Questlove Supreme: DJ Clark Kent

Episode Transcript
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Speaker 1 (00:00):
West Love Supreme is a production of iHeartRadio.

Speaker 2 (00:09):
You have to understand, Like, I don't want this to
be confused at all, and this is like maybe probably
the most important thing I want to say today is
I love quest Like. I'm like a like beyond beyond
him being my man. Like did we say this for
the show? Show the show?

Speaker 3 (00:29):
The show to it? I start the show?

Speaker 2 (00:31):
Oh no, No, listen to what I'm about to say.
You might you might understand. I just want to say
it's truly an honor to be considered for this show
because this show is so fucking good.

Speaker 3 (00:41):
Wow, thank you, Mark, I appreciate that.

Speaker 2 (00:43):
Thank you.

Speaker 3 (00:44):
He's preventing me from giving him a proper intro. Uh,
Ladies and Joe and this is Quest Love Supreme. We're
here with Team Supreme, Sugar Steve Fan take Alow, shout
out to Bill Sermons, and uh, like you how you doing?

Speaker 4 (00:57):
I'm doing good. I'm doing real good.

Speaker 3 (01:00):
I was just what's the what's I've been meaning to
ask you? What's the portrait behind you?

Speaker 5 (01:06):
That's my dad says that our artists painted that of
him playing the drums.

Speaker 3 (01:11):
Oh that's your dad. Yeah, Okay, that's what's up no, no,
every time I see I didn't know if it was
a moon or whatever.

Speaker 5 (01:17):
And that's a symbol quest love, that's a symbol. That's
what they also know with drums they play it comes
with a drum set.

Speaker 3 (01:25):
Do you know I did not know that one day.
I will take that up anyway, y'all check it. So
I'm going to say that, you know, we're nerds on
the show, and we always uh sort of salivate over
a specific type of industry insider, behind the scenes person,

(01:45):
and you know, like dream dream future guest of the show,
like you know, I would definitely want to get Suzanne
to pass on the show. We definitely have to find
the elusive John McLean as many times as he's been
mentioned by like every artist that's been on the show.
But for me, I'll say that the behind the scenes
person mostly like offers kind of like a different perspective

(02:11):
and has way more details in a way that an
artist who's in the eye of the storm can't see.
I don't think he could be in it and of
it at the same time. So for me, I love
talking to behind the scenes people and you know, and
I'm segueing right into our guest today, this particular gentleman.
He's everything that you've heard about him, probably and more.

(02:33):
And probably say resume is a little reductive because I
don't you know, it's not like like he works for nobody.
He's literally God's favorite DJ. And I stand by that
another guy that he's associated with. Let's start with he
is the reason why we know who jay Z is.
That's that's might drop a lote, but there's so much

(02:55):
more than that one story I'm dying to know about.
Of course, uh on the ton Silverman episode and you
know Monica Lynch episode speaking of them developing the new
music seminar, and you know, one of the most fabled
things about it was the the infamous battleful Ward supremacy

(03:17):
tales that I've always heard about, especially the Craig g
Versus Supernet always wanted to know about that. I mean,
this is also how we know who Skills is as well.
I mean, let's just mention the classics, Brooklyn's finest guess
who's back by rock him, Biggie Sky's limit on Life
after Death needs you tonight anyway, man, I can go

(03:37):
on and on not to mention this human being gave
me my true intro into the world of fashion, because
without him, I would have never had my own Nike imprint. Yes,
this is the man that's responded. I'm telling you, man,

(04:01):
this this guy is a legend and he's on the
show today. Clark Kent, thank you for finally, I won't
say finally, like it took you long enough. I realized
that this has almost been a year of that mak,
so yeah, that you're right the way it falls on me. Yes,
You're absolutely right. Clark Kit is probably the guest that

(04:23):
we've had to put off the most. You know, there's
always an emergency that happens on a Clark Kent episode
and then we're like, can we do this at a
month or so? So after four false starts, we are
finally here making it happen. How are you, sir?

Speaker 2 (04:38):
I am truly blessed to be here on earth, but
I'm even you know, like I'm very very honored to
be a guest of yours simply because of how much
I admire you, And as I was saying to you
to your crew earlier, like almost like sometimes I parallel

(04:59):
the way you work to the way that I work
or the way that I worked, Like when I was
coming up, I did everything and I just was trying
to be always working, like never not working. And then
you know, like the Rise of questlove to me, it's like,
I don't think you're understanding what he's doing. He's just
not stopping. And then I think about how I came up,

(05:21):
like I just never stopped. So even doing what I
do now, like it's like I never stopped. I don't
even understand to stop. And I look at you and
I think, Okay, I'm not crazy for being that way,
and I really really really respect you.

Speaker 3 (05:35):
Thank you. I gave my first speech to a bunch
of high schoolers. This show is famous for putting me
in right look at life's face right now exactly. This
show pretty much knows my weak points and they know
that I'm a person that shoes or avoids compliments. I

(05:56):
also avoid kids. You know, many times I've been asked, hey,
speak of my high school, Hey talk to the kids,
and da da da da. So I finally got over
my fear and went to a Bronx high school last
week from this taping, and I actually found myself saying
the opposite. Yes, I take those words, and I appreciate

(06:21):
and this is also going to be probably the most
polite quest of Supreme episode we've ever done. But I
will actually say that I'm trying to what he says.

Speaker 6 (06:30):
No, I was gonna say that Clark is actually touching
on a truly legitimate thing that you exemplify, which is
work ethic and right.

Speaker 3 (06:43):
But I'm actually I'm and I'm dead serious about this.
I am trying to do less work. I'm literally making
a living doing things that I love doing. But I
know that for me, and no way I'm trying to

(07:03):
put a time on anything and not trying to be
all morbid. But you know, when you're when you're in
north of fifty, you know you're thinking about your your
your last you acts. You know, I'm in the third
quarter or the fourth, you know, halftime is over. I'm
in the third quarter now, so I consider third quarter
the last act of work.

Speaker 2 (07:24):
That's what you think.

Speaker 3 (07:25):
Yeah, And but I want to do it so that
I want to be the first generation that can and
I know it's weird to hear me say this, but
I would like to be part of the first generation
that when they say they're going to retire, they actually
mean it. You know, for a lot of us. I

(07:45):
hear like, oh, I'm gonna stop. Actually, you know, I
always tease Jay about remember when Jay said he was
going to retire after reasonable doubt? What you remember that?

Speaker 2 (07:54):
Yeah, but I was the one who was like, no, you're.

Speaker 3 (07:56):
Not pulsit right exactly. So, but I would I think
that you know, we're we're seeing a new generation. I mean,
we're gonna have the first generation of black generational wealth.
And I think that we can also have like real
retirement for us, where you get to relax and do

(08:18):
what you want to do and not and live the
life that you're accustomed to living and it not affects you.

Speaker 6 (08:25):
So, oh well, it's going to affect me. You can't
work less. I get paid by the hour, so I
can work out for everybody.

Speaker 3 (08:33):
Clark, I always wanted to know this. Usually in hip hop,
when a person comes up with their their moniker, their
non de plume, it's usually an over exaggerated position or
something that's larger than life or whatever. I find it
very interesting. I mean not that you know, DJ Superman

(08:53):
would have been a I don't know how logistic logistical
that that would have been as a time, but I
think it's very curious that you decided to choose the
half life version of Superman, which is Clark Kent. What
was your reasoning? You know, because we don't know any
Peter Parker's or I don't know.

Speaker 2 (09:14):
The other there was a DJ Peter Parker in Brooklyn?

Speaker 3 (09:17):
Really yea.

Speaker 4 (09:19):
Radio Parker. Yeah, that's the only two.

Speaker 2 (09:21):
Okay, Well mine's is pretty simple. I wore glasses since
I was five years old, and I got teased and
called Clark Kent since I was a baby. So what
when this started to happen? When when I'm like nine
and I started DJing, there was no name. But by
the time I'm like, okay, I'm going to play a park,
I gotta tell him something. So I told him the

(09:42):
name that everybody teased me about, and it just never
went away. I've tried other things throughout.

Speaker 3 (09:49):
What were your other names that you were optioning.

Speaker 2 (09:52):
I used to write graffiti when I was really young,
and I used to write blink. So I tried DJ
Blink and I thought that shit was terrible and it
didn't rhyme with anything properly. When I and Brad groups.

Speaker 3 (10:01):
So think drink and sink.

Speaker 2 (10:04):
Just just no, it didn't it didn't make as much
sense later, But and then there was a It's funny
because I don't know how just Blaze knew this, But
for like, for like three weeks, I was grand Master Blaster.
And that's crazy because the guy who would be on
the mic when I was, when I was DJing like
Block Party Ship one day just went grand Master Blaster,

(10:27):
cut faster. I was like, oh. And then after the joint,
I was just like that ship is terrible, and I
just went right back to it. But Clark Kent works
for me because I don't believe any man is superior
to the next man. So I'd rather be a persian
that that is not a superman. I try to be
a super DJ.

Speaker 3 (10:47):
What was your first musical memory of your life.

Speaker 2 (10:50):
My first musical memory my mother was a classically trained
op singer. Oh wow, yeah, she sang in the New
York full of minic. She sang in Link and like
it's crazy. I did Connegie Hall a couple of months
ago with d Nice, and everybody was like yo way
and Carnegie Hall Way and Connegie Hall. And in my mind,

(11:11):
I'm thinking my mother lapted this place three times, Like
this is not until I know it four times. Until
I do it four times, I've done nothing, you.

Speaker 4 (11:19):
Know what I mean?

Speaker 2 (11:20):
Because I looked. I would go see my mother at Connegyill,
but again, she was a classically trained singer, so around
the house she sang and played the piano since the
first and then my real real like music I HA
moments was when I stayed with my grandmother and that
was since I was like six, and she had this

(11:40):
record that she played like every day when she came
home for work. It was Happy Landings, and I would
watch her be happy playing this song, and then I
would just sit there and try to figure out how
to play all the records in the house. But when
she's coming home, I would put on Happy Landings for
her to walk into the house too, and I realized,

(12:01):
like maybe like a year later, like I am actually
doing something to her emotionally by putting this record on
when she walks through the door. And that made me
always want to be the person in the house that
played the records. So I didn't know that at five
and six and seven and eight that I'm becoming this
DJ until I heard records being mixed and I was like, Yo,

(12:26):
what the fuck is happening right now.

Speaker 3 (12:29):
So I know that you are from Brooklyn, I was.

Speaker 2 (12:33):
Born I was born in Panama, but raised in Brooklyn.

Speaker 3 (12:36):
Okay, when did you when did you come.

Speaker 2 (12:38):
To became two months old? I was two months old.

Speaker 3 (12:41):
Okay, So can you give us your your take of
coming into hip hop culture because you know, for a
lot of people, you know, we hear the folklore of
the Bronx, the Bronx, the Bronx, the Bronx, the Bronx,
but as large as New York City is, I'm sure
and that the same development was happening in the other boroughs.

Speaker 2 (13:04):
Here's the thing. I don't look at it like a
advent of this thing that we call hip hop I have.
I just happened to be alive and cognizant of what
was happening when I was really young. And the reason
why is because I was being this DJ and because
I knew Grandma Aster Flowers, you know what I'm saying.

(13:25):
Because I knew Pete DJ Jones when I was like
a little kid, like knowing those two guys and having
the conversations about what was happening, like you know, it
wasn't even like we didn't even know that it was
called hip hop when we started playing the records differently
and you know, like we we understood. Okay, that's a
section of the record. But then I was also in

(13:46):
the Bronx with my uncle and he would introduce me
to Who Hurt. He introduced me to Bam and Breakout
and Barren and JC with Kid and everybody from uptown
like Charlie, Chase and Tone. Like I've known him since
I was like twelve years old, you know what I'm saying,
and did or like I was in his crib when

(14:10):
I was like twelve or thirteen, you know, so watching
it all and being able to do it all, like yeah,
by accident, you know what I'm saying. His brother, me Jean.
I was with my uncle. My uncle brings me to
me Jean's crib and then I find out Theodore as
his brother. I'm like, wait a minute, what's going on here?
Ain't that the dude but the zigga Zigga that we
all do, you know what I'm saying. But like it
was then, it was like so far. It was the

(14:32):
seventies and I'm really like witnessing and going to eighteen parking,
seeing flashing and casta Nova's and shit and seeing like
Grandmaster Cast can literally say he's know me since I
was a kid. It was because I was up there
with my uncle, and my uncle was cool with all
of them, so he would bring me around. Now, yes,
I'm in Brooklyn, you know, trying to figure out this

(14:53):
DJ thing. But the first set I ever played on
was my uncle's set, and he couldn't DJ, so he
couldn't even teach me anything. So like I would be
in his crib trying to figure it out, like at nine.

Speaker 3 (15:03):
So he had DJ equipment but wasn't a DJ in
the sense of how we DJ.

Speaker 2 (15:08):
No, he didn't know how to DJ at all. He
bought DJ equipment because he frequented clubs so much that
he wanted to have what they had in clubs in
his house. So he was a Leviticus guy. He was
a Plato's Retreat guy. He was a Bonds International guy.
He was a fifty four guy, you know what I'm saying.
Like he was also a lawyer, so maybe not being

(15:31):
in a pad As garage would be good for him.

Speaker 3 (15:35):
But it's quite an upbringing, all right, because you are
cognizant the records in your house alone. Now I know
in hip hop sometimes with selective memory or revisioning whatever,
like people might mistake, you know, one of the basic

(15:55):
ingredients of hip hop breakbeats that they discovered older making
beats and all those things from like what was there
in real time but for you in real time growing up,
you know, in these formative years like twelve thirteen whatever,
when you're like getting into records and all those things,
like what was the record that caused absolute panic? And

(16:20):
like when you put it on, it's like, oh Jesus Christ,
like clear the floor, or not clear the floor, get
on the floor.

Speaker 2 (16:28):
At that time, it might have been Ecstasy by the
Ohio Players because it was literally my favorite. It was
literally my favorite record as soon as I heard it.
To me, it's still the best song I've ever heard.

Speaker 4 (16:41):
It really great.

Speaker 3 (16:42):
I got jokes, no, no, no, I love that song
to death. But I have so many jokes with the
Eye Players because they get away with so many musical crimes, right.

Speaker 2 (16:51):
And the thing is, like the whole record is a
musical crime. And the reason why I say that is.

Speaker 3 (16:56):
Because it's literally the end of a song like I
would like, it's like they started right on the d
the song.

Speaker 2 (17:04):
And there's no hook, there's no verse, there's no change,
like whatever.

Speaker 7 (17:10):
Whatever he sings the first line, like that's the name
of the song, like that.

Speaker 3 (17:14):
Love you use exta pain is just since the right exactly.

Speaker 2 (17:19):
But by the time the end of the record comes,
just the most perfect thing I've ever heard, because the
emotion is raw, the music is beautiful, and it proves
that there is no real formula to this shit. It's
just when you listen, do you walk away going That
shit fucked my soul up, you know what I'm saying.
And that record since I was a kid. The first

(17:42):
time I heard it, I was just like, oh my god,
this might be the most beautiful thing I've ever heard.
And yes, I've heard tons of records, and yeah, I've
heard tons of records, but that record right there, that's
the reason why I sampled the records because and it
took me like four years to sample it.

