The Breakfast Club Best Of Episode(Joe Clair Interview, LL Cool J And The Roots Interview, Fab Five Freddy Interview, What Makes You Not Want To Hook Up With A Guy?)

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
My grandmother.

Speaker 2 (00:02):
Club Wa got the Breakfast Club, Envy and Charlomagne the
voice of the culture.

Speaker 3 (00:09):
Then I'm gona come here when this see y'all different,
y'all the culture it's different.

Speaker 4 (00:12):
You know what I'm saying. Like y'all know what you're talking.

Speaker 3 (00:14):
This is probably becoming the most prominent form for hip problem.

Speaker 5 (00:18):
Being here next to all of you guys.

Speaker 4 (00:20):
It's really put it in perspective to the Breakfast Club. Bitch,
wake up. It's your time to get it off your chest.
Way up, whether you're man or bleats, time to get
up and get something.

Speaker 6 (00:35):
Call up now.

Speaker 7 (00:36):
Eight hundred five eighty five one O five one. We
want to hear from you on the Breakfast Club.

Speaker 4 (00:40):
Hello. Who's this is?

Speaker 8 (00:42):
Nasty blind?

Speaker 4 (00:43):
But Hello Envy, nasty blind buck? What up? Brother? That
sounds the gross man y'all y'all don't know where your
mind nasty blinding up with.

Speaker 8 (00:51):
All blind beauty?

Speaker 9 (00:53):
Yeah from VA man somethtimes.

Speaker 4 (00:55):
Well, how are you, sir? How's it going?

Speaker 10 (00:57):
I'm good.

Speaker 6 (00:58):
How y'all doing?

Speaker 4 (00:58):
Man less black and Holly? Yeah? Man.

Speaker 11 (01:01):
I just want to tell y'all about my podcast that
y'all got me started.

Speaker 8 (01:05):
It's called three am part. Okay, Yeah, so I'm just
interviewing like a bunch of local and blind people out
there in the world that's.

Speaker 6 (01:12):
Going through life andy doing different things.

Speaker 10 (01:14):
So John, following me on that, I g at three
am part.

Speaker 4 (01:18):
You said you you interviewing local blind people.

Speaker 8 (01:21):
Yeah, local blind people and blind people. Uh, just all
over the world.

Speaker 6 (01:25):
Okay, my last interview I had a blind artist up there.

Speaker 8 (01:29):
He's from Maryland.

Speaker 10 (01:30):
So yeah, man, I'm just interviewing everybody that's doing something.

Speaker 6 (01:34):
I like that.

Speaker 3 (01:34):
I like the idea of that podcast. Man, I can
I can see that work.

Speaker 12 (01:39):
But there's a lot there's a lot of blind people
that that actually listen, so so how can they get
in touch with you if they want to get on
your podcast?

Speaker 3 (01:45):
All right, listen following me with I g at three
am pot a brother by the way, and you can go.

Speaker 8 (01:49):
On Spotify and listen to the podcast.

Speaker 3 (01:52):
If you're going to lot to launch a podcasts, you
should think of a unique angle because there's so many
podcasts out there, so in order to cut through the noise,
you got to have like a unique angle, and that
is a very unique game.

Speaker 12 (02:02):
I think he can get more creative with the name
what was it all three am pogast?

Speaker 4 (02:06):
Oh what does that mean?

Speaker 13 (02:07):
Though?

Speaker 4 (02:07):
I don't know. I think you some ofem more like
let him know its blind people being interviewed. There might
be it might be should I ask them, might be
some meeting behind that. Hung up? Hello, who is this?

Speaker 6 (02:18):
Good morning, Envy?

Speaker 8 (02:18):
Good morning? Uh, good morning Queen.

Speaker 13 (02:23):
Yeah. I just Amy, please don't hang up for me.
I got two things, man. I just want to talk
about the topic you had yesterday, man, and when he
touched me man and had my allergies acting up.

Speaker 4 (02:33):
Pretty much.

Speaker 13 (02:33):
When it comes to the marriage thing, I've been married
for pretty much fifteen years, been together for twenty two.
I love my queen unconditioning. I don't care what she
goes through. I'm going through that with her, and for
the most part, man. My second thing is that I
just want to shout my queen and my kids out, man,
because I never got a chance to do that last time, Envy,

(02:54):
And I just want to let them know that Shaun
and Sandys, TJ Tyler, to Rio and j Jo Brad,
you love y'all wholeheartedly. And every day I'm gonna strive
to be a better father, a better friend to my wife,
and it's a better person for the black community.

Speaker 8 (03:11):
Man.

Speaker 13 (03:12):
I just want to let y'all know, y'all make the
red more logical when it comes to thinking about realizing
that our communities need people like you guys, man, because
it's a lot of negativity ill re is and one
thing I said about you guys, you put it in
perspective the way it needs to be put.

Speaker 8 (03:29):
And I appreciate you.

Speaker 13 (03:30):
Brothers man because every day you motivate me to be better.
You motive beat me to get my buddy go make
it happy for my family. And I just want you
to know, man, I love y'all, man, and thank you.

Speaker 4 (03:43):
Hello.

Speaker 1 (03:43):
Is this that's me Kanya from the Well. I'm Jamaican.

Speaker 9 (03:57):
With nothing to give you guys.

Speaker 1 (04:00):
New my son got absected to heart bread doctor doctory
say and guess what happened. I've been listening to you
guys for years, every morning we dragged from the Bronx
to Manhattan to suck this academy. And I've been reading

(04:20):
for years, taking up to school every day to sit
up to all the success teachers brings up to that school.
And I'm telling you, I'm so proud of my son.

Speaker 4 (04:31):
I'm so proud of you.

Speaker 9 (04:36):
You know what happens. Let me tell you something.

Speaker 10 (04:38):
Let me tell you something.

Speaker 1 (04:40):
Everybody has a story, but Charlomy always did the craziest
people from the Bronx in Florida. And I'm not even
lying to you. Tell I mean, you're returning to your opinion.
But I'm gonna tell you this. Great things is not
where you're raised their kids is how you raised them.
You understand what I'm saying. And my son put out

(05:00):
the most effortless work. I watched him every day, how
he goes hard, hard, really hard. And just keep his
name in your mind because he's going in for economics
and government and.

Speaker 4 (05:14):
You know, we wish him the best.

Speaker 3 (05:16):
May God be with him always.

Speaker 4 (05:19):
That's son. The smartest people come from the Bronx. Tell Charlamagne,
the smartest people come from the Bronx.

Speaker 1 (05:24):
The smartest people come from the Bronx. But we original
in Jamaican.

Speaker 4 (05:28):
You know, Okay, now cut it out.

Speaker 3 (05:30):
I don't want them to pull the application right because
you're acting like the fire a little too much.

Speaker 9 (05:35):
No no, no, no no no no, don't do that.

Speaker 4 (05:37):
Don't do that.

Speaker 12 (05:40):
Happy Holidays, get it off your chest. Eight hundred five
eight five one oh five one. If you need to vent,
hit us up now. It's the breakfast Club Morning.

Speaker 7 (05:47):
The Breakfast Club. This is your time to get it
off your chest. Eight hundred five eight five five one.
We want to hear from you on the breakfast Club.

Speaker 6 (06:00):
Hello, who's this good morning?

Speaker 10 (06:02):
Should love me from the brook.

Speaker 4 (06:03):
I should have knew he was calling.

Speaker 6 (06:04):
Love.

Speaker 12 (06:05):
You got two brown skin women up here, and I
know you were gonna call immediately.

Speaker 13 (06:09):
Yes, yes, I just want to say shout out to
them because I don't like to see my queens go.

Speaker 4 (06:13):
At it so that browns go grand.

Speaker 6 (06:15):
I'm glad they grinded that out.

Speaker 8 (06:16):
I know Charlamagne tried to get him.

Speaker 4 (06:18):
To go at each other. Not true and love.

Speaker 12 (06:21):
He calls all the time, ladies because he has a
thirteen and a half inch penis.

Speaker 4 (06:23):
You ain't even have to say that.

Speaker 14 (06:24):
Guy.

Speaker 4 (06:25):
Fact that you said that, it's silly because you don't
have to.

Speaker 1 (06:29):
Say that, I know somebody number you start calling like thirteen.

Speaker 4 (06:32):
You ain't even have to say that, I have nothing
to do with other. Just let him know.

Speaker 13 (06:35):
I'm glad you let him know.

Speaker 6 (06:37):
Okay, okay, all right, I love you.

Speaker 3 (06:38):
You never go on, and then y'all be wondering why
people be saying stuff about men all of God. Damn,
that's how you present Hi, I'm love You have a
thirteen inch penis. Here you go, Hey, this is my
friend love you. He got a thirteen inch penis.

Speaker 4 (06:47):
I did not say love. He was my friend. He
called introduced him.

Speaker 6 (06:51):
And he calls all the time.

Speaker 4 (06:53):
Yes, he calls. That's how thirteen and a half already,
that's about it when he calls. So it's kind of
like his brain here.

Speaker 6 (06:57):
Is his calling hard all right, figeral check it out?

Speaker 4 (07:01):
So she said it's true.

Speaker 6 (07:01):
So I don't know.

Speaker 12 (07:03):
You gotta ask how she check it out?

Speaker 4 (07:11):
Hello, Hello, playing, this is.

Speaker 13 (07:20):
My name is.

Speaker 11 (07:28):
Thank you good. I'm upset with my job because we
just got worried that they are closing down.

Speaker 4 (07:39):
Spotify.

Speaker 10 (07:40):
Damn, No, I.

Speaker 11 (07:41):
Worked in Westchester County. It's an RTC. I don't want
to say, but it's it's the RTC, you know what
that is?

Speaker 6 (07:48):
The residential treatment set us.

Speaker 11 (07:50):
So it's just like a bad time for like just overall,
it's never a good time to get laid off. But
it was no transparency, you know, with us, and they
knew they were going down, but they just never you know,
told us, and the more around.

Speaker 4 (08:03):
It's like, lo, yeah, I'm sorry, mama.

Speaker 11 (08:06):
Yeah, they just they're just a bunch of snakes over
there and right.

Speaker 12 (08:10):
By the hot right during the holiday season too.

Speaker 4 (08:13):
That really is exactly sorry about that. So yeah, sorry
to hear that, queen. That's awful.

Speaker 6 (08:19):
Yeah it is.

Speaker 11 (08:20):
But I'm looking to like going to some other things
as far as like ducking the contract. I'm the definitely
go hard on that.

Speaker 4 (08:28):
You want to put your cash out out there, just
you know, just in case.

Speaker 14 (08:32):
I mean I can, but not of you know, mind
now money, never mind, don't you worry about it?

Speaker 4 (08:39):
Don't you worry about it? Don't you worry about it?

Speaker 6 (08:41):
Okay, no no no.

Speaker 4 (08:43):
No, no no no no, I don't even worry about it.

Speaker 11 (08:47):
What's your petty self?

Speaker 4 (08:48):
That's right, that's right, Go ahead, put it out there.

Speaker 10 (08:50):
Mama's dollar sign neb and easy A les l e
Z twenty one.

Speaker 4 (08:58):
Now you're in west Chester, you're locks fan, oh big time?

Speaker 11 (09:01):
And Mary maybe underneath my window in the project.

Speaker 4 (09:06):
So you're going to the show. Hold you said, Neva
lens n e v a l.

Speaker 11 (09:10):
E d Neva les So you're going, yeah me, put
my name out there.

Speaker 4 (09:17):
I'm sorry, popped up on your cash. I'm gonna send
you a little just for lunch today. That's all all right,
thank you.

Speaker 11 (09:24):
I appreciate that.

Speaker 4 (09:25):
If you got it, you got it. I just sent
it to you. Sounds sweet. And you said you was
Mary J. Blige. Auntie. I gotta I gotta fit Mary
set up under your window on the project. That's the Auntie.

Speaker 6 (09:35):
You know, you'll be Auntie the person next door.

Speaker 11 (09:39):
Thank you, guys, jumpy, half a good week and be blessed.

Speaker 6 (09:42):
All right, you have holiday.

Speaker 4 (09:44):
I'm sweet, Thank you. Get it off your chest.

Speaker 12 (09:46):
Eight hundred five eight five one o five on if
you need to vent, hit us up now.

Speaker 4 (09:49):
It's the Breakfast Club Morning, the Breakfast Club. More than
everybody's dj n V.

Speaker 12 (09:57):
Charlamagne the guy. We are the Breakfast Club. We got
a special yes in the buildinghold harm the legendary.

Speaker 4 (10:03):
I see he got his Morgan State. Really bro, really bro,
you know, I just you know, want to put my helmet.

Speaker 15 (10:09):
Oh man, brother, good morning, good morning, good morning, good morning.

Speaker 4 (10:16):
How y'all doing? Explain this to me? I know that
the Hampton Howard rivalry, but what's Morgan State.

Speaker 15 (10:20):
So every HBCU thinks it's the greatest HBCU that has
ever been HBCU guys, correct, The only real one is
Morgan State.

