June 11, 2024 • 96 mins
In late 2017, DJ and New York Hip Hop legend D-Nice sat down with QLS. He opened up about Scott La Rock's life and death, how "Call Me D-Nice" could have been "Call Me Biz Markie," plus Questlove gets some juicy tales from the Latin Quarter featuring Mike Tyson, David Copperfield and more.
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Speaker 1 (00:00):
Questlove Supreme is a production of iHeartRadio.
Speaker 2 (00:04):
What's Up, Everybody, It's Sugar Steve from Team Supreme. June
marks Black Music Month. We often speaking about it on
Questlove Supreme, and we've had some of the legends responsible
for the recognition on the show. Every day this June,
we are running a different episode from the QLs archives
to honor the tradition and intent of Black Music Month.
This week we are focusing on some of the great
(00:25):
hip hop conversations in the QLs catalog. Our leader Questlove
has a new book out called hip Hop Is History.
Check it out at questlove dot com. D Nice has
become one of the top DJs, but his hip hop
journey is one of a man who wears many hats.
Listen back to this QFS.
Speaker 3 (00:48):
Suprema Sun, Suprema roll Call, Suprema Sun Sun, Suprema roll Call,
Suprema Sun Sun, Suprema Ro, Suprema Son Supremo.
Speaker 4 (01:03):
Roll call, Hello, Supreme fam Yeah, quest Lovers flock, Yeah,
what up?
Speaker 1 (01:08):
D Nice?
Speaker 5 (01:09):
Yeah, Suprema Supremo, role called Suprema Son Son Suprema Rollante.
Speaker 1 (01:20):
Is in the building. Yeah, I'm willing and able.
Speaker 6 (01:23):
Yeah.
Speaker 1 (01:23):
Compared to me Yeah, just chrmebs on the table, sup.
Speaker 6 (01:30):
Supremo, roll call Suprema Supremo.
Speaker 1 (01:35):
Roll call. They call me sugar, Yeah, they call me spice.
Speaker 2 (01:39):
Yeah, they call me everything.
Speaker 1 (01:41):
Yeah, but nice Supremam, Mad Supreme.
Speaker 7 (01:52):
I hate Fante. Yeah, he stole what I write. I'm
just gonna say up the nice.
Speaker 3 (02:01):
Sa Jordan Son Supremo roll call on paid bill, Yeah,
start do drag.
Speaker 1 (02:11):
Yeah, just can't take it. Yeah, jet L.
Speaker 6 (02:15):
Roll call Supremo on the Supremo, roll call Suprema something
Son Supremo, roll call.
Speaker 8 (02:23):
My name Yeah, oh yeah, that's right. Yeah, that fine
is over there though. Yeah, his name is nice.
Speaker 6 (02:31):
Roll call Supremo Supremo, roll called Rocket Son Son Supremo,
roll call.
Speaker 8 (02:41):
Yeah.
Speaker 9 (02:41):
I don't know what to say. Yeah, I haven't written
the rhyme. Yes is back in the day.
Speaker 1 (02:48):
Uppreva Safe Suprema, roll call Suppreva Son Son Supremo.
Speaker 6 (02:55):
Roll call Supremo soth soun Supremo, roll call Suprema Son Son.
Speaker 4 (03:02):
Subpremo role All right, Boss Bill with the with the
field goal. Yeah, with the field goal with one second left,
half pint half court Buzzy bean y one on No.
One had a twenty five to life Reference was going
to do that. That's why on the table I didn't
touch called Denic. Sound was like, let me leave, call
(03:22):
me Denice. Someone else is going to do it, right,
So then I was like, okay, crumbs on the table.
I don't think nobody do that one and.
Speaker 7 (03:29):
Called me with the Scott Rock though I wasn't where
was your one? It was literally almost the exact same ship.
Like I tell no fables compare to Boss the table.
Speaker 4 (03:40):
Oh god right mind, Well, ladies and gentlemen, welcome to
another episode. Of course, love Supreme, IM course love this
team Supreme in the house.
Speaker 1 (03:47):
Hello, guys. Yeah, our guest.
Speaker 4 (03:50):
Today, uh was sixteen when he entered the game back
in nineteen eighty something, and I believe that he's seven
teen some thirty.
Speaker 1 (04:01):
Years later thanks to that early morning drinking coffee brought
you back QS coffee. Yeah, I'm just saying that.
Speaker 4 (04:14):
Out of anything that he's done in history, I'm more
curious about how you've yet to age in hip hop.
Speaker 1 (04:22):
But he's a hip hop legend.
Speaker 4 (04:24):
He's part of He was part of the legendary Boogie
Down Productions crew from the South ROX that really literally
changed the face of hip hop and advanced it to
an intelligence level where nerds like us could participate and
engage in the culture. And he's had the craziest journey
(04:49):
since I mean as a photographer, as a DJ, as
a producer, and as a coffee maker. Apparently, ladies and
gentlemen welcome to quest of me.
Speaker 1 (05:00):
D Nice. Yes, yes, thank you for having me taking
out your suckers. And you don't know how did so?
How did you take out those suckers? I still don't
know how I did it? Yeah.
Speaker 4 (05:14):
Side note, d Nice has half of us in this
room engaging in course slups Supreme coffee, which is it's
very nice.
Speaker 1 (05:25):
It's coffee and passion coffee. And yes, black lives matter, fashion,
black lives love. That's hilarious.
Speaker 4 (05:38):
Shout out to Diddy and listen to thank you, Thank
you Diddy. In this room, I forgot my father. Shout
out to my twin brother Love Brother, Love Love and
Alyssa for this.
Speaker 1 (05:50):
How's it going? So you you said you had a
rough night last night. I had a rough night, man,
What did you do? Man?
Speaker 9 (05:56):
So it's crazy kind of being in this world where
you I met with an invent last night that offered
me like a few million to open this business. So
I went out to celebrate after that, and I celebrated
a little too hard at a restaurant called Charlie Bird.
I mean I probably had like five bottles of wine.
Nothing hard, but it was fantastic wine. The song just
kept bringing first of all, sound mad nerdy like.
Speaker 1 (06:20):
Nerds right now.
Speaker 9 (06:21):
The song brought out, I mean, everything was just amazing.
Speaker 3 (06:24):
Man.
Speaker 1 (06:25):
So I'm recovering from that right now. Congratulations for you. Yah,
so super excited.
Speaker 8 (06:29):
He said that sentence like it happens all the time.
Speaker 1 (06:31):
You know. No, but I'm saying, well, that's what I
was going to go to. How many jobs do you
have mine? Man?
Speaker 9 (06:42):
Here's the thing, man, Like, coming into the hip hop
back in eighty six, I had no real role in BDP.
You know, I wasn't I wasn't in real MC at
the time. I wasn't really producing at the time. And
the one thing that Scott Larrock told me early on was, dude,
you have to know how to do everything in this
room in case something would have happened to one of us.
(07:02):
So that's how I ended up becoming a DJ. That's
how I learned learn how to write rhymes. It was
really because I had no real role, so I tried
to fit in and I did a little bit of everything.
And to this day, I just feel like I can
do anything, you know. So in terms of like businesses,
you know, I'm trying, not even trying. I'm about to
open the club, you know, working on that now. You know,
(07:23):
the DJing takes me all over the world. Obviously, Photography
has been great to me. And you know, I've shot campaigns,
done America's Next Top Model, Hennessy campaigns with this guy
over here, you know, you know, and it's.
Speaker 1 (07:35):
Yeah, I forgot. He's like wait, I was looking around,
like who are you talking to? You know, But I
just I love being creative. That's it. I love being created.
So you know, I.
Speaker 4 (07:51):
I know you, but I never ever nerd it out
because I knew I was going to get you on
the show one day. And you know, I have so
many questions about just your your journey and your entry
in the hip hop and and and all those things.
First of all, where where were you born?
Speaker 1 (08:09):
Can I assume that you.
Speaker 9 (08:10):
Were born in this I was so I was no, no, no,
I was actually born in New York. I was born
in Harlem Hospitals.
Speaker 1 (08:16):
In South New York.
Speaker 4 (08:18):
Yes, how come people that come on the show that
represent a city and they're they're born from We're never
they don't represent that.
Speaker 9 (08:28):
I wish I was born in the Bronx, but no,
my heart is always there. But I was born in
Manhattan in Harlem Hospital, but raised in the Bronx. And
the funny thing is I wasn't even raised in the
South Bronx.
Speaker 1 (08:40):
So we're part of the Bronx.
Speaker 4 (08:42):
Well I'm assuming when I say, you guys, what I'm
saying b DP like, we're part of the Bronx.
Speaker 9 (08:47):
So care Ress was from Brooklyn, so he wasn't really
from the Bronx.
Speaker 1 (08:53):
Yeah, Marley didn't.
Speaker 9 (08:53):
Marley Caress was from Brooklyn, So South Bronx actually represented
where he lived at the time. He lived in the
Men's Shelter and DJ Scott Larrock was a social worker
there Kres. You know, his name wasn't cars He was
bed number five, seven, six, six, whatever, But no, he
lived there, and my cousin was a security guard at
(09:15):
the shelter MINS Shelter, Franklin's MINS Shelter in the Bronx.
So when they talk about well, not even they when
we talk about South Bronx, it really represented that particular
area really where Scott lived. And I was a part
of the group because you know back in the day
when you say how many jobs, like I loved cooking
growing up. And one day, this is really how it happened.
(09:38):
Was I was cooking something for my cousin and brought
it over to the shelter and then he introduced me
to scottland Rock and Scott looked at me and said,
you're going to be in my group, just like that
dead ass serious. He was like, you're going to be
in our group. You had no he had no clue
of what The very first day that I met him,
he wanted you to cook wait for the group. Probably no,
(10:01):
but yeah, that's it's crazy when I think about it, man,
it's it's insane.
Speaker 4 (10:04):
What was your musical experience prior to that, Like, were
you at least observing what hip hop was becoming back
in the eighties, Like were you at park Jams any
of those things?
Speaker 1 (10:15):
Or was that like after your time?
Speaker 9 (10:17):
No, no, no, I was always into music, but oddly
enough it wasn't hip hop. So I grew up, which
you know, I'm not just saying it's because you're here.
But I grew up listening to just soul music. So
when I hear that in a party to this day,
it's actually the reason why I DJ. I grew up
listening to, you know, just a lot of James Brown
stuff like Melbourne Moore, like everything in the seventies was
(10:38):
like that was my era. And the first hip hop
record I fell in love with wasn't even like a
full on record. I remember walking by a laundromat and
someone was playing like Pebbly Pool. So that was like
the first time that I really fell in love with
hip hop because she was it was like on an
old mixtape and she was rhyme, and you know, I knew, like, man,
(11:00):
I want to be involved with it.
Speaker 1 (11:02):
And but.
Speaker 9 (11:05):
Yeah, so that was my music really started with with
with hip hop with Kress, like that was you know,
outside of the Pebbly Pooh stuff. I never wanted to
wrap until I met them, until I met Scott and.
Speaker 1 (11:17):
Karas, Wow, that's okay. Well, so then.
Speaker 4 (11:24):
How to become like you know you you're in the group,
until you know you actually you guys doing things and
like how do they develop as a as a band
first of all Who's NBDP.
Speaker 9 (11:38):
So there was the group bugget On Productions, which was
it consisted of kras One, Scottland, Rocky myself. Then in
the crew you know how you have a crew of
people just roll with you. There was always you know,
Miss Melody, Mick Bull, a gentleman we called RoboCop manager
Moe and I see.
Speaker 1 (12:00):
Number one, yea, I should have just.
Speaker 9 (12:04):
Should have did the intro to that record, but but
yeah no, but that was like Willie d. That was
the core of the crew. But in terms of making
records and producing in the studio was Jess Cararas, Scott
and I what was it?
Speaker 1 (12:18):
Okay?
Speaker 4 (12:18):
So, uh, I guess could you could you tell me
of of just the genesis of like the first album
that you guys made together and yeah.
Speaker 9 (12:30):
No, So there are a few things to talk about
with the Criminal Minded album. The only song that I
actually worked on with the group was South Bronx and
South Bronx was done by mainly by Scott Lorock and
that was my first time being in the studio. We
were at a sixteen track studio in Queen's.
Speaker 1 (12:50):
Can I add something? Uh?
Speaker 4 (12:52):
That was the most evil intro of all time? And
I always tease you about this because I know that
you were you know, obviously were like, all right, you
give a shout up, but you're your your intro, Yo.
Speaker 1 (13:04):
What's up Scottland Rock?
Speaker 4 (13:06):
Like it was just like we always as a kid,
me and my friends were always like, yo, t nice,
it's a villain man like like we we had this
image of you being like a Sniley whiplash from from
my cartel.
Speaker 9 (13:23):
Meanwhile, I was the skinny kid you just gotta hear
like Scott Rock like just gritted teeth.
Speaker 1 (13:30):
I was like, oh, he must be their bodyguard. Oh
why it was Yeah, definitely.
Speaker 9 (13:36):
I think heros probably would have preferred me being the
bodyguard than any you know. But no, when we made
Criminal Minded, like like I said, I only worked on
that one particular song with Scott you know. And you
know that was my first time in the studio, first
time sampling like anything. You know that was that was
a fantastic moment for me and uh and doing the
(13:57):
chorus of course. And the funny thing about South Bro,
I didn't even have a rap name. I didn't have
a rap name until the end of the song. Like
literally I told him to call me d Ice and
he accidentally dead serious. It was literally like are you
gonna be Dice? I was gonna be Dice instead of Denise.
Speaker 1 (14:20):
So with with the South Bronx, I've heard.
Speaker 4 (14:28):
Stories of what was the involvement with Said G or
Paul C at the time, Like, because I've heard Said
G say, hey, I co produced Criminal Minded. I've heard
Paul C's people saying that, well, I provided the drum
patches that said G had that.
Speaker 1 (14:50):
I mean just at the time, were those guys.
Speaker 9 (14:52):
Around or it's the Paulcy thing.
Speaker 1 (14:54):
This is new to me.
Speaker 9 (14:55):
Okay, you know I met Paul you know, shortly before
he passed. I didn't know him like that, and he
was never in any of the sessions that I was
a part of. Said, so here's the thing, man like,
as you know, bro like a lot of And this
is no disrespect to said because said was truly there
and said, I.
Speaker 1 (15:13):
Know what revisionism is in hip hop, especially with the legends.
Speaker 9 (15:16):
So yeah, you know, like he definitely did drum program programming,
but sometimes people mixed producing with programming a drum beat,
you know, and said did a lot of programming. A
lot of the stuff was used, you know, a lot
of his gear was used to produce those records, but
I wouldn't say he produced criminal minded. I wouldn't say that,
and I don't think KRS would say that. Did he
(15:36):
program a lot of it? Yes, but you know he
you know, wasn't He didn't do the bridges over. I
was there with South Bronx. I was there with you know,
a lot of those records.
Speaker 4 (15:45):
I think for some reason, like I don't know where
the like because in the real world make quote, making
the beat is just arranging, yes, right, but not in
him Like I've heard, you know you on the Off
Wall Masters. You hear Rod Temperton giving people like instructions.
All right, guys, you play this an account three one
(16:06):
two three, So obviously Rod, you know, if it were
in hip hop terms, then Rod Temperton would get credit
for three songs because, like you hear him, he made
giving instructions, right, And I don't know how. I guess
we're producing. It's like you have to oversee the entire
project and decide what's good and what's you know, bad.
But it doesn't work that much. Your hip hop though
(16:28):
I don't think it's hip hop, is just do you
think producer you think beat maker, and you don't really
give consideration to the person that may have actually brought
the song to completion.
Speaker 1 (16:37):
You know what I'm saying.
Speaker 7 (16:38):
And I mean, isn't in the quote unquote real world,
the producer handles the budget, the booking, the studio and
you know, hiring all the musicians like the overseer.
Speaker 8 (16:47):
Yeah, you'd like the executive producer, right.
Speaker 1 (16:50):
That depends on the genre. I think that's true.
Speaker 8 (16:55):
Fascinating. It's like class Okay, okay, yeah, I.
Speaker 4 (16:58):
Mean because I mean, well, no, no, no, I mean
I consider myself a producer, but you know, I only
see it. I only take it to the fifty yard
line because I hate doing vocals.
Speaker 1 (17:12):
Always.
Speaker 4 (17:13):
But even with that, I don't even think you necessarily
have to do vocals to be a producer. I think
you're more so the producers. The person gets the final say.
So if you get Steve or whoever to cut vocals
and then at the end you come in and say, Okay,
that's the one, then that's it you. But at the
end of the day, like I might not give Steve,
like producers credit for sitting there for nine hours and
figure out what's the wait, We're not starting to.
Speaker 8 (17:34):
Fight out loud thought I'm sorry.
Speaker 1 (17:38):
Okay, hypothetically you've gotten credit on stuff. I mean.
Speaker 10 (17:44):
In hip hop, producing is known as bringing the beat,
making the beat, and then you got a producer for
maybe the whole album, to produce the album. But each
song is produced by whoever made the beat. In rock
music other music, the producer is the producer sure of
the whole project, the album, all the songs, and he
may not have played one, he may not have written anything.
Speaker 1 (18:05):
You know he's produced. That's that's the distinction. Okay, and
there you have it, So continue DN No, I love it,
this is great.
Speaker 9 (18:15):
No, but like I said, no disrespect is said man,
but that that record was produced by Scott Lorock in
my opinion.
Speaker 4 (18:22):
So okay, Well, since you were there for South Bronx,
always wanted to know, uh, being as though you guys
were okay, so that was done I believe October of
eighty six, I remember the last half of eighty six
South Bronx was done. You guys could have laid claim
(18:43):
to the first people to use James Brown's funky drummer,
but stay, you just used the snare like you you
cut up the individual drums like no one thought at
the time, like, Yo, this this is gonna be breakbeat goal.
Why don't we just use the entire break or was
it done on an SB twelve which only holds like
(19:04):
four seconds?
Speaker 1 (19:04):
And done on an SB twelve? Damn? So that's why
you get just just truncated.
Speaker 9 (19:12):
Yeah, and that's why there's a guy because we use
funky drummer. That's why there's a guy playing James Brown.
The same guy that engineered the record is actually playing
guitar playing.
Speaker 1 (19:19):
James the end of it. Yeah, who engineered it? The
same dude. We don't use his name. I couldn't even
tell you his name. So he did everything. You don't
remember his name vocals? What the fuck? I mean at
least cut us a check.
Speaker 9 (19:35):
Bill number one. I was sixteen at the time.
Speaker 1 (19:38):
Were you were you round for the I'm not bill,
I'm sugar.
Speaker 2 (19:43):
These are bills over here.
Speaker 1 (19:44):
Oh I don't get paid either, So that's why he's
on paid.
Speaker 9 (19:50):
I think I'm going to my second class here he
starts this up.
Speaker 4 (19:55):
I'm napping already, thanks Diddy, brother Love, brother Love. So
were you around for the first round of bdpism the
kind of we got to advance pre.
Speaker 1 (20:08):
Pre Yeah, it was.
Speaker 9 (20:10):
Twelve forty one. That was the twelve forty one. That
was the name of the group, twelve forty.
Speaker 1 (20:16):
One that I didn't know. Yes, yes, that was the
fresh Prince kind of sounding. Yes. Yes, it sounded like
a PSA, like just say no the drug psy. Yeah,
that's what it's like.
Speaker 9 (20:27):
Yeah, twelve forty one was the name of the group
when Scott was a DJ and at dance Ateria, like
very old school New York club. He was a DJ
there and he used to go on at midnight and
then he told me the story of why you know,
I don't really remember, but the name of the group
was twelve forty one and that wasn't one of the
sessions I went to when I was just hanging out
with Scott was to one of those records.
Speaker 4 (20:48):
Advanced, We Got to Advance, We Got to Advance. That
was like a feel Huxtable type rap. It was horrible, man,
which probably explains that's probably what my mind. That's what
they played, mister magic. This tell us it was something else, though,
say it again. This told us it was something else. Oh,
the song that they played for him, biz tell us
(21:09):
a lot of this did tell us a lot. He said, well, no, no, no,
there's like eight other songs.
Speaker 9 (21:14):
So you know, I can tell you right now, none
of the songs on Criminal Mind it was played for
mister Magic exactly.
Speaker 1 (21:22):
I can tell you that I think that probably success
is the word.
Speaker 9 (21:25):
Success is the word was twelve forty one, and they
probably played that song. But I know for sure I
was in almost every one of those sessions, and I
know those weren't the songs that was played for Magic
at the time.
Speaker 4 (21:36):
So what was the difference though, because the eight songs
that were kind of twelve forty one ish weren't that good?
Speaker 8 (21:44):
No?
Speaker 1 (21:45):
And then you know, was it the anger of revenge.
Speaker 4 (21:48):
That sparked them to like, yo, we gotta come with it,
or because there's clearly a difference between for our listeners
that that don't know the legend of Boogie Down productions,
basically in their they're entry into the worlds at least
for us, the South Bronx and the Bridge is over
(22:10):
all these songs are sort of heated responses to mister Magic,
who scoffed at them in a rude manner when they
played their demo for him. And I guess that anger
prompted kind of a joker esque way. Did they get
a load of me kind of response? But I mean
(22:31):
the music improved ten thousand percent, So what was what
I always wanted to know, what was the difference or
what happened in the creative process that turned the twelve
forty one stuff which wasn't good to you know, the
blueprint of what hip hop would follow for the next
twenty years.
Speaker 9 (22:51):
With I know what it was in terms of production
and at the time we would hear like there was
this new wave of hip hop in eighty six eighty
seven you.
Speaker 1 (23:02):
Had Eric being rock Cam like biz, but technically you
guys were first.
Speaker 9 (23:07):
So but we heard those records though, so before they
came out, we knew, Yeah, we knew what was coming
with Marley. Everything that Marley was doing was extremely important
to our evolution. That's that's why I like, even though
we had this beef with the Jewe Crew, the Jews
Crew helped brand BDP in terms of like the sound
(23:29):
the samples Marley had, you know, the Bridge. Clearly, the
Bridge came out before South Bronx, you know, and that
sound that he was doing was so hip hop and
so raw and like you know, and you know, we
kind of loved it. I remember being in the studio
with Scott, and like I said, we were in this
sixteen track studio in the in the Queens, and even
the way that he was like sampling these records was
(23:52):
just different from me, you know, Like I didn't know
anything about being in the studio, and I know for
sure that he wanted a record that would compete against
the Bridge, like he wanted that totally. There was no
lyrics for South Bronx. It was strictly about the way
that record felt. Scott wanted to be able to compete
with that, and he was thinking from like a DJ perspective,
(24:15):
you know, not to get all deep with it, because
it's not really that deep. It's when we were in
that studio. I remember that's what he was playing, and
that's what he wanted to compete against.
