May 11, 2023 • 27 mins
In this episode of 50 Years of Hip Hop Podcast series, we go back to a time when rap was not played on radio and New York City radio stations like WBLS and WHBI would play rap on the air during the weekends. This episode will dive into the uprise of rap hitting the airways, causing a shift in radio. Episode guests include Kurtis Blow. DJ Envy. Monie Love. Ed Lover. Charlamagne Tha God. Russell Simmons. Doc Wynter. Shaheem Reid.
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Speaker 1 (00:02):
From I Heeart podcasts, I Am Fab five Freddy and
this it's fifty years of hip hop podcast series. You know,
it's really amazing to think how far hip hop on
the radio has come. That was another piece of how
it used to be back in the days. But it
took a minute and that shift of radio coast to coast,
(00:23):
you know, mainstream stations and all these cities and states
not playing the music, that began to change in a
significant way. You know, it was a cultural shift. You know,
hip hop really has been a cultural revolution, you know,
the entire culture. It was not easy to get to
the point where you just hear hip hop on a
radio station all day, all the time, you know what
(00:45):
I mean. It was just not happening. It was massive
and major resistance. And you know, as far as that goes,
it literally was in twenty eighteen when rap overtook rock
as the most popular genre for music enthusiasts. And that's
across all the listening platforms you know, Spotify, Apple, eight
(01:06):
to Z. And so it's interesting that we're gonna get
deeper right now with some people that have worked in
radio all aspects of it, to give us the four
one one on how this all came to be, And
of course we got to get into New York's Hot
ninety seven pioneering and had the courage to step up
and be the first in New York City to go
(01:28):
all day, all the time with hip hop. Once again,
gotta give props to LA's kDa Y. They were the
first to do it on AM. But when we got
to going in New York, got to take it to
another level, no doubt doubt. Mony Love British born Grammy
(01:53):
nominated rapper and radio hosts.
Speaker 2 (01:55):
Hip Hop Formatic Radio.
Speaker 3 (01:57):
Once it kicked off and once other stations started up,
it definitely changed the scope of a radio period because
it's a window into all the neighborhoods and all the
areas and all the all the economic structures. It's a
window into that, right, It's a window into the Bronx.
It's the window went to Brooklyn. It's a window Winter
(02:17):
Crench Shaw, It's a window winter, you know. And it
definitely changed because now there's music flowing across all of
these air waves from artists that comes from all kinds
of economic backgrounds and then essentially speaks to people from
all economic backgrounds, and radio realizes now that they just
(02:39):
remember once before it was shut out. People didn't know
it was only to fly, the pretty and the glamorous.
Would hear the fly, the pretty and the glamorous or
on the radio, you know, and then it turned into
the fly, the pretty, end the glamorous. Now here people
out of apartments in the Bronx that ain't got windows.
Speaker 2 (02:59):
You know what I mean. So it changed the.
Speaker 3 (03:01):
Landscape of radio for the simple reason that radio became
a direct conduit into knowing what's going on in areas
that people perhaps don't live in. And that has continued
so now on any given award show, on any given
radio station concert show, you see all kinds of people
from all economic backgrounds come into that show to see
(03:22):
their favorite artists that also come from all different types
of economic background. But yeah, I'd say it definitely changed
the landscape of radio, period ed.
Speaker 1 (03:31):
Lover Rapper, actor radio personality and former MTVVJ.
Speaker 2 (03:37):
Oh My God.
Speaker 4 (03:38):
Well, First of all, we bought the energy to radio
because there was no on hip hop radio station in
New York at the time. I remember a few years
earlier VLS had had all R and B, no hip hop,
like they had a slogan about them not playing rap
music on their radio. So once we came in, the
(04:01):
energy just automatically shifted because there was some place for
them to get played and they did not have to
wait for a specialty show. They didn't have to go.
I mean, God, bless everybody that I don't want this
to come out wrong because I don't want people to
think that I'm on my own and like these dudes
didn't matter, because they did matter, you know, the awesome
(04:24):
too matter, stretching, Barbido matter. You know, that was their
outlets for them to get their stuff played. There was
no FM that was just on a regular, everyday basis
playing hip hop and that's what Hot ninety seven was.
So once that happened, it really shifted the whole dynamic
(04:45):
of radio and hip hop radio in general. You know,
Steve went on to have a great consulting career, giving
away all the secrets that ed he gave us and
building all of these stations across the contry because there
was no real outl but he was the guy that
convinced them that it can be done. At m MISS Broadcast.
(05:06):
It convinced Julie Ellis running to hire some other dude
for the programming, and Steve convinced her that this can
happen at Disadviable and he won. He took a chance
of gamble. He took a gamble on me and Drake
because we had no real radio experience. I mean, Dre
did a del Fi radio and we did BLS Friday
(05:26):
and Saturday, but we didn't have that everyday experience. That's
what Lisa was there, you know, and it worked, and
it worked big time. So it shifted radio period because
now is the biggest market in the country. If you
made a rap record, there was some place that your
record can go into regular rotation, you know, not you
(05:47):
just got to wait for Red Alert to play it,
or you got a wait for Marley to play it,
or miss the Magic to say it.
Speaker 3 (05:52):
You know.
Speaker 2 (05:54):
That's it shifted everything for everybody.
Speaker 1 (05:58):
Dj MB radio personality and host of the Breakfast Club.
Speaker 2 (06:02):
Thank god.
Speaker 5 (06:03):
I got lucky enough to be from New York where
the first hip hop radio station, big radio station, i
should say, was Hot ninety seven. That was one of
the big stations that was able to go from you know,
pop music, come Bibia, Cam Baby, Bba Call came to
hip hop. And I was lucky enough to be a
part of it where the whole thing was based off
of hip hop.
Speaker 2 (06:23):
And I got lucky.
Speaker 5 (06:24):
You know, there was college stations that played hip hop,
am stations that played hip hop. We never had a
real big station and not ninety seven was the start
of that money love.
Speaker 3 (06:33):
Mister Magic and Molliemore are the Ore and Red Alert
opposite stations. Are the ambassadors, not part of an ambassador group,
the ambassadors of breaking down stereo typically musically biased radio
(06:54):
and allowing the floodgates to be open for hip hop
culture to be listened to, appreciated, and understood. They're the gatekeepers.
They were the ones that was like, look, radio, you
better see what the heck is going on and be
a part.
