you're wanted the founding fathers of
• 8:18
  Speaker 3: hip hop.
• 8:19
  Speaker 1: That is why, absolutely thank you. And I gotta tell
• 8:22
  Speaker 1: you it's like.
• 8:24
  Speaker 5: I've been listening to a lot of depressing the promotion,
• 8:27
  Speaker 5: you know, from last summer to now, and this particular
• 8:31
  Speaker 5: area of who, what, where and why is not talked about.
• 8:36
  Speaker 5: Why aren't we talking about what Bam did? And quite frankly,
• 8:44
  Speaker 5: the gang thing was really bad back then Shaw and
• 8:47
  Speaker 5: if he didn't calm that down, they would have not
• 8:50
  Speaker 5: been to a block parties, you know what I'm saying.
• 8:52
  Speaker 5: And then as DJ breakout in the North, he came
• 8:55
  Speaker 5: up with a sound system where he used garbage cans
• 8:57
  Speaker 5: as his base. Bottoms Who Hurt had an amazing sound system.
• 9:02
  Speaker 5: I had the shittiest sound system, but I had a
• 9:04
  Speaker 5: hand technique that people wanted to see, you know. So
• 9:08
  Speaker 5: it's just these kind of things where I go around
• 9:10
  Speaker 5: doing these corporate tours.
• 9:11
  Speaker 1: It's called the birth of a culture.
• 9:12
  Speaker 5: Corporate tourist, and I've been doing a lot of these
• 9:15
  Speaker 5: things privately, but I think that now I have to
• 9:17
  Speaker 5: go to the universities to the YMCAs and do this public.
• 9:21
  Speaker 5: I'm gonna do two major lectures, one in Manhattan and
• 9:24
  Speaker 5: one of the Bronx where it's gonna be free, and
• 9:26
  Speaker 5: I want people to really mechanically understand how I came
• 9:31
  Speaker 5: up with this quick mixed theory and how it connects
• 9:34
  Speaker 5: to where we are right now. You know, I'm gonna
• 9:38
  Speaker 5: keep it real with you. I didn't create hip hop.
• 9:41
  Speaker 5: I didn't coin the word. I created the tools that
• 9:45
  Speaker 5: allowed hip hop to transcend from where it was to
• 9:48
  Speaker 5: where it is. And with how these tools, like the beatbox,
• 9:52
  Speaker 5: the turntables, the quick mixed theory, the extending of a
• 9:57
  Speaker 5: bed of music so a human being can speak, going
• 10:01
  Speaker 5: so that the rapper could be born. These are the
• 10:03
  Speaker 5: things that I did, and these are the things that
• 10:06
  Speaker 5: the world is not talking about.
• 10:08
  Speaker 3: I mean that's especially this year because the focus is
• 10:11
  Speaker 3: on the artist, but it should be a lot more
• 10:13
  Speaker 3: focused on the DJ.
• 10:15
  Speaker 1: And the producer.
• 10:16
  Speaker 2: All I was gonna ask, you know, how do you
• 10:19
  Speaker 2: feel when you look at something that you created, right?
• 10:21
  Speaker 1: And you created out of love?
• 10:23
  Speaker 5: Right?
• 10:24
  Speaker 2: What you said just now? You didn't say it was money.
• 10:26
  Speaker 2: You didn't say I did this because I wanted money,
• 10:28
  Speaker 2: you said, I enjoyed it. I love listening to music,
• 10:30
  Speaker 2: I love playing in the park. And then you see
• 10:33
  Speaker 2: in this the commercial success of hip hop.
• 10:35
  Speaker 1: Right.
• 10:35
  Speaker 2: I sent Charlamagne something this morning about Charris One saying
• 10:38
  Speaker 2: why he didn't want to perform at the Grammys. He
• 10:40
  Speaker 2: felt like the Grammy's never respected hip hop. So why
• 10:42
  Speaker 2: come now, how do you feel when you see the
• 10:44
  Speaker 2: commercial success of hip hop and all these brothers and
• 10:47
  Speaker 2: sisters making money, and all these companies making money off
• 10:50
  Speaker 2: of hip hop, but some of the founders are not
• 10:53
  Speaker 2: making the money that's deserved because if it wasn't for
• 10:55
  Speaker 2: you guys, nobody wouldn't be able to make that money.
• 10:59
  Speaker 1: That's a twofold answer.
• 11:02
  Speaker 5: Just think and be this thing that I did could
• 11:07
  Speaker 5: have missed, And if this all would have missed, I
• 11:11
  Speaker 5: wouldn't be here talking to you right now. So that's
• 11:16
  Speaker 5: one side of it.
• 11:19
  Speaker 1: It exploded.
• 11:22
  Speaker 5: But there are like, there are some companies out there
• 11:25
  Speaker 5: giving away hundreds of thousands of dollars. I've seen this
• 11:28
  Speaker 5: on the internet just recently. But they are those men
• 11:31
  Speaker 5: that are in a hood that didn't have the commercial success.
• 11:37
  Speaker 5: Nobody's saying, hey, here's five hundred thousand dollars for you
• 11:42
  Speaker 5: or one hundred thousand dollars. They're not saying that, Like
• 11:46
  Speaker 5: there are those who lost their life that are not
• 11:49
  Speaker 5: even here to even enjoy this, and they have families,
• 11:53
  Speaker 5: you know. So for me, I have to until God
• 11:57
  Speaker 5: takes me. I have to go around and mechanically break
• 12:02
  Speaker 5: this thing down. I think that people should interview the
• 12:07
  Speaker 5: producers like that. Just that boggles my mind because they're
• 12:14
  Speaker 5: the ones that really.
• 12:14
  Speaker 1: Know how the record is made.
• 12:16
  Speaker 5: They're the one that stays in the studios for two
• 12:18
  Speaker 5: and three days to make sure the record goes from
• 12:21
  Speaker 5: start to finish before the masters is handed in, you know.
• 12:25
  Speaker 1: So for me and people should know more about Coohirk
• 12:29
  Speaker 1: and their team. They should know who Coke the Rocket is.
• 12:32
  Speaker 5: Like they're going around saying he was a rapper, he
• 12:36
  Speaker 5: said DJ I used to watch him, you know. And
• 12:39
  Speaker 5: in this Timmy tim And is the original Clark Ken.
• 12:42
  Speaker 5: You know, people should know who breakout team is Barren
• 12:46
  Speaker 5: you know, and Bam Body and Jazzy J and Grand
• 12:49
  Speaker 5: Master Flashing Graham was your Theaterore. Like all these people
• 12:52
  Speaker 5: and all these names, you don't hear nothing, yes, right,
• 12:57
  Speaker 5: talk to about them when people are putting out this press,
• 13:01
  Speaker 5: they're not even coming to ask, well, Flash, what do
• 13:05
  Speaker 5: you think? And respectfully, I'm gonna say this. For you
• 13:10
  Speaker 5: to really first hand know what this is, you have
• 13:15
  Speaker 5: to be at least sixty years old. And I'll be
• 13:20
  Speaker 5: kind and say fifty eight fifty seven. That means you
• 13:23
  Speaker 5: had a first hand eyeshot of seeing us do this.
• 13:29
  Speaker 5: If you are thirty or you're a forty and you
• 13:32
  Speaker 5: were saying that you are a hip hop extraordinary person,
• 13:37
  Speaker 5: nine times out of ten, if you ain't talking to Flash,
• 13:39
  Speaker 5: you ain't talking to HRK, you ain't talking to BAM,
• 13:42
  Speaker 5: you got secondhand information, and you gotta realize you're feeding
• 13:47
  Speaker 5: the babies like incomplete information.
