Kurtis Blow

Hip-hop pioneer Kurtis Blow stops by to talk to Questlove and Team Supreme about his unique place in music history as rap’s first superstar.

Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

See omnystudio.com/listener for privacy information.

Episode Transcript

Speaker 1 (00:00):
Quest. Love Suprema is a production of I Heart Radio
Subrema role call, Subrema son, Subprema role called sub prima
subprema role called Subrema Suprema role call. I had a

(00:22):
brilliant roll call for Curtis Blow, but for some reason
you ain't never gonna know it can subprima role call,
Subrema Sun Sun subrima role call my name is Sugar. Yeah,
I love you all. Yeah, but once and for all. Yeah,

(00:44):
Baseball Suprema role Surema subprima role Bill call coming off
the cuff, rummer words in English, So why doesn't have
to be so damn sub prima rollbrema son subremo role.

(01:11):
Yeah what Curtis blown? If you're hip hop, you should
already now. Oh, come m roll, can't believe for the
premo roll call one, two, three four hit it Yeah
now yeah, I'm gonna spin it. Yeah, Submo road son,

(01:40):
subremo roll son, sub premo role, sub sub primo roll.
Ladies and gentlemen, this is uh, of course, Love Supreme.
I forgot the name of my own children. We are
at I Heart Radio. Thank you very much. We're here

(02:02):
with Team Supreme. Unpaid Bill and uh is not here.
You're not upaid Bill. You are a boss, Billow. I
knew what I was saying. I knew. I was just
testing to see if you knew who you were. Um,
of course we got a sugar Steve and we have
like ea with us on paid. Bill right now is
uh doing his thing? And Uh yeah whenever whenever he's

(02:27):
hit on Broadway, you don't have time for us no more. Um,
ladies and gentlemen, plain and simple. You know you hear
of kings and pioneers and people bragging about their status
in this culture. Um, I'm sure you, ladies and gentlemen,
uh that the gentleman that we're about to introduce is
literally the pioneer of this amazing art form that has

(02:49):
me trillions of dollars. What can I say? First rapper
on a major label, first rapper to get a gold plaque,
first rapper to cover song, first rapper to make a
love ballot, Uh, first rapper to tour overseas, um and
his production credits looming large. I mean, for God's sakes,

(03:10):
he produced the record that was jay Z's very first
purchase of of a full hip hop album. Uh. Speaking
of the Fat Boys debut Um, I mean through this
man like this is how we know he was. He
was the entry of Russell Simmons into the world of Run,
into the world of Full Force, into the professional world
of Alison Williams, of the great unherald Larry Smith and

(03:34):
his production credits. Um. The afore mentioned Fat Boys not
to mention, gave salam Remy his first start production a
fourth fourteen year old. Yes do we do? We do
our homework, um, not to mention, Uh what I what?
I credit as one of the rare legit hip hop
movies about hip hop culture. This man is starting as

(03:57):
a political activists working with UM anti apartheid Sun City
Project not to mention, organizing the King Celebrate holiday. And
there's so many, so many credits. Um Oh, Jesus, we
for a lot of us our entry to Bob Dylan culture. Dude. Yes,

(04:17):
I'm pointing to the one and only first rapper on
Soul Trying. You know, Soul Try means everything to me,
ladies and gentlemen. I'm so honored to have on Quest
Love Supreme, the one and only Curtis Blow. It's a
Quest Love Supreme. Thank you, Thank you man. Uh, this

(04:38):
is a long time coming. We have a gazillion questions.
This this is like a this show is such a
it's nerd out culture going awry. So it's just just
bear with us if we asked too many nerdy questions
that that intro was so incredible. I mean you kind
of like had me shook there. I didn't know what

(05:00):
so much stuff like I'm remembering things. We're we're literally
about giving flowers where they're due. Thank you, Thank you
so much. Yeah, there's so much more that you're doing.
I've been known to me like fifteen minute intros and
then it's time ago um grand opening, grand clues. Right,
So what I really this is this is like one

(05:23):
of our first chances to interview someone that was there
for the beginning of hip hop culture before it came
a professional business. So I have so many questions about
it's starting its formation in the Bronx did like the
parties and all those things. Um, well, for those that
don't know that, listen to us that are that are younger,

(05:45):
where were you born? I was born and raised in
Halem Okay, Harlem Okay, So could you give us kind
of uh, I guess the prototypical idea of what the
environment was when hip hop was just a local block
party thing, when it was just yes, you know, like

(06:07):
on a Saturday, let's let's pick a Saturday. In the
before it was the business man? What what was? What
was probably go back before Suddenly it's it's it's it's
it's really amazing and it's a story that you know,
the energy and the vibe and the spirit that was
going around New York City to five boroughs during that

(06:29):
time was something that's so hard to explain. You really
had to be there to to to to really understand
that energy that was happening. See, we were all like
a group of people who understood and and really related
and and loved this culture way before it became a culture.

(06:52):
So it was just like something new that we were
trying to do and represent. Of course, you had disco
on this side of defense, and then you had R
and B soul music, and uh, most of us grew
up on soul music and we love James Brown and
the Motown sound and the Isley Brothers and all of
that stuff and soul music. We started playing soul music

(07:15):
when disco became the most prominent thing that you heard
on the radio. But if you remember the Motown sound
that we grew up on in the sixties, the snare drum.
We're talking music theory now. The snare drum was on
the one, two, three, and four pop pop pop drop
the baby Baby, you know, and and and then disco

(07:38):
comes out and it went back to the same four
on the floor. The fo we're talking about the kick drum, right,
the boom boom boom boom. So that beat for us
wasn't like James Brown, because James Brown, in between disco
and Motown, had a musical revolution with the sound that

(08:00):
we call boom bat. So the boom s back, boom bats,
boom bah syncopated rhythms and the drummer, you know, Clyde
stubble Field, was incredible. So as kids, when we heard
this new sound, we were like, we lost our minds.
Everybody wanted to be James Brown and danced like him.