Speaker 4 (10:29):
But then the other ones still feel like they are
a Morgan State.

Speaker 15 (10:33):
So you have that Howard Hampton thing on more House
thinks it's Morgan State.

Speaker 4 (10:37):
You know, fam you thinks it's Morgan State.

Speaker 15 (10:39):
And know this, I love those institutions, great institutions who
turn out incredible people.

Speaker 4 (10:44):
But then nines, watch your mouth. Yeah, Morgan State.

Speaker 12 (10:48):
I was gonna go to Morgan State because that's the
first school that's on the tour.

Speaker 4 (10:51):
You know your argument. Let me tell you I was
gonna go to Morgan.

Speaker 12 (10:54):
I was gonna go to you know, we go to
Morgan Howard vs U Virginia and then Hampton Hampton, right,
and I went to Morgan State. I remember it like
it was yesterday. The first thing we go on that
on the campus, well what you want to call it
a campus?

Speaker 15 (11:06):
Oh no, you didn't just be cause y'all got that
little river running behind y'all, little school.

Speaker 4 (11:10):
Little campus.

Speaker 12 (11:11):
And then you know what I seen on my dad scene,
y'all playing craps on the steps. Now My dad was like,
this is the same.

Speaker 4 (11:17):
Thing as Queens. Why are you gonna leave Queens to
come to Baltimore. That's the school you want.

Speaker 15 (11:22):
To play craps on the steps, That's what men need
to go to. So mine was the complete object.

Speaker 6 (11:27):
As soon as I seen.

Speaker 4 (11:28):
The crowd, like this is the place for me.

Speaker 15 (11:30):
This is definitely the place for me to get a degree.
I was perfect made five years. Then five years served
me well for five years in Baltimore. To do it
for no, I ain't doing it for me if I
didn't five, No, I did. I did my five and
I was an r a man. I did everything you
could do at school. I was the mascot want semester.

(11:51):
I needed a gym credit. Okay, I needed a gym credit.

Speaker 16 (11:54):
Uh.

Speaker 4 (11:55):
They was like, you wanna go live weights or you
wanna be the mask? I said, man, give me the
bear outfits I was.

Speaker 15 (12:01):
I was the most DC bed he ate I had
on my new Balance because it was a raggedy suit.

Speaker 4 (12:07):
Listen Charlamne, it was a raggedy suit.

Speaker 15 (12:09):
At the time, we didn't have the funding to get
a new mascot out for At that time, mortgage State
was going through something so they gave me the old
one that they used to have, and the the head
was perfect, the suit, the feet cottage.

Speaker 4 (12:24):
So I used to rock whatever.

Speaker 15 (12:27):
The bed would come out rocking fresh new bus, new
butter tims, and everybody who was the bed.

Speaker 4 (12:33):
He fresh, whoever, the freshest man we ever had.

Speaker 3 (12:37):
Honestly, if you walk on the HBCU campus and rolling
dice schedule, you might not need to go to ANHBC.

Speaker 4 (12:44):
Like, this is the same thing I seen in Queen's
and I don't want my kid, you know, rolling craps.

Speaker 6 (12:49):
But that was so what it is.

Speaker 4 (12:50):
We wasn't rolling craft. That was a probability study.

Speaker 15 (12:54):
You wasn't your father, It wasn't your pops, wasn't here.
That was just a probability study in the engineering the park.

Speaker 12 (13:01):
Now let's talk about what's going on here and Morgan
right now Morgan State, you know there was a shooting
there recently. You guys have canceled the homecoming and there
was a lot going on. So have you reached back
out to the school. How is everything happening now? Because
I know you're big when it comes to giving back
to that school.

Speaker 14 (13:17):
So I was.

Speaker 15 (13:17):
Supposed to actually host our homecoming gala, which is the
biggest fundraiser of the year. I hosted Gaily years shirt
you know, Tuxedo out, and that got postponed to December
the eighth. The official homecoming got canceled, but Black people
Homecoming went on as playing. Oh they were still party.
They called it because the homecoming got canceled. Brunch because

(13:39):
the homegum got canceled. Day party because the home So
we you know, you have thousands of people who were
looking forward to this weekend, so they came down and
had a great time and showed solidarity.

Speaker 4 (13:49):
After the shooting. You had mothers.

Speaker 15 (13:51):
There was a group of mothers who got together who
didn't have kids in school, who came up just to
show support for kids who were far away from I'm home.

Speaker 4 (14:00):
Who needed a mom.

Speaker 15 (14:01):
If you need a hug, if you need to ask
a mom question real quick, we're standing right here. And
so while the tragedy happened, and you know, our prayers
are with those students and their families and everybody affected,
there's also this gigantic push of solidarity, this gigantic push
of unity. This is a new Morgan State, and we're
gonna stand together to shake off some of the old

(14:25):
reputation and move in a new positive way. When things
like this pop up, it throws a monkey rich into
the we're a new Morgan thing. So we came out
even stronger.

Speaker 4 (14:36):
That's why I've been I've been orange and blue since
that day.

Speaker 15 (14:39):
You know, my kids are walking around with the hats
and everything else, and I'm screaming it out as much
as I possibly can these institutions. You know, I don't
have to come on here and preach to you what
an HB means for our community. So you know, at
this time in my life, I'm happy to be able
to be there for my school. Whatever they need. They
call me for anything, if the you just need anything.

(15:00):
My five brothers need anything, they hit me up and like,
let's go do X, Y and Z.

Speaker 4 (15:05):
Do you think they should have canceled on coming.

Speaker 15 (15:06):
I think it was a good call by doctor Wilson
is an incredible leader for that school. And let's imagine
if he didn't cancel this. Black Mama ain't canceling. It's
a tragedy. So he did the smart thing. He did
the thing that someone in academia should do. Let's cancel this.
Everybody else, though, we went and partied and everybody had

(15:27):
a great.

Speaker 4 (15:27):
Times, all the events around homecomings.

Speaker 6 (15:29):
Yeah, none of that. You ain't.

Speaker 4 (15:32):
You ain't canceling rare essence.

Speaker 15 (15:34):
You ain't canceling the go go because you know, you're
not even supposed to have a go go in Baltimore
in the first place. So the fact that you got
a go go in Baltimore or we coming and you're
not canceling that you can't have go go in Baltimore.
It's too old Baltimore.

Speaker 4 (15:48):
Most of the country doesn't really doesn't know that.

Speaker 15 (15:50):
There is a unspoken rivalry between the African American community
and Baltimore and the African American community in DC.

Speaker 4 (15:59):
They got their own language, and so we have two.

Speaker 15 (16:03):
We grew up with two different like you said, culches,
different accents, music, food, we did, way we dress and
the and the like. So when I got to Baltimore,
there was no go go, but soever you did not
don't even don't even bring that up in Baltimore now
because of I think because of the twenty thirty years

(16:24):
that DC has been heavy going to Morgan State making
alliances in the city. My wife is from the West Side. First,
let me say that my wife is from the West
side of Baltimore, and when I married a Baltimore woman,
the DC women like.

Speaker 17 (16:36):
Hold on ah ha jaa, No, you haven't had some
of that that old baita she served. She's got a
crab boy for your ass that you you don't know
nothing about.

Speaker 15 (16:52):
And so I think that there's there's this slowly but
surely there's there's an alliance that has been coming between
Baltimore and DC, and the hard line has been softened.
I won't say this is an alliance, but the hard
line has been softened. But you never hear about this
rivalry that we have that goes on. I think it's
the stupidest thing ever. I think that the two communities,

(17:14):
African American communities in those major cities. D C's a
major city, Baltimore's a major city.

Speaker 6 (17:19):
I think we need to come. Yeah.

Speaker 3 (17:20):
Is there anything that brings you all together? I would
think like comedy, right, because I think your comedy underrated.
Comedy is an underrated comedy scene in Baltimore, DC because
you got Dave, you got Donall so here just hilarious.

Speaker 15 (17:34):
So here's how we feel about that. The same applies.
So it's like this growing up. Anything coming out of Baltimore,
you just automatically X. And if you in Baltimore, anything
coming out of DC, you just automatically X. Nadi, you
don't know them. I learned that from my.

Speaker 4 (17:50):
Baltimore goons. What's up with y'all? I ain't saying no names,
what's up with y'all? But I know some straight goods.
And you know Baltimore, you know the why it was real.

Speaker 15 (18:01):
Let's let's let's keep let's keep it the buck, the
wire was real, and the climate in Baltimore.

Speaker 4 (18:07):
It's serious. It's very very serious.

Speaker 15 (18:10):
So it's gonna take thirty forty years for that alliance
to pop off. We're talking about black folks who are
setting their ways. Black folks are very very slow to change,
and unless you have a reason to change, a very
straightforward reason to change, it ain't gonna be that much change.

Speaker 4 (18:28):
When we come back with Kicking It with Joe Claire,
So don't move. It's the Breakfast Club, Good Morning, the
Breakfast Club porting everybody.

Speaker 12 (18:37):
It's DJ n V, Charlamagne the guy. We are the
Breakfast Club. But kicking it with Joe Claire, of course
from Rap City.

Speaker 4 (18:43):
Charlomagne.

Speaker 3 (18:44):
Another thing too. I was watching the doc. Man, I've
always loved the interview you did with Big. That's that's
the iconic INTERVIGI, And I knew that was Big.

Speaker 4 (18:54):
I couldn't. I knew that was big last interview. It
was his last television interview. I think, I think I
think sway might have been his last. He was going,
he went and did the radio. Now, did y'all shoot
that in La? Shot it in La? That's what we
was laying like in the park, right, So we really
were on a sound.

Speaker 15 (19:09):
Stage and they were shooting the hypnotized video. The dance
scenes were going on in there. So they took a
break from that sat us outside and that's how that
interview popped off.

Speaker 3 (19:21):
Always wondered, were you concerned for your safety shooting at
in La at the time, because it was all the
East coast, West coast beef and all of that.

Speaker 15 (19:27):
I'm concerned for my safety every day, so my head
is always on a swivel. So I didn't feel any
more concern than I normally feel when I go to LA.
I just know, like doing Rap City, the thing that
I knew was when you go to somebody hood, when
you go to a city, you abide by they rules.
You shut your mouth, don't start no shit, won't be
no tea. So Nah, I didn't have any extra concerns

(19:49):
for my safety that day. We had plenty of security.
ANIMI civilian y.

Speaker 13 (19:53):
Yeah.

Speaker 6 (19:53):
Then I sit and I do the interview.

Speaker 15 (19:54):
It's a great day season Junior Mafia right behind us,
the dancing girls over there.

Speaker 6 (19:59):
Of course.

Speaker 4 (19:59):
Then he said, you want to smoke something to day
just got better.

Speaker 15 (20:03):
I'm not a smoker, but if you're gonna smoke with somebody,
you're gonna smoke with Biggie Smoke. So I had to
catch a red eye that night because I was going
out on the Deaf Comedy Jam tour. This was the
first night, so I had to fly home Wednesday. After
getting the interview, pack my bags, get on the tour
buses coming from Kid and pre Little Jersey coming down
to DC, pick me up and then we drive to Dallas.

(20:25):
We do the show in Dallas. The next night we
go to Houston. Do the show in Houston.

Speaker 4 (20:29):
Had a ball and three thirty four o'clock in the morning,
Kid called my.

Speaker 15 (20:32):
Phone, like yo, they say, Biggie guys shot you know
it's four o'clock in the Morning've been out drinking, like whatever,
you know, it's just some more hip hop here say book.

Speaker 6 (20:42):
Then my girlfriend at the time called me.

Speaker 4 (20:43):
She was like, they say, Biggie guys shot. Let me
turn on headline news. Y'all remember headline News.

Speaker 15 (20:49):
Then every half hour, first story rapper Christopher Wallace has
gunned down.

Speaker 4 (20:53):
At this point, the interview wasn't out. Interview's not out.

Speaker 15 (20:56):
I just was this is Sunday morning. I just dead Wednesday.
This is Sunday morning at six in the morning. So nah,
no interview out. They ain't get time to try. They
still in la party and just those next couple of weeks,
when I got to reflect on it, I realized I
was just numb because Tupac had just died and now

(21:17):
Biggie got killed.

Speaker 4 (21:18):
I was like, we cannot be that dumb?

Speaker 3 (21:21):
Are we?

Speaker 4 (21:22):
Black folks were really not that stupid?

Speaker 10 (21:24):
Are we?

Speaker 4 (21:25):
Is this who we are? Time has shown that. Unfortunately
It's sad.

Speaker 8 (21:29):
It was.

Speaker 4 (21:30):
It was one of those times Charlemagne and Envy where
I really just I'm very us.

Speaker 15 (21:35):
I was like, man, I man a lot of that,
so a lot of the like hanging out and I
just did not want to do like because I don't
know what you on. And then and I watched cats,
I knew some of the most righteous dudes. Next thing
I know, he he come with the chain and he
gotta get his swag together.