Speaker 2 (07:12):
Of this before it takes you its steps on you.
Speaker 3 (07:16):
And basically mister Magic, Molly Maul and Red Alert those
were the gatekeepers for hip hop culture.
Speaker 2 (07:22):
They are the gatekeepers.
Speaker 3 (07:24):
For hip hop culture's popularity across all broadbands.
Speaker 4 (07:28):
Ed Lover, of course you know mister Magic, Molly mal
who DJ read Alert an all Radio, the Supreme Team
show Stretching Bobbito definitely the Awesome too. Absolutely, without the
shadow of a doubt, the Morning Show with Ed, Lisa
and Dre for sure from Flex for sure, you know
(07:51):
on the reggae tip for sure, Angie for sure, what
she's been able to accomplish Our love absolutely would say
the Breakfast These are the you know, that's just some
of them, staple shows in New York City that have
managed to change the landscape.
Speaker 1 (08:11):
This is going to be fascinating getting this story here.
It's really amazing about what happened at Power one oh
five point one with The Breakfast Club. This has become
hip hop's most influential radio show ever. Power one oh
five ones the Breakfast Club. They also like to call
(08:32):
it the world's most dangerous morning show. And it's based
in New York City and it's hosted by DJ Mby
and Charlemagne the God. Angela E, who was the third
of the co hosts, recently left to do her own thing,
but they're currently syndicated around the country, and of course
Charlemagne is doing a lot of other things, as is Enva.
(08:52):
But the morning shows brilliance and popularity and longevity have
been revered and really has served as a beacon. It's definitely,
without question, the most impactful hip hop morning show ever
Doc Winter, iHeartMedia, President of Hip hop and R and
B Programming and program director at Real ninety two point
(09:12):
three in LA.
Speaker 6 (09:13):
And The Breakfast club Man Breakfast club Man Like Wow.
Calik Jack was the program director in New York, legendary
program director Brilliant Mind looking for a morning show. I
can't remember who previous morning show was. It might have
been Big Tigger after Star was gone and we had
a show that was on him for a little while.
(09:35):
And so I remember, you know, talking to him and
he said, hey, you know, at this idea for the show,
and you know, these are the three people. Remember Envy
And of course I remember Envy because Envy was embroiled
in the whole thing with Star when he left. And
I remember like, okay, so we hired a guy that
you know that suit us. I guess, okay, you know
(09:56):
that's fine.
Speaker 1 (09:57):
I mean, I get it.
Speaker 6 (09:57):
We were wrong, and so this's you know, then you
know this guy named Charlemagne, and then you know, I remember,
you know, him referencing Angela.
Speaker 1 (10:05):
I'm like, okay, cool. So I find in New York
for a meeting.
Speaker 6 (10:09):
And we're in the conference room and you know, they're
just being themselves. They're just talking and joking and ribbing
one of each other. And I think the reason why
I was in the meeting at that time was because
there was this notion when we moved to this new
measuring system called PPM. It's the one that currently exists.
(10:31):
It's a meter that things move really quickly, that we
should know within you know, weeks or months, that whether
or not a show was going to work or not.
It had been several months, might have been six or
eight months by then, and the show, you know, patton't
gained any traction yet from a ratings perspective. So I
was kind of like, I was kind of going in
there basically to say, yeah, it's going to Oh no,
(10:55):
it's not going to work. And I remember being in
a conference room with them, and I had heard the
show on the radio, but I remember being in a
conference room with them, and I was like, man, like,
this thing that they have between them, this relationship, this
this energy, like when this hits, when this when the
(11:23):
when the audience comes. And and what we we we
since learned is that people's behavior still has to change.
So whatever that previous show was that left the audience
said Okay, well, that show's left, So I'm gonna go
over here, and I'm gonna go over here, and I'm
going over there. And so in my mind, based on
what I saw, I was like, when these people come
(11:44):
back and spend time with this show and get to
understand the roles of these characters, and this thing could
be huge. But I will tell you that I had
no idea would be as huge as it once. I'm
not even gonna sit here in front and tell you
I knew it was like I knew, I knew it
was good. I knew what I heard in that room
(12:06):
was great, the chemistry, the camaraderie. But and then the
internet hits and what they were able to do with
their From a social.
Speaker 1 (12:18):
Perspective, some of you guys listening to this probably began
your morning listening to The Breakfast Club. Right now, we're
going to get into the whole story of how these
guys put this dynamic show together. Charlamagne the God, co
host of The Breakfast Club, founder of the Black Effect
(12:38):
podcast network and Media Mode.
Speaker 2 (12:40):
All of us were sidekicks. I was a sidekick for
Wendy Williams. Vy was a sidekick from the Jones Angelie
at the time was the sidekick for Pipe the Sounds
and me and Me and Nby knew each other because
we would run into each other all the time. NB
helped me. I had an artist you know at the
time named Little Roothe and Little Rules from South Carolina.
You know, you got a song called Nasty Song and
(13:02):
a lot Lotto just redid it actually, and Envy was
like the first person to play that song on a
national level, like he played it on High ninety seven.
Meet him and Wendy's husband, you know, had had a
lunch meeting one time. But I was just trying to
I was telling him what I was doing with South Carolina,
trying to tell him what I was doing with breaking
the artist. You know, we the next state from the
South to pop off. We've never popped off, YadA, YadA, YadA,
(13:24):
And he just played the record off the strength. So
we've had a relationships since way back then. That was
like oh seven or eight, you know Angela Yee. You
know when I got fired in two thousand and the nine. Yeah,
when I got fired from I think it was before Philly,
when I got fired from Wendy. It was either when
(13:45):
I got fired from Wendy in before Philly or right
after Philly. Angela was doing her show on Shade forty
five and she used to invite me to come up
with co host. So I used to go up to
her Shade forty five show and co host with her
on the morning show. So we definitely had a relationship,
you know what I mean. I remember g spent texting
me when I was on with Angels like, Yo, y'all
sound really good together. You know, that was actually supposed
(14:07):
to be this shit. It was supposed to be me
and Angela ad first, and then they put Envy in
the mix because Envy was the guy in New York
that everybody knew dj MB who got with me.
Speaker 5 (14:18):
They was like, well, we wanted to make a DJMB
warning show and I'm like nope. And I was like,
well why not? I said, well the reason why is
this is what I'm thinking. I'm like, if the show fails,
I can't go back to mid days, I can't go
back to the afternoons because I'm gonna look like a failure.