Speaker 4 (24:23):
How long did it take to make? Were you guys
seventeen hour mix? Or was it like three hours? And
blame let's run into the river.
Speaker 9 (24:30):
I can say the entire album probably took. If it's
ten songs, I'm not lying to you. It was done.
I mean clearly you can hear it because it's old school,
but it was done. In ten sessions, like ten sessions
to make Criminal Mind. It was made for under ten
thousand dollars, for sure, under ten grand South Bronx. We
went in there, we did that song and at the sky.
(24:53):
We probably paid like seven hundred and fifty dollars to
make South Bronx. And he played on it and he
engineered it, he did ever thing.
Speaker 4 (25:00):
Who was the president of rock Candy Records Records, So.
Speaker 9 (25:05):
Rock Candy Records was, man, we can we really talk
right now. Rock Candy Records was a record company that
started as they sold pillows. Remember the pillows. They used
to sell like on the corner, like the big stuff pillows.
So they used to make the pillows and they were
all stuffed with like shredded denim. So the table on
(25:32):
the album cover of Criminal Minded was also a table
used to make the porn.
Speaker 1 (25:36):
Because they used to shoot porn. Damn, I don't want.
Speaker 9 (25:49):
This company was definitely like they were a small record
company called rock Candy. But in there, wait, dude, and
it gets better than that. It was like this Muslim dude.
There was Aish guy who funded a lot of it.
Always boy, listen, they made they made porn. I'm not
(26:09):
making this up.
Speaker 1 (26:10):
Always so pillows.
Speaker 9 (26:12):
There's like I'm just seing the link to them here,
Like there's a video of Scotland, Scotland Rock and I
performing South bron Chris couldn't make it, you know, not performed.
But while we're performing South Bronx, you see these pillows
on the side of us.
Speaker 1 (26:34):
An early merchan deal, early endorsement, the first three damn.
Speaker 8 (26:45):
Now you wonder what they are. Now that's interesting, a
musliming and Jewish man coming together for such a.
Speaker 1 (26:58):
Yes man, man, you're serious, No, I'm dead serious.
Speaker 4 (27:02):
So that was and then what was Boy, we got
to go further. So who made the deal to get
with these guys?
Speaker 1 (27:14):
I mean there's records there.
Speaker 9 (27:17):
We couldn't get deals. I'm telling you the real Yes,
I could never tell you all of this. Yes, he
wasn't there. The real deal is Scott and I were
walking down the street. We were like, I don't even
it's like on near Like, well, you're not from New York.
So there's a like an old courthouse on the Grand Concourse.
(27:38):
We were in that area and Scott saw he had
this newspaper and in the back of it it had
all of these companies.
Speaker 1 (27:46):
So Scott.
Speaker 9 (27:47):
We had no cell phone. Was none of that, Scott.
There was Rock Candy Records, and he got their number
from from a newspaper, like some industry like newspaper called
set up a meeting. I was on the next phone
talking to this check and this is the importance of it.
I know, I'm going way evan conversation. So that one
particular moment of him being on the phone setting up
(28:10):
a meeting to meet with the Rock Candy people, I
was on the phone just talking to just a friend
of mine. I was fifteen years old at the time.
I so crazy, man, Like I just I didn't want
to stand there not doing anything, and I wanted to
be like, well, if he's on the phone, I need
to get on the phone too. In that conversation, in
that moment of like talking to this young lady, nothing flirtatious,
(28:35):
none of that, her dude grabs the phone from a like, hey,
I know you're trying to talk to my girl. When
I see you, I'm gonna kill you. Not making this up.
In that one conversation where we worked out this meeting
to get with Rock Candy Records, I had this one
conversation with this young lady. And the reason why I
say I'm jumping the gun right now in this conversation
(28:57):
is because that is the one conversation that I had
was with her was the reason why I ended up
having issues when we had records out with some random
dude rolling up on me. Wow, that pulled the gun
out on me. It had no idea why he was
pulling the gun on me, like, yo, you were trying
to talk to my girl and fucking kill you. And
that ended up being the situation that I was in
(29:19):
that cost Scott his life so crazy.
Speaker 1 (29:22):
So both seeds were planning at that moment, in that
very moment.
Speaker 9 (29:26):
She never even talked about this. I never even thought
about that until now.
Speaker 8 (29:28):
Wow.
Speaker 1 (29:29):
Yeah, in that very moment. Damn wow, I'm sorry. I
got to take a moment.
Speaker 8 (29:37):
See a therapist just for that moment.
Speaker 1 (29:44):
Now. Damn Now I feel I'm ruin it with the nerve.
So back to the poorn.
Speaker 4 (29:51):
No, but you, but you also mentioned something else. You
said Scott was DJing that Dancitaria. Was he a legendary
New York DJ by that time or not at all?
Speaker 1 (30:03):
He was?
Speaker 4 (30:03):
I know that that Dancitaria is a high reputation nightclub
Jellybean Benitez was a DJ there.
Speaker 1 (30:10):
I know Madonna frequent there a lot. Yes, that's where
the artist and all this, Like how did he get
a gig at Dancitarian.
Speaker 9 (30:23):
So Scott used to DJ at a club uptown in
New York called Broadway International. So Broadway International, New York
City was kind of legendary and it was one of
the first clubs to allow people to just play hip hop.
So at Danceitteryia, Scott was he wasn't because you know,
early on, like people there were, we had no specific
genre of music that you wanted to just play, like
(30:43):
you played music. If it felt good, you played. That's
why I know all of these records as a DJ now,
because it was just about the groove. So Scott was
probably an opening DJ at a place like Dancitteria, but
at at Broadway International, he like that was like a
night that he did, so they him from that. But yeah,
I mean I was too young. My first club ever,
(31:05):
like first time ever going to a club was Latin Quarters.
Speaker 1 (31:09):
Here we go, it's been a while. You have a
story about Latin I actually do.
Speaker 4 (31:17):
They're mocking me because they think I might have don't
believe it. They think that I have a Latin Quarter fetish,
but I know that history is made at the Latin Quarter.
Speaker 1 (31:31):
That's why I purposely didn't mention it, because I know,
we know we're going to go there, so it's cool,
you know, Latin Quarters. Man, We're gonna wait. This is
all right.
Speaker 4 (31:41):
So I have a question and reflection. Have you been
to any of these gigs with with with with Scott
Scott as a detail? No, No, you were too young.
I was.
Speaker 9 (31:50):
I didn't know him at the time. Okay, so by
the time I met Scott and he stopped, it was
strictly focusing on making the b DP records.
Speaker 8 (31:58):
And what's the age difference real quick between you and
Scott at the time.
Speaker 1 (32:01):
He's still seventeen. Yeah I was. No, I was.
Speaker 9 (32:03):
I was fifteen when we met, and Scott was probably
like twenty five. Well he passed the twenty five so
Scott was twenty four at the time. So yeah, he
was a kid, which is so crazy.
Speaker 1 (32:15):
Like a year though.
Speaker 8 (32:16):
That's it's crazy too, because you basically saying you met
him a year.
Speaker 1 (32:19):
Yeah.
Speaker 9 (32:19):
I was involved in his life for one year a lot,
and he changed his life, changed my life, man, you know, Wow,
I don't know where I would have been without DJ Scottland.
Speaker 8 (32:29):
Rock probably still with you, no, for sure.
Speaker 4 (32:32):
Yes, So getting to the record labels like rock Candy
was the first one you guys chose, and wow, I'm
certain that it was a low end deal because it's
you know, because they had pillows pillows. That was an
evance ours a couple of throw pillows. No, it was
(32:56):
it was or was the artillery at least real on
the cover that album?
Speaker 1 (33:00):
No, that was real? Oh sure, no, that was that.
That's what you said. That was nerve For me, all
that stuff is nerve and water.
Speaker 9 (33:07):
The guns on that cover and also the UZI on
A one, Yeah.
Speaker 1 (33:14):
That that was real.
Speaker 8 (33:15):
We ain't gonna say were disappear just appear?
Speaker 1 (33:19):
Yeah?
Speaker 8 (33:19):
Shoot, I don't want to know that that much limitation.
Speaker 4 (33:22):
So once these songs are made, what is the testing
ground to see, like, how do things go viral? At
that point the test in nineteen eighty six, how do
things go viral?
Speaker 9 (33:34):
So in New York City was it like in park jams?
And specific was like if you tested your record at
a park jam and if people were rocking to it,
that was it. Now there are two moments that I
clearly remember. One was Scott and I back in the day,
you know, before m P three's, they would have what's
(33:55):
known as an acetate and just like, yeah, we just
had We had like twelve of them, twelve to fifteen
of them pressed up. And matter of fact, it was
like we went from Tom Coin like Tom Unknown Man,
we can talk music, bro. Tom was like every record
that we've we ever recorded was done by that dude.
He mastered everything. Ling Man like mastered everything from.
Speaker 1 (34:21):
The South Bronx to Hamilton. That's so crazy.
Speaker 9 (34:24):
But we went from like we had these plates done
at a place on forty second stret I can't remember
the name of it, but we Scott and I would
walk around to like Park Jams and play the records
and I remember performing South Bronx and all I ever
said on that record was Joe was sub Scotland rock.
But we would go to Park Jams and because Chris
lived in Brooklyn at the time, actually no, he didn't
(34:48):
live in Brooklyn.
Speaker 1 (34:48):
He lived in the.
Speaker 9 (34:51):
No, he lived in the in the refrigerator in the
freezer of Rock Candy Records.
Speaker 4 (34:58):
So.
Speaker 1 (35:10):
Freezers, dude.
Speaker 9 (35:11):
Wait, I'm not making this up. Chris and Miss Melody. Damn,
I'm going back.
Speaker 1 (35:17):
I'm sorry about this. Girl. Dude got me thinking about.
Speaker 9 (35:25):
So well, we wade South Bronx in the same studio
or the same picture of office that they made the
porn and we shot the album covernor downstairs it was
like this a warehouse that that the office was housing
on on in like the Cypress area of the Bronx
with Susan No, not Susan Rond. What's the other the
(35:46):
other strip club? You know what I'm saying, a lot
of foolishness going over on over there. Anyway, downstairs there
was a freezer in the garage, so you know, like
if it's like if you it was a place where
you house like food you at the truck in or
dead bodies in the freezer. That's where Karas live with
Miss Melody. Now what's crazy about this is you know
(36:09):
the rolling paper, like when you're doing like big shipping
and you use the rolling paper around. You know, we
laid that down as carpet, put their bed in there,
and that's where they lived and Chris had to be
home at a certain hour before they closed because once
you were in that's when they locked it up. This
is I'm telling BDP. They didn't have one. You know,
(36:31):
once you're in, you're in, so you're in the freezer.
They lived in the freezer. When you get them.
Speaker 1 (36:37):
On adam Min's shelter.
Speaker 4 (36:40):
It's strictly to sleep in overnight, so you have to
be in a certain time and then in the morning
what time is it let out?
Speaker 9 (36:47):
So in the morning, I mean, I never lived in
the men shelter. I just want to make that sch
but no, in the morning they had to get up,
you know, seven am, and get out, try to find
a jobs or whatever, and then they had to be
at a certain time. So in the men's shelter it
was like Krs Justice, I see you live there. Scottland
Rock was the social worker, a manager Moe who you
(37:10):
know still one of my best friends and managed our group,
was a security guard there. So that men's shelter was
extremely portant important to like early.
Speaker 1 (37:19):
Hip hop, did they not have families or like what?
Speaker 4 (37:23):
I'm certain that I know that the conditions in the
Bronx were like in Dire Straits. But was it just
because they didn't have family issues or.
Speaker 9 (37:33):
I don't know what Chris's situation was and why he
was in the men's shelter. You know, I couldn't tell
you why. You know, I didn't meet Kenny Parker until
maybe like when we did Jack Space, So it was
around that album, So Jack of Space came out.
Speaker 1 (37:51):
That was eighty No, no, it was eighty nine. No, no, no,
it was like eighty eight eighty eight.
Speaker 4 (37:57):
Because it's super amazing to me that, uh, like, just
in general, like we're so dismissive of the home of
the of the homeless that they're damn near invisible to
us in society, because I think a lot of us
fear that that, you know, a lot of us are
you know, two checks away to Yeah, So it's like
(38:17):
it's hard to look at them, you know, to look
them in the eye and deal with it.
Speaker 1 (38:21):
But it's like, I'm more amazed that.
Speaker 4 (38:25):
In general people didn't scoff and just be like, you know,
like you're holmemost like, but there's the future of music
in this situation. So it's amazing to me how they
pulled themselves out of their position.
Speaker 8 (38:40):
But isn't it amazing too that Scotland Rock was like
a social worker already.
Speaker 9 (38:47):
And actually I want to I want to take something back.
Just I don't think Justice lived there, just with friends.
I want to clear that up. Okay, I thought, but
I see you definitely lived there. Chris definitely only lived.
Speaker 1 (39:00):
There, you know.
Speaker 8 (39:01):
And they're how old at the time.
Speaker 9 (39:03):
Chris was pretty much the same age as Scott. So yeah,
Chris was roughly around twenty three, twenty four years old.
Speaker 4 (39:09):
Yeah, man, yeah, I mean we oft to them for
changing their situation around.
Speaker 1 (39:17):
Yeah, to go from sleeping in the freezer to having
a recording career.
Speaker 4 (39:20):
So how were they able to learn because let's not
forget they changed hip hop, So how are they able
to learn technology? And I have these records like most
of us have the comfort of oh yeah, my mom
and dad have these records in our home.
Speaker 1 (39:36):
Like, but like one of the resources they have to
know to change things.
Speaker 9 (39:42):
Remember, Scott was the social.
Speaker 1 (39:44):
Work Okay, so Scott situationatt went to you know, he
was college educated.
Speaker 9 (39:47):
He went to school in Vermont, like Scott was always
wait he was yes, yeah, he went to I can't
remember which school, but he went to school. He went
to school in Vermont. Scott was a straight nerd, like
he would be sitting here doing this podcast with you,
like He was a straight up nerd back then, bro
like but he was a nerd dude that loved music,
that loved hip hop and listen, I never heard of
(40:10):
an interview. Let me tell you, man, I'll tell you
how much I loved Scott.
Speaker 1 (40:15):
He was a nerd.
Speaker 9 (40:16):
But we also anytime something happened, we would figure it out.
So I'll give you I'll give you a funny story.
First time I've ever been on a plane after South
Bronx was out was our very first show was in Rochester,
New York.
Speaker 1 (40:29):
W d k X so in super ho.
Speaker 11 (40:34):
No, so.
Speaker 1 (40:36):
We went.
Speaker 9 (40:37):
We were doing the show in Rochester. South Bronx was
the only record we had out. Dude, this is crazy.
Speaker 1 (40:43):
So we went.
Speaker 9 (40:44):
We had no place to stay, it was a one
way ticket, didn't have a fly back. We were going
to do this show and it was great. I lost
my virginity at this show. The show was extremely important.
Speaker 1 (41:02):
That's how you remember it. So well, what is this
chapter gonna?
Speaker 4 (41:06):
This is?
Speaker 1 (41:07):
I figured out Rochester, Chester, So we went.
Speaker 9 (41:17):
We went to this show, we performed. We didn't have
a hotel room. So the guy that brought us up,
his name was Scotty. I remember this man like, it's crazy.
So Scottie, I can't remember your sister's name.
Speaker 1 (41:27):
That my virginity to So what's so?
Speaker 9 (41:43):
What's crazy is Scott we flew into Rochester and he
brought a young lady with us. So it was it
was Terras, Scotland Rock, myself and this young lady and
the guy that produced the show brought us. He asked
us to stay at his house. So in the middle
of the night, not me know this is crazy. In
the middle of the night, his mom woke up. She
was super Christian. She found out that there was a
(42:08):
young lady staying with us.
Speaker 1 (42:10):
Yo.
Speaker 9 (42:10):
She walked around the house and she had like the
holy water and she was putting crosses on our heads
and she and she told us to get out of
her house, and only the young lady could stay. So
we had no place to go.
Speaker 1 (42:24):
We had no money.
Speaker 9 (42:26):
Me, Scott, Caress, dude. We broke into like a motel six.
What we broke into a motel six and we the
three of us, stayed in this one room. Scott slept
in the bed, Kara slept on the floor. I slept
on the desk. But we knew we had to get
out of the room before before.
Speaker 1 (42:46):
Came. So we like, you get in the room, like.
Speaker 9 (42:49):
Literally broke it was a motel six, so you know.
Speaker 1 (42:52):
I thought you crashed the windows.
Speaker 9 (42:54):
No, no, no, like kick through the door, just staying yo, man,
I think.
Speaker 1 (43:01):
Y'all, y'all, y'all went through the fire to make my
life easy. It's crazy.
Speaker 8 (43:05):
The social worker, the fifteen year old, and I can't.
Speaker 1 (43:08):
I'm like, did you guys have tour support support?
Speaker 9 (43:13):
We didn't have a check rider, we didn't have any
of that. No, so so what the story gets better though,
So after breaking into this hotel room, we left like
five or six in the morning, and we fell asleep
on these steps and it was the steps of a school.
And I swear to you, the three of us woke
up to like these little kids throwing candy at.
Speaker 3 (43:38):
Wake up.
Speaker 1 (43:39):
It's crazy.
Speaker 8 (43:39):
And what did you say you did last night? You
said you broke it a million dollars. Okay, this man,
you come a long way.
Speaker 1 (43:45):
The song the sound came and hooked him up. The
song throwing candy at him? Not a bad life.
Speaker 4 (43:54):
How did you guys organize shows in those early days
when you didn't have.
Speaker 1 (44:00):
Uh, you know, a ten song catalog?
Speaker 4 (44:03):
To perform for the audience when you only had three songs,
like would you just go back and forth on big
beat for twenty minutes? Or somebody say ho, or like
how did you you only had a little bit of
vegetable and meat, but you needed a lot of broth?
Speaker 1 (44:20):
Like what was it a show back then for twenty minutes?
I'm sorry? That was a good reference? Was he a sports?
That was a solid soup metaphor and a first of many?
Speaker 9 (44:30):
Please we know there. We didn't do a lot of
freestyle stuff at all.
Speaker 1 (44:35):
You just do your one song and that's it was.
Speaker 9 (44:37):
Yet we did the one well, we always had two songs,
so we had South Bronx and the PS three, So
that was my involvement.
Speaker 1 (44:43):
So I was right, you're the t R eight oh eight. Yeah.
Speaker 9 (44:46):
I was doing the beatbox on the PS three my
first time and probably No No first and I think
the second time beatboxing was on No Rozelle. By the way,
No Rozelle only beatbox on two records. He is Free
and on Uh the Bioman's Necessary album there was a
song with.
Speaker 1 (45:06):
Breath control, breath control, that's you? Was that Booby is Necessary?
Speaker 4 (45:09):
Uh?
Speaker 9 (45:10):
That was on the Blueprint yeah, I worked.
Speaker 1 (45:12):
Yeah, that is you. Yeah, that was my damn yeah
that nice? Nice nice, That was me with the sample,
you know that is right? Uh well he starts with
Ray Charles and then is that Duke Gallington?
Speaker 9 (45:25):
No, No, the beat is Oh my gosh, hate Jude,
who did hate you?
Speaker 1 (45:33):
The Beatles? Not the Beatles? The Soul version Clarence not
Clarence William the hundred. What's that? What's his name in
the Night Hour? What's his name?
Speaker 9 (45:45):
Wilson Pickett, Wilson Wilson Pickets version. So I sampled it
is yeah, organ, the organ.
Speaker 1 (45:52):
Okay, so that was that.
Speaker 9 (45:54):
That was the Wilson Pickett version of Hey.
Speaker 4 (45:56):
Nice Okay, okay, So okay, I gotta get to the
rivalry part. So you know, are you guys, were there
any meetings between not meetings, rivalries or whatever between the
Jews Crew you guys after that initial meeting, Like because
(46:18):
New York hip hops community is small, so surely there
has to be a running or two.
Speaker 9 (46:26):
So with the Jewe Crew, I don't know what happened
before I was involved with the group, So I you know,
I really part of South Bronx. I didn't understand because
I you know, I wasn't there to experience that first
meeting that care Us and Scott had afterwards, My best
friend was in the Juice Crew and still one of
my best friends to this day, Big Daddy Kane.
Speaker 1 (46:47):
So before any not to say, y'all still used to
give him shoutouts.
Speaker 9 (46:50):
Yeah, came was always king was my dude, like that
was I mean, he and kr Us or he actually
helped care Us move into his first apartment. So even
though we had this rivalry with the Juice Crew, it
was more about records than anything. I mean, there was
some animosity there because I'll talk about it at all.
It was just like we never had those conversations. At
least I was never a part of those conversations. I
(47:11):
don't know if Chris did with Magic or but no,
we it was strictly about records and versus those guys
because Marty, come on, you know, Marley worked with Chris
Man Like, Marley was always a good dude. And and
the thing about me is, you know, back then and
even now, man, I was always a lover of hip
hop and producers. Like once I once I became involved
(47:34):
with it, it's like I wanted to know everything about
the culture like everything, and when I met the players,
you know, when I met Marri or when I met
Dougie Fresh or like, I was always a fan. So
even though we made these records and bridges over, I
was still a fan of those dudes, Like they walked
into a room. I remember being in a club in
the Bronx on Tremont Avenue and I was there by
(47:56):
myself at this club, and I remember when the Juice
crew walked in. There was this swag about it, like,
you know, to see Shan walk in with Biz and
TJ Swan and then walking in to do a show.
She was crazy to me, Like even though we were
competing against them, respect that, yeah, because they really had
a crew. We didn't have a crew. It was Scottland
(48:18):
rock care resting in myself, I.
Speaker 1 (48:19):
Thought y'all rolled ten billions based on that. My philosophy
video was like yo, yeah, so I couldn't even tell
you who have of those people are all Fat Freddy's
friends exactly? So I gotta go there? What give us? All? Right?