Speaker 4 (21:54):
You you, you've been made since you was nineteen years
and ten years old. You've been made. You've been a man.
I know your family, I know what you staying on.
You switching up because you think this is what the
coach a dog man my head up and has colored
how I see us. Since then, nothing has changed your
mind about it.

Speaker 15 (22:12):
I mean remember, leading up to that, I sat in
the middle of the East Coast West Coast thing every week,
every day, every rapper's got something to say about the
other coast.

Speaker 4 (22:22):
Is that what made you start saying the East Coast
West Coast worldwide? I took it straight from the Lost Boys.

Speaker 15 (22:27):
Yes, we really need to we really need to do
this big shout out to Mac ten and Fat Joe
because I don't know if you guys remember they did
a movie Thinking and Water Up something like that. And
then and Fat Joe realized and Fat Joe used to
be coming up to this show like man that I'm
keeping a flame going on this East.

Speaker 4 (22:44):
Coast West Coast. After that, I see Joe and he's like, naw,
they cool.

Speaker 15 (22:48):
And then you used to see mac ten and Mactin
like nah they cool, They're super cool. And then you
found out it really wasn't the East Coast versus. It
was the media making in and it was Park against
Biggie and they used to be best friends, and now
we're looking at really just came down. The two best
friends fell out. Now they have other influences, and that

(23:09):
just got bigger and bigger and bigger.

Speaker 4 (23:11):
Control.

Speaker 3 (23:12):
You know, we have conversations on the Breakfast Club that
have ended up confrontational. Did y'all have any of those
on Rap City that y'all?

Speaker 8 (23:18):
Y'all?

Speaker 4 (23:18):
The only person who ever like tried to sum me?
He sum me one time.

Speaker 15 (23:23):
It was my first live taping and I'm interview on
Pete Rock and cl Smooth, my heroes.

Speaker 4 (23:30):
My I know they album back to, backward and forward.
I know everything. I know every syllable of that album.
So it's like five four three two go.

Speaker 15 (23:38):
I'm like, hey, it's Rap City, Joe play Hea blah
blah blah blah blah blah blahn do my thing, So
what's up with you, and then I don't get nothing
from cl He's pretty so then the cameras cut off.

Speaker 4 (23:49):
He's like, Yo, son, you mad extra. I said, what
what you mean? He's like yo over the top, he
like mad extras. Yo, bring it down a little little bit.
Five four three two. All right, challie man, Joe clar
here on't rap City. I got bigger end for me.

Speaker 15 (24:07):
I took it as a vet somebody who was in
the industry showing me what he thought I should be.

Speaker 4 (24:14):
No skin off my you know that's what you think
I should be already know Joe Cliar And if it's nothing,
I know joke. I know what Joe clet do. And
I stayed extra for five years. I appreciate y'all this conversation.
Oh man, And we just let me get there's a
few things I like to get on my chest. Make

(24:35):
sure you follow.

Speaker 15 (24:36):
Make sure you follow me at Joe Claire on all
social media platforms. If you are in the d m
V watch me every day at three o'clock on Fox five.
It's called the d m V Zone. I am on
news every day and it's you'll see it when you
tune in. And other than that, just follow your boy, Matt,

(24:56):
when you got your next shows. I do my own
shows monthly play at a spot called Bowie in Bowie, Maryland.
So we do a comedy show in Bowie. Very intelligent,
uh well to do black crap. So I love going
in there. We got heavy hitters coming through each and
every month. So just you can just check the schedule
there and then let me see. I'll be at the

(25:17):
Joe Claire dot Com.

Speaker 8 (25:19):
Just go that.

Speaker 4 (25:20):
Just gonna thank you. Well, it's Joe Claar, ladies, and
you make sure you watched the Rap City dot Ye see,
it's the Breakfast Club. Good morning, the Breakfast Club. Your
mornings will never be the same morning.

Speaker 12 (25:31):
Everybody's DJ n V Charlamagne the guy we are the
Breakfast Club. He got our special guest co host Cappuccino here,
of course from Power ninety nine out in Philly. So
we're asking eight hundred and five eight five, one oh
five to one. Dingo is a gentleman that calls all
the time on the Breakfast Club during Get It Off
Your Chest. And he called this morning about his weekend
and this is what he said.

Speaker 10 (25:51):
I unsplew this girl out this past week here it
was white I ain't gonna lie.

Speaker 6 (25:56):
It was whack.

Speaker 10 (25:57):
Shout out to Kendrick G. I was all hers show
a couple of weeks back there. You know what I'm saying,
put up my little my little spiel pass some shorties
hit me up. It was cool on one that you know,
I decided to fire her out, just having some good
conversation because she was from Atlanta, right, So I got
her out.

Speaker 4 (26:15):
We was chilling.

Speaker 10 (26:16):
We was talking. I pay for everything right, take care
of her, take care of the arrangements, took caret a hotel.

Speaker 4 (26:21):
Took care ofthing we did.

Speaker 10 (26:23):
But she wasn't really giving me the vibes that it
was trying to be romantic. It seemed like she was
just looking for a trick.

Speaker 4 (26:28):
Tyler, No, no, no, no.

Speaker 8 (26:34):
We talked.

Speaker 10 (26:35):
We talked for like a good two weeks or so,
probably to her coming out right, and we could up
a startled there like hey, like you know, you don't
you don't want to do nothing like that. That's cool.
You just got to let me know before I spend
all this money you're making, all this arrangements that you
see me, I feel like that's it because you're coming out,
you're flying out and I'm taking care of everything. And
I told you that, right, and you get here and

(26:57):
you're like, oh, I ain't. I ain't trying to be
on that, which is cool. I get that. That's fine.

Speaker 8 (27:01):
But called me up.

Speaker 12 (27:03):
So we're asking eight hundred five eight five one oh
five one, ladies, what makes you not want to hook
up with a guy?

Speaker 4 (27:10):
All right? He said? He you know, I guess they
had a discussion. He thought it was gonna get cheeks.
He thought the vibe was there and he got nothing.
He was upset about it. Yeah.

Speaker 3 (27:16):
I think that's a very important question to ask, because
we never asked that when we had these uh, you know,
conversations about women flying out. Because a woman gets on
a plane, clearly she wants to go. She gets there,
clearly she wants to be there. But something happens once
they meet the individual that turns them off.

Speaker 4 (27:31):
I just wonder what it could be.

Speaker 12 (27:32):
I'll be honest, did you ask the woman in the room, No, lady,
I'm not speaking for lady, but I will say this.
I don't think and shot the Dingo he calls all
the time. I don't think Dingo had a real conversation
about the vibe, because how can you have that conversation Kelly.

Speaker 3 (27:47):
Flew you out? Did y'all have a conversation before him?
When all Kelly flew you out and left you sitting
in the hotel room? Did y'all have a conversation before hid?

Speaker 4 (27:54):
Yeah?

Speaker 12 (27:55):
We were doing a mixtape. Okay, yeah, we were doing
a mixtape. I wasn't expecting nothing, neither was he. Everything
mixtape was understood. But I'm saying, like, how do you
have that conversation? Hey, I'm gonna fly you out. I'm
ana smash, like, you can't have that conversation. That's why
I know they didn't have that conversation.

Speaker 4 (28:09):
I mean you can't these days.

Speaker 18 (28:11):
You know, everyone's bowling up front about stuff, So that
conversation's probably had.

Speaker 4 (28:14):
But as Charlemagne said, you know when you get there
in person, things change, or what change your mind? Cappuccino.
If I'm down, you're not married?

Speaker 18 (28:22):
If you're married, right, yeah, If I'm down with Smashing, cool,
But you know, if you drop your pants and something
just ain't.

Speaker 4 (28:27):
Right, you know, it's like, oh, you mean too small that?

Speaker 18 (28:31):
Or maybe if I see some stains going on, it's like, oh,
you know, the the the self care ain't there.

Speaker 12 (28:37):
You know, that could be one thing, So maybe a
small dingo or some doodles things or something.

Speaker 3 (28:42):
I would think the guy might be too thirsty too,
because even if you know that you and the young
lady's supposed to get it in, you don't got to
act like that the whole time.

Speaker 18 (28:49):
I think she'll know from jump when he says I'm
gonna fly you out and we're gonna do all this,
that alone tells me you're a bit thirsty because you
don't even know me. We only been talking for two
weeks and you're gonna fly me out and everything. It's
no holds bart type situation. Hey, that's a little thirsty.
It's a little thirsty.

Speaker 4 (29:04):
Let's go to the phone lines. Hello, who's this? Hello?

Speaker 16 (29:07):
Hid Shade from Columbia, South Carolina.

Speaker 4 (29:10):
What's happening? Talk to a shade?

Speaker 9 (29:12):
What's going on?

Speaker 14 (29:15):
Is?

Speaker 16 (29:16):
My thought is is that you know, she could have
just not felt the vibe a lot of times the
way we date now, everybody talk and check so much,
and you're able to manipulate your personality that when you
get in front of each other, nobody has nothing to say.
And he could have been arguing and she could have
been like I was. But nah, it's no different than when.

Speaker 9 (29:36):
We dated in the nineties.

Speaker 16 (29:37):
Once you start interacting with each other, it's like, yeah,
this is not what I thought it was gonna be.

Speaker 4 (29:42):
It was you ever got flown out?

Speaker 16 (29:45):
I have and I've had that happen before too.

Speaker 4 (29:50):
From Columbia.

Speaker 12 (29:52):
No, no, okay, okay, And and what happened. He didn't
look the way he was supposed to look.

Speaker 16 (30:03):
It's not about look, it's a personality. It's like you
talked so much during that timeframe that when you get
in front of each other, you don't have nothing to
really ask.

Speaker 9 (30:12):
There's nothing to engage each other in.

Speaker 4 (30:14):
So, Shae, how does that work?

Speaker 12 (30:15):
He flies you from South Carolina in the Vegas So
y'all staying in the same moom and you dumb false.

Speaker 4 (30:19):
It's not like you could turn around right then and there.

Speaker 6 (30:21):
So what do you do?

Speaker 11 (30:22):
I thought in the trooth?

Speaker 4 (30:24):
Oh, so y'all slept in the same being. But yeah,
that was it.

Speaker 8 (30:27):
That was it.

Speaker 4 (30:27):
He ain't try to rub up or hump on your.

Speaker 16 (30:29):
Nothing, right, of course they tried, But I mean it's
time my fault. You killed the moon.

Speaker 4 (30:34):
Okay, all right, that's right.

Speaker 9 (30:37):
Exactly.

Speaker 4 (30:38):
Thank you. We got CC on the line, c C.
Good morning, one wing, how y'all one, But so, c C,
what's your thoughts, Mama?

Speaker 9 (30:46):
I feel like this it's multiple things.

Speaker 16 (30:48):
But they said they were talking for two weeks, so
it maybe she got there and his bibles off or different.

Speaker 5 (30:54):
Maybe you know, people are different and hurt.

Speaker 16 (30:56):
I saw some women just like to be promistic, and
he must have.

Speaker 4 (30:59):
Knew that what she.

Speaker 3 (31:05):
Women don't want to feel like something is just transactional.
You paid for a flight, you paid for some food,
you paid for.

Speaker 4 (31:10):
Me for a room. Now I'm just supposed to give
you something like maybe she don't want to feel like that. Process.
You don't want feel like process. That's right. We got
we got a brother on a lot, Eddie. Yeah, what's
going on and he's looking at this different eddie. What's
your thoughts?

Speaker 5 (31:21):
Yeah?

Speaker 8 (31:22):
Man, So I know for a fact, man, chicks just
be using dudes. Man then lie to you whatever, you know,
just to get flown out for the food or whatever.
I mean where I'm from, girl through that all the time.
My cousin sisters whatever, they'll they'll go chill with a dude,
go out because they know they gonna get them drunk
and eat and then you know they gone on their way.

Speaker 4 (31:42):
So does that does that not make the guy a
suck of that? If you know?

Speaker 8 (31:46):
Because at the end of the day, if you really play,
you you still get her. I mean that's what you're
there for, you doing and meet and greet her. If
you get her and you really play it, I mean
you should be a turner.

Speaker 3 (31:57):
I just understand what get her to come mence with
you just meeting greet on the first trip, you know
what I'm saying, and have her wanting to come back,
you know, and then maybe on the second or third
time y'all.

Speaker 4 (32:07):
You know, y'all might get it in. Like why you
got to force it on the first trip.

Speaker 8 (32:10):
I like that kis right, And sometimes it'd be like that.
As long as you have a good time you go
out to eat, y'all lave have some giggles. I mean,
what's wrong with that? Next time, y'all can do that through.
If not, wait till the next time. I mean, hey,
all right, sometimes you gotta wait for that cake.

Speaker 4 (32:27):
Yeah, the real thing to do. And don't ask me
because I'm a retire player, so I don't know anything
about this. But you fly her out.

Speaker 3 (32:34):
Y'all have a good time, y'all kick it, love, you know, love,
eat all that good stuff. Maybe the next time y'all
had such a good time, you be like, y'all want
to come see you. Now you fly out to her.

Speaker 4 (32:43):
Okay, but what I mean is he expected expecting her
to pay for that flight.