Speaker 2 (14:31):
I said.
Speaker 5 (14:32):
And also, whether you bring on the team, you never
want them to feel like somebody's bigger than the other,
because that's when you get jealousy. So at the time, Charlemagne,
who was fired a couple of times, was sending in
Cadillac like skits and conversations and he was trying to
go and Cadillac really liked Charllemane. He was like, yo,
I think you should work with Charlemagne.
Speaker 2 (14:49):
And I'm like nah. He's like, well why not? I
say done?
Speaker 5 (14:52):
He got fired three four times. Bro, I'm like, I
got kids. At the time, I had two kids. I'm like,
I got kids. He's like, no, on what I think
Charlamagne's good. You should have a conversation. I was like,
I know, Charlemagne but scary. He was like, nah, he's changed,
He's changed quick. Then he was like, we got this
girl that we're thinking about, Angela Yee.
Speaker 2 (15:09):
I'm like what.
Speaker 5 (15:10):
I'm like, she works at satellite radio. She cursed us
like a Sela. You ever heard a show one of
these curses were out of here. No, we're gonna talk
him down. We're gonna we're gonna make sure that she
does a curse.
Speaker 2 (15:20):
So I was like, all right, well let's try it.
Speaker 1 (15:22):
Let's rock out.
Speaker 5 (15:23):
And they kind of put us all together in the
room and started, you know, practicing and going through stuff,
and you know, we started coming up with names. At
the time, Lebron just went to Miami, so we was like, yo,
let's call us us the Big Three. Then like you know,
did Charlmae was like, Yo, let's do a luminanaut in
the morning. Let's do this one and that one and
that one and that one. And then somebody said the
Breakfast Club was like, let's do it, let's rock with.
(15:44):
We started from then and the first couple of months
we was trashed.
Speaker 1 (15:49):
Horrible.
Speaker 2 (15:49):
I'm sucky. We couldn't get right.
Speaker 5 (15:53):
It was really really, really really bad, to the point
where they looked like they were gonna flip the switch,
changed the whole station the country. That's how bad we were.
And then ray J happened at one drunk night when
ray J was out in Vegas and he called I
was in the middle of my mix. I remember he called, Yo,
RAYJ is on the phone. Ray was separated.
Speaker 2 (16:14):
We're gonna put you on. Just don't curse, all right?
I bet envy ray Yo, Charlemagne IV?
Speaker 1 (16:23):
What what happened?
Speaker 3 (16:26):
Are we live?
Speaker 1 (16:27):
No? No?
Speaker 2 (16:27):
No, no no, yes, yes yes we live?
Speaker 1 (16:30):
Yes? Okay, So I ain't gonna curse with these punks
and excuse my language, but you know what I'm saying,
be whoever you want to be, love whoever you want
to love. I didn't mean it like that.
Speaker 5 (16:42):
I just meant when you want to disrespect me and
the Money team, And we got seven rose voices.
Speaker 1 (16:48):
Outside and we just made three hundred and fifty wax
on it.
Speaker 3 (16:50):
Don't disrespect me me.
Speaker 5 (16:52):
He did that, and now was probably the first, the
first viral moment ever Ray J in Vegas talking about
five being with Floyd Maywebber and that clip just started going.
Then everybody wanted to know who those three individuals, Who's
the breakfast club?
Speaker 1 (17:07):
Who is that?
Speaker 2 (17:07):
Who is this breakfast club people?
Speaker 5 (17:09):
And now it just started growing, growing and growing, and
you know, we all have relationships. I have relationship with
World Star because I knew Q.
Speaker 2 (17:17):
I have relationship with.
Speaker 5 (17:18):
This Is fifty because me and fifty was cool. You know,
we have relationship with Jasmine Brand and all these things.
So we would use them as our tool and use
them as a form of promote before people started doing it.
So all our videos were on World Star, all our
videos were on This Is fifty, And it just started
growing and the rest is system.
Speaker 1 (17:34):
This is special right here getting a four one one
on how DJ MV and Charlemagne the God created that
special secret radio Sauce Baby, the Breakfast Club, Charlemagne the God.
Speaker 2 (17:48):
We are the longest running syndicated morning show that came
from hip hop Sluthor Tom Joining Sluthor, Douve Banks Legends,
p'h bleft the Dead Tom Banks legends, you know. But
they were adult contemporary. They were rooted in the adult
contemporary from the beginning. We are a hip hop radio
(18:10):
show that started from a hip hop and R and
B radio station, you know, Power one oh five. And
this is why I can't wait to do the Breakfast
Club documentary because if you look at the last thirteen
years of media that derived from the structure of the
Breakfast Club. You know, thirteen years ago when we came together,
(18:32):
I was putting my interviews online, and we were putting
the interviews online. Angelie was putting her interviews all line.
That was the one request that we had the ieeard like, yo,
y'all gotta have a camera in here with us every day.
Every interview gotta be recorded, Every interview gotta go online.
You know. We started that. We started that trend of
radio stations doing that, making sure that their content was
(18:55):
online every day, making sure that their interviews were online
every day. We were the ones having those long form
conversations and putting them up online thirteen years ago, way
before podcasts, you know what I'm saying, Way before other
other radio shows that were doing that. That was us,
and so that's that's that's to me. We changed the
landscape of how people, you know, distribute their content, and
(19:21):
I think we changed the landscape of how a lot
of people in the hip hop space, you know, conduct conversations.
You know, don't get me wrong. Long form conversations existed
way before us, way before us. You know the Barbers
Walters and the Diane Sawyers, and you know the Wendy
Williams and you know even Angie Martinez, you know, but
(19:42):
even with them, I don't know how long form Angie
and Wendy's interview were. They always seem like conversations. I
don't know how long they were. But we we're the
ones that started taking that content, putting it all one
and if people really look back at it, like we
change the landscape of not just radio forever, but but
media in general as far as like podcasts and everything
(20:05):
else dj MB.
Speaker 5 (20:07):
If it wasn't for the Breakfast Club, a lot of
these people wouldn't be doing podcasts like it influenced the
long the long interview form. You know, think about it,
We do interviews for an hour. Nobody was doing that beforehand.
They were doing segment's ten minione interviews can get him
out and in and out. We were doing the long interviews.
Watch the long interview online and you know, break it
up for for things like we are fluence so much
(20:27):
where other companies have tried to create their.
