August 10, 2023 • 41 mins
New York is no longer known as the leader of hip hop. As other parts of the country began to usher in sounds from all over including new sounds from the West Coast, Southwest and Southeast with many artists rising from Atlanta! We’ll also look at the global influence of hip hop culture and how it defined a fashion style. Episode guests include Bun B. Don Cannon. Paul Wall. Ice-T. Rico Wade. The D.O.C. Kid Capri. Shanti Das. Karl Kani. DJ Scream. Ralph McDaniels. Kwamé.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:02):
From I Heeart podcast I Am Fab five Freddy and
this this fifty years of hip Hop podcast series. So
as we all by now clearly know, the birthplace of
hip hop is the Bronx in New York City and
would soon magnify, grow, expand and morph into other boroughs,
(00:26):
into other parts of the city, Queens State Island, Brooklyn
of course, you know Manhattan, money Maker Manhattan as we
call it. This expansion of rap music would not stop.
I mean on and on to the break of dawn.
And as other parts of the country begin to hear
and connect with this flavor, other sounds developed from other
(00:49):
parts of the country, from the West coast, from the southwest,
other parts of the East coast.
Speaker 2 (00:54):
A lot of times people say the East Coast.
Speaker 1 (00:56):
They mainly are referencing New York as you're here later
with other people speaking, but we're talking the east coast
of the country. You know, New York, DC, But it
was mainly coming out of New York on the east.
But also Philly, which is kind of east, was also
a big early influence. But stars were developing, groups, different ideas,
(01:17):
different beats were developing and having a really strong impact,
especially from Atlanta and they were touching all parts of
the country. Without a doubt that South definitely had something
to say along with everybody else. Let's get into it,
Shaudi Das music industry executive, Well.
Speaker 3 (01:36):
New York.
Speaker 4 (01:36):
I mean, first of all, let me just say I
am a big fan of New York culture and hip hop.
I lived in Jersey and worked in Manhattan for ten
years and as a young girl grew up listening to
everybody from you know, one of my favorite groups ever
was a tribe called Quest you know, rest in Peace
to Fife Dog and shout out to Ali in Youtip.
So listening to those guys tribe and I think was
(02:00):
the one group that I love because they it was
more live instrumentation, it seemed like in some of their music,
but traditional hip hop like it's you know, EP and
D right or l O Cooolja. It was more I
think eight oh eight heavy, you know, and beats and
that sort of thing, and so Atlanta hip hop and
Southern hip hop from the onset I think was just
(02:23):
like a hodgepodge of different sounds of music. Because I
think that's one thing that was so special about the
guys in the Dungeon family. Rico ran pat is that
you know, you had all these live musicians in the studio,
You had a little bit of.
Speaker 2 (02:36):
Funk, gospel soul.
Speaker 4 (02:39):
They still had the you know, thrum machines and all
of that, and it just brought it all together as
like a mixture of different genres, if you will. And
so it was laid back.
Speaker 2 (02:52):
It was something you could sing to.
Speaker 4 (02:53):
I think Southern playlistic like that first album from Our
Chats was just so funky and it was something that
I think, well hadn't really heard before, and it was like,
you know, what is this. You know, it sounds a
little bit like hip hop, but it also sounds like
someone Auntie and my grandma might listen to also, And
so it was just this new sound, if you will.
Speaker 5 (03:13):
It kind of came to the forefront end.
Speaker 4 (03:15):
You know, you had sounds like from George Clinton, you know,
if you will. So it was very funky and lace
still with heart beats, and so it was just a
new sound. And then I think as trap music evolved,
that was a different sound as well. Right, I was
in New York at the time when like t I
and g Z and you know, Shout Out to the Lake,
(03:36):
Shakir Sewart, who I think was responsible for signing a
lot of artists and really helping the shape what that
trap music era sounded like.
Speaker 5 (03:44):
And I think trap music.
Speaker 4 (03:45):
Really was an opportunity for people to really talk about
the environment and what they went through, the struggles growing
up in the South, some things that you know, guys
had to do. Maybe they weren't proud of getting out
of the trap right being able to find other outlets
for themselves. And so trap music to me was kind
(04:07):
of reminiscent of what we heard in the earlier days
when hip hop started, whether it was you know, Ice
Cube talking about what he went through in the West Coast,
or you know the plight of the black community that
you you know heard from Chut D and Public Enemy. Like,
trap music kind of talked about a lot of the
struggles that we were going through in the South.
Speaker 1 (04:28):
Yeah, Shanti Dots, her Auntie and Grandma, if listening closely,
were moved by bits and chunks of sixties and seventies
soul songs that was sampled and used as a lot
of raps foundations.
Speaker 2 (04:41):
Bun Be hip hop legend and entrepreneur.
Speaker 3 (04:45):
Well, I mean, you know, you got to go through
a lot of things, right, So I started seeing I remember,
you know, primarily a lot of hip hop. I saw
things from New York. I started to see hip hop
come out of the West Coach right from LA and
from the Bay Area. I started to see rap come
out of let's say Philadelphia, right with schoolely D and
(05:07):
Tough Crew. We started to see rap come out of
Florida with the ghetto style DJs and Luke Records and
all that early peg jam stuff. You started to see
guys like Kelo, you know, come out of Atlanta. You
started to see you know, Gregory D and Manny Fresh,
you know, started to come out of New Orleans, all
(05:27):
of these different rejates representing themselves. And then there we
were in Houston. We had a lot of guys like RP. Coola, Romeo, Poet,
Billy D, Willie D, you know, the college boys.
Speaker 2 (05:39):
Primarily for us, it was Rap a Lot.
Speaker 3 (05:41):
Records, who was actually like a full up and running
record label, signed the artists and releasing music in the city.
Speaker 2 (05:49):
And at the same time.
Speaker 3 (05:50):
As we were recording were getting ready to release music,
the ghetto boys ended up dropping mind playing tricks on me.
It became this national hit record, you know what I'm saying,
cover of the source magazine perform Alive and yourt raps,
and that just gave us more confidence to believe that
we could make it this game.
Speaker 2 (06:10):
Like, look, these are people from where we're from.
Speaker 3 (06:13):
Basically at this point, and they took that all the way.
So once we saw that, I know, for me, it
put a fire under me. You know what I'm saying that, Like, Okay,
Texas is actually recognized and acknowledge you know what I'm saying,
Let's see where it can go.
Speaker 2 (06:27):
Yeah, but hip hop is like an algorithm.
Speaker 1 (06:29):
I feel, once you figure it out, you can work
it in any city or state in the country or
country on the whole planet. Paul Wall, rapper DJ. When
I think about.
Speaker 6 (06:42):
How hip hop expanded outside of New York City to
down South, I sometimes get stuck between how it was
and how it is. When I was growing up listening
to Southern hip hop, it was unaccepted by the rest
of the music industry and the rest of the hip
hop community. It was like we wanted stepchild or something
(07:02):
in terms of how everyone else looked at the South.
Some of that was because of where it was created
and the power that comes with that and the dopeness
that comes with growing up in a place where this
was created. So from birth a lot of people parents
was around it or influenced by one way or another,
and almost everybody that.
Speaker 2 (07:24):
Grew up right it was influenced by one way or another.
Speaker 6 (07:27):
So coming from the South, where the Southern ways weren't
some of us accepted. A lot of them will look
down on, like the Southern drawl or being talking slow,
or you know, it was looked down on as ignorance.
But we just a little warmer, a little hot of
down in Texas. So we move a little slower sometimes,
but we get that when we need to, even with
(07:49):
how we listen to the music, and the South was
so much different. The South and the Midwest were be
on cars, on the car culture, along with the West
coast where it wasn't as big on the so a
lot of our music reflected that. Where we had a
lot of bass, we had a lot of bassline, a
lot of sampling where it wasn't the soul samples so
(08:10):
much or the boom back type of sample so much.
It was more blues samples, and the blue samples would
do something. It's a little bit different when they hit
in that face and you had hato wasts and trunks
around the sample. And that's what you would see a
lot in a lot of the Southern music.
Speaker 2 (08:25):
Also a lot of the Southern.
Speaker 6 (08:26):
Producers, almost all of them. You know, it's like the
only outlet for music is the church. So you learn
so much in the church that influences how you create
that music, how you play the instruments, or how you
just bring it all together. So when I think of
how it was for me growing up in the South,
there was a tremendous amount of pride listening to Southern
(08:48):
hip hop for me, or especially Texas hip hop. You know,
from sixth grade in school in Texas, you talked Texas
history and you always kind of talk of course all
my all those everything bigger in Texas, but you're always
taught the sense of Texas pride. So you support things
that come from Texas. A lot of people that come
out of Texas you feel like don't get a fair shot,
(09:10):
so you root for them a little harder, you support
them a little harder sometimes, and you just all around
just are proud of where you're from. So being proud
of Texas and proud of the music that came from
Texas was something that I took a tremendous amount of pride.
Speaker 1 (09:25):
I'm glad to hear Paul Wall mention the blues because really,
when you think about it, let's face it, R and
B if you will, it's really rhythm and blues and
blues is so much at the core of all American music.
And so the blues also, which a lot of it
originated in the South. So many people in New York
(09:45):
and the biggest cities, their families originated in the South,
and then they migrated north into those other cities to
have a better lifestyle. But the soul of that music
is the soul of American music, and the South helped
put a lot of that all back into hip hop.
Without questions, we go Wade from Organized Noise, producer pioneer
(10:08):
of the Dirty South sound.
Speaker 7 (10:10):
When Andre said that the South got something to say.
Speaker 2 (10:13):
Minded folks, you know what I'm saying.
Speaker 8 (10:14):
It's like we got a demo tape on him by
the one to.
Speaker 2 (10:16):
Head, but it's like this, the South got something to say.
Speaker 1 (10:18):
That's all I got to say.
