June 30, 2025 • 44 mins
In this episode, Cari chops it up with a true legend — Big Daddy Kane. We discuss the legacy of Rock the Bells, the roots of hip-hop, and why storytelling remains at the heart of the game.
Kane takes us back to his battle rap days and walks us through his rise, from hungry lyricist to certified pioneer. We delve into the creation of classics like "Smooth Operator," what it means to perform with purpose, and how his style continues to be reflected in today’s artists.
We also break down the many layers of hip-hop, conscious rap, mainstream hits, battle bars, and why it all matters. Kane drops gems on where the culture’s been, where it’s headed, and how artists can protect their legacy by knowing their worth and their business.
This one’s for the hip-hop heads, the artists, and anybody who still believes in the power of authenticity in music.
Connect @CariChampion @OfficialBigDaddyKane
Learn More: RockTheBells.com
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
Welcome to Naked Sports, the podcast where we live at
the intersection of sports, politics, and culture. Our purpose reveal
the common threads that bind them all. So what's happening
in women's basketball right now is what we've been trying
to get to for almost thirty years. From the stadiums
where athletes break barriers and set records.
Speaker 2 (00:22):
Katink broke the all time single game assists record. This
is crazy for rookies to be doing.
Speaker 1 (00:28):
Our discussions will uncover the vital connections between these realms
and the community we create. In each episode, we'll sit
down with athletes, political analysts, and culture critics because at
the core of it all, how we see one issue
shines the light on all others. Welcome to Naked Sports.
I'm your host, Carrie Champion. Hey everybody, I welcome, Welcome,
(00:57):
Welcome to another edition of Get Sports. I appreciate you
being here, family, because we are so close with one another.
I am going to tell you a true story growing up.
Not that I don't always tell you true stories, but
growing up, your girl wanted to be a rapper. And
this is all gonna make sense in a minute, so
just stay with me here. I literally wanted to be
(01:18):
a rapper. I grew up in a time when hip
hop was you know, brand new, I you know, and
people on the West Coast, because I grew up in
LA people on the West Coast were just now understanding rap.
My particular genre of rap growing up was gangster rap.
It was Eazye and ice Cube and Snoop and Dre
and there was a group called jj Fad and Yo
(01:39):
Yo and I'm going down to all the people. And
of course I knew Salt and Pepper from New York.
They were like all time right, And I would write lyrics.
I would just write them all the time, just on
the bus school bus with my homegirl d D.
Speaker 2 (01:53):
Shout out to d D.
Speaker 1 (01:54):
I don't know where she is anymore, but that was
like my middle school homegirl and middle school literally writing rhymes.
I knew that I was going to be a rapper.
Clearly that did not pan out. However, I used to
write like the Bubblegum one two three C A R
with Ni Carrie. Yeah, I am so live. See as
for the crabs that swim in to see because when
(02:15):
I wrapped to the vat, they wrapped with me. As
for the action, that's what I get because when I
wrap on the mic, I just won't quit. You know,
that's just a taste. I still freestyle. That's just a taste.
And I also entered into a radio It was a
radio contest and if I if my rap was chosen,
(02:37):
I would win, like some gift certificates to the local
swap meet, some just real real nonsense stuff you just
think is important. And it was about cross chords. If
you grew up on the West coast, cross chords is
a thing. This is only for a particular type of audience,
not cross colors, but just cross chords. Cross color also
was a thing, but cross chords specifically in La was
a thing. It was quarteruray pants that went you know,
(02:59):
left to right, not up and down. I don't know why,
but I say all that so you guys can hear this.
This next verse, I'm about to spit. Crosschords are the
latest sensation. They sweep in everybody all across the nation.
You can wear them with silk and sway leather flats,
and if you don't like them, you can take them back.
And if you want to pay it for yourself, just
go to the swamp meat. They own the shelf. They
(03:20):
have a men every color that you want put on
your old cord. So you ki fly your body. You
look the way did you walk? I'm about to sign off,
but here's a thought. Cross chords by a word because
you just say word all the time.
Speaker 3 (03:32):
Word.
Speaker 1 (03:32):
I don't know what that means. I found the right profession,
is what you're saying. You all would have been done
with my hip hop.
Speaker 2 (03:44):
Anyway.
Speaker 1 (03:45):
I say all that to say I really, truly, really
truly thought I was going to be a rapper. And
I listened to the likes of the person I am
interviewing today. He was sexy and fine and chocolate and
coo and had all the things like in my mind.
Speaker 2 (04:03):
He in my mind. Also he felt.
Speaker 1 (04:06):
Like a real grown man, like an older grown man, right,
and and I remember thinking, oh, man, I love him
so much. And so I will tell you who it
is in a second. But I had a good friend
call me and say, hey, Rock the Bells is this
weekend and I want to know if you want to
interview some of the folks in the lineup. First thing
I thought was, yeah, I want to talk to oh Cooljre.
(04:26):
She's like nol LL doesn't want it to be about him.
He's gonna put some of the pioneers of hip hop up.
He wants them to get their flowers. He wants them
to have the time and attention they deserve, one of
which is our guest today, Big Daddy Kane.
Speaker 2 (04:40):
Ain't no half step in.
Speaker 1 (04:44):
I'm Big Daddy Kine. And then because I'm a smooth operted,
I'm off feet.
Speaker 2 (04:51):
But you get the point.
Speaker 1 (04:53):
And I think it is really really special what Rock
the Bells has been trying to do. And I'm gonna
be honest with you, I didn't understand that Rock the
Bells wasn't just a concert or a radio station where
you can listen to hip hop. It is a movement.
And by that I mean there is merchandise. There is
(05:13):
a Rock de Bell's Cruise, there are Rock de Bell's
live events outside of this concert that will be happening.
It already has happened by the time you listen to this,
right the concert that happened in Jersey at the Prudential Center.
But it's a really beautiful thing. And what they're trying
to do is honor the legends of the past. Was
still telling the stories of the future. And today I
(05:36):
had the opportunity to talk to Kane, because that's what
he told me to call him, because we're best friends,
and he wanted to share with me just his history,
just his knowledge, and he was a great interview. For
those of you who know about Rock the Bells, they
do not miss. It's an all day performance and you'll
have folks like Eric b and Rock Kim karras one
(05:58):
rock Sane Chante too short. You've got to get some scarface,
you got to get some love to the West Coast.
Of course, I mean so many Redman remy ma must
of Rhymes. It's called the Class of twenty twenty five.
Summer's Cool. So I think that what Rock the Bells
has done is really special. I don't think that we
(06:20):
give enough flowers to those who have come before us,
and we don't respect them in the way that they
deserved to be respected because of what they've been able
to create. And so on today's podcast, that is what
we will do. Kin will tell us some stories, we'll
give some love to Rock the Bells, and we'll also
talk about the art of hip hop. And while people
thought it was just a fluke fifty plus years strong,
(06:41):
fifty one, now I think and it has become more
than I'm sure that most people thought it would ever be.
The evolution of hip hop is special. So sit back,
relax and enjoy. Big Daddy Caine so excited to have
you on here, Big Daddy Kane. I'll call you Kane
because we're best friends. You told me that, So now
that we're best season, we got that out of the way.
(07:03):
We are here to talk about Rock the Bells Class
of twenty twenty five. Some are cool which you are
performing this weekend in the lineup, and I'm excited about it.
Speaker 2 (07:13):
Talk to me about Rock the Bells. It's a movement.
Speaker 1 (07:16):
I really truly didn't know what I didn't know, and
it is a movement.
Speaker 2 (07:21):
Tell me about Rock the Bells.
Speaker 4 (07:23):
Yeah, well, I mean it's a movement, like you said,
but it's a beautiful movement for a simple fact that
you know, music is eternal, Music is infinite, you know,
and we're at a point in life where hip hop
has not just parents, not just grandparents, but great grandparents
you know that were raised in hip hop, and Rock
(07:45):
the bell showcases all those different generations and not like
it doesn't classify them, you know, you know, it doesn't
classify them like, you know, this is the ass, this
is the nineties, this is the eighties, this is the seventies.
It just it's hip hop. It's all hip hop, you know.
(08:09):
And what Rock the Bells is doing is doing it
the right way where you respect your legends, you respect
your pioneers, just like rock does with Blue Springsteen's and
Rod Stewart's you know, blues does with BB King and
Bobby Blue playing and so on and so on.
Speaker 1 (08:26):
You know, it's interesting because I noticed it was a
part of the tagline, which is like it's past, present
and future, and you're truly a pioneer. I know that
your music. El's music just narrated my childhood. It really
influenced how I was able to express myself. And I
know there are people of this generation and obviously younger
(08:51):
who say, let me.
Speaker 2 (08:53):
Tell you something. I appreciate the storytelling.
Speaker 1 (08:56):
I'm really curious, Kine, how did you how did you
be again in the business and storytelling, The way in
which you would speak about your life, what was going on,
who you were, how fly you were, all of the things.
I want to know how that storytelling began for you?
Speaker 4 (09:13):
Well, growing up in Brooklyn, you know there were certain
things that you saw. You know, there were elements that
you saw when you're hanging out as a little kid,
and some of the stuff that used to fascinate me
was like, you know, seeing the hustler or the pimp
pull up, you know, and the big kop Deville or
Broham or the deuce in the quarter and sending the
kid to the store to get them a lucy cigarette
(09:35):
or you know, get them a can of bud Wiser
and telling us to keep change. And we got about
nineteen dollars worth of change, you know, like saying like,
you know, like oh wow, this is amazing. One day
I want to you know, So as I grew older,
you know, I grew into just figuring it. Also, I'm
a big fan of all the seventies movies like Black
Seas and the Matt Cooley Hide and all that stuff.
(09:57):
You know, So as I got older, you know, growing
into this, like this is the stuff that I identified with.
And luckily, one day in nineteen eighty four, I started
wrapping in eighty two, but two years after that, nineteen
eighty four, I was fortunate enough to meet Biz Walkee.
And this is someone that I asked for a rap battle,
and after the battle, he told me to get down
(10:17):
with him. We're gonna make some money. And thanks to him,
I was able to get you know, he asked me, though,
I'm helping to write his first album, and then he
got me a record deal with Cold Chillin, you know,
got me signed to my first label. So I mean,
how I really owe it all to Biz, you know.