Speaker 1 (20:30):
Own breakfast club.
Speaker 5 (20:32):
You're this person, You're that person, You're this person, you know,
and it has it worked, no, because it's like every
once in a while, and I'm not just saying it
because I'm part of it, but every once in a
while you get that one special piece that's like this
is special. That was the Breakfast Club. That was Michael Jordan,
that was Lebron, that is Hove, that is those pieces
(20:54):
that you'd be like, wow, this is just it's just
so organic. Like if you look at all those people
like they were just like, oh he was organic. He
wasn't you know, billions of dollars putting into him. He
was a street dude that just caught on in people
like and that's what The Breakfast Club was. I do
think The Breakfast Club is the most impactful, longest running
(21:15):
hip hop morning show ever.
Speaker 2 (21:18):
That is a lot of other morning shows, whether it's
ed Love.
Speaker 5 (21:21):
And Dre, whether it's Tom Joyner, whether it's a Starring Buck,
whether it's all those shows. But I just think as
far as longevity and what we created and started, it's
just something different.
Speaker 1 (21:39):
I mean, keep in mind, radio is still important, don't
get it twisted, but it's definitely nowhere near as important
as it used to be, largely due to streaming platforms
like where you guys are probably listening to the podcast
right now. Millions and millions of songs are just a
few clicks away, and once again, podcast like what we're
(22:01):
doing right here. So make sure you tell a friend,
tell a friend to tap on it as we break
this fifty years of hip hop history all the way down.
Charlemagne the God.
Speaker 2 (22:11):
Yeah, I've never known anything but rap. You know, I'm
forty four years old. I was born in nineteen hundred
and seventy eight, so you know, the first time I
ever heard of rap record was my cousin Tie let
me hear Eric being rock campaign in full. I was
like ten years old, you know. And my sister and
my oldest sister, she was salt and pepper and kidn't
play like. She was all into that. And you know,
(22:33):
I tell people all the time, rap has never been
anything but the biggest to me because even growing up,
the TV shows we used to watch were all hip hop. Like,
you know, you watch Martin, and hip hop artists would
be on Martin, you know you would watch I remember
watching Cosby Show when cousin Pam Eric Alexander started showing
up and she was hip hopped out. You know, the
(22:55):
fresh Prince of bel Aad. That's the fresh Prince. That's
Will Smith DJ Jaddy Jeffers on the show Limit is Single,
Queen Latifa was all limits single like hip hop can
play in house party like. Hip hop was always the
biggest thing to me. There's never been a time in
my life where I looked at hip hop as a
subgenre like hip hop has always been my world. The
(23:16):
music we listen to, the TV shows we watch, hip
hop was all around us. It always felt like to me,
everybody else was laid on hip hop and lovely.
Speaker 4 (23:24):
Before when we first started, I would say radio help
propel hip hop, but now I say hip hop keeps
radio alive. Definitely, absolutely in this market, today's age Absolute
dj NB.
Speaker 5 (23:38):
I think hip hop has definitely kept radio alive. But
I also feel like it's the people buying it. Everybody
wants to tap into our culture. Everybody White, Asian, Indian,
doesn't matter. Because our culture, Black people, African American people,
(23:59):
we make and if you look at any culture out there,
they want to be a part of it. Where they
dress like us, talk like us, sing like us, drive
like us.
Speaker 2 (24:12):
Like we make everything cool.
Speaker 5 (24:14):
And if you think any other culture out there, other
people might take little things here and there, but not
like this. We could put bigger rims on a car,
We could put TVs in a car, We could put
swangers where these big ass things that come out like
and we make it cool.
Speaker 2 (24:30):
We made baggy jeans hang off your.
Speaker 5 (24:32):
Ass cool, where these designers are making jeans that look
like they hang off that your ass. You know, we
made the fact that you can wear you know, throwback
jerseys cool. You know, we make the fact that you
wear Jordan's cool. Like everything that we do and talk
and wear and slang.
Speaker 2 (24:50):
We made cool.
Speaker 5 (24:52):
You got every culture wearing masks now to this day,
full shisty masks where if like you got white kids
Suburbia wearing them, there's no reason to wear them. They
wearing because that I mean even to the point where
to something as little as you go to La and
you see, you know, these kids from Suburbia wearing hoodies
(25:12):
in the summer because their favorite rappers are doing it,
their favorite artists are doing it. So that's the type
of thing that our culture creates where the world wants
to follow it. I'm just mad that the world makes
money off of it that we don't make. But we
create so many different fads, jewelry chains, the watch is
to blame the ice to this, to that, to this,
(25:33):
to that. You know, I just wish that we was
able to profit off for a lot of that stuff.
Speaker 2 (25:37):
Charlemagne the God hip hop is absolutely you know, kept
radio alive. And that's why it's so interested now that
we live in a culture that's kind of like reversed
a little bit, right because right now hip hop media
keeps a lot of rappers alive because sadly, a lot
of these rappers are known more for they say in
interviews than they are, you know, for their music. You know,
(25:59):
sometimes these was got to go do a great conversation
just to get people interested in their music. And I
think that's something that rappers started noticing years ago because
and it wasn't just the breakfast stuff. I got to
sleute our got combat Jack rest in Peach Reggio Sa.
You know a lot of rappers were going to him
early early, like like the j Coles and then we're
going to sit down with him and have these long
(26:21):
form conversations because they know that they were able to
sit down and be able to express themselves in ways
they probably couldn't do in the more you know, quicker interviews,
and they were able to go in there and kind
of like sell their music because that's what you had
to do, right, Like, you you can't just put out
the music anymore. You had to kind of like sell
your music, you know, to the people. And that's what's happened,
(26:42):
That's what's happening now. Hip Hop is the reason there
is a hip hop radio, Like there's no there'd be
no hip hop radio without hip hop music. Like hip
hop music literally created hip hop radio. Hip hop became
such a big genre of music that there was a
need to have hip hop only radio stations.
Speaker 1 (27:01):
On the next episode of the Fifty Years of Hip
Hop podcast series, we're gonna get deep into what the
MC does and what the MC is all about. All
of this thing started with DJ's you know, mixing and
cutting and scratching out as a foundation. Those dudes that
hold that MC took it to another level, and the
(27:23):
rapper man. That's really something that we're gonna dive deep
into and talk to some of the best that ever did.