• 13:52
  Speaker 1: And this is one of the reasons why.
• 13:53
  Speaker 5: Because I tour one hundred and fifty countries a year,
• 13:56
  Speaker 5: so financially I'm good, I'm cutting all that in half
• 14:00
  Speaker 5: because I gotta go to these universities. I got to
• 14:03
  Speaker 5: go to these YMCAs and I gotta teach these babies
• 14:06
  Speaker 5: of where this thing comes from. Because what saddeness mean
• 14:08
  Speaker 5: is this. If you are from a black family, you
• 14:12
  Speaker 5: know who Miles Davis is. If you're from a white family,
• 14:16
  Speaker 5: you know who the Rolling Stones is. Why is this
• 14:18
  Speaker 5: so much of a blur of who, what and why
• 14:20
  Speaker 5: we're and how when it comes to hip hop?
• 14:23
  Speaker 1: Why is that?
• 14:24
  Speaker 3: I think we gotta be the generation to do that
• 14:26
  Speaker 3: because to your point, if you're sixty years old, now
• 14:29
  Speaker 3: you're probably a grandfather, grandmother.
• 14:31
  Speaker 4: Our grandparents weren't listening to.
• 14:32
  Speaker 3: Hip hop, you know, Okay, but now when we got
• 14:35
  Speaker 3: grandparents and grandfathers, grandparents who were listening to hip hop,
• 14:38
  Speaker 3: and then parents who grew up in hip hop, they
• 14:40
  Speaker 3: can tell their kids eight, this is where it started, right.
• 14:43
  Speaker 2: Because, like you said, most if you if you're in
• 14:46
  Speaker 2: the age of forty to fifty, a lot of them,
• 14:48
  Speaker 2: hip hop started with right. I remember, that's where it
• 14:53
  Speaker 2: started from. Because even me, like, you know, my parents
• 14:55
  Speaker 2: weren't in a hip hop but I was. But the
• 14:57
  Speaker 2: first record I ever bought was Run.
• 15:00
  Speaker 3: My dad was seventy something. He didn't he didn't like
• 15:02
  Speaker 3: hip hop at the time. He wanted he was like,
• 15:04
  Speaker 3: you need to listen to James Brown, Temptation, the original rapper.
• 15:08
  Speaker 3: You know, he didn't know nothing about hip hop. He
• 15:11
  Speaker 3: didn't want to hear none of that.
• 15:12
  Speaker 5: You know. Well, I think for me and this is
• 15:16
  Speaker 5: such a wonderful time period. But just think of it
• 15:19
  Speaker 5: like this here, and you know, sometimes this makes me
• 15:21
  Speaker 5: want to cry. Sometimes is come August, like the mayor
• 15:27
  Speaker 5: gave me August fourth and cool Hurgust August eleventh, Come
• 15:31
  Speaker 5: August twelfth, there's going to be a brand new trend.
• 15:34
  Speaker 5: So we have to get it right now as a
• 15:39
  Speaker 5: black art form that is core, that has done so
• 15:42
  Speaker 5: much for so many people. Of course, we have.
• 15:45
  Speaker 1: To get it right between now and August.
• 15:48
  Speaker 5: Eleventh, or it's going to go down in history incomplete
• 15:54
  Speaker 5: or incorrect. And that scares the crap out of me.
• 15:57
  Speaker 3: So it's safe to say you don't believe the DJ
• 16:00
  Speaker 3: he gets to respect they should when it comes to
• 16:01
  Speaker 3: their contraby.
• 16:02
  Speaker 5: Absolutely not, because especially the hip hop DJ that understands
• 16:06
  Speaker 5: the quick mixed story and the mechanics which I will
• 16:08
  Speaker 5: show you, because that led to the sampling and that
• 16:11
  Speaker 5: led to these records being made, and that's what we're celebrating.
• 16:14
  Speaker 5: So we're celebrating the entire cake. But let's go back
• 16:18
  Speaker 5: and celebrate the celebrate the the uh, the eggs and
• 16:23
  Speaker 5: the flour and the water and the vanilla, how the
• 16:26
  Speaker 5: cake was made.
• 16:27
  Speaker 4: The process, the process.
• 16:29
  Speaker 1: Let's celebrate that.
• 16:30
  Speaker 4: Let's see some of the process.
• 16:32
  Speaker 1: Let's do that.
• 16:33
  Speaker 4: Yeah, actually speak louder than what?
• 16:35
  Speaker 5: Now?
• 16:35
  Speaker 1: Could I could? I go right there? All right, we
• 16:38
  Speaker 1: need a pen. I need one of these pens. So
• 16:39
  Speaker 1: in the shop. I want to tell you envy. Yes, sir,
• 16:45
  Speaker 1: I appreciate you. Man. You said something a couple of
• 16:47
  Speaker 1: minutes ago that you thought I would be insulted.
• 16:49
  Speaker 5: I grew up as a geek. I was not hip.
• 16:53
  Speaker 5: I was afraid to wrap the chicks. I stayed in
• 16:58
  Speaker 5: my house, grabbingunk from the junkyard and trying to piece
• 17:02
  Speaker 5: together somewhat of a sound system. And then I came
• 17:06
  Speaker 5: up with a mathematical equation to what is hip hop?
• 17:14
  Speaker 5: And I called it black math. Okay, quick mix theory.
• 17:20
  Speaker 4: Black math.
• 17:22
  Speaker 5: It was impossible for me to write a sonic equation
• 17:26
  Speaker 5: because a sonic equation would then fall under kinetics, and
• 17:32
  Speaker 5: then it would have been really deep for me to
• 17:33
  Speaker 5: write this, So I wrote it from a mathematical perspective.
• 17:39
  Speaker 5: The brain captures a melody in four bars, and that's
• 17:43
  Speaker 5: why I called it the.
• 17:45
  Speaker 1: Quick mixed theory black math.
• 17:48
  Speaker 5: Every DJ uses the hand mechanics of this DJ technique.
• 17:56
  Speaker 5: This got me in so much trouble because I was
• 18:00
  Speaker 5: putting crayons on the record, putting in my hand on
• 18:05
  Speaker 5: the records. Connoisseurs wanted to nail me, disrespect me. They
• 18:13
  Speaker 5: really hated me, shah because they would put the record
• 18:18
  Speaker 5: inside of a little white paper and put it inside
• 18:22
  Speaker 5: and use the velvet brush to clean it off, and
• 18:25
  Speaker 5: they would carefully put it inside the jacket.
• 18:28
  Speaker 6: Me.
• 18:28
  Speaker 1: Fuck that. So I got a lot of flack for
• 18:35
  Speaker 1: doing this. So now there's vinyl one. I'm a horrible drawer.
• 18:42
  Speaker 4: So good, we get it.
• 18:43
  Speaker 1: We get it and mix in the middle, vinyl two
• 18:48
  Speaker 1: mm hmm, vinyl two. So this one. The crowds listening
• 18:56
  Speaker 1: to this.
• 19:00
  Speaker 5: Going clockwise, and this is the one that has to
• 19:06
  Speaker 5: go counterclockwise. And this particular style of DJing and every
• 19:13
  Speaker 5: hip hop DJ has adopted makes the tone arm ninety
• 19:18
  Speaker 5: nine zero point nine percent.
• 19:21
  Speaker 1: Useless. But I would watch those DJs that did this
• 19:25
  Speaker 1: heavy on the tone arm, and.