Speaker 3 (32:47):
I'm gonna fly on my own dime, you know what
I mean, Just because I had such a good time
with you the first time. I guarantee you you play
it like that, you fly to see her, You're probably
gonna get what you was looking for the first time.

Speaker 4 (32:56):
Kids. Now, yay, good.

Speaker 9 (32:58):
Morning, kids, now, good morning, good morning.

Speaker 12 (33:01):
Now we're asking eight hundred and five eighty five one
oh five one. Ladies, what makes you not want to
give a guy something or or not want a vibe
off guy?

Speaker 9 (33:09):
Talk to us honestly, if they was talking from the
floor and they already lined it up, that mother took
herself out the drawers.

Speaker 10 (33:17):
Okay.

Speaker 9 (33:17):
Sometimes men talk themself out the drawing. They talk too much,
talking too fast, okay, And the might of his boys
was wide.

Speaker 4 (33:24):
I feel like you definitely the bron Okay. I can
hear it in your throat. She said, Brooklyn.

Speaker 10 (33:32):
I'm a Brooklyn girl.

Speaker 9 (33:33):
But to be honest, then really talk theyself out the drawers.
Sometimes you'll be like, yeah, when I get over there,
it's gonna be orange.

Speaker 4 (33:40):
Get there.

Speaker 9 (33:41):
He's like just clown. Like my mother says, every man
you sleep with is your potential baby for the You
probably didn't want to waste o coolchie on him.

Speaker 4 (33:52):
No, but what she's saying is real. And I was walking, Yeah,
I wish guys I was guys like that, and women.

Speaker 9 (33:58):
Thought, like every man you sleep with is your potential
baby for the girl. That would have been eighteen years
of battle. Luck you say, leave that. It's not that silly.
Five minutes for eighteen years of.

Speaker 6 (34:08):
Stuff for a That's right.

Speaker 3 (34:11):
As the fire con said, the way that people treat
the science of breeding is like you rolling dice in
the back of a moving pickup.

Speaker 4 (34:16):
True, Bobby's mad. This is the last called Bobby. You mad? Hi,
Bobby No.

Speaker 5 (34:22):
I just think people's expectations be kind of crazy. Only
knowing somebody after two weeks and flying out and expecting
them to pay for everything, but you're not returning the favor.
It's kind of crazy to me. Clearly, y'all are not serious.

Speaker 9 (34:37):
Che Yes, I would have gave.

Speaker 3 (34:39):
Him some seed just because you slew you out and
paid for some food. Just because he flew you out
and paid you paid for some food.

Speaker 4 (34:46):
She's from the.

Speaker 9 (34:47):
Bronx, I mean, the fool if he took her shopping
or whatever.

Speaker 4 (34:50):
I mean.

Speaker 5 (34:51):
My thing is, though, if you're allowing a man to
pay for your plane ticket, for your the residency, for
your food, from clothes, and all of that for getting
in return, Like, how do you not to expect something
and rehearch?

Speaker 18 (35:03):
It might be my conversation, he's getting my company, Bobby's
giving the cheeks.

Speaker 5 (35:07):
Okay, But if the conversation was had prior that he's
not flying you out just for some company, then you know,
then there's a problem.

Speaker 3 (35:14):
I respected, I respect it. I just don't think a
man should have you know, that expectation And why do
all that? I'll just get you a prostitute from the city,
Like why are you flying in stuffdy?

Speaker 9 (35:25):
Maybe she flying?

Speaker 5 (35:26):
Maybe he can't find somebody that's fly in, so got
to fly me.

Speaker 6 (35:30):
Where are you from, Bobby, I'm from Cali?

Speaker 12 (35:33):
Okay, Well, Bobby, we're gonna hook you up with didn't go,
He's gonna fly you out all.

Speaker 4 (35:41):
Bobby Jesus. It was just actually mad because of how
much money he spent. He didn't set a limit for himself.
I think at the end of the day, that's why
he's upset. He said.

Speaker 3 (35:49):
He felt like a g He said, over g what's
the mother of the story? I just don't think you
should expect nothing from nobody, you know what I mean.
I think even if you fly that person out, you
should just fly that person out with the expect that
y'all gonna have a good time whatever that good time entails.
God bless, but just have a good time. Don't have
no expectation of what you think that good time is
going to because that good time might not be what

(36:11):
you want it to be.

Speaker 4 (36:11):
And that's ending with some cheeks because she may have
had a good time. That's right, he just didn't. Damn
all right. It's the Breakfast Club on BT, the Breakfast
Club wanting everybody.

Speaker 12 (36:23):
It's DJ MV Charlamagne to God. We are the Breakfast Club.

Speaker 3 (36:27):
Now.

Speaker 4 (36:27):
We got some special guests in the buildings. Yes, indeed,
some legends, some icons. Of course, we got the roots,
black thought and quest Love Welcome everybody is black from
the roots. They've been up here before.

Speaker 12 (36:39):
And we got another icon that's never been up here before,
the legendary icon LLL cool J.

Speaker 4 (36:45):
Welcome Queen. It's first time, first time LL stand for
a living legend. At this point, I appreciate that absolutely, absolutely.

Speaker 12 (36:54):
So let's first start with you know, why you guys
are here together, because people are like, well, why is
ll and the Roots together?

Speaker 4 (36:59):
So you guys are going on the road on the tour. Yeah,
So how did this saw it come about? Whose version?

Speaker 2 (37:05):
Well, I may really ensure and ensure you know, the
Planet Center stars sort of aligned themselves and made it
possible for us to work together on this huge segment
that we did for the Grammys this year. And I
think you know from that the idea of us always
haven't wanted to, you know, work together in some way,

(37:25):
just you know, it opened the collaborative path and it
was like, Yo, why don't we try to take this
show on the road.

Speaker 4 (37:31):
It was huge. What we did just in that one
fifteen minute segment was so huge for the culture.

Speaker 2 (37:36):
And you know, this being hip hop's fiftieth anniversary and
you know, that whole that that whole deal. It made
sense to try and you know, do something celebratory in
that way. You know, from region to region.

Speaker 12 (37:47):
Now, ladies love cool James, what got you into hip
hop and said, you know what I want to be
emc Where where did the love come from? As a
kid from Queens and say this is what I want
to do.

Speaker 19 (37:58):
You know, when those first wave of tapes came aroun
like you know Cole Crush Brothers and Fantastic Romantic Five
and Foursome Seeds and Treacherous Three, you know, Grand Master,
Furious Five and all of those groups, when they were
just tapes running around, you know, Haarlem World tapes, and
then the songs came later.

Speaker 4 (38:15):
That was the first time that I heard young black
kids sounding powered.

Speaker 19 (38:19):
It was the first time that I heard or could
envision us doing something great because before that, all the
images I had seen were us like handcuffed beet putting
a police car or some sort of charge or you know.
So that empowering feeling, you know, the braggadocio thing that
you know that we really focused on came not from
a place of looking down on high on people, but

(38:41):
more about I could be somebody, you know what I'm saying.
The world looks at me and like I'm invisible. My
friends up the block get killed and nobody says anything.
So when I'm bragging and I'm boasting, what I'm really
doing is saying, hey, look at me, I exist, you
know what I'm saying. So for me, that was a
real special thing and a spectaclic thing. And I'm eight,
I'm nine years old. I'm ten years old, and I'm

(39:02):
being introduced to this thing and I just completely fell
in love with it. And then you know, eight nine,
I'm a fan of the wrap. My grandfather broughts me
some equipment. At eleven, I'm DJing. I'm messing around with that,
but I'm still rhyming, and I'm going back and forth.
And then you know, eventually one thing led to another
and here we are death Jam and the whole whole nine.

Speaker 3 (39:20):
Do you consider yourself a founding father of hip hop?
You know, people always gonna say, you know, cool her.
You know, grandma has to flash people like that. But
as far as hip hop as we know now, I
would say you and run DMC.

Speaker 4 (39:31):
Yeah.

Speaker 19 (39:31):
So so I'm you know, I'm definitely generation one point five.
You know what I'm saying. You got to give Flash
and HERK and Force and all them grab what's the
theodore They're do. The thing that myself from Run DMC did.
What we did is we took it to the world.
We took it global, you know what I'm saying. We
took it from the city and took it around the world,
you know what I'm saying. And that was the difference.

(39:53):
So they they brought it, they took it from from
the Bronx and Harlem out to the Five Boroughs and
you around the world somewhat, they didn't penetrate the market
quite as deeply. Then we took it and made it global.

Speaker 2 (40:06):
And I think I think from from a Philadelphia standpoint too,
you know, just from the outside looking then with that
one point five generation with you and all this like
Running d that was our first time.

Speaker 4 (40:19):
Sort of seeing our own reflection exactly.

Speaker 2 (40:22):
It was like you know, like again, I was a
huge fan of all the other founding fathers, but they
didn't look like people from around my way, you know
what I'm saying. And when I saw a run jam
Master j L, they looked like the corner boys, like
that was outside and I saw myself in that.

Speaker 4 (40:36):
So you know that that's where a lot of the
inspiration for me to do what I do came from.
Not to mention you know Ella.

Speaker 14 (40:42):
You know l was very modest, but LLE literally invented
what I call post miner and hip hop, like the
three minute rap song sixteen bar like before L even
run DMC's first out, Like it's like that's like eight minutes,
like seven verses, you know what I mean. Like LLL
literally invented the sixteen you know, maybe the twenty fourth

(41:05):
the course you know what I mean, Like, oh the
song that's courses on it. So I love rap, Yeah,
like literally emotions on right. Like he's he's pioneered for
like so many things that he never gets credit for.
He was like the first teen idol, the first Like
there's so many first with him that you just you
take it for granted. So I was gonna ask when

(41:26):
you you talked about deaf Jam, So let's talk about that.
When they when they came to you with a contract
to sign. Do you remember what your first contract looked
like and how much they gave you. Yeah, well, I
mean talk about that. You know, you got to remember
that deaf Jam was a production company.

Speaker 19 (41:40):
There was no label, Okay, It's Yours by Tila Rock
was on Party Time street Wise label. It was Deaf
Cham Productions, which was Rick was the producer along with
Jazzy Jay, and it was more than a contract.

Speaker 4 (41:53):
They were actually forming a label.

Speaker 19 (41:54):
Rick was having a problem, you know him, and he
was having problems getting his money from from the other
label he was with, so they wanted to start this
new thing. So you know that first contract at the
time we split the publishing, they gave me like fifty thousand.
But before that, actually, my first single I ever made,
I didn't have a contract. When I made I Need
a Beat, which was the very first song I ever made,
I had no contract. It was just like, yo, let's

(42:16):
just get it and we'll figure it out. You know
what I'm saying. Sometimes you gotta be willing to crawl
over the barbed wide fence with no shirt on, you
know what I'm saying, to get what you want.

Speaker 6 (42:31):
With no shirt on.

Speaker 4 (42:32):
You know what I'm saying, By the end of this,
I might have one hundreds I'm already. That was what
it was. And you know how old were you at
this point? Sixteen? I was sixteen when I mean yeah,
when we started Death jam I was sixteen. Did you
ever feel like you should have had like equity and depth?

Speaker 14 (42:50):
Jam?

Speaker 19 (42:50):
I did have equity in death Jam. I did have
equity and death Jam. I just sold it a little early.
But I definitely had ownership in death jam ownership in Fuoble.
I have ownership and yea I asked Los Angeles ownership
and damn lip sync battle, I have you know, I
own my catalog.

Speaker 4 (43:05):
So the things that I do, you know, I did well,
But I didn't do it for the money. And where
did you get the business mind from? Was was it
your mom's? Was it you know, an uncle?

Speaker 14 (43:14):
Like?

Speaker 4 (43:14):
Where did you get that? Because I don't think a
lot of people were thinking ownership back then. They were
just thinking I need to blow up.

Speaker 8 (43:19):
You know what?

Speaker 4 (43:19):
You know what I've learned? Man? You know, like and
people may have heard me say this before.

Speaker 19 (43:23):
You know, if a homeless man tell you not to
do push ups some traffic, you should listen because you
might get ran over.

Speaker 4 (43:28):
A lot of times people are like yo, another one yo.
A lot of people are like yo, you homeless? What
do you know?

Speaker 19 (43:33):
Like all right brown today in the news. Right, So
the business thing I learned from people before me and
after me. Now what the Monica ladies love cool j?

Speaker 4 (43:45):
Right?

Speaker 12 (43:45):
Did you always feel like these dudes are gonna think
I'm sweet? So I'm gonna I have to have these
these rhyms in the corner just in case.

Speaker 4 (43:52):
The ladies love.

Speaker 19 (43:53):
Cool Jay thing was just wishful thinking. Yeah, you know,
I'm fifteen on one girls ladies love cool Jack?

Speaker 4 (43:58):
Right.

Speaker 6 (43:59):
It was really manifest.

Speaker 4 (44:03):
Not being true. It didn't have to be that like
people took that a little. It just kind of worked out.
I have ill cool Jack.