Speaker 7 (10:20):
That was after Southern playlists we had already went Platt.
That's why it was so much disappointment in his voice,
like we platinum, like we were platinum. And plus I
think the source of magazine had told us they was
gonna put us on the cover of the Source. And
then at the end of it, right at the end,
Ben Zeno or he put his group the Barrio Boys
(10:41):
on the cover. So we was like, well, that's some
obvious boys. You know what I'm saying. You gotta realize
you I'm saying, and this is and we were talking
to Dave Maidens. Even Dave was like, it's some bulle
but but luckily the source, it kind of it kind
of broke up a little bit.
Speaker 2 (10:56):
After that.
Speaker 7 (10:57):
A lot of the best writers, they really took the
stand the way they because because of what you're saying,
like what you're saying, like the majority was rocking with everybody.
So it was still some inside some inside challenges you
had to deal with with certain DJs or certain people
that that they was trying to like keep their old,
their old New York alive. We gotta play this more
(11:20):
and don't let me find on New York arts that
we can support. We're gonna try to or we gonna
support them way harder. Than we can somebody else, which
is cool because if you undeniable, you undeniable. So so
that's what it may. It created the monster that's outcast.
It created that monster. These boys had to keep coming
back with something else. Dope, I'm seeing better lyrics. We
(11:41):
had to come back with better music than what we
did before, and at the same time not compromising or
not being scared because it would be times when you
know you I'd be like, well, maybe, well, we don't
have to do that. I'm saying, y'all, ain't gotta we
don't have to do We don't have to be that
different no more. We could just be straight. But it
was like, nah, we start like outcasts. Was driven at
(12:03):
that point. That's all we know now is being different.
Speaker 2 (12:05):
You know, we go.
Speaker 1 (12:06):
I feel you loud and clear on that, man. But
in my opinion, you know what's important. It's key to
any region's success as hip hop spread around the country
is a significant combo of unique and innovative music talent
and a few key players who can handle business and
make deals. I mean, sit at the table with the
powers that be and structure are somewhat If you can
(12:30):
equitable deal, that's key to any of these regions blowing
up and having a significant influence.
Speaker 2 (12:36):
That's like the cheat code if you will.
Speaker 1 (12:38):
Master p he had it, Baby and Slim, Jermaine Duprie,
La Reid and Babyface J Prince just a few of
those cats that knew how to put those deals in
place to really make it happen.
Speaker 4 (12:51):
Shady das Big Cat was a friend to Outcast and
to Goodie Mob, and he was one of the first
DJs that will actually play our stuff, whether it was
in rotation or not. Like he fought really hard for
us and some of the other DJs, it took a
lot harder. Like Clues supported us do Wop, a lot
of people supported us early on, but a lot of
(13:12):
the bigger DJs it took a long time for them
to come around. And once they did, you know, the
respect was there. But you know, being in New York
and it being the birthplace of hip hop, there's a
certain level of arrogance that was always there from a
hip hop perspective, and it was frustrating, especially as a
young girl working street teams and promotions. And I was
(13:34):
relentless at you know, supporting my group and trying to
break my group. But it was not easy getting our
foot in the door, and even with Goodie Mob, like
it was even harder working Goodie Mob than outcasts. And
so there were just times when we felt like, you know,
step kids in the culture, and we just it was
just it just meant that we had to work, you know,
(13:55):
three or four times as hard to get hurt and
to get that national attention and respect.
Speaker 2 (14:01):
DJ record producer and music executive.
Speaker 8 (14:05):
I knew that being up North, that we will never
survive based on a crab and a barrel thought process.
They didn't have that. The Southern comfort allowed them. I
don't remember them ever being a serious beef. If it
was a rap argument, it was a rap argument, but
it was never really. The only one I seen was
the pastor Troy master P thing, but it still was
(14:28):
in lines of hip hop, you know what I mean.
It wasn't like it was disrespectful, but it wasn't like
how the North we carried it, you know what I mean.
The way we carried up North is like we expose
you and you're never supposed to come back around. The
ecosystem here allowed both of them to live. It was like,
well people are like him, y'all go over there, people
(14:50):
will hug him.
Speaker 2 (14:51):
But I seen it when they started.
Speaker 8 (14:53):
And when I said when Andre said the South got
something to say, I felt like they did here.
Speaker 2 (15:01):
I felt like they was like, so what y'all gotta say?
Nobody give a you know what I'm saying.
Speaker 8 (15:07):
And even though they was making these smacks and people
was respecting them and it was just them, it was
like outcast was the whole Atlanta. But really he was saying, yo,
anywhere from New Orleans down to Miami, South Carolina, North Carolina.
Bro we on some you know what I mean. But
Atlanta still was just in a pocket. I remember j
(15:30):
JD running it, and I felt like they wasn't respecting
him as an Atlantian. They was respecting him as a
New Yorker. I was like, yo, bro, he going crazy
down here. You know, it don't matter where are you're from.
He representing Atlanta, but I felt like they didn't give
him his props. So I remember specifically when Little John
(15:50):
came out, it being a real like dangerous peace in Atlanta.
Like it was like a Little John came out and
crunk started.
Speaker 2 (16:00):
Bro. That's when Atlanta was like we it, you know
what I mean?
Speaker 8 (16:04):
Because they stuck together one but you'll go to their
clubs like the Bounce at five five nine, Chocolate and Autise,
and it was just this is what it is. We
don't want to hear nothing, you know what I'm saying.
Five five nine, You probably won't hear any biggie, any
j You might hear some old school Tupac. But they
(16:25):
created a way for themselves by saying we are Atlanta
and this is what it is. And I felt like
that's where it turned into the juggernaut of like Okay
to Atlanta, that's it, like this is this is it?
Speaker 2 (16:41):
Ayrena.
Speaker 1 (16:42):
Jamaine dupri was definitely key to a lot of what happened,
especially in Atlanta, producing various acts that he introduced and
as an artist himself, I mean back in the days
for y'all that don't know, you gotta remember, Jermaine Duprix
started out as a hip hop dancer for the group
Houdini and was a part of one of rap's first
big tours. So Jermaine was moving fluently between New York
(17:07):
Atlanta like diplomatic style, paved the way for a lot
of what would then happen in the South.
Speaker 2 (17:12):
Through incredible relationships he had built.
Speaker 1 (17:15):
Along the way. And then when Little John and that
crunk sound drop, Oh my goodness, what a big impact
that had Coast to coast.
Speaker 2 (17:23):
DJ Scream Atlanta mixtape legend.
Speaker 9 (17:26):
There's a lot of unity in Atlanta. If you look
back to a lot of the music videos, if you
look back to like Bold Crushing that were Scared and
Killer Mike and Ball Crushing, Ti Past Troy and Little
John and y'all Blood Jermaine, all of them what kind
of like, you know, rocking and I don't know the story.
Maybe they were really rocking, maybe they weren't. I don't know,
but it looked great. See, my thing was, there was
(17:50):
never a more impactful moment.
Speaker 2 (17:53):
To me uttered than seeing the wool Tag thing.
Speaker 9 (17:58):
It's like, how can all these black people be together
and I hate each other? You say, like, it's just
kind of crazy. You have to give respect to the
person that brought them together. And then we saw with
Dungeon family, and then we saw we're like death Row
Records and it may not last forever, but in our city,
you know what I'm saying. There was a city where
I think the mentality, at least at the time was
(18:20):
even if I don't like Homie and he's doing his day,
I ain't gonna hate on even if we have a
personal thing. I can't hate on the fact that his
music jam. Oh man, it's simple bad bass eight o
a bad bass. Like the producers down south. There's a
(18:43):
lot of producers down south that can sample on.
Speaker 2 (18:45):
Their dope at it. You know what I'm saying.
Speaker 9 (18:48):
The producers are East Coast, you know, you go back
to the classic producers. The way they sample is just
a match. It just gives you a feeling, right, And
then the big drums in the South stay at oh
eight man, like just hear you feel in the car,
you feel in the club. It's spiritual like you feel
(19:08):
at eight O eight.
Speaker 2 (19:09):
You just do so for you.
Speaker 9 (19:11):
And I said for a long time, what's your cheek?
Speaker 2 (19:13):
Cole atoa? You know what I'm saying.
Speaker 9 (19:16):
And now you see different reasons tapping into that eight
O eight and this in their music.
Speaker 2 (19:21):
I really feel like the AO eight's is tribal. It's spiritual.
Oh man.
Speaker 1 (19:26):
DJ Scream is so right. I love the sound of
that eight o waight. That deep Bait's definitely a tribal
vibe going on rattles you to the bone. Marrow Man
had a trunk of them cars rattling hard boy shouty das.
Speaker 4 (19:39):
These artists, they drew inspiration from one another, right like
most of my friends all love a ball and MJG
like you know, and they are one of the greatest
Southern hip hop acts ever. Right, you talk about it
UGK and what UGK meant to Outcast and the Dungeon family.
They all family bun be like we all kind of
grew up, you know, in and we vibed off the
(20:01):
same music and some of the sounds are very similar.
And so I think Atlanta, you know, Atlanta helped to
jump it off. But those guys, you know, rightfully so
were doing their own thing.
Speaker 5 (20:12):
And you know in Houston and.
Speaker 4 (20:14):
The Ghetto Boys, the Ghetto Boys also used live instrumentation
and had funky beats, and so it was just that
Southern love, that Southern hospitality, if you will. And so
there's so many similarities and synergies there. But I think
what Atlanta did for the Memphiss of the world and
the Houstons, I think, you know, you think about regional
(20:34):
hip hop, sometimes they look at they would think, okay, Houston,
you know, these are regional acts. Memphis, that's a Southern
regional act, but the artists from Atlanta were able to
break nationwide, I think, and it gave some of those
regional hip hop acts the opportunity to break nationally and
even globally.