• 19:28
  Speaker 5: Every time they would transition, it was a train way
• 19:34
  Speaker 5: four bars.
• 19:38
  Speaker 1: Forward. It's equal to six counterclockwise revolutions equals full loop extraction.
• 19:54
  Speaker 5: Every DJ and every hip hop producer that that made
• 19:59
  Speaker 5: sample music use this. This theory and me and Envy
• 20:06
  Speaker 5: we were talking earlier and he was he said something
• 20:09
  Speaker 5: to me, some people never seen turntables.
• 20:13
  Speaker 4: That's right, that's real.
• 20:16
  Speaker 5: I've got so much to do. I've got so many
• 20:17
  Speaker 5: places to go shah, so many people. Because I don't
• 20:22
  Speaker 5: know if Breakout's going to get an interview off cool
• 20:27
  Speaker 5: Herk or Coke, it's going to get an interview or bam.
• 20:31
  Speaker 5: So right now it's pretty much on me. So the
• 20:34
  Speaker 5: race is on into August.
• 20:37
  Speaker 2: So now with this process for people that don't know
• 20:40
  Speaker 2: that's not a DJ, is what you're basically saying is
• 20:43
  Speaker 2: back in the day, you came up with this formula
• 20:45
  Speaker 2: because there was no instrumental so you had to create
• 20:47
  Speaker 2: your own right or.
• 20:48
  Speaker 1: The drum break or the drum break short.
• 20:51
  Speaker 2: You had to make it longer so people can actually dance,
• 20:53
  Speaker 2: and the transition will be like how transitions should be.
• 20:56
  Speaker 2: So what you hear now when somebody, especially New York
• 20:58
  Speaker 2: where most DJs slam music, meaning you'll go from a
• 21:02
  Speaker 2: fast record one hundred tempo to a seventy tempo with
• 21:05
  Speaker 2: no transition and you slam it. So this was a
• 21:08
  Speaker 2: creation where people wouldn't stop dancing and the party would
• 21:11
  Speaker 2: go thoroughly through and people wouldn't even miss a step right,
• 21:14
  Speaker 2: which a DJ is supposed to do right. And with
• 21:16
  Speaker 2: this meaning forward four balls forward, six balls backward, you'd
• 21:20
  Speaker 2: go six balls backward to go back another four balls
• 21:23
  Speaker 2: to bring this side, bring the left side six balls.
• 21:25
  Speaker 1: For the four and six.
• 21:27
  Speaker 5: That was the inversion of four to six factor is
• 21:29
  Speaker 5: what I called it. And I say four plus six
• 21:32
  Speaker 5: it is ten. So if there was a rapper in
• 21:37
  Speaker 5: front of me and he needed a quiet area of
• 21:41
  Speaker 5: the record where the singer wasn't singing, and it was
• 21:45
  Speaker 5: the least people playing with the drummer, and I'm going
• 21:50
  Speaker 5: to play a few of those things.
• 21:51
  Speaker 1: It shows that, it shows people see it.
• 21:53
  Speaker 4: Can you answer one questions? You know?
• 21:55
  Speaker 3: Of course, you know they talk about gramdmass flashing the
• 21:57
  Speaker 3: Furious five, you know, produced the message, but they.
• 22:01
  Speaker 1: Said first DJ to get a Grammy, by the way,
• 22:02
  Speaker 1: but that.
• 22:03
  Speaker 3: Yes, But I've read some things where they said you
• 22:05
  Speaker 3: had nothing to do with the production of it.
• 22:07
  Speaker 5: Okay, I had something to do with all of it,
• 22:11
  Speaker 5: because that company chased me to get my group serious,
• 22:20
  Speaker 5: the whole group. There was the club I played called
• 22:23
  Speaker 5: disco Fever and I brought hip hop to this club,
• 22:28
  Speaker 5: and Sally Abatello gave me. I wanted a Saturday. He
• 22:32
  Speaker 5: gave me a Tuesday, of course, so most clubs do.
• 22:35
  Speaker 1: They gave me.
• 22:36
  Speaker 5: I called it Terrible Tuesday off Night, right, But in
• 22:40
  Speaker 5: about two months time, I was live on that Saturday.
• 22:45
  Speaker 1: Thank you, sal You know.
• 22:46
  Speaker 5: So for me, the message, probably I had least to
• 22:51
  Speaker 5: do with, but I had most to do with it
• 22:55
  Speaker 5: because it was my group. And I'm sure they used
• 22:57
  Speaker 5: your technique, right, they do they use They used my
• 23:00
  Speaker 5: technique to make all their records. The Message was an
• 23:03
  Speaker 5: original record, but they knew when they had the Sugar
• 23:08
  Speaker 5: Hill Gang, they heard of us.
• 23:09
  Speaker 1: In the streets.
• 23:10
  Speaker 5: The streets was already ringing Grandmaster Flash and the Phurious Five.
• 23:15
  Speaker 5: So she used to come to Terrible Tuesdays every Tuesday,
• 23:21
  Speaker 5: just to see how it was, how it was going down.
• 23:25
  Speaker 4: So who is she, Sylvia Robins?
• 23:29
  Speaker 1: You know? So on Hill. Did I have anything to
• 23:32
  Speaker 1: do with that record? Minimal?
• 23:34
  Speaker 5: But I had everything to do with it because she
• 23:39
  Speaker 5: needed to have us.
• 23:41
  Speaker 1: So here we are.
• 23:42
  Speaker 3: I want to have one more question for you, get
• 23:44
  Speaker 3: on the turntables. How do you feel about DJs today
• 23:46
  Speaker 3: with the auto mixing buttons and the different programs that
• 23:49
  Speaker 3: make it easy.
• 23:52
  Speaker 1: I'm using right now, right, and you know what it is.
• 23:56
  Speaker 1: I put it this way.
• 23:57
  Speaker 5: I'm a scientist first, I'm a geek first, so I've
• 24:00
  Speaker 5: been pushing an envelope for fifty two years, so I
• 24:04
  Speaker 5: respect anybody that's doing it, but follow the laws of
• 24:08
  Speaker 5: the art transition. I think the things that drive me
• 24:12
  Speaker 5: crazy when I go out, which is every now and
• 24:14
  Speaker 5: then envs.
• 24:15
  Speaker 1: You know, I'm.
• 24:15
  Speaker 5: Listening to the DJ and it's the train wreck thing.
• 24:22
  Speaker 5: You know that there really drives me crazy. A lot
• 24:25
  Speaker 5: of today's music is really one tempo bass, so it's
• 24:28
  Speaker 5: easy to go from one to the other. So how
• 24:31
  Speaker 5: you crashing this record into this record with us back?
• 24:34
  Speaker 5: We had to use the pitch quite a bit to
• 24:38
  Speaker 5: make this record beat match with lost record. Of course,
• 24:40
  Speaker 5: these records here are almost coming out of the oven.
• 24:43
  Speaker 5: They're all the same temple almost. So I don't understand
• 24:47
  Speaker 5: why is it that these people who play today don't
• 24:51
  Speaker 5: beat match that?
• 24:53
  Speaker 1: There?
• 24:54
  Speaker 5: Makes me totally crazy, and it goes against the laws
• 24:57
  Speaker 5: of what we learned.
• 24:59
  Speaker 4: Let's see what see some transitions.
• 25:01
  Speaker 1: Matt's do it if you can.
• 25:02
  Speaker 2: The first thing I guess if you can what you
• 25:04
  Speaker 2: talked about the first how you would make your own
• 25:07
  Speaker 2: instrumental backing.