Speaker 6 (44:15):
I hope you know what I mean.

Speaker 4 (44:16):
But you never rebelled against the sex symbol image. I
saw no like it. I mean, look, I made I
need love because I like girls.

Speaker 14 (44:23):
I made like rock the Bells because I like the
do the hard for me growing up, I like girls, right,
So putting I need love out me doing love songs
is the equivalent of me walking into projects with a
next full of jury.

Speaker 19 (44:35):
It's the same thing. The strength isn't doing what you
want to do artistically. That's the way the strength is.
I do what I want to do artistically. I don't
do what they say I should do, because then I'm
not being me. I'm fronting I'm being somebody else, right,
So I think that you know, and I just say
just a lot of young men in general, never limit
yourself to the perception of what other people think you

(44:58):
should be.

Speaker 4 (44:59):
Don't limit your to that be yourself, right. We got
more with L cool J in the Roots when we
come back, don't move.

Speaker 12 (45:05):
It's the Breakfast Club the Morning Morning everybody is DJ
Envy Charlamagne, the god we are the Breakfast Club is
still kicking it with LL cool J in the Roots,
does that have a baldy with both of y'all that
you know, yell are so legendary and hip hop, but
people might not look at.

Speaker 4 (45:19):
You as a rapper. They might just look at you
as an actor, or people might not look at.

Speaker 12 (45:22):
Y'all as the Roots as in a group, but just
the guys we're being for to night with people, the
younger generation especially.

Speaker 2 (45:29):
No, I think I think there's value in that we've
been able to reinvent ourselves in a way that our
brand has had, you know, different iterations, different complete just lives.
So the fact that yeah, we've been on you know
TV every day for the past fifteen years, it's a
whole demo. They only know us from that, so that
leaves a whole new space for them to explore when

(45:50):
they discover our body at work. And then there's people
who've been die hard fans of you know, L and
the Roots forever who may have lost track of our
musical contributions along the way.

Speaker 4 (45:59):
So I just appreciate the chance to sort of keep
reintroducing myself.

Speaker 2 (46:03):
Me and Elle was just talking about how, you know,
you just pop out every now and then as an
artist to shut it down with those little, you know,
not not so general reminders, you know what I'm saying,
And you're good, and that's sort of how we navigate
the space.

Speaker 19 (46:14):
And you know, the way I look at it is
it's just an opportunity, you know what I'm saying. It's
a beautiful opportunity to put you up on something new.
And if you don't know, to come find out, come
to the show, you know what I'm saying. That's why
we're on tour. You can come see some music. It's
multi generational, you know, just like the festival multi generational.
So come out to the tour, come to the fourth tour,
see what we're doing. You know what I'm saying, Get

(46:34):
put onto something new It's that simple. You know what
I'm saying. If you don't know, come find out.

Speaker 4 (46:38):
Is it true that Jimmy Fallon is paying the staff
out of pocket?

Speaker 14 (46:41):
Why?

Speaker 4 (46:41):
Y'all straight? That's a question my check. Let me check
my account right now.

Speaker 6 (46:46):
That I got like nineteen other jobs.

Speaker 4 (46:48):
It's not like you know, no one knowing is getting paid.

Speaker 8 (46:54):
Uh.

Speaker 4 (46:54):
After that, that's kind of a myth.

Speaker 12 (46:56):
I was gonna ask, was there any at any point
of any of your lives lose love for hip hop?
Maybe it was the sound change, maybe it was wasn't
received the right way, or maybe it was I'm getting
money over here?

Speaker 4 (47:07):
Was there any time at that at all?

Speaker 10 (47:09):
For me?

Speaker 4 (47:10):
No, because I'm getting money over here has nothing to
do with love and hip hop.

Speaker 19 (47:14):
I don't make rap music and do hip hop culture
and rock the bells and all this to make money
to survive.

Speaker 14 (47:20):
Well, I will say that, you know, there's times if
you're creative and your passion turns into your livelihood, that
sometimes you might have to leave it for a second.

Speaker 4 (47:28):
I mean, there definitely been moments where.

Speaker 14 (47:30):
Like you know, like he and I put since ninety three,
probably somewhere between one hundred and fifty to two hundred
shows a year, you know what I mean from ninety
three up until like when we start FOU in two
thousand and nine. Like our lives was on a tour
bus and you know, the grass is always green on
the other side. And so during the tonight show allowed

(47:52):
us especially to see what other magical powers we had,
like I didn't know, like, oh, I can write books.
And both of us are professors at NYU. You know,
he wrote a play, I did a movie and all
those other things. So small team man, not more than sports,
just curious, like we're I think all of us are

(48:12):
creatives and that's that's the thing, Like we're creatives that
are discovering that sometimes our talent is transferable to.

Speaker 4 (48:20):
Other mediums in avenue like Tarik, he's a better cook.

Speaker 14 (48:25):
That's I'll put him against any three micheline star chef
or black grandmother.

Speaker 2 (48:30):
About now for real, Like he's the king Gordon Ramsey,
you wanted to smoke. Now he's getting up before m
You know, I think I catered. I catered for the
Boost other night. Yeah, I brought a bunch of grubs
to the up to rock the bell. So I mean
you're going to tell him what I brought, you.

Speaker 14 (48:50):
Know what I'm saying, Yes, everything from crab Legs to
lobster to kylein greens to like his cookie.

Speaker 4 (48:58):
But that's what I'm saying, like his creativity. Check all
the box you left.

Speaker 13 (49:02):
Yeah.

Speaker 4 (49:02):
Yeah, the chillers, Oh, I love the chillers on the grill.
A moment in your careers where y'all questioning things though.

Speaker 2 (49:11):
You know, yeah, definitely there have been many moments, uh,
you know where I've questioned you know, myself and where
we've questioned ourselves, you know, I mean as a collective,
and you know, in those moments of pause, that's when
you're able to answer the call.

Speaker 4 (49:25):
And I think, you know, you just get those versts
of of clarity.

Speaker 2 (49:28):
And it's been a blessing that we've been able to
reinvent ourselves, you know, because yeah, you know, I just
like I was saying, I would be making music. I
would be writing songs and you know, creating art, whether
I was able to you know, support myself and my
family off it or not. So it's it's a blessing,
like you know, I mean, the plus is that I'm
also able to make a career out of it, you know,

(49:48):
what I'm saying. But yeah, there have been times that
I've questioned, you know, like what the next chapter will
look like or what the next you know, sort of
act like three of my career, you know, am I
gonna be able to swing another? You know, reinvent is
those moments when you sort of listen to the universe
and you go with your heart and things become more clear.

Speaker 19 (50:06):
I mean, yeah, listen, man, There's always gonna be a
time in life where you have doubts and you have concerns,
and you have insecurities, and you feel like uncomfortable or
discomfort about certain things. But like Tarik said, you know,
answering that call and following your intuition, following that small
voice inside of.

Speaker 10 (50:22):
You and go for it.

Speaker 19 (50:24):
You know, you can't be fearful in life. You can't
be scary, and you the person that has to be
able to you have to be able to trust the
most is yourself. And you have to be able to
trust yourself in moments when you are susceptible to fear
and weakness and you just have to find that strength
and keep moving through.

Speaker 12 (50:41):
You have times have been challenged and you throw shots,
whether it's mo d back in the day cannabus or
people even say, oh, have you ever ran into the
people that you've ever had a lyrical sparring? And is
it all jokes and fun now or is it still
like standoffish?

Speaker 4 (50:56):
No, ain't no standoffish man, that's the spot. Okay, there's
no time. I mean some dudes. Look, everybody is different, man,
some people, you know, it really bothers them, like you know,
some people as like post Jack the Ripper, right or
post how you like me?

Speaker 14 (51:12):
Now? Like were you and mod ever in the room
together at any of that those periods like I walked
out on stage of this concert before like I'm crazy,
Wait what there was no there was no social media.

Speaker 6 (51:24):
Man, yeah we see each other.

Speaker 8 (51:27):
We laugh.

Speaker 4 (51:29):
When you walked out with nothing, that's ridiculous.

Speaker 6 (51:34):
Kind of pioneered the rap, yes, well.

Speaker 4 (51:39):
Yeah, you know, but then with cannabis, you know what
I mean, have y'all left y'all focus? Brought them out
at Barclays when I perform. Remember that's right, you know
what I'm saying. You know, I see you and I
see pictures.

Speaker 14 (51:49):
I mean, yeah, we got the you know we're doing
We've got things we're doing now together You know what
about you and what was what was you in whole?

Speaker 3 (51:55):
But I never understood that one either. That felt like
just ego. I really, I honestly couldn't tell you, bro,
I have no idea. All I know is it's all love.
You know what I'm saying, Like you know, it's we
gucci like for real, like you know, you know, listen, man,
does a conversation make things great or just over time?
It just you realize it wasn't really about nothing.

Speaker 12 (52:12):
They said you at the time that you didn't like
him as president or death ya, and that's where they
said it came from.

Speaker 4 (52:17):
Dude. Next question, is it a question? Y'all in the
old street stuff and the stuff like yeah, next question,
I tell you like this.

Speaker 19 (52:34):
I tell you like this man. You know, at the
end of the day, I got love for everybody. You
know what I'm saying. I just want to do great things.

Speaker 3 (52:41):
You know.

Speaker 19 (52:41):
As a matter of fact, I think there's a part
in the show where I actually get into this stuff
a little bit with a freestyle. So you know, people
should just come to the show and check it out
and hear how I address it.

Speaker 4 (52:52):
I will keep a lock. We got more with LL
and the Roots. It's the Breakfast Club. Good morning morning everybody,
EJ n V.

Speaker 12 (52:58):
CHARLAMAGNEA God, we are the Breakfast This club was still
kicking it with ll cool J in the Roots.

Speaker 3 (53:03):
Che How do y'all feel about lists? Because Billboard had
y'all ranked number ten group of all time?

Speaker 4 (53:08):
Really yeah, Lla As.

Speaker 3 (53:10):
You ranked number fourteen of the top rappers ever and
you coined the term goat. But for some reason your
name doesn't always get put in those goat conversations?

Speaker 4 (53:21):
How did that?

Speaker 14 (53:21):
Because he's too good? People can never look at it? Well,
you know, you know, I guess I just got to
do something about it. You know, I guess that just
means I got some work to do, you know what
I mean. I guess that's what it means.

Speaker 19 (53:31):
I mean, I could sit here and come up with
a thousand different excuses, but at the end of the day,
I guess my job is to change that narrative.

Speaker 4 (53:37):
So yeah, to be continued for me, man Like, I'm
not you know, I'm fine.

Speaker 2 (53:43):
Like Whoever, when I do fall like on those lists,
it's always, you know, just an honor to be held
in the company that I'm held in.

Speaker 4 (53:51):
You know what I'm saying?

Speaker 2 (53:52):
It's never any other artists on those lists that I
don't feel, you know, deserve it, but you know where
you rank. I think that you know it's relative and
think that you know it varies from person in person,
different folks opinions.

Speaker 4 (54:04):
Yeah, I know, I'm I'm a force to be reckoned with.
I know everybody know that I'm fine with it, you know. Yeah.

Speaker 19 (54:10):
And you know the other thing I would add is
that I think this is an overused term, but in
my cases, I'm different.

Speaker 4 (54:16):
Yeah, you know what I'm saying. Fact, I really am.

Speaker 19 (54:19):
So it's like if they don't understand, like how much
I changed the world, if you wasn't there, you just
don't understand that. Like you have to remember that just
with death Jam alone. Name the artists that will signed
the Death Jam over time.

Speaker 4 (54:32):
Name five. So let's stop right there. Right.

Speaker 19 (54:43):
So I'm the first artist on Death Jam. It was
a production company, Tela Rock. I'm the first artist. I
put the label on my back and I got us
the distribution deal.

Speaker 4 (54:50):
With my album.

Speaker 19 (54:52):
What are we talking about? What are we really talking
about it? Like, so that's putting the work into be
a pillar.

Speaker 12 (55:01):
I gotta ask Mount rushmore of hip hop to y'all,
who would be the four faces on that?

Speaker 4 (55:06):
Not even personally. You can't be personal, And we're.

Speaker 3 (55:09):
Telling me some of those people that put his self
on I mean you, I'm just saying, like your personal favorites.
Like in the future when we're not here and somebody's
looking like, who are those people?

Speaker 4 (55:17):
They call me big man? All right. So my as
as as a.

Speaker 14 (55:24):
Music lover, DJ and a producer, my mount Rushmore of
albums would probably be Nation of Millions, three ft I
and Rising, and then the thirty six and probably lastly
I might say Midnight Marauders. Like those four records sort

(55:45):
of informed me to go deep into the culture and
actually to get my own career.

Speaker 4 (55:49):
So look, man, I just keep it. Keep it simple.
To me.

Speaker 19 (55:53):
When you talk about like a real rush More and
you talk about the shaping of the culture, you have.

Speaker 4 (55:57):
To look at its first principles.

Speaker 19 (56:00):
You know, it's like anything else, you break it down
the first principles, right, you know, you gotta put DJ
cool Hirk.