Speaker 3 (17:58):
Yo, I'm gonna tell you something. The anger, there's nothing
like the feeling of where you think the lane is
clear and all you got to do is simply just
put the ball in the hoop and you know it's
about to happen, and then someone just smacks the ship

(18:21):
out of the ball, like get the fun I'm telling
you now the anger I had when I heard Brooklyn's
Finest because at the time we're working on ill Adolph
Half Life. I was like, Yo, I'm gonna make.

Speaker 2 (18:39):
Life's a great album.

Speaker 3 (18:41):
I know, but my my, my contribution to this jam
was I've been working so hard, like trying to hook
up some version of ecstasy to go on that, and
then I heard it on a mixtape and was like,
this is over.

Speaker 2 (19:00):
Nope, right, I'm gonna make this crazy for you. I
sampled that record two years before on a remix for
the Future Sound, but I only took one loop, and
every time I listened to it, I was like, I
didn't do this right. I didn't do this right. And
again it was my favorite record. So every club I played,
I ended the night with the record, and it became

(19:21):
so popular that I would play this record that people
would be like, I'm waiting to the end because I
could hear that fucking record. And then one day, one day,
Dame and Ja just go, yo, so you got you
gotta hook that up. So I mean, sitting there with
the sample, I'm just like, there's only one way for
it to feel the way it feels, and it has

(19:42):
to be the whole five bar loop. Now, of course
five bars is very unconventional, just like three bars is unconventional.
But yeah, like try to call a question. When that
record was made, I like tried to figure out where
the fuck do I mix this record all the time,
and then I figured out where I'm going to get
that eight bars at It would be weird, but it
would always come off right, you know what I mean.

(20:03):
But with Brooklyn's Finest, it's almost like I had to go.
I don't care if they figure it out, because the
music has to feel and and and the thing is
the music feels because what they did to was was
great too. But if they didn't, if it didn't feel,
it wouldn't have gotten to there?

Speaker 3 (20:21):
Have you? Have you heard Lino Richie's version that Jimmy
Jeome Terry list line of Richie covered the Ecstasy not
really but no, but like he didn't cover ecstasy, but
jam kind of flipped on no, no, no on loud of

(20:42):
them were not louder than words. What's the Joe that
he I gotta find the album?

Speaker 4 (20:49):
It's it's a lot of Richie.

Speaker 3 (20:52):
Yes, It's like one of his like I could spend
that ship in my set and the ship come off.
It's yeah, it's the louder than words that right, Oh,
I want to take you down. Look up, Lina Richie,
I want to take you down. And like I was like,
all right, Jimmy jam and Terry Lewis like they actually
they flipped they flipped one of Junie Marson's ad libs

(21:12):
so that it actually sounds like he said, I want
to take you down, but like it's an album cut
on words like right, like he take you, damn take you.
I was impressed. And but the thing was, I didn't
know that Jimmy Jamm and Terry Lewis produced it. I
was just like, all right, so Lionel got some young

(21:34):
cat to hook up the f and this, you know,
this came out in nineteen ninety six, so it's even
weirder that both got album.

Speaker 8 (21:45):
No No.

Speaker 3 (21:46):
But Jam I was like, I'm king, I know you're joking.
We got jokes here, no, but literally I was like
asking Jam like, did you know Brooklyn's minus or whatever?
And He's like, nah, I didn't, because I was like
it leaked a good six months before it came out,
like I heard on someone's mixtape.

Speaker 2 (22:03):
I think it might have been either Chubby Chubb or Clue.

Speaker 3 (22:06):
It probably was maybe Clue. You know, whatever it was,
it was enough to make me not like I was like, well,
my dreams a shadowed.

Speaker 5 (22:15):
It's one of those rare records that, like, no matter
how many years later, if anybody play it you on
the it's just automatic, like yeah.

Speaker 2 (22:25):
It's because it's perfect.

Speaker 3 (22:28):
Wait, all right, I always tell people this story, and
I'm going on the timeline. But I got I got
to ask this question because I don't know we ever
talked about.

Speaker 2 (22:40):
Yes, yes, it was hard to follow you at the
Goal party.

Speaker 3 (22:43):
Shut up, man, No, no, no, no, I'm talking about
but but but.

Speaker 2 (22:49):
Goal party?

Speaker 4 (22:51):
Oh so you oh, y'all followed each other at I
got it.

Speaker 3 (22:55):
Okay, I had to get on the plane to go
back to my day job.

Speaker 4 (22:57):
That's the grammy problem of the Oscar party.

Speaker 3 (22:59):
I can't remember the infamous Jason.

Speaker 2 (23:05):
He just did.

Speaker 3 (23:06):
Okay, we know, No, I was gonna I'm asking you,
do you know if anyone that has documented or recorded
I believe that was you on the turntables for uh,
the after party for Zebrahead the movie.

Speaker 2 (23:25):
Wow, remember this was a party, but I don't know anybody.

Speaker 3 (23:30):
You don't even know. This the one, the one and
last time I ever got on the microphone to rhyme.
You were you were DJing, you going back and forth
on in Vogue's hold On as an instrumental, Like, no,
it definitely wasn't booming system. It was just going back
and forth on hold On and NAS gets up to

(23:54):
rhyme and then it just became one of the things
where like a thirty mcs.

Speaker 2 (24:01):
Were on stage that I remember.

Speaker 3 (24:03):
So I was rolling because Zebra Hit was a was
a rough House Records Association. That's where I was interning
at the time, and you know, we had like two
bustlos going up, so it was like all the goats.
Larry Larr was there, like all the all the rough
House people were like there, and I don't know, it

(24:25):
was on stage and it was like the microphone, you
got the spirit?

Speaker 4 (24:30):
Did you get this?

Speaker 3 (24:30):
And I like one, I had one verse, you only
got one ship took at a teketc K question whatever.
So I was always afraid to tell that story because
my fear was like someone's going to be like yeah,

(24:51):
and I recorded it here it is of it like
literally I remembered nas rhyme in a long time, and
then like then like a bunch of second tier I
think Joe Fato was there. Yeah, and then by the
time it got to like the seventh or eighth MC,
then it was like anybody's rhyming. And then that like
I was number like twenty seven. But yeah, yeah, sorry

(25:16):
memories anyway.

Speaker 2 (25:17):
No, I'm not mad at you. I had one of
those moments when I was like fifteen, and as soon
as I was done, I was like, never again. But
again I was.

Speaker 3 (25:27):
I was.

Speaker 2 (25:28):
I was at a park gm Oh. No, I didn't
rhyme again. I just did a hook and I.

Speaker 3 (25:32):
Well, you did the hook on Brooklyn's Finus.

Speaker 2 (25:33):
Yeah. Yeah, that's what I'm saying.

Speaker 3 (25:34):
I just some time out they made that song without
a hook, and then you went and.

Speaker 2 (25:42):
Listen when Biggie came to do his verse, it was
like the day before mastering. Wow, So it was you're
gonna do You're gonna do this verse, and then I'm
gonna have the song's gonna have to go get mad,
I'm gonna have to mix it, and then it's going
to master the next morning. So you gotta finish the song.
He finishes his verses and him and Jay in the studio,
it's all revele. I'm like, yo, I need a hook,

(26:04):
he says. Jay said, scratch something. Every single thing I
tried to scratch on that record sounded like blasphemy because
the record was so rich, right, so everything sounded terrible
except good brook instead of scratching. So Jay's like, y'all,

(26:27):
I'll be back, and he disappears, and like twenty minutes later,
Biggie goes I'll be back, disappears. But I said to
both of them on their disappearance, like, yo, you got
to come and give me a hook. And every time
I said it to Jay, he said, Yo, just scratch something.
You could make it right. And like I said, everything
was like disgusting. I felt so bad because all I'm

(26:51):
thinking is.

Speaker 3 (26:52):
How long did it? Like how many attempts before?

Speaker 2 (26:54):
Oh no, I attempted at least fifty different things to scratch.
I just had. I just had a crate full of
records that said Brooklyn. And this wasn't even because of them.
It was because that's what I'm thinking. I'm going to
figure something out under their hook or maybe in a section,
but in the breakdown section in the fifth bar, I'm

(27:14):
going to scratch something every hook right, and then so
they're like, yeah, you you know you're going to scratch something.
I'm like, yes, i am, and I got records and
I'm going to try to figure it out, and nothing
was figuring it out.

Speaker 3 (27:27):
Question though, by ninety six the term we're booklyn at was.

Speaker 2 (27:36):
It was a known thing, but it wasn't. But it
wasn't a recorded thing that I could just go, I'm
going to scratch and there was no store. So after
a million tries and the only thing I got is
Brooklyn Brooklyn, I'm just like, I'm scared to death, and
I just I just kept listening to the record and

(27:58):
I was like, Okay, let me pull a piece, and
then okay, what you're gonna do after that? Because all
I got is jay Z Biggie Small's nigga shit you draws,
and I'm like that's awesome. But then I'm like, what else?
And then I'm like, okay, shout out the sections and
the Burroughs shout out the most important ones, Bossy feds By,
you know, like, let's get to our shit first, and

(28:20):
then the rest of the shit. I could just roll out.
So I did it, and I was in fear. But
for the whole time I was there, Damon was there,
but he's not paying it no attention. He's there. He's
almost like, I don't know, Clock's bugging cool. He doesn't
even say Clock, you're bugging. I'm just doing this thing

(28:41):
and I'm bugging in my mind. So I'm telling the engineer,
can you change the way my voice sounds? Can you
double it? Can you triple it? Can you quadule it?
Can you do all of these things? Please do not
make it sound like me and everybody. He's like, well,
what's wrong with this sounding like you? I said in
our crew there is a packed Clark will never rap

(29:02):
like J Jay and saw us just one day we
was in my crib and it was just like looking
at me and I was and I was like, yeah,
they were looking at me like Clock, you don't rap,
don't ever be a rapper, Like let us do the
rapping and you make the beat, don't do this, And
I was just like, no problem because I never ever

(29:24):
wanted to be a rapper. So at the end of everything,
Dame is like, yeah, I like it, and I'm just
like okay, please I'm like, please, do not tell them
that I did it. Don't tell whatever you do, don't
tell Jade that I did it. It goes to Mastering.
Everybody's at Mastering, they love it, and then the record
is like after master and I'm just like, yo, Jay,

(29:45):
how you like? Shit is fire? Who's that? Or that's
the kids I found downstairs? Just so that he wouldn't
be like, fuck was he doing rappit? So later on
it comes out okay, clogged, now clogged do that and
he was just like, yo, we told you you don't

(30:06):
wrap right, And I was like, dog, I wasn't trying
to wrap you. Guys left me here and he goes, nah,
but it's really good though, and then like weeks later,
weeks later, we got to show at the Apollo. What's
crazy is when I say we, I mean jay Z, Junie,
Myfie and Biggie. So where else are we going to

(30:28):
perform this song? We at the Apollo. Now I'm just like,
oh shit, I gotta perform, so yo, this is my word.
I'm all the way to the side of the stage
where almost like I wanted to hide behind the speaker,
but I'm like jay Z Crowd's going crazy. I started
moving closer to the front of the stage. I'm not,

(30:50):
but I'm hyped down because I'm talking about my city
in Harlem.

Speaker 3 (30:57):
You don't stop, stop, you won't stop.

Speaker 2 (31:00):
Yeah, the crowd's going bananas. Crowd's going bananas. First and
last time we did broke Spinus because I was just like,
I'm never going on tour with you, motherfucker. I'm never
doing this shit again. And unfortunately they didn't get to
be like, now you are going and we are doing
it because my man passed.

Speaker 3 (31:18):
Yeah, I was about to say you never were his
official DJ.

Speaker 2 (31:23):
I was in the very beginning. If you look at
the first jay Z record, I can't get with that.

Speaker 3 (31:28):
I can't get with that. Right.

Speaker 2 (31:29):
My name is on the logo. It's jay Z Feature
of DJ clark Can. That was the name of the
group back then, jay Z Feature and DJ clark Can't.
But I didn't necessarily care to be featured. I care
to be making the music and picking the records and
picking the tracks, and you know I want to do
I want to do the record making.

Speaker 7 (31:52):
I don't want to ask you about your time with
Dana Day Dan and Dan. That's the first take I
ever owned and.

Speaker 2 (31:59):
Sh like, straight up, that's dope. That's dope.

Speaker 7 (32:07):
So yeah, talk about him. What was he like like
back in you know those days? What was that time like?

Speaker 3 (32:13):
And when you're telling the story, he tells where the
hell is Herbie? Please? How I feel like you're the
person that talks to Herbie like every day in the world,
just don't know where he is?

Speaker 2 (32:24):
You wonder know what's crazy? I wish I could, because
I literally blame him for the reason I produced. I
blame Molly mal for my style, but I blame him
for the actual thing happening. Because we used to be
in the studio all the time and I would be
looking at these drum machine going I wonder how that works?

(32:46):
And one day he was just like, oh, you can
fuck with it. And he didn't come here, he was
coming to the studio. We were all on the studio
and he let me sit in the studio for like
three hours before he came to fuck with the machine.
And I literally got to learn how to use it
as the same You remember it was S twelve Okay, gotcha? Yeah?
I literally still make every single track I've ever made

(33:08):
in my life is on ST twelve hundred.

Speaker 8 (33:10):
Are you serious even now.

Speaker 2 (33:12):
I'm dead serious. It's the center of my studio.

Speaker 3 (33:15):
Have you used the updated version yet?

Speaker 2 (33:18):
No? And I the reason why I won't probably is
because I think he's the price is just robbery. The
price is, dude, is like five thousands for twelve And
I'm just like, dogg, I did not know that. Yes,
like I'm dog it's a st twelve hundred like it.
I understand you got a couple of updates. Make it
twenty five hundred. You know what I'm saying, Like, do that?

(33:38):
Do three thousand even if you have to for five grand,
four or five grand now? And and and trust me
in my heart, I'm like, I want it because it's
swelve twelve hundred. But I got originals, so I guess
I'm cool. It's just that the maintenance can be something.

Speaker 8 (33:55):
But yeah, I was going to ask, how do you
keep them maintained? Because you you you.

Speaker 2 (33:59):
Take it to somebody who can clean it and make
sure every button and every screen and everything works. And
you know, I'd rather do the maintenance than I have
to go give them somebody respectfully, you know.

Speaker 3 (34:10):
And I just Steve, I'm surprised you don't have a
D'Angelo floppy disc joke.

Speaker 8 (34:15):
Well, I guess I don't.

Speaker 3 (34:20):
Well wait, if you still make it, how do you
are they still manufacturing floppy discs.

Speaker 2 (34:25):
So when I was young and I started seeing other
machines coming up, I surplus those this.

Speaker 3 (34:33):
You're like Neil Neil Young. When Neil Young found out
like the first round of Ampex two inch tapes were
about to be out of business, he went and damn near,
I did that too. I see, Wait before you answer
Fante's question.

Speaker 2 (34:51):
Wait, wait, hold on, I want to go back and
say I wish I could speak to Herbie all the time,
just so I could be like, yo, thank you. You
know what I'm saying. But I don't speak to him.
I wish I could. I know, I believe Dana does,
but and I speak to Dana, so maybe I'll just
ask him, can you get me in touch for Herbie?
But like, I would just love to stay thank you.
And I never let it go unmentioned that he's the

(35:13):
reason that I actually bang on a machine first, and
then I would be in Mally's crib. And that's when
I was just like, oh.

Speaker 3 (35:23):
So you went to the Marley House of Hits.