Speaker 2 (10:33):
Shout out to Biz. I noticed that.
Speaker 1 (10:34):
I know that I was doing some research. You've been
performing or you had a performance where you were honoring
him and the proceeds went to I don't know what
the to. I don't know if it was his foundation,
but talk to me about how you were trying to
keep his memory alive.
Speaker 4 (10:50):
I definitely tried to keep his memory alive, and I
often would like to acknowledge Cool v Y san Chante
and his wife Tara, you know, who also do a
great job of, you know, trying to keep his memory alive.
Speaker 3 (11:06):
You know.
Speaker 4 (11:06):
But I mean, you know, I think there's something that's
important because you know, there's so many hip hop artists.
There's so many, so many hip hop artists, and you know,
lots of times when you're gone, you're gone. But I
think that this dude is a legend that had such
such an impact, not just on the culture, but on
people like I think that everyone Biz met he affected
(11:30):
their life some sort of way. And still today I
meet new people that tell me about Biz turning them
onto this, Biz taking them there, Biz trying to help
them get a deal. I mean, this dude was literally
the hip hop for his gump.
Speaker 3 (11:43):
You know.
Speaker 2 (11:44):
Wow.
Speaker 1 (11:44):
And obviously you talk about how influential he was in
your career, and I'm sure in others when you think
about when he helped you get on, were you under
the impression that you would have such an imped Did
you know in that moment that when you're one of
the first, while it may not be easy, you're creating
(12:07):
something that is historical. Were you even aware of that concept?
Speaker 4 (12:12):
It was in my mind. It was the type of
thing where I'm watching What's Happening with run dmc BC boys, Budini,
Fat Boy is Done branched off into film, so I
see exactly how big hip hop is getting. And then
I'm also hearing a lot of R and B radio
personalities discredited it and saying that you know, it's just
(12:37):
a phase, which reminded me of the way they spoke
about rock and roll in the fifties. So I saw
the comparisons and I was like, Oh, this is about
to really really take off.
Speaker 3 (12:48):
This is going to be big.
Speaker 4 (12:49):
So, you know, in that process, I'm trying to figure out,
you know, my niche, what works for me. And you know,
I just started really study studying how to really become
a much better performer because I started as a battle rapper.
You know, I'd never been on those stage until I
got with BIZ, So studying how to be a better
performer and then also watching certain things that BIZ and
(13:11):
other people did, you know, to learn how to really
truly write songs.
Speaker 1 (13:16):
We're going to take a quick break because we have
to pay some bills. We'll be right back in just
a few moments. Battle Rap, I want to just take
a moment and talk about that. You said you weren't
necessarily a good performer, but I would think battle rap
(13:37):
is actually performing just a different audience, just a different circumstance.
What were the differences for you in learning how to
actually make this an art and perform on stage versus
battle rapping.
Speaker 4 (13:49):
As a battle rapper, I was learning from Muhammad Ali,
you know, I wasn't learning from a musical artist. I
was learning from Muhammad Ali how to get into your
head and feats you before we even said one single rhyme,
you know, how to get your fan base and your
boys on my side, you know.
Speaker 3 (14:08):
So that's where I was in battle rap with.
Speaker 2 (14:10):
What did what did Willhamma give you?
Speaker 1 (14:12):
You watched him in the ring and you felt you
felt like, Okay, I'm I'm just dissecting his technique.
Speaker 4 (14:19):
Yeah, Coovi brother, his DJ's brother, this dude named Craig.
He gave me this VHS of a lot of footage
from Ali from the sixties, and I was seeing like
stuff that he was doing to get into people's head,
you know, coming to Floyd Patterson gym and handing him
a bunch of carrots and telling him from now on,
(14:40):
your name is the rabbit, because he was saying that
he run your name is the rabbit, and you know,
stuff like that, and going to George Shavalo while he's
get the rings sparring, Ali next to him, you know,
acting like he's sparring too, just like the way he
was getting people heads, you know, and the way he
would talk to commentators and interviewers like during like press
(15:00):
day to talk about the other fighter's he was saying
stuff like like when he talked about George Foreman, I
think that he possibly created doubt in a lot of
people's mind when he was just sitting there saying.
Speaker 3 (15:11):
You never heard George, never heard nobody say round four.
Speaker 4 (15:16):
Down fifteen, you know when he was talking, and it's
like you think about that and say, yeah, George normally
knocked people out. He never had to get in the
scuffle and go to distance, and he's showing how slow
George through his punches. Rest in peace to Big George.
But I mean, you know, it was like he knew
how to get in people's heads and he knew how
to drag people in by the stuff that he said.
(15:37):
So that's what I was learning from from my lead
as a battle back.
Speaker 2 (15:40):
I love that I might have to take some of that.
Speaker 1 (15:42):
You know, that's actually really why So then as a
battle rapper, you get in their head and you say
it's a difference. Now when you are performing on stage,
what is that difference? Is it cadence? Is it breath work?
I mean, I know there's a physical aspect of it.
Speaker 4 (15:56):
Well, I think one of the first lessons that I
learned was that if you stand on stage and just perform,
you know, the song identical as it sounds on record
or tape, then basically people just watched the album. You know,
(16:18):
they call their house, they heard the album there can't
be a show, and watched the album. You gave them
nothing special, you gave them nothing different. There was no twists.
So one of the first things I did, Okay, what
can I do different that you haven't seen me? I
mean that you haven't heard me do on the album.
Speaker 3 (16:35):
You know.
Speaker 4 (16:36):
So that was one of the first things I thought
was important. And then also like really finding myself. I
remember hanging out with Dougie Fresh and he showed me
these videos of Earth Wind and Fire and Michael Jackson
and was saying that, like everybody else is trying to
study from Run DMC and Houdini and incorporate stuff they
used to do, but I'm studying from Earth from the
(16:58):
Fire Michael Jackson because they're not hip hop. So when
I'm learning from them, I'm introducing to hip hop. And
I'm like, okay. So that next morn That next morning,
I went and bought Marvin Gaye, James Brown, and Barry
White on VHS's and I started studying from them.
Speaker 3 (17:14):
You know. You know, Gary had a unique way.
Speaker 4 (17:17):
Of identifying with one particular person in the crowd. He
would acknowledge it one particular person, you know, he his
song and stuff, and then he just looked at one person.
Hey there, you know, you know, you know, so like
learning how to do stuff like that. And then James Brown,
you know, with with the Flames, you know, and they
doing their dance routines. So I got schooling scrap and
(17:40):
we started trying to, you know, emulate the James Brown
routines like that, you know, and you know, and Marvin
Gaye he just had like a certain sex appeal that
I thought would work with you know, with the women
on stage, you know, movement wise, as opposed to just
get you know what I'm saying. Marlin gay had a certain,
you know, sway of five him. I'm like, okay, I
see you wavin you know that type of thing, you know.
Speaker 2 (18:01):
He first and foremost.
Speaker 1 (18:04):
I love this because when I think about it, and
obviously there'll probably be more and you can correct me,
but you were one of the first to really like
in hip hop talk to the ladies like it's about
you like ya, this is for you.
Speaker 2 (18:15):
You were you were smooth Smooth Operator.
Speaker 1 (18:18):
All pun intended was when you did that, when you
would when you have you.
Speaker 2 (18:24):
Just be clean too. So you are performing.
Speaker 1 (18:27):
You come from a battle wrap world, but yet you
can bring that on the stage and still perform. But
also you wanted to make people know that you wanted
to give them the experience. What was the writing process
for you, like smooth Operator? What made you write that.
Speaker 3 (18:43):
Well, Smooth Operator? It was like I wanted to.
Speaker 4 (18:48):
Like create something lyrical but mellow, you know, something I
wanted to be lyricol but I wanted it to be mellow.
Speaker 3 (18:59):
You know.
Speaker 4 (18:59):
Once I decided to use the Mary Jane girls all
night long, you know, everything kind of just you know
fell in place on his own, you know, like, Okay, yeah,
it's a smooth you know, Okay, we're gonna call this
smooth Operator. And when when Rick James gave me the nod,
you know, he gave me the okay. You know, everything else,
(19:19):
you know, just fell in place.
Speaker 2 (19:20):
What was that conversation?
Speaker 1 (19:22):
Like was it because nowadays you text people, you got
you have to actually physically call them back in the day,
what was that conversation like.
Speaker 4 (19:29):
Well, I mean, I knew that that was a big
record for the Mary Jane Girls. We were gonna have
to clear it. So I reached out to Rick to
ask them to help me clear it.
Speaker 2 (19:36):
And you gotta tell the story, all the stories. This
is what the podcast is for, Kane. What do you say?
Speaker 3 (19:45):
Well, can I yes? Can I use the fanity?
Speaker 2 (19:49):
Most definitely?
Speaker 3 (19:50):
Can?
Speaker 2 (19:50):
Yes?
Speaker 4 (19:52):
Well, when I called him and told him that I
made a song called Smooth Operator and it's Mary Jane
Girls sample, I'm gonna need you to help me clear it,
and Rick was like, use anything.
Speaker 3 (20:06):
You need to use in my house.
Speaker 4 (20:07):
It was a bigger record for them.
Speaker 3 (20:12):
That will you know.
Speaker 1 (20:14):
By the way, I know, I've heard so many of
stories about this man, and that's just the cadence, the language,
that is it how he talks, and so I love that.
Speaker 2 (20:22):
Okay.
Speaker 1 (20:23):
So then I'm curious because when you look as a
pioneer of hip hop, when you look at artists today,
do you see your direct influence on a particular artist?
I know you see it in general, but is there
a particular artist you're like, Okay, there's my influence, or
perhaps that artist remind you of yourself.
Speaker 4 (20:44):
The only one I mean, I've never had any of
them tell me that the new generation or you know,
but the only one that I look at and I
can really say that they remind me of myself would
probably be Lady London, really yeah, because she knows how
(21:08):
to combine lyricism plus sex appeal. And then also she's
very sarcastic. She's very sarcastic, you know, with her lyrics,
and then her cockiness. Her cockiness is hilarious, you know,
her cockiness is hilarious, like she like, it's the type
(21:32):
of thing where she noted, you know, she that one
and you know, and and and she don't mind putting
other people under pressure, making them uncomfortable in the.