(08:21):
And uh, that's when we started going down to the
floor whenever we heard the break, because the break of
the music was the most important part of the song.
That's when everyone did their best dance moves. That's when
we created the circle. So people just literally wanted to
wait for the breakdown, like Okay, that's that's what it was.
And I'm talking to nineteen seventy two, seventy three. So

(08:44):
here comes Cool Hirk, the DJ who understood this that
the break was so very important, and we were be
boys and be girls because we danced to the breaks
that Cool Hirk would play. And he would play these funky,
incredible songs like give It Up a Turn It Loose
so or getting into Something by the Isaley Brothers, or
or listen to Me by Baby Huey, or or Jimmy

(09:06):
Caster has just Begun the Mexican you know, the Melting
Pot Apache, you know, all these incredible songs were they
were sold music, but they were fast and and it
was the same kind of tempo as disco music. It
was dance music. I call it obscure dance music. It
was funk and we just lost our minds. So we

(09:28):
represented and created those circles around us, just like Saturday
Night Fever, you know the movie with John Travolta with
the white suit on. You create this circle around him
and pretty soon somebody comes in the circle and they
do a competition in the battle, and the winner of
that competition was the most popular guy. He was the
hero of the story, right, And so that's what happened

(09:51):
at the Cool Hurd clubs around twelve one o'clock and
in the morning he played this give It Up a
Turning Loose and everybody was standing around waiting for the break.
When that break came, we went off. And that was
hip hop the first early days of God. Now for
that particular record that you get an example of what

(10:12):
give it up for Turn It Loose, which that particular
recording was made in nineteen sixty nine. So even though
James Brown himself was trying to keep up with the
trends of the day and make disco records, you're basically
saying that you guys never left those records alone. So
so I'm like, get on the good Foot still had

(10:33):
life way beyond its nineteen seventy two release, Like It's
still was something in seventy four, seventy seventy six, as
long as it had an So did you guys look
at the commercial music at the time as kind of
like how we look at modern pop radio now, Like
I don't listen to that. I listened to know it
was cool. It was cool. It was like you know,

(10:53):
we you know, we we we listened to it. It
was on the radio, but it was break dance into
like Stevie Wonders, I wish you know, you know, it
was more like you know the village people. Why okay?
So like the commercial down to Summer and stuff like that,
We're like, yo, we want James Brown, you know what
I mean? So so so hip hop became that that

(11:16):
rebellion to disco. I call it, you know, ghetto disco
for those that have been collecting tapes and and and
really keeping up in in the uh sort of the
the early formation of what hip hop was, the role
that m C was once the coast star to who
the DJ was? So can you What I want to

(11:38):
know is and I've heard like some of these like
uh DJ Hollywood tapes where in my mind he had
an endless vocabulary and endless combination of rhymes that came
up nowhere now I mean most of them. Season I know,
I really have a good fitteen to twenty minute repertoire
before they run out of space and steam. And you know,

(11:59):
I don't know to do, but he's his things seemed endless,
like who was who? In your mind? Were like the
top five first of all, who was the one? Was Hollywood,
the pioneer of the call and response rhyming cadence, at
least in the hip hop since I know there's Jacko
Anderson and all that stuff back. Yeah, course of course,

(12:19):
but who was in terms of hip hop? Was DJ Hollywood? First?
Like where does Hollywood? And Eddie Chiba and like all
these other mcs that really weren't making records. Okay, so
after her, you have to see that there there were
two different kinds of crowds first and foremost. You know Flash,

(12:41):
Grandmaster Flash calls him to shoot people and the sneaker people.
Uh okay, you know the sneaker people. You know, we
we partied at the block parties and in the community centers,
in the park jams and and and and the the
the small around the way clubs you know, like read
seventy one Disco Fever up in the Bronx and places

(13:03):
like that. But you know, grand Master the Flash was
so very important to this transition, uh, from the DJ
being the focal point of the party. He controlled the music,
he controlled the ambiance, he controlled the lights, he controlled
the tempo of the songs he was playing. He hired,
he hired and fired the m c's. The mcs were

(13:24):
first a diamond, doesn't. All we did was we we
we we went to the house and we got the
equipment and took the equipment to the gig and set
it up, and at the end of the night we
break it down and carry it back to the house.
And the DJ would let us in free, you know.
So that's your plus, that's you and and so you know,

(13:45):
if if we were nice to him, or if he
was nice to us and feeling good, he would let
us make announcements like you know, Joe and your Mom's
outstarted ten o'clock, you're gonna go your sound sam your
car is getting told, you know, and uh so flat
you know. Now her played a whole song. He had
the most incredible playlist, all the songs I named, and

(14:08):
they're about songs, maybe even fifty soul music in a club.
And so Flash understood that the most important part of
this song that he played was the break, because he
knew all the b boys would go down to the
floor and start doing their best moves. Everyone got crazy
and started yelling and screaming, you know when the break came.

(14:31):
And so he wanted to try to find a way
to extend this break because the break was only fifty
seconds long. And so he got two copies of the
same record and he started playing the break. Hercle would
play a whole song and you have to stand up
waiting for the break to come. Right, Lash went there.
He just started the break at the top of the song.

(14:53):
You know, he played a break and when it got
to the end of the break, before the singing started
coming back, and he played the beginning of the break again.
So he actually extended this break and um made it
from fifteen twenty seconds to three or four minutes, right,
So we had to do more as mcs than make announcements.

(15:17):
So I have a question at the time, what was
the transition because our people, they are we scratching yet right,
he started scratching and all of all he was very
very fast because you got to go from one turntable
to the other to catch the beat before it ended
and got to the whack part, right, and so um
he extended the break connect right to the show. He'll

(15:39):
get mad, yes, okay, that's yes, yes, we love you.
And so you know it was like DJs like that
that gave us the opportunity to shine. So we became like,
instead of standing on the side of the turntables just
making announcements, we went out front and started rocking the crowd.
And we had to do more, so we started telling

(16:01):
stories and wrapping in rhythm and you know, using crowd response,
throw your hands in there and all of that stuff,
and that's how you know, it really came off. So
Hollywood get into Hollywood. He was a master at the
crowd response and uh he had a Puerto Rican DJ
by the name of DJ June Buck rest in Peace

(16:23):
at Best, DJ Iversaw in my life, very fast, accurate,
would keep the beat going for Hollywood, and he was
just tearing it up. When I saw Hollywood at this
club three seventy one, it blew my mind. I never
knew that there was something like this possible, You know,
that a guy could just take control of an audience

(16:45):
and have them eating out of the palm of his hands,
just by the way that he was rapping in rhythm.
First time I ever heard rhythmic rap was DJ Hollywood.
You know, of course, there are other m c s
before him, like Casey the Princess, Sould, j Ja, the
Disco King. You had up in the Bronx with her.
You had Cokeland Rock. He was the first MC up

(17:05):
in the Bronx Rock and just talking smack on the microphone,
you know, but Hollywood put it together with rhythmic chance
like throw your hands in air and way if I'm
like you just don't care. And if you got on
clean underwear, somebody say oh yeah, yeah, you know everybody