Speaker 2 (35:25):
I used to be in the projects because me and
hot Day. Hot Day is from Queensbridge. We used to
DJ together a lot and me, Molly and hot Day
used to play the same club once a week. We
used to play USA skating rink, so we knew each other.
But like I'm talking, like since I was a kid,
I was in Mally's prib. You know what I'm saying,
Because that's the reason why when Molly did his own show,
he came and got being being peaked. He was like,

(35:46):
Pete was the young guy, but I'm the guy that
he's known for forever to be his DJs. What I'm saying, so,
but yes, Molly is the reason I make beats the
way I make them. But the reason I make beats
in the first place is Herbie Love because he gave
me a moment in the studio and he came and
he heard shit, and he was like, Nah, that's good. No,
that's good. Yo. Wait a minute, that's good. Hold on,

(36:08):
that's good. You know what I'm saying, where'd you get
that sample? You know what I'm saying. I would give
them samples and ship like that. But if it wasn't
for Herbie, I'm not sure I ever well maybe I
would have, but I don't know if it would have
happened then. So, like I never got to make anything
on the Dana albums, but those were the times when
I was learning how to make beeps.

Speaker 8 (36:27):
Did you tour with him?

Speaker 2 (36:29):
Oh? I was. I was Dana's toy DJ. We went
on at least three tours for one two. Yeah, yeah,
I was sold. But yeah, it's funny because in that time,
the name of the whole crew was called Idle Make
because it was kidd and Play, Kwame, Salt Pepper, and
Dana Dane, and there was a couple of other groups.

(36:50):
So it would be times when I would DJ for
Salt Pepper, there would be times that I would DJ
for Kidding Play because we were just a crew and
if we if I was there and they were there
and they didn't have to do and whiz, wasn't it.
I'm with the records off phone because we're recruit So
but my main, my main job was was Dana Day.
And I think what what made working with him so

(37:12):
perfect was he allowed me to help him make the show.
So it wasn't like all his idea dictatorship and just
play what I say. It was like what should we do?
And that's that's what made me. Indeed, me and Biggie
work so perfectly. He walked in, he was like, I
don't know how to do this, Ship, tell me what
to do.

Speaker 5 (37:31):
Does that mean you never had to negotiate your rates
because I was just sitting here thinking like we ushering
in a new time in that way?

Speaker 4 (37:37):
Yeah? Yeah, I mean how do you even figure that?

Speaker 2 (37:40):
How you even figured that out? And now, when when
Dana and I started to work together, I don't, I don't.
I hope this doesn't sound a way, but I was
already being DJ Clark Kent in New York City. I
was already playing all of the clubs and being one
of the most work DJs. So when we got together,
it was just like, oh, he can make this better.

(38:01):
You know, when we work together, I made it better.

Speaker 4 (38:03):
And to you, the music directed in in a way
it's behind right.

Speaker 2 (38:08):
Like our first show together was at the rooftop and
walking into the rooftop as many people who was going
oh ship day to day like there was as many
people going yo, claud Kennedy because I played the rooftop
with bruzie B a bunch of times. So they were
like oh, this nigga is about to get on the set.
Not the way that you think we're gonna do this.

(38:30):
I'm gonna be DJing for day to day and we
killed Ship because the records was on fire, you know. So.
But the first time I ever did DJ form for
real was at Washington Urban High School. It was at
a talent contest and he was the act. And this
record might have been like three weeks old, and he
comes in, but the records flaming in the street, you

(38:52):
know what I'm saying. And he comes in and he
does the Ship and mother first song Nightmares went crazy immediately.
So three weeks later, he's the guest at Washington Urban
High School. My sister was a student there, and I
was just like, oh shit. So he's just like, Yo,
can you drop this record for me? And I was like, okay, cool.

(39:13):
I didn't think it was gonna be much, but in
my mind, when I'm hearing a rap, I'm like, I'm
going to pull it out here. Let me pull it
out here. He came over and then he was like, O,
how did you know to do that? And I was
just like, well, I just felt, you know, musically, I
felt where you were going and where the drop should be,
and he was just like okay, cool, and he had
a DJ, so times was coming and he got a

(39:33):
couple of shows and like his DJ would would not
show up at certain things. So one time he just
was like, yo, would you be my DJ? And I
was like, let's figure it out. And he came to
my crib and we sat there for hours working on
a show and he entrusted me and to me because
I care so much about the music. Like I was

(39:54):
just like, I want this to be like an amazing
show for you so that when they walk away, they
go this was to see it was entertaining in it,
you know, So that's what that was the That was
the mission for with Dain the day was to make
sure that his show is awesome.

Speaker 5 (40:09):
And I just want to say the reason I asked
that question, and I was just asking about it because
it feels like this style of DJ and and all
of this art that it takes is not necessarily translated
into what people see these days as a DJ on
stage and lave performance.

Speaker 4 (40:24):
So just making yeah, well.

Speaker 2 (40:26):
The DJs on stage nowadays aren't necessarily DJing. They're they're
standing up there within a a piece of a piece
of performance that's happening, and they're just doing there there
there look like it part of emotions. And if they
are doing some DJ and they're basically just dropping records,

(40:47):
They're not like switching beats in the middle of the
songs live. They're not on turntables making it work and
figuring out how yo if if if the crowd doesn't
go crazy, we gotta figure something else out on the fly,
you know, and there not than not doing that. Let
me just say this, there wasn't no dabts when we
were when we were doing it, and there wasn't no
instant replace instant. It was you had instrumental records and

(41:11):
you had to make it work. There was no there
was no rapping to your vocals back there.

Speaker 3 (41:18):
I've seen LL and Rock and few others. Well, I
now know why dub mixes were always on the B side,
like rock King would have. I came and the team
fight me fighting be like then, I was like, oh
that helps you on stage basically TV track. However, I
have a question during your tenure with Data and Dame.

Speaker 2 (41:43):
Which was which was has there hold on home? I
didn't need to say that was some of the best
times for me because I learned so many things at
that time.

Speaker 3 (41:51):
I have a question, is at any point was there
talk of like, I don't know who the other two
members of the Kango crew was.

Speaker 2 (42:03):
Lance and Omega.

Speaker 3 (42:05):
They were amazing, So was there ever talk of them
doing something together? Like I know that I still no
one still answered with with gave me give me a
straight answer on why it took slick Rick four years
to go from Lottie Dottie to Great Adventures. But you know,

(42:28):
at the time, when Dana Dane comes out, at least
in Philadelphia, a lot of us thought that was slick Rick,
you know, because he had like that's that snaggle Puss
flow And yeah, I knew they were in the same crew.

Speaker 2 (42:44):
But okay, do you remember snagger Puss? I'm older than
you dogs.

Speaker 3 (42:51):
No, no, no, I don't mean the cartoon, I mean actual
MC I remember, right everyone he actually had bar Yes, yes,
he had bars. Yeah, and so. But just during your
period with Dana Dane, was there ever was slick Rick?

(43:11):
Did you have any slick Rick sightings between nineteen eighty five?
Of course in nineteen eighty like post Lottie Dottie eighty five.

Speaker 2 (43:19):
Like absolutely, because like I knew slick Rick like before
the show came out, you know what I'm saying. Like
me and Doug were friends since were like seventeen, I
knew I knew Get Fresh Crew, haven't it? And you
if you asked Chill, Will and Barry we were all teenagers,
won't be at each other and we.

Speaker 3 (43:38):
Were so no one ever had the conversation like, Yo,
slick Rick, Dana Dane, do we join together?

Speaker 2 (43:43):
It was actually it should have been done, but Herbie
was trying to get the Kano crew together. He had
Lance and Omega and Dana Dane and we were trying
to wrangle Flickrick at the same time. But Rick was
getting his shit together for what would be one of
the greatest rap albums ever.

Speaker 3 (43:57):
Adventure Ah okay, all right.

Speaker 2 (44:01):
Great Adventure is a bar like if you tell stories,
you should be trying to tell stories better than that.
It's an impossible bar, right, which is which makes it amazing.
So that makes it really something to shoot for now.

Speaker 3 (44:14):
I know in Philadelphia is you got to know somebody
that asks a station wagon or a van or mini
van to really make it happen. But as a New Yorker,
how does one be an effective DJ.

Speaker 4 (44:28):
On the train?

Speaker 3 (44:30):
Yeah? Or just like walk me through, Like what year
was it that you were like, Okay, I'll do your.

Speaker 2 (44:36):
Black party and that's not your own neighborhood in nineteen
seventy six, seventy yeah, six or seventy six. I was
seventy seven. While in the summer seventy seven I was
I was eleven and I played at at a Grand

(44:59):
Master Flo. I was was DJing and Lincoln Terrice Park
and everybody was like, yo, you know that's the young
DJ from up the street. You know that's the young
boy that DJ's from up the street. And they keep
telling them. He's like worre. He's like, come on back,
come on back, And he goes you want to play
some records? And I was like, yes, you know what
I'm saying, like not a not an ounce of fair.

(45:20):
So I just start. He's like, yo, well pick out
a record you want to play. I'm in his records.
I'll pick out like forty records. He's looking at me
like he's looking at me like you know these. I
was like absolutely, he going, I shure he give it
a shot. By the end of it of like thirty
five forty minutes. He was like, oh no, he's serious.

(45:41):
And you know, he was like, yo, you did a
really good job. And everybody was like yo, yeah, and
understanding when Lincoln Terry's Park is behindred people and usually
people get dead at Lincoln Service Park. So as soon
as I got off and he told me what he
was saying, He's like, yo, man, you got something and
you're really good, keep up, keep up at it, and
you sounded very good. Was just like okay, cool. So

(46:02):
I left. I went home and I went right to
my grandmother and I was like, I'm going to be
DJ for the rest of my life, and she said,
as long as you finish school, you can do it.
And I was like, okay, back, I got to finish school,
but I'm going DJ all the way through it. But
the first time I played, I played a black a
block party with I was with I was on somebody
else's equipment, but I was playing the block party. I think.

(46:24):
I was like, well, and it was and I put
a hole in it because I.

Speaker 7 (46:30):
Know, what is one of the times that you bombed
a party? Like what what is bombing for?

Speaker 3 (46:37):
A clock? Can't look like.

Speaker 2 (46:39):
It hasn't happened yet, let me knock on some wood. No, no, no,
it's not that. It's just that I put so much
pressure on myself to make sure that it doesn't happen
that it just hasn't happened. I'm not saying it can't happen.

Speaker 7 (46:55):
So it's like my sixteen year old was like, hey,
come play my party like you can.

Speaker 8 (46:59):
You can play for that crowd.

Speaker 2 (47:01):
Absolutely, okay, no, no no. I just played for the
New York Giants yesterday and all of them are in
their early twenties and they listen to so they listened
to sixteen year old music. All of them were on
the on the on the on the field. Like I
like drill music, I like I like these, I like

(47:21):
I love Young Thug, I love Dirk, I love I
love these.

Speaker 4 (47:24):
You gotta love it to play it like that.

Speaker 2 (47:26):
The difference is me. I don't love DJing. I love
music music, so I can appreciate all of it. I
understand why certain things won't make sense to some, but
I don't look at it for that. I look at
it for is the record good. It's the record good.
If the record's good, I'm gonna play the records. I'm
gonna play the good records, and that's all I think.

(47:46):
I don't care what kind of music it is. If
I if I can't understand the energy of it and
it doesn't get played. But when I do, like, I'm
going for it because I literally love the music itself.
It's much much more important than DJ. But I guess
that's the actual part that makes me a really, really

(48:07):
a very good DJ.

Speaker 3 (48:09):
All right, So you live in a life of yes.

Speaker 2 (48:12):
So that said, a life of yes.

Speaker 3 (48:16):
We did an episode with with DJ Drama where everything
was a yes, yes, and a lot of those things
are things I would say hell no, no, no, no, no no,
I don't mean yes. But just like you know, if
I'm done a gig, I want to go home. Immediately
he gets done a gig and then an unknown TI

(48:36):
is you know, chasing him to the car. You're our rhyme. Okay,
give me a number, here's my number, come to my basement.

Speaker 4 (48:43):
That's what Drama was talking about.

Speaker 3 (48:45):
I would have missed that.

Speaker 2 (48:46):
Okay, think about this. If I don't listen, I don't
hear holds, well, I don't. If I don't listen, my
cousin Foxy. If I don't listen. If I don't listen,
I'm not the first person to work with him. If
I don't listen, I don't have skills in my house
before any battles. You know what I'm saying. If I

(49:07):
don't listen, I miss it. If I don't listen, I
don't know the records. If I don't listen, I can
bomb at a club. I come from the context for
the DJing, and because I come from that era, I
look at every single gig like it's the last one.
Some kid wants the spot. My question is am I

(49:29):
giving it to you? You're bugging, you gotta take it,
And if you try to come up against me in
a club, you gonna lose. So if I bomb, it's
going to be because no one else was there to
edge me on. And I just was like, fuck it.
You know what I'm saying, Like, if there's ten people,
those ten people are gonna walk away going I don't
know who that DJ was, but you know what I mean.

(49:52):
Patty Obell went on TV talking about how o'clock can't
rock up at a party. But I'm sorry, that's part
of the Bell. That's Auntie Patty Well, like she's my mother's
age like, and she was like that DJ clock Camp
was incredible.

Speaker 5 (50:05):
I was like, yes, and that's her rep. Now you
got to keep up that, keep going and keep going.

Speaker 2 (50:10):
Imagine because when somebody said my name to resonally, she
was just like, Oh my god, that motherfucker. And I'm
just like, if I don't keep that up, it's over.
It's over because the chip on my shoulder is ignorant,
you know what I'm saying. So the one time I bomb,
it's going to be the last night. Somebody's gonna be like,
never again because they want it so bad for me too.

Speaker 8 (50:31):
Borrow right, all.

Speaker 3 (50:37):
Right, let's go to when you're fourteen fifteen, when you're like,
got some years and and whatnot. So this is what
I want to know. I mean in twenty twenty two now,
especially in the world of Serrado, probably the biggest problem
that we have as DJs is that it's too much information,
way too many options. I now, I mean, I have

(50:58):
a MacBook Pro that can hold about four terror bytes
of music, and so for me to figure out I mean,
on an average, I mean, even though I prepare for
like three hundred songs usually before a gig, I'll have
the two hundred that I'm ready to rock or whatever.

(51:20):
But back in the day when there aren't that many records.

Speaker 2 (51:25):
Left before you say that, I'm gonna ask you a
question and tell me if you believe this. Okay, would
you believe if I told you I don't go I'm
gonna prepare this.

Speaker 3 (51:35):
Oh, I absolutely believe. I believe I'm the only human
being that Well, I'll put it this way, I'm preparing
for the Gold Party next year right now, and I
got maybe thirty songs that I like that I have
to play shit. But that's also like a fault of

(51:56):
mind that I'm trying to not do you some I'm
trying to be not as calculating.

Speaker 2 (52:03):
Well, well, you should know my creativity. There's plenty of
people that do that. I just I just can't do it. No.

Speaker 3 (52:10):
I mean that's I believe you. I believe that you
can be in the moment and know this will work
good next, This will work good next.

Speaker 2 (52:19):
That comes from being a club DJ for my whole life.
I'm a I'm a club DJ. So I don't I don't,
I don't. I don't call myself a show DJ. I
don't call myself a radio DJ. Have I done shows.
Can I do shows? Yes? Can I do radio? Yes?
Can I do all of those things? Yes? I never
call myself a mixta DJ. I'm a club DJ. And

(52:39):
because I'm a club DJ, like, I really can't prepare.
I gotta be Oh shit, that's what's happened. Oh, let
me turn this ship into some other ship.