This episode has been executive produced by Dolly S. Bishop,
hosted and produced by your Boy Fab five Freddy. Produced
by Aaron A. King Howard, Edit mixed sound by Dwayne Crawford,
music scoring by Trey Jones, Talent booking by Nicole Spence,
From I Heeart podcasts, I Am Fab five Freddy and
this it's fifty years of hip hop podcast series. You know,
it's really amazing to think how far hip hop on
the radio has come. That was another piece of how
it used to be back in the days. But it
took a minute and that shift of radio coast to coast,
(00:23):
you know, mainstream stations and all these cities and states
not playing the music, that began to change in a
significant way. You know, it was a cultural shift. You know,
hip hop really has been a cultural revolution, you know,
the entire culture. It was not easy to get to
the point where you just hear hip hop on a
radio station all day, all the time, you know what
(00:45):
I mean. It was just not happening. It was massive
and major resistance. And you know, as far as that goes,
it literally was in twenty eighteen when rap overtook rock
as the most popular genre for music enthusiasts. And that's
across all the listening platforms you know, Spotify, Apple, eight
(01:06):
to Z. And so it's interesting that we're gonna get
deeper right now with some people that have worked in
radio all aspects of it, to give us the four
one one on how this all came to be, And
of course we got to get into New York's Hot
ninety seven pioneering and had the courage to step up
and be the first in New York City to go
(01:28):
all day, all the time with hip hop. Once again,
gotta give props to LA's kDa Y. They were the
first to do it on AM. But when we got
to going in New York, got to take it to
another level, no doubt doubt. Mony Love British born Grammy
(01:53):
nominated rapper and radio hosts.
Speaker 2 (01:55):
Hip Hop Formatic Radio.
Speaker 3 (01:57):
Once it kicked off and once other stations started up,
it definitely changed the scope of a radio period because
it's a window into all the neighborhoods and all the
areas and all the all the economic structures. It's a
window into that, right, It's a window into the Bronx.
It's the window went to Brooklyn. It's a window Winter
(02:17):
Crench Shaw, It's a window winter, you know. And it
definitely changed because now there's music flowing across all of
these air waves from artists that comes from all kinds
of economic backgrounds and then essentially speaks to people from
all economic backgrounds, and radio realizes now that they just
(02:39):
remember once before it was shut out. People didn't know
it was only to fly, the pretty and the glamorous.
Would hear the fly, the pretty and the glamorous or
on the radio, you know, and then it turned into
the fly, the pretty, end the glamorous. Now here people
out of apartments in the Bronx that ain't got windows.
Speaker 2 (02:59):
You know what I mean. So it changed the.
Speaker 3 (03:01):
Landscape of radio for the simple reason that radio became
a direct conduit into knowing what's going on in areas
that people perhaps don't live in. And that has continued
so now on any given award show, on any given
radio station concert show, you see all kinds of people
from all economic backgrounds come into that show to see
(03:22):
their favorite artists that also come from all different types
of economic background. But yeah, I'd say it definitely changed
the landscape of radio, period ed.
Speaker 1 (03:31):
Lover Rapper, actor radio personality and former MTVVJ.
Speaker 2 (03:37):
Oh My God.
Speaker 4 (03:38):
Well, First of all, we bought the energy to radio
because there was no on hip hop radio station in
New York at the time. I remember a few years
earlier VLS had had all R and B, no hip hop,
like they had a slogan about them not playing rap
music on their radio. So once we came in, the
(04:01):
energy just automatically shifted because there was some place for
them to get played and they did not have to
wait for a specialty show. They didn't have to go.
I mean, God, bless everybody that I don't want this
to come out wrong because I don't want people to
think that I'm on my own and like these dudes
didn't matter, because they did matter, you know, the awesome
(04:24):
too matter, stretching, Barbido matter. You know, that was their
outlets for them to get their stuff played. There was
no FM that was just on a regular, everyday basis
playing hip hop and that's what Hot ninety seven was.
So once that happened, it really shifted the whole dynamic
(04:45):
of radio and hip hop radio in general. You know,
Steve went on to have a great consulting career, giving
away all the secrets that ed he gave us and
building all of these stations across the contry because there
was no real outl but he was the guy that
convinced them that it can be done. At m MISS Broadcast.
(05:06):
It convinced Julie Ellis running to hire some other dude
for the programming, and Steve convinced her that this can
happen at Disadviable and he won. He took a chance
of gamble. He took a gamble on me and Drake
because we had no real radio experience. I mean, Dre
did a del Fi radio and we did BLS Friday
(05:26):
and Saturday, but we didn't have that everyday experience. That's
what Lisa was there, you know, and it worked, and
it worked big time. So it shifted radio period because
now is the biggest market in the country. If you
made a rap record, there was some place that your
record can go into regular rotation, you know, not you
(05:47):
just got to wait for Red Alert to play it,
or you got a wait for Marley to play it,
or miss the Magic to say it.
Speaker 3 (05:52):
You know.
Speaker 2 (05:54):
That's it shifted everything for everybody.
Speaker 1 (05:58):
Dj MB radio personality and host of the Breakfast Club.
Speaker 2 (06:02):
Thank god.
Speaker 5 (06:03):
I got lucky enough to be from New York where
the first hip hop radio station, big radio station, i
should say, was Hot ninety seven. That was one of
the big stations that was able to go from you know,
pop music, come Bibia, Cam Baby, Bba Call came to
hip hop. And I was lucky enough to be a
part of it where the whole thing was based off
of hip hop.
Speaker 2 (06:23):
And I got lucky.
Speaker 5 (06:24):
You know, there was college stations that played hip hop,
am stations that played hip hop. We never had a
real big station and not ninety seven was the start
of that money love.
Speaker 3 (06:33):
Mister Magic and Molliemore are the Ore and Red Alert
opposite stations. Are the ambassadors, not part of an ambassador group,
the ambassadors of breaking down stereo typically musically biased radio
(06:54):
and allowing the floodgates to be open for hip hop
culture to be listened to, appreciated, and understood. They're the gatekeepers.
They were the ones that was like, look, radio, you
better see what the heck is going on and be
a part.
Speaker 2 (07:12):
Of this before it takes you its steps on you.
Speaker 3 (07:16):
And basically mister Magic, Molly Maul and Red Alert those
were the gatekeepers for hip hop culture.
Speaker 2 (07:22):
They are the gatekeepers.