Speaker 2 (21:42):
Room, and that was yeah, and that is you?
Speaker 1 (21:46):
Was you?
Speaker 4 (21:46):
Is you?
Speaker 3 (21:47):
Yeah? Oh yeah? Oh yeah.
Speaker 2 (21:50):
Okay.
Speaker 1 (21:51):
So then I think of some of the classics, and
obviously you're performing this weekend. How do you put a
set list together that you think think ultimately represents what
you are able to give to hip hop and what
you would like this generation, this new generation, past, present, future,
what you would like for them to receive when they
(22:12):
walk away. Like I just saw I just saw Cane
perform and it felt like you fell in the blank.
Speaker 4 (22:19):
Well, I mean, in all honesty, other than you know,
some sort of positive message and a good vibe. That's
the only thing that I actually try to give to them.
Other than that, I try to give them what I
think they want. You know, you're you're done, paid money
for a concert, and I think there's certain hits that
(22:41):
you want to hear, and so I try to, you know,
combine them, you know, so that you can you know,
get a chance to hear everything that you that you
wanted to hear. And you know, also you know, bringing
the energy, you know, bringing the energy, keeping it, you know,
real energetic, and you know, yeah, I want to.
Speaker 3 (22:59):
I want to. I want to.
Speaker 1 (23:00):
You get tired, you know, I'm looking at the I'm
looking at the list right Eric being Ron Kim. From
my understanding, you Rax Sane Chante's hosting kick Caprile be
there with the sets. I think and El said he
wasn't performing in general because he said it wasn't about him.
He wanted to make sure that everybody could be in
this space. The list goes on and on. I got
too short. I grew up on the West Coast, so
(23:20):
obviously I think of I think of too short. I
know him, well great, just a great dude when you
were in company with these with these greats, because the
behind the scenes has to be insane, and I know
the stories are wild, But when you look around, how
would you describe the contribution you all gave? What did
hip hop give to this world?
Speaker 4 (23:41):
I think that hip hop was something that it didn't
just give, you know, music. I think that it gave
a voice, you know, because like in R and B
and in rock, you know, rock had some protest songs.
Speaker 3 (24:00):
R and B.
Speaker 4 (24:01):
You know, you had What's going on from Marvin Gaye,
a lot of all Curtis Mayfield stuff, you know, was
very conscious. But I mean, I think that in hip
hop it was it was a type of thing where
it's coming from the youth. You know, you had nineteen
twenty year olds talking to nineteen twenty year olds about
(24:24):
you know, conscious matters and things is happening in the world,
you know. So I mean I think that you know,
it really gave musical voice, you know, and educate in
educating the youth.
Speaker 1 (24:40):
Hip hop conscious hip hop right, I don't even want
to label it, but like kras One, Eric Perman, Kim y'all,
everyone had a message. Do you see do you feel
as if conscious rap is as valued now?
Speaker 3 (24:56):
No?
Speaker 2 (24:57):
Why not?
Speaker 4 (25:00):
Well, I mean I think that, you know, it's you know,
like that was you know, a whole you know, structured,
you know, government thing. You know, because what basically happened
is like there was a time where, not just in
hip hop, not just in hip hop music period, where
there were songs that could play on the radio and
(25:20):
there were.
Speaker 3 (25:20):
Songs that couldn't.
Speaker 4 (25:23):
Before hip hop, you could hear an Ojay's Marvin Gaye
song on the radio. You couldn't hear Millie Jackson song
on the radio. You couldn't hear a Blowfly song on
the radio. And even on the eyes of the Brothers
when they did fight the power, they had to mute
when rob Ron said, boy, you see what I'm saying.
(25:45):
So stuff like that wasn't allowed on the radio. And
then all of a sudden, not they clear blue. When
hip hop gained such a strong voice and such a
strong connection to the youth, next thing, you know, the
most gangster stuff, the most negative stuff became the com
rosue hip hop and conscious hip hop was a labeled
as underground. You know, underground in my era was like
(26:10):
ghetto boys didn't get no radio play. They still sold
millions of records, but they didn't get radio play. You know,
Kuji rap didn't get no radio play. You know, there
was like it was like that, like all the gangster
rap was what was the underground sound? But then it
at first, you.
Speaker 2 (26:27):
Know, you mentioned gangster rap.
Speaker 1 (26:30):
I think everyone when they say gangster rap, I think
they think of West Coast initially, at least I do. Anyway,
that might have been the entrance into the world. How
do you think of gangster rap?
Speaker 4 (26:43):
Well, I mean you hear Ice t say it in
every interview that you know, when he got the concept
of gangster rap from school, he d that's a Philly dude,
you know, so and then you know that's what g
rap was known for. Of course, Ice Ta n w
a ghetto boys. I mean, you know, I don't when
(27:05):
I think a gangster rap, I don't say it's a
West Coast thing. I think that it's a genre inside
the hip hop genre that a lot of people.
Speaker 3 (27:14):
You know, try what is that?
Speaker 2 (27:16):
Okay, so wait, let's go there.
Speaker 1 (27:18):
So hip there's this big thing called hip hop, and
within hip hop there's different genres.
Speaker 2 (27:22):
There's gangster rap. There is conscious rap.
Speaker 4 (27:26):
Yeah, I mean, you know, in R and B you
have soul, you know, like you know, your Yourretha Franklin,
your Bobby Will.
Speaker 2 (27:35):
Mash Sure, Okay, okay, you know what I'm saying.
Speaker 4 (27:38):
You you have you have disco like your Donna Summers,
you have contemporary you know. So there's there's different there's
genres that live inside of the genres. So on hip hop. Yeah,
you have your gangster rap, you have your conscious rap,
you have your your mumble wrap, your trap. You know,
I mean, you know, there's you know, there's genres inside
(27:58):
of the hip hop genre.
Speaker 1 (28:01):
We're gonna take a quick break because we have to
pay some bills. We'll be right back in just a
few moments. I would like to get your take on it.
You're such a historian, Like whether you understand it or not,
and I'm sure you do. When you talk about your
(28:21):
performance and what you leaned on and others that you
looked at and how you went outside of the world
that you knew to perform and to obviously be inspired
with your music, to me, that is absolutely amazing. So
I'm really curious because you've as a pioneer in this
business when you look at obviously, what had everybody in
a choke hold was the back and forth with Drake
(28:43):
and Kendrick. When you think about that that battle rap,
if you will, how would you describe that outside looking in?
Was there a clear winner? Was there a clear loser?
Did hip hop win in general or did it lose?
Speaker 4 (28:59):
I think that hip hop won because Kendrick opened the
door to harder sounding hip hop gaining commercial respect. So
I think the hip hop won in that sense, you know,
because I think, you know, Drake pretty much created the
(29:22):
standard of how commercial hip hop song is supposed to
sound in this era.
Speaker 3 (29:29):
And with the.
Speaker 4 (29:31):
Thing with him and Kendrick, what Kendrick did was, you know,
the n like us and all stuff, is that he
opened the door where it can be more than just that.
You know that that musical beat you know, and the
auto tunes and you know, so I mean it expanded.
So it's like you know that that formula the drink
users is still there, but now the Kendrick formula is
(29:52):
allowed as well. So if you don't want to sing
auto tunes and another that you can still make find
commercial success.
Speaker 1 (29:59):
So he took he took commercial, He took commercial rap
or what was the blueprint for commercial rap created by
Drake and he was able to to make it conscious
and commercial.
Speaker 4 (30:11):
Before they tear me apart in social media out there,
created by Drake in this era.
Speaker 2 (30:18):
In this era.
Speaker 1 (30:18):
Let's be clear, Carrie, this era not overall, but in
this era.
Speaker 2 (30:24):
And so what did Kendrick do? You said he took
it further? Is him? Is he making.
Speaker 3 (30:27):
It not like us?
Speaker 4 (30:30):
It's more of a modern hip hop, you know, like
regular hip hop field. So with Kendrick having success with that,
I feel like a lot of younger artists that didn't
want to use AutoTunes, didn't want to use you know,
musical sound and beats, could find commercial success in that
(30:51):
same Kendrick lane.
Speaker 3 (30:52):
So he opened up a different doorway.
Speaker 4 (30:54):
So in that sense, yeah, I think that hip hop
won you know, but I will say this.
Speaker 3 (31:01):
I don't know if you watch Battle Raps.
Speaker 4 (31:03):
But you know, it's like lots of times, you know,
people say some funny, funny.
Speaker 3 (31:08):
Stuff, man, what they're going at you.
Speaker 4 (31:12):
But the funny stuff that you hear ninety percent of
the time don't even be true. It's just something to
make you laugh crack. But I mean the thing that
I didn't really like about it. It's like, you know,
like you have to get into the lyrics. I feel like,
(31:33):
if it's a battle, get into the lyrics regards. There's
no need to do fact checking. They're battling, they're battling.
You know, this is not, you know, a Jordan versus
Lebron thing. This is just two MC's dissing each other
and in battle wrap. It don't matter if they're telling
the truth or not. It's just how dope the lyrics are.
(31:55):
And I think that a lot of people waste it
a lot of time trying to fact check everything instead
of just enjoying what Kendrick said, enjoying what Drake said.
Speaker 3 (32:05):
You know.
Speaker 4 (32:07):
But yeah, I think it definitely won for hip hop
cretic because I think the Kendrick Kendrick created a new doorway.
Speaker 2 (32:13):
The Kendrick win, the Kendrick win the battle.
Speaker 3 (32:19):
I don't know. I wasn't the judge.
Speaker 2 (32:20):
I'm just asking your opinion.
Speaker 3 (32:23):
I don't I mean, I wasn't the judge.
Speaker 1 (32:24):
You like, if you have to choose, I picked Kendrick.
Speaker 2 (32:31):
You don't choose. You didn't choose.
Speaker 1 (32:32):
You just loved, you just loved. You're not saying either
one one you just yeah.
Speaker 3 (32:36):
I was just in Yeah, I was just enjoying.
Speaker 4 (32:39):
See you know two mcs do that, you know because people,
uh sometimes try to make it seem like that ain't necessary,
that ain't hip hop, and say yes it is.
Speaker 2 (32:51):
Yes, it is most definitely.