(17:26):
you gotta say, oh yeah, you know, I don't. Yeah.
My mind got cleaned on it. It's was that a
Eureka moment for you, Like it was a Eureka moment,
you know, just seeing her the first time I saw
Hercue blew my mind. Just the fact that he had

(17:48):
this big, huge, amongous sound system and he was playing
these songs that I grew up with that I just
thought that, you know, give it up a turn. And
Loser was my favorite song, and he played it loud
and and everyone went crazy. And then you had Grandmass.
The Flash was another one. Blew my mind. With the
speed on the turntables. This guy had white gloves on

(18:11):
with rings on and they were just flashing and he's
going to turntable. I saw him at the Hotel Diplomat
one time, and that was just amazing to see how
fast he was and keeping that beat going. And and
it's real what we call turntable ism. This evolution of
the turntable, the DJ's and flash gave us the opportunity
along with Hollywood, everyone men and Hollywood. When he came out,

(18:35):
he blew my mind as well. Did you guys ever
venture out of the Burrows? So was there a thing
of like, you know, was touring for you back then,
like Okay, I'm gonna do a party in Queens or
with Long Island be a part of this folklore as well,
Staten Island even like or was just or even like
we're or did Burrows just like stick to themselves until

(18:57):
rat became a business. Well me, I I was a traveler.
I went from Harlem, you know, at fourteen years old,
fifteen years old, travel on that number four train, ritting
up to the Bronx, you know, to check out cool
Hurt at the Executive Playhouse. And and it was scary.
You know. That was during the time when Roots had
came out, Alex Haley's Roots, and so there was a

(19:19):
lot of that, you know, right straight out of the
Civil rights movement. And cats were like feeling themselves. And
there was a lot of violence on that train, you
know what I mean. A lot of people were risked
everything just to see, Man, it was worth it. That's
why I want to know what makes that's the one
the one thing I didn't have, Like I had strict parents.
They were just like, no, you ain't going. So whenever
I hear like the generation after you talk about the

(19:42):
Latin quarter, right, and I'm like, yo, y'all could have
y'all risking your lives to hear this, like you might
get stab shot, killed her. But understand understanding. There were
so many things going around in the community in New
York City that was happening during that time. And I'm

(20:05):
telling you hip hop was like a saver, you know,
like like you know, we had the gangs, the gangs
like that that movie The Warriors was real. There were
a lot of gangs. I remember running home from school,
you know, in the early early seventies, because all you
had to do is say they're coming, and we were out,
you know what I mean, you know, going to the

(20:26):
corner store from my mom. It's like, yo, you want
me to go to the store. Okay, I'm glad that
I'm not the only one that goes crazy. And then
you had and then then you had to map out.
You had the drug wars of of of the Bronx
and Harlem coming out of the the Frank Lucas story
American gangster, you know, when he went to jail, and

(20:48):
I think it was nineties seventy four seventy five, they
had a big drug war. Everybody was fighting for his territory.
So there are a lot of murders and gunshots and
all around people were just dropping like fly eyes um,
you know, so it was kind of dangerous. It was
dangerous living during that time. So for me, you know,
it was my savior. I used to love to go

(21:10):
to the club and just you know, go to the
speaker and stick my head and the speaker and and
the base was rumbling all the way through my toes
and I just closed I closed my eyes and and
go off. And that's hip hop. The story of the
first time I ever went to a club, Like everyone
has put your head and speaking and it just changes

(21:30):
your life. Yea, what do you think hip hop culture
would have been if there was no Blackout of nineteen
seventy seven. A lot of a lot of cats talk
about that because a lot of equip equipment was obtained
doing those years doing that that that blackout nineteen seventy seven. Uh.

(21:54):
But for me, it's more like, you know, we hit
the local bike store and I got like the ree bikes.
So you wanted to travel, traveler, I told you train. Yeah,
no more for trains to the Bronx. Yeah it is,

(22:14):
but you know, just traveling around New York City was
was was special for me. I just thought that, um,
you know, I had cousins out in Queens and in
forty Projects and and Cambria, and aunt and uncles all
around Queens, So you know, I used to spend my
summers out in Queen's. Actually, you know how how how
we all used to go south? Where you going to Atlanta?

(22:35):
Where you going on North North Carolina? Where you going,
Kim and Kurt, We're going to Queens. So it's like
another world probably, you know. And and if Suburbia that
part of Queen's okay, yeah yeah. And so just spending
my um days out there whenever I could, you know,

(22:58):
having a lot of family out in Queens. I hung
out with with Um Russell Simmons because I met him
in college and he was from Hollis, Queens and uh,
we opened up a club in nineteen seventy eight called
Disco Fever, I mean night Fever Disco okay, okay, And

(23:20):
that was First Street in Hollis Avenue, and uh, that's
where I really got good as a DJ, you know,
DJ and and the club and for years and then
we actually used propaganda, and Russell started putting my name
on Flies Queens number one DJ Curtis Blow. Okay, So
he built the folklore of Curtis Blow. And Russell was

(23:44):
a sociology major, you know, so he understood about the
masses and and and and the spectrum and and and
the different movements of people and what they would like
and stuff like that. So he convinced me to let
that propaganda happen. So it's either one talked to you
into would you say that your entry into hip hop

(24:04):
is what really put the focus on the m C
as opposed to the DJ mm no um, because how
I think Hollywood did that. He was actually the first
king of rap. He was so hot. He was the
first guy that charged five hundred dollars. Before that, we

(24:24):
were making thirty forty dollars a night MC's or you know,
the the the popular ones. We're getting a hundred hundred
and fifty dollars a night, but Hollywood was the first
to charge five hundred. You want five hundred dollars, but
Hollywood at your party meant a guaranteed, you know. Oh yeah,
it was packed. You have a line around the corner,
you know. And and so cat started, you know, trying

(24:47):
to charge five dars to day. You were like, ship nigga,
you ain't Hollywood. So I guess technically your first single
was Christmas Rapping, correct, Yes, nineteen seventy nine. Okay, so please,
how did that come about? And how did you avoid

(25:10):
Sylvie Robinson and Julian and also Bobby Robinson? Enjoy there's
no relationship between the two, right, Like they just both
coincidentally have a name, right Robinson. So Bobby Robinson and
Sylvia Robinson were not related, correct, Yeah, Bobby Robinson was
from Harlem. He had that store on a hud Bobby
Bobby's records, you know, and he goes back to the

(25:33):
to the forties and fifties. You know, he has a
lot of contacts. Everybody knows him and soul music and
R and B music and so um you know during
that time, of course sugar Hill Gang when they came out, Well,
well let's give a shout out to King Tim the
third that was actually the first personality. Jock, you're listening

(25:54):
to the and I am and um so it comes
sugar Hill. Every bus, every car, every train wanted to
play that rappers Delight song you Don't stop the record.
Every taxi, every boom box, every record store was playing.