Speaker 3 (07:24):
For hip hop culture's popularity across all broadbands.
Speaker 4 (07:28):
Ed Lover, of course you know mister Magic, Molly mal
who DJ read Alert an all Radio, the Supreme Team
show Stretching Bobbito definitely the Awesome too. Absolutely, without the
shadow of a doubt, the Morning Show with Ed, Lisa
and Dre for sure from Flex for sure, you know
(07:51):
on the reggae tip for sure, Angie for sure, what
she's been able to accomplish Our love absolutely would say
the Breakfast These are the you know, that's just some
of them, staple shows in New York City that have
managed to change the landscape.
Speaker 1 (08:11):
This is going to be fascinating getting this story here.
It's really amazing about what happened at Power one oh
five point one with The Breakfast Club. This has become
hip hop's most influential radio show ever. Power one oh
five ones the Breakfast Club. They also like to call
(08:32):
it the world's most dangerous morning show. And it's based
in New York City and it's hosted by DJ Mby
and Charlemagne the God. Angela E, who was the third
of the co hosts, recently left to do her own thing,
but they're currently syndicated around the country, and of course
Charlemagne is doing a lot of other things, as is Enva.
(08:52):
But the morning shows brilliance and popularity and longevity have
been revered and really has served as a beacon. It's definitely,
without question, the most impactful hip hop morning show ever
Doc Winter, iHeartMedia, President of Hip hop and R and
B Programming and program director at Real ninety two point
(09:12):
three in LA.
Speaker 6 (09:13):
And The Breakfast club Man Breakfast club Man Like Wow.
Calik Jack was the program director in New York, legendary
program director Brilliant Mind looking for a morning show. I
can't remember who previous morning show was. It might have
been Big Tigger after Star was gone and we had
a show that was on him for a little while.
(09:35):
And so I remember, you know, talking to him and
he said, hey, you know, at this idea for the show,
and you know, these are the three people. Remember Envy
And of course I remember Envy because Envy was embroiled
in the whole thing with Star when he left. And
I remember like, okay, so we hired a guy that
you know that suit us. I guess, okay, you know
(09:56):
that's fine.
Speaker 1 (09:57):
I mean, I get it.
Speaker 6 (09:57):
We were wrong, and so this's you know, then you
know this guy named Charlemagne, and then you know, I remember,
you know, him referencing Angela.
Speaker 1 (10:05):
I'm like, okay, cool. So I find in New York
for a meeting.
Speaker 6 (10:09):
And we're in the conference room and you know, they're
just being themselves. They're just talking and joking and ribbing
one of each other. And I think the reason why
I was in the meeting at that time was because
there was this notion when we moved to this new
measuring system called PPM. It's the one that currently exists.
(10:31):
It's a meter that things move really quickly, that we
should know within you know, weeks or months, that whether
or not a show was going to work or not.
It had been several months, might have been six or
eight months by then, and the show, you know, patton't
gained any traction yet from a ratings perspective. So I
was kind of like, I was kind of going in
there basically to say, yeah, it's going to Oh no,
(10:55):
it's not going to work. And I remember being in
a conference room with them, and I had heard the
show on the radio, but I remember being in a
conference room with them, and I was like, man, like,
this thing that they have between them, this relationship, this
this energy, like when this hits, when this when the
(11:23):
when the audience comes. And and what we we we
since learned is that people's behavior still has to change.
So whatever that previous show was that left the audience
said Okay, well, that show's left, So I'm gonna go
over here, and I'm gonna go over here, and I'm
going over there. And so in my mind, based on
what I saw, I was like, when these people come
(11:44):
back and spend time with this show and get to
understand the roles of these characters, and this thing could
be huge. But I will tell you that I had
no idea would be as huge as it once. I'm
not even gonna sit here in front and tell you
I knew it was like I knew, I knew it
was good. I knew what I heard in that room
(12:06):
was great, the chemistry, the camaraderie. But and then the
internet hits and what they were able to do with
their From a social.
Speaker 1 (12:18):
Perspective, some of you guys listening to this probably began
your morning listening to The Breakfast Club. Right now, we're
going to get into the whole story of how these
guys put this dynamic show together. Charlamagne the God, co
host of The Breakfast Club, founder of the Black Effect
(12:38):
podcast network and Media Mode.
Speaker 2 (12:40):
All of us were sidekicks. I was a sidekick for
Wendy Williams. Vy was a sidekick from the Jones Angelie
at the time was the sidekick for Pipe the Sounds
and me and Me and Nby knew each other because
we would run into each other all the time. NB
helped me. I had an artist you know at the
time named Little Roothe and Little Rules from South Carolina.
You know, you got a song called Nasty Song and
(13:02):
a lot Lotto just redid it actually, and Envy was
like the first person to play that song on a
national level, like he played it on High ninety seven.
Meet him and Wendy's husband, you know, had had a
lunch meeting one time. But I was just trying to
I was telling him what I was doing with South Carolina,
trying to tell him what I was doing with breaking
the artist. You know, we the next state from the
South to pop off. We've never popped off, YadA, YadA, YadA,
(13:24):
And he just played the record off the strength. So
we've had a relationships since way back then. That was
like oh seven or eight, you know Angela Yee. You
know when I got fired in two thousand and the nine. Yeah,
when I got fired from I think it was before Philly,
when I got fired from Wendy. It was either when
(13:45):
I got fired from Wendy in before Philly or right
after Philly. Angela was doing her show on Shade forty
five and she used to invite me to come up
with co host. So I used to go up to
her Shade forty five show and co host with her
on the morning show. So we definitely had a relationship,
you know what I mean. I remember g spent texting
me when I was on with Angels like, Yo, y'all
sound really good together. You know, that was actually supposed
(14:07):
to be this shit. It was supposed to be me
and Angela ad first, and then they put Envy in
the mix because Envy was the guy in New York
that everybody knew dj MB who got with me.
Speaker 5 (14:18):
They was like, well, we wanted to make a DJMB
warning show and I'm like nope. And I was like,
well why not? I said, well the reason why is
this is what I'm thinking. I'm like, if the show fails,
I can't go back to mid days, I can't go
back to the afternoons because I'm gonna look like a failure.
Speaker 2 (14:31):
I said.