• 25:08
  Speaker 1: Let me play the first record.
• 25:12
  Speaker 5: That got Because some people think that there was another
• 25:14
  Speaker 5: DJ that inspired me. I came from a totally different perspective,
• 25:22
  Speaker 5: scientific and mathematical. So I came from nothing with my
• 25:28
  Speaker 5: stylech nobody put me on. I ended this record was
• 25:40
  Speaker 5: the grand recond record. Why I wanted to DJ Curtis
• 25:49
  Speaker 5: Mayfield nineteen.
• 25:51
  Speaker 1: Seventy, How old are you twelve? Going to the thirteen? Wow,
• 25:57
  Speaker 1: I'm sixty six?
• 25:57
  Speaker 4: Now let's.
• 26:01
  Speaker 1: Break is still going? The break is still going.
• 26:08
  Speaker 4: Five minutes right?
• 26:09
  Speaker 1: This record was so for life for me. I was
• 26:14
  Speaker 1: why is that? Why is everything else so short?
• 26:22
  Speaker 5: And when I started playing other genres of record, because
• 26:24
  Speaker 5: I was raised in a home where it appearing on
• 26:28
  Speaker 5: which sister was on the stereo, I would hear motown, disco, funk, jazz, blues,
• 26:34
  Speaker 5: R and B.
• 26:34
  Speaker 1: Like I grew up where music had no color.
• 26:38
  Speaker 5: A dope jam could be a white jam or black jam,
• 26:40
  Speaker 5: of foreign jam and American jam. So so Charlotte Magne,
• 26:44
  Speaker 5: I said, I was gonna I needed your help, right,
• 26:46
  Speaker 5: So can you come over here please, shaw. Try to
• 26:51
  Speaker 5: scratch this record, try right right right.
• 26:55
  Speaker 4: So he's a DJ allegedly, I don't know if can
• 27:00
  Speaker 4: do this.
• 27:00
  Speaker 7: So so listen now, yeah, try to try and try
• 27:06
  Speaker 7: to try to try to try to bring the back
• 27:09
  Speaker 7: the record back, just just but be gentle, be gentle
• 27:12
  Speaker 7: with your fingers and try to just.
• 27:14
  Speaker 4: Go right back.
• 27:17
  Speaker 5: Practice trying to go back, trying to go count the Topwise,
• 27:22
  Speaker 5: he's too hard.
• 27:25
  Speaker 1: Right now, now, try to try to go back. Heavy.
• 27:29
  Speaker 5: No, he's a heavy. It's a heavy, okay, gonta stop.
• 27:32
  Speaker 5: So my mother was a seamstress, right, so I was
• 27:40
  Speaker 5: lucky to touch polyester, rayon, con silk, leather swayed.
• 27:53
  Speaker 1: Well, So you created the.
• 27:55
  Speaker 8: Slip man, yes, I oh my goodness, you created the
• 27:59
  Speaker 8: slip man too.
• 28:00
  Speaker 4: That's crazy.
• 28:01
  Speaker 1: So let me tell you what. Let me break it.
• 28:03
  Speaker 2: I'm gonna pop the collar for you. So when you
• 28:05
  Speaker 2: buy the turntables, it comes with a rubber piece. Right,
• 28:08
  Speaker 2: the rubber piece you cannot DJ with, so all d
• 28:11
  Speaker 2: days have to toss it. So you had a slip mat.
• 28:14
  Speaker 2: We didn't know where a slip mat was. So back
• 28:16
  Speaker 2: then the record came in in a plastic package. We
• 28:19
  Speaker 2: would open up the plastic package and make our own
• 28:21
  Speaker 2: slip mat.
• 28:22
  Speaker 4: The slip matters on this one.
• 28:23
  Speaker 1: But that was grand Master Flashes idea. I just told
• 28:27
  Speaker 1: you so.
• 28:28
  Speaker 4: You got right there, flas Flash.
• 28:30
  Speaker 5: I ran it to that.
• 28:31
  Speaker 1: Problem, right.
• 28:34
  Speaker 9: I grabbed an album and I ran to the nearest
• 28:37
  Speaker 9: material store and I touched rayon silk or cotton, polyester, leather.
• 28:46
  Speaker 1: Felt. Now, the problem with felt.
• 28:50
  Speaker 5: Is when you put it on your when when you
• 28:53
  Speaker 5: buy a portion of it.
• 28:55
  Speaker 1: Yep, it's limp whom my mother was it looking?
• 29:00
  Speaker 5: And first I would cut it out besides of an album, right,
• 29:05
  Speaker 5: And I would when my mother was a look, And
• 29:07
  Speaker 5: I went up in the closet in her cabin in
• 29:08
  Speaker 5: the kitchen and I got spray starch and I made.
• 29:12
  Speaker 1: It so that it was stiff. But I called it
• 29:17
  Speaker 1: a wafer.
• 29:17
  Speaker 5: And the reason why I called it a wafers because
• 29:20
  Speaker 5: during the Easter, Mom would dress us up to go
• 29:22
  Speaker 5: to the church and the neighbor's church, and you know
• 29:24
  Speaker 5: that little white that that white thing they give you
• 29:26
  Speaker 5: during the East. I called it a wafer. And it went
• 29:30
  Speaker 5: from what that is.
• 29:33
  Speaker 4: To this damn you didn't get to trademark any.
• 29:40
  Speaker 1: Jesus Christ. A minute, wait, a minute.
• 29:42
  Speaker 5: It doesn't end there because I still got some resistance
• 29:45
  Speaker 5: on a certain table.
• 29:46
  Speaker 1: With just this.
• 29:47
  Speaker 5: So when Mom would make baked chocolate chip cookies, she
• 29:52
  Speaker 5: would use this paper that felt like.
• 29:55
  Speaker 4: Oh yeah, yeah yeah.
• 29:57
  Speaker 1: So now I put the.
• 30:01
  Speaker 5: The plastic the wax on the platter, and I put
• 30:06
  Speaker 5: this on top of that. So now the platter moved
• 30:11
  Speaker 5: comfortably clockwise while I can go pound o' clockwise.
• 30:19
  Speaker 1: Of the quick knicks theory. See, these are the things I.
• 30:22
  Speaker 5: Need to teach people about that this thing, they'd just
• 30:26
  Speaker 5: fall out of a tree.
• 30:27
  Speaker 1: And look at some of this press today they're like,
• 30:30
  Speaker 1: all right, hip hop.
• 30:31
  Speaker 5: Is fifty and there was this party at Boom.
• 30:35
  Speaker 4: Is that it kipping a whole process.
• 30:38
  Speaker 2: But it's skipping the whole process, but it's gipping the
• 30:40
  Speaker 2: whole process of people who actually put in the energy
• 30:43
  Speaker 2: and work. So for me, I had no idea. Right,
• 30:45
  Speaker 2: you just follow all the DJs and other DJs.
• 30:47
  Speaker 1: What they do.
• 30:47
  Speaker 2: They open up the thing, they get rid of that
• 30:49
  Speaker 2: rubber piece, they cut the plastic, and that's how you DJ.
• 30:52
  Speaker 2: But if it wasn't for Flash's mind of thinking this way,
• 30:56
  Speaker 2: most DJs wouldn't have that.
• 30:58
  Speaker 1: Now come here, now, now put your hand on the gently.
• 31:03
  Speaker 10: See now it's the movie.