Speaker 3 (52:48):
So you work on the spot, Okay, Yeah, I see that.

Speaker 2 (52:51):
I'm gonna tell you where I work from. I work
from here. It's what my heart's telling me to do
every time I put a record on.

Speaker 4 (52:58):
Oh, so you take requests?

Speaker 2 (53:00):
Never? Damn.

Speaker 4 (53:01):
I just want to slide that in.

Speaker 2 (53:02):
But that is guys, let me amend that. Okay. Person
I will actually pay attention to about her about a
request is my wife.

Speaker 4 (53:10):
Okay, but she probably don't, don't She don't.

Speaker 2 (53:15):
But the other part is if she does, she's so
in tune to where my mind is musically, it's almost
like I can go for that's a good one, you
know what I'm saying. And it's because she's been around
me for so long, playing like she can damn near
tell this might work for him as well work for me.

Speaker 3 (53:34):
No more, rabbit, le walk me through djaying and your
formative years, like like, how many records do you feel
is needed for? First of all, how long are DJ gigs?

Speaker 2 (53:47):
No less than six hours?

Speaker 5 (53:50):
Like?

Speaker 2 (53:50):
No less? Because I was playing a club around the
corner from my crib when I was fourteen, and that's
when I learned how old how long you gotta play?
And that night I had like six Creates records. Every
night after that I played there, I would have like twelve.

Speaker 3 (54:05):
See going through all them? Or do you have to
repeat brick House four times already?

Speaker 2 (54:09):
Or no? Never? That's another thing I don't. I don't
repeat records in a part. I can't do it. I
don't even understand. It's too there's too much music in
the world to do that. He said, it's too quest music,
your quest. Here's something else. I never played slide. I
never played line records.

Speaker 3 (54:27):
I told you that.

Speaker 2 (54:30):
Records and I played and I play.

Speaker 3 (54:32):
That means you never did You never did a wedding.

Speaker 2 (54:36):
No, I've done weddings that just I just tell them
I'm not doing it.

Speaker 8 (54:39):
Not a no electric slide, none of that, no dance.

Speaker 2 (54:43):
If you got if you got to do a record
like that, that means that means you can't make them dance.

Speaker 5 (54:47):
The gage is to make them not even remember that
they didn't even hit them records.

Speaker 2 (54:51):
You're right, and and and it's so many records that
people do the electric slide to. Why do I have
to play the electric slide right? Right? Come on, I
don't have to tell you to do the dance. If
you want to do what you wanna do it, you're
gonna find a record to do it. And they will
do it. If they want to do it, He'll do
it to damn day anything.

Speaker 3 (55:09):
How does the format for the originals work when the
five of you, y'all have eclectic taste, but you guys
are also kind of left the center of that. Yeah,
I mean, how do you how do you guys decide?
Because rich to man, especially in times of like when
you guys do your your your gigs, like, is it

(55:33):
just like all right, you do three records, I'm gonna
do three records. You do three records, I'm gonna do three.
How does what's the format?

Speaker 2 (55:41):
The format is set up already, it's half an hour
each and we keep rotating the half hours. If it's
only three, then it's just going to be an hour
and a half and then there's then I'm back for
an hour and a half and I'm back hour and
a half. If it's four, then it's two hours and
I'm back two hours. You know what I'm saying. So
if it's all five of us throughout the night, you'll
hear everybody twice because it's half hour set and no

(56:01):
matter how many people is there, the idea of the
Originals is five DJs who are friends who really care
about each other, who just want to have fun. So
whether we're all there or not, we're just going to
make sure that the night is fun.

Speaker 4 (56:15):
Y'all killed it during COVID. I appreciate that when y'all
will give us.

Speaker 2 (56:17):
The love of thank you.

Speaker 3 (56:19):
I feel like a big part of your greatness is
kind of your social skills. When did you learn the
power of meeting people, kind of making connections, that sort
of thing, Because I mean, you're also known as the

(56:41):
man who knows everyone. There's literally no one I can
stump you on in terms of a notable figure in
history that you're not in contact with, So, like, at
what point are you taking an extra step to get
to know this person? Take this person's card, and what

(57:04):
they call making moves.

Speaker 2 (57:07):
Literally literally, It's about whether I respect the person that
I'm being and if I do, then I feel like
we can have a real conversation. And then most times
I'm having a conversation on the spot, and that lets
me know whether it can be something else and now
whether it was yo, make sure you call me h yo.
Let's let's set up me in and I let it
be on them because you know, like I'm not I'm

(57:31):
not pressing anybody to do things with me. I'm just like,
maybe we can do some cool shit, and if we
can do some cool shit, then cool, we'll do it.
But I leave it up to them and I let
my track records speak for everything that I'm doing. So
like when I meet somebody from a shoe company, like,
I'm not going to sit there and be like, oh,
I did this many projects. I'm just like, how you doing.
Nice to meet you, but maybe we could figure something out,

(57:55):
and I let it move that way and let the
person decide whether they should or they should and if
they don't really know everything and they start doing the history,
maybe they'll walk away going oh, I definitely got to
do something. I mean and that and that that goes
across everything it goes across music, it goes across snakes,
it goes across everything. Like like, one of the first
things I do when I meet a new rapper is

(58:17):
I ask them about records. Like I'm talking like in
the first three minutes, I'm like, Yo, have you ever
heard America's Most Wanted? If you tell if you're telling
me you make an album, it's a classic. To me,
you have to know what classic starts. So have you
America's Most Wanted? Well? Okay, cool. When you do understand
what that is, how at me? But when you don't,

(58:38):
you really can't talk to me about no rap. You
can't talk to me about rap if you don't know
what the greatest offense is. If you can't, if you
can't tell me what it takes a nation of millions,
if you can't tell me low end theory like dog,
you can't. Yo. There's there's so many rappers that are
making records right now that think Reverend Run is a
freaking reverend. Yeah, and that's it.

Speaker 3 (59:00):
That's all. But I blame I blame us for that.

Speaker 2 (59:03):
I am in total agreeing we have a culture that
doesn't cultivate itself. Fact so so I expect these things.
But when you come to me talking about you and
MC and all of that, if you say you an
MC and not a rapper, oh well you got to
know MC shit. I'm going to ask you about MC
ship and then if you're a rapper, I'm asking you

(59:24):
about rapper shit. You know, like, but if you can,
I'm just like, yeah, when you do, I'll add it.
M M.

Speaker 3 (59:30):
What was your first non DJing for notable MC figure
job in the industry, like your first Clark Kent as
A and R Clark Kent as.

Speaker 2 (59:46):
Yeah, I was. I was a and r AT.

Speaker 5 (59:47):
Uh.

Speaker 2 (59:48):
It's funny because I was an R AT Epic Records
for like two days. Oh period, Oh my god, this
is right before I went to Atlantic. So this is
maybe you're signed.

Speaker 3 (01:00:00):
No, stop that.

Speaker 2 (01:00:05):
I didn't do that.

Speaker 3 (01:00:05):
No, I console was very crucial to he paid it
for it. Okay, O very quickly. No, but you worked
at what period? Did you work at Epic?

Speaker 2 (01:00:18):
It was eighty nine. So one day Tommy calls me.
He was like, Yo, I'm about to send you to
send you to Epic Records. You're gonna go work over there.
And I was like what He was like, Yeah, you're
gonna go do an R And I was like this,
and he goes, you're gonna be looking for new artists
and trying to sign new artists. I was like, oh, ship,
they're gonna pay you this much. I was like what.

(01:00:40):
I was like, back, I gotta run the streets chasing
chasing it anymore? Like I can't. And then like when
I got into the first meeting, I was like, can
I still DJ clubs? Is that okay? And they were like,
we definitely want you to DJ. I definitely want you
to stay on the radio. We definitely want you to
definitely want you to stay on the radio, but we
definitely want you to have your pulse on everything. So

(01:01:00):
two days go by. On a third day, Timmy calls me.
He was like, okay, pack of shit, you're gonna quit.
And I'm like, what what are you talking about? You
just sent me here. This is your man that I'm
working with, Like what are you doing? Like he goes,
you're gonna quit, You're gonna go work with Merlin And
I was like, what that because he's my man? And

(01:01:23):
he walks me into Silvia Rohon's office and then I
met my mother in the music.

Speaker 3 (01:01:27):
Business, wow, you know what he.

Speaker 2 (01:01:30):
Uses ninety She gave me an education?

Speaker 3 (01:01:35):
What was that?

Speaker 8 (01:01:35):
What was some of the jews she gave you?

Speaker 2 (01:01:39):
Why?

Speaker 5 (01:01:39):
Now?

Speaker 2 (01:01:40):
What what she gave me was about understanding what we're
trying to pick, what we're trying to do musically, and
how the deal's work, and how the business works, and
and all of the ugliness of it. And she kept
it funky by like this is ugly, but this is this,

(01:02:00):
you know what I mean? Like, we don't have to
tell an artist to go figure out your business. The
artists should be trying to figure out his business. And
the reason why she said it like that was because
it's super duper clear, it's not the music, it's the
music business. So just because you know the music doesn't
mean you hear properly. That means you got to go
figure out the business. So when you get in it,

(01:02:21):
you got something with you so that you can go,
I'm not taking that deal. And your lawyer is nine
times out of ten a friend with the lawyer at
the company, So you gotta have your lawyer working for
you instead of working to make those deals happen so
he can.

Speaker 7 (01:02:35):
Don't you think that's a little unfair to expect that
of people who have no fucking clue of any of this.
Like you know, someone who can have a talent and say, okay,
you're a great rapper, sing or whatever.

Speaker 2 (01:02:48):
Guess what you're right. So you know what I did
to every artist that came to the office. I told him,
please learn the business. Whether I'm giving you a deal
or not, please learn the business so this don't happen.
Let me tell you about this.

Speaker 4 (01:03:00):
Let me to pass my pass and book or a man.
I'm just joking. It's not your all that I told
him about.

Speaker 2 (01:03:06):
I told him about those two books. Every single artist
that came to me, whether I liked them or I didn't,
I was like, learn the business because it's gonna be terrible.
That's the reason my Dame's Damon Dasher's deals were good,
because I'm sitting in the office going, I'm about to
give you a deal, but you need to go do
this so that true deal can be zach. Really, you
know what I'm saying. I understanding there is not an

(01:03:28):
artist player for the other team. No I played. I
looked at it like I'm an artist and if I'm
going to be producing some of you getting jerked up
is me jerking myself up, so let me make sure
you don't get jerked up so it goes right mhm.

Speaker 3 (01:03:44):
Just in that period, you know, especially in nineteen ninety
New York Man, it was like it was it was
it was the Gold Rust, the wild West. And you know,
I know that Dante is getting numbers on the boards
for like the act that he signed, But for you one,
can you talk about near missus of acts that you

(01:04:07):
tried to sign, that that you close pen, the cigar
acts that you had and what is the process of
you trying to get an act? Like are you the
sports agent that has to go to their crib?

Speaker 2 (01:04:22):
And like, yo, do you want the answer to that?
The first the first things First, I never really had
to go to an artist's crib because again I was
already being DJ Clard cancer. They were coming to my
office and if I like them, I'm trying to sign them.
So I had nads before anybody. Like as soon as

(01:04:42):
I heard the barbecue, I called Oconelly. I was like,
bring him to my office because I was working on
a deal between it was I was working on a
deal for Ocinelly where I had a bidding war with
with Jimmy Ivan and of course I'm just a director
of and I'm not a vice president. Jimmy I Being
won that war easily, but Cockinelli and lost refesssor on
my man's I was like, who's that kid on the barbecue?

(01:05:03):
But that's not bring them. And I probably wasn't clear
because I was like, bring him and bring his demo.
When he came, he sat in front of me. It's
me and him and a Canelli. I was like, Yo,
give me a demo. He's like, I don't have a demo.
I was like, what after that, you ain't got a demo?
Like that's going through my mind and I was just

(01:05:24):
like so I had to say to him. I was like, yo,
I'm not a vice president, Like I'm not the president,
I'm a director. When I bring something, I gotta show
him the music, so like you know, like Oconelly had
a bunch of songs. I was. I was walking it
through to him. I was like, I gotta I gotta
play the music to get to try to get to
that point. And and I said, you know, we just

(01:05:47):
signed dis effects. They had damn near our whole album done.
Like h he walks out of the meeting rightfully, so
there was nothing to do. But I was just like, please, like,
if you got some songs, get me the songs or whatever.
He walks out of the meeting. Years later he makes
a record and then the record he goes Clark Kent
wouldn't sign me because he signed Effects, and I was like,

(01:06:08):
that's not what happened. I was like, you know what
weed is something, but like you know Oconnelly, I lost
Oconnelly too to Jimmy I Bean, I lost. I lost
I lost myb Deep to Bones Malone. Hmm. Yeah, when

(01:06:30):
they when they were political profits. When they were they
were in my office, Like I was trying to sign
these these little boys, and it was this chick who
managed them who was cool with Dame, so Dame was
halfway managing them to so I was just like, shake
the soft family, we're gonna go. And Bones had heard
them like the day before me, so he was trying

(01:06:51):
to sign him and he he could. Yeah, he was
at Fourth Broadway, so like he already had something like
the day before. So it was almost like I'm going
to have to fight with my man, and I was
just like, no, I can't. I can't fight with Bones
about this and then the way that they were structured
with the girl. I was like, you know, what, do

(01:07:13):
what you're gonna do, But I was they would have
been wherever I was at and I still got number
of love for him.

Speaker 3 (01:07:21):
Yeah, I'm glad you mentioned this. Can you tell me
how long it took for Effects to create their first album?
After they had the single.

Speaker 2 (01:07:35):
The album, they were just you know, the album was
every beat the album was done practically maybe one song off.
When they came to the office, Wow, we were all.
We were all like, oh, ship, Like this is it?

Speaker 3 (01:07:55):
What member of who did the who did the production
on that album? That's one thing that was never made.
Was it p MD or was it It was was Christianity?

Speaker 2 (01:08:05):
Yeah, yeah, it was them. It was yeah, solid scheme.
What's crazy is I didn't even notice until later when
when it when the deal was done, Like they brought
the whole crew to the office, and I'm like I'm
looking at Solid Skin, like yo, don I know y'all
And they're like, yeah, we live on the next block
from you. And I was like I was looking at

(01:08:27):
them like your motherfuckers make beats? You did all of
this ship. They were like, yeah, we was doing it
in the crib up the street from you, and I
was just like, fuck, I know, y'all, why didn't you
I just so y'all as the kids from up the block,
why didn't you say something? He said, well, you know,
Paris was like, he's going to bring it to where
you was at. So I figured we find out. I'm like, what, like,
I didn't have to do this, didn't have to go

(01:08:49):
that way. It could have went through y'all. It could
have been a solid scheme production and you know, yeah,
but they did. They did all of it, and it
was literally done before it was done.

Speaker 3 (01:09:05):
Now, I mean, I'm in an era where, Okay, if
something fresh comes out, everybody's biting it a second later.
I mean, so common now that you know, I don't.
I just think it's it's it's just the you know,
the lay of the land, Like some dope comes and
then you got to do your version of it. But
I've just never seen a domino effect or sea change

(01:09:31):
effect happened so rapidly in hip hop. Then when after
dos effects came out. So could you just talk at
least from the from the behind the scenes standpoint or
what it was like like when you heard that song,
you knew that you had lightning in a bottle?