Speaker 5 (14:32):
And also, whether you bring on the team, you never
want them to feel like somebody's bigger than the other,
because that's when you get jealousy. So at the time, Charlemagne,
who was fired a couple of times, was sending in
Cadillac like skits and conversations and he was trying to
go and Cadillac really liked Charllemane. He was like, yo,
I think you should work with Charlemagne.
Speaker 2 (14:49):
And I'm like nah. He's like, well why not? I
say done?
Speaker 5 (14:52):
He got fired three four times. Bro, I'm like, I
got kids. At the time, I had two kids. I'm like,
I got kids. He's like, no, on what I think
Charlamagne's good. You should have a conversation. I was like,
I know, Charlemagne but scary. He was like, nah, he's changed,
He's changed quick. Then he was like, we got this
girl that we're thinking about, Angela Yee.
Speaker 2 (15:09):
I'm like what.
Speaker 5 (15:10):
I'm like, she works at satellite radio. She cursed us
like a Sela. You ever heard a show one of
these curses were out of here. No, we're gonna talk
him down. We're gonna we're gonna make sure that she
does a curse.
Speaker 2 (15:20):
So I was like, all right, well let's try it.
Speaker 1 (15:22):
Let's rock out.
Speaker 5 (15:23):
And they kind of put us all together in the
room and started, you know, practicing and going through stuff,
and you know, we started coming up with names. At
the time, Lebron just went to Miami, so we was like, yo,
let's call us us the Big Three. Then like you know,
did Charlmae was like, Yo, let's do a luminanaut in
the morning. Let's do this one and that one and
that one and that one. And then somebody said the
Breakfast Club was like, let's do it, let's rock with.
(15:44):
We started from then and the first couple of months
we was trashed.
Speaker 1 (15:49):
Horrible.
Speaker 2 (15:49):
I'm sucky. We couldn't get right.
Speaker 5 (15:53):
It was really really, really really bad, to the point
where they looked like they were gonna flip the switch,
changed the whole station the country. That's how bad we were.
And then ray J happened at one drunk night when
ray J was out in Vegas and he called I
was in the middle of my mix. I remember he called, Yo,
RAYJ is on the phone. Ray was separated.
Speaker 2 (16:14):
We're gonna put you on. Just don't curse, all right?
I bet envy ray Yo, Charlemagne IV?
Speaker 1 (16:23):
What what happened?
Speaker 3 (16:26):
Are we live?
Speaker 1 (16:27):
No? No?
Speaker 2 (16:27):
No, no no, yes, yes yes we live?
Speaker 1 (16:30):
Yes? Okay, So I ain't gonna curse with these punks
and excuse my language, but you know what I'm saying,
be whoever you want to be, love whoever you want
to love. I didn't mean it like that.
Speaker 5 (16:42):
I just meant when you want to disrespect me and
the Money team, And we got seven rose voices.
Speaker 1 (16:48):
Outside and we just made three hundred and fifty wax
on it.
Speaker 3 (16:50):
Don't disrespect me me.
Speaker 5 (16:52):
He did that, and now was probably the first, the
first viral moment ever Ray J in Vegas talking about
five being with Floyd Maywebber and that clip just started going.
Then everybody wanted to know who those three individuals, Who's
the breakfast club?
Speaker 1 (17:07):
Who is that?
Speaker 2 (17:07):
Who is this breakfast club people?
Speaker 5 (17:09):
And now it just started growing, growing and growing, and
you know, we all have relationships. I have relationship with
World Star because I knew Q.
Speaker 2 (17:17):
I have relationship with.
Speaker 5 (17:18):
This Is fifty because me and fifty was cool. You know,
we have relationship with Jasmine Brand and all these things.
So we would use them as our tool and use
them as a form of promote before people started doing it.
So all our videos were on World Star, all our
videos were on This Is fifty, And it just started
growing and the rest is system.
Speaker 1 (17:34):
This is special right here getting a four one one
on how DJ MV and Charlemagne the God created that
special secret radio Sauce Baby, the Breakfast Club, Charlemagne the God.
Speaker 2 (17:48):
We are the longest running syndicated morning show that came
from hip hop Sluthor Tom Joining Sluthor, Douve Banks Legends,
p'h bleft the Dead Tom Banks legends, you know. But
they were adult contemporary. They were rooted in the adult
contemporary from the beginning. We are a hip hop radio
(18:10):
show that started from a hip hop and R and
B radio station, you know, Power one oh five. And
this is why I can't wait to do the Breakfast
Club documentary because if you look at the last thirteen
years of media that derived from the structure of the
Breakfast Club. You know, thirteen years ago when we came together,
(18:32):
I was putting my interviews online, and we were putting
the interviews online. Angelie was putting her interviews all line.
That was the one request that we had the ieeard like, yo,
y'all gotta have a camera in here with us every day.
Every interview gotta be recorded, Every interview gotta go online.
You know. We started that. We started that trend of
radio stations doing that, making sure that their content was
(18:55):
online every day, making sure that their interviews were online
every day. We were the ones having those long form
conversations and putting them up online thirteen years ago, way
before podcasts, you know what I'm saying, Way before other
other radio shows that were doing that. That was us,
and so that's that's that's to me. We changed the
landscape of how people, you know, distribute their content, and
(19:21):
I think we changed the landscape of how a lot
of people in the hip hop space, you know, conduct conversations.
You know, don't get me wrong. Long form conversations existed
way before us, way before us. You know the Barbers
Walters and the Diane Sawyers, and you know the Wendy
Williams and you know even Angie Martinez, you know, but
(19:42):
even with them, I don't know how long form Angie
and Wendy's interview were. They always seem like conversations. I
don't know how long they were. But we we're the
ones that started taking that content, putting it all one
and if people really look back at it, like we
change the landscape of not just radio forever, but but
media in general as far as like podcasts and everything
(20:05):
else dj MB.
Speaker 5 (20:07):
If it wasn't for the Breakfast Club, a lot of
these people wouldn't be doing podcasts like it influenced the
long the long interview form. You know, think about it,
We do interviews for an hour. Nobody was doing that beforehand.
They were doing segment's ten minione interviews can get him
out and in and out. We were doing the long interviews.
Watch the long interview online and you know, break it
up for for things like we are fluence so much
(20:27):
where other companies have tried to create their.
Speaker 1 (20:30):
Own breakfast club.