• 31:05
  Speaker 1: Yeah yeah, oh my gosh. And that's the problem. Every
• 31:08
  Speaker 1: d everybody thinks that that's the problem. So let's play
• 31:10
  Speaker 1: some music now do it so so now people don't
• 31:15
  Speaker 1: realize it. But like the producer.
• 31:19
  Speaker 5: Drey Premiere Pete Rock Battle Cat, Like I could go
• 31:24
  Speaker 5: on and on and on this sampling thing.
• 31:28
  Speaker 1: This is how the sampling thing tied in h to
• 31:35
  Speaker 1: the DJ. Let's take this sample.
• 31:42
  Speaker 11: Name.
• 31:43
  Speaker 1: But this song is called Sweet Green Teals by Seals
• 31:45
  Speaker 1: and CROs All. This is the extra but mm hmm,
• 31:58
  Speaker 1: bust around, put my hands master, see.
• 32:00
  Speaker 12: Wow, wow, wow, right, care for y'all, Jesus, that was
• 32:13
  Speaker 12: the bullshit. Wow.
• 32:14
  Speaker 1: We didn't let it go there.
• 32:15
  Speaker 5: So now, using a quick mixed theory with the producers,
• 32:21
  Speaker 5: there's the two new machines that come into play, the
• 32:24
  Speaker 5: computer and the sampler. So it would take that same
• 32:29
  Speaker 5: let's say quantity of information, put it onto a floppy disk,
• 32:34
  Speaker 5: put it into the computer and the sampler, and hit
• 32:37
  Speaker 5: the spacebart until the computer loop. This it's the same
• 32:41
  Speaker 5: thing that I was doing circularly, but now it was
• 32:44
  Speaker 5: with the new technology.
• 32:47
  Speaker 1: So let's go lit mode.
• 33:15
  Speaker 2: So if you just why if you're listening, he's bringing
• 33:17
  Speaker 2: it back and forth without a loop sampler. He's doing
• 33:21
  Speaker 2: it from his hands in a way that you can't
• 33:24
  Speaker 2: even tell he's doing it.
• 33:27
  Speaker 5: So if you want a dance floor, you will never
• 33:29
  Speaker 5: know what I was doing correct. And this is a
• 33:31
  Speaker 5: difference between us need to tone arm with DJs that
• 33:35
  Speaker 5: come from our same community and train wrecking. First is
• 33:40
  Speaker 5: the quick mixterior where the arm is ninety nine point
• 33:43
  Speaker 5: nine percent useless.
• 33:45
  Speaker 2: Let's go to while he's doing to the Next thing
• 33:48
  Speaker 2: I always want to tell people too, is now DJ's
• 33:50
  Speaker 2: having a lot simpler because they have serato, so you
• 33:52
  Speaker 2: could actually see.
• 33:53
  Speaker 1: The keys of where you can do it.
• 33:54
  Speaker 2: Back then he would actually have to memorize where it
• 33:57
  Speaker 2: was on the wax, or he would have to put
• 33:59
  Speaker 2: a piece of cassette taped they on the crayon, on
• 34:02
  Speaker 2: the crayon and draw it on the record to know
• 34:04
  Speaker 2: where he would have to go back to.
• 34:06
  Speaker 3: Now I see what the DJ used to sweat so
• 34:08
  Speaker 3: much in the seventies and eighties.
• 34:19
  Speaker 1: God rest his soul, Christopher, what's my wrap ups? And
• 34:28
  Speaker 1: I was with DJ.
• 34:34
  Speaker 10: Wow, Now if you're listening, he's bringing it back using
• 34:51
  Speaker 10: the quick mixed theory.
• 34:52
  Speaker 1: The d jing is no sample, it's just him Wow,
• 34:56
  Speaker 1: let's go a little deeper.
• 34:57
  Speaker 5: Wow. Oh, and a lot of these samples. So when
• 35:02
  Speaker 5: people say to me, will flash through a hip hop set,
• 35:05
  Speaker 5: I'm playing white music, I'm playing black music, I'm playing
• 35:07
  Speaker 5: for our music and playing American music pop, rock, jazz, blues, funk,
• 35:10
  Speaker 5: just gonna earn people because this is what we had
• 35:12
  Speaker 5: before it became modern.
• 35:14
  Speaker 1: Correct, this is all we had. So let me ask
• 35:17
  Speaker 1: you a question, why you're doing this?
• 35:18
  Speaker 2: So a lot of these loops that you're going back
• 35:20
  Speaker 2: and forth with that you were playing at the clubs,
• 35:22
  Speaker 2: These are loops that you would be doing at a
• 35:25
  Speaker 2: party that I'm sure one of these producers heard you
• 35:27
  Speaker 2: do it and say, oh, I'm a sample lest to
• 35:29
  Speaker 2: make it the record probably gotcha, probably because there's no way.
• 35:32
  Speaker 2: And now I can hear somebody hearing that Bust of
• 35:34
  Speaker 2: Rhymes record without a DJ playing and be like that's
• 35:36
  Speaker 2: going to be a smash, Like that had to be.
• 35:38
  Speaker 1: I heard this, and this is why the DJ is
• 35:40
  Speaker 1: so important, Like I just don't understand.
• 35:45
  Speaker 5: Rap, real question, these are the things will people need
• 36:06
  Speaker 5: to really understand?
• 36:12
  Speaker 1: What is so important about the producer and a DJ.
• 36:19
  Speaker 1: You people that press people.
• 36:21
  Speaker 5: You're not talking about this. You're not coming to ask
• 36:23
  Speaker 5: me anything you asked me.
• 36:25
  Speaker 1: I'll tell you. Oh you just blaze reduce the ship
• 36:41
  Speaker 1: out of this record. Oh my god.
• 36:44
  Speaker 4: Wow.
• 36:46
  Speaker 1: And this is just like a this is a nobody.
• 36:49
  Speaker 5: This record was probably been double leg but it takes
• 36:54
  Speaker 5: the genius of reproducer to know what this is.
• 36:57
  Speaker 1: And this is what the record really sounds like. We
• 37:02
  Speaker 1: didn't give a funk about that part, right there, ladies, And.
• 37:05
  Speaker 4: This is what this is what this is what you
• 37:06
  Speaker 4: call digging in the crase, This is what I called it.
• 37:11
  Speaker 3: I'm texting all the young DJs that work here, like
• 37:13
  Speaker 3: y'all should really be in here with this grandmathter flash lesson.
• 37:15
  Speaker 4: I told you that. I'm texting like you should really
• 37:17
  Speaker 4: be here.
• 37:17
  Speaker 1: I told you so, I'm fan. Let's let let's take
• 37:30
  Speaker 1: a little deeper. Let's place your sick individual man, your
• 37:33
  Speaker 1: mind is crazy. Please, I gotta I gotta ask you,
• 37:37
  Speaker 1: what is it?
• 37:38
  Speaker 4: Nothing flash? We're gonna see this just like this.
• 37:42
  Speaker 2: I gotta Okay, Yes, why why don't you know when
• 37:46
  Speaker 2: I when I was battling DJ and doing that, I
• 37:49
  Speaker 2: would turn the teams the turntables the long way so
• 37:51
  Speaker 2: I wouldn't hit it when I was scratching. Why do
• 37:53
  Speaker 2: you keep you as the regular way because most TJ
• 37:55
  Speaker 2: turned it the long way.
• 37:56
  Speaker 1: That's the way when I was creating this.