Speaker 2 (01:09:52):
Yeah, for sure. Yeah, I knew that. I knew that
it was going to be crazy because of how funny
enough at that moment, how different it was. But I
didn't literally feel it was so different, because you have
to remember at that time, I was trying to find
jay Z and Jazz, and they were doing it in the.

Speaker 3 (01:10:12):
Eighties, so they were to twisted even way before that.

Speaker 2 (01:10:17):
No, no, they I'm talking about the eighties. The Originators
came out in the eighties. Yeah, and they were doing
what you heard, the Riggity did, Diggity dig the sticky.
All of that shit was in the Originators records and
the tripling was in the Originators records. So like they
were doing it from in the eighties, and I was
trying to find them. But when this happened, I was like, Okay, yeah,

(01:10:38):
we have to do this. This is the emergency, right,
so we do it. She goes crazy. But then, yes,
a ton of motherfuckers just all of a sudden, we're
riggedy and sticky and and I was just like, wow,
but that's happened from the beginning of time. The second
song that was ever made is a sample of the
first song.

Speaker 3 (01:10:58):
But did you I almost feel like the the this
is the one the rare times where I felt like
it was super effects right, but I almost felt like
it it killed any momentum that they had that by
the time the next album came, you know, were you

(01:11:19):
involved at all in the the the, A and R
and the development of.

Speaker 2 (01:11:22):
Yes and I'm produced On that album, they didn't change
a lot, but they went more to the fact that, yo,
we actually can wrap you know what I'm saying. And
I was like, that's a cool idea. People are going
to be expecting you to do one thing, so doing
what you're doing might not work out properly, but it
didn't mean that we shouldn't let them try it. And

(01:11:44):
some of their like better rap record like rap ability records,
came from that second album.

Speaker 7 (01:11:51):
I wanted to ask you, man, I was always curious
about your work with rock Kim on his album.

Speaker 8 (01:11:57):
You know, the Eighteenth Letter, What was it like, because
that was upon.

Speaker 7 (01:12:00):
His career where he was really you know, you don't
call it a comeback, but that was you know, he
was setting up, you know, the next chapter.

Speaker 2 (01:12:06):
Of his career, right was exactly what it was.

Speaker 7 (01:12:09):
Yeah, you know how what was your approach as a producer
saying all right, Roy, we're gonna take you.

Speaker 8 (01:12:14):
Was the goal to get him on the radio, get
him in.

Speaker 7 (01:12:16):
The club, Like what what was your mind as a producer?

Speaker 2 (01:12:21):
The goal was to get him interested in rapping two
Wow things that I came up with, like slick Rick two.
When I worked on Slick Rick's album when he came
home from jail, like it was, I made tracks for
like two weeks and he wouldn't even come in the room.
Here's something a lot of people don't know. When rock
Him was like eleven Wine Dance Day happened and there
was a guy named King Charles from Queens that had

(01:12:42):
a stupid sound system and he used to bring the
sound system to Wine Dance Day. He brought me with
him one year and I'm djaying and this little dude
is on the mic on a crate and it was
rock Him.

Speaker 8 (01:12:52):
M hm.

Speaker 2 (01:12:53):
So later on later on when I'm when when we're
sitting in the studio, and now I've known rock Him
since the beginning of Rock Him, like making records just
cool rock Him, just like cool. When we meet each
other and your crew knows. I know all the dudes
in your crew, so we're just going to know each
other like that, right, And We're sitting in the studio
and I say, Yo, when's the first time he rhyd

(01:13:15):
that wine dance Day? He said, how you know I
rhynd that wine dance Day? I said, I'll tell you
in a second. So when's the first time? He said?

Speaker 5 (01:13:21):
Yo?

Speaker 2 (01:13:22):
Man? I think I was like eleven? I said, I
believe you were eleven. He was like, how do you
know that? Because I was DJing. He was like, wait
a minute, clock, so you was my DJ the first
time I got on a mic at a park jam
And I was like, how about that? That's crazy, man,
Like it might not even make sense to people that
I'm older than Rock Him doesn't, right, you know what

(01:13:43):
I'm saying. So it's like, I feel like.

Speaker 3 (01:13:45):
He's older than everybody.

Speaker 2 (01:13:48):
The reason why is because at sixteen, he became the
most important MC period. Rock Him is literally literally the
most important MC ever.

Speaker 7 (01:13:58):
So when y'all were making we're making an album, how
we're able to fit him into a I guess back
then will be a modern day contract?

Speaker 8 (01:14:06):
What was your what was your process?

Speaker 2 (01:14:08):
I literally for almost two sessions just sat around talking
to him. The am mad at me, like, clock, you're
wasting money. I'm like, no, this is actually going to
help you because I'm getting him into a place of
he wants to really really wrap to some just some
ship that might not necessarily be regularly yoused. And that

(01:14:29):
thing that we did for two years got him to
trust me, right. But then at the at the advent
of him trusting me because like he can't trust nobody else,
so I would have beats from whomever at the n
R would give me because it basically became I'm gonna
like basically and album right cool. So I'm showing them

(01:14:52):
beats that I'm like, he's a good good, he's good,
and he's going yo, who did this? And when I
tell him, he's going on and I'm like, so what
I started doing? When I got a beat that I
thought he should run two, I was like, I did it,
Oh bet yo, let me go right to this. I
don't give it, damn how I gotta get get it.
That's me being a recognize a record company guy. I'm

(01:15:14):
gonna get this. I'm gonna get I'm gonna get ship done.
So I did that for producers that weren't quite more
famous enough for him to the only producer that he
actually was like, okay, I trust him his premier.

Speaker 8 (01:15:29):
Yeah.

Speaker 2 (01:15:32):
He just didn't necessarily like say oh yeah immediately I
had to be like, yo, this should fire. You know,
Pete p gave's fire and then he would listen and
so begins.

Speaker 8 (01:15:45):
That was my joint.

Speaker 2 (01:15:49):
Right, But the fact the fact that he ran to
guess who's back was mind blowing to me. But then
it gave me the ability to do something that I
really didn't get to do on records, like the whole
end of the record, I'm scratching, which I didn't really
do on records a lot. But I was like, he
was like, yo, man, get to the zig because of

(01:16:09):
the intro of the record. Once again, back is the incredible.
He's like, yo, you you got to scratch that at
the end of the record. And I'm just like, oh no,
I don't. This record's going to have a hard end.
He was like nope, and he would challenge me by going, Okay,
I'll do the scratches.

Speaker 7 (01:16:25):
As the producer of Mafi Players Anthem, what were your
thoughts on J Brews and Three Moles you're playing yourself.

Speaker 2 (01:16:35):
Well, first of all, I've known Primo since he was
in college, and like we're like we're really all like
super old school friends. Like when I was with Dana Dane,
we did a show at Prariview University. He was a
DJ for the night, okay, and the show was in
a gym and he was on the stack and I
was like, Yo, nice to meet you, DJR Yo DJ Premier.

(01:16:56):
There was no Game Star, it was DJ Preber. I'm like, Yo,
good to meet you. Man that he and I was like, yo,
you you're playing some shit. I'm saying, you're getting it
off and he's like, yo, thank you, and I get on.
We do the show with Danna Dane and we instantly
became cool. And I would do parties at the Rhyme
Stone Wrangler in Houston, and I damned there was famous

(01:17:19):
in Houston for playing at the Ryanstone Wrangler with Off
Cola and and uh Steve Foyer. And I was super
tight with James James Smith at that time. So like
when the advent of Gangstar came, I was like, I
know we know each other already, you know, so we're
super cool. So when the record got made, I actually

(01:17:40):
literally was like, did I do something wrong? The print?
I was like, because I was like, I love that guy,
like I love him and I believe he loves me too,
And I was like, how did you just do that?
You know, it really was about the idea of this.
You played yourself and he was going at Biggie, so

(01:18:03):
it was like he was going at Biggie on something
Biggie did. So I was like, no, I love for man,
for man loves me and and I think nothing of
this ship. But I did. At first, I was like,
he murdered that ship. So the thing is, I was like,
he might have made a filler beat. I just made
the better song, so I was cool. I was cool

(01:18:23):
with both. You got the beat, but that's because I
looked at it like a producer and not like a
guy who's just listening to the song. But once I
got to the song pard, I was like, yeah, my
song kills that, but your beat, your beat kills mine. Yo. Listen, man.
One time I was in the club and all of
a sudden, the DJ in the club plays you Are

(01:18:44):
what I'm all about? And he starts manipulating the sample
in Serado, So it goes boom dumk dumdoom boom boom,
and I'm just like, fucking quest, I'm gonna kill you.

Speaker 3 (01:19:00):
I had I was like, oh, I used.

Speaker 2 (01:19:03):
It was you who did it? And I was we
were at Santos and I was like, oh, question is wild.
He's wild. So I just I just like that was
that was super duper ill. And I was like, you
know what, how did I ever feel bad about that?

Speaker 4 (01:19:18):
Like?

Speaker 2 (01:19:18):
Question is is dope? Premiere is freaking amazing. Premiere to
me is the best boombag producer ever, like ever, ever ever? Yeah, yeah,
did it come?

Speaker 3 (01:19:29):
Hey, speaking of battles. Speaking of battles, I know that
you were one of the organizers of the Battle for
Wards World Supremacy. Now you mentioned Marilyn Bob, which I'm
gonna ask, did you do any time at Electra whatsoever?

Speaker 2 (01:19:50):
Well, if you worked at East West, you worked at Atlantic,
East West and Electric.

Speaker 3 (01:19:57):
So were you the one that signed uh Supernat to
his deal of the Electure?

Speaker 2 (01:20:01):
No way, But I was the one who got the
ability to sign an artist to the deal. So basically
the deal was a prize. But the deal was a
prize because I walked in and was like, yo, I
do this contest and da da da da da da.
I need to be able to sign the artists who wins.
And they were like okay, and so it was the prize.

(01:20:23):
It wasn't like I'm saying I want to sign it. It
was like, no, this is a prize. Like and it's
crazy because people didn't even know that was a surprise.
That was the prize. Like you get there and you
think you're just battling for this world supremacy belt. I mean,
at that time, I had switched it from belts to
jackets that you could wear every day because you couldn't
wear a belt, and a ring that you could wear
every day because you couldn't wear a belt, and you know,

(01:20:46):
special things like we're gonna get you like a little
setup and shit. But once they said it'll be a
deal that we give, I was like, Oh, they just
gonna get a jacket, the gold ring and then they're
gonna get this deal and that's gonna fuck them up.
So when they when it was happening and the ship
was over and Supernatural won, and I was like, by
the way, you just gotta deal that Electric Records, he

(01:21:07):
was like I got what. I was like, yeah, he
still won it.

Speaker 3 (01:21:11):
Even though yeah.

Speaker 2 (01:21:12):
He won, Yeah, he won the battle. The craig G
thing wasn't a part of the battle. That was just
craig G. One night in between the two nights, he
was just like he got up and was like, yo,
I keep this nigga's ass on the mic. That's the
way I heard it come back. And then they battled
and Craig G. Craig G wrote, Okay, craig Ge won
the battle. I'm gonna say it like that. And the

(01:21:34):
reason why I'm gonna say it like that is because
when the battle was about to happen the next day,
I was like, yo, I'm hearing last night that there
was a battle between Craig G and Supernatural and Supernatural
I mean and craig G buses ass. Those are the
words I use, right. And at the same time, Supernatural

(01:21:55):
had a show on ninety seven once a week. He
would be ongh ninety seven.

Speaker 3 (01:21:59):
That's right out.

Speaker 2 (01:22:01):
He goes on the show and goes, you know, I
like to shout out to everybody who came out to
the battle. You know, I won Da da da da
But Clark cancer snake, Oh wait what I was like,
Clark Cancer snake, how you know. So I'm a little
angry and I see him, I'm like, Yo, what are

(01:22:22):
you talking about? Then, instead of really trying to have
a conversation with him, I went to KRS and I
was like, who was managing him? I was like, Yo,
talk to your man. Talk to your man, because if
you don't talk to your man, I'm gonna choke. Talk
to your man. And and it got to a point
where I was like, dog, like, you're not talking to
your man. Your man should go on the radio and

(01:22:44):
apologize because just because I had I respoke about some
shit that happened the day before, I'm a snake. You
just won my battle. I gave you a record deal.
What is you talking about?

Speaker 5 (01:22:53):
You win?

Speaker 2 (01:22:54):
Right right? You won? Like we're just talking about what
happened the night before before you won the battle. So
I'm just like, so that makes me a snake because
I mentioned what happened the night before, even though you
in the same day won the battle. So some weeks
went by. In any apology, he invited me up to
the radio and yeah, because some things happened in the middle.

(01:23:15):
And then he invited me to the radio to apologize.
And I was just like cool. You know, I left
it the way it was, but I just could not
understand why you would take that route after me just
repeating what I heard the night about the night before,
and then you won. It was like who can?

Speaker 8 (01:23:35):
What did you work on his album? And I know
the album never dropped, but you involved at all? You
weren't involved.

Speaker 2 (01:23:41):
No, I wasn't involved.

Speaker 3 (01:23:44):
I was going to ask you got him the deal
v of winning the contest, but you had nothing to
do with an R.

Speaker 2 (01:23:50):
No.

Speaker 3 (01:23:51):
I'm only asking this because the first day that he
records one of his tracks is also the first day,
like he's a studio ce at Battery Studios, and this
is the first day that the Roots and Bob Power
mixing down will eventually be do you want more? It's
like our first day of mixing. And maybe we were

(01:24:15):
in like Supernat and Tarika were really tight, so I
think we spent like just two hours in his breakroom
and chilling whatever. And he's like tracking the song and
he's working on a song called when I was King.
When I was King. When I was King, I ruled
everything like it reaked of a caras one hook. But
I noticed that every time he started a verse, it

(01:24:38):
was a new verse, and he's like, no, no, no, I
don't like that. Let's do it again. So it's like,
I don't know, take two and then he does the
hook and then it was enough and I realized he
was like, I'm gonna make this entire album freestyle, like
I'm not gonna write anything. And I was like, yo,
this is a recipe for a disaster. So I always

(01:25:04):
one I wanted to know, did that album ever get complete?

Speaker 2 (01:25:07):
It?

Speaker 3 (01:25:07):
And this also is a nice, wonderful segue into another
person that attempted to do that, and actually it made
made some made some some some traction with it, which
is of course I gotta ask you, what was it
about jay Z that you that made you say? Because

(01:25:29):
I believe your quote to me was like I knew
he was the greatest the first time I heard it. Yeah,
Like normally someone builds up to that, but how did
you know?

Speaker 2 (01:25:38):
I knew because he was saying rhymes that were better
than the guys that I thought were the best, But
they were like so much better that I was like, Wow,
these guys aren't aren't even like close. Him and Jazz
to me were like the most elite mcs I ever heard,

(01:26:00):
But Jay had something else. He had the rest of
the package, you understand, like Jazz had the bars, like
Jazz's bars, like insanity. He would say things that I
would have to be like wow, and we would be
in the room like wow, did he just say that?

(01:26:23):
But then Jay would go in and say shit and
we'd be like wow. But everything else was attached to it.
It was like the flow, the style of cadence, the attitude.
You walked away believing every single word he said. And
I was just like, Yeah, that's this guy's He's going
to be looked at as the greatest.