Speaker 4 (48:41):
There's a nightclub in midtown Manhattan. Oh yeah, I don't
know if you heard about it. What it's called the
Latin Quarter.
Speaker 1 (48:48):
I think I have been there before, man, So.
Speaker 4 (48:53):
For you, can you just give us a general synopsis
of reopen the Latin Quarter, or at least make a
documentary about it.
Speaker 9 (49:01):
No, no, no, that's one of the docs I want
to work on is on the Latin because it was
such First of all, I had no idea. It wasn't
until two thousand and like roughly around two thousand and five,
two thousand and six. I was at you know, buddy
Chris Lighty's house and we were in the backyard playing
basketball and we talked about the Latin Quarter. I had
no idea that it was a juice bar, like they
(49:25):
served no alcohol. Wait, wait, listen, there was no alcohol
served at our parties.
Speaker 8 (49:31):
Nobody has said this.
Speaker 4 (49:32):
No wait, during that hip hop era, during the hip
hop era, you weren't getting nice.
Speaker 8 (49:37):
No.
Speaker 9 (49:37):
That's so when Chris said, yeah, it's crazy there was
a juice bar, I was like, what are you talking about?
Because I was too young to drink. I was in
there when I was like fifteen sixteen. They served no alcohol.
So all all that aggression was just dudes probably getting
nice before the club and the way hip hop made
them feel. And when I tell you that this club was.
This club was everything. This was the mecha of hip
(49:58):
hop at the time, you know, like everything changed from
this club. That was the first place we ever played
South Bronx. That was the first time I ever heard
Eric being rock him. Matter of fact, it was the
first time that I met Mike Tyson. So here's my
Mike Tyson story.
Speaker 1 (50:16):
Together.
Speaker 9 (50:17):
Mike Tyson was a beast. We were all young, young
dude like.
Speaker 1 (50:22):
So we walked this point.
Speaker 9 (50:25):
He was Mike Tyson, but he didn't have the belt
was six, I mean six, too much of this guy, Damn.
Speaker 1 (50:33):
Six. This was eighty six.
Speaker 9 (50:35):
So I remember walking into the restroom into the I'm
a little nice right now in a little boogie.
Speaker 1 (50:41):
So I walked into the.
Speaker 9 (50:42):
Bathroom, walked walked into the bathroom, and Mike Tyson was
next to me taking a piss. This is this is
real ship right here. Mike accidentally stepped on a dudes stepped.
Speaker 1 (50:57):
On the sneakers. Dude.
Speaker 9 (50:59):
Dude was like, yo, you stepped the much blah blah blah,
and Mike hit him one time, knocked the dude out
in the bathroom and then stepped over him to exit
the bathroom.
Speaker 1 (51:11):
No lie.
Speaker 8 (51:14):
Was there he can tell you no words like he
ain't saying nothing.
Speaker 1 (51:17):
To say anything. This dude out stepped over him and
walked out. We have another Mike Tyson punched somebody's story.
I swear to God we have the name of campbells
Naomi Campbell. So I mean she didn't push nail me
out the car?
Speaker 8 (51:38):
Did you know Hea the Hunter? Because you know she
lived at the Latin Quarter we have.
Speaker 9 (51:41):
I've known Heather since back then in the freezer, since
the freezer pillows. I don't know her in the freezer
or with the pillows under her back, none of that,
none of that.
Speaker 8 (51:50):
You haven't see that apartment, she says. They look like
the Cotton Club and whatnot up there that's in Dumbo
or inside the last She lived in the Latin Quarter
with David Copperfield.
Speaker 1 (52:03):
Wait, wait, David Copperfield lived in the Latin Quarter.
Speaker 9 (52:06):
So the guy who owned the guy who owned the
Latin Quarter was a guy named Mike. I can't remember
Mike's last name, but Mike managed David Copperfield back then,
so he was making his money from from now some
other things, but no, for sure he managed David Copperfield.
I remember, so every time I see David Copperfield's name
(52:26):
in Vegas, I'm like, I could make it too.
Speaker 1 (52:33):
I could do this. Wow, disappear at the Latin Quarter happen.
Speaker 9 (52:41):
No, that's crazy. I didn't know you were obsessed with
the Latin Quarters. Man, it was serious.
Speaker 1 (52:45):
I'm obsessed with hip hop history.
Speaker 4 (52:46):
But I'm more I'm trying to figure out why because
of Okay, it's one thing for you to be like
a legend or in the industry and you roll with
a lot of people, like if you're carrying Red alerts
records something you kind of protected you in the DJ
booth or whatever. But I'm just to the point where
people were coming from all walks of life to getting
(53:08):
this club, and you know, your chain could be victed,
you could be It's like going to the prison yard jackets.
But everybody, but everyone that sits and tells that Latin
Quarter story has such romantic, kind of amazing stories, Like,
but people are getting jacked and fucked up.
Speaker 9 (53:28):
Yeah, but when you're a part of it, you don't
realize that you just got jacked fucked up.
Speaker 4 (53:33):
You're like just happy to be there, Like, is it
you know one person that just has a fuck Latin
quarter stories like I got I.
Speaker 9 (53:39):
Don't know anyone, and I'm telling you I've seen a
lot of shit happen in the Latin quarters. Here's another story, right,
so we're in the Latin quarters and this is why
this should be in a juice bar. Is so crazy
to me because I cannot believe that everyone was fighting
like this, like it was sober. It was fighting like
(54:00):
the sober dude. Like there was a dude who worked
at the front door. They called he had a doll
made after him, like in the eighties, he was called Sunman.
If you wait what yo wait wait he was like
he was was.
Speaker 1 (54:16):
That was.
Speaker 9 (54:17):
His whole body was like a y like and they
called him sonman. Like I'm not making this up. MC search,
you asked, search Search was there. Michael Rappaport was there
like this, Listen. He was bold enough to get Michael
rap everywhere, was everywhere. I'm not lying, broke, Michael rapp
Report is the truth. People people look at him sometime
(54:39):
they're like, you coach you roser. No, he was there,
like he was there all the ship he talks. I
swear to you, Michael Rappaport was there. He was there
the one skinny Skinny Kid, skinny white Kid. In the
middle of hip hop party was Mike Rappaport.
Speaker 1 (54:54):
Is this man, dude? Is that the doll?
Speaker 9 (54:58):
So that's the doll from back in the day. That's yo.
The guy was that is smart he.
Speaker 1 (55:06):
Having? And what was son Man's special power? I don't
even know. He blocked before sun Man word son Man.
So he was the guy he was.
Speaker 9 (55:27):
He was the security back at the Latin Quarters. So
he let certain people in anyway, So once we were inside,
you always felt safe, but not really because she always
because some man was at the door. How many people
were at the door? I couldn't even tell you. I
do remember son Man. I remember son Man. God damn,
I have his number on my phone. No, but these dudes,
(55:54):
this is too much to rock. By the way, brother Love,
I love you. I can be extremely honest. These dudes.
If there was a fight going on in front of
the Latin Quarters, I swear to God, they would lift
up the cars and move the cars. They were that strong.
It was like dudes that was at the door and
(56:16):
they weren't in full force, but they weren't dressed like them,
but they would, like I swear to you, bro like
move cars.
Speaker 1 (56:27):
It was crazy. Yo.
Speaker 9 (56:28):
The Latin Quarters by far the best experience I ever
had in my life in terms of being in the
club in just pure hip hop moments. There was a
moment in the quarters right where the Decepticons were fighting
against the A team.
Speaker 1 (56:42):
Wait, there was the eighteen there. I never heard the
eight so.
Speaker 9 (56:47):
They were all there were a bunch of dancers that
could fight well. But yo, that's the best I've ever heard.
Speaker 8 (56:55):
But the.
Speaker 1 (57:07):
Thing is, I can fight well.
Speaker 9 (57:11):
By the way, if you're still alive, no disiness bag.
But no, this moment was so crazy. So we're in
the club. I don't know why they started fighting. I
just remember LL had his big cool j ring.
Speaker 1 (57:25):
So you know the story. I've heard of this story.
So the story. I was there.
Speaker 9 (57:30):
I saw the fights happening. I was safely in the
DJ booth with red alert. But red alert listen, man,
red alert is in O G Chris lighty O gs LLLL.
You can say what you want about him licking his
lips that.
Speaker 1 (57:46):
Hell j O G. Man.
Speaker 9 (57:49):
The fights happened, people were trying to like trying to
rob LLLL. Pretty much what this was, I'm telling you.
It was like the wild Wild West bro.
Speaker 1 (57:59):
So the lights were on, but with dancing.
Speaker 11 (58:07):
Choreography, it was like the dude, it was crazy in
all of these sections of people fighting, the Scepticons, the
A Team, and this regular party goes un.
Speaker 9 (58:26):
So everyone's fighting.
Speaker 1 (58:27):
I'm into DJ booth, like you, this is crazy. This
is crazy.
Speaker 9 (58:30):
Red Alert was trying to jump from the DJ booth
because it was on the second level. He was trying
to jump out of the DJ booth because Chris Lighty
was fighting. Chris Lighty's fighting because Chris is trying to
protect LLLL and Chris used to carry Red Alerts records
at the time, So Chris is fighting, everyone's fighting. Scott
Lak and I in the DJ booth. I don't know
if Kris was there. I honestly don't know. But what
(58:50):
I do know is this once, once the fighting stopped,
LLLL had handled his right l I I you know, like, look,
I'm telling you.
Speaker 1 (58:59):
This, that one with.
Speaker 9 (59:02):
His lips licked, licking his lips. He handled, He handled
this bro like Chris Lighty was a beast, like for real,
for real.
Speaker 1 (59:13):
Like I've heard that about Chris.
Speaker 9 (59:15):
Chris was a beast. Chris walked into the DJ booth,
and I won't forget this moment. He kept saying, my
back is burning, my back is burned. And he pulled
his shirt off in front of scottlar Rocker and I
in this DJ booth, And that was the first I
didn't know what raizor blade slices looked like. So when
he pulled his shirt off and he bent his back,
(59:37):
everything just opened up crazy like Gloria, like give me
a sip of rocket.
Speaker 1 (59:48):
It wasn't quite like like, so you're saying that weapons
would still get inside of with Sunman at the door,
Damn your son Man Man on the phone, crazy, it's crazy.
Speaker 9 (01:00:10):
I'm exhausted, she said, I'm exhausted. Yeah, no, I've seen
I've seen some things. Man, Latin Quarters Man, this should
definitely be a documentary on the Latin.
Speaker 1 (01:00:18):
Quarters or at least like a fictionalized yeah, b T tails.
Speaker 12 (01:00:28):
You know, Leftime Movie Network, Definitely, Netflix, dancography the way
that the way that it is today, where you know,
unless you're a bona fide celebrity, i e.
Speaker 1 (01:00:44):
You put a Drake song on, you know, oh that's Drake,
or uh, there's the New Migos or whatever.
Speaker 4 (01:00:49):
Maybe Cardi B has uh, at least a three or
four second pass of playing untested material, and you know,
and that's her voice, and so it's like, all right,
we'll give that a chance, or you know whatever, Kanye
or whoever's winning at the moment.
Speaker 1 (01:01:03):
But you know, I hear that a lot of these
songs were tested.
Speaker 4 (01:01:09):
At the Latin Quarter and went off like gangbusters without
people really knowing that, Like, you know, these guys weren't celebrities.
So it's like you're hearing you're hearing Rebel without a
pause the first time, knowing that you didn't think too
highly of Public Enemy's performance the year before whenever they
(01:01:30):
first performed. Chuck said that they had a horrible performance
at the Latin Quarter that really didn't go off well.
And you know Mel was disrespected, but it's just.
Speaker 1 (01:01:38):
Wait, male disrespected them too.
Speaker 4 (01:01:43):
Disrespect was like the Heckler the going from what from
different stories we've heard, like he.
Speaker 1 (01:01:47):
Hit in the back.
Speaker 4 (01:01:48):
Just why that Mel you would try to skip the
record in the DJ booth if he didn't like a
particular act or you're crazy, because I mean by that
point now was like like thirty two, thirty three, So
it's like the new generation was I mean be like
me trying to go to uh one, ok right now, like.
Speaker 1 (01:02:12):
You don't know me if you are worried about what
you know what I mean? Anyway? Wait, some even crazier?
Why is some even crazier?
Speaker 4 (01:02:30):
So now if it's an all ages show where kids
are there, uh and by kids, I mean like the
kids of like whoever, like our real roots fans are
like they bring them twelve to thirteen years old. Yo,
motherfuckers think that we're now doing the Drake song, Oh Drake,
oh Drake's, Oh my God, like my Drake trek check is.
Speaker 1 (01:02:51):
Awesome for what one of those songs on if you're
reading they're reading this, okay, shut me neither.
Speaker 4 (01:02:57):
I mean you got me as one of his hooks,
like he does it twice at the end. But when
we do it, the look on their faces.
Speaker 1 (01:03:06):
Like they're doing it's good.
Speaker 8 (01:03:11):
I mean, it's good, but it's just you just don't
It's just.
Speaker 1 (01:03:15):
Makes you feel old.
Speaker 8 (01:03:18):
That's made me feel old.
Speaker 4 (01:03:20):
Man.
Speaker 1 (01:03:20):
They know the song, that's all.
Speaker 8 (01:03:22):
I don't hear the check, so I just feel old.
I listened to the story, you know that's wow.
Speaker 1 (01:03:26):
Can you just take the hook again? Look? Man, quest
A little coffee and full of singing. I was just
the young boy. I gotta this movie. Get back to
(01:03:50):
the interview, more stories. I'm sorry, we just needed had coffee.
Please off.
Speaker 4 (01:04:01):
So why why did Mel come up to you guys
to pick a battle? Was it because it was all
about you guys?
Speaker 9 (01:04:07):
Or you know right now, like if you're listening, I
love you. Back then, I looked at him. He was
a straight hater. Yeah, straight up hater. And and I'll
tell you a story, brother, we were And I remember
this clearly because at the time I was mad at
KRS and I was getting my first apartment and.
Speaker 1 (01:04:28):
Don Lewis, I know, this is wait a minute, different world,
cosmby people were coming to this.
Speaker 9 (01:04:35):
Yes, yes, yes, Don Lewis was like my big sister down,
I love you.
Speaker 1 (01:04:39):
Where is she now?
Speaker 9 (01:04:40):
She's still you know, she's still making stuff and you
know she's in LA But no, Don Dawn was that.
This is why I remember these stories because of moments
in my life where it was so important and pivotal moments.
I had my first apartment when I was sixteen. I
didn't have a bed. I used to sleep on these coats,
not like I had one bedroom apartment.
Speaker 1 (01:05:01):
But I never bet.
Speaker 9 (01:05:02):
All I had was a stereo system. That's all I
wanted music. No no bed, not a sofa, not even
a plate. I had an apartment. The apartment had like
you know, back in the day they used to glue
the like the carpet to the floor. Just imagine no
carpet and it was all half scraped. These are my
(01:05:26):
memories of like that time we're part of New York.
I was living in Washington Heights on Edgecomb Avenue and
like one hundred and sixty third Street in Edgecomb, right
right by the bridge going into the Bronx. So I
remember that vividly and going to the quarters this one
particular night. And this night that I went to the quarters,
(01:05:47):
Melle Mel was there, Miss Melody was there. It was
you know, regular rap show with like a thousand people
on stage. You don't really know, but everybody just wants
to be on stage the rap shit. And Mellie Mel said,
fuck these niggas, fuck that ship. We had South Bronx out.
(01:06:12):
So when kas performs poetry, when he said say something,
now thought, so he did that rhyme that night before
poetry was done. We only had South Bronx out, so
Mel said what he said, and Chris was on the
mic rhyming and doing poetry. So that's the one time
of like freestyling that I personally remember where Chris was
(01:06:33):
like say something now and put the mic to Mel's
face and he said nothing, kind of like when you
asked me to rhyme.
Speaker 1 (01:06:38):
Earlier, and.
Speaker 9 (01:06:45):
Then he was like thought so, and the crowd went crazy.
That's the Melli Mel experience that I remember where I
lost all respect for Mel. I was strictly because even
though I'm in a group, I'm like, Kris is the king. Whoa,
I'm not down. No, Cara Rest was the king bro
like the king of disrespecting early on.
Speaker 1 (01:07:05):
So that was would rhymes on standby and he just
had rhymes man.
Speaker 9 (01:07:11):
Outside of literally outside of like Black Thought and Big
Daddy Kane. I don't know anyone in Tupac. Tupac had
rhymes for fucking years. We'll still here Tupac records and
when we're like ninety brand new joints. But those dudes were,
in my opinion, true MC's that was always prepared, always
(01:07:32):
had something. They always had something.
Speaker 4 (01:07:35):
Chris told me, he showed me like a couple of
he had at least four competitions of notebooks.
Speaker 1 (01:07:40):
Yes, and the last thing he left us with.
Speaker 4 (01:07:43):
The last thing he left us with, he says, hey,
I even got a black thought this He said he would.
Speaker 9 (01:07:50):
Write, this is for Chris, would write he would have
this record.
Speaker 1 (01:07:55):
So he turned to the page he has.
Speaker 4 (01:07:58):
No he's he was like, he was like some next movement,
like he had he had it just in case I'm
ready for you.
Speaker 9 (01:08:08):
I'm always Kris always had lyrics for every MC that
was hot from Caine everything, and Caine was our boy,
but he was still in the Juice Crew. So Chris
was always prepared to battle anyone. And that was something
that I was never really I didn't know about that
any of that, you know, I mean records, because it
was I just loved music. I wasn't prepared. I wasn't
(01:08:28):
really prepared for that kind of m scene, you know.
Speaker 4 (01:08:40):
So talk to me about regrouping in the group's future
after Scott passed. Like at that time, was it just
like okay, but well I guess that's it no more?
Or was it like we gotta do this in Scott's
memory and no, it was like how what happened?
Speaker 9 (01:09:04):
So just to tell you know the QLs audience. Scott
love Rock passed away coming to my aid. You know,
I had an issue with a young not even with
a young lady, some random issue, wasn't even an issue
of my own. Scott came to my aid and this
is this was so crazy, bro like. We're in the Bronx,
Highbridge area of the Bronx. It's probably I don't even
(01:09:27):
remember the exact street, but we were in the Highbridge
area of the Bronx, not too far from Yankee Stadium.
Speaker 1 (01:09:30):
That's where I grew up.
Speaker 9 (01:09:32):
We're in this area and walking down the street eight
o'clock in the morning, a group of people rolled up
on me, had no idea who they were, and had
this beef with them where they pulled the gun out,
smacked me with the pistol and ran off. The first
person that I called was Scott. I went to a
pay phone called Scott, told him what happened. And Scott
already had this crazy day of locking himself out, locking
(01:09:55):
himself not laughing at his death at all, but locking
himself out of his apartment and hanging a rope from
a fire escape down to his apartment to climb into
the window. It was just one of those days like yo,
back in the day in the Bronx is what you
had to do, man. So that's why that's why I'm like, man,
this life is great. This life is great. So Scott,
(01:10:18):
after having that situation, I called Scott up and he
the one thing that he told me was, look, man,
we don't need any issues. We don't need any issues.
We need to squash this like it needs to be done.
I'm going to come over, We're going to find the people,
make sure everything is cool. And our mission of peace
was strictly about peace until this one guy, This one
(01:10:38):
guy that we had with us, we called him Robocops.
So he was the original guy, not the one care
Ris mentions on like I'm still number one, but he
was the original guy that we worked with. He was
He also was like a security guard at the Latin quarters.
But what we didn't know was that he was the
east Side rapist.
Speaker 1 (01:10:57):
I know this sounds crazy, sh turn around. I don't
know what to do.
Speaker 8 (01:11:03):
I just got nervous.
Speaker 9 (01:11:04):
I don't know he was the east Side rapist. So
later on, if you google him, east side rapist New York,
Daryl was his name.
Speaker 8 (01:11:10):
I'm afraid to how many right now know how many
bicks he got under that?
Speaker 9 (01:11:16):
I don't know. It was wow like But anyway, so
this guy was a hothead dude, you know. And so
the mission of peace of like going to the Bronx
to find these guys that that rolled up on me
became a mission of like, we're looking for trouble only
because of this one person. So he we were at
the projects highbridg High Bridge projects in the Bronx were
(01:11:38):
we were on one side of the street. Uh K
seven was there before he was K seven. He was
in another group before that t K. So he was
around there like we were. I remember this was one
one way street. We were parked in the right right
hand side. The projects were on the left. It's still
that's rock talking. So if I slur a little bit,
(01:11:58):
please forget me. But anyway, Scott and I were. It
was me, Scott, manager, Moe, Mick Bull, and the guy
we call RoboCop. So RoboCop went to ask one gentleman, hey,
we're looking for blah blah blah.
Speaker 1 (01:12:13):
We didn't hear the conversation.
Speaker 9 (01:12:15):
What all we saw was whatever this dude said to
him angered him, and he picked and he was like
a six four sixty five dude picked this young.
Speaker 1 (01:12:24):
Kid up and just slammed him.
Speaker 9 (01:12:26):
Now, which was that was a crazy moment because if
if it wasn't all about peace for them at that point,
to us, it was like we were coming to just
make sure we had no issues. But in that moment,
those kids were like, this is it's on. And while
we were standing there, maybe thirty minutes later, we were
(01:12:46):
standing out there and all of a sudden.
Speaker 1 (01:12:48):
Shots ranged for thirty minutes.
Speaker 9 (01:12:51):
I mean we were there for thirty minutes after the fact,
and all of a sudden shots came. Shots ranged from
the roof and from the bush. So our guy was
hit twice, you know, Scott Loan Rock was hit twice,
shot in his head twice. Bullets literally went past us
because he was on the Like I told you before,
(01:13:11):
we were on the right hand side of the street.
Speaker 1 (01:13:13):
He was in the passenger side.
Speaker 9 (01:13:14):
They were shooting from the left side, so bullets went
through past all of it him to him, no lies crazy.
So this guy gave his life, you know. So I
never want to just when I when I talk about him,
you know, I want to talk about the importance of
like Scotland Rock and the importance to me.
Speaker 1 (01:13:33):
They introduced me to music.