Speaker 4 (32:54):
You know, just date back to the to the Cold
Crush and the Fantastic Five way back in the early eighties.
You know, yes it is. They guess been battling each other.
That's always been a part of hip hop?
Speaker 1 (33:09):
Is it not the foundation of it? Is that not
part of how it became hip hop?
Speaker 2 (33:15):
Battle rap? Hip hop? Is that not it?
Speaker 4 (33:19):
I mean, I think that's an important part of it,
especially if you're in MC, because it's definitely gonna shop
in your skills. It's definitely gonna shop in your skills.
If you know how to battle rap, it's definitely gonna
shop in your skills. So I believe it's a very
very important part of it.
Speaker 1 (33:34):
So so schooled me. We at Kendrick, I know of
Kendrick and Drake. Now, who would be your who is
your versus MC daddy king versus who is your nemesis?
If you will in the hip hop sense, of the word,
like who who would you have to battle with to
prove like that you're better? Like did you have battle
raps with people who were just as famous as you
(33:56):
the same way that we witness Kendrick and Drake?
Speaker 4 (33:58):
Well, I mean, yeah, I had battles in the days,
but you know, I mean back then, at that point
in time in the late eighties, you know, everybody just
wanted to see me and Rock Kim go at it.
Speaker 3 (34:06):
That's what everybody wanted, you know.
Speaker 2 (34:10):
Yeah, are you guys friends to this day?
Speaker 3 (34:12):
Yeah? Yeah, yeah, we're cool.
Speaker 1 (34:14):
Like can we because he's performing too at Rock the Bells?
Can we expect a quick a quick battle between you two?
Is that not on the agenda? Can I get to
the producers? Why are we not doing that? That would
be great, wouldn't it be? No?
Speaker 4 (34:31):
I mean you know, I thought that would have been
nice during the time this Swiss was doing versus. Yes, yeah,
I did it with KRS. I actually did it with KRS.
Speaker 3 (34:42):
We did it.
Speaker 1 (34:42):
Versus day Okay, and Karas one will be there as
well before I let you go, And I just want
to make sure that I am giving you the proper
respect or just do flowers put whatever adjective you want
to know, I thank you for all that you've done
for hip hop. I don't know if you see or
(35:04):
feel as respected as you should feel, but I love
moments where we can highlight those who actually started it
and pave the way. So when I think of rock
the Bells, I find like it's such a hidden gym
because you forget sometimes we forget in this busy world
of social media and people are turning out content. And
like you said, there's so many genres of hip hop.
(35:25):
People tend to have different styles that they like. But
when you and other legends came along back in the day,
there was a standard that was set. So I appreciate
that and I thank you for that. If you could
give any words of wisdom to artists that are out
there right now, obviously making lots of money doing their thing.
They have they have status, they have cachet, what would
(35:51):
you what would you tell these artists in the sense
of what matters the most and what we do in
this world of storytelling?
Speaker 4 (35:59):
Well, I would tell them Number one, I would say that,
you know, always try to be original, you know, I mean,
don't follow I mean, especially if you're looking for longevity
in the game. If you look for longevity in the game,
then you should try to be original, make people love
or respect you for who you are. Don't follow a
(36:19):
trend because once that trend is gone, you're gone. They're
on to what's new. And if you are getting into
this business, this music business, just remember that's two words.
So as much as you on top of your music,
be on top of your business as well.
Speaker 2 (36:34):
You know, I love that.
Speaker 1 (36:37):
Last, but not least, what are you working on any
upcoming projects, any other performances that you want to share
with us?
Speaker 2 (36:42):
Or should we follow you on social?
Speaker 3 (36:45):
Yeah?
Speaker 4 (36:45):
Absolutely followed me official, Big Daddy came. That's on all platforms.
They tuned for my new docum series called Paragraphs that Manifest.
It's talking about the importance of lyricism and hip hop
and you know, we have a bunch of cats talking about,
you know, the way they write songs, on how much
they feel like levetsunport to them, what certain songs meant
(37:07):
to them. And it features myself, Lady London, MC light
j Cole Jay, z eminem Snoop Dogg, Common. We even
have the battle rappers like Good as the Animal and
Pavor You know, but.
Speaker 3 (37:21):
Yeah, I love it.
Speaker 1 (37:22):
Last but not least what we're wearing, because you know,
you clean. Do we have our fits ready? Do we
do a change?
Speaker 3 (37:30):
Absolutely? Absolutely.
Speaker 1 (37:32):
I keep saying last, but not least, But I have
so many more questions. I'm trying not to dog it now.
What I'm looking for is some, it's some. It's I'm
looking forward to some, some sleet, some real smooth dancing,
just like one or two steps. Like I know you're
not gonna be out there busting moves and pop locking.
But what do we have something for the ladies? Do
(37:53):
they need to be prepared? Are we passing out flowers?
We're giving out some roses in the front.
Speaker 4 (37:57):
What we're doing, well you you will get the dance moves,
and I promise to give you a lot more than
just a two step.
Speaker 2 (38:04):
Okay, okay, And.
Speaker 4 (38:08):
Yeah, I mean well we have we got something for
the ladies and we got something for the fellas. I
want to entertain everybody. So we're gonna make it real,
you know, and out of time that we have, we're
gonna make it real special.
Speaker 1 (38:19):
Big Daddy Kane, Kane, my new best friend. I appreciate
you so much for coming on the show. It's snaked
with carry Champion and you really you really didn't make
my year. I appreciate all the wisdom I really really
do and have a great performance this weekend.
Speaker 3 (38:32):
Thank You's Day.
Speaker 2 (38:36):
Okay, do we not love Kane?
Speaker 1 (38:38):
I hope for those of you who are listening and
too young to really understand and appreciate him, you go
back and listen to some of his some of his
stuff like it's really truly I'm saying stuff. Some of
his music, it really truly is special and it's a beat,
it's a vibe.
Speaker 2 (38:53):
He said, he's.
Speaker 1 (38:54):
Dancing, he moving, he cleaned, he might come at you know,
rock cam. He now for sure all that you need
to pay attention to all of that. Now, I will
say this. I love that he gave us the Muhammad
Ali story. It leads me to what I wanted to
wrap up the podcast with today. I approved this message.
I was watching the NBA Finals as we all were,
(39:17):
and halfway through the finals, because this is why you
love a good seven game series, I thought to myself.
Speaker 2 (39:24):
First I went in thinking, okay, see would win, and.
Speaker 1 (39:26):
Then I changed my mind, and then I was on
the Pacers bandwagon just because of what Tyre's Halliburton and
the Pacers were doing. How he was winning in the
most unexpected ways, How he continued to seem and appear
fearless and relentless. How the team, the Pacers team individually
was just so deep. They always had somebody ready to shoot,
(39:48):
not from the three, it was always somebody in the
pain like they just really had a beautiful rotation of
players that were all equally as talented or complimented each other. Well,
as we know, the Pacers lost. Some people call it
perhaps a championship with an asterisk for the OKAC for OKAC,
(40:10):
I understand why, because Haliburton, obviously injured in Game seven,
couldn't finish the job.
Speaker 2 (40:16):
If you will.
Speaker 1 (40:18):
I still think, though, when it's all said and done,
that OKAC was going to win. They were playing at home.
I think they had the momentum on their side. But yes,
what if. There are plenty of championships where you could
say what if?
Speaker 2 (40:29):
What if? What if? What if?
Speaker 1 (40:32):
But what I am more interested in is the future.
Jason Tatum, Jason Tatum, get your MS out, carry Tyrese Haliburton,
and not so much Dame, but yes, Dame also all
had torn achilles they all left the season early, not
(40:53):
early where they all ended the season in injury and
arguably will miss all of next season. And what I
was hopeful for in watching this series, I was looking
forward to seeing the next superstar stephen A, you know,
double down on Harry's Halliburn not being a superstar. I
think he was just being a contrarian. I do believe
(41:16):
that he is.
Speaker 2 (41:17):
But I'm looking.
Speaker 1 (41:19):
Across the landscape and I'm watching the face of the
league in Lebron and Steph Curry, even KD to some extent.
We're watching all of our superstars get ready to transition
into the twilight years of their career. Lebron still should
be in the twilight years of his career, but he
is just a machine and he is but still physically
(41:41):
looking like he's ready to go out there and give
you all the time he needs. But where are the
superstars next? Who's up next?
Speaker 2 (41:50):
Is it Jason? Is it Tyresee? I don't know? Is
it ant don't?
Speaker 1 (42:00):
Oh no, I've been asking that question because we have
been so spoiled in the NBA. We have been so
spoiled where we've always had a star, we just have
and when one star begins to fade, another rises and
answers the call. All subjective, all my opinion. I'll take
(42:22):
it back to the eighties when they finally took the
NBA Finals off of tape delay, the very first.
Speaker 2 (42:27):
One that we loved.
Speaker 1 (42:29):
We're looking at Magic Johnson and Larry Bird superstars, and
then there's another group of superstars coming right after them.
It was Isaiah Thomas going at Michael Jordan, then it
was Michael Jordan, then it was Kobe, then it was Lebron.
Where are we nowhere? Where are we now? Who is
the next superstar in the NBA. Some of you might say, SGA,
(42:54):
that's fine. I need a little more time to believe that,
because when you think of a cod Be, when you
think of a Lebron, when you think of a Michael
Jordan or Magic Johnson or even Larry Bird for that matter,
Shaquille O'Neal right, he had his time.
Speaker 2 (43:09):
They were larger than life.
Speaker 1 (43:11):
They fit the bill, they had the presence, they had
the game, they had the skill.
Speaker 2 (43:17):
And I don't know if we're quite there yet. I
don't know if we're quite there yet.
Speaker 1 (43:23):
With this young class of people who are extremely talented.
Speaker 2 (43:26):
So my question to you, and I need you guys
to help me out.
Speaker 1 (43:30):
I'm taking all suggestions, names, inquiries, context, and why who
is the next face of the league. It's a difference
between just being a superstar. We got plenty of superstars.
I just named a few, but who was going to
be that face? Who's going to wear that crown the
way Lebron wore the crown. I'm curious. Let me know
(43:54):
what you think. I'm Carrie Champion, and I approve this message.