• 37:58
  Speaker 5: This is the way I learned it because I watch
• 38:00
  Speaker 5: the disco DJs and they will always forward. It's just
• 38:03
  Speaker 5: that when I watch the DJs that were in our
• 38:06
  Speaker 5: young community, they will forward too. But it was just
• 38:12
  Speaker 5: somewhat of a nightmare. So now I want to go
• 38:16
  Speaker 5: analogue with no help, no net. And this is where
• 38:20
  Speaker 5: you have to learn how to drive. If you didn't
• 38:23
  Speaker 5: know how to drive.
• 38:26
  Speaker 4: This is a straight analog, no laptop, no nothing.
• 38:28
  Speaker 2: Your four arms will be strong because you had to
• 38:32
  Speaker 2: carry crates to the club.
• 38:34
  Speaker 5: So the mark when I did this to records, record
• 38:42
  Speaker 5: connoisseurs DJs that were usually the the tone arm style,
• 38:49
  Speaker 5: hated my guts, like, who do you think you are
• 38:55
  Speaker 5: putting your fingertips all over.
• 39:00
  Speaker 4: The records?
• 39:02
  Speaker 5: Now what I'm gonna do is and I got a
• 39:07
  Speaker 5: shortage to you, envy nom. I was telling you four
• 39:10
  Speaker 5: boys forward, yes, and then when I went four four
• 39:15
  Speaker 5: revolutions back, I wasn't in the wrong place.
• 39:18
  Speaker 1: I walked away for like a month because I was stuck.
• 39:24
  Speaker 1: Why is it if four bars are going forward, why
• 39:27
  Speaker 1: can't I go four bars?
• 39:28
  Speaker 5: Count the clockwise And it was in my face thoty
• 39:32
  Speaker 5: three and a third the third counter constitute for the
• 39:35
  Speaker 5: additional two extra ones.
• 39:39
  Speaker 1: I have to go back to re arrive to the
• 39:41
  Speaker 1: top of the break.
• 39:42
  Speaker 5: So I used I use.
• 39:44
  Speaker 1: The tone to just count how many times.
• 39:47
  Speaker 5: This line passes the tone arm and I knew I
• 39:51
  Speaker 5: would be back at the top of the break. And
• 39:54
  Speaker 5: this is to seemless loop that the producers adopted to
• 39:58
  Speaker 5: put into the computer. This sister quick mixed theory. That
• 40:02
  Speaker 5: is purist.
• 40:03
  Speaker 4: That's the thirty three and the third. That's why you
• 40:05
  Speaker 4: call himself dead. I'm sure DJ thirty three and the third.
• 40:07
  Speaker 4: I don't hear the quban who thought got thirty three
• 40:09
  Speaker 4: and the third?
• 40:10
  Speaker 1: That's crazy?
• 40:11
  Speaker 4: Why he's setting that up?
• 40:11
  Speaker 1: You got it?
• 40:12
  Speaker 4: Okay?
• 40:14
  Speaker 1: No, I don't hear it. Turn up a little bit.
• 40:18
  Speaker 1: Maybe the levels on there, okay? Is it good in
• 40:21
  Speaker 1: the ground, humming a little bit of ground and some
• 40:22
  Speaker 1: of it. Let's check that ground real.
• 40:25
  Speaker 4: You don't know how to do that? No more?
• 40:26
  Speaker 1: Of course, I do. You might believe you might have
• 40:28
  Speaker 1: to lick the back and I need a one good
• 40:29
  Speaker 1: time to toue true.
• 40:30
  Speaker 2: Oh he I'm a DJ flash don't know let him man,
• 40:33
  Speaker 2: don't man, mister you I'm gonna t.
• 40:34
  Speaker 3: I'm gonna test your heart before you get out of here.
• 40:37
  Speaker 3: I want to see if you still know how to
• 40:38
  Speaker 3: do that.
• 40:39
  Speaker 1: I started, I started.
• 40:41
  Speaker 4: Don't get nervous.
• 40:42
  Speaker 1: I wanted to know how to do this in the crib. Okay,
• 40:45
  Speaker 1: he's gonna, he's gonna now. Yeah, sometimes we hook up
• 40:48
  Speaker 1: and the grounds are not right or the r c
• 40:50
  Speaker 1: A is a little off. Yeah, did you lick the ship?
• 40:54
  Speaker 1: See that? You gotta look the back of it for
• 40:55
  Speaker 1: the connection to be good. So I want to look.
• 40:57
  Speaker 1: You know, I don't want to do that. You know,
• 40:59
  Speaker 1: we ain't. We ain't doing that.
• 41:00
  Speaker 2: You know most DJs licked their fingers and touch the
• 41:02
  Speaker 2: back of it. It's like blowing the cartridge on the
• 41:04
  Speaker 2: Nintendo game.
• 41:06
  Speaker 3: You think you gotta do it looking and blowing.
• 41:10
  Speaker 1: Shut up? Yeah we were good now, Okay, it works.
• 41:16
  Speaker 1: See okay, so guys, you sleep the seamless loop still
• 41:22
  Speaker 1: got a little ham on the right side.
• 41:24
  Speaker 5: I'm gonna play a couple of records, ladies and gentlemen,
• 41:26
  Speaker 5: And this is the quick mixtre be at its deepest.
• 41:31
  Speaker 1: Four boss forward six counterclockwise. Let's go one to count.
• 41:46
  Speaker 6: One two three, four five six check throw one two
• 41:57
  Speaker 6: three four five check throw Wow.
• 42:04
  Speaker 1: And this works.
• 42:06
  Speaker 5: Pop, rock, jazz, blues folks. Once I figured out that third,
• 42:13
  Speaker 5: we call this hip hop. They called it rock, and
• 42:15
  Speaker 5: their family, we call this hip hop. Come up next,
• 42:26
  Speaker 5: get ready to be count.
• 42:31
  Speaker 6: One two three, four five six check throw one two three,
• 42:43
  Speaker 6: four five six check.
• 42:48
  Speaker 1: Throw.
• 42:50
  Speaker 5: The four six thing works on any race, creed color groove.
• 42:59
  Speaker 13: Wow, what two three, four five six.
• 43:13
  Speaker 1: Then find sure.
• 43:16
  Speaker 11: One two three, four five six check one two three,
• 43:28
  Speaker 11: four five six check.
• 43:34
  Speaker 5: The four six thing works on any type of record
• 43:40
  Speaker 5: with the view. But then sometimes there's an exception to
• 43:46
  Speaker 5: the rule. Maybe it's only two bars, and if it's
• 43:51
  Speaker 5: two bars, now we'll go through four bars fifth counterclockwise.
• 43:55
  Speaker 5: Now it's two bars. Now it's three counterclockwise to make
• 44:00
  Speaker 5: a full loop.
• 44:07
  Speaker 14: One two three check, go one two three check go
• 44:16
  Speaker 14: one two three check go.
• 44:22
  Speaker 4: And this guy's playing right. I'm lost.
• 44:28
  Speaker 1: I get it, But that's the question.
• 44:30
  Speaker 2: Four balls forward right, Yeah, but it's not really four
• 44:33
  Speaker 2: balls because it's thirty three and the third So that
• 44:35
  Speaker 2: extra third that that makes makes up for the six
• 44:37
  Speaker 2: when you bring it back, right, do the math?
• 44:39
  Speaker 1: Gotcha? Wow? So so what you think? This is what
• 44:44
  Speaker 1: stuck me? This is why I got stuck?
• 44:53
  Speaker 15: One mm hmmm, two three four one q worrie war.
• 45:07
  Speaker 15: I'm in the wrong place. I'm in the wrong place.