Speaker 4 (56:06):
He ain't on Rushmore. I just he just started it.

Speaker 19 (56:09):
No big deal, no big deal, this is something I did, Okay,
And then you have to put run DMC up up there.
Because they kicked down the doors and the walls and
you know, put me on their back to a certain
stand as well. And I was the solo guy who
went out there got shot out of that cannon. And
then you have to put Flash and Mel Flash because.

Speaker 14 (56:29):
He made us dream of the culture, the DJ, the
art of the DJ, the idea that a DJ could
affect culture and move culture.

Speaker 4 (56:38):
Flash made us do that.

Speaker 19 (56:39):
And then you gotta say Mel because he was the
first original prolific writer. Like those are the core, you
know what I'm saying. You have a couple of others,
but like that core right there is the real core.
Anything after that fan based this. You know, it's based
on oh he made money or oh he had a
lot of platinum albums. Oh he got people to change
their shirts. Oh yo that he got you know, all

(57:00):
of that is cool. But DJ Cool, Hirk, Run, DMC, Grandmaster,
Flash and Mail. You removed that and like what you
got for me?

Speaker 4 (57:10):
I think it.

Speaker 2 (57:10):
Boils down to, uh, just who had the most impact,
you know, upon my craft. So I'll give props to
you know, the the L's and you know the BC
Boys and the Chuck D's and even running them even
though they weren't depth jam artists, but that whole first
wave of depth jam artists were the first people that
I heard had that rush roster. They had that powerful

(57:32):
cadence that was just different from with Mel and Curtis
Blow and everybody was doing.

Speaker 4 (57:36):
You know what I'm saying, run DMC. You know what
I'm saying.

Speaker 2 (57:38):
They came out like balls go in on El cool
than Chuck d you know what I mean.

Speaker 4 (57:43):
Yelling.

Speaker 2 (57:43):
There was the yelling, so it was you know, that
was like wow, like they had arrived. They you know,
changed the way I wrote. You know what I'm saying.
After I was exposed to that, did you.

Speaker 4 (57:52):
Ever write for you eborate on that You can still
tap his je right for me? You can still tap
to Joe l.

Speaker 16 (58:00):
No no, no, no no.

Speaker 8 (58:03):
Now.

Speaker 3 (58:03):
We never did any music together. I saw this on
the internet. Somebody said around that time Cube was helping you.

Speaker 4 (58:08):
You know what, people have this. You know, you know
people they got a lot of stories, bro, They come
up with a lot of stories, you know what I mean.

Speaker 14 (58:14):
Hey, Hey, hey, Michael Jordan, did uh somebody ever bounced
the ball for you and shoot your jump shot for you?
Like no, I shot the jump shot listen.

Speaker 19 (58:23):
I'm not above collaborating on a chorus or working on
something like I'm not I'm not piggy like that. If
I was writing the rhyme and somebody said, YO said
a word, I'd be like, all right, I like that word.

Speaker 4 (58:31):
I'm cool with that. But you know, I write my songs.
You know what I'm saying. I have to because it
has to come from me.

Speaker 19 (58:37):
And if you collaborate too much on the at least
from LL COOLJ fans, if I collaborated too much with
somebody on writing, it would affect what they're listening to.
It wouldn't sound like me, you know what I mean,
because they are very unique things to ll cool J.
So I'll give you I'll give you an example. So
I tried to do a more collaborative writing album. I
did a whole album with fifty cent and we were

(59:00):
writing together on this album, and when it was done,
I listened to it, I'm like, it sounds good.

Speaker 4 (59:05):
I like the music, the rhymes, it sounds cool, but
it ain't me. So I didn't put it out.

Speaker 19 (59:10):
It wasn't nothing against fifty I love fifty I just
wanted to try something different. Maybe we collaborate right together.
It didn't work. I think you think Paradise was the song, No, no, no, No.
Paradise is totally different. Fifty wrote the chorus on Paradise
for a Marie what she sung. He didn't write my rhymes,
you know what I mean? Like people get that a little,
you know what I'm saying. That being said, when that happened,

(59:31):
I didn't even know fifty was involved. That was the
track masters. They got that done right and they played
with the chorus.

Speaker 6 (59:37):
I liked it, etc.

Speaker 4 (59:38):
You know, we tried to work together and that's my man.
You know what I'm saying.

Speaker 19 (59:42):
We real cool, But the collaborative thing when it comes
to my verses, that doesn't work for me.

Speaker 4 (59:47):
And you know, I'm kind of like, it's funny when
you do this a long time.

Speaker 14 (59:50):
The longer you do this, the more people does he
still got it? Can he still do it? Is he
gonna be able to do it? It kind of reminds
me of the Crawfit fight the other night. A lot
of people who like were really like nervous for Crawfit, right, Yeah,
it was a lot of people that were nervous for
Crawfit when he was walking in the ring and he
showed what it is. And I think with me, for

(01:00:11):
whatever reason, people are never quite sure if how it's
gonna be. But do you like being underestimated? I love it,
I actually love it. I'm good with that. I'm good
with that because that, you know, that only makes the
JAB that much stiffer.

Speaker 4 (01:00:26):
You we appreciate. Make sure you get the tickets for
the tour. How can they get tickets if they need
to go to I mean, just go to ticketmaster dot
com and check it out.

Speaker 19 (01:00:34):
The fourth tour. I love Cool Jay and the Roots
and oh one other thing. I want to tell you,
this show is not like the music stops. Then another
artist comes on and the music starts, and another.

Speaker 13 (01:00:43):
Out of.

Speaker 14 (01:00:46):
Yeah, don't show up. This is one long what is
it two three hours? Yes, it's one long mixtape. It's
a MIXTAPEAMS and that's how fortune day. So get there,
you know, get there on time and be trying to
make a grand interest in hurting and all that.

Speaker 4 (01:01:02):
Just get in on time. Let's have some fun. Hedge Sprung.
The first song that comes, they called me Big.

Speaker 13 (01:01:09):
Cool.

Speaker 4 (01:01:11):
It's the Breakfast Club. Good morning this time for Donkey
O the day Donkey.

Speaker 11 (01:01:20):
I'm a Democrat, so being junky of the day is
a little bit of a mixed question.

Speaker 4 (01:01:24):
So like a dope donk the other day, the club bitch.

Speaker 3 (01:01:31):
Now, I've been called a lot of my twenty three years,
But donkey of the day is a new white. Yes,
donkey to Dave goes to thirty seven year old John
Garza and forty three year old Arlely Nemo of Virginia.

Speaker 4 (01:01:42):
Suit everybody in Virginia.

Speaker 3 (01:01:44):
Now, these two convicts have been in custody in Newport
News for months, facing a bunch of charges, including, but
not limited to, contempt of court, probation violations, failure to appear,
credit card fraud, forgery, possession of burglary tools, grand larceny.
I mean they just both career criminals, or should I

(01:02:05):
say they made being criminal their career, Okay, because life
is about choices, and they chose a life of crime.
It is what it is, and I must admit they
seem to be pretty good at it. Okay, never mind
the fact that they're in jail. Okay, everyone gets caught
at some point in time.

Speaker 4 (01:02:21):
That's just the way it is.

Speaker 3 (01:02:22):
But what kind of run do you have when you're
out all right, Garza and Nemo in regards to crime,
especially like petty crime.

Speaker 4 (01:02:31):
It seems like they're up there with Jordan and pippin Baby.

Speaker 3 (01:02:33):
I mean, I'm talking about Lebron, James and d Wade
like they are the splash Brothers of criminology and their
latest crime, their latest crime takes the cake or should
I say pancake?

Speaker 4 (01:02:47):
What are you talking about, Uncle Charlotte.

Speaker 3 (01:02:48):
I know they've never been specific about what kind of
cake people be taken, but I'm pretty sure it's a
cake from a bakery, not a pancake.

Speaker 4 (01:02:54):
Never mind all that.

Speaker 3 (01:02:55):
Okay, you want to know what I'm talking about, Let's
go to WTKR CBS News three for the report.

Speaker 4 (01:02:59):
Please.

Speaker 20 (01:03:00):
In what may seem like a movie plot, the Newport
News Sheriff's Office says two inmates tunneled this hole in
a cell wall to escape from the Newborn News jail
NX Monday evening. The Sheriff's office says Arly Nemo and
John Garza were able to exploit a construction design weakness
in the building and used a toothbrush and metal object
to make the hole. Once outside, they scaled a security

(01:03:21):
wall and got out the jail ANX is a minimum
security facility, and the two were discovered to be missing
during a routine headcount, but it was a tip from
the public that led police to the ihop on Mercury
Boulevard and Hampton, where the two were apparently eating at
about three am this morning. Hampton Police say the two
were taken into custody without incident. Garza had been in
custody since December on several charges, including probation violations. Nemo

(01:03:43):
had been in custody since last October on charges including
credit card fraud.

Speaker 4 (01:03:49):
Ladies and gettlemen. These men a career criminals.

Speaker 3 (01:03:53):
Uh, this is a crime, Okay, But I don't know
if that news report said it or not, because I
wasn't paying all the way that much attention. But these
guys escaped jail with a toothbrush. A toothbrush, and guess
where they went after they got out of prison? Envy
I heard, Oh they said it, Dad, they did?

Speaker 4 (01:04:17):
Oh. I blinked out. Something's wrong my brain lately.

Speaker 3 (01:04:19):
But yes, I want to say that even though these
men are career criminals and this is a crime, you
have to admit escaping jail with a toothbrush just to
go get some ihop legendary, drop on a clues bomb
for those legends. I mean, come on, man, you went
from that, You went from the International House of Prison
to the International House of Pancakes.

Speaker 4 (01:04:38):
Okay, you gotta let a legend be a legend.

Speaker 3 (01:04:40):
Baby, I can both acknowledge that this is Donkey of
the day worthy and legendary at the same time.

Speaker 4 (01:04:46):
These men exploited a construction design weakness.

Speaker 3 (01:04:49):
With primitive made tools made from a toothbrush and a
metal object, put a hole in the wall, scaled, went
through the wall, then scaled over another security wall just
to get some of the those world famous buttermilk pancakes. Man,
drop on a clues bomb for them, and I hope
they had a full stack. Okay, eleven twenty nine before attacks,
six hundred and ninety calories.

Speaker 4 (01:05:08):
Alright, I'm gonna be honest with you.

Speaker 3 (01:05:09):
They deserve it all big steak omelet for those two
all right, sixteen thirty nine before attacks, one thousand and
forty calories. Give it to them, all right, Send a
stack pancakes twelve fifty nine before tax, eight hundred and
seventy calories.

Speaker 4 (01:05:21):
Give it to them.

Speaker 3 (01:05:22):
Now, do I think it's extremely stupid that they escape
jail just to go to I hop yes, But if
you're already facing.

Speaker 4 (01:05:29):
A bunch of charges and you're going to prison for.

Speaker 3 (01:05:32):
The next decade or the next couple of decades, and
you really don't have no place to go, if you
actually escape, you just want to get up, get out,
and get some fresh air.

Speaker 4 (01:05:41):
You know what I mean? Yolo? Okay, yolo, you only
live once? All right?

Speaker 3 (01:05:47):
In this case, I hop International House of Pancakes. Please
give John Garza and Arlenimo of Newport News, Virginia the
sweet sounds of the Hamiltons.

Speaker 4 (01:05:57):
Oh no, you are of the day, well the dog
gee all the day. Yee. I respect it. Let's let's
play a game. You want to play a game, I do. Okay, well,

(01:06:21):
let's play a game of yess.

Speaker 3 (01:06:26):
All right, we got thirty seven year old John Garza
and forty three old Ary Nemo of Newport News, Virginia.

Speaker 4 (01:06:32):
They both escaped prison just to go get some eye
hop dj n V. Yess what raison? I'm gonna say, White?
What makes you think they would honestly? Mm hmmm. I
think I hope you're being honest. I think black people
would have went to waffle House. You're crazy. You're crazy,

(01:06:54):
and you're disrespectful. In the South, don't but the ie Hop.
Don't act like I hop, ain't ain't I hop? Ma,
if you got a choice, you go to waffle house,
you ain't gonna go.

Speaker 3 (01:07:03):
Actually, actually, what if I had a choice, I'm going
to I Hop me too. But in the South, we
go to waffle house.

Speaker 4 (01:07:08):
When you're in the.

Speaker 3 (01:07:09):
South, you do waffle House. I'm South Carolina born and raised.
I'm going to IE Hop. Okay. I can think of
plenty of knights in Columbia, South Carolina when I went
to IE Hop over everything else.

Speaker 12 (01:07:19):
I know, and I know the I Hop or Mercury Boulevard,
they usually open twenty four to seven. You know, I
went to school in Hampton, Virginia, so I know that
I hop. But when I'm in the South, I got
I Hop in New York, I'd rather go to waffle
house and get my chicken and waffles.

Speaker 4 (01:07:32):
I know black people they going to what are they
white or black? They're Caucasians, see it, I know it. Okay.