All right, Well, thank you all for listening. I hope
you enjoyed Rock the Bells. If you went, and if
you didn't go and you listened to this podcast, download
some Big Daddy kne get an education on some of
these pioneers of hip hop. Thanks for listening, y'all. I
will talk to y'all next week. Naked Sports written and
(44:15):
executive produced by me Kerry Champion, produced by Jocquiz Thomas,
sound designed and mastered by Dwayne Crawford. Naked Sports is
a part of the Black Effect podcast network in iHeartMedia.
Welcome to Naked Sports, the podcast where we live at
the intersection of sports, politics, and culture. Our purpose reveal
the common threads that bind them all. So what's happening
in women's basketball right now is what we've been trying
to get to for almost thirty years. From the stadiums
where athletes break barriers and set records.
Speaker 2 (00:22):
Katink broke the all time single game assists record. This
is crazy for rookies to be doing.
Speaker 1 (00:28):
Our discussions will uncover the vital connections between these realms
and the community we create. In each episode, we'll sit
down with athletes, political analysts, and culture critics because at
the core of it all, how we see one issue
shines the light on all others. Welcome to Naked Sports.
I'm your host, Carrie Champion. Hey everybody, I welcome, Welcome,
(00:57):
Welcome to another edition of Get Sports. I appreciate you
being here, family, because we are so close with one another.
I am going to tell you a true story growing up.
Not that I don't always tell you true stories, but
growing up, your girl wanted to be a rapper. And
this is all gonna make sense in a minute, so
just stay with me here. I literally wanted to be
(01:18):
a rapper. I grew up in a time when hip
hop was you know, brand new, I you know, and
people on the West Coast, because I grew up in
LA people on the West Coast were just now understanding rap.
My particular genre of rap growing up was gangster rap.
It was Eazye and ice Cube and Snoop and Dre
and there was a group called jj Fad and Yo
(01:39):
Yo and I'm going down to all the people. And
of course I knew Salt and Pepper from New York.
They were like all time right, And I would write lyrics.
I would just write them all the time, just on
the bus school bus with my homegirl d D.
Speaker 2 (01:53):
Shout out to d D.
Speaker 1 (01:54):
I don't know where she is anymore, but that was
like my middle school homegirl and middle school literally writing rhymes.
I knew that I was going to be a rapper.
Clearly that did not pan out. However, I used to
write like the Bubblegum one two three C A R
with Ni Carrie. Yeah, I am so live. See as
for the crabs that swim in to see because when
(02:15):
I wrapped to the vat, they wrapped with me. As
for the action, that's what I get because when I
wrap on the mic, I just won't quit. You know,
that's just a taste. I still freestyle. That's just a taste.
And I also entered into a radio It was a
radio contest and if I if my rap was chosen,
(02:37):
I would win, like some gift certificates to the local
swap meet, some just real real nonsense stuff you just
think is important. And it was about cross chords. If
you grew up on the West coast, cross chords is
a thing. This is only for a particular type of audience,
not cross colors, but just cross chords. Cross color also
was a thing, but cross chords specifically in La was
a thing. It was quarteruray pants that went you know,
(02:59):
left to right, not up and down. I don't know why,
but I say all that so you guys can hear this.
This next verse, I'm about to spit. Crosschords are the
latest sensation. They sweep in everybody all across the nation.
You can wear them with silk and sway leather flats,
and if you don't like them, you can take them back.
And if you want to pay it for yourself, just
go to the swamp meat. They own the shelf. They
(03:20):
have a men every color that you want put on
your old cord. So you ki fly your body. You
look the way did you walk? I'm about to sign off,
but here's a thought. Cross chords by a word because
you just say word all the time.
Speaker 3 (03:32):
Word.
Speaker 1 (03:32):
I don't know what that means. I found the right profession,
is what you're saying. You all would have been done
with my hip hop.
Speaker 2 (03:44):
Anyway.
Speaker 1 (03:45):
I say all that to say I really, truly, really
truly thought I was going to be a rapper. And
I listened to the likes of the person I am
interviewing today. He was sexy and fine and chocolate and
coo and had all the things like in my mind.
Speaker 2 (04:03):
He in my mind. Also he felt.
Speaker 1 (04:06):
Like a real grown man, like an older grown man, right,
and and I remember thinking, oh, man, I love him
so much. And so I will tell you who it
is in a second. But I had a good friend
call me and say, hey, Rock the Bells is this
weekend and I want to know if you want to
interview some of the folks in the lineup. First thing
I thought was, yeah, I want to talk to oh Cooljre.
(04:26):
She's like nol LL doesn't want it to be about him.
He's gonna put some of the pioneers of hip hop up.
He wants them to get their flowers. He wants them
to have the time and attention they deserve, one of
which is our guest today, Big Daddy Kane.
Speaker 2 (04:40):
Ain't no half step in.
Speaker 1 (04:44):
I'm Big Daddy Kine. And then because I'm a smooth operted,
I'm off feet.
Speaker 2 (04:51):
But you get the point.
Speaker 1 (04:53):
And I think it is really really special what Rock
the Bells has been trying to do. And I'm gonna
be honest with you, I didn't understand that Rock the
Bells wasn't just a concert or a radio station where
you can listen to hip hop. It is a movement.
And by that I mean there is merchandise. There is
(05:13):
a Rock de Bell's Cruise, there are Rock de Bell's
live events outside of this concert that will be happening.
It already has happened by the time you listen to this,
right the concert that happened in Jersey at the Prudential Center.
But it's a really beautiful thing. And what they're trying
to do is honor the legends of the past. Was
still telling the stories of the future. And today I
(05:36):
had the opportunity to talk to Kane, because that's what
he told me to call him, because we're best friends,
and he wanted to share with me just his history,
just his knowledge, and he was a great interview. For
those of you who know about Rock the Bells, they
do not miss. It's an all day performance and you'll
have folks like Eric b and Rock Kim karras one
(05:58):
rock Sane Chante too short. You've got to get some scarface,
you got to get some love to the West Coast.
Of course, I mean so many Redman remy ma must
of Rhymes. It's called the Class of twenty twenty five.
Summer's Cool. So I think that what Rock the Bells
has done is really special. I don't think that we
(06:20):
give enough flowers to those who have come before us,
and we don't respect them in the way that they
deserved to be respected because of what they've been able
to create. And so on today's podcast, that is what
we will do. Kin will tell us some stories, we'll
give some love to Rock the Bells, and we'll also
talk about the art of hip hop. And while people
thought it was just a fluke fifty plus years strong,
(06:41):
fifty one, now I think and it has become more
than I'm sure that most people thought it would ever be.
The evolution of hip hop is special. So sit back,
relax and enjoy. Big Daddy Caine so excited to have
you on here, Big Daddy Kane. I'll call you Kane
because we're best friends. You told me that, So now
that we're best season, we got that out of the way.
(07:03):
We are here to talk about Rock the Bells Class
of twenty twenty five. Some are cool which you are
performing this weekend in the lineup, and I'm excited about it.
Speaker 2 (07:13):
Talk to me about Rock the Bells. It's a movement.
Speaker 1 (07:16):
I really truly didn't know what I didn't know, and
it is a movement.
Speaker 2 (07:21):
Tell me about Rock the Bells.
Speaker 4 (07:23):
Yeah, well, I mean it's a movement, like you said,
but it's a beautiful movement for a simple fact that
you know, music is eternal, Music is infinite, you know,
and we're at a point in life where hip hop
has not just parents, not just grandparents, but great grandparents
you know that were raised in hip hop, and Rock
(07:45):
the bell showcases all those different generations and not like
it doesn't classify them, you know, you know, it doesn't
classify them like, you know, this is the ass, this
is the nineties, this is the eighties, this is the seventies.
It just it's hip hop. It's all hip hop, you know.
(08:09):
And what Rock the Bells is doing is doing it
the right way where you respect your legends, you respect
your pioneers, just like rock does with Blue Springsteen's and
Rod Stewart's you know, blues does with BB King and
Bobby Blue playing and so on and so on.
Speaker 1 (08:26):
You know, it's interesting because I noticed it was a
part of the tagline, which is like it's past, present
and future, and you're truly a pioneer. I know that
your music. El's music just narrated my childhood. It really
influenced how I was able to express myself. And I
know there are people of this generation and obviously younger
(08:51):
who say, let me.
Speaker 2 (08:53):
Tell you something. I appreciate the storytelling.
Speaker 1 (08:56):
I'm really curious, Kine, how did you how did you
be again in the business and storytelling, The way in
which you would speak about your life, what was going on,
who you were, how fly you were, all of the things.
I want to know how that storytelling began for you?
Speaker 4 (09:13):
Well, growing up in Brooklyn, you know there were certain
things that you saw. You know, there were elements that
you saw when you're hanging out as a little kid,
and some of the stuff that used to fascinate me
was like, you know, seeing the hustler or the pimp
pull up, you know, and the big kop Deville or
Broham or the deuce in the quarter and sending the
kid to the store to get them a lucy cigarette
(09:35):
or you know, get them a can of bud Wiser
and telling us to keep change. And we got about
nineteen dollars worth of change, you know, like saying like,
you know, like oh wow, this is amazing. One day
I want to you know, So as I grew older,
you know, I grew into just figuring it. Also, I'm
a big fan of all the seventies movies like Black
Seas and the Matt Cooley Hide and all that stuff.
(09:57):
You know, So as I got older, you know, growing
into this, like this is the stuff that I identified with.
And luckily, one day in nineteen eighty four, I started
wrapping in eighty two, but two years after that, nineteen
eighty four, I was fortunate enough to meet Biz Walkee.
And this is someone that I asked for a rap battle,
and after the battle, he told me to get down
(10:17):
with him. We're gonna make some money. And thanks to him,
I was able to get you know, he asked me, though,
I'm helping to write his first album, and then he
got me a record deal with Cold Chillin, you know,
got me signed to my first label. So I mean,
how I really owe it all to Biz, you know.
Speaker 2 (10:33):
Shout out to Biz. I noticed that.
Speaker 1 (10:34):
I know that I was doing some research. You've been
performing or you had a performance where you were honoring
him and the proceeds went to I don't know what
the to. I don't know if it was his foundation,
but talk to me about how you were trying to
keep his memory alive.