Speaker 1 (20:54):
Globally, Oh Man Sean, you mentioned eight Ball and MJG. Man,
those one of my favorite groups right there. Man spade
Ja's pimping and that's on just like Candy Man.
Speaker 2 (21:04):
Them dudes was so cool.
Speaker 1 (21:05):
I remember when I signed and put out the group
Crucial Conflict, a big influential group out of Chicago that
had a whole lot of country swag.
Speaker 2 (21:15):
But who would know unless you knew Chicago.
Speaker 1 (21:17):
Well, that a lot of folks when they migrated up
to Chicago from Alabama and places like that, Mississippi, A
lot of them people in the especially on the West
side of Chicago, kept a lot of that Southern flavor
with them and found this incredible group, Crucial Conflict, and
put them together and their first show at the Regal
was opening for eight Ball and MJG. And I was
(21:38):
so honored to meet those casts backstage and watch Crucial
Conflict blow up talking about Hey in the middle of
the Bond we Go Wade from Organized Noise.
Speaker 7 (21:48):
Master P and Baby did become art with artists, but
they were really master P got that the hustle that
he did when he was talking about the Bay Area,
where he was out in the Bay Area and figured
out that they were selling records just in the Bay
a carry like records that wasn't selling in no other places,
but they was going to three hundred thousand of gold
independently and they.
Speaker 2 (22:07):
Was getting rich.
Speaker 7 (22:08):
The fact that he even took that mentality to the
South and said, who cares if we get played on
the radio, Let's just sell them.
Speaker 2 (22:16):
Let's just tell these records.
Speaker 7 (22:17):
Let's sell these records and get this money and split
it up and keep doing it.
Speaker 2 (22:22):
I'm very proud of all them.
Speaker 1 (22:24):
Iced tea at the rapper West Coast Hip Hop pie
in there.
Speaker 10 (22:28):
I think that early, you know, I came out, but
it's only one rapper. Then you got kind of like
too short coming through bringing the Bay up. Even ghetto
boys out of Texas, they not really West Coast, but
they was coming out, but they But I think once
nw WAD started making their moves and then the real
bang w is where Death Row and all that started
(22:50):
happening with Pock and Sugar and all that Snoop Dog.
It was just like a title wave of West Coast music.
Death Row and them just put so many good records out.
They had so much energy going by. Now you've got comptus,
most wanted, you got all of us. It's it's a
lot of action going on in the West Coast. But
I think the real Death Row movement really was the
(23:12):
most powerful one that really said, hey, the West Coast
got a sound. Dre really using a lot of George
Clinton sounds really stamped in. You know, Warren g created
Chief Funk. We just had a different energy. See, the
thing of it is, it's like music matches the culture,
not the culture, but the climate of the place.
Speaker 2 (23:34):
So if you listen to New.
Speaker 10 (23:35):
York, New York is Wu Tang Clan, New York is
the trains, New York is static. Like you step on
the streets, it's like that's New York, La, you riding,
We're riding. So the music's a little more laid back.
We got palm trees, we got big booty girls. Everything
is cool until the pops off. That's la. Down south,
(23:56):
they got a southern swag. That's why Usual your goodie
mob and on them, So it has to match. Hence
what Russell told me when I started, you have to
rep where you're from. The music has to reflect to
live crew. It was a Miami Sam that Miami basse.
They kicked in, all the booty shaking and all that
was down there. So when LA found its real place
(24:20):
was when Dre and them really locked in that depth
roaw sound.
Speaker 2 (24:24):
As far as the West Coast hip hop scene and
what that was.
Speaker 1 (24:27):
You know, my show You're on TV raps was important
because this is where we got to show you and
oftentimes go to the neighborhoods where these artists lived. NWA
debuting on my show back then easy that whole thing
and me and Dre. I developed a good friendship with him,
and he asked me to come and direct Snoops first
video back then for the song What's My Name? And
(24:50):
that ended up with me spending that whole summer out
in La crashing at Dre's crib because the focus was
finishing up Snoops album and I had to fit to
shove his first video, so I got to really feel
that whole LA lifestyle. The music was really designed to
listen well while driving, and it was so amazing and
(25:11):
listen to records like the Chronic and other things that
like Dre was cooking up while rolling from one part
of LA to the next in those long drives. So
it was really important and really a first hand look
at that whole part of hip hop blowing up.
Speaker 2 (25:28):
The doc rapper, producer, songwriter.
Speaker 11 (25:32):
For me, when it showed up, it's just, you know,
look rock him says, it ain't where you fromis were
yet and so it came from New York, but it's
blongs towards all and it's going to manifest itself through
each individual in their own depending on what the zip
code is. But me, I'm a Texas dude, Dallas, Texas,
(25:56):
but I'm a East Coast MC in my heart, you know,
and so but I was raised on West Coast music,
in hip hop. I'm just a hybrid of all of
those things that that that's what kind of made I
think it's makes me sort of unique coming up in
(26:17):
this game. But hip hop is a universal thing to me. Bro.
We all respect those boroughs where it found its way
to us, but it's a universal thing, you know.
Speaker 2 (26:29):
That's worldwide lie.
Speaker 1 (26:32):
Hip Hop's influence was spread far beyond its musical artistry
into many of the industries and forms of expression. With
the cultural and worldwide dominance of hip hop growing and expanding,
we would soon see its expression in the world of fashion.
Hip Hop didn't just create a music genre, it defined
a fashion style. What started out as street where urban
(26:55):
weere evolved into a unique style that has become high
fashion at the highest level, but only matched by his
attitude and confidence.
Speaker 2 (27:06):
Ralph McDaniels, co creator of New York's.
Speaker 1 (27:09):
Pioneering show Video Music Box and currently the hip hop
coordinator for the Queen's Public Library.
Speaker 2 (27:17):
I think hip hop's impact on lifestyle.
Speaker 12 (27:20):
And the arts, and it's always been about just do
your own thing, you know.
Speaker 2 (27:25):
It's always it's.
Speaker 12 (27:26):
Never been like fit into this, you know, even though
it is that, but we always say do your own thing.
And if you if you operate like that, you're free
to do whatever you want to do. Russell Simmons, first
time I went to a record company, you know, sneakers.
He had his hat to the back and he had,
you know, his hoodie on, and I thought you were
supposed to wear a suit when you walk into one
(27:47):
of these type of offers and I was like, they're
not gonna let him in, and he walked right in
and they were.
Speaker 2 (27:53):
Like, Russ, what up?
Speaker 8 (27:54):
Russ?
Speaker 12 (27:55):
And I was like, so, if you have something that
people want, you can wear whatever you want to wear
and look and talk however you want to talk if
as long as you bring them what they want. And
that was a game changer for me because I was like,
I didn't want to get dressed up and wear a
suit everywhere with in hard bottoms, you know. I was like,
mm hmmm, I'm throwing my sneakers on. Were good now
(28:18):
And that changed everything. And everywhere you went, everybody looked
like Russell, you know, they had on a little pack
of sweater or whatever and they talked like him. And
I was like, this dude changed everything, you know, like
this is how we're gonna act. And I don't know
where he got it from, but this is how we're
gonna act. That's what hip hop does.
Speaker 1 (28:37):
Great point, Ralph, you know, the bold and disruptive nature
of wearing jeans and sneakers to a business meeting.
Speaker 2 (28:44):
I spoke volumes back then, and that's a part of.
Speaker 1 (28:47):
The disruptive nature at the core of hip hop culture
without question, swagnificent for sure. Yes, indeed, Karl Kana, fashion
designer and the godfather of urban street wear.
Speaker 5 (29:02):
Hip hop was everything in the fashion world.
Speaker 13 (29:05):
When we talk about fashion and hip hop, you know
when people talk about who started street with, I say, here,
what time? When we started, I didn't really know where
that my end.
Speaker 5 (29:16):
Game was going to be.
Speaker 13 (29:18):
But I knew I was doing something that was right.
I knew I was doing something that's fulfilling. I knew
that I was doing something because when we went to
the stores, we didn't see any of our people being
represented to the fashion world. But we spent all our money,
me and all my Frederick always was broke. We had
our fresh clothes. So this thing called fashion and stink
care hip hop was kept calling our name. And I
say two people all the time. Sometimes destiny is calling
(29:40):
your line, but you got to pick up.
Speaker 5 (29:42):
The call right.
Speaker 13 (29:44):
So when I saw how much money he was spending,
and I saw my dad, how I got into fashion.
My dad used to get his close made by Taylor,
my dad's in Panama. He won his clothes to fit
in a certain way. He used to go to the
last street buys, Baby Kin then take it back to
flap Wish, So I tail and Flappish Telling used to
make it then, so I kind of saw the process
(30:06):
of making your own clothing and that's what it inspired
me to start making my own clothes. Or when my
dad my mom got divorced in East New York, a
lot of my friends used to shop at the same stores,
and if I had something fresh, I'm not going to tell.
Speaker 5 (30:19):
You where I got it from.
Speaker 13 (30:19):
I don't want you wearing the same thing I died, right,
So there's a lot of competition.
Speaker 5 (30:22):
Does those secrets? You know what I'm saying.
Speaker 13 (30:24):
And then like I remember all day I was thinking,
I said, damn, but I make an alpha. My dad's tailor.
None of these dudes what happened, aren't sisked. My dad
can make an outfit. He was kind of surprised of the accident.
He's like, you want to make an outfit?
Speaker 5 (30:35):
I was like, yeah.
Speaker 13 (30:36):
So I went to the land, said, well, five year
olds of linen, and I brought it back to his
tailor and I told him I wanted a Jeane suit
style made out of linen. I kind of designed when
I wanted, but I told him I want the pants
led to be bigger. But back then we will look
at a bigger clothing, but it wasn't in the stores.
I'm saying it had no designer was making baggy closed.
So once I told him that, he said, shung's on
(30:57):
orbit of the legs for you. So when I wore
the outfit around, it's like, man, where'd you get that from?