Speaker 9 (01:13:35):
He gave his life for me, and to this day,
his son is like someone that I loved that I
try my best to make sure he's always straight because that's.
Speaker 1 (01:13:44):
What his dad did for me. How old is Scotlan
Rock R. Scottlan Rock Junior is probably like thirty two
now thirty.
Speaker 4 (01:13:50):
One because I always wanted to I mean that whole
Scotlar Rock Jr. My pride enjoyed, always wanted to know
what happened to him. Okay, he's awesome, man.
Speaker 1 (01:14:00):
What does he do now?
Speaker 9 (01:14:01):
Like he's producing music, He's been putting out like putting
out his compilations, you know, you know, just just recently,
you know, we we got together, got him a new NPC.
You know, I want to do things with him that
his dad did for me. You know, like if you
want to be involved in music, let's do it. Like here,
(01:14:22):
use this gear, I have this, come and get it.
Let's make music. It's yours because that's what his dad,
his dad gave me. It's almost like you have this
this guardian angel that came into your life, put all
these things in front of you and said hey, do
what you can with it. Like I would not have
(01:14:43):
known red alert, I wouldn't have known care rest.
Speaker 1 (01:14:46):
For sure. He didn't even liked me.
Speaker 9 (01:14:48):
He didn't even he didn't even understand why Scott put
me in the group. Matter of fact, it back to
the original.
Speaker 1 (01:14:54):
No, Chris and I weren't we bickering brothers are like
real like I don't like that kid.
Speaker 9 (01:15:02):
For Chris when I think about it now as an adult,
Chris was probably angry with me because Scott lost his life.
Speaker 4 (01:15:09):
I was gonna say, like, I know the guilt you
had to to internalize. Still I don't how did you
to deal with each other or talk with each other
or after that fact or was it just a white
elephant you guys never spoke of And then like years
later it.
Speaker 9 (01:15:28):
Was like, I don't, I don't want to call it
a white elephant. Chris definitely treated me a certain kind
of way. So I was in the group, one third
member of BDP. We did a show.
Speaker 1 (01:15:39):
I made a third of the show.
Speaker 9 (01:15:41):
I left the group because Scott wanted to pretty much
be my dad and I didn't grow up with a father.
I didn't grow with my parents, So anyone trying to
have like that parental role to me was an enemy,
like I didn't want that. I didn't want you telling
me what to do and thinking looking back at it
as an adult now and as a father, man, this
(01:16:03):
dude changed my life. All he wanted to do was
make sure that I went to school. That's the only
reason why I'm not on a Criminal Minded album cover
was I didn't want to go to school and Scott
said to me, if you don't go to school, then
you can't be in the group. And I said, fuck
this group. I'm going to go sell drugs in the
street and I'm going to be good. So that's the
reason why I wasn't on the BDP first album album cover,
(01:16:25):
like the Criminal Minded album cover.
Speaker 8 (01:16:27):
It's crazy because I was going to ask what is
a fifteen year old doing touring the world or touring
the country with grown ass men, Like where were your parents?
Speaker 1 (01:16:35):
Now? There were no parents.
Speaker 9 (01:16:36):
I lived, slept on the floor and slept in the
living room on one sofa and my my great grandmother
was on the other sofa and my cousin. It was
my cousin's apartment. So from the time I was like
thirteen until my till sixteen, sixteen and a half when
I got my first apartment, well, seventeen when I got
my first apartment.
Speaker 1 (01:16:56):
I you know, that was what my life was.
Speaker 8 (01:16:58):
So how do you attribute being because just by optics sake,
you look like to be a very involved father. You
have two girls, right, how do you how do you
think you became such a great father. You didn't really
have to be the.
Speaker 1 (01:17:11):
Best parent that I didn't have.
Speaker 9 (01:17:15):
You know, like I wanted my kids and still want
my kids to be better than I am, and I
want them to be great, and my kids inspire me,
you know, And it was I know, it's directly related
to the way I grew up.
Speaker 1 (01:17:28):
You know, I grew up. My dad growing up was
Bill Cosby in my mind.
Speaker 9 (01:17:35):
Yeah, the Huxtables, Like seeing that was like I wanted
that for my kids. I wanted my kids to have
that experience. And I used to wear those ugly ass
sweaters all the time. You look at self Destruction video,
So even though you have Cosby sweaters, I had them.
Speaker 1 (01:17:54):
Joints, Bro, did you produce that self Destruction? Yes?
Speaker 9 (01:17:57):
I was eighteen when I produced Self Destruct?
Speaker 4 (01:18:01):
Okay, how many twelve hundreds did you use? Because the
beat switches every verse. So did you just use punch
the sample in oh?
Speaker 9 (01:18:08):
No, I used a Poobla song, remember that.
Speaker 3 (01:18:11):
No.
Speaker 9 (01:18:11):
So the Poobla song was a rack mount sampler that
would just loop whatever you had, It would loop it.
Speaker 1 (01:18:19):
That was your weapon of choice. That was choice.
Speaker 9 (01:18:21):
So yeah, so I used that in a SB twelve hundred. Okay,
so I'm sorry SB twelve not even twelve hundred. I
used the twelve you were still using in the twelve
and eighty. I was using the twelve and then the
first time, the very first beat that I made with
the twelve hundred. I remember this because I keenan ivory
Wayams came to us and said told Chris that he
wanted to use BDP on I'm going to get you
(01:18:43):
suck a project. And we were in we were in
Where's Where's Ali From?
Speaker 1 (01:18:50):
I'm drunk, Shi Ali? Where's Ali from? Ali? Mohammad Muhammad? Kentucky.
We were in Kentucky, Louisville. Right, We're in Louisville.
Speaker 9 (01:19:00):
And I jumped on the plane to go back to
New York to go back to sam Ash, bought the
s P twelve hundred, flew back on the.
Speaker 1 (01:19:07):
Road, and we were on tour with like I personally
to get the well, yeah, we.
Speaker 9 (01:19:12):
Didn't have I didn't know anything about FedEx and all
that I went to get this. I stayed at this hotel.
Never forget this. God damn, I can't tell you everything
because because I remember staying at this particular hotel with
someone's future wife.
Speaker 1 (01:19:27):
But three, so we won't go there. We won't go there. Anyway.
Speaker 9 (01:19:36):
I remember back this twelve hundred and then going back
on the road, and the first beat that I did
on that SB twelve hundred was from a sample that
I bought while I was in London, and it was
the Greedy G sample, and we used to we use
that sample and I put the sample the drums, you
know the drums last night chan Phillip, Yes, yep, with
(01:19:58):
with the Greedy G. And that was our show intro
from that moment on. And then that ended up being
a song that we did for The Jack of Spades.
So I'm gonna get you sucking.
Speaker 4 (01:20:09):
By the time you got to the bio means necessary,
what was the digging process, like, like you produced my philosophy.
Speaker 9 (01:20:18):
My philosophy, So I want to be clear about this.
I don't even want to say that I produced my philosophy.
That beat is definitely my beat.
Speaker 1 (01:20:26):
Who found the samples?
Speaker 9 (01:20:27):
That's all me? There you go, Yeah, that was all me.
I used to go to a spot called Downtown Records
in New York City, and I would go to the
House of Oldies, and that's where I bought. Pretty much
every record that I ever used to sample was between
those two places. And I remember being in downstairs and
it was always Big Doddy Kane. Biz was there. Biz
(01:20:51):
was there all the time. So if you found like
a sample, if you had a little bit of money,
you would buy every one of those records there. So
that because Biz would buy the records. So that's the
only reason why call me d nice isn't call me
Biz Marquee seriously, because I was smart enough when I
(01:21:13):
found that sample. It was a compilation with the Turtles
with Flowing Eddie on that compilation, and like Daylight had
a beat off of that joint. When I found that,
we also did so Steady b Yeah.
Speaker 1 (01:21:26):
Records.
Speaker 9 (01:21:26):
So that's that's I found that I looped at Chris
there was produced by Karras right. But I'm telling you
right now that I found.
Speaker 1 (01:21:34):
That all them four joints off the album. Yes.
Speaker 9 (01:21:38):
So with that album no, it was the Battle of
the Band's album I know.
Speaker 1 (01:21:43):
Yeah. So with that album I found those I had.
Speaker 9 (01:21:46):
I sampled all of that stuff and call Me d Nice,
which was crazy to me, call me the lyrics for
call Me D Nice let's I'm gonna put it out
there right now. Half of the first verse was written
by Krras. It was the song Chris had written for
me when I was like sixteen, and then I wrote
the rest of it. But I did it on like
an old Bee Boy Records album Old b Boy compilation. Yeah,
(01:22:10):
and it was like super fast. I wanted everything fast,
everything wanted Every record I sampled had to be like
one hundred and twenty beats per minute.
Speaker 1 (01:22:19):
I needed trying to get that house that house.
Speaker 9 (01:22:24):
Even after I recorded the vocals, I had them speed
up the tape, like make it faster.
Speaker 1 (01:22:27):
It needs to be faster. It was just bad anyway.
Speaker 9 (01:22:30):
So those records I was sampled of records and sent
it to Chris, or not even send it, bring it
to Chris on the tape. And at the time I
brought him, I brought him the beat for I'm Still
Number One for my philosophy and the beat for call
Me D Nice. And he heard the beat for call
(01:22:51):
Me D Nice and he said, nah, I don't like that.
What and then he took I'm still number one. I
had it faster because you know the sampo, he slowed
it down. I will give him that he slowed it down.
He was like, no, this is it, which ended up
being I mean, this is an incredible record, you know,
call Me D Nice. The only reason why I did
(01:23:13):
that record was because after I did the beat and
I played it for Chris, he didn't want it. The
second person that I played the record for was Kid Rock.
Speaker 1 (01:23:22):
Oh wow, I'm going to say you discovered him.
Speaker 9 (01:23:25):
Yes, I mean he was already doing this thing, but
he was like an opening act of one of our
shows and.
Speaker 1 (01:23:32):
Been in BDP, could have been in BDP with US America.
Great again, it's crazy. I have Kid Rock stories too.
Speaker 9 (01:23:45):
But anyway, so I played it for him and I
did call Me D Nice the lyrics to the beat
because I wanted him to know how he could rhyme
on it. So and and that's the only reason why
I have like two versions of the song was because
I did it for him. I was like, no, you
can do it like this, and then when I listened
back to it was like, wait, this is actually pretty
fucking dope and yeah, man, and ended up putting that
(01:24:08):
out as my first single.
Speaker 4 (01:24:11):
Wow, so that was your first album? So how did
when did you officially leave BDP? The time from you
when you left to putting out your first solo record.
Speaker 9 (01:24:21):
So I don't think that I ever actually left BDP.
I think car Rest just had my music turned down
extremely low at one show and I was like, I
guess I'm not in the group anymore.
Speaker 1 (01:24:33):
We were.
Speaker 9 (01:24:33):
We did a show at the Palladium in LA and
that was the moment that I realized, like some things
were going on. But the moment that I realized I
wasn't in the group was his Sex and Violence album,
And it's because credit credits these people are not down
with us, and that's that was the moment that I
realized that I'm no longer with the group. And honestly,
(01:24:55):
I didn't do anything that would warrant that kind of
like treatment, Like it wasn't like we were beef and
yeah it was because I was never a yes man.
So half of the songs on like not that I
you know, I don't personally think that I made a
classic album as D Nice because I was a little
confused with who I was at the time. I was,
you know, eighteen nineteen years old. All I wanted was women.
(01:25:16):
I wanted some ass like so my records reflected that
my name is D Nice. I wanted them to know
who I was. Chris was so prolific with his music
and with his lyrics.
Speaker 1 (01:25:25):
And fucking motherfucker's up and.
Speaker 9 (01:25:27):
Fucking motherfucker's up, you know, And basically Chris got a reputation. Yeah,
Chris has a reputation even in music of being a
little disrespectful, but a lot of you know, oh p
out but yeah, so but with Chris, with that moment,
I you know, like I said, man, I didn't realize
that I wasn't in the group until those records and
till the Sex and Vonus album because I I'd done
(01:25:51):
all of these records for BDP, Which is so crazy
because in that moment, the only reason why I put
out my own record because I was on Jibe. My
deal was for twenty five thousand dollars to make an album,
and at the same time, Tribe signed for like a
half a quarter of a million at the time, I believe,
so they really never believed in me. And it's crazy
(01:26:12):
because Barry Whites is still like one of my friends
now and I see him and I get it. I
get what it is you want it cares, so I
respect that. But we were never like I never had
one of those deals or people to actually believe in me.
So even with call Me d Nice, I put call
Me d Nice out myself. I went to the record,
I went to Red Alert and had an acetate and
(01:26:33):
asked him to play it and read played it for
Vinnie Brown, who's the program director, And that's how that
record came out four or five months later. It was
because I was just aggressive, like I just believed in it,
you know. And you know, so I never really had
those situations where people like really believed, you know, had
to like force every situation.
Speaker 4 (01:26:53):
When your next record, when you did to the Rescue,
how was was it a little better there? And why
said that video with twenty five Life was so right drastic?
That was a drastic ass video.
Speaker 9 (01:27:05):
So twenty five the Life, I mean, even though I
loved the song, shouldn't have been my first single off
of the second album, coming off of what I was
doing in terms of like calling when I and Crumbling Table,
it was different. The problem was was record companies, you know,
like in People. That was like the first song that
I did in the studio, and that song wasn't even
(01:27:27):
supposed to be a single. It was a song that
I did because one of my closest friends at the
time was in He was doing twenty five to Life
and he was the dude that when I was sixteen,
he was a hustler dude took me to DC. I
was hustling with him in DC and Paradise projects, like
I've seen all of this craziness by the time I
was like sixteen and seventeen years old. And the song
(01:27:48):
was really written about him as my way of saying
like not even saying thank you, because it wasn't a
thank you record. It was just like a story of
like what he went through and you know, and when
I did the record, Jive immediately wanted to put it out,
so it wasn't shot that video. Darnelle Martin. She ended
up being like she directed a couple of movies with
(01:28:10):
like the Mary J. Blige movie on BT.
Speaker 1 (01:28:14):
She did all that. She was like an n y
U student. Oh, I thought you meant there was a
Mary J. Blige movie of the Week like her wife.
Speaker 8 (01:28:20):
No.
Speaker 9 (01:28:21):
No, the movie was like Mary and Q Tip Prison.
She directed that, so she directed all of my videos.
Speaker 1 (01:28:28):
Wow.
Speaker 4 (01:28:28):
But yeah, yeah, I always thought that was an odd
choice for a sing I mean, I thought it was dope,
but it was, yeah, because I was.
Speaker 1 (01:28:34):
Like, well, it was one verse. It was just one
verse in the hook, it was one long verse.
Speaker 4 (01:28:39):
That video was one of the videos where like, you know,
where my dad just happened to be in the room
and then the gunshod thing happened and he just looked
at me like he was always coming to choice moments
where like I'm like, dad, hip hop's an R for him,
you know, and you just look alike.
Speaker 9 (01:29:01):
And then the twenty five of the Life video. It's
so crazy because that was like my first number one
MTV video. I think that was actually my only number
one MTV the only one. I was like, it's not
even it wasn't even supposed to be a single.
Speaker 8 (01:29:14):
Nor.
Speaker 9 (01:29:14):
The first person that Too Short did a song with
on the East Coast was me on that record. That
second album was a song called check Yourself. Short and
Now we're on tour, and we were both signed a
JIB and Jive had this brilliant idea of like, no,
you guys should make records together. But when you think
about it, no, we shouldn't have made records together. That
that's not who my audience was. My audience was people.
Not no disrespect to shorts audience, because Short is an
(01:29:37):
amazing man. But at the time, coming from BDP, people
probably expected a little bit more than what I actually
gave them. But I was I was a fucking kid.
I made records that kids would listen to. I was
talking about chicks. I wanted to be hot in the streets.
Speaker 1 (01:29:52):
You know.
Speaker 9 (01:29:52):
I was a dude that was selling drugs in DC
and came back to New York and I wanted to
be respected by these dudes. So I made those records
where karas at the time, excuse me a little hiccup
because I'm drinking this rock quest love juice, Jesus juice
I'm having over here.
Speaker 4 (01:30:06):
But before I forget real quick because we gotta wind
it up, you're definitely coming on because we didn't need
to get to talk about the White House. No, the
second part of your life. No, No, I'm purposely leaving
the other half of your life out just so you
have because you're coming back, going to.
Speaker 1 (01:30:26):
Be the signs of Burnhard, of Quest, Love Supreme, just frequently.
Speaker 8 (01:30:32):
Tape on record.
Speaker 9 (01:30:32):
You're coming back, right, are you kidding? I'm trying to
sit in on every interview round stories.
Speaker 4 (01:30:38):
Yo, how did you convince Soul Train to let you
perform call Me d Nice live? Because I never knew
that was the your performance of that. When we finally
went on Soul Train, I was like, Yo, we're gonna
do the same thing De Nice did. We'll make up
a trap as if it were live, and then well
(01:31:00):
lip sing it, but it'll look live when it's on,
you know, on television. But we got that from watching you.
So why didn't you just do the typical lip singing
to your version?
Speaker 9 (01:31:10):
Like so no one had done that at that point.
And when when I had the invitation to perform a
Soul Train, I thought all these years I thought it
was live, you know, I thought everyone was doing it live,
and some of them were, some of them.
Speaker 4 (01:31:25):
Were, but really I didn't even know that special you know,
Barry White, Yeah, special people got the treatment, but it
was costly for Don at the time to do it back,
you know, gear.
Speaker 1 (01:31:36):
And all that stuff. So for the most part, it
was lipstick.
Speaker 9 (01:31:39):
Well when I when I performed well the night before
or the day before, I couldn't believe that you couldn't
do that, you couldn't perform live. I was like, this
is insane. What are you talking about? I want to
perform this record. So I booked the studio session.
Speaker 1 (01:31:54):
I went in.
Speaker 9 (01:31:54):
It was me my buddy Tony Rassan, who lived at
the shelter at the time and at Franklin, but he
ended up becoming like my partner in in my management company.
We went in the studio and I just did it
live like I wanted to do. I want to feel
the way I performed.
Speaker 1 (01:32:09):
It was great. We did it. We did the whole
go do you dice go? Do you ice? Wait? That
was you guys.
Speaker 4 (01:32:17):
Yes, Oh damn man, I was because I was gonna say, yo,
you you that was the most hype I've ever seen
the audience, like.
Speaker 1 (01:32:24):
Yo, dude wait.
Speaker 9 (01:32:26):
So we did all of that the studio with the
next day, gave him the track. I was performing it
and I was performing it like it was live. Yes,
and duncan nels. He was like wait, wait, wait, stop, stop,
stop stop his mic is live. What's going on? He
literally stopped us and I fell out laughing, like no, dude,
(01:32:46):
like we did this last night, and he said, young Blood,
that's a good one.
Speaker 1 (01:32:55):
Oh man, man, that was great. Though, that's great. I
was in the trench right time to No you didn't
yet they KG produced it.
Speaker 9 (01:33:02):
KG produced Time to Flow, and then I wrote my
own verse, which was actually a mistake. Though, man, I
you know what, man, Trench was on fire at the time.
I love that you asked me this. By the way,
Trench was on extremely on fire, and we'd been friends
even before opp any of those records came out and
I watched I was fascinated by Tretch like I thought
(01:33:24):
Trench was. I watched Trench battle Jay z to where
Jay got frustrated and threw the mic down and walked
up the stage. I'm not even lying to you. I've
seen all of this and Trench was like an MC
god to me. So when we had a chance to
do that was like my first feature ever outside of KRST.
That was the first time I ever performed with another artist,
but we happened to be real friends with me shot
(01:33:46):
Kim while Tifa like they were my family, you know.
I was a part of Flavor Unit and work with
shot like and work with Dana and Nick. So doing
a record with Trench was great. The problem that I
had was is that I would so fascinated and amory
by like my relationship with Trench that I almost wanted
to be that dude. And I didn't rhyme. I didn't
(01:34:07):
rhyme like myself. I wasn't mean That's what made me
ask it.
Speaker 1 (01:34:10):
Yeah, yeah, I found it. I was.
Speaker 9 (01:34:12):
I wanted to rhyme like Tretch. I wanted to be
like that was top level to me, and I wanted
to be on his level instead of just being who
I am. So there are some some mistakes that I had, man,
that I actually I don't even wish I could change it,
because I wouldn't be where I'm right now had anything
been different.
Speaker 4 (01:34:27):
Well, for the record, I always liked you. I always
thought you were underrated as an MC and you you're
always liked. Your delivery was always really clean, like your
Birse on self destruction times. Yeah, like it was still Yeah, man,
I always always thought you.
Speaker 1 (01:34:40):
Were my mom.
Speaker 9 (01:34:41):
Liked the sweater and the self destruction. So aj Lester
one hundred and twenty fifth Street back in the day.
Speaker 1 (01:34:48):
There.
Speaker 4 (01:34:49):
We think you for coming from the show. We're definitely
going to have you back. Yeah, we gotta talk about
the rebirth.
Speaker 1 (01:34:54):
Everything and stories.
Speaker 4 (01:34:58):
Yeah, but thank you man. I appreciate it all right, man,
give it up for a great nice Uh just want
to let you guys know. You know, we rarely push
our our social media, but you can follow Quest Love
Supreme at QLs. That's our Instagram and our Twitter at
ql plus and when you go on Facebook, Quest Love
(01:35:19):
Supreme and you can email us. There's something new for
twenty eighteen. Yes, yes, you can email us with with
questions and comments and criticisms all right.
Speaker 8 (01:35:29):
And roll call help.
Speaker 4 (01:35:29):
Can't wait for that anyway, we're gonna find We're also
gonna find love for Laya by February.
Speaker 1 (01:35:35):
Uh, hit us at mailbox it may I l b
o X set out mail box.
Speaker 4 (01:35:43):
Mail out there mailbox at Questlove Supreme dot com.
Speaker 1 (01:35:47):
The way you guys got that all right, So you
can send all your hate to many mail box. So
that said on the Quest Love Supremes.
Speaker 4 (01:35:58):
Froon Tickeelo Unpaid and Boss Bill Sugar Steve, It's Layah
and our guests d Nice.
Speaker 1 (01:36:04):
Yes, yes, our return guest d Nice. We'll be back. Uh,
We'll see you in the next go around. Quests Love
Supreme Quest Love Supreme is a production of iHeartRadio. This
classic episode was produced by the team at Pandora. For
(01:36:25):
more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,
or wherever you listen to your favorite shows.