• 45:11
  Speaker 15: I walked away from this steam. I'm like, damn, what
• 45:14
  Speaker 15: is wrong? And I was staring at it all the time.
• 45:18
  Speaker 15: God is good the magic.
• 45:20
  Speaker 1: Why don't you think DJs follow that?
• 45:22
  Speaker 4: Right?
• 45:22
  Speaker 1: And I'm gonna ask you why, right, because I touch
• 45:24
  Speaker 1: your equipment.
• 45:25
  Speaker 4: For if you still know how to use it?
• 45:28
  Speaker 2: If you for most DJs, right, what what they used
• 45:32
  Speaker 2: to do is.
• 45:37
  Speaker 1: So when you do that right now, what they would
• 45:40
  Speaker 1: have to do.
• 45:40
  Speaker 2: Is you have to go go until you don't hear
• 45:43
  Speaker 2: it anymore?
• 45:44
  Speaker 1: Right, but see, but but sometimes it breaks in the
• 45:46
  Speaker 1: middle though, right.
• 45:47
  Speaker 5: But you know, if you don't get bad science to
• 45:49
  Speaker 5: this and I didn't go into that is you have
• 45:52
  Speaker 5: to know how it sounds going backwards.
• 45:55
  Speaker 1: My Good Times is a perfect example. It goes like
• 45:58
  Speaker 1: you go do good time, no, no, no, no, you hear good.
• 46:05
  Speaker 5: Good backwards, and then you know you're at the top
• 46:08
  Speaker 5: of the gut of good times.
• 46:10
  Speaker 1: Like you gotta learn records how they sound backwards.
• 46:12
  Speaker 5: But that's the advanced form of it, and I'm trying
• 46:15
  Speaker 5: to keep it very basic and I love it.
• 46:17
  Speaker 2: I love it because more DJs would really understand it.
• 46:22
  Speaker 2: So this right here, right, this part right here right
• 46:25
  Speaker 2: when I used to see you do I'm side right
• 46:27
  Speaker 2: when you're where you.
• 46:29
  Speaker 1: Crabbing right or slashing right? Where did that come from?
• 46:31
  Speaker 1: That came from the hand mechanics of the quick mixedterary.
• 46:34
  Speaker 1: Because here's how I see it. Whether you are.
• 46:41
  Speaker 5: Cutting or seamless looping or rubbing the record back and
• 46:45
  Speaker 5: forth with the fader open scratching, or if you are crabbing,
• 46:51
  Speaker 5: all it is is just an advanced form of opening
• 46:53
  Speaker 5: and closing the panometer, which is the cross fader.
• 46:57
  Speaker 2: Correct And why did you why did you create that?
• 46:59
  Speaker 2: I mean, it's amazing sound. I did it when I
• 47:01
  Speaker 2: used to battle. But what made you say this is
• 47:03
  Speaker 2: a sound I'm creating with the with the sounds, you know,
• 47:06
  Speaker 2: I mean, that.
• 47:07
  Speaker 1: Was okay, you know, but when I heard it, Jeff
• 47:12
  Speaker 1: scratched fasted Newmark talk about yeah, one of the best.
• 47:18
  Speaker 1: They like I am the eventa of the hand mechanics.
• 47:23
  Speaker 5: But all it is, if you think about it, is
• 47:25
  Speaker 5: just a matter of when you open and close the
• 47:27
  Speaker 5: fada and what you're doing with the vinyl. So now,
• 47:31
  Speaker 5: so when you are crabbing, you're moving a vinyl a
• 47:35
  Speaker 5: little faster, but you're opening and closing the panama the quicker.
• 47:39
  Speaker 5: But it's all the hand mechanics. The hand mechanics is
• 47:42
  Speaker 5: mind and the levels. Like you Si did this, this
• 47:45
  Speaker 5: kid by the name of Cubert, Like Cubert, he's not
• 47:49
  Speaker 5: even he's not even human.
• 47:50
  Speaker 2: And and and uh, jeff, y'all would make y'all could
• 47:55
  Speaker 2: make people dance by bringing the record backwards and crabbing.
• 47:58
  Speaker 1: And it was.
• 47:59
  Speaker 2: It was the most amazing thing I've ever seen in
• 48:00
  Speaker 2: Cubert definitely. And the bad thing about Cubert is you
• 48:02
  Speaker 2: really didn't see Cubert.
• 48:03
  Speaker 5: You just heard his tapes, right, So incredible as your
• 48:07
  Speaker 5: question shout out to my to my My first successful
• 48:10
  Speaker 5: student gram was the theater.
• 48:12
  Speaker 3: How do you how do you correlate counting the bars
• 48:15
  Speaker 3: on the turntable the MC's counting bars in the booth.
• 48:18
  Speaker 5: It's the same thing. Okay, it's it's actually the same thing.
• 48:21
  Speaker 5: It's just that when they're speaking, they're counting their verbal bars.
• 48:31
  Speaker 5: I'm counting musical balls. And what's paramount, Shaw is I
• 48:34
  Speaker 5: have to keep it steady. So I can't not while
• 48:38
  Speaker 5: they're saying they're right, I gotta keep it really steady.
• 48:42
  Speaker 5: And this is what the seamless loop is. So the
• 48:44
  Speaker 5: seamless loop is what he called cutting. And the thing
• 48:47
  Speaker 5: that what he.
• 48:47
  Speaker 1: Bugs you with people is they say, I want you
• 48:50
  Speaker 1: to scratch.
• 48:51
  Speaker 5: This is scratching is just one of the elements more
• 48:55
  Speaker 5: like cutting.
• 48:56
  Speaker 1: It's like, actually, a scratch becomes very import.
• 49:00
  Speaker 5: And when you're scratching against the music that's already playing,
• 49:03
  Speaker 5: or if you're crabbing against the music that's already playing,
• 49:06
  Speaker 5: you know what I'm saying, Or you're transforming. So these
• 49:09
  Speaker 5: are the things, guys that I really have to go
• 49:13
  Speaker 5: to the universities. Absolutely, go to the y m c
• 49:16
  Speaker 5: A's and and and will you show people that this
• 49:20
  Speaker 5: thing called hip hop didn't just and then just fall
• 49:23
  Speaker 5: out of a tree, Shaw.
• 49:24
  Speaker 4: It just did it. You did a birth of a
• 49:26
  Speaker 4: birth of the culture masterclass at the Kennedy Center.
• 49:28
  Speaker 1: Right, Yes, that.
• 49:31
  Speaker 5: I got two encores. It was absolutely was absolutely wonderful.
• 49:36
  Speaker 5: So now I'm going to be doing birth of a
• 49:38
  Speaker 5: Culture lectures and in the corporate world, but I'm gonna
• 49:41
  Speaker 5: do some public ones too because people need to understand.
• 49:47
  Speaker 1: Much respect to the first party, but there was much
• 49:50
  Speaker 1: more to get us here.
• 49:54
  Speaker 5: And that's where people need to understand that this thing
• 49:59
  Speaker 5: took engineering, mathematics, ingenuity and taking this item and squeezing
• 50:06
  Speaker 5: it with that item to make this all work. Because
• 50:10
  Speaker 5: I come from a time when it was none.
• 50:12
  Speaker 1: It was none of this.
• 50:13
  Speaker 5: Absolutely you know what I'm saying, and that there is
• 50:16
  Speaker 5: what I would wish the press would come ask us, come, come,
• 50:19
  Speaker 5: ask us, So who.
• 50:19
  Speaker 4: Made all of the money off of all of these
• 50:21
  Speaker 4: things that you created for all of them?