You get a fund So you know, I ain't telling
them about my tailor, right, I said, if you want,
While'll make you one. So I used to have all
the hustlers coming up to giving me was of cash
and to buy my outfice that I had on. They
wanted every color. So that's kind of how street gear
was starting. That's kind of how I got into the business,
(31:18):
selling to the hustlers first, and then it's started transpired
from there.
Speaker 1 (31:22):
Fascinating to hear carled Kana's origin. Man, you know, as
a true pioneer of hip hop fashion. You started with
cutting sew in the same way Dapper Dan did in Harlem.
Although DApp was, you know, cutting leather and doing incredible designs,
unique designs using Gucci, Louis Baton and MCM's logos. His
(31:44):
original clientele. Just like yours car with them street corner
hustlers and those rappers that was about to blow up.
Speaker 2 (31:52):
Kid Capri, Grammy Award winning DJ and producer.
Speaker 14 (31:56):
You go back to right DMC for duc the Didas
suit didas sneaking with with no laces in it? When
did the Garden put the sneak up? Twenty thousand people
had to sneak of. Adidas gives them a deal back.
So you got Adidas that been Adidas forever coming to
a hip hop constant and seeing this something they've never
(32:17):
seen before and a whole Arenas holding they sneak.
Speaker 2 (32:19):
Up who did it first before them?
Speaker 14 (32:23):
And this is in the eighties, so it always been
a part of hip hop since then. You were seeing
fat farm rock aware, you know, like you see these things,
They're always been there. Cross colors, this hip hop fashion,
Carl Kana hip hop fashion, timber Land became hip hop fashion,
Tommy Hill Finny hip hop fashion. Kelly Hanson them saying.
Speaker 2 (32:48):
All these things became Gucci, Louie to.
Speaker 14 (32:51):
Talk or hip hop fashion.
Speaker 1 (32:56):
It's not hip hop fashion.
Speaker 14 (32:57):
Apociate all those but we may become that like Feliz,
before people knew with feelis Feeve was out way years
white people tennis plays. We was wearing Feliz before anybody
knew what felives were, years before they wove. And when
Felis came out, they thought it was a new thing.
(33:18):
Balley been out, Pack Hicks been out. It's just that
it came to the hood later. But I was wearing all.
Speaker 2 (33:24):
That Kwime rapper and record producer.
Speaker 15 (33:28):
Hip Hop has been around long enough to now that
the major designers are most likely hip hop fans or
understand the culture of hip hop in their DNA as
opposed to thirty years ago, it's some guy that designed
ball gowns and don't understand what street where it is
at all. And we've also incorporated so many other styles
(33:49):
that we've like gumbo, We've mixed everything in and everything
is now considered hip hop fashion, and it's just very interesting.
I think again, the quick answer or as fashion would
be extremely boring and extremely how do I put this
without offending because I don't want to do that, extremely
boring and extremely effeminate. You understand what I'm saying. There
(34:12):
wouldn't be any extra forms of masculinity in fashion without
hip hop fashion. I think hip hop brings that grunginess
to certain fashion line that probably would not have been there,
if that makes sense. And it's weird because hip hop
fashion is so ingrained in our culture. You know, you
(34:33):
could take this like this Ralph Laurentz sweater and I
could wear it a certain way and it could be
hip hop. But somebody could say, no, that's college fashion.
You know, that's collegiate fashion. But yeah, but it could
be twisted here. That's the greatness about hip hop fashion.
It could be twisted in so many different directions. You
could take ball gowns, and you could take college wear,
(34:55):
and you could take black tie wear and flip it
in a way where you turn it into hip hop fashion.
So now it's like, you can't. I don't think there's
any such thing as just like a definitive quote unquote
hip hop thing. It's a spin on whatever you already
have that makes it hip hop. And know that spin
(35:15):
that is in the DNA now makes fashion extremely interesting.
Speaker 13 (35:22):
Carl Cannot Cross Colors played a major major role in
the success of Carl Cannot.
Speaker 5 (35:27):
Okay, the owner cross Clus's name is Carl Jones T J.
Speaker 2 (35:30):
Walker.
Speaker 5 (35:31):
All a lot to them.
Speaker 13 (35:32):
You know, Carl had the infrastructure set up. They had
the customer service, the shipping, the receiving. A black owned company,
they were on their grind and what calar can I
need is what they had. We need the infrastructure that
they have, they had something I needed and we was
it into a system as well too, because Cross Colors
preferred to have quark Can I be on their team
as opposed to me, to me being their competition, Okay,
(35:54):
they didn't want me to be somebody else who compete
against them. It's better to have two black owned companies together,
umbrella and we could dominate together. So together we were
a lot more powered for so Cross Colors helped set
the infrastructure and we came in and we took the
streets and get Cross Colors to the street fun that
they needed and they brand because that's what we wropped
the streets. We knew how to get the hustles in
(36:16):
our cold and we knew how to get this stuff
in every inter city store in every hood. That was
our main focus vocals on inner city stores in every hood.
Speaker 5 (36:23):
That's all the hustles shop and that's how hold they
need to be.
Speaker 13 (36:25):
So we have a philosophy on how we wanted to
promote and distribute our brand.
Speaker 5 (36:29):
I feel like the call cannot grand.
Speaker 13 (36:31):
What we've done is that will be shown that you
could be yell and compete against the big boys and
compete against big corporations is out there now. That being said,
the rappers they have to begin for once in terms
of exposure and things like that. So I felt like
we played our role. I honestly feel a papa doesn't
inspire people that you could become a businessman.
Speaker 5 (36:52):
That you don't have to be a rapper.
Speaker 13 (36:54):
Right, we showed that you could just other ways you
could get big and this business don't happen because everyone
the chances of you being successfu raptist him and now
there's a very few successful Baptists back in the days. Right,
he had a hand ten twenty the most, right what
his other abbeys Other ways you become successful as business
and olding became a major major force that even every
(37:15):
rapper started doing their own colt rhine as well too.
They saw how powerful and how big this business was
out influential they were at the same time. So I
feel like the calal cannot grant inspired people just on
the business level to be young black and be successful
and could people with the big dolls. I think they
inspired a lot of corporations yet to look at hip
hop and a whole different manner. They're seeing how big
this thing could get. I mean, look at the owner's sketchers.
(37:37):
He saw he came to me, wanted to clowk not footworth.
He knew nothing about hip hop, but he saw the
influest that we had on the marketplace. He wanted he
wanted in. So it shows you that how influential this
whole movement has been overly.
Speaker 1 (37:49):
Is don Cannon.
Speaker 8 (37:51):
I've heard from ten years old to this year that
it's just a fat.
Speaker 2 (37:58):
It's just a fat. It's gone way. They ain't gonna y'all.
Speaker 8 (38:01):
Ain't y'all gonna be listening to something else when you fifteen,
something else, when you twenty twenty five, thirty forty came.
Speaker 2 (38:07):
I was like, you're like, yeah, you know what I mean.
Speaker 8 (38:11):
To the point where I when I told the story
about my mom saying hip hop died in nineteen ninety
seven to now her listening to hip hop records and
asking me to make her playlist of hip hop records.
Speaker 2 (38:25):
My au Dinna Rest in Peace was a huge Tupac.
Speaker 8 (38:27):
Fan, and that came years after saying rap wasn't gonna
be there.
Speaker 2 (38:34):
She was just always cool with it.
Speaker 8 (38:35):
But everybody's saying that rap was it gonna be there,
or hip hop was gonna be there. We're like, look,
we're fifty years old. We half a century. Bro, What
in the world, how did this happen? When it's not
gonna die. It's a regenerating organ This joint just keep going, Bro,
like we're gonna have down spots, We're gonna come up.
Speaker 2 (38:55):
We're gonna down spots come up. Like.
Speaker 8 (38:57):
It's just it's influenced. Everything influenced. People don't do enough studying.
But R, R and B records are hip hop records.
Taylor Swift beats and Katie Perry beats their hip hop beats.
Speaker 2 (39:09):
That's in a whole nother genre. We got country, which
was known a lot of.
Speaker 8 (39:17):
It was like, no, it's hip hop. Gospel, which was
also any former hip hop was a secular space. Now
guess what it's in gospel.
Speaker 2 (39:29):
Music, you know what I'm saying. So it's like we
influenced everything.
Speaker 8 (39:32):
We influenced, Bro, We influenced the touchdowns in football, you
know what I mean? Every dance they doing now it's
all hip hop influenced, rap influenced, basketball dunks and swag.
Speaker 2 (39:46):
Hip hop influenced, you know what I mean.
Speaker 8 (39:49):
The tables have turned from hustlers and how they get
their money. It's based on hip hop, you know what
I mean. It's what Elliott made for the artists. You
know what I'm saying. You turn on commercials for TV salesmen,
they're using hip hop influence. Sports Center, you turn it on,
(40:11):
it's hip hop influence. So it's definitely beyond one hundred years.
I can see, like it's just it's gonna go like
it's just the influences.
Speaker 1 (40:21):
On the next episode of the fifty Years of Hip
Hop podcast series, you know it, it's time for ladies first.
That's right from Queen latifas you and it Y all
the way to what Cardi B's.
Speaker 2 (40:32):
Been up to lately.
Speaker 1 (40:33):
Women MC's who have played a strong part in development
of hip hop culture from the very beginning. They continue
to rule their queendoms and make the moves that need
to be made. We're gonna explore the evolution of the
women of hip hop for a variety of topics, from
the founding mothers to the evolution of women in rap today,
(40:53):
and through all this success and failures and triumph and turbulence,
we want to know, can hip hop outlok most of
us and make it to the century mark?
Speaker 2 (41:04):
Haha. We're gonna get into all that, baby.
Speaker 1 (41:07):
Fifty years of hip hop podcast series Rose on Roll Strong.