Questlove Supreme is a production of iHeartRadio.
Speaker 2 (00:04):
What's Up, Everybody, It's Sugar Steve from Team Supreme. June
marks Black Music Month. We often speaking about it on
Questlove Supreme, and we've had some of the legends responsible
for the recognition on the show. Every day this June,
we are running a different episode from the QLs archives
to honor the tradition and intent of Black Music Month.
This week we are focusing on some of the great
(00:25):
hip hop conversations in the QLs catalog. Our leader Questlove
has a new book out called hip Hop Is History.
Check it out at questlove dot com. D Nice has
become one of the top DJs, but his hip hop
journey is one of a man who wears many hats.
Listen back to this QFS.
Speaker 3 (00:48):
Suprema Sun, Suprema roll Call, Suprema Sun Sun, Suprema roll Call,
Suprema Sun Sun, Suprema Ro, Suprema Son Supremo.
Speaker 4 (01:03):
Roll call, Hello, Supreme fam Yeah, quest Lovers flock, Yeah,
what up?
Speaker 1 (01:08):
D Nice?
Speaker 5 (01:09):
Yeah, Suprema Supremo, role called Suprema Son Son Suprema Rollante.
Speaker 1 (01:20):
Is in the building. Yeah, I'm willing and able.
Speaker 6 (01:23):
Yeah.
Speaker 1 (01:23):
Compared to me Yeah, just chrmebs on the table, sup.
Speaker 6 (01:30):
Supremo, roll call Suprema Supremo.
Speaker 1 (01:35):
Roll call. They call me sugar, Yeah, they call me spice.
Speaker 2 (01:39):
Yeah, they call me everything.
Speaker 1 (01:41):
Yeah, but nice Supremam, Mad Supreme.
Speaker 7 (01:52):
I hate Fante. Yeah, he stole what I write. I'm
just gonna say up the nice.
Speaker 3 (02:01):
Sa Jordan Son Supremo roll call on paid bill, Yeah,
start do drag.
Speaker 1 (02:11):
Yeah, just can't take it. Yeah, jet L.
Speaker 6 (02:15):
Roll call Supremo on the Supremo, roll call Suprema something
Son Supremo, roll call.
Speaker 8 (02:23):
My name Yeah, oh yeah, that's right. Yeah, that fine
is over there though. Yeah, his name is nice.
Speaker 6 (02:31):
Roll call Supremo Supremo, roll called Rocket Son Son Supremo,
roll call.
Speaker 8 (02:41):
Yeah.
Speaker 9 (02:41):
I don't know what to say. Yeah, I haven't written
the rhyme. Yes is back in the day.
Speaker 1 (02:48):
Uppreva Safe Suprema, roll call Suppreva Son Son Supremo.
Speaker 6 (02:55):
Roll call Supremo soth soun Supremo, roll call Suprema Son Son.
Speaker 4 (03:02):
Subpremo role All right, Boss Bill with the with the
field goal. Yeah, with the field goal with one second left,
half pint half court Buzzy bean y one on No.
One had a twenty five to life Reference was going
to do that. That's why on the table I didn't
touch called Denic. Sound was like, let me leave, call
(03:22):
me Denice. Someone else is going to do it, right,
So then I was like, okay, crumbs on the table.
I don't think nobody do that one and.
Speaker 7 (03:29):
Called me with the Scott Rock though I wasn't where
was your one? It was literally almost the exact same ship.
Like I tell no fables compare to Boss the table.
Speaker 4 (03:40):
Oh god right mind, Well, ladies and gentlemen, welcome to
another episode. Of course, love Supreme, IM course love this
team Supreme in the house.
Speaker 1 (03:47):
Hello, guys. Yeah, our guest.
Speaker 4 (03:50):
Today, uh was sixteen when he entered the game back
in nineteen eighty something, and I believe that he's seven
teen some thirty.
Speaker 1 (04:01):
Years later thanks to that early morning drinking coffee brought
you back QS coffee. Yeah, I'm just saying that.
Speaker 4 (04:14):
Out of anything that he's done in history, I'm more
curious about how you've yet to age in hip hop.
Speaker 1 (04:22):
But he's a hip hop legend.
Speaker 4 (04:24):
He's part of He was part of the legendary Boogie
Down Productions crew from the South ROX that really literally
changed the face of hip hop and advanced it to
an intelligence level where nerds like us could participate and
engage in the culture. And he's had the craziest journey
(04:49):
since I mean as a photographer, as a DJ, as
a producer, and as a coffee maker. Apparently, ladies and
gentlemen welcome to quest of me.
Speaker 1 (05:00):
D Nice. Yes, yes, thank you for having me taking
out your suckers. And you don't know how did so?
How did you take out those suckers? I still don't
know how I did it? Yeah.
Speaker 4 (05:14):
Side note, d Nice has half of us in this
room engaging in course slups Supreme coffee, which is it's
very nice.
Speaker 1 (05:25):
It's coffee and passion coffee. And yes, black lives matter, fashion,
black lives love. That's hilarious.
Speaker 4 (05:38):
Shout out to Diddy and listen to thank you, Thank
you Diddy. In this room, I forgot my father. Shout
out to my twin brother Love Brother, Love Love and
Alyssa for this.
Speaker 1 (05:50):
How's it going? So you you said you had a
rough night last night. I had a rough night, man,
What did you do? Man?
Speaker 9 (05:56):
So it's crazy kind of being in this world where
you I met with an invent last night that offered
me like a few million to open this business. So
I went out to celebrate after that, and I celebrated
a little too hard at a restaurant called Charlie Bird.
I mean I probably had like five bottles of wine.
Nothing hard, but it was fantastic wine. The song just
kept bringing first of all, sound mad nerdy like.
Speaker 1 (06:20):
Nerds right now.
Speaker 9 (06:21):
The song brought out, I mean, everything was just amazing.
Speaker 3 (06:24):
Man.
Speaker 1 (06:25):
So I'm recovering from that right now. Congratulations for you. Yah,
so super excited.
Speaker 8 (06:29):
He said that sentence like it happens all the time.
Speaker 1 (06:31):
You know. No, but I'm saying, well, that's what I
was going to go to. How many jobs do you
have mine? Man?
Speaker 9 (06:42):
Here's the thing, man, Like, coming into the hip hop
back in eighty six, I had no real role in BDP.
You know, I wasn't I wasn't in real MC at
the time. I wasn't really producing at the time. And
the one thing that Scott Larrock told me early on was, dude,
you have to know how to do everything in this
room in case something would have happened to one of us.
(07:02):
So that's how I ended up becoming a DJ. That's
how I learned learn how to write rhymes. It was
really because I had no real role, so I tried
to fit in and I did a little bit of everything.
And to this day, I just feel like I can
do anything, you know. So in terms of like businesses,
you know, I'm trying, not even trying. I'm about to
open the club, you know, working on that now. You know,
(07:23):
the DJing takes me all over the world. Obviously, Photography
has been great to me. And you know, I've shot campaigns,
done America's Next Top Model, Hennessy campaigns with this guy
over here, you know, you know, and it's.
Speaker 1 (07:35):
Yeah, I forgot. He's like wait, I was looking around,
like who are you talking to? You know, But I
just I love being creative. That's it. I love being created.
So you know, I.
Speaker 4 (07:51):
I know you, but I never ever nerd it out
because I knew I was going to get you on
the show one day. And you know, I have so
many questions about just your your journey and your entry
in the hip hop and and and all those things.
First of all, where where were you born?
Speaker 1 (08:09):
Can I assume that you.
Speaker 9 (08:10):
Were born in this I was so I was no, no, no,
I was actually born in New York. I was born
in Harlem Hospitals.
Speaker 1 (08:16):
In South New York.
Speaker 4 (08:18):
Yes, how come people that come on the show that
represent a city and they're they're born from We're never
they don't represent that.
Speaker 9 (08:28):
I wish I was born in the Bronx, but no,
my heart is always there. But I was born in
Manhattan in Harlem Hospital, but raised in the Bronx. And
the funny thing is I wasn't even raised in the
South Bronx.
Speaker 1 (08:40):
So we're part of the Bronx.
Speaker 4 (08:42):
Well I'm assuming when I say, you guys, what I'm
saying b DP like, we're part of the Bronx.
Speaker 9 (08:47):
So care Ress was from Brooklyn, so he wasn't really
from the Bronx.
Speaker 1 (08:53):
Yeah, Marley didn't.
Speaker 9 (08:53):
Marley Caress was from Brooklyn, So South Bronx actually represented
where he lived at the time. He lived in the
Men's Shelter and DJ Scott Larrock was a social worker
there Kres. You know, his name wasn't cars He was
bed number five, seven, six, six, whatever, But no, he
lived there, and my cousin was a security guard at
(09:15):
the shelter MINS Shelter, Franklin's MINS Shelter in the Bronx.
So when they talk about well, not even they when
we talk about South Bronx, it really represented that particular
area really where Scott lived. And I was a part
of the group because you know back in the day
when you say how many jobs, like I loved cooking
growing up. And one day, this is really how it happened.
(09:38):
Was I was cooking something for my cousin and brought
it over to the shelter and then he introduced me
to scottland Rock and Scott looked at me and said,
you're going to be in my group, just like that
dead ass serious. He was like, you're going to be
in our group. You had no he had no clue
of what The very first day that I met him,
he wanted you to cook wait for the group. Probably no,
(10:01):
but yeah, that's it's crazy when I think about it, man,
it's it's insane.
Speaker 4 (10:04):
What was your musical experience prior to that, Like, were
you at least observing what hip hop was becoming back
in the eighties, Like were you at park Jams any
of those things?
Speaker 1 (10:15):
Or was that like after your time?
Speaker 9 (10:17):
No, no, no, I was always into music, but oddly
enough it wasn't hip hop. So I grew up, which
you know, I'm not just saying it's because you're here.
But I grew up listening to just soul music. So
when I hear that in a party to this day,
it's actually the reason why I DJ. I grew up
listening to, you know, just a lot of James Brown
stuff like Melbourne Moore, like everything in the seventies was
(10:38):
like that was my era. And the first hip hop
record I fell in love with wasn't even like a
full on record. I remember walking by a laundromat and
someone was playing like Pebbly Pool. So that was like
the first time that I really fell in love with
hip hop because she was it was like on an
old mixtape and she was rhyme, and you know, I knew, like, man,
(11:00):
I want to be involved with it.
Speaker 1 (11:02):
And but.
Speaker 9 (11:05):
Yeah, so that was my music really started with with
with hip hop with Kress, like that was you know,
outside of the Pebbly Pooh stuff. I never wanted to
wrap until I met them, until I met Scott and.
Speaker 1 (11:17):
Karas, Wow, that's okay. Well, so then.
Speaker 4 (11:24):
How to become like you know you you're in the group,
until you know you actually you guys doing things and
like how do they develop as a as a band
first of all Who's NBDP.
Speaker 9 (11:38):
So there was the group bugget On Productions, which was
it consisted of kras One, Scottland, Rocky myself. Then in
the crew you know how you have a crew of
people just roll with you. There was always you know,
Miss Melody, Mick Bull, a gentleman we called RoboCop manager
Moe and I see.
Speaker 1 (12:00):
Number one, yea, I should have just.
Speaker 9 (12:04):
Should have did the intro to that record, but but
yeah no, but that was like Willie d. That was
the core of the crew. But in terms of making
records and producing in the studio was Jess Cararas, Scott
and I what was it?
Speaker 1 (12:18):
Okay?
Speaker 4 (12:18):
So, uh, I guess could you could you tell me
of of just the genesis of like the first album
that you guys made together and yeah.
Speaker 9 (12:30):
No, So there are a few things to talk about
with the Criminal Minded album. The only song that I
actually worked on with the group was South Bronx and
South Bronx was done by mainly by Scott Lorock and
that was my first time being in the studio. We
were at a sixteen track studio in Queen's.
Speaker 1 (12:50):
Can I add something? Uh?
Speaker 4 (12:52):
That was the most evil intro of all time? And
I always tease you about this because I know that
you were you know, obviously were like, all right, you
give a shout up, but you're your your intro, Yo.
Speaker 1 (13:04):
What's up Scottland Rock?
Speaker 4 (13:06):
Like it was just like we always as a kid,
me and my friends were always like, yo, t nice,
it's a villain man like like we we had this
image of you being like a Sniley whiplash from from
my cartel.
Speaker 9 (13:23):
Meanwhile, I was the skinny kid you just gotta hear
like Scott Rock like just gritted teeth.
Speaker 1 (13:30):
I was like, oh, he must be their bodyguard. Oh
why it was Yeah, definitely.
Speaker 9 (13:36):
I think heros probably would have preferred me being the
bodyguard than any you know. But no, when we made
Criminal Minded, like like I said, I only worked on
that one particular song with Scott you know. And you
know that was my first time in the studio, first
time sampling like anything. You know that was that was
a fantastic moment for me and uh and doing the
(13:57):
chorus of course. And the funny thing about South Bro,
I didn't even have a rap name. I didn't have
a rap name until the end of the song. Like
literally I told him to call me d Ice and
he accidentally dead serious. It was literally like are you
gonna be Dice? I was gonna be Dice instead of Denise.
Speaker 1 (14:20):
So with with the South Bronx, I've heard.
Speaker 4 (14:28):
Stories of what was the involvement with Said G or
Paul C at the time, Like, because I've heard Said
G say, hey, I co produced Criminal Minded. I've heard
Paul C's people saying that, well, I provided the drum
patches that said G had that.
Speaker 1 (14:50):
I mean just at the time, were those guys.
Speaker 9 (14:52):
Around or it's the Paulcy thing.
Speaker 1 (14:54):
This is new to me.
Speaker 9 (14:55):
Okay, you know I met Paul you know, shortly before
he passed. I didn't know him like that, and he
was never in any of the sessions that I was
a part of. Said, so here's the thing, man like,
as you know, bro like a lot of And this
is no disrespect to said because said was truly there
and said, I.
Speaker 1 (15:13):
Know what revisionism is in hip hop, especially with the legends.
Speaker 9 (15:16):
So yeah, you know, like he definitely did drum program programming,
but sometimes people mixed producing with programming a drum beat,
you know, and said did a lot of programming. A
lot of the stuff was used, you know, a lot
of his gear was used to produce those records, but
I wouldn't say he produced criminal minded. I wouldn't say that,
and I don't think KRS would say that. Did he
(15:36):
program a lot of it? Yes, but you know he
you know, wasn't He didn't do the bridges over. I
was there with South Bronx. I was there with you know,
a lot of those records.
Speaker 4 (15:45):
I think for some reason, like I don't know where
the like because in the real world make quote, making
the beat is just arranging, yes, right, but not in
him Like I've heard, you know you on the Off
Wall Masters. You hear Rod Temperton giving people like instructions.
All right, guys, you play this an account three one
(16:06):
two three, So obviously Rod, you know, if it were
in hip hop terms, then Rod Temperton would get credit
for three songs because, like you hear him, he made
giving instructions, right, And I don't know how. I guess
we're producing. It's like you have to oversee the entire
project and decide what's good and what's you know, bad.
But it doesn't work that much. Your hip hop though
(16:28):
I don't think it's hip hop, is just do you
think producer you think beat maker, and you don't really
give consideration to the person that may have actually brought
the song to completion.
Speaker 1 (16:37):
You know what I'm saying.
Speaker 7 (16:38):
And I mean, isn't in the quote unquote real world,
the producer handles the budget, the booking, the studio and
you know, hiring all the musicians like the overseer.
Speaker 8 (16:47):
Yeah, you'd like the executive producer, right.
Speaker 1 (16:50):
That depends on the genre. I think that's true.
Speaker 8 (16:55):
Fascinating. It's like class Okay, okay, yeah, I.
Speaker 4 (16:58):
Mean because I mean, well, no, no, no, I mean
I consider myself a producer, but you know, I only
see it. I only take it to the fifty yard
line because I hate doing vocals.
Speaker 1 (17:12):
Always.
Speaker 4 (17:13):
But even with that, I don't even think you necessarily
have to do vocals to be a producer. I think
you're more so the producers. The person gets the final say.
So if you get Steve or whoever to cut vocals
and then at the end you come in and say, Okay,
that's the one, then that's it you. But at the
end of the day, like I might not give Steve,
like producers credit for sitting there for nine hours and
figure out what's the wait, We're not starting to.
Speaker 8 (17:34):
Fight out loud thought I'm sorry.
Speaker 1 (17:38):
Okay, hypothetically you've gotten credit on stuff. I mean.
Speaker 10 (17:44):
In hip hop, producing is known as bringing the beat,
making the beat, and then you got a producer for
maybe the whole album, to produce the album. But each
song is produced by whoever made the beat. In rock
music other music, the producer is the producer sure of
the whole project, the album, all the songs, and he
may not have played one, he may not have written anything.
Speaker 1 (18:05):
You know he's produced. That's that's the distinction. Okay, and
there you have it, So continue DN No, I love it,
this is great.
Speaker 9 (18:15):
No, but like I said, no disrespect is said man,
but that that record was produced by Scott Lorock in
my opinion.
Speaker 4 (18:22):
So okay, Well, since you were there for South Bronx,
always wanted to know, uh, being as though you guys
were okay, so that was done I believe October of
eighty six, I remember the last half of eighty six
South Bronx was done. You guys could have laid claim
(18:43):
to the first people to use James Brown's funky drummer,
but stay, you just used the snare like you you
cut up the individual drums like no one thought at
the time, like, Yo, this this is gonna be breakbeat goal.
Why don't we just use the entire break or was
it done on an SB twelve which only holds like
(19:04):
four seconds?
Speaker 1 (19:04):
And done on an SB twelve? Damn? So that's why
you get just just truncated.
Speaker 9 (19:12):
Yeah, and that's why there's a guy because we use
funky drummer. That's why there's a guy playing James Brown.
The same guy that engineered the record is actually playing
guitar playing.
Speaker 1 (19:19):
James the end of it. Yeah, who engineered it? The
same dude. We don't use his name. I couldn't even
tell you his name. So he did everything. You don't
remember his name vocals? What the fuck? I mean at
least cut us a check.
Speaker 9 (19:35):
Bill number one. I was sixteen at the time.
Speaker 1 (19:38):
Were you were you round for the I'm not bill,
I'm sugar.
Speaker 2 (19:43):
These are bills over here.
Speaker 1 (19:44):
Oh I don't get paid either, So that's why he's
on paid.
Speaker 9 (19:50):
I think I'm going to my second class here he
starts this up.
Speaker 4 (19:55):
I'm napping already, thanks Diddy, brother Love, brother Love. So
were you around for the first round of bdpism the
kind of we got to advance pre.
Speaker 1 (20:08):
Pre Yeah, it was.
Speaker 9 (20:10):
Twelve forty one. That was the twelve forty one. That
was the name of the group, twelve forty.
Speaker 1 (20:16):
One that I didn't know. Yes, yes, that was the
fresh Prince kind of sounding. Yes. Yes, it sounded like
a PSA, like just say no the drug psy. Yeah,
that's what it's like.
Speaker 9 (20:27):
Yeah, twelve forty one was the name of the group
when Scott was a DJ and at dance Ateria, like
very old school New York club. He was a DJ
there and he used to go on at midnight and
then he told me the story of why you know,
I don't really remember, but the name of the group
was twelve forty one and that wasn't one of the
sessions I went to when I was just hanging out
with Scott was to one of those records.
Speaker 4 (20:48):
Advanced, We Got to Advance, We Got to Advance. That
was like a feel Huxtable type rap. It was horrible, man,
which probably explains that's probably what my mind. That's what
they played, mister magic. This tell us it was something else, though,
say it again. This told us it was something else. Oh,
the song that they played for him, biz tell us
(21:09):
a lot of this did tell us a lot. He said, well, no, no, no,
there's like eight other songs.
Speaker 9 (21:14):
So you know, I can tell you right now, none
of the songs on Criminal Mind it was played for
mister Magic exactly.
Speaker 1 (21:22):
I can tell you that I think that probably success
is the word.
Speaker 9 (21:25):
Success is the word was twelve forty one, and they
probably played that song. But I know for sure I
was in almost every one of those sessions, and I
know those weren't the songs that was played for Magic
at the time.
Speaker 4 (21:36):
So what was the difference though, because the eight songs
that were kind of twelve forty one ish weren't that good?
Speaker 8 (21:44):
No?
Speaker 1 (21:45):
And then you know, was it the anger of revenge.
Speaker 4 (21:48):
That sparked them to like, yo, we gotta come with it,
or because there's clearly a difference between for our listeners
that that don't know the legend of Boogie Down productions,
basically in their they're entry into the worlds at least
for us, the South Bronx and the Bridge is over
(22:10):
all these songs are sort of heated responses to mister Magic,
who scoffed at them in a rude manner when they
played their demo for him. And I guess that anger
prompted kind of a joker esque way. Did they get
a load of me kind of response? But I mean
(22:31):
the music improved ten thousand percent, So what was what
I always wanted to know, what was the difference or
what happened in the creative process that turned the twelve
forty one stuff which wasn't good to you know, the
blueprint of what hip hop would follow for the next
twenty years.
Speaker 9 (22:51):
With I know what it was in terms of production
and at the time we would hear like there was
this new wave of hip hop in eighty six eighty
seven you.
Speaker 1 (23:02):
Had Eric being rock Cam like biz, but technically you
guys were first.
Speaker 9 (23:07):
So but we heard those records though, so before they
came out, we knew, Yeah, we knew what was coming
with Marley. Everything that Marley was doing was extremely important
to our evolution. That's that's why I like, even though
we had this beef with the Jewe Crew, the Jews
Crew helped brand BDP in terms of like the sound
(23:29):
the samples Marley had, you know, the Bridge. Clearly, the
Bridge came out before South Bronx, you know, and that
sound that he was doing was so hip hop and
so raw and like you know, and you know, we
kind of loved it. I remember being in the studio
with Scott, and like I said, we were in this
sixteen track studio in the in the Queens, and even
the way that he was like sampling these records was
(23:52):
just different from me, you know, Like I didn't know
anything about being in the studio, and I know for
sure that he wanted a record that would compete against
the Bridge, like he wanted that totally. There was no
lyrics for South Bronx. It was strictly about the way
that record felt. Scott wanted to be able to compete
with that, and he was thinking from like a DJ perspective,
(24:15):
you know, not to get all deep with it, because
it's not really that deep. It's when we were in
that studio. I remember that's what he was playing, and
that's what he wanted to compete against.