(26:17):
And so we were in the studio in October and um,
so we were trying to get a record deal. I
think I got my record deal because Rapper's Delight was
so hot. We went to twenty two different labels though,
and everybody hated the record except for two people. The
first guy, uh like that. He wanted to sign it up,
sign me up. So he took it up the flagpole

(26:39):
to the vice president and president and uh they said no.
So that was the guy's name was Corey Robbins. Now
Corey quit his job because of this, and he went
and started his own label, and two years later he
signed to run DMC and the label it's called Profile Records. Right.

(27:04):
So the next guy was an English fellow, John Stains,
he's a non director for Mercury PolyGram Records over in
the UK in London. He said, we can recoup this
record in six months, let's sign them up. So actually,
actually I became a British artist, Finn too, a company

(27:26):
called Mercury Phonogram out in the UK and my records
came back to America on an import. Wow, crazy deal.
So they had you first and they knew you first. Yes,
so I was the first artist signed to a major label.
So can I assume that you're in our was the
was the person that said what was the night before Christmas?

(27:48):
Before you interrupted him with that? Wait? Was he was
either twice the night? That's him. I'll just put you
in two together. The guy was in English and you
know and that those it's you know a lot of
the earlier records. It's really weird, especially with your catalog,

(28:08):
a lot of your catalog and I hope I'm not
opening up a well, hopefully the grace period is over.
Even even as I was recapping your catalog, I didn't
realize how much. In particular, the bomb Squad when Public
Enemy was making Nation of Millions used a lot of

(28:29):
your records as the basis for their rhythms, which I
just found out today that uh from the back popular
Demand album. Right, one of those songs is the basis
for the Night Living bass Heads remix, which is weird.
They could have just sampled James Brown, but they were like,
all right, let's sample is meta, Like let's sample Curtis

(28:50):
Blow sampling James Brown with the extra kicks in there
and all that stuff stuff. Anyway, I'm falling a rabbit hole.
But my my point is, uh, yeah, you were one
of the first rappers to travel overseas, So what is
that like literally being a trojan horse or the the
Neil Armstrong or the or the flagship pig. I don't

(29:12):
want to say Christopher Columbus because I don't believe I'm
just saying on Columbus day, right exactly, like to be
the flag bear of like was there resistance? Was there?
Or did you find out Europe like they were really
more open because you also the top of the right, right, Yes,
what was that like? Man, it's like a dream world.

(29:36):
You know. I tell people this many times that that
my life is like a dream world. It is hard
to um understand reality when when you're you know, in
the right place at the right time, and you know,
big shout out to Debbie Harry who actually flew me
out to the UK for a big, big, big, big
press conference. And um, you know, being on a major

(29:59):
lay but that means you know, major press, that means
we have a major office in every major city around
the world. And being a college student, you know, I
wanted to work the system. And so I went to
the publicity department. I said, man, send me everywhere. I
want to travel all over you know. And when I
got there, I sat up in the conference room and
we had all the press you know, lined up from print, magazines, newspapers, radio, television.

(30:26):
It was incredible and awesome to just be a part
of all of that stuff. And it was documented, you know,
this new thing called hip hop and I was representing this.
So was it tiring? Like trying to explain to people
know what this was? No, no history of it, no,
no being a communications major, I love to talk. So

(30:51):
and then it was so very very important, like you said,
you know, we had to actually you know, be good
on stage, you know, because that was very very important
to the success of the culture. Uh when people see
you live on stage. And during that time, if you
didn't have a good show, people the next day would
not go out and buy your record. That's how you

(31:14):
know the music business operated. You know, you go out
on tour and you sing your new song, your new album,
and then the next day everyone goes and buys the record.
This is how they support it. And uh. And so
going out there on stage for the first times and
seeing these audiences and the audiences seeing me for the

(31:35):
first time. I was seeing hip hop for the first time.
A lot of that you know, where's your band, you know,
but at the end of the show, they're all saying, oh,
you know. And and it was so very important for
us to rock the house. And that was key to
you know, my experience and being in New York City

(31:55):
around the Five Boroughs, just you know, playing the clubs
and you know, like the night Fever Disco and the
Hotel Diplomat three Disco Fever, you know, the block parties,
in the park jams, just being um used to handling
the microphone and mike control MC means my control, and uh,

(32:18):
it was so very important. I I just thank god
that I had that experience seven eight years in the
biz before I made my first record. So and and
touring uh behind the single, especially mainstream assuming that you
did tours with regular acts and whatnot. Okay, so I
know now, I mean especially with UH. I mean even

(32:39):
in modern times like watching the Wu Tang series that's
on TV right now, and it's to the point now
where at least of this recording where like there is
a starting the tour and what what I call like
rapper problems, like with the monitors not working and yeah,
you know, the proper channels for the DJ and you

(33:00):
know all those things, and the MIC's not working. Like
how difficult was it as far as like opening first
of all? Like what what mainstream bands were you touring
with back during this period? Like who were you opening
for in America at least? Okay, um, people like Cool

(33:21):
and the Gang and the Gap Band and uh confunction.
I remember going on tour all Platinum Tour with the Commodores.
The Commodoors were really really hot line over rich. You
had all those ballots and stuff. And while we did
about a twenty shows around the country and they took

(33:42):
three places I've never heard of before, like Tupelo, Mississippi,
you know, and a lot of college towns and it
was incredible just being a part of that tour and
uh meeting people and and and and For me, it
was like, you know, I had this thing I had
to It became aim a mission of mine to meet
my heroes that I grew up, all the soul singers

(34:05):
that I that I listened to as a kid. I
just wanted to meet them and hugle Man. So I
had again. My record company set it up, the publicity department,
Beverly Page. She set it up with with people like
I met at Aretha Franklin really over and she invited
me for lunch over at Hitsville Studio and we sat
and talked for an hour, and you know, it's just

(34:25):
talk about her rapping son. Oh yeah, I'm sorry. Like,
if you if you have any dealings, if you're in
the hip hop Nation and you have any dealings with
the Wreatha Franklin, trust me, her son's name is going
to come up. Trust me. I know. Yeah, my sister
went to high school with him. Really yeah, he's looking