This episode has been executive produced by Dolly s. Bishop,
host it and produced by your Boy five five Freddy.
Produced by Aaron A. King Howard. Edit, mixed sound by
Dwayne Crawford, music scoring by Trey Jones, Talent booking by
(41:27):
Nicole Spence,
From I Heeart podcast I Am Fab five Freddy and
this this fifty years of hip Hop podcast series. So
as we all by now clearly know, the birthplace of
hip hop is the Bronx in New York City and
would soon magnify, grow, expand and morph into other boroughs,
(00:26):
into other parts of the city, Queens State Island, Brooklyn
of course, you know Manhattan, money Maker Manhattan as we
call it. This expansion of rap music would not stop.
I mean on and on to the break of dawn.
And as other parts of the country begin to hear
and connect with this flavor, other sounds developed from other
(00:49):
parts of the country, from the West coast, from the southwest,
other parts of the East coast.
Speaker 2 (00:54):
A lot of times people say the East Coast.
Speaker 1 (00:56):
They mainly are referencing New York as you're here later
with other people speaking, but we're talking the east coast
of the country. You know, New York, DC, But it
was mainly coming out of New York on the east.
But also Philly, which is kind of east, was also
a big early influence. But stars were developing, groups, different ideas,
(01:17):
different beats were developing and having a really strong impact,
especially from Atlanta and they were touching all parts of
the country. Without a doubt that South definitely had something
to say along with everybody else. Let's get into it,
Shaudi Das music industry executive, Well.
Speaker 3 (01:36):
New York.
Speaker 4 (01:36):
I mean, first of all, let me just say I
am a big fan of New York culture and hip hop.
I lived in Jersey and worked in Manhattan for ten
years and as a young girl grew up listening to
everybody from you know, one of my favorite groups ever
was a tribe called Quest you know, rest in Peace
to Fife Dog and shout out to Ali in Youtip.
So listening to those guys tribe and I think was
(02:00):
the one group that I love because they it was
more live instrumentation, it seemed like in some of their music,
but traditional hip hop like it's you know, EP and
D right or l O Cooolja. It was more I
think eight oh eight heavy, you know, and beats and
that sort of thing, and so Atlanta hip hop and
Southern hip hop from the onset I think was just
(02:23):
like a hodgepodge of different sounds of music. Because I
think that's one thing that was so special about the
guys in the Dungeon family. Rico ran pat is that
you know, you had all these live musicians in the studio,
You had a little bit of.
Speaker 2 (02:36):
Funk, gospel soul.
Speaker 4 (02:39):
They still had the you know, thrum machines and all
of that, and it just brought it all together as
like a mixture of different genres, if you will. And
so it was laid back.
Speaker 2 (02:52):
It was something you could sing to.
Speaker 4 (02:53):
I think Southern playlistic like that first album from Our
Chats was just so funky and it was something that
I think, well hadn't really heard before, and it was like,
you know, what is this. You know, it sounds a
little bit like hip hop, but it also sounds like
someone Auntie and my grandma might listen to also, And
so it was just this new sound, if you will.
Speaker 5 (03:13):
It kind of came to the forefront end.
Speaker 4 (03:15):
You know, you had sounds like from George Clinton, you know,
if you will. So it was very funky and lace
still with heart beats, and so it was just a
new sound. And then I think as trap music evolved,
that was a different sound as well. Right, I was
in New York at the time when like t I
and g Z and you know, Shout Out to the Lake,
(03:36):
Shakir Sewart, who I think was responsible for signing a
lot of artists and really helping the shape what that
trap music era sounded like.
Speaker 5 (03:44):
And I think trap music.
Speaker 4 (03:45):
Really was an opportunity for people to really talk about
the environment and what they went through, the struggles growing
up in the South, some things that you know, guys
had to do. Maybe they weren't proud of getting out
of the trap right being able to find other outlets
for themselves. And so trap music to me was kind
(04:07):
of reminiscent of what we heard in the earlier days
when hip hop started, whether it was you know, Ice
Cube talking about what he went through in the West Coast,
or you know the plight of the black community that
you you know heard from Chut D and Public Enemy. Like,
trap music kind of talked about a lot of the
struggles that we were going through in the South.
Speaker 1 (04:28):
Yeah, Shanti Dots, her Auntie and Grandma, if listening closely,
were moved by bits and chunks of sixties and seventies
soul songs that was sampled and used as a lot
of raps foundations.
Speaker 2 (04:41):
Bun Be hip hop legend and entrepreneur.
Speaker 3 (04:45):
Well, I mean, you know, you got to go through
a lot of things, right, So I started seeing I remember,
you know, primarily a lot of hip hop. I saw
things from New York. I started to see hip hop
come out of the West Coach right from LA and
from the Bay Area. I started to see rap come
out of let's say Philadelphia, right with schoolely D and
(05:07):
Tough Crew. We started to see rap come out of
Florida with the ghetto style DJs and Luke Records and
all that early peg jam stuff. You started to see
guys like Kelo, you know, come out of Atlanta. You
started to see you know, Gregory D and Manny Fresh,
you know, started to come out of New Orleans, all
(05:27):
of these different rejates representing themselves. And then there we
were in Houston. We had a lot of guys like RP. Coola, Romeo, Poet,
Billy D, Willie D, you know, the college boys.
Speaker 2 (05:39):
Primarily for us, it was Rap a Lot.
Speaker 3 (05:41):
Records, who was actually like a full up and running
record label, signed the artists and releasing music in the city.
Speaker 2 (05:49):
And at the same time.
Speaker 3 (05:50):
As we were recording were getting ready to release music,
the ghetto boys ended up dropping mind playing tricks on me.
It became this national hit record, you know what I'm saying,
cover of the source magazine perform Alive and yourt raps,
and that just gave us more confidence to believe that
we could make it this game.
Speaker 2 (06:10):
Like, look, these are people from where we're from.
Speaker 3 (06:13):
Basically at this point, and they took that all the way.
So once we saw that, I know, for me, it
put a fire under me. You know what I'm saying that, Like, Okay,
Texas is actually recognized and acknowledge you know what I'm saying,
Let's see where it can go.
Speaker 2 (06:27):
Yeah, but hip hop is like an algorithm.
Speaker 1 (06:29):
I feel, once you figure it out, you can work
it in any city or state in the country or
country on the whole planet. Paul Wall, rapper DJ. When
I think about.
Speaker 6 (06:42):
How hip hop expanded outside of New York City to
down South, I sometimes get stuck between how it was
and how it is. When I was growing up listening
to Southern hip hop, it was unaccepted by the rest
of the music industry and the rest of the hip
hop community. It was like we wanted stepchild or something
(07:02):
in terms of how everyone else looked at the South.
Some of that was because of where it was created
and the power that comes with that and the dopeness
that comes with growing up in a place where this
was created. So from birth a lot of people parents
was around it or influenced by one way or another,
and almost everybody that.
Speaker 2 (07:24):
Grew up right it was influenced by one way or another.
Speaker 6 (07:27):
So coming from the South, where the Southern ways weren't
some of us accepted. A lot of them will look
down on, like the Southern drawl or being talking slow,
or you know, it was looked down on as ignorance.
But we just a little warmer, a little hot of
down in Texas. So we move a little slower sometimes,
but we get that when we need to, even with
(07:49):
how we listen to the music, and the South was
so much different. The South and the Midwest were be
on cars, on the car culture, along with the West
coast where it wasn't as big on the so a
lot of our music reflected that. Where we had a
lot of bass, we had a lot of bassline, a
lot of sampling where it wasn't the soul samples so
(08:10):
much or the boom back type of sample so much.
It was more blues samples, and the blue samples would
do something. It's a little bit different when they hit
in that face and you had hato wasts and trunks
around the sample. And that's what you would see a
lot in a lot of the Southern music.
Speaker 2 (08:25):
Also a lot of the Southern.
Speaker 6 (08:26):
Producers, almost all of them. You know, it's like the
only outlet for music is the church. So you learn
so much in the church that influences how you create
that music, how you play the instruments, or how you
just bring it all together. So when I think of
how it was for me growing up in the South,
there was a tremendous amount of pride listening to Southern
(08:48):
hip hop for me, or especially Texas hip hop. You know,
from sixth grade in school in Texas, you talked Texas
history and you always kind of talk of course all
my all those everything bigger in Texas, but you're always
taught the sense of Texas pride. So you support things
that come from Texas. A lot of people that come
out of Texas you feel like don't get a fair shot,
(09:10):
so you root for them a little harder, you support
them a little harder sometimes, and you just all around
just are proud of where you're from. So being proud
of Texas and proud of the music that came from
Texas was something that I took a tremendous amount of pride.
Speaker 1 (09:25):
I'm glad to hear Paul Wall mention the blues because really,
when you think about it, let's face it, R and
B if you will, it's really rhythm and blues and
blues is so much at the core of all American music.
And so the blues also, which a lot of it
originated in the South. So many people in New York
(09:45):
and the biggest cities, their families originated in the South,
and then they migrated north into those other cities to
have a better lifestyle. But the soul of that music
is the soul of American music, and the South helped
put a lot of that all back into hip hop.
Without questions, we go Wade from Organized Noise, producer pioneer
(10:08):
of the Dirty South sound.
Speaker 7 (10:10):
When Andre said that the South got something to say.
Speaker 2 (10:13):
Minded folks, you know what I'm saying.
Speaker 8 (10:14):
It's like we got a demo tape on him by
the one to.
Speaker 2 (10:16):
Head, but it's like this, the South got something to say.
Speaker 1 (10:18):
That's all I got to say.
Speaker 7 (10:20):
That was after Southern playlists we had already went Platt.