Speaker 3 (01:07:42):
I don't think ie hoping waffle House is a black
or white thing, because I'm I'm telling you plenty of
Knights in Columbia, South Carolina. I took my ass to
ie Hop on Assembly Street, slutha everybody that's working on
working in ie Hop on in Columbia, South Carolina on
Assembly Street. Take thirty one Assembly Street. Baby, my goodness,
actually putting handcuffs in there one night. But and I

(01:08:03):
have on a symbolist street back in the day.

Speaker 12 (01:08:06):
Though, I do want to know what's wrong with the
Virginia jails, the fact that you can get your way
out with a toothbrush.

Speaker 3 (01:08:10):
Like they said it was a construction design weakness, and
they say they don't want to speak too much on
it because of security security concerns.

Speaker 4 (01:08:20):
If you can use a you got out with a toothbrush.

Speaker 3 (01:08:24):
I mean, I guess they don't want to give too
much away because then it'll give other prisoners ideas. But
you know, you know, if you if you can escape
with a primitive made too, you know, made from a
toothbrush in the metal logic, man, Jesus man, I'm gonna
be honest with you. When you do stuff like that,
you kind of deserve to be free. I guess would
be almost like a game. If you can get out,

(01:08:44):
you deserve to be out Jesus Christ.

Speaker 4 (01:08:46):
All right, all right, well thank you for that donkey today. Yes,
indeed the Breakfast Club.

Speaker 12 (01:08:55):
On everybody is DJ Envy CHARLAMAGNEA god. We are the
Breakfast Club special guest in the building. A legend when
it comes to this hip hop thing. Ladies and gentlemen,
fab five Freddy, welcome.

Speaker 6 (01:09:06):
Brother, okay man, pleasure to be here.

Speaker 4 (01:09:08):
Man, what's happening. Let's have pleasure to have you brother man.

Speaker 6 (01:09:11):
Thanks so much.

Speaker 3 (01:09:12):
And you know, we just celebrated fifty years of hip
hop incredible. Did you ever think that hip hop would
take it this far?

Speaker 17 (01:09:17):
Her?

Speaker 4 (01:09:17):
To quote the lady, I know, I loved that call.

Speaker 6 (01:09:19):
Not not at all, not at all. I mean, I
mean I was clearly thinking of, like, you know, in
terms of the moves I made, having some control over
the narrative, you know, being that being aware that people
that look like us in previous generations of our culture
didn't have that ability to host the shows that you know,
you know, the footprint that you guys have and the

(01:09:41):
things that others like us in media and do these things.
So that was like a super significant thing that I
thought about from beginning. But to see it come to
this point globally the most listened to form of music
around the world. Still, it's just astonishing.

Speaker 12 (01:09:59):
Let's let's go back for people that don't know who
Fab five Freddy is. So let's let's start from the beginning.
How you got into this thing called hip hop and
what you created Because you started off as a graffiti artist,
right and I'm sure you were tagging trains back in
the day because that was the thing to do, the trains.

Speaker 6 (01:10:14):
That was the thing to do, the trains, the walls,
the buses, right anywhere. It was an audacious thing to do.
When I think back, so many New York teenagers back
then in the seventies just felt like it was okay
to put your name anywhere you felt it needed to be.
And then the competition of that developed into a real,
you know, refined and defined form of expression. Ways of

(01:10:37):
using them spray cans that nobody ever envision anywhere, Like
you know, spray cans is just just you know, the
pain and an old piece or whatever right around the house.
Now we've created, you know, a way to make murals
that kind of tell stories about who we are and
where we are and what we want to be and
do and all those things. It was like a fantasy.
And then that began a journey that I kind of

(01:10:58):
helped lead take graffiti art into galleries, turning it into
something called street art, which is also like a global thing.
You know, probably heard of my homie rest in Peace
Jean Michel Boskio young brother out of Brooklyn, and we
met on that downtown scene. Had similar aspirations figure out
a way to be artists, like Malcolm X said, by

(01:11:19):
any means necessarily, yeah, he used to. Jean was tagging,
but he was putting up these like poetic phrases, quotes
that were not in any way like typical graffiti, but
it was a part of graffiti and nobody knew he
was a young brother doing it. Initially he started out
doing something called same O, which was sort of short
for same o, you know what I mean. And then

(01:11:42):
that developed and then we met and he was on
the scene. He turned out to be a brother, like
he was doing stuff around Soho in the village area.
People didn't know he was a brother, and we met
at a party writer as I'm kind of stepping on
that downtown art scene, and we both had similar aspirations
to try to figure this out, so we began the
you know, we kind of linked up and we're in
the same circuit. Blondie was somebody that we met pretty

(01:12:06):
much at the same time. I'm in their ear about
this new culture, and then they kind of took us
under their wings, so to speak, and brought out work
some of the first people to buy paintings for myself
and Jean Michelle and then made you know, took some
inspiration from them stories I told them and made a
record called Rapture.

Speaker 4 (01:12:24):
Altho we got to stay here for me.

Speaker 6 (01:12:26):
Rapture was the first video on MTV that was one
of the MTV's first videos which I'm featured if I,
along with Jean Michelle, I tried to get Flash was
supposed to have come to be the DJ i'd met
because you know, it was working on the first hip
hop movie while Style in that same time frame, early eighties.
I said, Flash, come down and be in this video.
You know, to think that there was no MTV at
that time, so we did. Music video was not a thing,

(01:12:48):
but still I'm like, they had this idea to create
a music video. All the people we hung out with
were in the video. Flash never showed up, so I said,
John stand at the turntables, and I try to tell
Majean just stood there with a grin on his face.
So in the raption, so as Debbie starts to rap
and the first line is fab five, Freddy told me,

(01:13:10):
everybody's fly. She's saying it to Jean and then she
you know, the song goes on. So that turned out
to be one of MTV's first videos when the channel launched,
and close to ten years later, they would they were
kind of pressured into trying to, you know, to do
a show about rap music. And I got the call
MTV raps what MTV was trying to do. It's interesting

(01:13:33):
that you you guys are now, you know, have this
big position doing radio.

Speaker 4 (01:13:38):
The guys like you absolutely guys.

Speaker 6 (01:13:41):
Well, you know, the thing was radio was pretty segregated,
and in the American charts, I mean, England was different.
That's why I referenced America pop pretty much meant white essentially,
So no matter what kind of record you made, if
you could, you know, make a record that was popping
all the descriptive ways, the people doing that were black,
they would most often off end up on the R

(01:14:02):
and B or the soul chart or the dance chart,
and so MTV was set up to try to mirror
that a visual form of of what American radio stations were.
And so when black acts got big, they were like,
why am I not getting any love on there? And so,
with the exception of a little line of Richie, a
little Prince, there was very little black music to be seen.

(01:14:25):
And then I think it was Michael Jackson's label, Columbia's
CBS if I'm not mistaken, Epic, whichever one of those
really pressured them and they said, listen, we're going to
pull all out other acts, which included Bruce Springsteen off
of MTV if you don't play Michael Jackson. I think
that specifically was Billy Jean, and then they played it.

(01:14:47):
The numbers went through the roof and then came Thriller
and everything like that, so that really they had to
realize that this time to change up that attitude. And
then there were two young white guys at MTV, Peter
Doughty and then Ted de me rest in Peace. Peter
I had known on the downtown scene. He knew things
I was moves I was making with Blondie and the

(01:15:08):
hip hop's first film, Wild Style, and so he was
in their ear, like records were selling like crazy, run
dmc ll, some of those first early hip hop records
were going crazy, no marketing, no promo, and so they said, Okay,
we're going to try it, try this out. And they
tried it and it.

Speaker 4 (01:15:25):
Wasn't You wasn't upset with leaving or you wanted to
leave or was it.

Speaker 6 (01:15:28):
Well when it ended about six or seven years in
which was incredible run, it was kind of sad that
it came to an end. But I realized, like you know,
those acts that debuted on your MTV raps were so pivotal,
they were so defining of the culture. Like the first
time people saw you know, Tupac Nwa, you know, Luke

(01:15:50):
and them. I would go to these areas where they were.

Speaker 4 (01:15:52):
You invented that. Everybody that's doing these shows now where
they go to, where people are.

Speaker 3 (01:15:57):
That's absolutely fab far Freddy, fab far Freddy invented on
location conversation. And I know you said you didn't see
hip hop going as far, but as far as hip
hop becoming mainstream, you played a big role in that.
Like when I think of the movie Wild Style, like
what did that movie mean to you and hip hop
at that time.

Speaker 6 (01:16:14):
Yeah, the idea that I had had for Wild Style
was to show a way to show the connection between
all these elements that are part of hip hop now
that didn't exist before. So the idea was to make
a film that showed the connection between this rapping, this djang,
the breakdancing, and the visual form of expression. Graffidi and
I hooked up with this cat, Charlie Ahearn, who was

(01:16:36):
an underground filmmaker on the downtown scene in New York.
He had made a super low budget movie about kung
Fu that had caught my eye. When I linked with him,
I basically pitched this idea for the movie and he said, essentially,
let's get busy. So then we started researching going to
parties in the Bronx, going to the T Connection, the

(01:16:57):
Ecstasy Garage, meeting Busy, Cold Crush, Fantastic Funky four plus
one more including shot Rock, and that was how to
jump back to the blondie thing. When they got the
opportunity to host Saturday Night Saturday Night Live, they also
got to pick who the support act was and they
wanted to bring somebody hip hop on, so we talked

(01:17:18):
about flashing the Furious five. Of course they were big.
But then I said, you know, the Funky four, similar
to Blondie, has a female like out front, and I
thought it was a nice counterbalance.

Speaker 12 (01:17:28):
All right, we got more with Fab five Freddy when
we come back, don't move. It's the breakfast Club, Good morning.

Speaker 4 (01:17:32):
Owning Everybody's dej.

Speaker 12 (01:17:34):
Envy Charlamage, the god we are. The Breakfast Club was
too kicking it with Fab five Freddy Charlamage.

Speaker 3 (01:17:39):
I keep hearing you talk about you wanted to make
sure hip hop was presented in the right way, right,
So I wonder, like, what are your thoughts on the
genre of hip hop now?

Speaker 6 (01:17:50):
Well, you know, hip hop has continually amazed me with
the different turns and the evolutions that have happened within it.
That's been the most fascinating thing for me. Some of
the things that I've hoped for have come to light.
Like I remember the very early days when it was
all pretty much throw your hands in the air waving
like you just don't care. Everybody say, oh, it's pretty
much a party, uplifting kind of vibe, and that was cool.

(01:18:12):
But then I said, man, if somebody can figure out
a way to say something that was socially relevant. I
knew that would elevate us, and that was the message
broken Glass everywhere, you know, don't push me because I'm
close to the edge. Really articulated how a lot of
people were living in New York and other hoods, and
everybody got the memo that we can now throw our

(01:18:33):
hands in the air and have a party, but we
can talk about our realities in these streets. And that
was exciting. So there's been things that have happened along
the way that I've been really enthusiastic about. Obviously, when
the conscious movement came in me working with KRS one
in the beginning, then Chuck D and everything that opened
up a whole another chamber that was incredible. Didn't see

(01:18:54):
it coming, but it was definitely needed. And I think
hip hop is gonna fit. It constantly figures out a way.
It's like a living organism and different things affected come in.
It may go off the track a little bit with
certain things, and then they'll come back with something that
totally blows us away. Like I think the African even
though it's not specifically hip hop, it's very inspired by

(01:19:17):
the things that we've done. So the afrobeats and the
Ama piano, which is a sound coming out of South Africa,
a young kind of dance type sound which is unique,
is incredible as well as well as what the cats
in England have figured out on the grime side, you
know storm Z and those cats that were constantly early

(01:19:39):
in the early days of what they were doing, they
were constantly trying to emulate rap groups from over here.
I went to England and covered them during the Your
TV Raps era. I remember London Posse was one of
the hottest groups at the time that had a New
York East Coast kind of wrap flow. But they never
really blew up as big as they wanted to in England.
But then they figured out how to do it their

(01:20:00):
own way, with their own slang and their own way
way of speaking, and they made some dope records and
blew ups.

Speaker 3 (01:20:06):
Yeah, because I thought about that with y'all, like what
was the future for vj's back then, Like, did y'all
even know what the future looked like?

Speaker 4 (01:20:13):
Like? What did y'all aspire to be after the VJ thing? Well?

Speaker 6 (01:20:18):
Good question. Thankfully for me, I was doing something prior.
I was already making moves, you know, making art, you know,
making films like Wild Style and the VJ thing just
came to me really honestly, which was great. People would
run up to me, I want to do this, How
do you do it? I was like, man, I'd be
awkward because I'm like, I can't tell you how to
do There's no go to go to VJ school do this.