Speaker 4 (10:50):
I definitely tried to keep his memory alive, and I
often would like to acknowledge Cool v Y san Chante
and his wife Tara, you know, who also do a
great job of, you know, trying to keep his memory alive.
Speaker 3 (11:06):
You know.
Speaker 4 (11:06):
But I mean, you know, I think there's something that's
important because you know, there's so many hip hop artists.
There's so many, so many hip hop artists, and you know,
lots of times when you're gone, you're gone. But I
think that this dude is a legend that had such
such an impact, not just on the culture, but on
people like I think that everyone Biz met he affected
(11:30):
their life some sort of way. And still today I
meet new people that tell me about Biz turning them
onto this, Biz taking them there, Biz trying to help
them get a deal. I mean, this dude was literally
the hip hop for his gump.
Speaker 3 (11:43):
You know.
Speaker 2 (11:44):
Wow.
Speaker 1 (11:44):
And obviously you talk about how influential he was in
your career, and I'm sure in others when you think
about when he helped you get on, were you under
the impression that you would have such an imped Did
you know in that moment that when you're one of
the first, while it may not be easy, you're creating
(12:07):
something that is historical. Were you even aware of that concept?
Speaker 4 (12:12):
It was in my mind. It was the type of
thing where I'm watching What's Happening with run dmc BC boys, Budini,
Fat Boy is Done branched off into film, so I
see exactly how big hip hop is getting. And then
I'm also hearing a lot of R and B radio
personalities discredited it and saying that you know, it's just
(12:37):
a phase, which reminded me of the way they spoke
about rock and roll in the fifties. So I saw
the comparisons and I was like, Oh, this is about
to really really take off.
Speaker 3 (12:48):
This is going to be big.
Speaker 4 (12:49):
So, you know, in that process, I'm trying to figure out,
you know, my niche, what works for me. And you know,
I just started really study studying how to really become
a much better performer because I started as a battle rapper.
You know, I'd never been on those stage until I
got with BIZ, So studying how to be a better
performer and then also watching certain things that BIZ and
(13:11):
other people did, you know, to learn how to really
truly write songs.
Speaker 1 (13:16):
We're going to take a quick break because we have
to pay some bills. We'll be right back in just
a few moments. Battle Rap, I want to just take
a moment and talk about that. You said you weren't
necessarily a good performer, but I would think battle rap
(13:37):
is actually performing just a different audience, just a different circumstance.
What were the differences for you in learning how to
actually make this an art and perform on stage versus
battle rapping.
Speaker 4 (13:49):
As a battle rapper, I was learning from Muhammad Ali,
you know, I wasn't learning from a musical artist. I
was learning from Muhammad Ali how to get into your
head and feats you before we even said one single rhyme,
you know, how to get your fan base and your
boys on my side, you know.
Speaker 3 (14:08):
So that's where I was in battle rap with.
Speaker 2 (14:10):
What did what did Willhamma give you?
Speaker 1 (14:12):
You watched him in the ring and you felt you
felt like, Okay, I'm I'm just dissecting his technique.
Speaker 4 (14:19):
Yeah, Coovi brother, his DJ's brother, this dude named Craig.
He gave me this VHS of a lot of footage
from Ali from the sixties, and I was seeing like
stuff that he was doing to get into people's head,
you know, coming to Floyd Patterson gym and handing him
a bunch of carrots and telling him from now on,
(14:40):
your name is the rabbit, because he was saying that
he run your name is the rabbit, and you know,
stuff like that, and going to George Shavalo while he's
get the rings sparring, Ali next to him, you know,
acting like he's sparring too, just like the way he
was getting people heads, you know, and the way he
would talk to commentators and interviewers like during like press
(15:00):
day to talk about the other fighter's he was saying
stuff like like when he talked about George Foreman, I
think that he possibly created doubt in a lot of
people's mind when he was just sitting there saying.
Speaker 3 (15:11):
You never heard George, never heard nobody say round four.
Speaker 4 (15:16):
Down fifteen, you know when he was talking, and it's
like you think about that and say, yeah, George normally
knocked people out. He never had to get in the
scuffle and go to distance, and he's showing how slow
George through his punches. Rest in peace to Big George.
But I mean, you know, it was like he knew
how to get in people's heads and he knew how
to drag people in by the stuff that he said.
(15:37):
So that's what I was learning from from my lead
as a battle back.
Speaker 2 (15:40):
I love that I might have to take some of that.
Speaker 1 (15:42):
You know, that's actually really why So then as a
battle rapper, you get in their head and you say
it's a difference. Now when you are performing on stage,
what is that difference? Is it cadence? Is it breath work?
I mean, I know there's a physical aspect of it.
Speaker 4 (15:56):
Well, I think one of the first lessons that I
learned was that if you stand on stage and just perform,
you know, the song identical as it sounds on record
or tape, then basically people just watched the album. You know,
(16:18):
they call their house, they heard the album there can't
be a show, and watched the album. You gave them
nothing special, you gave them nothing different. There was no twists.
So one of the first things I did, Okay, what
can I do different that you haven't seen me? I
mean that you haven't heard me do on the album.
Speaker 3 (16:35):
You know.
Speaker 4 (16:36):
So that was one of the first things I thought
was important. And then also like really finding myself. I
remember hanging out with Dougie Fresh and he showed me
these videos of Earth Wind and Fire and Michael Jackson
and was saying that, like everybody else is trying to
study from Run DMC and Houdini and incorporate stuff they
used to do, but I'm studying from Earth from the
(16:58):
Fire Michael Jackson because they're not hip hop. So when
I'm learning from them, I'm introducing to hip hop. And
I'm like, okay. So that next morn That next morning,
I went and bought Marvin Gaye, James Brown, and Barry
White on VHS's and I started studying from them.
Speaker 3 (17:14):
You know. You know, Gary had a unique way.
Speaker 4 (17:17):
Of identifying with one particular person in the crowd. He
would acknowledge it one particular person, you know, he his
song and stuff, and then he just looked at one person.
Hey there, you know, you know, you know, so like
learning how to do stuff like that. And then James Brown,
you know, with with the Flames, you know, and they
doing their dance routines. So I got schooling scrap and
(17:40):
we started trying to, you know, emulate the James Brown
routines like that, you know, and you know, and Marvin
Gaye he just had like a certain sex appeal that
I thought would work with you know, with the women
on stage, you know, movement wise, as opposed to just
get you know what I'm saying. Marlin gay had a certain,
you know, sway of five him. I'm like, okay, I
see you wavin you know that type of thing, you know.
Speaker 2 (18:01):
He first and foremost.
Speaker 1 (18:04):
I love this because when I think about it, and
obviously there'll probably be more and you can correct me,
but you were one of the first to really like
in hip hop talk to the ladies like it's about
you like ya, this is for you.
Speaker 2 (18:15):
You were you were smooth Smooth Operator.
Speaker 1 (18:18):
All pun intended was when you did that, when you
would when you have you.
Speaker 2 (18:24):
Just be clean too. So you are performing.
Speaker 1 (18:27):
You come from a battle wrap world, but yet you
can bring that on the stage and still perform. But
also you wanted to make people know that you wanted
to give them the experience. What was the writing process
for you, like smooth Operator? What made you write that.
Speaker 3 (18:43):
Well, Smooth Operator? It was like I wanted to.
Speaker 4 (18:48):
Like create something lyrical but mellow, you know, something I
wanted to be lyricol but I wanted it to be mellow.
Speaker 3 (18:59):
You know.
Speaker 4 (18:59):
Once I decided to use the Mary Jane girls all
night long, you know, everything kind of just you know
fell in place on his own, you know, like, Okay, yeah,
it's a smooth you know, Okay, we're gonna call this
smooth Operator. And when when Rick James gave me the nod,
you know, he gave me the okay. You know, everything else,
(19:19):
you know, just fell in place.
Speaker 2 (19:20):
What was that conversation?
Speaker 1 (19:22):
Like was it because nowadays you text people, you got
you have to actually physically call them back in the day,
what was that conversation like.
Speaker 4 (19:29):
Well, I mean, I knew that that was a big
record for the Mary Jane Girls. We were gonna have
to clear it. So I reached out to Rick to
ask them to help me clear it.
Speaker 2 (19:36):
And you gotta tell the story, all the stories. This
is what the podcast is for, Kane. What do you say?
Speaker 3 (19:45):
Well, can I yes? Can I use the fanity?
Speaker 2 (19:49):
Most definitely?
Speaker 3 (19:50):
Can?
Speaker 2 (19:50):
Yes?
Speaker 4 (19:52):
Well, when I called him and told him that I
made a song called Smooth Operator and it's Mary Jane
Girls sample, I'm gonna need you to help me clear it,
and Rick was like, use anything.
Speaker 3 (20:06):
You need to use in my house.
Speaker 4 (20:07):
It was a bigger record for them.
Speaker 3 (20:12):
That will you know.
Speaker 1 (20:14):
By the way, I know, I've heard so many of
stories about this man, and that's just the cadence, the language,
that is it how he talks, and so I love that.
Speaker 2 (20:22):
Okay.
Speaker 1 (20:23):
So then I'm curious because when you look as a
pioneer of hip hop, when you look at artists today,
do you see your direct influence on a particular artist?
I know you see it in general, but is there
a particular artist you're like, Okay, there's my influence, or
perhaps that artist remind you of yourself.
Speaker 4 (20:44):
The only one I mean, I've never had any of
them tell me that the new generation or you know,
but the only one that I look at and I
can really say that they remind me of myself would
probably be Lady London, really yeah, because she knows how
(21:08):
to combine lyricism plus sex appeal. And then also she's
very sarcastic. She's very sarcastic, you know, with her lyrics,
and then her cockiness. Her cockiness is hilarious, you know,
her cockiness is hilarious, like she like, it's the type
(21:32):
of thing where she noted, you know, she that one
and you know, and and and she don't mind putting
other people under pressure, making them uncomfortable in the.
Speaker 2 (21:42):
Room, and that was yeah, and that is you?
Speaker 1 (21:46):
Was you?
Speaker 4 (21:46):
Is you?
Speaker 3 (21:47):
Yeah? Oh yeah? Oh yeah.
Speaker 2 (21:50):
Okay.