That's why it was so much disappointment in his voice,
like we platinum, like we were platinum. And plus I
think the source of magazine had told us they was
gonna put us on the cover of the Source. And
then at the end of it, right at the end,
Ben Zeno or he put his group the Barrio Boys
(10:41):
on the cover. So we was like, well, that's some
obvious boys. You know what I'm saying. You gotta realize
you I'm saying, and this is and we were talking
to Dave Maidens. Even Dave was like, it's some bulle
but but luckily the source, it kind of it kind
of broke up a little bit.
Speaker 2 (10:56):
After that.
Speaker 7 (10:57):
A lot of the best writers, they really took the
stand the way they because because of what you're saying,
like what you're saying, like the majority was rocking with everybody.
So it was still some inside some inside challenges you
had to deal with with certain DJs or certain people
that that they was trying to like keep their old,
their old New York alive. We gotta play this more
(11:20):
and don't let me find on New York arts that
we can support. We're gonna try to or we gonna
support them way harder. Than we can somebody else, which
is cool because if you undeniable, you undeniable. So so
that's what it may. It created the monster that's outcast.
It created that monster. These boys had to keep coming
back with something else. Dope, I'm seeing better lyrics. We
(11:41):
had to come back with better music than what we
did before, and at the same time not compromising or
not being scared because it would be times when you
know you I'd be like, well, maybe, well, we don't
have to do that. I'm saying, y'all, ain't gotta we
don't have to do We don't have to be that
different no more. We could just be straight. But it
was like, nah, we start like outcasts. Was driven at
(12:03):
that point. That's all we know now is being different.
Speaker 2 (12:05):
You know, we go.
Speaker 1 (12:06):
I feel you loud and clear on that, man. But
in my opinion, you know what's important. It's key to
any region's success as hip hop spread around the country
is a significant combo of unique and innovative music talent
and a few key players who can handle business and
make deals. I mean, sit at the table with the
powers that be and structure are somewhat If you can
(12:30):
equitable deal, that's key to any of these regions blowing
up and having a significant influence.
Speaker 2 (12:36):
That's like the cheat code if you will.
Speaker 1 (12:38):
Master p he had it, Baby and Slim, Jermaine Duprie,
La Reid and Babyface J Prince just a few of
those cats that knew how to put those deals in
place to really make it happen.
Speaker 4 (12:51):
Shady das Big Cat was a friend to Outcast and
to Goodie Mob, and he was one of the first
DJs that will actually play our stuff, whether it was
in rotation or not. Like he fought really hard for
us and some of the other DJs, it took a
lot harder. Like Clues supported us do Wop, a lot
of people supported us early on, but a lot of
(13:12):
the bigger DJs it took a long time for them
to come around. And once they did, you know, the
respect was there. But you know, being in New York
and it being the birthplace of hip hop, there's a
certain level of arrogance that was always there from a
hip hop perspective, and it was frustrating, especially as a
young girl working street teams and promotions. And I was
(13:34):
relentless at you know, supporting my group and trying to
break my group. But it was not easy getting our
foot in the door, and even with Goodie Mob, like
it was even harder working Goodie Mob than outcasts. And
so there were just times when we felt like, you know,
step kids in the culture, and we just it was
just it just meant that we had to work, you know,
(13:55):
three or four times as hard to get hurt and
to get that national attention and respect.
Speaker 2 (14:01):
DJ record producer and music executive.
Speaker 8 (14:05):
I knew that being up North, that we will never
survive based on a crab and a barrel thought process.
They didn't have that. The Southern comfort allowed them. I
don't remember them ever being a serious beef. If it
was a rap argument, it was a rap argument, but
it was never really. The only one I seen was
the pastor Troy master P thing, but it still was
(14:28):
in lines of hip hop, you know what I mean.
It wasn't like it was disrespectful, but it wasn't like
how the North we carried it, you know what I mean.
The way we carried up North is like we expose
you and you're never supposed to come back around. The
ecosystem here allowed both of them to live. It was like,
well people are like him, y'all go over there, people
(14:50):
will hug him.
Speaker 2 (14:51):
But I seen it when they started.
Speaker 8 (14:53):
And when I said when Andre said the South got
something to say, I felt like they did here.
Speaker 2 (15:01):
I felt like they was like, so what y'all gotta say?
Nobody give a you know what I'm saying.
Speaker 8 (15:07):
And even though they was making these smacks and people
was respecting them and it was just them, it was
like outcast was the whole Atlanta. But really he was saying, yo,
anywhere from New Orleans down to Miami, South Carolina, North Carolina.
Bro we on some you know what I mean. But
Atlanta still was just in a pocket. I remember j
(15:30):
JD running it, and I felt like they wasn't respecting
him as an Atlantian. They was respecting him as a
New Yorker. I was like, yo, bro, he going crazy
down here. You know, it don't matter where are you're from.
He representing Atlanta, but I felt like they didn't give
him his props. So I remember specifically when Little John
(15:50):
came out, it being a real like dangerous peace in Atlanta.
Like it was like a Little John came out and
crunk started.
Speaker 2 (16:00):
Bro. That's when Atlanta was like we it, you know
what I mean?
Speaker 8 (16:04):
Because they stuck together one but you'll go to their
clubs like the Bounce at five five nine, Chocolate and Autise,
and it was just this is what it is. We
don't want to hear nothing, you know what I'm saying.
Five five nine, You probably won't hear any biggie, any
j You might hear some old school Tupac. But they
(16:25):
created a way for themselves by saying we are Atlanta
and this is what it is. And I felt like
that's where it turned into the juggernaut of like Okay
to Atlanta, that's it, like this is this is it?
Speaker 2 (16:41):
Ayrena.
Speaker 1 (16:42):
Jamaine dupri was definitely key to a lot of what happened,
especially in Atlanta, producing various acts that he introduced and
as an artist himself, I mean back in the days
for y'all that don't know, you gotta remember, Jermaine Duprix
started out as a hip hop dancer for the group
Houdini and was a part of one of rap's first
big tours. So Jermaine was moving fluently between New York
(17:07):
Atlanta like diplomatic style, paved the way for a lot
of what would then happen in the South.
Speaker 2 (17:12):
Through incredible relationships he had built.
Speaker 1 (17:15):
Along the way. And then when Little John and that
crunk sound drop, Oh my goodness, what a big impact
that had Coast to coast.
Speaker 2 (17:23):
DJ Scream Atlanta mixtape legend.
Speaker 9 (17:26):
There's a lot of unity in Atlanta. If you look
back to a lot of the music videos, if you
look back to like Bold Crushing that were Scared and
Killer Mike and Ball Crushing, Ti Past Troy and Little
John and y'all Blood Jermaine, all of them what kind
of like, you know, rocking and I don't know the story.
Maybe they were really rocking, maybe they weren't. I don't know,
but it looked great. See, my thing was, there was
(17:50):
never a more impactful moment.
Speaker 2 (17:53):
To me uttered than seeing the wool Tag thing.
Speaker 9 (17:58):
It's like, how can all these black people be together
and I hate each other? You say, like, it's just
kind of crazy. You have to give respect to the
person that brought them together. And then we saw with
Dungeon family, and then we saw we're like death Row
Records and it may not last forever, but in our city,
you know what I'm saying. There was a city where
I think the mentality, at least at the time was
(18:20):
even if I don't like Homie and he's doing his day,
I ain't gonna hate on even if we have a
personal thing. I can't hate on the fact that his
music jam. Oh man, it's simple bad bass eight o
a bad bass. Like the producers down south. There's a
(18:43):
lot of producers down south that can sample on.
Speaker 2 (18:45):
Their dope at it. You know what I'm saying.
Speaker 9 (18:48):
The producers are East Coast, you know, you go back
to the classic producers. The way they sample is just
a match. It just gives you a feeling, right, And
then the big drums in the South stay at oh
eight man, like just hear you feel in the car,
you feel in the club. It's spiritual like you feel
(19:08):
at eight O eight.
Speaker 2 (19:09):
You just do so for you.
Speaker 9 (19:11):
And I said for a long time, what's your cheek?
Speaker 2 (19:13):
Cole atoa? You know what I'm saying.
Speaker 9 (19:16):
And now you see different reasons tapping into that eight
O eight and this in their music.
Speaker 2 (19:21):
I really feel like the AO eight's is tribal. It's spiritual.
Oh man.
Speaker 1 (19:26):
DJ Scream is so right. I love the sound of
that eight o waight. That deep Bait's definitely a tribal
vibe going on rattles you to the bone. Marrow Man
had a trunk of them cars rattling hard boy shouty das.
Speaker 4 (19:39):
These artists, they drew inspiration from one another, right like
most of my friends all love a ball and MJG
like you know, and they are one of the greatest
Southern hip hop acts ever. Right, you talk about it
UGK and what UGK meant to Outcast and the Dungeon family.
They all family bun be like we all kind of
grew up, you know, in and we vibed off the
(20:01):
same music and some of the sounds are very similar.
And so I think Atlanta, you know, Atlanta helped to
jump it off. But those guys, you know, rightfully so
were doing their own thing.
Speaker 5 (20:12):
And you know in Houston and.
Speaker 4 (20:14):
The Ghetto Boys, the Ghetto Boys also used live instrumentation
and had funky beats, and so it was just that
Southern love, that Southern hospitality, if you will. And so
there's so many similarities and synergies there. But I think
what Atlanta did for the Memphiss of the world and
the Houstons, I think, you know, you think about regional
(20:34):
hip hop, sometimes they look at they would think, okay, Houston,
you know, these are regional acts. Memphis, that's a Southern
regional act, but the artists from Atlanta were able to
break nationwide, I think, and it gave some of those
regional hip hop acts the opportunity to break nationally and
even globally.
Speaker 1 (20:54):
Globally, Oh Man Sean, you mentioned eight Ball and MJG. Man,
those one of my favorite groups right there. Man spade
Ja's pimping and that's on just like Candy Man.
Speaker 2 (21:04):
Them dudes was so cool.