Speaker 4 (24:23):
How long did it take to make? Were you guys
seventeen hour mix? Or was it like three hours? And
blame let's run into the river.
Speaker 9 (24:30):
I can say the entire album probably took. If it's
ten songs, I'm not lying to you. It was done.
I mean clearly you can hear it because it's old school,
but it was done. In ten sessions, like ten sessions
to make Criminal Mind. It was made for under ten
thousand dollars, for sure, under ten grand South Bronx. We
went in there, we did that song and at the sky.
(24:53):
We probably paid like seven hundred and fifty dollars to
make South Bronx. And he played on it and he
engineered it, he did ever thing.
Speaker 4 (25:00):
Who was the president of rock Candy Records Records, So.
Speaker 9 (25:05):
Rock Candy Records was, man, we can we really talk
right now. Rock Candy Records was a record company that
started as they sold pillows. Remember the pillows. They used
to sell like on the corner, like the big stuff pillows.
So they used to make the pillows and they were
all stuffed with like shredded denim. So the table on
(25:32):
the album cover of Criminal Minded was also a table
used to make the porn.
Speaker 1 (25:36):
Because they used to shoot porn. Damn, I don't want.
Speaker 9 (25:49):
This company was definitely like they were a small record
company called rock Candy. But in there, wait, dude, and
it gets better than that. It was like this Muslim dude.
There was Aish guy who funded a lot of it.
Always boy, listen, they made they made porn. I'm not
(26:09):
making this up.
Speaker 1 (26:10):
Always so pillows.
Speaker 9 (26:12):
There's like I'm just seing the link to them here,
Like there's a video of Scotland, Scotland Rock and I
performing South bron Chris couldn't make it, you know, not performed.
But while we're performing South Bronx, you see these pillows
on the side of us.
Speaker 1 (26:34):
An early merchan deal, early endorsement, the first three damn.
Speaker 8 (26:45):
Now you wonder what they are. Now that's interesting, a
musliming and Jewish man coming together for such a.
Speaker 1 (26:58):
Yes man, man, you're serious, No, I'm dead serious.
Speaker 4 (27:02):
So that was and then what was Boy, we got
to go further. So who made the deal to get
with these guys?
Speaker 1 (27:14):
I mean there's records there.
Speaker 9 (27:17):
We couldn't get deals. I'm telling you the real Yes,
I could never tell you all of this. Yes, he
wasn't there. The real deal is Scott and I were
walking down the street. We were like, I don't even
it's like on near Like, well, you're not from New York.
So there's a like an old courthouse on the Grand Concourse.
(27:38):
We were in that area and Scott saw he had
this newspaper and in the back of it it had
all of these companies.
Speaker 1 (27:46):
So Scott.
Speaker 9 (27:47):
We had no cell phone. Was none of that, Scott.
There was Rock Candy Records, and he got their number
from from a newspaper, like some industry like newspaper called
set up a meeting. I was on the next phone
talking to this check and this is the importance of it.
I know, I'm going way evan conversation. So that one
particular moment of him being on the phone setting up
(28:10):
a meeting to meet with the Rock Candy people, I
was on the phone just talking to just a friend
of mine. I was fifteen years old at the time.
I so crazy, man, Like I just I didn't want
to stand there not doing anything, and I wanted to
be like, well, if he's on the phone, I need
to get on the phone too. In that conversation, in
that moment of like talking to this young lady, nothing flirtatious,
(28:35):
none of that, her dude grabs the phone from a like, hey,
I know you're trying to talk to my girl. When
I see you, I'm gonna kill you. Not making this up.
In that one conversation where we worked out this meeting
to get with Rock Candy Records, I had this one
conversation with this young lady. And the reason why I
say I'm jumping the gun right now in this conversation
(28:57):
is because that is the one conversation that I had
was with her was the reason why I ended up
having issues when we had records out with some random
dude rolling up on me. Wow, that pulled the gun
out on me. It had no idea why he was
pulling the gun on me, like, yo, you were trying
to talk to my girl and fucking kill you. And
that ended up being the situation that I was in
(29:19):
that cost Scott his life so crazy.
Speaker 1 (29:22):
So both seeds were planning at that moment, in that
very moment.
Speaker 9 (29:26):
She never even talked about this. I never even thought
about that until now.
Speaker 8 (29:28):
Wow.
Speaker 1 (29:29):
Yeah, in that very moment. Damn wow, I'm sorry. I
got to take a moment.
Speaker 8 (29:37):
See a therapist just for that moment.
Speaker 1 (29:44):
Now. Damn Now I feel I'm ruin it with the nerve.
So back to the poorn.
Speaker 4 (29:51):
No, but you, but you also mentioned something else. You
said Scott was DJing that Dancitaria. Was he a legendary
New York DJ by that time or not at all?
Speaker 1 (30:03):
He was?
Speaker 4 (30:03):
I know that that Dancitaria is a high reputation nightclub
Jellybean Benitez was a DJ there.
Speaker 1 (30:10):
I know Madonna frequent there a lot. Yes, that's where
the artist and all this, Like how did he get
a gig at Dancitarian.
Speaker 9 (30:23):
So Scott used to DJ at a club uptown in
New York called Broadway International. So Broadway International, New York
City was kind of legendary and it was one of
the first clubs to allow people to just play hip hop.
So at Danceitteryia, Scott was he wasn't because you know,
early on, like people there were, we had no specific
genre of music that you wanted to just play, like
(30:43):
you played music. If it felt good, you played. That's
why I know all of these records as a DJ now,
because it was just about the groove. So Scott was
probably an opening DJ at a place like Dancitteria, but
at at Broadway International, he like that was like a
night that he did, so they him from that. But yeah,
I mean I was too young. My first club ever,
(31:05):
like first time ever going to a club was Latin Quarters.
Speaker 1 (31:09):
Here we go, it's been a while. You have a
story about Latin I actually do.
Speaker 4 (31:17):
They're mocking me because they think I might have don't
believe it. They think that I have a Latin Quarter fetish,
but I know that history is made at the Latin Quarter.
Speaker 1 (31:31):
That's why I purposely didn't mention it, because I know,
we know we're going to go there, so it's cool,
you know, Latin Quarters. Man, We're gonna wait. This is
all right.
Speaker 4 (31:41):
So I have a question and reflection. Have you been
to any of these gigs with with with with Scott
Scott as a detail? No, No, you were too young.
I was.
Speaker 9 (31:50):
I didn't know him at the time. Okay, so by
the time I met Scott and he stopped, it was
strictly focusing on making the b DP records.
Speaker 8 (31:58):
And what's the age difference real quick between you and
Scott at the time.
Speaker 1 (32:01):
He's still seventeen. Yeah I was. No, I was.
Speaker 9 (32:03):
I was fifteen when we met, and Scott was probably
like twenty five. Well he passed the twenty five so
Scott was twenty four at the time. So yeah, he
was a kid, which is so crazy.
Speaker 1 (32:15):
Like a year though.
Speaker 8 (32:16):
That's it's crazy too, because you basically saying you met
him a year.
Speaker 1 (32:19):
Yeah.
Speaker 9 (32:19):
I was involved in his life for one year a lot,
and he changed his life, changed my life, man, you know, Wow,
I don't know where I would have been without DJ Scottland.
Speaker 8 (32:29):
Rock probably still with you, no, for sure.
Speaker 4 (32:32):
Yes, So getting to the record labels like rock Candy
was the first one you guys chose, and wow, I'm
certain that it was a low end deal because it's
you know, because they had pillows pillows. That was an
evance ours a couple of throw pillows. No, it was
(32:56):
it was or was the artillery at least real on
the cover that album?
Speaker 1 (33:00):
No, that was real? Oh sure, no, that was that.
That's what you said. That was nerve For me, all
that stuff is nerve and water.
Speaker 9 (33:07):
The guns on that cover and also the UZI on
A one, Yeah.
Speaker 1 (33:14):
That that was real.
Speaker 8 (33:15):
We ain't gonna say were disappear just appear?
Speaker 1 (33:19):
Yeah?
Speaker 8 (33:19):
Shoot, I don't want to know that that much limitation.
Speaker 4 (33:22):
So once these songs are made, what is the testing
ground to see, like, how do things go viral? At
that point the test in nineteen eighty six, how do
things go viral?
Speaker 9 (33:34):
So in New York City was it like in park jams?
And specific was like if you tested your record at
a park jam and if people were rocking to it,
that was it. Now there are two moments that I
clearly remember. One was Scott and I back in the day,
you know, before m P three's, they would have what's
(33:55):
known as an acetate and just like, yeah, we just
had We had like twelve of them, twelve to fifteen
of them pressed up. And matter of fact, it was
like we went from Tom Coin like Tom Unknown Man,
we can talk music, bro. Tom was like every record
that we've we ever recorded was done by that dude.
He mastered everything. Ling Man like mastered everything from.
Speaker 1 (34:21):
The South Bronx to Hamilton. That's so crazy.
Speaker 9 (34:24):
But we went from like we had these plates done
at a place on forty second stret I can't remember
the name of it, but we Scott and I would
walk around to like Park Jams and play the records
and I remember performing South Bronx and all I ever
said on that record was Joe was sub Scotland rock.
But we would go to Park Jams and because Chris
lived in Brooklyn at the time, actually no, he didn't
(34:48):
live in Brooklyn.
Speaker 1 (34:48):
He lived in the.
Speaker 9 (34:51):
No, he lived in the in the refrigerator in the
freezer of Rock Candy Records.
Speaker 4 (34:58):
So.
Speaker 1 (35:10):
Freezers, dude.
Speaker 9 (35:11):
Wait, I'm not making this up. Chris and Miss Melody. Damn,
I'm going back.
Speaker 1 (35:17):
I'm sorry about this. Girl. Dude got me thinking about.
Speaker 9 (35:25):
So well, we wade South Bronx in the same studio
or the same picture of office that they made the
porn and we shot the album covernor downstairs it was
like this a warehouse that that the office was housing
on on in like the Cypress area of the Bronx
with Susan No, not Susan Rond. What's the other the
(35:46):
other strip club? You know what I'm saying, a lot
of foolishness going over on over there. Anyway, downstairs there
was a freezer in the garage, so you know, like
if it's like if you it was a place where
you house like food you at the truck in or
dead bodies in the freezer. That's where Karas live with
Miss Melody. Now what's crazy about this is you know
(36:09):
the rolling paper, like when you're doing like big shipping
and you use the rolling paper around. You know, we
laid that down as carpet, put their bed in there,
and that's where they lived and Chris had to be
home at a certain hour before they closed because once
you were in that's when they locked it up. This
is I'm telling BDP. They didn't have one. You know,
(36:31):
once you're in, you're in, so you're in the freezer.
They lived in the freezer. When you get them.
Speaker 1 (36:37):
On adam Min's shelter.
Speaker 4 (36:40):
It's strictly to sleep in overnight, so you have to
be in a certain time and then in the morning
what time is it let out?
Speaker 9 (36:47):
So in the morning, I mean, I never lived in
the men shelter. I just want to make that sch
but no, in the morning they had to get up,
you know, seven am, and get out, try to find
a jobs or whatever, and then they had to be
at a certain time. So in the men's shelter it
was like Krs Justice, I see you live there. Scottland
Rock was the social worker, a manager Moe who you
(37:10):
know still one of my best friends and managed our group,
was a security guard there. So that men's shelter was
extremely portant important to like early.
Speaker 1 (37:19):
Hip hop, did they not have families or like what?
Speaker 4 (37:23):
I'm certain that I know that the conditions in the
Bronx were like in Dire Straits. But was it just
because they didn't have family issues or.
Speaker 9 (37:33):
I don't know what Chris's situation was and why he
was in the men's shelter. You know, I couldn't tell
you why. You know, I didn't meet Kenny Parker until
maybe like when we did Jack Space, So it was
around that album, So Jack of Space came out.
Speaker 1 (37:51):
That was eighty No, no, it was eighty nine. No, no, no,
it was like eighty eight eighty eight.
Speaker 4 (37:57):
Because it's super amazing to me that, uh, like, just
in general, like we're so dismissive of the home of
the of the homeless that they're damn near invisible to
us in society, because I think a lot of us
fear that that, you know, a lot of us are
you know, two checks away to Yeah, So it's like
(38:17):
it's hard to look at them, you know, to look
them in the eye and deal with it.
Speaker 1 (38:21):
But it's like, I'm more amazed that.
Speaker 4 (38:25):
In general people didn't scoff and just be like, you know,
like you're holmemost like, but there's the future of music
in this situation. So it's amazing to me how they
pulled themselves out of their position.
Speaker 8 (38:40):
But isn't it amazing too that Scotland Rock was like
a social worker already.
Speaker 9 (38:47):
And actually I want to I want to take something back.
Just I don't think Justice lived there, just with friends.
I want to clear that up. Okay, I thought, but
I see you definitely lived there. Chris definitely only lived.
Speaker 1 (39:00):
There, you know.
Speaker 8 (39:01):
And they're how old at the time.
Speaker 9 (39:03):
Chris was pretty much the same age as Scott. So yeah,
Chris was roughly around twenty three, twenty four years old.
Speaker 4 (39:09):
Yeah, man, yeah, I mean we oft to them for
changing their situation around.
Speaker 1 (39:17):
Yeah, to go from sleeping in the freezer to having
a recording career.
Speaker 4 (39:20):
So how were they able to learn because let's not
forget they changed hip hop, So how are they able
to learn technology? And I have these records like most
of us have the comfort of oh yeah, my mom
and dad have these records in our home.
Speaker 1 (39:36):
Like, but like one of the resources they have to
know to change things.
Speaker 9 (39:42):
Remember, Scott was the social.
Speaker 1 (39:44):
Work Okay, so Scott situationatt went to you know, he
was college educated.
Speaker 9 (39:47):
He went to school in Vermont, like Scott was always
wait he was yes, yeah, he went to I can't
remember which school, but he went to school. He went
to school in Vermont. Scott was a straight nerd, like
he would be sitting here doing this podcast with you,
like He was a straight up nerd back then, bro
like but he was a nerd dude that loved music,
that loved hip hop and listen, I never heard of
(40:10):
an interview. Let me tell you, man, I'll tell you
how much I loved Scott.
Speaker 1 (40:15):
He was a nerd.
Speaker 9 (40:16):
But we also anytime something happened, we would figure it out.
So I'll give you I'll give you a funny story.
First time I've ever been on a plane after South
Bronx was out was our very first show was in Rochester,
New York.
Speaker 1 (40:29):
W d k X so in super ho.
Speaker 11 (40:34):
No, so.
Speaker 1 (40:36):
We went.
Speaker 9 (40:37):
We were doing the show in Rochester. South Bronx was
the only record we had out. Dude, this is crazy.
Speaker 1 (40:43):
So we went.
Speaker 9 (40:44):
We had no place to stay, it was a one
way ticket, didn't have a fly back. We were going
to do this show and it was great. I lost
my virginity at this show. The show was extremely important.
Speaker 1 (41:02):
That's how you remember it. So well, what is this
chapter gonna?
Speaker 4 (41:06):
This is?
Speaker 1 (41:07):
I figured out Rochester, Chester, So we went.
Speaker 9 (41:17):
We went to this show, we performed. We didn't have
a hotel room. So the guy that brought us up,
his name was Scotty. I remember this man like, it's crazy.
So Scottie, I can't remember your sister's name.
Speaker 1 (41:27):
That my virginity to So what's so?
Speaker 9 (41:43):
What's crazy is Scott we flew into Rochester and he
brought a young lady with us. So it was it
was Terras, Scotland Rock, myself and this young lady and
the guy that produced the show brought us. He asked
us to stay at his house. So in the middle
of the night, not me know this is crazy. In
the middle of the night, his mom woke up. She
was super Christian. She found out that there was a
(42:08):
young lady staying with us.
Speaker 1 (42:10):
Yo.
Speaker 9 (42:10):
She walked around the house and she had like the
holy water and she was putting crosses on our heads
and she and she told us to get out of
her house, and only the young lady could stay. So
we had no place to go.
Speaker 1 (42:24):
We had no money.
Speaker 9 (42:26):
Me, Scott, Caress, dude. We broke into like a motel six.
What we broke into a motel six and we the
three of us, stayed in this one room. Scott slept
in the bed, Kara slept on the floor. I slept
on the desk. But we knew we had to get
out of the room before before.
Speaker 1 (42:46):
Came. So we like, you get in the room, like.
Speaker 9 (42:49):
Literally broke it was a motel six, so you know.
Speaker 1 (42:52):
I thought you crashed the windows.
Speaker 9 (42:54):
No, no, no, like kick through the door, just staying yo, man,
I think.
Speaker 1 (43:01):
Y'all, y'all, y'all went through the fire to make my
life easy. It's crazy.
Speaker 8 (43:05):
The social worker, the fifteen year old, and I can't.
Speaker 1 (43:08):
I'm like, did you guys have tour support support?
Speaker 9 (43:13):
We didn't have a check rider, we didn't have any
of that. No, so so what the story gets better though,
So after breaking into this hotel room, we left like
five or six in the morning, and we fell asleep
on these steps and it was the steps of a school.
And I swear to you, the three of us woke
up to like these little kids throwing candy at.
Speaker 3 (43:38):
Wake up.
Speaker 1 (43:39):
It's crazy.
Speaker 8 (43:39):
And what did you say you did last night? You
said you broke it a million dollars. Okay, this man,
you come a long way.
Speaker 1 (43:45):
The song the sound came and hooked him up. The
song throwing candy at him? Not a bad life.
Speaker 4 (43:54):
How did you guys organize shows in those early days
when you didn't have.
Speaker 1 (44:00):
Uh, you know, a ten song catalog?
Speaker 4 (44:03):
To perform for the audience when you only had three songs,
like would you just go back and forth on big
beat for twenty minutes? Or somebody say ho, or like
how did you you only had a little bit of
vegetable and meat, but you needed a lot of broth?
Speaker 1 (44:20):
Like what was it a show back then for twenty minutes?
I'm sorry? That was a good reference? Was he a sports?
That was a solid soup metaphor and a first of many?
Speaker 9 (44:30):
Please we know there. We didn't do a lot of
freestyle stuff at all.
Speaker 1 (44:35):
You just do your one song and that's it was.
Speaker 9 (44:37):
Yet we did the one well, we always had two songs,
so we had South Bronx and the PS three, So
that was my involvement.
Speaker 1 (44:43):
So I was right, you're the t R eight oh eight. Yeah.
Speaker 9 (44:46):
I was doing the beatbox on the PS three my
first time and probably No No first and I think
the second time beatboxing was on No Rozelle. By the way,
No Rozelle only beatbox on two records. He is Free
and on Uh the Bioman's Necessary album there was a
song with.
Speaker 1 (45:06):
Breath control, breath control, that's you? Was that Booby is Necessary?
Speaker 4 (45:09):
Uh?
Speaker 9 (45:10):
That was on the Blueprint yeah, I worked.
Speaker 1 (45:12):
Yeah, that is you. Yeah, that was my damn yeah
that nice? Nice nice, That was me with the sample,
you know that is right? Uh well he starts with
Ray Charles and then is that Duke Gallington?
Speaker 9 (45:25):
No, No, the beat is Oh my gosh, hate Jude,
who did hate you?
Speaker 1 (45:33):
The Beatles? Not the Beatles? The Soul version Clarence not
Clarence William the hundred. What's that? What's his name in
the Night Hour? What's his name?
Speaker 9 (45:45):
Wilson Pickett, Wilson Wilson Pickets version. So I sampled it
is yeah, organ, the organ.
Speaker 1 (45:52):
Okay, so that was that.
Speaker 9 (45:54):
That was the Wilson Pickett version of Hey.
Speaker 4 (45:56):
Nice Okay, okay, So okay, I gotta get to the
rivalry part. So you know, are you guys, were there
any meetings between not meetings, rivalries or whatever between the
Jews Crew you guys after that initial meeting, Like because
(46:18):
New York hip hops community is small, so surely there
has to be a running or two.
Speaker 9 (46:26):
So with the Jewe Crew, I don't know what happened
before I was involved with the group, So I you know,
I really part of South Bronx. I didn't understand because
I you know, I wasn't there to experience that first
meeting that care Us and Scott had afterwards, My best
friend was in the Juice Crew and still one of
my best friends to this day, Big Daddy Kane.
Speaker 1 (46:47):
So before any not to say, y'all still used to
give him shoutouts.
Speaker 9 (46:50):
Yeah, came was always king was my dude, like that
was I mean, he and kr Us or he actually
helped care Us move into his first apartment. So even
though we had this rivalry with the Juice Crew, it
was more about records than anything. I mean, there was
some animosity there because I'll talk about it at all.
It was just like we never had those conversations. At
least I was never a part of those conversations. I
(47:11):
don't know if Chris did with Magic or but no,
we it was strictly about records and versus those guys
because Marty, come on, you know, Marley worked with Chris
Man Like, Marley was always a good dude. And and
the thing about me is, you know, back then and
even now, man, I was always a lover of hip
hop and producers. Like once I once I became involved
(47:34):
with it, it's like I wanted to know everything about
the culture like everything, and when I met the players,
you know, when I met Marri or when I met
Dougie Fresh or like, I was always a fan. So
even though we made these records and bridges over, I
was still a fan of those dudes, Like they walked
into a room. I remember being in a club in
the Bronx on Tremont Avenue and I was there by
(47:56):
myself at this club, and I remember when the Juice
crew walked in. There was this swag about it, like,
you know, to see Shan walk in with Biz and
TJ Swan and then walking in to do a show.
She was crazy to me, Like even though we were
competing against them, respect that, yeah, because they really had
a crew. We didn't have a crew. It was Scottland
(48:18):
rock care resting in myself, I.
Speaker 1 (48:19):
Thought y'all rolled ten billions based on that. My philosophy
video was like yo, yeah, so I couldn't even tell
you who have of those people are all Fat Freddy's
friends exactly? So I gotta go there? What give us? All? Right?
Speaker 4 (48:41):
There's a nightclub in midtown Manhattan. Oh yeah, I don't
know if you heard about it. What it's called the
Latin Quarter.