Speaker 1 (21:51):
So then I think of some of the classics, and
obviously you're performing this weekend. How do you put a
set list together that you think think ultimately represents what
you are able to give to hip hop and what
you would like this generation, this new generation, past, present, future,
what you would like for them to receive when they
(22:12):
walk away. Like I just saw I just saw Cane
perform and it felt like you fell in the blank.
Speaker 4 (22:19):
Well, I mean, in all honesty, other than you know,
some sort of positive message and a good vibe. That's
the only thing that I actually try to give to them.
Other than that, I try to give them what I
think they want. You know, you're you're done, paid money
for a concert, and I think there's certain hits that
(22:41):
you want to hear, and so I try to, you know,
combine them, you know, so that you can you know,
get a chance to hear everything that you that you
wanted to hear. And you know, also you know, bringing
the energy, you know, bringing the energy, keeping it, you know,
real energetic, and you know, yeah, I want to.
Speaker 3 (22:59):
I want to. I want to.
Speaker 1 (23:00):
You get tired, you know, I'm looking at the I'm
looking at the list right Eric being Ron Kim. From
my understanding, you Rax Sane Chante's hosting kick Caprile be
there with the sets. I think and El said he
wasn't performing in general because he said it wasn't about him.
He wanted to make sure that everybody could be in
this space. The list goes on and on. I got
too short. I grew up on the West Coast, so
(23:20):
obviously I think of I think of too short. I
know him, well great, just a great dude when you
were in company with these with these greats, because the
behind the scenes has to be insane, and I know
the stories are wild, But when you look around, how
would you describe the contribution you all gave? What did
hip hop give to this world?
Speaker 4 (23:41):
I think that hip hop was something that it didn't
just give, you know, music. I think that it gave
a voice, you know, because like in R and B
and in rock, you know, rock had some protest songs.
Speaker 3 (24:00):
R and B.
Speaker 4 (24:01):
You know, you had What's going on from Marvin Gaye,
a lot of all Curtis Mayfield stuff, you know, was
very conscious. But I mean, I think that in hip
hop it was it was a type of thing where
it's coming from the youth. You know, you had nineteen
twenty year olds talking to nineteen twenty year olds about
(24:24):
you know, conscious matters and things is happening in the world,
you know. So I mean I think that you know,
it really gave musical voice, you know, and educate in
educating the youth.
Speaker 1 (24:40):
Hip hop conscious hip hop right, I don't even want
to label it, but like kras One, Eric Perman, Kim y'all,
everyone had a message. Do you see do you feel
as if conscious rap is as valued now?
Speaker 3 (24:56):
No?
Speaker 2 (24:57):
Why not?
Speaker 4 (25:00):
Well, I mean I think that, you know, it's you know,
like that was you know, a whole you know, structured,
you know, government thing. You know, because what basically happened
is like there was a time where, not just in
hip hop, not just in hip hop music period, where
there were songs that could play on the radio and
(25:20):
there were.
Speaker 3 (25:20):
Songs that couldn't.
Speaker 4 (25:23):
Before hip hop, you could hear an Ojay's Marvin Gaye
song on the radio. You couldn't hear Millie Jackson song
on the radio. You couldn't hear a Blowfly song on
the radio. And even on the eyes of the Brothers
when they did fight the power, they had to mute
when rob Ron said, boy, you see what I'm saying.
(25:45):
So stuff like that wasn't allowed on the radio. And
then all of a sudden, not they clear blue. When
hip hop gained such a strong voice and such a
strong connection to the youth, next thing, you know, the
most gangster stuff, the most negative stuff became the com
rosue hip hop and conscious hip hop was a labeled
as underground. You know, underground in my era was like
(26:10):
ghetto boys didn't get no radio play. They still sold
millions of records, but they didn't get radio play. You know,
Kuji rap didn't get no radio play. You know, there
was like it was like that, like all the gangster
rap was what was the underground sound? But then it
at first, you.
Speaker 2 (26:27):
Know, you mentioned gangster rap.
Speaker 1 (26:30):
I think everyone when they say gangster rap, I think
they think of West Coast initially, at least I do. Anyway,
that might have been the entrance into the world. How
do you think of gangster rap?
Speaker 4 (26:43):
Well, I mean you hear Ice t say it in
every interview that you know, when he got the concept
of gangster rap from school, he d that's a Philly dude,
you know, so and then you know that's what g
rap was known for. Of course, Ice Ta n w
a ghetto boys. I mean, you know, I don't when
(27:05):
I think a gangster rap, I don't say it's a
West Coast thing. I think that it's a genre inside
the hip hop genre that a lot of people.
Speaker 3 (27:14):
You know, try what is that?
Speaker 2 (27:16):
Okay, so wait, let's go there.
Speaker 1 (27:18):
So hip there's this big thing called hip hop, and
within hip hop there's different genres.
Speaker 2 (27:22):
There's gangster rap. There is conscious rap.
Speaker 4 (27:26):
Yeah, I mean, you know, in R and B you
have soul, you know, like you know, your Yourretha Franklin,
your Bobby Will.
Speaker 2 (27:35):
Mash Sure, Okay, okay, you know what I'm saying.
Speaker 4 (27:38):
You you have you have disco like your Donna Summers,
you have contemporary you know. So there's there's different there's
genres that live inside of the genres. So on hip hop. Yeah,
you have your gangster rap, you have your conscious rap,
you have your your mumble wrap, your trap. You know,
I mean, you know, there's you know, there's genres inside
(27:58):
of the hip hop genre.
Speaker 1 (28:01):
We're gonna take a quick break because we have to
pay some bills. We'll be right back in just a
few moments. I would like to get your take on it.
You're such a historian, Like whether you understand it or not,
and I'm sure you do. When you talk about your
(28:21):
performance and what you leaned on and others that you
looked at and how you went outside of the world
that you knew to perform and to obviously be inspired
with your music, to me, that is absolutely amazing. So
I'm really curious because you've as a pioneer in this
business when you look at obviously, what had everybody in
a choke hold was the back and forth with Drake
(28:43):
and Kendrick. When you think about that that battle rap,
if you will, how would you describe that outside looking in?
Was there a clear winner? Was there a clear loser?
Did hip hop win in general or did it lose?
Speaker 4 (28:59):
I think that hip hop won because Kendrick opened the
door to harder sounding hip hop gaining commercial respect. So
I think the hip hop won in that sense, you know,
because I think, you know, Drake pretty much created the
(29:22):
standard of how commercial hip hop song is supposed to
sound in this era.
Speaker 3 (29:29):
And with the.
Speaker 4 (29:31):
Thing with him and Kendrick, what Kendrick did was, you know,
the n like us and all stuff, is that he
opened the door where it can be more than just that.
You know that that musical beat you know, and the
auto tunes and you know, so I mean it expanded.
So it's like you know that that formula the drink
users is still there, but now the Kendrick formula is
(29:52):
allowed as well. So if you don't want to sing
auto tunes and another that you can still make find
commercial success.
Speaker 1 (29:59):
So he took he took commercial, He took commercial rap
or what was the blueprint for commercial rap created by
Drake and he was able to to make it conscious
and commercial.
Speaker 4 (30:11):
Before they tear me apart in social media out there,
created by Drake in this era.
Speaker 2 (30:18):
In this era.
Speaker 1 (30:18):
Let's be clear, Carrie, this era not overall, but in
this era.
Speaker 2 (30:24):
And so what did Kendrick do? You said he took
it further? Is him? Is he making.
Speaker 3 (30:27):
It not like us?
Speaker 4 (30:30):
It's more of a modern hip hop, you know, like
regular hip hop field. So with Kendrick having success with that,
I feel like a lot of younger artists that didn't
want to use AutoTunes, didn't want to use you know,
musical sound and beats, could find commercial success in that
(30:51):
same Kendrick lane.
Speaker 3 (30:52):
So he opened up a different doorway.
Speaker 4 (30:54):
So in that sense, yeah, I think that hip hop
won you know, but I will say this.
Speaker 3 (31:01):
I don't know if you watch Battle Raps.
Speaker 4 (31:03):
But you know, it's like lots of times, you know,
people say some funny, funny.
Speaker 3 (31:08):
Stuff, man, what they're going at you.
Speaker 4 (31:12):
But the funny stuff that you hear ninety percent of
the time don't even be true. It's just something to
make you laugh crack. But I mean the thing that
I didn't really like about it. It's like, you know,
like you have to get into the lyrics. I feel like,
(31:33):
if it's a battle, get into the lyrics regards. There's
no need to do fact checking. They're battling, they're battling.
You know, this is not, you know, a Jordan versus
Lebron thing. This is just two MC's dissing each other
and in battle wrap. It don't matter if they're telling
the truth or not. It's just how dope the lyrics are.
(31:55):
And I think that a lot of people waste it
a lot of time trying to fact check everything instead
of just enjoying what Kendrick said, enjoying what Drake said.
Speaker 3 (32:05):
You know.
Speaker 4 (32:07):
But yeah, I think it definitely won for hip hop
cretic because I think the Kendrick Kendrick created a new doorway.
Speaker 2 (32:13):
The Kendrick win, the Kendrick win the battle.
Speaker 3 (32:19):
I don't know. I wasn't the judge.
Speaker 2 (32:20):
I'm just asking your opinion.
Speaker 3 (32:23):
I don't I mean, I wasn't the judge.
Speaker 1 (32:24):
You like, if you have to choose, I picked Kendrick.
Speaker 2 (32:31):
You don't choose. You didn't choose.
Speaker 1 (32:32):
You just loved, you just loved. You're not saying either
one one you just yeah.
Speaker 3 (32:36):
I was just in Yeah, I was just enjoying.
Speaker 4 (32:39):
See you know two mcs do that, you know because people,
uh sometimes try to make it seem like that ain't necessary,
that ain't hip hop, and say yes it is.
Speaker 2 (32:51):
Yes, it is most definitely.
Speaker 4 (32:54):
You know, just date back to the to the Cold
Crush and the Fantastic Five way back in the early eighties.
You know, yes it is. They guess been battling each other.
That's always been a part of hip hop?
Speaker 1 (33:09):
Is it not the foundation of it? Is that not
part of how it became hip hop?
Speaker 2 (33:15):
Battle rap? Hip hop? Is that not it?