Speaker 5 (20:32):
You're this person, You're that person, You're this person, you know,
and it has it worked, no, because it's like every
once in a while, and I'm not just saying it
because I'm part of it, but every once in a
while you get that one special piece that's like this
is special. That was the Breakfast Club. That was Michael Jordan,
that was Lebron, that is Hove, that is those pieces
(20:54):
that you'd be like, wow, this is just it's just
so organic. Like if you look at all those people
like they were just like, oh he was organic. He
wasn't you know, billions of dollars putting into him. He
was a street dude that just caught on in people
like and that's what The Breakfast Club was. I do
think The Breakfast Club is the most impactful, longest running
(21:15):
hip hop morning show ever.
Speaker 2 (21:18):
That is a lot of other morning shows, whether it's
ed Love.
Speaker 5 (21:21):
And Dre, whether it's Tom Joyner, whether it's a Starring Buck,
whether it's all those shows. But I just think as
far as longevity and what we created and started, it's
just something different.
Speaker 1 (21:39):
I mean, keep in mind, radio is still important, don't
get it twisted, but it's definitely nowhere near as important
as it used to be, largely due to streaming platforms
like where you guys are probably listening to the podcast
right now. Millions and millions of songs are just a
few clicks away, and once again, podcast like what we're
(22:01):
doing right here. So make sure you tell a friend,
tell a friend to tap on it as we break
this fifty years of hip hop history all the way down.
Charlemagne the God.
Speaker 2 (22:11):
Yeah, I've never known anything but rap. You know, I'm
forty four years old. I was born in nineteen hundred
and seventy eight, so you know, the first time I
ever heard of rap record was my cousin Tie let
me hear Eric being rock campaign in full. I was
like ten years old, you know. And my sister and
my oldest sister, she was salt and pepper and kidn't
play like. She was all into that. And you know,
(22:33):
I tell people all the time, rap has never been
anything but the biggest to me because even growing up,
the TV shows we used to watch were all hip hop. Like,
you know, you watch Martin, and hip hop artists would
be on Martin, you know you would watch I remember
watching Cosby Show when cousin Pam Eric Alexander started showing
up and she was hip hopped out. You know, the
(22:55):
fresh Prince of bel Aad. That's the fresh Prince. That's
Will Smith DJ Jaddy Jeffers on the show Limit is Single,
Queen Latifa was all limits single like hip hop can
play in house party like. Hip hop was always the
biggest thing to me. There's never been a time in
my life where I looked at hip hop as a
subgenre like hip hop has always been my world. The
(23:16):
music we listen to, the TV shows we watch, hip
hop was all around us. It always felt like to me,
everybody else was laid on hip hop and lovely.
Speaker 4 (23:24):
Before when we first started, I would say radio help
propel hip hop, but now I say hip hop keeps
radio alive. Definitely, absolutely in this market, today's age Absolute
dj NB.
Speaker 5 (23:38):
I think hip hop has definitely kept radio alive. But
I also feel like it's the people buying it. Everybody
wants to tap into our culture. Everybody White, Asian, Indian,
doesn't matter. Because our culture, Black people, African American people,
(23:59):
we make and if you look at any culture out there,
they want to be a part of it. Where they
dress like us, talk like us, sing like us, drive
like us.
Speaker 2 (24:12):
Like we make everything cool.
Speaker 5 (24:14):
And if you think any other culture out there, other
people might take little things here and there, but not
like this. We could put bigger rims on a car,
We could put TVs in a car, We could put
swangers where these big ass things that come out like
and we make it cool.
Speaker 2 (24:30):
We made baggy jeans hang off your.
Speaker 5 (24:32):
Ass cool, where these designers are making jeans that look
like they hang off that your ass. You know, we
made the fact that you can wear you know, throwback
jerseys cool. You know, we make the fact that you
wear Jordan's cool. Like everything that we do and talk
and wear and slang.
Speaker 2 (24:50):
We made cool.
Speaker 5 (24:52):
You got every culture wearing masks now to this day,
full shisty masks where if like you got white kids
Suburbia wearing them, there's no reason to wear them. They
wearing because that I mean even to the point where
to something as little as you go to La and
you see, you know, these kids from Suburbia wearing hoodies
(25:12):
in the summer because their favorite rappers are doing it,
their favorite artists are doing it. So that's the type
of thing that our culture creates where the world wants
to follow it. I'm just mad that the world makes
money off of it that we don't make. But we
create so many different fads, jewelry chains, the watch is
to blame the ice to this, to that, to this,
(25:33):
to that. You know, I just wish that we was
able to profit off for a lot of that stuff.
Speaker 2 (25:37):
Charlemagne the God hip hop is absolutely you know, kept
radio alive. And that's why it's so interested now that
we live in a culture that's kind of like reversed
a little bit, right because right now hip hop media
keeps a lot of rappers alive because sadly, a lot
of these rappers are known more for they say in
interviews than they are, you know, for their music. You know,
(25:59):
sometimes these was got to go do a great conversation
just to get people interested in their music. And I
think that's something that rappers started noticing years ago because
and it wasn't just the breakfast stuff. I got to
sleute our got combat Jack rest in Peach Reggio Sa.
You know a lot of rappers were going to him
early early, like like the j Coles and then we're
going to sit down with him and have these long
(26:21):
form conversations because they know that they were able to
sit down and be able to express themselves in ways
they probably couldn't do in the more you know, quicker interviews,
and they were able to go in there and kind
of like sell their music because that's what you had
to do, right, Like, you you can't just put out
the music anymore. You had to kind of like sell
your music, you know, to the people. And that's what's happened,
(26:42):
That's what's happening now. Hip Hop is the reason there
is a hip hop radio, Like there's no there'd be
no hip hop radio without hip hop music. Like hip
hop music literally created hip hop radio. Hip hop became
such a big genre of music that there was a
need to have hip hop only radio stations.
Speaker 1 (27:01):
On the next episode of the Fifty Years of Hip
Hop podcast series, we're gonna get deep into what the
MC does and what the MC is all about. All
of this thing started with DJ's you know, mixing and
cutting and scratching out as a foundation. Those dudes that
hold that MC took it to another level, and the
(27:23):
rapper man. That's really something that we're gonna dive deep
into and talk to some of the best that ever did.
This episode has been executive produced by Dolly S. Bishop,
hosted and produced by your Boy Fab five Freddy. Produced
by Aaron A. King Howard, Edit mixed sound by Dwayne Crawford,
music scoring by Trey Jones, Talent booking by Nicole Spence,
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