(34:46):
for deal right now. So wait, how earlier one was
the Aretha meeting? Because I'm wondering, I'm like, how how
did she know that she needed to have a conference one.
You gotta understand he was a star out the gate.
I understand to understand that as a whole notherm, like
especially with roller skating culture, like really hitting the zenith

(35:06):
in like nineteen like The Brakes. To me, that song
was tailored me for roller skating culture, like between seventy
and eighty three at least roller skating cultures. So it's like,
I feel as though that's roller skating cultures will allow
boogie music, Like The Brakes wasn't a disco song, so
it wasn't like but it still had a groove to

(35:29):
it that was like disco but slower, so it made
it easier to navigate. And so yeah, they're like, I
don't recall, like we went roller skating every Sunday in
the summer of nine eighty and The Brakes had to
have been played five times, five six times, like without

(35:50):
between like Curtis Blow and Rick James, Like it was
like the battle of who owned roller skates? So how
important our relationships Because I also know that it's kind
of weird. I'm a soul trained expert. Uh huh. So
here's the thing about your particular episode. So when Don's
talking to you, and this is something that he's known for.

(36:13):
Every episode he kind of lets in a snarky thing
like I'm an old guy. I don't understand, but you know,
the kids love it. I don't get it, but whatever,
But I mean, at least the resistance. How much resistance
did you have to go not only to get your
record deal, but like, what was it just like for
people not to see the future because people hate change

(36:37):
more than anything. Well, even if it's good for them,
there's there's a story behind that. Um, you know again
it's nine and uh, I was just coming off a
tour in Europe. I think I did about thirty shows
in thirty three days or something. Monumental tour. But um,
during that time, really Vanilly over in Europe was the

(37:01):
hottest thing on the press. With the press, everyone was
talking about them. And there show their live show, their
lips singing right, and it was like the record company
came to me, the promoters came to me, Oh, you
can't lip sing. Make sure you don't lip sing. I'm
telling you they're gonna boot you and this and that
we don't play that over here in Europe. And you

(37:23):
gotta do an hour and a half you know, right,
And so I'm I'm like, okay, no problem, and and
and you know I'm made for that because I have
a on every song, most of every song about the
ten first ten singles I have, the B side has
an instrumental and I rapped live, you know, we call
it half playback. So I got through the tour. But

(37:46):
when I came back to America and I'm setting up
for Soul Training, I'm sitting in in the makeup room
and Irone Carrat sitting right there, and that at the
forefront of my mind, I'm thinking about, you know, Milly
Vanillion was going on there, and I know that, you know,
they lip sing on Soul Train, that's their policy. So
here comes down coldly, Oh world. The stage manager comes

(38:08):
in with the microphone and microphones, got this phony little plug, right,
It's all right, you gotta lip sing and make sure
you you know you you word the words and you
know your mouth the words just like the song and
and and and being rhythm. And I'm like, look, i
am not gonna lip sing. That's not what I do.

(38:30):
This is hip hop. We do hip hop here, this
is live I need and plus I got crowd response.
I need to say these these words the crowd response
and have the whole audience answer back to me. You
know what I mean, It's very important. This is hip hop.
I'm not lip singing. And they were like, Don corneiuz
came in, what do you mean You're not gonna lip sing?
This is our rules, this is our policy, and it's

(38:52):
just say, well, look, Mr Cornelius, I'm going home. How
about that one? Irene Carol looked at me like, boyre
you crazy? All right? And so um, because isn't it
everyone's dream to be on Soul Train? Yes, yes, and
and it was a big thing. But I did not
want to get the Europeans and and and and America.

(39:16):
Hasn't you know, gotten his news yet about Milli Vanilli yet?
Well you know you're predating and I mean stuff. I
didn't want to have that that reputation. So I was
the first artist to sing live the breaks on Soul Train.
So that's why Don comes out with that snarky what
everybody's making so much a big fuss about this? It

(39:40):
was a little snarky. It wasn't like and I was
shocked because I looked at him like, you know, you
did right, So by this point, was Run your DJ
on this initial run yes, yes, yeah, oh but no no, no, no,
after that, after the before the Common Door's tour. Here's

(40:02):
a story about Run. Run was my DJ before the
Common Door's Tour All Platinum tour. So Run was out
playing basketball with this guy down the block name Jason Mizelle. Right,
So he breaks his arm playing basketball, and so I'm like, yo,
we gotta go on tour. Mar He's I was asking

(40:23):
his dad. His dad's no, you can't go out onto
please dad, let me go. Let me go. He said no, no,
you gotta stay in school. He said, no, please that
let me go into you. Look, you got one arm,
you can't d yes, I can't look right. And so
he didn't get to go and he stayed home. So
when I got back off a tour about about four
months later, that's when I heard that he started a

(40:46):
group called Run DMC with his fellas that were up
in the attic practicing and hanging out with him. And uh.
So the story is, if if Run didn't break his arm,
there would be no Run DMC. He would just been
in your DJ. Yeah, and Russell didn't have enough pool

(41:07):
to be like dad, I'll take care of him. Like,
was Russell also traveling with you at no that dad
was running the show? Yeah? Yeah, dad, Dad was very powerful.
He bought Run turntables because three brothers right like Danny
Russell and Run right and old because okay, yeah, okay.
I was wondering that Russell was the middle child and

(41:28):
Joeys Run the youngest. A question that makes explain so
much Russell was the middle child. Oh yeah, you gotta
make yourself distinct. What's your question about touring? Because I
know since you were the first to ever tour like
this internationally, there had to be like some mistakes. There
had to be like some moments where you and you
and Russell were like okay, so we're not going to

(41:48):
do this like that again. Like there were just so
many new things to you guys, Like did you even
know about writers? Did you know? Like what didn't you
know that you learned in your first passport? Yeah? I
had to learn it all. I learned it all on fly.
Oh it was incredible. I was I was the most

(42:09):
sought after live act because it's just me and my DJ,
just two people to people to turntables in the microphone. Yes,
so not the first to start the entourage, right right,
so you were easy to work with. But then Russell
and one, oh boy, yeah, so here he comes with

(42:34):
Larry Smith. Larry Smith was playing bass, played bass on
the Brakes and Christmas wrap and um, so Larry Smith
produced Orange Crush was the band for all those for Christmas.
No no, no, no, no no, not Orange Crushed. That
came after Russell took forty dollars of my money and

(42:56):
bought all his banning and all he gave it to Larry.
Larry brought the banding equipment and and and they said,
all right, you're going out with a band. I'm like, what,
how could you do that? I didn't okay this? He said, wait, hey,
I'm the manager. You built Larry Larry uh Smith's career,

(43:19):
well equipment, Sarry. I gotta give props to him because
he was excellent musician, incredible producer. You know. I remember
many of the nights we sat up and talked about,
you know, my sound and trying to get a sound
that was in between James Brown and Chic and um.