Speaker 3 (01:26:42):
Why do you think it took so long for quote
unquote heads end quote to actually give him his property?

Speaker 2 (01:26:54):
Before we do that, I'm gonna go back and I'm
gonna say when you was talking about another guy who
didn't who freestyle, Jay never restyle. Everything that you hear
was what he put together. So it was written. It
just wasn't written down. It was written in his memory.
And it's a difference. Right, he remembered what he was
saying by the rhythms that he wrote it in.

Speaker 3 (01:27:15):
But isn't that a former freestyle?

Speaker 8 (01:27:17):
Ah, that's different. Freestyle is like when you just.

Speaker 2 (01:27:21):
Come in like the top right off the top of
your head, like none of that comes over the time. Yeah,
he's emulating the raps.

Speaker 5 (01:27:28):
He has supreme memory too, right, because that too has
just like.

Speaker 2 (01:27:33):
His His recall game when he was making records was
insanity because I would be like, we drive him from
the city to Brooklyn and a beat would be playing
and he'd be like, Yo, I got it? Who got
what I got? I got? I got this one. We're
gonna go in the crib and we're gonna do this one,
and we would do it and I'd be like, when
did this happen?

Speaker 3 (01:27:54):
He was like on the ride home talking about tracking
it is it stands at a time, is like half verse.

Speaker 2 (01:28:01):
J was one guy who could put it all together.
He could put each first together in one shot and
then go back and do the ad libs like he
would do a reverse, do the ad list and then
go to the next verse. But I'm just like, like,
you can do that later.

Speaker 8 (01:28:20):
It's a memory. It's a it's a memory exercise.

Speaker 3 (01:28:23):
I did like that.

Speaker 8 (01:28:24):
I did that from like oh four to like.

Speaker 7 (01:28:29):
When I heard because I heard that because I heard
the stories like oh, Jay, don't write he does it,
and I was like, all right, let me try it.
And so I tried it and I was like okay, cool.
So like everything from like oh four up until I
built my studio up the cribbe a oh nine.

Speaker 8 (01:28:43):
Like all of that was dope paper while you stopped.

Speaker 3 (01:28:45):
Then just the studio change.

Speaker 7 (01:28:49):
Like so for me, my process at the time, like
was just we were recording in the studios, you just
cut the beat on to fifty and just walk around
and I would just kind of write it and put
it together and then tell my engineer like all right, bro,
let's go and I do it when you're recording at
home and you got the right right, yeah, But now

(01:29:09):
when you're recording at the crib, it's like, I'm not
gonna leave a beat on loop forever, you know, when
my kid is trying to sleep. So that was when
I went back to It became a more of a thing.
It became more of a writing and I think just
for me, my style as an MC at that time
it was really changing from I don't want to be
just a great rapper. I want to be a great
writer because I think if you I think there's a

(01:29:30):
longevity in it, you know, The reason why guys like
a J you know what I'm saying, can still perform
at a high level now is because he, in my mind,
he thinks of himself as a writer, Like you can
mature as a writer. Can you mature as a rapper?

Speaker 8 (01:29:45):
Maybe?

Speaker 2 (01:29:46):
I don't know, but if you think.

Speaker 7 (01:29:47):
Yourself as a writer, there's always in a storyteller, you
always have room to grow and mature.

Speaker 2 (01:29:53):
I think what's I think the right way to say
it is he thinks of himself and a MC, not
a rapper. And when you and when you're EMC, what
you're saying becomes more important to how you say it
because you got something you want everybody to get. You want,
like is Triple Endangers? Is like are you getting this?

(01:30:17):
Like there's things on the first album that people just
don't get And I'm just like and like this is
like freaking twenty some years ago, Like why why is
this mind blowing to you right now? Like you should
have got that maybe a year later, but like we're
twenty five and you still don't get you know so?
But but I will say the first time I started

(01:30:39):
happen and this is like literally the first session we
do he did that shit, and I was like, no,
what the fuck just happened? Like, dog, did you have
that already? He was like nah, He's like this is
what the beat said for me to do. And I
was like, how did you remember all that? And he explained.
He was like, you know, just like when you liken

(01:31:00):
your abcs, I took it. I took this part and
I put it. I put it together based off of
what he said. He was like, I remember the rhymes
based off of the rhythm in which I wrote him.
So for if the rhyme goes, that's the way he
remembers the record with the rhymes is to but that

(01:31:22):
he's coming up with. And I was just like, in
my mind, I was like, what are you talking about?
So I said, what the are you talking about? So
he would go, most of my cadences come from drum rolls,
and I was like what. Then you would come on,
let yo, let's look at this record and you hit
that right there, that drummo, that's a cadence right there,
and I'm just like, what the fuck are you talking about?

(01:31:45):
And he would display the ship and go back, Yo,
remember that drummro go listen to that ship. And I'd
be like, oh, he's a wizard. Yeah.

Speaker 5 (01:31:54):
I was just thinking I love it when y'all make
it sound like science and because it is so.

Speaker 2 (01:31:58):
So later on in my mind, I was like, the
first thing you learned to remember, you learn it connected
to music, so connected to a rhythm ab CD. Yeah,
like you connected to a rhythm. Like it's so much
easier to remember something that's.

Speaker 4 (01:32:16):
Six seven, eleven twelve.

Speaker 2 (01:32:18):
Schoolhouse Rock was the proof of that ship. Like you
you can remember everything from Schoolhouse Rock if you watched
it twice face based off of the rhythm. You know
what I'm saying, it's truth. So like he explained, he
explained that ship to me, and I was just like,
that's masterful. And that also gave me something else in
my pocket. When I would walk around and talk to
people about him and like yo, my man, don't even

(01:32:40):
write the ship down, he would be looking at me
like clock, you're a liar. The first first person telling
me I was alive with skills. So I was like, skills,
come to the skills, come to the crypt. He was like,
I'm not for what. I was like, yeah, my man,
my man's head, and you're gonna record to to just
kind of my crib. He sees J come in listen
to the beat for a while, he could tell this
is the truth. And he went in and got on

(01:33:02):
the mic and said everything that he was mumbling in
the hallway, and he was like, Yo, what the fuck
does that happen? The same way I was. He was like,
I said, Dog, I told you, he don't write it down.
He just thinks of it, I said, And then he
thinks of it and puts it all together and everything,
like when you think of ninety nine problems and think

(01:33:24):
that there's no pen attached to that, there's no pen
attaches to meet the parents. I'm sorry, dog, he's a
fucking wizard.

Speaker 3 (01:33:33):
Yeo, you're just reminded me. Now I wouldness that now
I got a search for this shit, because I mean, technically,
he did it just so that he recorded something, just
so that he could remember it specifically for a show
that we were doing, but mid rehearsals for that whole

(01:33:55):
reasonable doubt thing that we did for the anniversary, he's like,
you know what, He's like, I'm doing a sequel. I'm
doing forty four fours. He's like, redo, uh, can I
kick it and just lay the beat? Down for five minutes,
so like me, Adam Blackstone, I forget, like who else
was there? So we we we were hooking it up

(01:34:16):
like we were going to do it during the show.
And the whole time I thought he was I thought
he was just like recapping something that he might have
wrote a sequel to it or whatever. He's like, no, no, no,
I'm making it up right now. So just give me
a half hour, I'll get it. And I really regret

(01:34:37):
this moment, but this is the exact moment where in
the next room, in the in the room next door,
Kanye in Consequence were just working on I don't know
if you remember this song on Consequences record your Girl,
Your Girl, Keith, fuck yes, your Girl. It's one of
the hardest beats. I really like if you remember the

(01:35:00):
if you remember that beat, like my older self's like, yo,
you could have witnessed a real historical moment of watching
this motherfucker crafted. But I'm not thinking like I'm making
a bait for jay Z to you know. He's just like,
I got to remember my rhyme, So just give me
a half hour and I'll have it. So we're running
in that room to watch Old Boy like put this

(01:35:22):
beat together for consequences shit. And I came back He's like,
all right, I'm done and he laid it and it
didn't hit me till like much later that he actually
made that rhyme up at the moment. And mind you,
there were forty four fours in there, so that's the
part I'm still like. I was like he had this

(01:35:43):
one in his pocket, there's no way, and he's like no,
it's like I made it up on the spot.

Speaker 2 (01:35:49):
Twenty two Two's was a freestyle that he used to
do every time we performed at Maria Davis Well what
we call freestyle, you know when you rhyme to a
beat and you just go off do that shit to
can I kick it? This was before there was a
beat to it, and then it was like you'll make
a beat to it, you'll ski come up with something
to it. Like but he said twenty He said two

(01:36:12):
twenty two times, and I was like wow because because
I'm he said four forty four, so trust me. When
when the first time he did it, I was like what.
And then the next time he did it, I was
in the side going and then when it got to
twenty two, I was just like, nah's fun. I understand

(01:36:32):
that this is the This is the second time he
did it in front of us, you know what I'm saying.
The first time we were just like, oh, that shit
is crazy, y'ah. Twenty two two Yeah, then I was like,
twenty two Wait a minute, twenty two two's that's that
means something different? Let me listen. And I was just like,
he said too, twenty two times. He's wizard. He's not

(01:36:55):
regular man. So when forty four fours came out, I
was like, I'm not even gonna tell him nobody he
said forty he said four or forty four time. I'm
not even gonna talk nobody, but they're gonna say I'm lying.

Speaker 3 (01:37:04):
Right.

Speaker 8 (01:37:09):
Did you were you there for the tracking of us
Sky's the Limit?

Speaker 2 (01:37:14):
Yeah?

Speaker 8 (01:37:15):
Yeah, what was that like?

Speaker 2 (01:37:17):
It was kind of crazy because there wasn't an idea
of one twelve. It was it was Biggie doing the hook.

Speaker 3 (01:37:25):
What he's saying it. You have a version of him
singing it.

Speaker 2 (01:37:28):
The funny part is in the song his voice is
in there. Okay, I just I just let it be
real low because I appreciated the fact that he can't. Yo. Look,
we're on a tour bus. Biggy says, bring me some
beach for Junior Mafia, and I'm just like, who's Junior?
My fia. He was like sees and such a name.

(01:37:48):
The kids, the kids of g I'm like, they don't rap.
He was like, don't worry about the clock, just bring
me something. I bring him some ship. First thing going
to be the guys on the tape, the sky's the limit.
He was like, yo, you gotta hold that. And I
was like, nah, that that's like an ally's joint. M hm.
He's looking at me like. I was like, yes, I know, Nah, dog,

(01:38:11):
you gotta hold and take it back. I need that.
I'm like, whatever, let's keep moving. Second joint on the
tape is I need it. I need you tonight. He
was like, oh that, I like that too. And then
he hears players anthem and like literally he's going. I
was like, we're gonna have something, and I'm thinking it's

(01:38:33):
me and him, we're gonna make a right in two days,
we're gonna go home, We're gonna make this record. I
was like, as we go home, he brings a little
season and little Kim that I'm like, what's going on here?
And then se goes in the booth and does the verse.
I was just like, oh, sh And then he does
his verse and then Kim talk about it. He just

(01:38:56):
like it's crazy because if I was smarter back then,
I would have left the ending of the song the
way she ended it, because at the end of the song,
I took out the words she was saying at the end,
and at the end she said Clark can't fuck and
I was just like, you can't sit, you can't stay,
can't I to get out? And I was just like,

(01:39:18):
wait a minute. That was a moment. I walked up
Clark can't mother who? And I was just like, I
didn't leave that in. I was like, I'm the dumbest
right now. But then but then the record happens and
I'm just like, yeah, that's all right. So but while
we're on the tour buzz though, he goes back to

(01:39:38):
the Sky's the Limit beat and he just starts singing
to this ship and I'm just like, oh, he just wildly.

Speaker 5 (01:39:44):
Like he just gets it because as we hear it,
Clark like what he heard for the first time is as
we hear it finished product like the beat like doing.

Speaker 2 (01:39:55):
Exactly the way it happens is exactly the way I
gave it to him, and like he goes back to
it because he's like, yo, I need this, and you
know we're not really paying attention, but I'm hearing him going,
you know came on and I was just like what,
just like this, dude, But I was just like, dog,

(01:40:15):
that's Cocanelli's record. Yeah, but he's like so wanted so
bad that I go back and I go to Acanelly.
I was like, dog, you're really going to use this record?
He was like hell, yeah, Clark, how much is it?
And I told him and he was just like yo,
clock he trying to buy a car on me. And
I was like what, Like, Dog, like, you know, I
made records, and you know I make records like this

(01:40:37):
is like I'm and he just like he didn't really
want to pay for it. So I was just like, yo,
biggie it. He was like, yeah, you gotta hold it though,
and I'm thinking hold it for what? And he was like, oh,
trust me, trust me, you gotta hold it. I did
not know he's thinking two and a half. He is
down the line it's gonna be on your next album.
I'm thinking that's somewhere on Junior Manthia's album, but he

(01:40:59):
was just like, you got to you gotta hold it.
But he had the hook after like two hours. But
he was singing it to himself. He wasn't necessarily saying
this is going to be the hook. He was singing
it like he could sing it to it. But I'm
listening to it, going wow, if that's the hook, you know.
And it just went that way. And then when it

(01:41:21):
came time to mix that, the record came back from
Bad Boys Studio and it had one twelve on it
and I was like, oh, this shit you But I
respected what he did so much, and it was on
the tape that I just let it be in the beat,
like if you listen to Brooklyn's Fine as Biggie, every
time the record goes oh, like on certain hooks, Biggie's

(01:41:41):
doing that shit like Biggie's in the background going. I
was just like, yeah, I gotta leave it, I gotta
leave it there.

Speaker 3 (01:41:48):
It just hit me, Clark, you gotta tell me, speaking
of the early days of Rockefeller, can you please share
your many Dame battles, Like I know that Dame is
a proud Harlem night and you are from the borough
of Brooklyn. Yeah, but can you please share the story

(01:42:09):
of the bet of the Freshest, which basically leads into
you know, there's there's there's a whole slew of people
that know you strictly not for music but for sneakers.

Speaker 4 (01:42:21):
Oh okay, the introm p.

Speaker 3 (01:42:24):
Please share this story.

Speaker 2 (01:42:26):
Dame does a whole one to traveling with with Jay
and all of that, and you know, he comes back
and he was like, Clark, I'm faster than you. And
I was like, yeah, all right, whatever. He goes wear
new best niggas every day. I said, I've been doing
that since you met me. Nah, I bet, I bet?
He says, I bet you can't wear a brand new
best niggas every day for a year. So I was like,

(01:42:50):
what do you want to bet? Because in my mind
I'm like, that's an instant loss, right. So he was like,
I bet you. I can't even remember what the bet
was for. I had to be something stupid, but I
made the bet and I wore a brand new dis
niggas every day. The good part was it was at
Rockefeller Office, so every day he got the paint and
the like, and we were like, no, it was just

(01:43:15):
it was just a ship talking between me and him.
He knew how to ring your like to twist your
stomach like shit out of you, and I be like,
come on, dang, come on, dang. I was really one
of the guys who could ignore dame that just one
time it just went too far. He was like, you scared?

(01:43:36):
You scared? I'm scared. Like I've been doing this since
you met me. You were eighteen nineteen when I met you,
and I've been this guy, Like what makes you think
is going to change now because you got some money
and bought every sneaker you saw on the way when
you was on the road, Like, I really have everything
that you buying now, I have it already or I
had the original to what you like. So stop. You

(01:43:57):
got to stop. But he just was talking shit and
talking shit, and I just was like I bet and
he lost.