Speaker 1 (21:05):
I remember when I signed and put out the group
Crucial Conflict, a big influential group out of Chicago that
had a whole lot of country swag.
Speaker 2 (21:15):
But who would know unless you knew Chicago.
Speaker 1 (21:17):
Well, that a lot of folks when they migrated up
to Chicago from Alabama and places like that, Mississippi, A
lot of them people in the especially on the West
side of Chicago, kept a lot of that Southern flavor
with them and found this incredible group, Crucial Conflict, and
put them together and their first show at the Regal
was opening for eight Ball and MJG. And I was
(21:38):
so honored to meet those casts backstage and watch Crucial
Conflict blow up talking about Hey in the middle of
the Bond we Go Wade from Organized Noise.
Speaker 7 (21:48):
Master P and Baby did become art with artists, but
they were really master P got that the hustle that
he did when he was talking about the Bay Area,
where he was out in the Bay Area and figured
out that they were selling records just in the Bay
a carry like records that wasn't selling in no other places,
but they was going to three hundred thousand of gold
independently and they.
Speaker 2 (22:07):
Was getting rich.
Speaker 7 (22:08):
The fact that he even took that mentality to the
South and said, who cares if we get played on
the radio, Let's just sell them.
Speaker 2 (22:16):
Let's just tell these records.
Speaker 7 (22:17):
Let's sell these records and get this money and split
it up and keep doing it.
Speaker 2 (22:22):
I'm very proud of all them.
Speaker 1 (22:24):
Iced tea at the rapper West Coast Hip Hop pie
in there.
Speaker 10 (22:28):
I think that early, you know, I came out, but
it's only one rapper. Then you got kind of like
too short coming through bringing the Bay up. Even ghetto
boys out of Texas, they not really West Coast, but
they was coming out, but they But I think once
nw WAD started making their moves and then the real
bang w is where Death Row and all that started
(22:50):
happening with Pock and Sugar and all that Snoop Dog.
It was just like a title wave of West Coast music.
Death Row and them just put so many good records out.
They had so much energy going by. Now you've got comptus,
most wanted, you got all of us. It's it's a
lot of action going on in the West Coast. But
I think the real Death Row movement really was the
(23:12):
most powerful one that really said, hey, the West Coast
got a sound. Dre really using a lot of George
Clinton sounds really stamped in. You know, Warren g created
Chief Funk. We just had a different energy. See, the
thing of it is, it's like music matches the culture,
not the culture, but the climate of the place.
Speaker 2 (23:34):
So if you listen to New.
Speaker 10 (23:35):
York, New York is Wu Tang Clan, New York is
the trains, New York is static. Like you step on
the streets, it's like that's New York, La, you riding,
We're riding. So the music's a little more laid back.
We got palm trees, we got big booty girls. Everything
is cool until the pops off. That's la. Down south,
(23:56):
they got a southern swag. That's why Usual your goodie
mob and on them, So it has to match. Hence
what Russell told me when I started, you have to
rep where you're from. The music has to reflect to
live crew. It was a Miami Sam that Miami basse.
They kicked in, all the booty shaking and all that
was down there. So when LA found its real place
(24:20):
was when Dre and them really locked in that depth
roaw sound.
Speaker 2 (24:24):
As far as the West Coast hip hop scene and
what that was.
Speaker 1 (24:27):
You know, my show You're on TV raps was important
because this is where we got to show you and
oftentimes go to the neighborhoods where these artists lived. NWA
debuting on my show back then easy that whole thing
and me and Dre. I developed a good friendship with him,
and he asked me to come and direct Snoops first
video back then for the song What's My Name? And
(24:50):
that ended up with me spending that whole summer out
in La crashing at Dre's crib because the focus was
finishing up Snoops album and I had to fit to
shove his first video, so I got to really feel
that whole LA lifestyle. The music was really designed to
listen well while driving, and it was so amazing and
(25:11):
listen to records like the Chronic and other things that
like Dre was cooking up while rolling from one part
of LA to the next in those long drives. So
it was really important and really a first hand look
at that whole part of hip hop blowing up.
Speaker 2 (25:28):
The doc rapper, producer, songwriter.
Speaker 11 (25:32):
For me, when it showed up, it's just, you know,
look rock him says, it ain't where you fromis were
yet and so it came from New York, but it's
blongs towards all and it's going to manifest itself through
each individual in their own depending on what the zip
code is. But me, I'm a Texas dude, Dallas, Texas,
(25:56):
but I'm a East Coast MC in my heart, you know,
and so but I was raised on West Coast music,
in hip hop. I'm just a hybrid of all of
those things that that that's what kind of made I
think it's makes me sort of unique coming up in
(26:17):
this game. But hip hop is a universal thing to me. Bro.
We all respect those boroughs where it found its way
to us, but it's a universal thing, you know.
Speaker 2 (26:29):
That's worldwide lie.
Speaker 1 (26:32):
Hip Hop's influence was spread far beyond its musical artistry
into many of the industries and forms of expression. With
the cultural and worldwide dominance of hip hop growing and expanding,
we would soon see its expression in the world of fashion.
Hip Hop didn't just create a music genre, it defined
a fashion style. What started out as street where urban
(26:55):
weere evolved into a unique style that has become high
fashion at the highest level, but only matched by his
attitude and confidence.
Speaker 2 (27:06):
Ralph McDaniels, co creator of New York's.
Speaker 1 (27:09):
Pioneering show Video Music Box and currently the hip hop
coordinator for the Queen's Public Library.
Speaker 2 (27:17):
I think hip hop's impact on lifestyle.
Speaker 12 (27:20):
And the arts, and it's always been about just do
your own thing, you know.
Speaker 2 (27:25):
It's always it's.
Speaker 12 (27:26):
Never been like fit into this, you know, even though
it is that, but we always say do your own thing.
And if you if you operate like that, you're free
to do whatever you want to do. Russell Simmons, first
time I went to a record company, you know, sneakers.
He had his hat to the back and he had,
you know, his hoodie on, and I thought you were
supposed to wear a suit when you walk into one
(27:47):
of these type of offers and I was like, they're
not gonna let him in, and he walked right in
and they were.
Speaker 2 (27:53):
Like, Russ, what up?
Speaker 8 (27:54):
Russ?
Speaker 12 (27:55):
And I was like, so, if you have something that
people want, you can wear whatever you want to wear
and look and talk however you want to talk if
as long as you bring them what they want. And
that was a game changer for me because I was like,
I didn't want to get dressed up and wear a
suit everywhere with in hard bottoms, you know. I was like,
mm hmmm, I'm throwing my sneakers on. Were good now
(28:18):
And that changed everything. And everywhere you went, everybody looked
like Russell, you know, they had on a little pack
of sweater or whatever and they talked like him. And
I was like, this dude changed everything, you know, like
this is how we're gonna act. And I don't know
where he got it from, but this is how we're
gonna act. That's what hip hop does.
Speaker 1 (28:37):
Great point, Ralph, you know, the bold and disruptive nature
of wearing jeans and sneakers to a business meeting.
Speaker 2 (28:44):
I spoke volumes back then, and that's a part of.
Speaker 1 (28:47):
The disruptive nature at the core of hip hop culture
without question, swagnificent for sure. Yes, indeed, Karl Kana, fashion
designer and the godfather of urban street wear.
Speaker 5 (29:02):
Hip hop was everything in the fashion world.
Speaker 13 (29:05):
When we talk about fashion and hip hop, you know
when people talk about who started street with, I say, here,
what time? When we started, I didn't really know where
that my end.
Speaker 5 (29:16):
Game was going to be.
Speaker 13 (29:18):
But I knew I was doing something that was right.
I knew I was doing something that's fulfilling. I knew
that I was doing something because when we went to
the stores, we didn't see any of our people being
represented to the fashion world. But we spent all our money,
me and all my Frederick always was broke. We had
our fresh clothes. So this thing called fashion and stink
care hip hop was kept calling our name. And I
say two people all the time. Sometimes destiny is calling
(29:40):
your line, but you got to pick up.
Speaker 5 (29:42):
The call right.
Speaker 13 (29:44):
So when I saw how much money he was spending,
and I saw my dad, how I got into fashion.
My dad used to get his close made by Taylor,
my dad's in Panama. He won his clothes to fit
in a certain way. He used to go to the
last street buys, Baby Kin then take it back to
flap Wish, So I tail and Flappish Telling used to
make it then, so I kind of saw the process
(30:06):
of making your own clothing and that's what it inspired
me to start making my own clothes. Or when my
dad my mom got divorced in East New York, a
lot of my friends used to shop at the same stores,
and if I had something fresh, I'm not going to tell.
Speaker 5 (30:19):
You where I got it from.
Speaker 13 (30:19):
I don't want you wearing the same thing I died, right,
So there's a lot of competition.
Speaker 5 (30:22):
Does those secrets? You know what I'm saying.
Speaker 13 (30:24):
And then like I remember all day I was thinking,
I said, damn, but I make an alpha. My dad's tailor.
None of these dudes what happened, aren't sisked. My dad
can make an outfit. He was kind of surprised of the accident.
He's like, you want to make an outfit?
Speaker 5 (30:35):
I was like, yeah.
Speaker 13 (30:36):
So I went to the land, said, well, five year
olds of linen, and I brought it back to his
tailor and I told him I wanted a Jeane suit
style made out of linen. I kind of designed when
I wanted, but I told him I want the pants
led to be bigger. But back then we will look
at a bigger clothing, but it wasn't in the stores.
I'm saying it had no designer was making baggy closed.
So once I told him that, he said, shung's on
(30:57):
orbit of the legs for you. So when I wore
the outfit around, it's like, man, where'd you get that from?
You get a fund So you know, I ain't telling
them about my tailor, right, I said, if you want,
While'll make you one. So I used to have all
the hustlers coming up to giving me was of cash
and to buy my outfice that I had on. They
wanted every color. So that's kind of how street gear
was starting. That's kind of how I got into the business,
(31:18):
selling to the hustlers first, and then it's started transpired
from there.