(43:42):
Larry was a man. He was definitely the man. I
love him so who worked on like Christmas Wrapping, and
rapping blow and yeah that was Larry. Larry was on
the base, but you had um John Troupe was on guitar,
and we had um Jimmy bray Aloud who actually went
on to become a lyndrum consulting, a lyndrum programmer. And

(44:07):
um uh he was on drums. And you know, so
during that time, you know, we recorded in the studio,
like the seventies and the sixties, it was a live band,
you know what I mean, And and and we had
to rehearse and you know, let's play it one more
time and recorded and hopefully it would come out. Okay,
I'm sorry, And we do white Guy in the corner

(44:28):
as a question, Um John Tropia, Yeah, the guitarist, Yes,
so was he He's a to me, he's a famous
jazz guitarist right right, and he's on the brakes. Wow,
that's his work. That's his work on run DMC stuff. Um,

(44:52):
well did Martino Edie Martinez? Wow? No, I need to process.
I'm not schooling you on anything. I don't know too
much about about him. I just have a few records.
He don't get blown away easily, but it is Curtis's unexpected.
It was unexpected name. Yeah, yeah, but he's he's a legend,

(45:14):
definitely a legend. And um, you know, I remember seeing
him in the studio because my producer, J. B. Moore
was also a guitar player, and he couldn't do the
guitars right the way we wanted it and the way
he wanted it actually, And so when John came in
and played it perfect, perfect rhythm, and it was just immaculate,

(45:42):
you know, jar drives. So for your first album, like,
whose idea was it to do? Like taking care of business?
What was the other one? That the slow one is
like that girl? Yes, people don't even credit that as
the first love ballot. So it's like for you, you

(46:03):
were making a format that was palatable the radio. We
was like Frankie Crocker in your mind, like okay, was
the label saying we need something that you know? Right? Well?
It was all by design, of course, you know. We
We wanted to, you know, have a fusion with other
forms of music because it was so brand new, this
thing hip hop and and rap, you know, so why

(46:25):
not wrap over a rock and roll song? Why not
have a reggae rap or I was the first to
do a country in Western rap, that way out West song.
You know, you know we we we just tried to
be different and try to get something new. In retrospect, though,
do you see how like free you were in that moment,

(46:46):
because I feel like a lot of mcs today out
the gate couldn't just say I'm gonna producing that and
this different genre. I'm they won't they want to be
allowed to. Well, here's the thing. I always wanted to
be a singer, and I remember singing those singing songs
that every album I put on the singing But listen, folks,

(47:06):
it took me a couple of weeks to do those
three uh in Philadelphia, Uh Party Time record, which of

(47:29):
course you know, well you would know that Tracy like
try to try to bring that back. So that was
the first time I've ever heard Full Force on record.
So how did you How did you hook up with
those guys as far as like did they produce that record?
Were they just a band or like what was how
did you guys? Um they became producers after that because

(47:53):
we sat in the studio and talked about you know,
uh J. B. Moore and Robert Ford and what they
were doing on my stuff and how they wanted to
do the same thing but differently, more funkier or more creative.
Uh So they were incredible. I met them through J. B.
Moore and Robert Ford and uh very very very talented

(48:14):
musicians and singers, and uh it was incredible just to
be a part of that. But the go Go song
that was EU so here it is on my birthday
I turned twenty one years old, I had the number
one record in the country, and uh so I'm going
down to play the Capital Center down in d C.

(48:36):
So I had my band, remember the Orange Crushed band.
I ain't got ten Bali's and oh man, we got
eight eight nine pieces. Right. We rolled down to the
Capital Center and I'm headlining this concert and they have
all these local bands there and I didn't know what
they were. You know what it was. I walked in

(48:57):
the spot, I'm here to tick the first time that
first time here and go going, You're done. The whole
crowd is going crazy. I'm saying, oh, I'm about the
tear this right. So they were going crazy and it

(49:17):
was a band called Trouble Funk, and another band came on,
EU Freeze. Right, they went on the same thing, and
the crowd is going crazy again, even more crazy. So
I'm like, wow, Chuck Brown, was it? Oh right? The

(49:38):
Guyfather he comes out and tears up the spot too.
So it's my turn. So I clocked it. Let me
cue music out. I throw on Christmas Wrapping and we're
playing Christmas Wrapping. The band is tight, clean and everything,
but the crowd is like this looking at us, like

(50:02):
I'm like, oh my gosh, we'd better get to the
brakes and you know quick on this one here, right,
So I'm speeding through the set and then we throw
on the brakes, clap your hands everywhere, right right, and
then like still right, Number one recording country and um.
So that night I got my butt tore up three

(50:23):
or four different times. And for me, it was like
my mom's always said, if you can't beat them, join them.
So I got all the numbers. Nice. Nice. Next year,
I called my boy sugar Bear and we did um
party time down Okay, okay, And it's just wonderful to

(50:46):
have them in the studio just doing that thing live.
And how many pieces in the studio in that moment, yeah,
it was like seven eight pieces. Yeah, And so you
were the first for that too. I'm guessing the first
do a Go Go collapse because Flashing them did. Uh
they did a live version. Well, they actually signed trouble Funk.