Speaker 3 (01:44:06):
And you couldn't repeat a pair at all in a
year's time.

Speaker 2 (01:44:09):
Brand new pair of sneakers every day.

Speaker 3 (01:44:12):
Brand new pair are just a fresh.

Speaker 2 (01:44:15):
Like brand new pair. So even if I wore white
on whites four month straight every day, to white and
white had to be a brand new pair. O. Wait,
think about this to me, right if you came to
my crib and you saw four thousand pairs of sneakers.
Why would it seem like it's hard to do it?

Speaker 4 (01:44:34):
Right, It's only three hundred and sixty five days.

Speaker 2 (01:44:37):
Right, So if I didn't buy any sneakers, I could
have done it. I could have done it for like
ten years. It's been like twelve years, maybe fifteen years.

Speaker 3 (01:44:47):
Wait, you still apply this rule?

Speaker 2 (01:44:49):
Oh yeah, I don't win. I don't wear sneakers like
I'm sorry, where they go?

Speaker 3 (01:44:55):
What side? What size are you?

Speaker 6 (01:44:57):
I'll take your leftovers.

Speaker 2 (01:44:59):
I'm a thirteen that I give him away.

Speaker 4 (01:45:00):
Well, Steve, you're you're you're out of luck.

Speaker 3 (01:45:02):
There's no way I'm not ask quest. He knows you're
a same size.

Speaker 6 (01:45:08):
Yes, I take quests leftovers.

Speaker 3 (01:45:10):
You know, you know how bad I am. Like a
rare pair of of Moreking Mendi's. I just let Steve
add them.

Speaker 4 (01:45:16):
That is fascinating.

Speaker 2 (01:45:17):
And here's the thing. You probably let them have them
because it didn't like affect you a certain way.

Speaker 3 (01:45:24):
Well, at one point, it's just ridiculous. And you know,
I was just like, okay.

Speaker 2 (01:45:27):
You you have a you have a pair of sneakers
that you didn't wear that was given to you during
the Air Force one twenty fifth anniversary, and I.

Speaker 3 (01:45:35):
Know I will never wear those.

Speaker 2 (01:45:37):
Oh you got to give them to me. Oh you're talking.
I'm talking about the crock joints, right, You're talking about
the crock joints, the white with the one white and
orange crop ones their snake with a croc strike. Yeah,
you have to give them to me. Oh like like
how I got you? How I got you? The essos?

Speaker 4 (01:45:56):
Can we talk beginning to Nike?

Speaker 5 (01:45:58):
Because I just want to know the beginning of the relationship,
when the romance, when y'all fell in love with each other,
and how y'all fell in love with each other?

Speaker 4 (01:46:04):
No, Clark was like not know and Clark Nike and Clark.

Speaker 3 (01:46:10):
Oh goodbye. Oh when you said that with the vigor
of an angry black mother. If you don't get.

Speaker 5 (01:46:24):
Because Clark said he didn't did eighty five shoes with Nike,
and I just didn't.

Speaker 3 (01:46:29):
You didn't differentiate the U. So I'm thinking, like, okay,
you you exaggerated a lot, like you, but okay, I'll
go with this.

Speaker 4 (01:46:37):
Do you want to know why he I do?

Speaker 5 (01:46:39):
I do want to know why he picked you as
well to get with Nike. We'll get to that. Yes, yes, yes.

Speaker 2 (01:46:44):
When the twenty fifth anniversary of Air Force one was
about to happen, they had some ideas and it was
this dinner and like they invited me to dinner and
asked if they could borrow some of my shoes for
this big exhibit. But it was going to show like
maybe two thousand pair air Force one. At a party, when.

Speaker 3 (01:47:00):
Did you first know that sneaker collecting was an art?

Speaker 2 (01:47:06):
It it wasn't an art, it was it was corny.
And I got looked at like I was corny, Like
damon who who? I would end up battling one day.
First time he came to my crib, he was like, cluck,
what the fuck is all these sneakers? I say, it's
just the way I stay fresh. And he looked at
me like, og, this is weird. And he would be like, girls,
come to your crib with this shit here and I

(01:47:27):
was like yeah, and he was just like cluck, you
got a crib full of fresh? He said that shit
because I had every Markie can and I had every
North Beach leather, I had every good pad of jeans,
I had every good sweatshirts and teeth like, and I
would overdo everything, so he would just he came to
my crib and was just like this doesn't even make sense,
like how could anyone have this much fresh And this

(01:47:50):
is when he's nineteen, so he's just like this shit
is wild. I said, well, if you look at the
era I come from, that's what we did. We stayed
as fresh as possible. And he was just like, no,
I get it, I said, he said, but this is ridiculous,
you know. So it was the thing happened when I
was nine. My uncle gave me a pair of prokeads
that and when I walked outside of the prokeads, the

(01:48:11):
whole block was like, you know, you got prokeads. Like
all the sixteen seventeen year olds were like, you got prokeads.
And I was like, yeah, it's my first name brand Sneaker.
But they were like, yo, but you got them yet
you're a young boy. And I felt like I had
a car. It was addictive. So we would do odd
jobs for all of the older people on the block

(01:48:33):
and they would give Like me and my cousin Market
would do these jobs and they would give us ten
dollars a piece, and back then prokeads were nine dollars
at the flea market, and to get to the flea
market was fifty cent, So you got fifty cent out
of this ten dollars you get to the flea market
by a nine dollar pair of sneakers, and then that
other fifty cent is you risking your life to get
back with the sneaker. So that's when it started. It

(01:48:56):
started because the block was like, Oh, the older guys
on the block that you know, they looked out for
us all the time, but now it's like I'm almost
parallel to them, and I wanted to be as cool
as them. So it was like, oh, well, every weekend,
I'm gonna either buy records, I'm gonna buy sneakers. And
then it became, oh, I need to have Gaberdine's, I
need to have Lea's with the with the I need

(01:49:18):
to have colored leaves. I need to have BBDs, I
need to have Nylons, I need to have aj Lester's,
I need to have British Walkers, I need to have players,
I need to have everything. And it became like an
addiction from when I was really young because the older
guys accepted me with the playboys and I mean with
the with with with the Prokeads, and it just was like, oh, oh,

(01:49:40):
I'm gonna go hard, and I went super hard. So
every dollar I made, fifty cent went to records and
fifty cent went to being fresh.

Speaker 4 (01:49:48):
So then what happened with you one night.

Speaker 2 (01:49:50):
That that Nike wasn't even the sneakers back then, like
the sneakers Prokeads and Pumas and Adidas. I'm saying like
and Clyde to Us was a superhero to have a
pair of sneakers with his name on the side and
gold was like, that's the ultimate sneaker. Back then it
was Clydes, you know what I'm saying. So that's what
we were doing. And then when Nikes really really happened.

(01:50:13):
The thing that made me go over the top for
Nike was when air Force Ones happened. And I was
playing city Wide Basketball and Elmcore Basketball, and we would
our team was good, so we would get to go
to other cities to play against other cities, and in
Baltimore I saw air Force ones were actually in Queens.
We played at Baisley Park and this Nike rep came

(01:50:35):
and told us to try these shoes. So we tried
the shoes. That's what they did. They would they would
go to tournaments and watch kids play and be like, hey,
try these shoes. And they gave me these shoes and
I just thought they were beautiful, so I just stuck
them in my back. It's the Air Force. Yeah, it's
funny because now, looking back at it, we would call
those Air Force zeros because they didn't have no holes

(01:50:57):
in the in the front of the shoes.

Speaker 3 (01:51:00):
Yo, so you gave me are the first year Air
Force zeros? He gave me a red and white first
year Air Force one.

Speaker 2 (01:51:09):
Oh okay, yeah, but they didn't have holes at the top. No,
right then, Yeah, those were zeros to us. We call
them zeros. That was fun they were from that time.

Speaker 3 (01:51:20):
Yeah, I get those frame Clark, thank you.

Speaker 2 (01:51:24):
It were dog. You know. I really had like lots
of sneakers and I had everything, and so when they
were coming up with this Air Force twenty five, they
were like, we don't have everything, so let's go to
the guy who has everything and let's, you know, give
give him some money and let him curate the the
amount of pairs of sneakers that we have that were

(01:51:45):
going to put on this wall. For this event, so
they did. They borrowed a bunch of stuff. But in
the meeting, they were just like, what do you think
should happened with air Force one? And I was like,
y'all should make an air Force one store. And you
could see the people in the in the meeting going
like this because they already had an idea to do
the air I said, but you need to make I
D nikey I D. You need to make the ship unlimited.

(01:52:07):
And they were like what do you mean. I said,
you make you need to make something called V I
P I D. And they were like okay, could you stop?
And I was like okay, cool. And they were like
you have a lawyer, and I was like, of course,
I have a lawyer. Can you can you get him
on a phone or casim, come down my lawyer. Have
my lawyer come down, and and and and the thing
is the guy who said it was a black guy.

(01:52:28):
So it's almost like he was saying, let me protect
let me protect protect Nick, right, and and he could
see that. The conversation made me like yeah, because I
was about to go off. And he was just like
just like, you have a lawyer, and I'm like yeah,
So when he came, my lawyer came. He was like,
we want to make him a consultant to help us

(01:52:49):
build this Air Force one store. And I was like, oh, ship.
I didn't know what that was. And then when the
deal points came through, I was like, oh, they're dead serious,
like and my lawyers looking at me like do you
want to do this? And I was like what yep.
And the only thing, the only thing in my mind,

(01:53:11):
I swear to God this is gonna sound crazy, The
only thing in my mind was I'm going to get
to make a sneaker and ship on Barbedo because Gibido
Barbido had this white pair Air Force ones with a
burgundy Swiss and his name was on the side and
I was like how, like how do you and he
was like he gave it to him. So I was

(01:53:32):
just like, oh, oh commercial. Yeah. And the thing is
like I went into the meeting the first official I'm
working their meeting, and like the first thing I say
before the meeting, can I make a sneaker? And they're
looking at me like that's not what this is for.
And we get into the meeting, we keep going to
the twenty minutes and can I make a sneaker. They're like,

(01:53:52):
we're trying to build a store, We're trying to come
up with ideas. You're you're doing well, going on forty minutes.
Every two minutes, I'm like, can I make a sneaker?
Can I make a sneaker? I just want to make
one sneaker, like literally saying I just want to make
one sneaker. By the end of the meeting, as the
Chambers says, let me go sit you down with Mark Dolce,

(01:54:13):
and I said with Mark Dote and Mandt says, what
do you have in mind? And I come up with
I tell him what I want the sneaker to be.
But I did it in like a minute and a half,
and he was like, you really had this idea. I
was like yes, I said, I only need one pair,
and I need it. I just put my name on
the side of shit, that's all one pair. So he's like,
he's like what I was like, yeah, only one pair.

(01:54:35):
He was like, no, this is really good. And then
he calls astor in and he calls the product line
manager and the guy who was leading the team, and
everybody in the room is like, no, that's really good.
And they then Astor says to one of you know,
air Force one's a part of a one pack and
I was like whatever. He's like, do you like Airmax one?
I said, second favorite sneaker?

Speaker 8 (01:54:57):
Wow?

Speaker 2 (01:54:58):
Right. He says, what would you to an air Max one?
Boom boom boom Amax one is finished two minutes and
they're looking at me like, oh, he's really ready. And
I was like, but you got to change the color
of the elephant print so it's different than the air
Force one. And they were like okay, So they did
shit looked amazing. They were like, what about a Trainer one?
I was like that. She was like, They're like, oh,

(01:55:19):
you don't like it. I said, it's not that I
don't like it, it's just that I wouldn't necessarily be
like I want to make that. But they said but
what would you do? And then I did it? And
then Astor says it louder. He goes, that's a one
pack and I'm like, fuck is the one pack? He said,
you remember those air Force ones that said gray ones?
And I was like yeah. He said, remember there was
an air Force one and the air Training one that

(01:55:40):
looked just like it. I was like yeah. He goes,
that's a one pack. He said, this is the one pack.
I was like, cool, I only want the air Force
one and they're like, he's saying to me, He's like Clark,
he's saying it quiet. He was like Clark now because
some friends would asked the Chambers before night. He's like, Clark,
we feel like we could put this out and you

(01:56:01):
can have a shoot this out. I was like, I
don't need that. I need this shit on Bobby and
he's like he's like, he was like, you're not understanding
that this is Stiller. Then I was like no, no,
but so he's going so if you did this, what
would you call it? I said Brooklyn and they were like, Clark,
could you work it? Because now I'm mad, I'm just

(01:56:25):
like Brooklyn. He was like he was like clock and
then he was like, can you can you express Brooklyn
in a different way? And the first thing I thought
was seven one eight, and then I was like no,
because that means Queen Staten Island in the box gets loved.
And I was like, oh, every zip code in Brooklyn
starts with one, one two. I said, so one one too,
and they were like, that's thinking. See Clark now, you're thinking.

(01:56:46):
And they was like, but now we got to connect
it to you. I said, it is, it's from Brooklyn,
it connects to me. He was like, no, we got
to make something that when we see it we can go, oh,
that's how it connects. So they put the one and
inside they put a big one and I had the one.
They put a telephone booth like that's where clock changes ah,
and I was like, and they put the one because

(01:57:08):
it's a one pack. So that's that's that's where the
logo that's inside the shoe comes from from. Enough of
them being sick of me and then' like, yo, could
you please come up with some ship?

Speaker 3 (01:57:20):
So what was Barbido's response.

Speaker 2 (01:57:22):
Barbido thought the shoe was fire, especially because I give
him a whole set. But I was just like, more
like this was really just a shit on you. But
then he could literally go yeah, but there's a lot
of them. There's only one of these, And I was like, okay,
what the fuck? So after that, I made it my
business to become friends with Tinker half Field and in

(01:57:45):
the in the people in the kitchen, so that I
could do things in the kitchen that would be one
of one so I went in the kitchen. I mean
I might have about thirty one of ones out of
the kitchen, but the first one I went right to
Bobby and was life and and it was so crazy
that he just had to be like, oh no, that's crazy.

Speaker 8 (01:58:12):
What's your favorite Jordans?

Speaker 6 (01:58:13):
Cluck?

Speaker 2 (01:58:15):
My favorite At the top of the chart of all
Jordan's is a tie between threes and eleven.

Speaker 8 (01:58:20):
I'm threes and fours those ones for me to threes. Yeah, yeah,
you guys.

Speaker 3 (01:58:25):
Narrow feet, then I'm sorry, like didn't even start thinking about.

Speaker 8 (01:58:29):
What was Actually they kind of give you a little room.

Speaker 2 (01:58:31):
The more they actually do.

Speaker 8 (01:58:33):
Yeah, the ones that funk out of the ones, the
ISNA but I like it. But now I can't do
the ones like ones and sixes.

Speaker 2 (01:58:41):
On the on the on the on the Jordan's scale,
like Jordan one's a third. To me, what's crazy is
I really have more Jordan ones than anything because they
keep coming out with good ship. Like there's threes and
elevens is a tie, and then it's ones, and then
it's fours, and it's five. I love five. Five.

Speaker 3 (01:58:58):
So let me ask you this house on fire, you're
saving five of them joints. Five sneakers? What are you saving?