Speaker 4 (33:19):
I mean, I think that's an important part of it,
especially if you're in MC, because it's definitely gonna shop
in your skills. It's definitely gonna shop in your skills.
If you know how to battle rap, it's definitely gonna
shop in your skills. So I believe it's a very
very important part of it.
Speaker 1 (33:34):
So so schooled me. We at Kendrick, I know of
Kendrick and Drake. Now, who would be your who is
your versus MC daddy king versus who is your nemesis?
If you will in the hip hop sense, of the word,
like who who would you have to battle with to
prove like that you're better? Like did you have battle
raps with people who were just as famous as you
(33:56):
the same way that we witness Kendrick and Drake?
Speaker 4 (33:58):
Well, I mean, yeah, I had battles in the days,
but you know, I mean back then, at that point
in time in the late eighties, you know, everybody just
wanted to see me and Rock Kim go at it.
Speaker 3 (34:06):
That's what everybody wanted, you know.
Speaker 2 (34:10):
Yeah, are you guys friends to this day?
Speaker 3 (34:12):
Yeah? Yeah, yeah, we're cool.
Speaker 1 (34:14):
Like can we because he's performing too at Rock the Bells?
Can we expect a quick a quick battle between you two?
Is that not on the agenda? Can I get to
the producers? Why are we not doing that? That would
be great, wouldn't it be? No?
Speaker 4 (34:31):
I mean you know, I thought that would have been
nice during the time this Swiss was doing versus. Yes, yeah,
I did it with KRS. I actually did it with KRS.
Speaker 3 (34:42):
We did it.
Speaker 1 (34:42):
Versus day Okay, and Karas one will be there as
well before I let you go, And I just want
to make sure that I am giving you the proper
respect or just do flowers put whatever adjective you want
to know, I thank you for all that you've done
for hip hop. I don't know if you see or
(35:04):
feel as respected as you should feel, but I love
moments where we can highlight those who actually started it
and pave the way. So when I think of rock
the Bells, I find like it's such a hidden gym
because you forget sometimes we forget in this busy world
of social media and people are turning out content. And
like you said, there's so many genres of hip hop.
(35:25):
People tend to have different styles that they like. But
when you and other legends came along back in the day,
there was a standard that was set. So I appreciate
that and I thank you for that. If you could
give any words of wisdom to artists that are out
there right now, obviously making lots of money doing their thing.
They have they have status, they have cachet, what would
(35:51):
you what would you tell these artists in the sense
of what matters the most and what we do in
this world of storytelling?
Speaker 4 (35:59):
Well, I would tell them Number one, I would say that,
you know, always try to be original, you know, I mean,
don't follow I mean, especially if you're looking for longevity
in the game. If you look for longevity in the game,
then you should try to be original, make people love
or respect you for who you are. Don't follow a
(36:19):
trend because once that trend is gone, you're gone. They're
on to what's new. And if you are getting into
this business, this music business, just remember that's two words.
So as much as you on top of your music,
be on top of your business as well.
Speaker 2 (36:34):
You know, I love that.
Speaker 1 (36:37):
Last, but not least, what are you working on any
upcoming projects, any other performances that you want to share
with us?
Speaker 2 (36:42):
Or should we follow you on social?
Speaker 3 (36:45):
Yeah?
Speaker 4 (36:45):
Absolutely followed me official, Big Daddy came. That's on all platforms.
They tuned for my new docum series called Paragraphs that Manifest.
It's talking about the importance of lyricism and hip hop
and you know, we have a bunch of cats talking about,
you know, the way they write songs, on how much
they feel like levetsunport to them, what certain songs meant
(37:07):
to them. And it features myself, Lady London, MC light
j Cole Jay, z eminem Snoop Dogg, Common. We even
have the battle rappers like Good as the Animal and
Pavor You know, but.
Speaker 3 (37:21):
Yeah, I love it.
Speaker 1 (37:22):
Last but not least what we're wearing, because you know,
you clean. Do we have our fits ready? Do we
do a change?
Speaker 3 (37:30):
Absolutely? Absolutely.
Speaker 1 (37:32):
I keep saying last, but not least, But I have
so many more questions. I'm trying not to dog it now.
What I'm looking for is some, it's some. It's I'm
looking forward to some, some sleet, some real smooth dancing,
just like one or two steps. Like I know you're
not gonna be out there busting moves and pop locking.
But what do we have something for the ladies? Do
(37:53):
they need to be prepared? Are we passing out flowers?
We're giving out some roses in the front.
Speaker 4 (37:57):
What we're doing, well you you will get the dance moves,
and I promise to give you a lot more than
just a two step.
Speaker 2 (38:04):
Okay, okay, And.
Speaker 4 (38:08):
Yeah, I mean well we have we got something for
the ladies and we got something for the fellas. I
want to entertain everybody. So we're gonna make it real,
you know, and out of time that we have, we're
gonna make it real special.
Speaker 1 (38:19):
Big Daddy Kane, Kane, my new best friend. I appreciate
you so much for coming on the show. It's snaked
with carry Champion and you really you really didn't make
my year. I appreciate all the wisdom I really really
do and have a great performance this weekend.
Speaker 3 (38:32):
Thank You's Day.
Speaker 2 (38:36):
Okay, do we not love Kane?
Speaker 1 (38:38):
I hope for those of you who are listening and
too young to really understand and appreciate him, you go
back and listen to some of his some of his
stuff like it's really truly I'm saying stuff. Some of
his music, it really truly is special and it's a beat,
it's a vibe.
Speaker 2 (38:53):
He said, he's.
Speaker 1 (38:54):
Dancing, he moving, he cleaned, he might come at you know,
rock cam. He now for sure all that you need
to pay attention to all of that. Now, I will
say this. I love that he gave us the Muhammad
Ali story. It leads me to what I wanted to
wrap up the podcast with today. I approved this message.
I was watching the NBA Finals as we all were,
(39:17):
and halfway through the finals, because this is why you
love a good seven game series, I thought to myself.
Speaker 2 (39:24):
First I went in thinking, okay, see would win, and.
Speaker 1 (39:26):
Then I changed my mind, and then I was on
the Pacers bandwagon just because of what Tyre's Halliburton and
the Pacers were doing. How he was winning in the
most unexpected ways, How he continued to seem and appear
fearless and relentless. How the team, the Pacers team individually
was just so deep. They always had somebody ready to shoot,
(39:48):
not from the three, it was always somebody in the
pain like they just really had a beautiful rotation of
players that were all equally as talented or complimented each other. Well,
as we know, the Pacers lost. Some people call it
perhaps a championship with an asterisk for the OKAC for OKAC,
(40:10):
I understand why, because Haliburton, obviously injured in Game seven,
couldn't finish the job.
Speaker 2 (40:16):
If you will.
Speaker 1 (40:18):
I still think, though, when it's all said and done,
that OKAC was going to win. They were playing at home.
I think they had the momentum on their side. But yes,
what if. There are plenty of championships where you could
say what if?
Speaker 2 (40:29):
What if? What if? What if?
Speaker 1 (40:32):
But what I am more interested in is the future.
Jason Tatum, Jason Tatum, get your MS out, carry Tyrese Haliburton,
and not so much Dame, but yes, Dame also all
had torn achilles they all left the season early, not
(40:53):
early where they all ended the season in injury and
arguably will miss all of next season. And what I
was hopeful for in watching this series, I was looking
forward to seeing the next superstar stephen A, you know,
double down on Harry's Halliburn not being a superstar. I
think he was just being a contrarian. I do believe
(41:16):
that he is.
Speaker 2 (41:17):
But I'm looking.
Speaker 1 (41:19):
Across the landscape and I'm watching the face of the
league in Lebron and Steph Curry, even KD to some extent.
We're watching all of our superstars get ready to transition
into the twilight years of their career. Lebron still should
be in the twilight years of his career, but he
is just a machine and he is but still physically
(41:41):
looking like he's ready to go out there and give
you all the time he needs. But where are the
superstars next? Who's up next?
Speaker 2 (41:50):
Is it Jason? Is it Tyresee? I don't know? Is
it ant don't?
Speaker 1 (42:00):
Oh no, I've been asking that question because we have
been so spoiled in the NBA. We have been so
spoiled where we've always had a star, we just have
and when one star begins to fade, another rises and
answers the call. All subjective, all my opinion. I'll take
(42:22):
it back to the eighties when they finally took the
NBA Finals off of tape delay, the very first.
Speaker 2 (42:27):
One that we loved.
Speaker 1 (42:29):
We're looking at Magic Johnson and Larry Bird superstars, and
then there's another group of superstars coming right after them.
It was Isaiah Thomas going at Michael Jordan, then it
was Michael Jordan, then it was Kobe, then it was Lebron.
Where are we nowhere? Where are we now? Who is
the next superstar in the NBA. Some of you might say, SGA,
(42:54):
that's fine. I need a little more time to believe that,
because when you think of a cod Be, when you
think of a Lebron, when you think of a Michael
Jordan or Magic Johnson or even Larry Bird for that matter,
Shaquille O'Neal right, he had his time.
Speaker 2 (43:09):
They were larger than life.
Speaker 1 (43:11):
They fit the bill, they had the presence, they had
the game, they had the skill.
Speaker 2 (43:17):
And I don't know if we're quite there yet. I
don't know if we're quite there yet.
Speaker 1 (43:23):
With this young class of people who are extremely talented.
Speaker 2 (43:26):
So my question to you, and I need you guys
to help me out.
Speaker 1 (43:30):
I'm taking all suggestions, names, inquiries, context, and why who
is the next face of the league. It's a difference
between just being a superstar. We got plenty of superstars.
I just named a few, but who was going to
be that face? Who's going to wear that crown the
way Lebron wore the crown. I'm curious. Let me know
(43:54):
what you think. I'm Carrie Champion, and I approve this message.
All right, Well, thank you all for listening. I hope
you enjoyed Rock the Bells. If you went, and if
you didn't go and you listened to this podcast, download
some Big Daddy kne get an education on some of
these pioneers of hip hop. Thanks for listening, y'all. I
will talk to y'all next week. Naked Sports written and
(44:15):
executive produced by me Kerry Champion, produced by Jocquiz Thomas,
sound designed and mastered by Dwayne Crawford. Naked Sports is
a part of the Black Effect podcast network in iHeartMedia.
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