• 50:23
  Speaker 1: Did? Wow?
• 50:24
  Speaker 8: I'm talking about like what's far as trademarks, copyrights? Like
• 50:26
  Speaker 8: who all of them accept me? But you know something,
• 50:30
  Speaker 8: who asked me this question? What I had to do
• 50:32
  Speaker 8: all over again? I do it all over again, of
• 50:34
  Speaker 8: course way because I love what I do.
• 50:37
  Speaker 5: I'm like, this thing has got me in more trouble
• 50:40
  Speaker 5: with my significant other, my children. You know, I I'm
• 50:46
  Speaker 5: not proud that I had to leave my children so
• 50:48
  Speaker 5: much to tour until leave to get away. But other
• 50:53
  Speaker 5: than that, like I'm madly in love with this and
• 50:58
  Speaker 5: that's it's just that right now out during this this
• 51:01
  Speaker 5: this pivotal time for this thing disappears on the twelfth
• 51:06
  Speaker 5: of August.
• 51:07
  Speaker 1: I gotta get where I gotta get and I gotta.
• 51:10
  Speaker 5: Teach these young journalists and the people that do these
• 51:14
  Speaker 5: kind of things, like the babies, like listen, this is
• 51:17
  Speaker 5: this is what it was.
• 51:18
  Speaker 1: What about what about a book? I know you got
• 51:20
  Speaker 1: the Adventures of Grand Master Flast, but what about a book.
• 51:22
  Speaker 1: I'm gonna do another one with detail.
• 51:24
  Speaker 2: A lot of this, and because see the thing is
• 51:27
  Speaker 2: an I fall victim to it too. It's like you
• 51:29
  Speaker 2: learn something. And a lot of times we're so microwave happy,
• 51:33
  Speaker 2: like we want it fast and we want to do
• 51:34
  Speaker 2: it now that we don't necessarily learn the history of
• 51:36
  Speaker 2: where it came from, you know, which is sad. But
• 51:39
  Speaker 2: in my defense, back then we didn't have there was
• 51:41
  Speaker 2: no internet. There was no way to learn, you know
• 51:44
  Speaker 2: what I mean unless I was in the bronx or
• 51:46
  Speaker 2: in the park. You know, as a kid, I couldn't learn.
• 51:48
  Speaker 2: But now with this society, there's ways that you can
• 51:51
  Speaker 2: actually learn where this came from a where it's like
• 51:54
  Speaker 2: the fact that you invented the slip mat, you know,
• 51:57
  Speaker 2: even though you don't get props for it or money
• 51:59
  Speaker 2: for it. But that's amazing and I think people should
• 52:01
  Speaker 2: understand that because all DJs use a slip mat that
• 52:04
  Speaker 2: used turn the table, you know what I mean, And
• 52:05
  Speaker 2: some of those things I think that should be understood.
• 52:08
  Speaker 1: You know.
• 52:08
  Speaker 5: For me, a lot of people say, well, you're not
• 52:10
  Speaker 5: getting no money for it, you know, And this is
• 52:13
  Speaker 5: how I see it, Guys. People happily celebrate the birthday. Correct,
• 52:21
  Speaker 5: I'm gonna give a damn about that. When God takes
• 52:25
  Speaker 5: me my death day, what am I gonna leave for
• 52:31
  Speaker 5: the babies to take it to the next level. My
• 52:34
  Speaker 5: death day is more important than my birthday. And my
• 52:36
  Speaker 5: birthday is on the most famous day of the year,
• 52:39
  Speaker 5: which is January first. Wow, you know what I'm saying.
• 52:41
  Speaker 1: So before I'm out of here, I gotta make sure
• 52:45
  Speaker 1: that the producer.
• 52:47
  Speaker 5: And the DJ is respected because if you think about this,
• 52:53
  Speaker 5: if I was the engine and the producers were a
• 52:56
  Speaker 5: fuel the cannon be it's made very very easy for
• 53:02
  Speaker 5: the rapper to sit in it and blast off, and
• 53:08
  Speaker 5: that needs to be talked about where this thing came from,
• 53:12
  Speaker 5: how did it come about?
• 53:13
  Speaker 1: We need to talk about this.
• 53:15
  Speaker 5: And this is a black art form and and I'm
• 53:18
  Speaker 5: hoping that this isn't another form like jazz. I go
• 53:20
  Speaker 5: through one thing and all of a sudden it goes left.
• 53:24
  Speaker 5: As long as I'm living that that ain't gonna happen here.
• 53:27
  Speaker 5: And I thank you guys for allowing me to be here.
• 53:30
  Speaker 4: Man, I do got one more question.
• 53:31
  Speaker 3: Karras once said that he refused to be a part
• 53:34
  Speaker 3: of the Grammy's Fifty Years of Hip Hop Special because
• 53:36
  Speaker 3: it took so long for the Grammys they acknowledge hip hop.
• 53:40
  Speaker 4: What do you think about that? And did you get
• 53:41
  Speaker 4: the call?
• 53:42
  Speaker 1: I got the call? Yeah, I got the call quite
• 53:45
  Speaker 1: a few times. I know, Harvey Mason Jr.
• 53:47
  Speaker 5: You know, personally, I respect a man's point of view
• 53:52
  Speaker 5: if that's their point of view, you know.
• 53:54
  Speaker 1: But I think for me, I need to be on
• 53:57
  Speaker 1: as many.
• 53:58
  Speaker 5: Big media to situations that's possible because I'm really like
• 54:04
  Speaker 5: the last of my kind that's speaking, and after me,
• 54:08
  Speaker 5: there's probably no one.
• 54:10
  Speaker 1: So I thank you guys here, thank you, I thank
• 54:13
  Speaker 1: you for answering.
• 54:14
  Speaker 5: My d M absolutely come on and we here and
• 54:18
  Speaker 5: it's always a pleasure man, always a pleasure master. Gentlemen,
• 54:23
  Speaker 5: thank you, and I'll we do these lectures, these corporate lectures,
• 54:28
  Speaker 5: birth of a coach of lectures. Look for me and
• 54:30
  Speaker 5: I'm gonna do two free ones, one of the Bronx
• 54:33
  Speaker 5: and one of Manhattan, probably during Black History Months in February.
• 54:36
  Speaker 2: Okay, grand Master Flash, grand Master Flash, ladies and gentlemen,
• 54:39
  Speaker 2: make sure you're following them on on Instagram, all socials.
• 54:42
  Speaker 3: At DJ Flash Forever, on all socials at DJ Flash Forever.
• 54:47
  Speaker 1: And you just turn around. I just want to read
• 54:49
  Speaker 1: the back of your hoodie man.
• 54:50
  Speaker 2: Yeah, because the HOODIEES monumental says, the first DJ to
• 54:52
  Speaker 2: make the turntable an instrument, first DJ to have a rapper,
• 54:56
  Speaker 2: first DJ to be in the Rock and Roll Hall
• 54:58
  Speaker 2: of Fame, first DJ to be on s Rex SAM,
• 55:00
  Speaker 2: first DJ to get a Grammy, first DJ to get
• 55:03
  Speaker 2: a Polar Prize, Grandmaster in the.
• 55:05
  Speaker 3: First DJ to give a history lesson about DJ and
• 55:07
  Speaker 3: on the Breakfast Club.
• 55:08
  Speaker 2: That's right, Grandmaster Flash, ladies and gentlemen, it's the Breakfast Club.
• 55:12
  Speaker 1: Good Morning waits up in the morning.
• 55:15
  Speaker 4: The Breakfast Club