Speaker 1 (31:22):
Fascinating to hear carled Kana's origin. Man, you know, as
a true pioneer of hip hop fashion. You started with
cutting sew in the same way Dapper Dan did in Harlem.
Although DApp was, you know, cutting leather and doing incredible designs,
unique designs using Gucci, Louis Baton and MCM's logos. His
(31:44):
original clientele. Just like yours car with them street corner
hustlers and those rappers that was about to blow up.
Speaker 2 (31:52):
Kid Capri, Grammy Award winning DJ and producer.
Speaker 14 (31:56):
You go back to right DMC for duc the Didas
suit didas sneaking with with no laces in it? When
did the Garden put the sneak up? Twenty thousand people
had to sneak of. Adidas gives them a deal back.
So you got Adidas that been Adidas forever coming to
a hip hop constant and seeing this something they've never
(32:17):
seen before and a whole Arenas holding they sneak.
Speaker 2 (32:19):
Up who did it first before them?
Speaker 14 (32:23):
And this is in the eighties, so it always been
a part of hip hop since then. You were seeing
fat farm rock aware, you know, like you see these things,
They're always been there. Cross colors, this hip hop fashion,
Carl Kana hip hop fashion, timber Land became hip hop fashion,
Tommy Hill Finny hip hop fashion. Kelly Hanson them saying.
Speaker 2 (32:48):
All these things became Gucci, Louie to.
Speaker 14 (32:51):
Talk or hip hop fashion.
Speaker 1 (32:56):
It's not hip hop fashion.
Speaker 14 (32:57):
Apociate all those but we may become that like Feliz,
before people knew with feelis Feeve was out way years
white people tennis plays. We was wearing Feliz before anybody
knew what felives were, years before they wove. And when
Felis came out, they thought it was a new thing.
(33:18):
Balley been out, Pack Hicks been out. It's just that
it came to the hood later. But I was wearing all.
Speaker 2 (33:24):
That Kwime rapper and record producer.
Speaker 15 (33:28):
Hip Hop has been around long enough to now that
the major designers are most likely hip hop fans or
understand the culture of hip hop in their DNA as
opposed to thirty years ago, it's some guy that designed
ball gowns and don't understand what street where it is
at all. And we've also incorporated so many other styles
(33:49):
that we've like gumbo, We've mixed everything in and everything
is now considered hip hop fashion, and it's just very interesting.
I think again, the quick answer or as fashion would
be extremely boring and extremely how do I put this
without offending because I don't want to do that, extremely
boring and extremely effeminate. You understand what I'm saying. There
(34:12):
wouldn't be any extra forms of masculinity in fashion without
hip hop fashion. I think hip hop brings that grunginess
to certain fashion line that probably would not have been there,
if that makes sense. And it's weird because hip hop
fashion is so ingrained in our culture. You know, you
(34:33):
could take this like this Ralph Laurentz sweater and I
could wear it a certain way and it could be
hip hop. But somebody could say, no, that's college fashion.
You know, that's collegiate fashion. But yeah, but it could
be twisted here. That's the greatness about hip hop fashion.
It could be twisted in so many different directions. You
could take ball gowns, and you could take college wear,
(34:55):
and you could take black tie wear and flip it
in a way where you turn it into hip hop fashion.
So now it's like, you can't. I don't think there's
any such thing as just like a definitive quote unquote
hip hop thing. It's a spin on whatever you already
have that makes it hip hop. And know that spin
(35:15):
that is in the DNA now makes fashion extremely interesting.
Speaker 13 (35:22):
Carl Cannot Cross Colors played a major major role in
the success of Carl Cannot.
Speaker 5 (35:27):
Okay, the owner cross Clus's name is Carl Jones T J.
Speaker 2 (35:30):
Walker.
Speaker 5 (35:31):
All a lot to them.
Speaker 13 (35:32):
You know, Carl had the infrastructure set up. They had
the customer service, the shipping, the receiving. A black owned company,
they were on their grind and what calar can I
need is what they had. We need the infrastructure that
they have, they had something I needed and we was
it into a system as well too, because Cross Colors
preferred to have quark Can I be on their team
as opposed to me, to me being their competition, Okay,
(35:54):
they didn't want me to be somebody else who compete
against them. It's better to have two black owned companies together,
umbrella and we could dominate together. So together we were
a lot more powered for so Cross Colors helped set
the infrastructure and we came in and we took the
streets and get Cross Colors to the street fun that
they needed and they brand because that's what we wropped
the streets. We knew how to get the hustles in
(36:16):
our cold and we knew how to get this stuff
in every inter city store in every hood. That was
our main focus vocals on inner city stores in every hood.
Speaker 5 (36:23):
That's all the hustles shop and that's how hold they
need to be.
Speaker 13 (36:25):
So we have a philosophy on how we wanted to
promote and distribute our brand.
Speaker 5 (36:29):
I feel like the call cannot grand.
Speaker 13 (36:31):
What we've done is that will be shown that you
could be yell and compete against the big boys and
compete against big corporations is out there now. That being said,
the rappers they have to begin for once in terms
of exposure and things like that. So I felt like
we played our role. I honestly feel a papa doesn't
inspire people that you could become a businessman.
Speaker 5 (36:52):
That you don't have to be a rapper.
Speaker 13 (36:54):
Right, we showed that you could just other ways you
could get big and this business don't happen because everyone
the chances of you being successfu raptist him and now
there's a very few successful Baptists back in the days. Right,
he had a hand ten twenty the most, right what
his other abbeys Other ways you become successful as business
and olding became a major major force that even every
(37:15):
rapper started doing their own colt rhine as well too.
They saw how powerful and how big this business was
out influential they were at the same time. So I
feel like the calal cannot grant inspired people just on
the business level to be young black and be successful
and could people with the big dolls. I think they
inspired a lot of corporations yet to look at hip
hop and a whole different manner. They're seeing how big
this thing could get. I mean, look at the owner's sketchers.
(37:37):
He saw he came to me, wanted to clowk not footworth.
He knew nothing about hip hop, but he saw the
influest that we had on the marketplace. He wanted he
wanted in. So it shows you that how influential this
whole movement has been overly.
Speaker 1 (37:49):
Is don Cannon.
Speaker 8 (37:51):
I've heard from ten years old to this year that
it's just a fat.
Speaker 2 (37:58):
It's just a fat. It's gone way. They ain't gonna y'all.
Speaker 8 (38:01):
Ain't y'all gonna be listening to something else when you fifteen,
something else, when you twenty twenty five, thirty forty came.
Speaker 2 (38:07):
I was like, you're like, yeah, you know what I mean.
Speaker 8 (38:11):
To the point where I when I told the story
about my mom saying hip hop died in nineteen ninety
seven to now her listening to hip hop records and
asking me to make her playlist of hip hop records.
Speaker 2 (38:25):
My au Dinna Rest in Peace was a huge Tupac.
Speaker 8 (38:27):
Fan, and that came years after saying rap wasn't gonna
be there.
Speaker 2 (38:34):
She was just always cool with it.
Speaker 8 (38:35):
But everybody's saying that rap was it gonna be there,
or hip hop was gonna be there. We're like, look,
we're fifty years old. We half a century. Bro, What
in the world, how did this happen? When it's not
gonna die. It's a regenerating organ This joint just keep going, Bro,
like we're gonna have down spots, We're gonna come up.
Speaker 2 (38:55):
We're gonna down spots come up. Like.
Speaker 8 (38:57):
It's just it's influenced. Everything influenced. People don't do enough studying.
But R, R and B records are hip hop records.
Taylor Swift beats and Katie Perry beats their hip hop beats.
Speaker 2 (39:09):
That's in a whole nother genre. We got country, which
was known a lot of.
Speaker 8 (39:17):
It was like, no, it's hip hop. Gospel, which was
also any former hip hop was a secular space. Now
guess what it's in gospel.
Speaker 2 (39:29):
Music, you know what I'm saying. So it's like we
influenced everything.
Speaker 8 (39:32):
We influenced, Bro, We influenced the touchdowns in football, you
know what I mean? Every dance they doing now it's
all hip hop influenced, rap influenced, basketball dunks and swag.
Speaker 2 (39:46):
Hip hop influenced, you know what I mean.
Speaker 8 (39:49):
The tables have turned from hustlers and how they get
their money. It's based on hip hop, you know what
I mean. It's what Elliott made for the artists. You
know what I'm saying. You turn on commercials for TV salesmen,
they're using hip hop influence. Sports Center, you turn it on,
(40:11):
it's hip hop influence. So it's definitely beyond one hundred years.
I can see, like it's just it's gonna go like
it's just the influences.
Speaker 1 (40:21):
On the next episode of the fifty Years of Hip
Hop podcast series, you know it, it's time for ladies first.
That's right from Queen latifas you and it Y all
the way to what Cardi B's.
Speaker 2 (40:32):
Been up to lately.
Speaker 1 (40:33):
Women MC's who have played a strong part in development
of hip hop culture from the very beginning. They continue
to rule their queendoms and make the moves that need
to be made. We're gonna explore the evolution of the
women of hip hop for a variety of topics, from
the founding mothers to the evolution of women in rap today,
(40:53):
and through all this success and failures and triumph and turbulence,
we want to know, can hip hop outlok most of
us and make it to the century mark?
Speaker 2 (41:04):
Haha. We're gonna get into all that, baby.
Speaker 1 (41:07):
Fifty years of hip hop podcast series Rose on Roll Strong.
This episode has been executive produced by Dolly s. Bishop,
host it and produced by your Boy five five Freddy.
Produced by Aaron A. King Howard. Edit, mixed sound by
Dwayne Crawford, music scoring by Trey Jones, Talent booking by
(41:27):
Nicole Spence,
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