Speaker 1 (48:48):
I think I have been there before, man, So.
Speaker 4 (48:53):
For you, can you just give us a general synopsis
of reopen the Latin Quarter, or at least make a
documentary about it.
Speaker 9 (49:01):
No, no, no, that's one of the docs I want
to work on is on the Latin because it was
such First of all, I had no idea. It wasn't
until two thousand and like roughly around two thousand and five,
two thousand and six. I was at you know, buddy
Chris Lighty's house and we were in the backyard playing
basketball and we talked about the Latin Quarter. I had
no idea that it was a juice bar, like they
(49:25):
served no alcohol. Wait, wait, listen, there was no alcohol
served at our parties.
Speaker 8 (49:31):
Nobody has said this.
Speaker 4 (49:32):
No wait, during that hip hop era, during the hip
hop era, you weren't getting nice.
Speaker 8 (49:37):
No.
Speaker 9 (49:37):
That's so when Chris said, yeah, it's crazy there was
a juice bar, I was like, what are you talking about?
Because I was too young to drink. I was in
there when I was like fifteen sixteen. They served no alcohol.
So all all that aggression was just dudes probably getting
nice before the club and the way hip hop made
them feel. And when I tell you that this club was.
This club was everything. This was the mecha of hip
(49:58):
hop at the time, you know, like everything changed from
this club. That was the first place we ever played
South Bronx. That was the first time I ever heard
Eric being rock him. Matter of fact, it was the
first time that I met Mike Tyson. So here's my
Mike Tyson story.
Speaker 1 (50:16):
Together.
Speaker 9 (50:17):
Mike Tyson was a beast. We were all young, young
dude like.
Speaker 1 (50:22):
So we walked this point.
Speaker 9 (50:25):
He was Mike Tyson, but he didn't have the belt
was six, I mean six, too much of this guy, Damn.
Speaker 1 (50:33):
Six. This was eighty six.
Speaker 9 (50:35):
So I remember walking into the restroom into the I'm
a little nice right now in a little boogie.
Speaker 1 (50:41):
So I walked into the.
Speaker 9 (50:42):
Bathroom, walked walked into the bathroom, and Mike Tyson was
next to me taking a piss. This is this is
real ship right here. Mike accidentally stepped on a dudes stepped.
Speaker 1 (50:57):
On the sneakers. Dude.
Speaker 9 (50:59):
Dude was like, yo, you stepped the much blah blah blah,
and Mike hit him one time, knocked the dude out
in the bathroom and then stepped over him to exit
the bathroom.
Speaker 1 (51:11):
No lie.
Speaker 8 (51:14):
Was there he can tell you no words like he
ain't saying nothing.
Speaker 1 (51:17):
To say anything. This dude out stepped over him and
walked out. We have another Mike Tyson punched somebody's story.
I swear to God we have the name of campbells
Naomi Campbell. So I mean she didn't push nail me
out the car?
Speaker 8 (51:38):
Did you know Hea the Hunter? Because you know she
lived at the Latin Quarter we have.
Speaker 9 (51:41):
I've known Heather since back then in the freezer, since
the freezer pillows. I don't know her in the freezer
or with the pillows under her back, none of that,
none of that.
Speaker 8 (51:50):
You haven't see that apartment, she says. They look like
the Cotton Club and whatnot up there that's in Dumbo
or inside the last She lived in the Latin Quarter
with David Copperfield.
Speaker 1 (52:03):
Wait, wait, David Copperfield lived in the Latin Quarter.
Speaker 9 (52:06):
So the guy who owned the guy who owned the
Latin Quarter was a guy named Mike. I can't remember
Mike's last name, but Mike managed David Copperfield back then,
so he was making his money from from now some
other things, but no, for sure he managed David Copperfield.
I remember, so every time I see David Copperfield's name
(52:26):
in Vegas, I'm like, I could make it too.
Speaker 1 (52:33):
I could do this. Wow, disappear at the Latin Quarter happen.
Speaker 9 (52:41):
No, that's crazy. I didn't know you were obsessed with
the Latin Quarters. Man, it was serious.
Speaker 1 (52:45):
I'm obsessed with hip hop history.
Speaker 4 (52:46):
But I'm more I'm trying to figure out why because
of Okay, it's one thing for you to be like
a legend or in the industry and you roll with
a lot of people, like if you're carrying Red alerts
records something you kind of protected you in the DJ
booth or whatever. But I'm just to the point where
people were coming from all walks of life to getting
(53:08):
this club, and you know, your chain could be victed,
you could be It's like going to the prison yard jackets.
But everybody, but everyone that sits and tells that Latin
Quarter story has such romantic, kind of amazing stories, Like,
but people are getting jacked and fucked up.
Speaker 9 (53:28):
Yeah, but when you're a part of it, you don't
realize that you just got jacked fucked up.
Speaker 4 (53:33):
You're like just happy to be there, Like, is it
you know one person that just has a fuck Latin
quarter stories like I got I.
Speaker 9 (53:39):
Don't know anyone, and I'm telling you I've seen a
lot of shit happen in the Latin quarters. Here's another story, right,
so we're in the Latin quarters and this is why
this should be in a juice bar. Is so crazy
to me because I cannot believe that everyone was fighting
like this, like it was sober. It was fighting like
(54:00):
the sober dude. Like there was a dude who worked
at the front door. They called he had a doll
made after him, like in the eighties, he was called Sunman.
If you wait what yo wait wait he was like
he was was.
Speaker 1 (54:16):
That was.
Speaker 9 (54:17):
His whole body was like a y like and they
called him sonman. Like I'm not making this up. MC search,
you asked, search Search was there. Michael Rappaport was there
like this, Listen. He was bold enough to get Michael
rap everywhere, was everywhere. I'm not lying, broke, Michael rapp
Report is the truth. People people look at him sometime
(54:39):
they're like, you coach you roser. No, he was there,
like he was there all the ship he talks. I
swear to you, Michael Rappaport was there. He was there
the one skinny Skinny Kid, skinny white Kid. In the
middle of hip hop party was Mike Rappaport.
Speaker 1 (54:54):
Is this man, dude? Is that the doll?
Speaker 9 (54:58):
So that's the doll from back in the day. That's yo.
The guy was that is smart he.
Speaker 1 (55:06):
Having? And what was son Man's special power? I don't
even know. He blocked before sun Man word son Man.
So he was the guy he was.
Speaker 9 (55:27):
He was the security back at the Latin Quarters. So
he let certain people in anyway, So once we were inside,
you always felt safe, but not really because she always
because some man was at the door. How many people
were at the door? I couldn't even tell you. I
do remember son Man. I remember son Man. God damn,
I have his number on my phone. No, but these dudes,
(55:54):
this is too much to rock. By the way, brother Love,
I love you. I can be extremely honest. These dudes.
If there was a fight going on in front of
the Latin Quarters, I swear to God, they would lift
up the cars and move the cars. They were that strong.
It was like dudes that was at the door and
(56:16):
they weren't in full force, but they weren't dressed like them,
but they would, like I swear to you, bro like
move cars.
Speaker 1 (56:27):
It was crazy. Yo.
Speaker 9 (56:28):
The Latin Quarters by far the best experience I ever
had in my life in terms of being in the
club in just pure hip hop moments. There was a
moment in the quarters right where the Decepticons were fighting
against the A team.
Speaker 1 (56:42):
Wait, there was the eighteen there. I never heard the
eight so.
Speaker 9 (56:47):
They were all there were a bunch of dancers that
could fight well. But yo, that's the best I've ever heard.
Speaker 8 (56:55):
But the.
Speaker 1 (57:07):
Thing is, I can fight well.
Speaker 9 (57:11):
By the way, if you're still alive, no disiness bag.
But no, this moment was so crazy. So we're in
the club. I don't know why they started fighting. I
just remember LL had his big cool j ring.
Speaker 1 (57:25):
So you know the story. I've heard of this story.
So the story. I was there.
Speaker 9 (57:30):
I saw the fights happening. I was safely in the
DJ booth with red alert. But red alert listen, man,
red alert is in O G Chris lighty O gs LLLL.
You can say what you want about him licking his
lips that.
Speaker 1 (57:46):
Hell j O G. Man.
Speaker 9 (57:49):
The fights happened, people were trying to like trying to
rob LLLL. Pretty much what this was, I'm telling you.
It was like the wild Wild West bro.
Speaker 1 (57:59):
So the lights were on, but with dancing.
Speaker 11 (58:07):
Choreography, it was like the dude, it was crazy in
all of these sections of people fighting, the Scepticons, the
A Team, and this regular party goes un.
Speaker 9 (58:26):
So everyone's fighting.
Speaker 1 (58:27):
I'm into DJ booth, like you, this is crazy. This
is crazy.
Speaker 9 (58:30):
Red Alert was trying to jump from the DJ booth
because it was on the second level. He was trying
to jump out of the DJ booth because Chris Lighty
was fighting. Chris Lighty's fighting because Chris is trying to
protect LLLL and Chris used to carry Red Alerts records
at the time, So Chris is fighting, everyone's fighting. Scott
Lak and I in the DJ booth. I don't know
if Kris was there. I honestly don't know. But what
(58:50):
I do know is this once, once the fighting stopped,
LLLL had handled his right l I I you know, like, look,
I'm telling you.
Speaker 1 (58:59):
This, that one with.
Speaker 9 (59:02):
His lips licked, licking his lips. He handled, He handled
this bro like Chris Lighty was a beast, like for real,
for real.
Speaker 1 (59:13):
Like I've heard that about Chris.
Speaker 9 (59:15):
Chris was a beast. Chris walked into the DJ booth,
and I won't forget this moment. He kept saying, my
back is burning, my back is burned. And he pulled
his shirt off in front of scottlar Rocker and I
in this DJ booth, And that was the first I
didn't know what raizor blade slices looked like. So when
he pulled his shirt off and he bent his back,
(59:37):
everything just opened up crazy like Gloria, like give me
a sip of rocket.
Speaker 1 (59:48):
It wasn't quite like like, so you're saying that weapons
would still get inside of with Sunman at the door,
Damn your son Man Man on the phone, crazy, it's crazy.
Speaker 9 (01:00:10):
I'm exhausted, she said, I'm exhausted. Yeah, no, I've seen
I've seen some things. Man, Latin Quarters Man, this should
definitely be a documentary on the Latin.
Speaker 1 (01:00:18):
Quarters or at least like a fictionalized yeah, b T tails.
Speaker 12 (01:00:28):
You know, Leftime Movie Network, Definitely, Netflix, dancography the way
that the way that it is today, where you know,
unless you're a bona fide celebrity, i e.
Speaker 1 (01:00:44):
You put a Drake song on, you know, oh that's Drake,
or uh, there's the New Migos or whatever.
Speaker 4 (01:00:49):
Maybe Cardi B has uh, at least a three or
four second pass of playing untested material, and you know,
and that's her voice, and so it's like, all right,
we'll give that a chance, or you know whatever, Kanye
or whoever's winning at the moment.
Speaker 1 (01:01:03):
But you know, I hear that a lot of these
songs were tested.
Speaker 4 (01:01:09):
At the Latin Quarter and went off like gangbusters without
people really knowing that, Like, you know, these guys weren't celebrities.
So it's like you're hearing you're hearing Rebel without a
pause the first time, knowing that you didn't think too
highly of Public Enemy's performance the year before whenever they
(01:01:30):
first performed. Chuck said that they had a horrible performance
at the Latin Quarter that really didn't go off well.
And you know Mel was disrespected, but it's just.
Speaker 1 (01:01:38):
Wait, male disrespected them too.
Speaker 4 (01:01:43):
Disrespect was like the Heckler the going from what from
different stories we've heard, like he.
Speaker 1 (01:01:47):
Hit in the back.
Speaker 4 (01:01:48):
Just why that Mel you would try to skip the
record in the DJ booth if he didn't like a
particular act or you're crazy, because I mean by that
point now was like like thirty two, thirty three, So
it's like the new generation was I mean be like
me trying to go to uh one, ok right now, like.
Speaker 1 (01:02:12):
You don't know me if you are worried about what
you know what I mean? Anyway? Wait, some even crazier?
Why is some even crazier?
Speaker 4 (01:02:30):
So now if it's an all ages show where kids
are there, uh and by kids, I mean like the
kids of like whoever, like our real roots fans are
like they bring them twelve to thirteen years old. Yo,
motherfuckers think that we're now doing the Drake song, Oh Drake,
oh Drake's, Oh my God, like my Drake trek check is.
Speaker 1 (01:02:51):
Awesome for what one of those songs on if you're
reading they're reading this, okay, shut me neither.
Speaker 4 (01:02:57):
I mean you got me as one of his hooks,
like he does it twice at the end. But when
we do it, the look on their faces.
Speaker 1 (01:03:06):
Like they're doing it's good.
Speaker 8 (01:03:11):
I mean, it's good, but it's just you just don't
It's just.
Speaker 1 (01:03:15):
Makes you feel old.
Speaker 8 (01:03:18):
That's made me feel old.
Speaker 4 (01:03:20):
Man.
Speaker 1 (01:03:20):
They know the song, that's all.
Speaker 8 (01:03:22):
I don't hear the check, so I just feel old.
I listened to the story, you know that's wow.
Speaker 1 (01:03:26):
Can you just take the hook again? Look? Man, quest
A little coffee and full of singing. I was just
the young boy. I gotta this movie. Get back to
(01:03:50):
the interview, more stories. I'm sorry, we just needed had coffee.
Please off.
Speaker 4 (01:04:01):
So why why did Mel come up to you guys
to pick a battle? Was it because it was all
about you guys?
Speaker 9 (01:04:07):
Or you know right now, like if you're listening, I
love you. Back then, I looked at him. He was
a straight hater. Yeah, straight up hater. And and I'll
tell you a story, brother, we were And I remember
this clearly because at the time I was mad at
KRS and I was getting my first apartment and.
Speaker 1 (01:04:28):
Don Lewis, I know, this is wait a minute, different world,
cosmby people were coming to this.
Speaker 9 (01:04:35):
Yes, yes, yes, Don Lewis was like my big sister down,
I love you.
Speaker 1 (01:04:39):
Where is she now?
Speaker 9 (01:04:40):
She's still you know, she's still making stuff and you
know she's in LA But no, Don Dawn was that.
This is why I remember these stories because of moments
in my life where it was so important and pivotal moments.
I had my first apartment when I was sixteen. I
didn't have a bed. I used to sleep on these coats,
not like I had one bedroom apartment.
Speaker 1 (01:05:01):
But I never bet.
Speaker 9 (01:05:02):
All I had was a stereo system. That's all I
wanted music. No no bed, not a sofa, not even
a plate. I had an apartment. The apartment had like
you know, back in the day they used to glue
the like the carpet to the floor. Just imagine no
carpet and it was all half scraped. These are my
(01:05:26):
memories of like that time we're part of New York.
I was living in Washington Heights on Edgecomb Avenue and
like one hundred and sixty third Street in Edgecomb, right
right by the bridge going into the Bronx. So I
remember that vividly and going to the quarters this one
particular night. And this night that I went to the quarters,
(01:05:47):
Melle Mel was there, Miss Melody was there. It was
you know, regular rap show with like a thousand people
on stage. You don't really know, but everybody just wants
to be on stage the rap shit. And Mellie Mel said,
fuck these niggas, fuck that ship. We had South Bronx out.
(01:06:12):
So when kas performs poetry, when he said say something,
now thought, so he did that rhyme that night before
poetry was done. We only had South Bronx out, so
Mel said what he said, and Chris was on the
mic rhyming and doing poetry. So that's the one time
of like freestyling that I personally remember where Chris was
(01:06:33):
like say something now and put the mic to Mel's
face and he said nothing, kind of like when you
asked me to rhyme.
Speaker 1 (01:06:38):
Earlier, and.
Speaker 9 (01:06:45):
Then he was like thought so, and the crowd went crazy.
That's the Melli Mel experience that I remember where I
lost all respect for Mel. I was strictly because even
though I'm in a group, I'm like, Kris is the king. Whoa,
I'm not down. No, Cara Rest was the king bro
like the king of disrespecting early on.
Speaker 1 (01:07:05):
So that was would rhymes on standby and he just
had rhymes man.
Speaker 9 (01:07:11):
Outside of literally outside of like Black Thought and Big
Daddy Kane. I don't know anyone in Tupac. Tupac had
rhymes for fucking years. We'll still here Tupac records and
when we're like ninety brand new joints. But those dudes were,
in my opinion, true MC's that was always prepared, always
(01:07:32):
had something. They always had something.
Speaker 4 (01:07:35):
Chris told me, he showed me like a couple of
he had at least four competitions of notebooks.
Speaker 1 (01:07:40):
Yes, and the last thing he left us with.
Speaker 4 (01:07:43):
The last thing he left us with, he says, hey,
I even got a black thought this He said he would.
Speaker 9 (01:07:50):
Write, this is for Chris, would write he would have
this record.
Speaker 1 (01:07:55):
So he turned to the page he has.
Speaker 4 (01:07:58):
No he's he was like, he was like some next movement,
like he had he had it just in case I'm
ready for you.
Speaker 9 (01:08:08):
I'm always Kris always had lyrics for every MC that
was hot from Caine everything, and Caine was our boy,
but he was still in the Juice Crew. So Chris
was always prepared to battle anyone. And that was something
that I was never really I didn't know about that
any of that, you know, I mean records, because it
was I just loved music. I wasn't prepared. I wasn't
(01:08:28):
really prepared for that kind of m scene, you know.
Speaker 4 (01:08:40):
So talk to me about regrouping in the group's future
after Scott passed. Like at that time, was it just
like okay, but well I guess that's it no more?
Or was it like we gotta do this in Scott's
memory and no, it was like how what happened?
Speaker 9 (01:09:04):
So just to tell you know the QLs audience. Scott
love Rock passed away coming to my aid. You know,
I had an issue with a young not even with
a young lady, some random issue, wasn't even an issue
of my own. Scott came to my aid and this
is this was so crazy, bro like. We're in the Bronx,
Highbridge area of the Bronx. It's probably I don't even
(01:09:27):
remember the exact street, but we were in the Highbridge
area of the Bronx, not too far from Yankee Stadium.
Speaker 1 (01:09:30):
That's where I grew up.
Speaker 9 (01:09:32):
We're in this area and walking down the street eight
o'clock in the morning, a group of people rolled up
on me, had no idea who they were, and had
this beef with them where they pulled the gun out,
smacked me with the pistol and ran off. The first
person that I called was Scott. I went to a
pay phone called Scott, told him what happened. And Scott
already had this crazy day of locking himself out, locking
(01:09:55):
himself not laughing at his death at all, but locking
himself out of his apartment and hanging a rope from
a fire escape down to his apartment to climb into
the window. It was just one of those days like yo,
back in the day in the Bronx is what you
had to do, man. So that's why that's why I'm like, man,
this life is great. This life is great. So Scott,
(01:10:18):
after having that situation, I called Scott up and he
the one thing that he told me was, look, man,
we don't need any issues. We don't need any issues.
We need to squash this like it needs to be done.
I'm going to come over, We're going to find the people,
make sure everything is cool. And our mission of peace
was strictly about peace until this one guy, This one
(01:10:38):
guy that we had with us, we called him Robocops.
So he was the original guy, not the one care
Ris mentions on like I'm still number one, but he
was the original guy that we worked with. He was
He also was like a security guard at the Latin quarters.
But what we didn't know was that he was the
east Side rapist.
Speaker 1 (01:10:57):
I know this sounds crazy, sh turn around. I don't
know what to do.
Speaker 8 (01:11:03):
I just got nervous.
Speaker 9 (01:11:04):
I don't know he was the east Side rapist. So
later on, if you google him, east side rapist New York,
Daryl was his name.
Speaker 8 (01:11:10):
I'm afraid to how many right now know how many
bicks he got under that?
Speaker 9 (01:11:16):
I don't know. It was wow like But anyway, so
this guy was a hothead dude, you know. And so
the mission of peace of like going to the Bronx
to find these guys that that rolled up on me
became a mission of like, we're looking for trouble only
because of this one person. So he we were at
the projects highbridg High Bridge projects in the Bronx were
(01:11:38):
we were on one side of the street. Uh K
seven was there before he was K seven. He was
in another group before that t K. So he was
around there like we were. I remember this was one
one way street. We were parked in the right right
hand side. The projects were on the left. It's still
that's rock talking. So if I slur a little bit,
(01:11:58):
please forget me. But anyway, Scott and I were. It
was me, Scott, manager, Moe, Mick Bull, and the guy
we call RoboCop. So RoboCop went to ask one gentleman, hey,
we're looking for blah blah blah.
Speaker 1 (01:12:13):
We didn't hear the conversation.
Speaker 9 (01:12:15):
What all we saw was whatever this dude said to
him angered him, and he picked and he was like
a six four sixty five dude picked this young.
Speaker 1 (01:12:24):
Kid up and just slammed him.
Speaker 9 (01:12:26):
Now, which was that was a crazy moment because if
if it wasn't all about peace for them at that point,
to us, it was like we were coming to just
make sure we had no issues. But in that moment,
those kids were like, this is it's on. And while
we were standing there, maybe thirty minutes later, we were
(01:12:46):
standing out there and all of a sudden.
Speaker 1 (01:12:48):
Shots ranged for thirty minutes.
Speaker 9 (01:12:51):
I mean we were there for thirty minutes after the fact,
and all of a sudden shots came. Shots ranged from
the roof and from the bush. So our guy was
hit twice, you know, Scott Loan Rock was hit twice,
shot in his head twice. Bullets literally went past us
because he was on the Like I told you before,
(01:13:11):
we were on the right hand side of the street.
Speaker 1 (01:13:13):
He was in the passenger side.
Speaker 9 (01:13:14):
They were shooting from the left side, so bullets went
through past all of it him to him, no lies crazy.
So this guy gave his life, you know. So I
never want to just when I when I talk about him,
you know, I want to talk about the importance of
like Scotland Rock and the importance to me.
Speaker 1 (01:13:33):
They introduced me to music.
Speaker 9 (01:13:35):
He gave his life for me, and to this day,
his son is like someone that I loved that I
try my best to make sure he's always straight because that's.
Speaker 1 (01:13:44):
What his dad did for me. How old is Scotlan
Rock R. Scottlan Rock Junior is probably like thirty two
now thirty.