(51:09):
The first live google that I've heard it was trouble
Funk live on sugar Hill. So the Robinson's got there
earlier on that. And actually actually the first sample loop right,
was on the song if I Rule the World, and
and the sample was trouble Funk. You know that pump pump,

(51:30):
pump push. I took the percussion part and laid it
under If I Were the World? Okay, okay, how did
that feel for you to have that song come back

(51:52):
and for people to learn that you're you know, you're
the origin of of of that particular song, because that's
all I mean so much too. I like your harmonies
and he got that harmonies okay, you know it was

(52:14):
Williams actually right, yes, yes, yes, and Audrey Wheeler yes yes, yes,
and harmonies were better. It was. It was awesome. It's
it's the ultimate and flattery to to hear your song

(52:36):
on the radio that you recorded some time ago. I
remember when Sony sent me the tape. They sent me
a cassette tape and it was awesome. I sat there
and played the tape in my car for about three hours,
kept rewinding and rewinding that. You know. I was like,
oh my god, that's gotta be Lauren Hill. That's gotta

(52:56):
be Lauren Hill. You know. So I called them back.
I said, look, sony, you guys got a big, major, major,
monster hit on you. You better put all your promotion
in this because this is going platinum. It went, It
went triple platinum. Yeah. Now did you think that for
two cloves or the same thing something? But I didn't.
I didn't hear it. I didn't hear that song. Like

(53:18):
like I sat in you know, listen to Ifibre of
the World because I feel like the checks are the same,
Like that song played more than right. Yeah, it was.
It was huge. It one song of the year. I
think in nineties something Jesus Christ. I forgot about next

(53:39):
song like the song that you get annoyed because it
just played all the time. You know, as a DJ,
I need that song. So I get it. Um. I know, uh,
I don't want to skip eighty four. And I know
that your involvement in the King celebration thing, Yes, it
was important. Can you tell the story. I've heard the
story about you person only like Prince funding this. So

(54:05):
how did the idea come to be? Well, I got
a phone call from Dexter Scott King, Martin Luther King's son,
and it was incredible. Here he goes, uh, hello, Curtis. Uh,
this is Dexter Scott King and I'm the son of

(54:26):
Martin Luther King. And he sounds like I want you
to produce a song about my fault. So no, No,
I hung up on him, right. I thought it was
a prank. He called me back. I hung home on
him again. So the third time I listened to him
and I was like, well, he's got to be real.

(54:47):
He's calling three times. So we got together, became good friends.
It's another guy, Philip Jones, who was the other producer
on the set, and I went to back to Mercury
PolyGram and UM convinced them to to sponsor this song
and uh they paid for the studio and UM. I

(55:08):
called all the artists it was no. One said no.
So the idea was to use all the people that
weren't in We are the World right, And an unknown
Whitney said yes, and uh, Stephanie Mills said yes, Manu
no with Ricky mar it was incredible. Give us one

(55:30):
to know who was the one artist is like, yeah,
I'll make it and then didn't know. Everyone said, yeah,
it was incredible. It's such a meaningful song, you know,
to be a part of that, and um, it was.
It was a lot of fun to make, you know.
So so so the record company did not want to
pay for the video the music video, so um um

(55:54):
uh dexter dex went and and and got with Prince
and asked Prince when he paid for it. And he
calls me up and said, Prince said he's gonna put
up nineties thousand dollars for his music video. And I
was like, oh my gosh, yes it did. And and
Prince and I became friends after that. I mean, he

(56:17):
was really really nice, and you know me, I'm trying to,
you know, hang out with all the stars that I could.
And so I went back to my record company and said,
oh god, something for me and Prince. We gotta do
something together. So they did Beverly Page. She hooked up
this picture autograph session with me and Prince. I think

(56:37):
we were in Detroit somewhere, and the club was packed
as a line outside of all these women, right and
so Prince signs about autographs and takes about and me,
I took about ten pitches. He was a big, huge superstar.

(57:00):
People love him. Man, what a great guy. Wow? Yea, yeah,
so the characteristic of him. Yeah, never know. Um working
on the Crushed Groove uh sound movie? Yes? Uh, well
obviously you know, we know that's based on the life
of Russell Simmons. But how was that experience for you

(57:21):
in general? Well, it was it was a lot of
hard work. I'll tell you the truth, because during that
time I was a producer and um, so I was
producing the Fat Boys second album and and producing my
America album with that Fire of the World on and
also the Crush Grew soundtrack. So I was producing three

(57:43):
albums at one time and had deadlines and all that.
So I was going to three different studios every day.
You know. It was hard work, hard work. And then
I had to wake up at six in the morning
to get on film set, you know, to do the movie.
And uh, it was a lot of work. As a
matter of fact, I kind of like took a break.
You know. Last thing I did was Martin Luther King song,

(58:05):
and then I took a break for about five years.
I didn't go into the studio, couldn't go into it
was too much because he didn't produce the third Fat
Boys record. No, what was it like? Just man, were
you managing them at the time or just their manager
was a guy by the name of Charlie Stetler from
Cisco Fever right right, and he also manages Scribbles DJ

(58:28):
Scribbles and and Dr Dre and Ed Lover from Yo
MTV Raps. But Charlie was their manager and they were
signed the Suture Records and Maurice Levy it was it
was mars Levy on Sutra. Yeah, oh yeah, that explains

(58:51):
a lot. I never I thought after Roulette Records and
the hit Man book, I thought, mars Levy, you just
gotta be hit Man and liked it, you know, yeah,
right right, sleeve owned. But they were some good guys.
I mean, you know from Brooklyn Fells none the Fat Boys,

(59:16):
you know those guys Jesus Christ. Yeah, like for me,
that album manage you captured. They're they're humorous spirit in
a way that you know, hip hop hadn't seen before,

(59:36):
and especially that first record like that, I think everyone
that's of my age now, like that was their first
experience either that or the run DMC record. But um yeah,
just producing, I mean how hard was it trying to
explain like they don't eat music and just beat the
culture beatboxing and how how did you manage? How many

(59:57):
takes would it take to get like those songs? They
were great in the studio, It was awesome. What is
on the record that humor, that that that that genuine
personality comes through? Because I just you know, let the
record button go and uh I remember um buff rest

(01:00:22):
in peace? He said one time he said, yo yo yo,
Kurt Man, Yo yo, all I want is a call.
You got two houses and all of this stuff, ma,
and these guys were incredible, and uh they love music.
I found out as a producer the basic job of
a producers is to make people's dreams come true. You know,

(01:00:46):
you take them around the basis and bring them home
and when you get home, you know you have that
finished product and that's our job. Or how weird was
it letting a fourtune year will produce you? Because Salon
Remy got to start as a fourteen year old kid.
Well he had the tracks, you know, and um I

(01:01:08):
wanted to give him a shot. His dad was a
very good friend. He worked at at the record company.
He was one of the promoters promotion department. He actually
introduced me to his son and said, you know, he's
got some good stuff. And I said, well, I'll give
him a shot. How about that? You know? So he
did the back by Popular Demand song, you know, and

(01:01:31):
that was great. He actually asked um Molly Mau to
do the scratches on it, and Molly came down to
the studio because of his kid, and got on the
record and started scratching and wow, the arrest his history.
It's crazy. So at the end of the day, what
do you want your legacy to be as far as

(01:01:52):
your I mean, you've done so many things to be
first of this and first of that, Like where do
you see the history of hip hop as far as
uh like preserving it and and those types of things
like how do you want to see the culture preserved? Well, um,
what do you think about today that question? Well, you know,