(01:20:40):
It was just a moment. Clearly MTV is a different
you know, all that stuff like doesn't exist. People can
do millions of people do that on YouTube, you know,
if you will. So there wasn't really a clear path
if you will, but if you like you say, like
I think interestingly lover going to radio along with Doctor

(01:21:03):
Dre initially and being really good at it was a
great transition. There were some people that had worked that
radio behind the scenes and whatever that then came to MTV.
Stephen Hill had been a radio person that then transitioned
to become one of the producers at MTV. But yeah,
that's a good one man. It wasn't too many clear
paths other than radio or some type of TV announcing

(01:21:26):
maybe commercials or whatever. But for me, like, I wanted
to just get back to doing the things that I'm doing.
I'm like an obsessive creative and so that's it, you know,
it's just creating, and that's still what I primarily do.

Speaker 4 (01:21:40):
You do you remember that day you shot with NWA,
when you went out there.

Speaker 6 (01:21:45):
Yeah, that was a good one. Yeah, and it became
a lot of people's favorite show. I remember vividly. We
have been playing videos by Easy on the channel and
Ted Demi and he would talk to Easy often and
Easy was like, mant you all to come out. We
have a new group. And I remember them sending us

(01:22:05):
a memo the day before us to listen, nobody don't
wear anything red or bluething black.

Speaker 4 (01:22:11):
I'm black either.

Speaker 6 (01:22:12):
No, I'm sorry, red or blue, We're black, is what
they said. And I was like, man, I've been to
LA a bunch of times, but I didn't understand the
dynamics in the hood. You know, I be in West Hollywood,
in and out on some art business or what have you.
And so we were like, okay, so we want to
show people this scene. So let's runt a flatbed truck

(01:22:34):
and let's ride around because you know, we hadn't seen
like what the hood is like or any semblance of LA.
And so we meet at the Welcome the Compton sign,
and then we get on this flatbed truck and ride
around and do segments from the truck. They take us
to a swap meet and they give us a little
insight on how they live, and it was crazy. I

(01:22:54):
know it was going to be a great show. I
get back to the hotel and I put the walk
Man on, got the cassette of the new album n
WA album Straight out of Content. I listened to it
for the first time, and I'm literally snatching the headphones
off my head. Can't believe the things that they're saying
f the police and just the aggressiveness. And the music

(01:23:15):
was amazing and incredible, but the things they were saying.
I was like, Man, MTV is not gonna let this
this happen. They gonna pull this. Man, were done shot
this incredible show riding around. There's nothing's gonna happen. Well,
the videos, they weren't able to play the video for
Straight out of Content, but they still had other videos
and other content and the and the interview played and.

Speaker 4 (01:23:37):
It and it took off.

Speaker 6 (01:23:38):
Man, it took off so lovely.

Speaker 12 (01:23:40):
When you're talking, when you hear the mount rushmore of
hip hop, right what was your on your Mount Rushmore?

Speaker 4 (01:23:45):
As far as artists are concerned.

Speaker 6 (01:23:48):
Well, you know, when when I get asked those kind
of questions, I'm basically like, I've loved so many and
and I'm also aware that there's different errors where different
people were the most important people at that time. So
as the errors have evolved that my Mount Rushmore would
it would be various versions based on But I'm a

(01:24:09):
lyrics guy, primarily based on lyricism. Oh man, it'd be
in the beginning, you know, I'll screw up, and I won't.
I'm sure there's names I forget, but in the beginning, of.

Speaker 4 (01:24:21):
Course, you know, only before for every erar look at you,
you know, Mount.

Speaker 14 (01:24:27):
Mo d.

Speaker 6 (01:24:29):
Kaz Cowboy, you know. And then going on further from that,
you know Caine, Rack, Kim, g Rap.

Speaker 4 (01:24:39):
People forget about g Rap a lot, and I don't
understand why, because when you listen to you clearly get it.

Speaker 6 (01:24:44):
His lyrical game was masterful, just incredible way he played
with words. Who else was my mother? Forth from that
in that early period, I guess I would have to
put I'll drop a cube in there, you know, And
then moving forward, you know, you know Biggie pack of course.
You know, I'm stuck right now. I can't think of

(01:25:06):
all the names that I would love, but pretty much
those that you know, Nas of course, who I luckily
got to direct his one of his first one one
love Yeah, that that Q Tip produced, you know, so man,
just and then to see Nas still putting out incredible
music on a consistent basis, it's like a jazz artist.

(01:25:28):
It's just look, I got something to say. I'm not pressure.
It's not about the paper if you will, I'm just
want to express this. I'm gonna drop this on you.

Speaker 3 (01:25:36):
And so it's it's just probably all the time he
probably get deferment pops.

Speaker 6 (01:25:40):
Yeah, yeah, Olu Dara who used to live near me
in Harlem and we would talk because you know, and
that's a key thing that Nas has similar to something
that Rock him has both of them. Obviously, Nas dad's
a jazz musician. Rock Kim had jazz musician. It was
a sing I can't remember her name, but earlier connection

(01:26:03):
to to jazz and that sensibility I think is a
is a big part of his flow and his dynamic
as an artist.

Speaker 4 (01:26:11):
All right, Well on movie got over with Fab five
Freddy when we come back. It's the Breakfast Club. Good Morning,
the Breakfast Club sporting Everybody's tea.

Speaker 12 (01:26:22):
Charlamagne, the guy a breakfast Club was too, kicking it
with Fab five Freddy Charlamagne.

Speaker 6 (01:26:27):
You didn't fox for an interview the first first time
on national TV. A lot of those cats. The first
time I interviewed Park was on this set of the
movie Juice, and and then we held that show until
the movie dropped a few months later, and then we
added you know, and I'm also did a cameo in
Juice as myself, you know, hosting your TV reps while

(01:26:50):
the DJ battle was going on.

Speaker 4 (01:26:52):
And uh, talk about that set. Juice, classic movie to
this day. Man, Amazing stars from that movie too.

Speaker 6 (01:26:59):
Yeah, a lot of good stars, a lot of just
really good dynamics. And I'm pretty sure Tupac would definitely
have excelled in acting and clearly would have been Oscar
nominated by now. His dynamism on the screen was just
something I think like people like that have been able
to do it in music and then do it on
the screen. It's just a it's just a rare group

(01:27:22):
of people that have been able to do that. And still,
you know, resonate to us in such a powerful way.
But your Pock and I were pretty tight. The second
time I interviewed Pak once again, this was pre death row.
I like to that's when because it was the first
time I knew his background, like he had a black
Panther link family wise, and that was the first time

(01:27:47):
he'd spoken about that when I pulled that out of
him and he explained how his mother was panther fathered,
so that that fire and that awareness of what they
were fighting for was part of his consciousness, so which
was really interesting. He was a dynamic cat, like I mean,
he could be the most militant for a while, Fruit

(01:28:09):
of Islam, Black Panther and then spin on a dime
and just be the illess thug. And that was I
think a part of the actor in him. He could
completely be those people or any other people. I'm sure
he would have gotten to play in films. He would
have been super effective and compelling. So that was a
great loss. So you saw that back then even absolutely,

(01:28:31):
because it was just talking to him and he you know,
and then he flipped and be just super hood And
I think the persona that he remained in for most
of his public life after was the persona of bishop
in Jewics like that was his character that you know,
he wanted to become on everybody and as many people

(01:28:52):
wanted to wish to have been a big dude on
the New York scene or strong cat that conflects like
in Harlem and all that, and juice was his way
to do that. And because come on, he he wasn't
that dude prior. But he stayed in that character largely
and then unfortunately got caught up.

Speaker 4 (01:29:11):
And this that and the third on the New York side,
if you know, the drum.

Speaker 6 (01:29:14):
And then went West Coast, and you would think he
was born in South Central the way he rapped, you know,
on out there in Cali, which so super effectively, but
he could he was convincing in any of those genres
or any of those formats he would put itself in.

Speaker 3 (01:29:31):
Why do you think commercially, because you was there from
the inception, why do you think commercially the West Coast
took off?

Speaker 4 (01:29:37):
It seemed like to me before the East Coast, like
I'm talking about.

Speaker 3 (01:29:39):
With the massive mainstream success that we see in hip
hop now interesting, I just.

Speaker 4 (01:29:44):
I don't know that's but would you say that because
he had run DMC had I.

Speaker 6 (01:29:49):
Thought it was their term. Yeah, we blew up big
and dug out and planted a firm foundation. That's why
this culture still rocks so hard today day because the
roots went deep without anything going viral too early or
people jumping out there. Tucson and was.

Speaker 4 (01:30:07):
Jef Rowe was a monster.

Speaker 3 (01:30:08):
Snoop Dogg sold what eight hundred plus thousand his first
and second week. He was like the first hip hop
artist on certain magazine covers, like he really was. It
was something else, that was something else, and it started
with NWA to me, but.

Speaker 6 (01:30:23):
Yeah, it was.

Speaker 4 (01:30:24):
It was a big thing.

Speaker 6 (01:30:24):
They had an incredible movement. It was I think it
just followed they They added on nicely to the foundation
that was laid right here in New York. And then
once again, I was honored to get to direct Snoop's
first video for What's My Name and turned him into
a dog. And then interestingly, you know, I'm in the
cannabis business now with a brand called b Noble, which

(01:30:47):
grew out of a film I made which you can
see on Netflix called grass Is Greener. And I got
Snoopers in my film, and Snoop tells the story, which
I didn't know that he Dre. I spent that whole
summer living with Ray in Calabasas, because the first day
of shooting Snoop's video him performing on VIP Records. Right

(01:31:07):
after that we changed locations in Long Beach. That turns
into a near riot. That's like not more than a
year after the La riots, So we got shut down.
Draces fab I gotta finish Snoop's album. If you can
chill and hang, we will get the video done. My
priority is getting this record done. So that Let's led
me to spend the rest of that summer out there

(01:31:28):
hanging with Dre and the dog Pown, getting to know
them real well, seeing Dre's process in the studio, which
was remarkable, and then we would get a moment to
run out and get some scenes that would be other
parts of the video. And then towards the end of
the summer there was a big scene that I never
got to shoot because Snoop got caught up famously murder

(01:31:49):
was the case. I said, Man, I'm out of here.

Speaker 4 (01:31:50):
This is just not enough. I want to document.

Speaker 3 (01:31:55):
You need you need a document like you yourself, like
you have to tell how did you get your name.

Speaker 6 (01:32:01):
I became a part of a graffiti crew called the
Fabulous Five. They were the one of the dominant groups
of graffiti painters in New York, which were known for
doing murals on this side of the primarily on the
Lexington Avenue number five train. So what you would tag
up was, you know, you tag your name and the
group you was down with and then off. And then

(01:32:22):
sometimes I would be referred to as, Oh, that's Fab
five Freddy. You know what I'm saying, that's fab five
fred And when Blondie made Rapture, it just embedded it
and solidified it. When she dropped my name, when she
basically was like fab five Freddy told me everybody's fly
and I was like, man, wow, I never thought of
it as the whole thing. But that's a good look,

(01:32:42):
you know what I mean. She represented and gave me
a look and it it booms. So that's how that
really came together.

Speaker 4 (01:32:47):
I just want you to tell people how difficult it
was to tag trees back in the day. It was
so just just talk about that.

Speaker 6 (01:32:53):
There's a great documentary that was done the same time
we making Wild Style early eighties. There was a documentary
called Star Wars that illustrates. In fact k Slay, whose
rest of Young graffiti Rider named Dez is featured as
a young graffiti rider and he's you see him in
Star Wars. Yeah.

Speaker 1 (01:33:13):
Man.

Speaker 6 (01:33:13):
You had to know where the trains what we called
called the called the layup or in times when the
rush hour is not running, the extra trains are placed
in different areas in the city, sometimes in tunnels, sometimes
at the yards. So you had to know which train
you wanted to get to get up on where that
train was going to be, whether in a tunnel or

(01:33:36):
way up in the train yards at the end of
the train line somewhere. And then you had to be
stealthy on some ninja type energy to get up in there,
because one of the objectives is also you know, not
to get caught, and so you had to have all
those pieces together to get in, get out, and hopefully
not get caught.

Speaker 4 (01:33:55):
You ever got caught, taken the tray never never.

Speaker 6 (01:33:57):
If you get caught, one of your sentences was to
go wash walls, so you clean the graffiti off the
trade on the overalls. They you're your bucket and a
bunch of chemicals, and you be at some platform and
some station having the clean walls, feeling like, man, I
got caught out here. I feel I'm like a herb now,
you know. So it wasn't easy. It was a very

(01:34:18):
difficult thing.

Speaker 3 (01:34:19):
And uh it just made something that people thought was
just vandalizing back in the day became something so synonymous
part with New York City.

Speaker 4 (01:34:26):
It gave the city character. You see it in video games,
cartoons and everything.

Speaker 6 (01:34:29):
That blows my mind. You know, graffiti fonts, you can
get a font and just use graffiti letters. So that's
that's really satisfying to see that. That's a lot of
these ideas we had have really worked, and I'm excited
for the next fifty. All right, well, we appreciate you
for thanks, having wanted to be up here with you.

Speaker 12 (01:34:50):
You brother, absolutely the Breakfast Club, Good morning, the Breakfast Club.

Speaker 4 (01:34:54):
Your morning's will never be the same.

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