Speaker 4 (01:13:50):
One because I always wanted to I mean that whole
Scotlar Rock Jr. My pride enjoyed, always wanted to know
what happened to him. Okay, he's awesome, man.
Speaker 1 (01:14:00):
What does he do now?
Speaker 9 (01:14:01):
Like he's producing music, He's been putting out like putting
out his compilations, you know, you know, just just recently,
you know, we we got together, got him a new NPC.
You know, I want to do things with him that
his dad did for me. You know, like if you
want to be involved in music, let's do it. Like here,
(01:14:22):
use this gear, I have this, come and get it.
Let's make music. It's yours because that's what his dad,
his dad gave me. It's almost like you have this
this guardian angel that came into your life, put all
these things in front of you and said hey, do
what you can with it. Like I would not have
(01:14:43):
known red alert, I wouldn't have known care rest.
Speaker 1 (01:14:46):
For sure. He didn't even liked me.
Speaker 9 (01:14:48):
He didn't even he didn't even understand why Scott put
me in the group. Matter of fact, it back to
the original.
Speaker 1 (01:14:54):
No, Chris and I weren't we bickering brothers are like
real like I don't like that kid.
Speaker 9 (01:15:02):
For Chris when I think about it now as an adult,
Chris was probably angry with me because Scott lost his life.
Speaker 4 (01:15:09):
I was gonna say, like, I know the guilt you
had to to internalize. Still I don't how did you
to deal with each other or talk with each other
or after that fact or was it just a white
elephant you guys never spoke of And then like years
later it.
Speaker 9 (01:15:28):
Was like, I don't, I don't want to call it
a white elephant. Chris definitely treated me a certain kind
of way. So I was in the group, one third
member of BDP. We did a show.
Speaker 1 (01:15:39):
I made a third of the show.
Speaker 9 (01:15:41):
I left the group because Scott wanted to pretty much
be my dad and I didn't grow up with a father.
I didn't grow with my parents, So anyone trying to
have like that parental role to me was an enemy,
like I didn't want that. I didn't want you telling
me what to do and thinking looking back at it
as an adult now and as a father, man, this
(01:16:03):
dude changed my life. All he wanted to do was
make sure that I went to school. That's the only
reason why I'm not on a Criminal Minded album cover
was I didn't want to go to school and Scott
said to me, if you don't go to school, then
you can't be in the group. And I said, fuck
this group. I'm going to go sell drugs in the
street and I'm going to be good. So that's the
reason why I wasn't on the BDP first album album cover,
(01:16:25):
like the Criminal Minded album cover.
Speaker 8 (01:16:27):
It's crazy because I was going to ask what is
a fifteen year old doing touring the world or touring
the country with grown ass men, Like where were your parents?
Speaker 1 (01:16:35):
Now? There were no parents.
Speaker 9 (01:16:36):
I lived, slept on the floor and slept in the
living room on one sofa and my my great grandmother
was on the other sofa and my cousin. It was
my cousin's apartment. So from the time I was like
thirteen until my till sixteen, sixteen and a half when
I got my first apartment, well, seventeen when I got
my first apartment.
Speaker 1 (01:16:56):
I you know, that was what my life was.
Speaker 8 (01:16:58):
So how do you attribute being because just by optics sake,
you look like to be a very involved father. You
have two girls, right, how do you how do you
think you became such a great father. You didn't really
have to be the.
Speaker 1 (01:17:11):
Best parent that I didn't have.
Speaker 9 (01:17:15):
You know, like I wanted my kids and still want
my kids to be better than I am, and I
want them to be great, and my kids inspire me,
you know, And it was I know, it's directly related
to the way I grew up.
Speaker 1 (01:17:28):
You know, I grew up. My dad growing up was
Bill Cosby in my mind.
Speaker 9 (01:17:35):
Yeah, the Huxtables, Like seeing that was like I wanted
that for my kids. I wanted my kids to have
that experience. And I used to wear those ugly ass
sweaters all the time. You look at self Destruction video,
So even though you have Cosby sweaters, I had them.
Speaker 1 (01:17:54):
Joints, Bro, did you produce that self Destruction? Yes?
Speaker 9 (01:17:57):
I was eighteen when I produced Self Destruct?
Speaker 4 (01:18:01):
Okay, how many twelve hundreds did you use? Because the
beat switches every verse. So did you just use punch
the sample in oh?
Speaker 9 (01:18:08):
No, I used a Poobla song, remember that.
Speaker 3 (01:18:11):
No.
Speaker 9 (01:18:11):
So the Poobla song was a rack mount sampler that
would just loop whatever you had, It would loop it.
Speaker 1 (01:18:19):
That was your weapon of choice. That was choice.
Speaker 9 (01:18:21):
So yeah, so I used that in a SB twelve hundred. Okay,
so I'm sorry SB twelve not even twelve hundred. I
used the twelve you were still using in the twelve
and eighty. I was using the twelve and then the
first time, the very first beat that I made with
the twelve hundred. I remember this because I keenan ivory
Wayams came to us and said told Chris that he
wanted to use BDP on I'm going to get you
(01:18:43):
suck a project. And we were in we were in
Where's Where's Ali From?
Speaker 1 (01:18:50):
I'm drunk, Shi Ali? Where's Ali from? Ali? Mohammad Muhammad? Kentucky.
We were in Kentucky, Louisville. Right, We're in Louisville.
Speaker 9 (01:19:00):
And I jumped on the plane to go back to
New York to go back to sam Ash, bought the
s P twelve hundred, flew back on the.
Speaker 1 (01:19:07):
Road, and we were on tour with like I personally
to get the well, yeah, we.
Speaker 9 (01:19:12):
Didn't have I didn't know anything about FedEx and all
that I went to get this. I stayed at this hotel.
Never forget this. God damn, I can't tell you everything
because because I remember staying at this particular hotel with
someone's future wife.
Speaker 1 (01:19:27):
But three, so we won't go there. We won't go there. Anyway.
Speaker 9 (01:19:36):
I remember back this twelve hundred and then going back
on the road, and the first beat that I did
on that SB twelve hundred was from a sample that
I bought while I was in London, and it was
the Greedy G sample, and we used to we use
that sample and I put the sample the drums, you
know the drums last night chan Phillip, Yes, yep, with
(01:19:58):
with the Greedy G. And that was our show intro
from that moment on. And then that ended up being
a song that we did for The Jack of Spades.
So I'm gonna get you sucking.
Speaker 4 (01:20:09):
By the time you got to the bio means necessary,
what was the digging process, like, like you produced my philosophy.
Speaker 9 (01:20:18):
My philosophy, So I want to be clear about this.
I don't even want to say that I produced my philosophy.
That beat is definitely my beat.
Speaker 1 (01:20:26):
Who found the samples?
Speaker 9 (01:20:27):
That's all me? There you go, Yeah, that was all me.
I used to go to a spot called Downtown Records
in New York City, and I would go to the
House of Oldies, and that's where I bought. Pretty much
every record that I ever used to sample was between
those two places. And I remember being in downstairs and
it was always Big Doddy Kane. Biz was there. Biz
(01:20:51):
was there all the time. So if you found like
a sample, if you had a little bit of money,
you would buy every one of those records there. So
that because Biz would buy the records. So that's the
only reason why call me d nice isn't call me
Biz Marquee seriously, because I was smart enough when I
(01:21:13):
found that sample. It was a compilation with the Turtles
with Flowing Eddie on that compilation, and like Daylight had
a beat off of that joint. When I found that,
we also did so Steady b Yeah.
Speaker 1 (01:21:26):
Records.
Speaker 9 (01:21:26):
So that's that's I found that I looped at Chris
there was produced by Karras right. But I'm telling you
right now that I found.
Speaker 1 (01:21:34):
That all them four joints off the album. Yes.
Speaker 9 (01:21:38):
So with that album no, it was the Battle of
the Band's album I know.
Speaker 1 (01:21:43):
Yeah. So with that album I found those I had.
Speaker 9 (01:21:46):
I sampled all of that stuff and call Me d Nice,
which was crazy to me, call me the lyrics for
call Me D Nice let's I'm gonna put it out
there right now. Half of the first verse was written
by Krras. It was the song Chris had written for
me when I was like sixteen, and then I wrote
the rest of it. But I did it on like
an old Bee Boy Records album Old b Boy compilation. Yeah,
(01:22:10):
and it was like super fast. I wanted everything fast,
everything wanted Every record I sampled had to be like
one hundred and twenty beats per minute.
Speaker 1 (01:22:19):
I needed trying to get that house that house.
Speaker 9 (01:22:24):
Even after I recorded the vocals, I had them speed
up the tape, like make it faster.
Speaker 1 (01:22:27):
It needs to be faster. It was just bad anyway.
Speaker 9 (01:22:30):
So those records I was sampled of records and sent
it to Chris, or not even send it, bring it
to Chris on the tape. And at the time I
brought him, I brought him the beat for I'm Still
Number One for my philosophy and the beat for call
Me D Nice. And he heard the beat for call
(01:22:51):
Me D Nice and he said, nah, I don't like that.
What and then he took I'm still number one. I
had it faster because you know the sampo, he slowed
it down. I will give him that he slowed it down.
He was like, no, this is it, which ended up
being I mean, this is an incredible record, you know,
call Me D Nice. The only reason why I did
(01:23:13):
that record was because after I did the beat and
I played it for Chris, he didn't want it. The
second person that I played the record for was Kid Rock.
Speaker 1 (01:23:22):
Oh wow, I'm going to say you discovered him.
Speaker 9 (01:23:25):
Yes, I mean he was already doing this thing, but
he was like an opening act of one of our
shows and.
Speaker 1 (01:23:32):
Been in BDP, could have been in BDP with US America.
Great again, it's crazy. I have Kid Rock stories too.
Speaker 9 (01:23:45):
But anyway, so I played it for him and I
did call Me D Nice the lyrics to the beat
because I wanted him to know how he could rhyme
on it. So and and that's the only reason why
I have like two versions of the song was because
I did it for him. I was like, no, you
can do it like this, and then when I listened
back to it was like, wait, this is actually pretty
fucking dope and yeah, man, and ended up putting that
(01:24:08):
out as my first single.
Speaker 4 (01:24:11):
Wow, so that was your first album? So how did
when did you officially leave BDP? The time from you
when you left to putting out your first solo record.
Speaker 9 (01:24:21):
So I don't think that I ever actually left BDP.
I think car Rest just had my music turned down
extremely low at one show and I was like, I
guess I'm not in the group anymore.
Speaker 1 (01:24:33):
We were.
Speaker 9 (01:24:33):
We did a show at the Palladium in LA and
that was the moment that I realized, like some things
were going on. But the moment that I realized I
wasn't in the group was his Sex and Violence album,
And it's because credit credits these people are not down
with us, and that's that was the moment that I
realized that I'm no longer with the group. And honestly,
(01:24:55):
I didn't do anything that would warrant that kind of
like treatment, Like it wasn't like we were beef and
yeah it was because I was never a yes man.
So half of the songs on like not that I
you know, I don't personally think that I made a
classic album as D Nice because I was a little
confused with who I was at the time. I was,
you know, eighteen nineteen years old. All I wanted was women.
(01:25:16):
I wanted some ass like so my records reflected that
my name is D Nice. I wanted them to know
who I was. Chris was so prolific with his music
and with his lyrics.
Speaker 1 (01:25:25):
And fucking motherfucker's up and.
Speaker 9 (01:25:27):
Fucking motherfucker's up, you know, And basically Chris got a reputation. Yeah,
Chris has a reputation even in music of being a
little disrespectful, but a lot of you know, oh p
out but yeah, so but with Chris, with that moment,
I you know, like I said, man, I didn't realize
that I wasn't in the group until those records and
till the Sex and Vonus album because I I'd done
(01:25:51):
all of these records for BDP, Which is so crazy
because in that moment, the only reason why I put
out my own record because I was on Jibe. My
deal was for twenty five thousand dollars to make an album,
and at the same time, Tribe signed for like a
half a quarter of a million at the time, I believe,
so they really never believed in me. And it's crazy
(01:26:12):
because Barry Whites is still like one of my friends
now and I see him and I get it. I
get what it is you want it cares, so I
respect that. But we were never like I never had
one of those deals or people to actually believe in me.
So even with call Me d Nice, I put call
Me d Nice out myself. I went to the record,
I went to Red Alert and had an acetate and
(01:26:33):
asked him to play it and read played it for
Vinnie Brown, who's the program director, And that's how that
record came out four or five months later. It was
because I was just aggressive, like I just believed in it,
you know. And you know, so I never really had
those situations where people like really believed, you know, had
to like force every situation.
Speaker 4 (01:26:53):
When your next record, when you did to the Rescue,
how was was it a little better there? And why
said that video with twenty five Life was so right drastic?
That was a drastic ass video.
Speaker 9 (01:27:05):
So twenty five the Life, I mean, even though I
loved the song, shouldn't have been my first single off
of the second album, coming off of what I was
doing in terms of like calling when I and Crumbling Table,
it was different. The problem was was record companies, you know,
like in People. That was like the first song that
I did in the studio, and that song wasn't even
(01:27:27):
supposed to be a single. It was a song that
I did because one of my closest friends at the
time was in He was doing twenty five to Life
and he was the dude that when I was sixteen,
he was a hustler dude took me to DC. I
was hustling with him in DC and Paradise projects, like
I've seen all of this craziness by the time I
was like sixteen and seventeen years old. And the song
(01:27:48):
was really written about him as my way of saying
like not even saying thank you, because it wasn't a
thank you record. It was just like a story of
like what he went through and you know, and when
I did the record, Jive immediately wanted to put it out,
so it wasn't shot that video. Darnelle Martin. She ended
up being like she directed a couple of movies with
(01:28:10):
like the Mary J. Blige movie on BT.
Speaker 1 (01:28:14):
She did all that. She was like an n y
U student. Oh, I thought you meant there was a
Mary J. Blige movie of the Week like her wife.
Speaker 8 (01:28:20):
No.
Speaker 9 (01:28:21):
No, the movie was like Mary and Q Tip Prison.
She directed that, so she directed all of my videos.
Speaker 1 (01:28:28):
Wow.
Speaker 4 (01:28:28):
But yeah, yeah, I always thought that was an odd
choice for a sing I mean, I thought it was dope,
but it was, yeah, because I was.
Speaker 1 (01:28:34):
Like, well, it was one verse. It was just one
verse in the hook, it was one long verse.
Speaker 4 (01:28:39):
That video was one of the videos where like, you know,
where my dad just happened to be in the room
and then the gunshod thing happened and he just looked
at me like he was always coming to choice moments
where like I'm like, dad, hip hop's an R for him,
you know, and you just look alike.
Speaker 9 (01:29:01):
And then the twenty five of the Life video. It's
so crazy because that was like my first number one
MTV video. I think that was actually my only number
one MTV the only one. I was like, it's not
even it wasn't even supposed to be a single.
Speaker 8 (01:29:14):
Nor.
Speaker 9 (01:29:14):
The first person that Too Short did a song with
on the East Coast was me on that record. That
second album was a song called check Yourself. Short and
Now we're on tour, and we were both signed a
JIB and Jive had this brilliant idea of like, no,
you guys should make records together. But when you think
about it, no, we shouldn't have made records together. That
that's not who my audience was. My audience was people.
Not no disrespect to shorts audience, because Short is an
(01:29:37):
amazing man. But at the time, coming from BDP, people
probably expected a little bit more than what I actually
gave them. But I was I was a fucking kid.
I made records that kids would listen to. I was
talking about chicks. I wanted to be hot in the streets.
Speaker 1 (01:29:52):
You know.
Speaker 9 (01:29:52):
I was a dude that was selling drugs in DC
and came back to New York and I wanted to
be respected by these dudes. So I made those records
where karas at the time, excuse me a little hiccup
because I'm drinking this rock quest love juice, Jesus juice
I'm having over here.
Speaker 4 (01:30:06):
But before I forget real quick because we gotta wind
it up, you're definitely coming on because we didn't need
to get to talk about the White House. No, the
second part of your life. No, No, I'm purposely leaving
the other half of your life out just so you
have because you're coming back, going to.
Speaker 1 (01:30:26):
Be the signs of Burnhard, of Quest, Love Supreme, just frequently.
Speaker 8 (01:30:32):
Tape on record.
Speaker 9 (01:30:32):
You're coming back, right, are you kidding? I'm trying to
sit in on every interview round stories.
Speaker 4 (01:30:38):
Yo, how did you convince Soul Train to let you
perform call Me d Nice live? Because I never knew
that was the your performance of that. When we finally
went on Soul Train, I was like, Yo, we're gonna
do the same thing De Nice did. We'll make up
a trap as if it were live, and then well
(01:31:00):
lip sing it, but it'll look live when it's on,
you know, on television. But we got that from watching you.
So why didn't you just do the typical lip singing
to your version?
Speaker 9 (01:31:10):
Like so no one had done that at that point.
And when when I had the invitation to perform a
Soul Train, I thought all these years I thought it
was live, you know, I thought everyone was doing it live,
and some of them were, some of them.
Speaker 4 (01:31:25):
Were, but really I didn't even know that special you know,
Barry White, Yeah, special people got the treatment, but it
was costly for Don at the time to do it back,
you know, gear.
Speaker 1 (01:31:36):
And all that stuff. So for the most part, it
was lipstick.
Speaker 9 (01:31:39):
Well when I when I performed well the night before
or the day before, I couldn't believe that you couldn't
do that, you couldn't perform live. I was like, this
is insane. What are you talking about? I want to
perform this record. So I booked the studio session.
Speaker 1 (01:31:54):
I went in.
Speaker 9 (01:31:54):
It was me my buddy Tony Rassan, who lived at
the shelter at the time and at Franklin, but he
ended up becoming like my partner in in my management company.
We went in the studio and I just did it
live like I wanted to do. I want to feel
the way I performed.
Speaker 1 (01:32:09):
It was great. We did it. We did the whole
go do you dice go? Do you ice? Wait? That
was you guys.
Speaker 4 (01:32:17):
Yes, Oh damn man, I was because I was gonna say, yo,
you you that was the most hype I've ever seen
the audience, like.
Speaker 1 (01:32:24):
Yo, dude wait.
Speaker 9 (01:32:26):
So we did all of that the studio with the
next day, gave him the track. I was performing it
and I was performing it like it was live. Yes,
and duncan nels. He was like wait, wait, wait, stop, stop,
stop stop his mic is live. What's going on? He
literally stopped us and I fell out laughing, like no, dude,
(01:32:46):
like we did this last night, and he said, young Blood,
that's a good one.
Speaker 1 (01:32:55):
Oh man, man, that was great. Though, that's great. I
was in the trench right time to No you didn't
yet they KG produced it.
Speaker 9 (01:33:02):
KG produced Time to Flow, and then I wrote my
own verse, which was actually a mistake. Though, man, I
you know what, man, Trench was on fire at the time.
I love that you asked me this. By the way,
Trench was on extremely on fire, and we'd been friends
even before opp any of those records came out and
I watched I was fascinated by Tretch like I thought
(01:33:24):
Trench was. I watched Trench battle Jay z to where
Jay got frustrated and threw the mic down and walked
up the stage. I'm not even lying to you. I've
seen all of this and Trench was like an MC
god to me. So when we had a chance to
do that was like my first feature ever outside of KRST.
That was the first time I ever performed with another artist,
but we happened to be real friends with me shot
(01:33:46):
Kim while Tifa like they were my family, you know.
I was a part of Flavor Unit and work with
shot like and work with Dana and Nick. So doing
a record with Trench was great. The problem that I
had was is that I would so fascinated and amory
by like my relationship with Trench that I almost wanted
to be that dude. And I didn't rhyme. I didn't
(01:34:07):
rhyme like myself. I wasn't mean That's what made me
ask it.
Speaker 1 (01:34:10):
Yeah, yeah, I found it. I was.
Speaker 9 (01:34:12):
I wanted to rhyme like Tretch. I wanted to be
like that was top level to me, and I wanted
to be on his level instead of just being who
I am. So there are some some mistakes that I had, man,
that I actually I don't even wish I could change it,
because I wouldn't be where I'm right now had anything
been different.
Speaker 4 (01:34:27):
Well, for the record, I always liked you. I always
thought you were underrated as an MC and you you're
always liked. Your delivery was always really clean, like your
Birse on self destruction times. Yeah, like it was still Yeah, man,
I always always thought you.
Speaker 1 (01:34:40):
Were my mom.
Speaker 9 (01:34:41):
Liked the sweater and the self destruction. So aj Lester
one hundred and twenty fifth Street back in the day.
Speaker 1 (01:34:48):
There.
Speaker 4 (01:34:49):
We think you for coming from the show. We're definitely
going to have you back. Yeah, we gotta talk about
the rebirth.
Speaker 1 (01:34:54):
Everything and stories.
Speaker 4 (01:34:58):
Yeah, but thank you man. I appreciate it all right, man,
give it up for a great nice Uh just want
to let you guys know. You know, we rarely push
our our social media, but you can follow Quest Love
Supreme at QLs. That's our Instagram and our Twitter at
ql plus and when you go on Facebook, Quest Love
(01:35:19):
Supreme and you can email us. There's something new for
twenty eighteen. Yes, yes, you can email us with with
questions and comments and criticisms all right.
Speaker 8 (01:35:29):
And roll call help.
Speaker 4 (01:35:29):
Can't wait for that anyway, we're gonna find We're also
gonna find love for Laya by February.
Speaker 1 (01:35:35):
Uh, hit us at mailbox it may I l b
o X set out mail box.
Speaker 4 (01:35:43):
Mail out there mailbox at Questlove Supreme dot com.
Speaker 1 (01:35:47):
The way you guys got that all right, So you
can send all your hate to many mail box. So
that said on the Quest Love Supremes.
Speaker 4 (01:35:58):
Froon Tickeelo Unpaid and Boss Bill Sugar Steve, It's Layah
and our guests d Nice.
Speaker 1 (01:36:04):
Yes, yes, our return guest d Nice. We'll be back. Uh,
We'll see you in the next go around. Quests Love
Supreme Quest Love Supreme is a production of iHeartRadio. This
classic episode was produced by the team at Pandora. For
(01:36:25):
more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,
or wherever you listen to your favorite shows.
Hosts And Creators
Laiya St. Clair
Questlove
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