(01:02:16):
there's there's a project we're working on called the Universal
Hip Hop Museum where we want to document this history
and put it in a brick and mortar location where
the whole world can come and visit and see and
be a part of of it. And just um you
know the many stories, the many uh lives um and

(01:02:37):
and the many careers and and the the so much
talent that has been a part of this way of
life that it needs to be documented. It needs to
be stored and cherished and supported in one place. And
we're doing that, working on that right now. So you
can go to u h h M dot org to
find out more information about the Universal Hip Hop muse

(01:03:00):
ze him. But as for me, I want people to
remember me as a guy who actually was a big
part of practical study, so very important even in music.
Whatever it is that you want to do in life,
I think that uh, practical study is very important. You

(01:03:21):
go and do your research in that field of whatever
it is dr lawyer, businessman, rapper, singer, uh DJ doesn't matter.
Study the history of it, and within that history, find
out uh someone who was successful uh and and and
study the steps that they took to achieve that success

(01:03:42):
and then repeat those steps, mimic those steps, and then
I guarantee you also will achieve success. So do you
think then, basically since you were the first in so
many situations, because I'm thinking as you're speaking I'm like
Curtis Blows sitting next to us. He was the first
person to get a major endorsement deal right to rapers,
just Bloomer endorsement deals. Basically, it seems like it should

(01:04:04):
be a part of the education matriculation, matriculation as of
an m C to have Accurtis Blow education. Since you
were verse, right, I mean there are other classes on well.
I'm a big avid supporter of education. Education. Education is
the key to success, is the key to getting out
of the ghetto. Research, you know, bring the the classroom

(01:04:27):
into the culture, and the culture into the classroom. Very
important doing your research. Like I said, um, and and
we as rappers just speaking on rap you know, the oratory,
we are orators, We are communicators. So I majored in
communications and studied the greatest orators of our time like

(01:04:49):
Barbara Jordan and Winston Churchill and Martin Luther King, Malcolm X.
And I found out that we have all of these
options and windows that we can open, doors that we
can up and as the orators of this culture, like
for instance, public speaking politics, you have broadcasting, you know, uh,

(01:05:11):
television and radio broadcasting, journalism, uh his one for you
preaching I forgot your father, you're ordained minister and and
and so and so, Um, you know, and study it all.
Studying all of the great orators of our time, I
found out that the most passionate of the speakers the

(01:05:35):
oratory or the orators were the preachers and the reverence.
You know, many of those speeches like Martin, Luther King
and Malcolm X. You know that gave me the fortitude
and the will and want to to take it to
the next level in this field. And uh, as an
m C. That means that you're a master of the ceremony.

(01:05:57):
It doesn't matter what the ceremony is. You be on
the street corner and a circle full of twenty people.
You can be at a club. You can be at
a block party or park jam. You can be at
a community center. You can be at a concert with
five people or twenty thousand. You know. Uh, you can
be at a bar mitzvah, you know wherever. I've played

(01:06:25):
a couple of oar misspers in my time. Yes, yes,
and um, you know so. Uh, that is the story.
You are a master of any ceremony. I don't know
anybody who has used their communications degree to the to
the levels that you have in this moment, I just
realized that I was like all my life, I think
as a communications major, I was like maybe I should

(01:06:45):
have did a business and something like that. But now
that you've broken it down like that, you know you've
got some windows, You've got some communication. You're literally I am,
but you know you gotta have some multiple hustles, as
you know yourself as a former radio host. Yes, yes, yes,
I just want to stay away from politics these days.
We need more people like you, you know, and in

(01:07:07):
front of the masses. You know, Um, what can I say? Wait,
I want to mention that I totally forgot history. I
totally forgot So yeah, the hip Hop Nutcracker explained to
me this project, like how wow, Well, the hip Hop
Nutcracker is a modernized version of the classic Tchaikovski's incredible

(01:07:30):
classical music. We are now uh doing hip hop dance
and breakdancing and and and ballet and and and bringing
the story uh to the masses with the the culture
of hip hop in the forefront. And so it's a
new modernized version. Is is really something that every family

(01:07:54):
should see is during the holiday season, you know when
when when love is in the air and everyone's hug
going on each other and trying to thank each other
for putting up with you all year long. You know,
just go out and have a great time seeing this classic,
classic um rendition of of Tchaikovsky's hit. But like all

(01:08:16):
the songs are filtered through hip hop, so there's like
trapped versions of the sugar Plump songinging I might need
to do that. It's incredible because we have a DJ
who is actually playing beat something under this CONTI music,

(01:08:36):
and we have an electric violinist who's doing that thing.
But the creators of Jennifer Webber, I want to give
her a shout out. She's also the choreographer and director
Michael Fitterson, uh put together this piece that is a great,
great holiday family fun classic. So it's it's it's a

(01:08:57):
it's it's a show that everyone needs to see, all
all ages, all races. I'm gonna matter. It's incredible. It's
it's really um a good look for hip hop and
a good look for music in general. That's good. I
mean for you being on the forefront of of one
of the first hip hop ballets and and I mean

(01:09:20):
you were there when hip hop was in stadiums with
the Fresh Fest and to go from there all the
way to uh to where we are now, that's that's
quite a journey. We thank you for coming on the show. Yeah,
I thank you for having me, you know, and um
a big shout out to all the dancers who are
part of that because we have so much talent that's

(01:09:40):
out there. You know, the these um young dancers are
coming out, you know, from all over the world. Uh,
and they have so much mad flavor, so many different
styles from power moves too, you know, to to the
wave to to pop locking and uh. You know, it's

(01:10:02):
incredible to see how it's all put together and how
Jennifer however did this thing and the choreography is incredible. Wow.
Oh thank you. Shot. Can I thank John and your
wife Shirley too, because this has been like a year
and a half in the world were here, Like, thank you, Shirley,
thank you, thank you, thank you. Take a strong woman. Well,

(01:10:27):
ladies and gentlemen on behalf of the crew. Uh, the
team Supreme. I'm pay Bill, Boss, Bill Sugar, Stephen Layah,
this Quesse Love. Thank you very much. Uh whose form
it's for? Did you? Did you plays? Maybe? I know them.
You're stopping right here. This is question. We'll see you

(01:10:49):
in the next tie round. Thank you, m m h
m hm. For more podcasts from My Heart Radio, visit

(01:11:12):
the I Heart Radio app, Apple podcast, or wherever you
listen to your favorite shows.