Speaker 2 (01:59:06):
I'm only saving two because I'm geting my wife and
my kids out first.

Speaker 3 (01:59:10):
Okay, all right, all right, wifey, kids out, and then
I can run in the house and get five pairs
of sneakers. What is it.

Speaker 2 (01:59:20):
It's gonna sound weird to you, dog, but i'd be
trying to get the records out.

Speaker 4 (01:59:25):
No it don't. It don't sound d do.

Speaker 3 (01:59:27):
Just give me the sneakers your top, all right, I'm
destroying all your sneakers, but.

Speaker 2 (01:59:32):
Five, I'm gonna go get the best, folks. I'm gonna
I mean the one of ones because they were they
were they were meant and given and made for me.
They weren't part of this mass production of shoes. Because
because I can get my favorite shoes are white on
my air Force one, I can buy them shits all
the time. And if if Nike decided, we will make

(01:59:52):
sure that you have a brand new pair of air
Force ones for the rest of your life, of brand
new every day. They could take what I got. I'm
gonna admit this to you, Quests, you actually are the
person that made me say, let me put a crock
on my foot.

Speaker 3 (02:00:09):
You know, what what, Yeah, the show's over, thank you
very much.

Speaker 2 (02:00:12):
No, no, but but it wasn't a regular crock.

Speaker 4 (02:00:15):
It was a crock oh ship, Okay, so George is fresh.

Speaker 2 (02:00:21):
But I put it on and was like, oh, I understand,
I wear him around the house.

Speaker 3 (02:00:26):
Oh you you're gonna wear him outside of the house eventually.

Speaker 2 (02:00:31):
Probably not, probably Mark.

Speaker 3 (02:00:35):
Clark, dog you and I were on this journey together, brouh,
I get it. And then one day I just got tired,
like I just got tired of suffering just to be like, yo,
what does he have on? I got tired, so I
went to the opposite, which was, what does he have on? Yo?

Speaker 4 (02:00:55):
These freaking fancy ass le crocs? Though, let's talk? I
mean this ain't no. I had to look it up.
I was gonna add like I knew what the fuck
y'all was talking about. I didn't lay.

Speaker 3 (02:01:06):
I'm kind of myth right now because I'm a product
of Sean g So I promised follow that up.

Speaker 4 (02:01:14):
With something good, go ahead with you.

Speaker 3 (02:01:16):
No, no, no, I'm just saying that it's he is yet
to steer me wrong, and he's always on me about
knowing my worth and knowing my you know, my value.
And whatnot, because to be honest, I mean, the thing
is is that Crock then offered me my own line.
But Seawan's like, Sean's like no, dog Like, if it's

(02:01:38):
not equity, I'm not talking to nobody else.

Speaker 4 (02:01:40):
Okay, that makes sense. Yeah, that's what we're doing.

Speaker 3 (02:01:42):
I was like, Sean, just please just let me do one.
He's like no, because if I let you do one, Crock,
then you'll you'll get He's like, if it weren't, you
would do everything for free, and business people would just
take advantage, like a mirror DJ for free, amir Din
for free. And so it's paining me right now that
like the Crocs that I'm dreaming of designing, which is

(02:02:05):
kind of on that level that he the lame that
he's in right now, they just offer your ear mold,
you get bragging rights and then you know you probably
can leverage that to another company whatever. But you know,
Crocs is kind of even while Timberland was or like
those companies.

Speaker 2 (02:02:23):
Okay, listen, personally, you can get I believe you can
get an equity deal with Crocs. See I.

Speaker 3 (02:02:33):
Word, because things are happening. Quote, that's it. That's all
I can say. Things are happening. I don't talk about
something unless it's really happening.

Speaker 2 (02:02:42):
Okay, I believe you can. I know you can as
a matter of fact, just because you know I work
with the brands the way that I do. I know
that let it, let it be what is going to be.
But I think it will happen for you. It will
definitely happen. And that's the reason why. The reason why
is because you're not the guy from the roots anymore.

(02:03:05):
You're you're not like you would a guy from the
roots until Jimmy Fallon happened, and then it was like,
oh no, Na, no, that's not the guy from the roops.
That's the guy who is the music director. That's the
guy who did the Oscars, that's the guy who did
the Grammys. That's the guy who did MTV. That's the
guy who did he was the guy who was playing
on stage with dav Like he's that guy. You're not

(02:03:26):
just the guy from the roops, like you're you're another monster.
And because you do so much and never stop, the
thing would be to get you. So if you're giving
it away for free, which I am begging anyone who
does anything with a brand, don't give it away for free.
You need to understand who you are in the game,

(02:03:49):
because if you understand who you are, then you understand
that if if you walk in the door, it fixes them.
All you gotta do is walk in the door because
if they get a picture like it fixes them. So
the idea is, let me do what I want to do.
He is a designer of shoes, so a deal like
that is more. It could be cachet for him, you know,

(02:04:12):
like he also was a designer of a sad chie
you know what I'm saying. He designed for yeas, he
designed forever. He's like, he's not regularly good, Like he's amazing,
even though sometimes you might not get it when you
see it. Like I looked at the crocs and was
like like immediately was like, oh, that's his fingerprint, and
people are looking at me like are you talking about

(02:04:34):
I was like, oh, look at it looks like a fingerprint.
Oh ship. Yeah, Like so his mind is on some
other ship, like your mind is on some other ship.
So if you if you want to do it and
you you know you, I'm sure you totally understand your
your your cachet, and because of that, they will they

(02:04:54):
will do it, but you you will get an equity
deal with them.

Speaker 3 (02:04:57):
How do you feel about the design game now, especially
in light of what is going on with certain figures?

Speaker 2 (02:05:08):
Oh god, I think first being able to dignify the
word designed properly is most important, not just I went
in and I colored up some shoes, or I went
in and uh and uh and and I told the

(02:05:29):
story on a shoot Like that's mocking up, that's reappropriating,
you know what I'm saying. But like, can you go
in and design to shoot from the ground up? That's
the lady, You know what I'm saying. That's different. He
like what he did at Asa is different. He made
a shoe that people if they didn't like, like, he

(02:05:49):
made people by Vasaci sneakers. Again, people weren't even thinking that,
but he did something that was cool to the street,
and they went on and board it again. And then
he took that cash and was like, well, let me
go here and show you some other ship. And let
me go over here, and you show you so much shit.
Let me go over here and show you some other
went to New Balance and put a fucking whistle. Honestly,

(02:06:10):
he's some other shit. You know what I'm saying, so
the design thing, if you're designing, like purely you can
draw the shit like that's amazing. But if you're just
getting to work on some shoes and reappropriate, I personally
put myself in that category, like I'm just really good
at reappropriating some shoes. I'm not calling myself a designer.

(02:06:30):
The word gets thrown around too much. And you know,
you design music. I could say I designed music, I
could say I designed soundscapes. But if I say I
designed a sneaker, that means I should be able to
draw a new one from the ground back. And I'm
the first one who'll be like, oh, I can't do
that shit. And the only way I'd be able to

(02:06:52):
get to that point is if I gave him the
ten thousand hours of trying to figure it out.

Speaker 8 (02:06:58):
You know, a question can make ice sculptures. I've seen that, Steve.

Speaker 2 (02:07:04):
So what's going on in the design game is like, well,
are you really a designer or no? I believe. I
believe that if Quest goes in, he's going to be
able to look at a crow turning into some other
ship and it'll be amazing because his mind thinks like
a creator like that Nike.

Speaker 5 (02:07:23):
He shoe that he made though first, because I'm like,
wait a minute, and let's think when there was some
colors and some designs on that.

Speaker 4 (02:07:28):
Remember that shoe. It was some reds and greens, different
things going on.

Speaker 3 (02:07:32):
That was my first one. There's red greens, there's the
gold version that was not I mean, you know it's.

Speaker 2 (02:07:39):
I think he was expressing himself and I think he
had a good job. And the thing is the perfect
thing about that sneaker was it wasn't mass produced, so
it was you really got to like this, you know
what I'm saying. You really gotta like it. And if
you like it, then you get it once you see it,
you know what I'm saying, So or once it's in
front of you, you get it. But like, because it

(02:08:01):
came out in a time when hype was was really
being some ship. Like, it's people who got the shoe
who didn't understand, you know what I'm saying. They might
love the shoot, but they love the shoe because of
the height instead of loving the shoe for did you
see what he did? Did you see he flipped the
elephant print on two shoes? Like you didn't see that?
You missed it?

Speaker 3 (02:08:18):
There's a lot of nuances that sneaker heads get that
regular heads are just like I missed that one. Yeah,
well sometimes it was a lot of underground code to it.

Speaker 4 (02:08:28):
Sometimes you got to explain the underground code so that
the regular heads can even know that the architect I know,
you can't.

Speaker 3 (02:08:33):
I feel like going sometimes like only for certainly.

Speaker 2 (02:08:38):
But I mean when I made one one two, when
I did the one one too, all I ever said
was it represents Wirkland and then I let people go
try to figure it out. So now in Nike one
one two is a colorway, you can't you can't use
that colorway or the way the mix of materials and
colorwaves that I use unless it's it's in collaboration with me.

Speaker 3 (02:08:57):
Have you ever seen an ill subliminal on a sneaker
that only like that sort of got kind of you know.

Speaker 2 (02:09:07):
Miss under the radar of When air Force was turning
for thirty five or no, yeah, thirty five, there was
a there was a celebration called air Force one hundred
and it was one hundred pairs of Air Force ones
that were all white, and I got to do one
and I'm going to tell a story that is okay

(02:09:31):
to tell now probably wouldn't have been okay to tell.
Then I got a call and it was like, yo,
what you want to do. I was like, what you
want to do? What we know we're doing? These all
whites coming on and do all white sneaking. So we's
in New Orleans. We had a knee with Nike, and
I was like, I want to do this, this, this,
and this to the shoe and we're gonna call it
Got that White. Probably one only one person in the

(02:09:53):
room understood Got that White man. And he and he
because he's my man, He's going, clock, are you sure
you to do that? And I'm like absolutely, and he
was so so so he was like okay, I'm I'm
I'm gonna push for this one. And it really when
he showed it to who it had to be pushed to,

(02:10:14):
really didn't have to be pushed. It was like it
was like, oh, that shit is beautiful. Like even like
Mark Parker called me and it was like, this is
one of the most beautiful air force once I've ever
seen it. In my mind, I'm thinking, like, I hope
he doesn't ask what does got that White mean? So, yeah,
if if you look at the shoe. It has three
colors on it, and it's it's it's white, and then

(02:10:38):
it's like this, it's like actually off, and then it's
this gum bottom. Right, So it's three versions of cocaine, right,
And I put it all on one shoe, and I
called it got that white, because in the street, if
you say got that white, that means you got coked. Right.
And then on a tongue label, I put the words

(02:10:58):
stay fresh on it because I was thing. My thing
was to stay fresh. And I was like, I need
all one hundred pairs to be given to me. And
my rollout was going to be I was going to
pull up in the hood of like every state, and

(02:11:19):
I was going to be like senate Instagram posts out
like yo, I got that white, right, So a hustler
would come looking for me and I would be like here.
So I was going to be serving white across fifty states.
But they but they took fifty of the pairs and

(02:11:42):
brought them to Complex con and they had this dinner
and at the dinner, everybody who was part of the
one hundred a pair of sneakers got put on everybody's plate,
and nobody knew what the sneakers want until they start
opening them. Only one person had my sleep and I
was big because Biggs got that white right. People were

(02:12:03):
like we at the tables and people are like, yo,
what the fuck is that? So everybody's like, I want
that one I want So they telling the waitresses, can
you go switch this? And I get better da data.
So they're giving away all of my products.

Speaker 4 (02:12:19):
Oh, they really gave it away. They didn't just let me.

Speaker 2 (02:12:23):
I didn't get to do the rollout properly, so it
became but so I didn't really get to like it was.
And the whole thing was going to be filmed, like
the fans were watching me, and then I was gonna
let the fucking film come out. And and so the
thing is when the shoes got given away, you know

(02:12:45):
some people got like Ronnie Fied got him. He was
like Clough this on Instagram. He was like Colock, this
is fucking amazing. The only thing I cared about was
when I got home, I got to make sure Jay
gets there. So I get home, I bring this nigga
to J and I said, they called got that white.
He was like claw, it was so important that he

(02:13:06):
wore him ships on his birthday. Wow. And I was like,
he gets he gets it. So what I did with
the shoes basically, I called the thousles that I came
off up with and was like, yeah, I got to
this niggas for you. And they didn't look at it
like it was oh I got a fresh beast nigga
was look they looked at it like, oh God, that
white clock. You're crazy. But the good part is Nike

(02:13:31):
didn't get it.

Speaker 5 (02:13:33):
Well yeah, because they ain't got no, because they ain't
got that black in the office to tell them.

Speaker 3 (02:13:40):
That might be you might try. That's our clip from
that one for six years.

Speaker 4 (02:13:48):
Thank you, thank you, thanks.

Speaker 2 (02:13:55):
All right, so so so to me, that's the one
that got missed the most that got missed. And and
you know, later on, once I explained what got that
white was to a bunch of people ask and they
were just like, nah, that's crazy. And I was like
so then later on I can't remember what company, it was,

(02:14:16):
Diamond Supply. They got a whole bunch of Air Force
ones and stamped like like like pressed into the Air
Force one the word coke, but it was the coke logo.
It's a coke. I was like, Coke White's okay, I
get it, but I'm.

Speaker 5 (02:14:33):
Like, obvious plus obvious is more creative.

Speaker 2 (02:14:40):
Yeah, it was definitely. It was definitely more creative. And
it was. And the thing is once like a hustler
got of here. He understood it as soon as he
saw it.

Speaker 5 (02:14:49):
He was like, so those shoes can never come out again,
like and no part Clark can Nike just go You
know what, that was a good idea that Clark did
ten years ago.

Speaker 4 (02:14:58):
Let's reissue.

Speaker 2 (02:15:01):
Literally, I wanted to view that. They seem to have
some respect.

Speaker 3 (02:15:05):
For Yeah, they'll they'll resell some ship and.

Speaker 2 (02:15:09):
Yeah they'll they call before the stuff like that, Like
I got, I got, I got something coming later this year.

Speaker 3 (02:15:17):
I was about to say, you still have a relationship
with them?

Speaker 2 (02:15:19):
Correct, Oh yeah, oh yes.

Speaker 5 (02:15:21):
It sounds like Clark, if you decided you didn't want
to do music anymore, you would be good.

Speaker 2 (02:15:26):
Based the Sneaker, I'd be okay, but I probably wouldn't
because I love music so much, right, probably be like no,
I need to do that. Okay.

Speaker 3 (02:15:36):
So yeah, as we as we close out, I do
want to know, like, where is your passion lying today
as we speak music?

Speaker 2 (02:15:44):
Music? Well, let me say this in this order. God
family music kicks mm hmm. My My family needs more
to me than than all of that ship. And I
have a family because of God.

Speaker 4 (02:16:00):
How old are your kids?

Speaker 2 (02:16:02):
I have a twenty nine year old daughter and a
twenty three year old son.

Speaker 8 (02:16:07):
Know, they're proud, that's hope.

Speaker 2 (02:16:10):
So I'm trying not to embarrass them.

Speaker 3 (02:16:13):
You're doing well, man, you're doing well.

Speaker 2 (02:16:15):
I appreciate those words, but you know, yeah, they understand
DJ clar Camp, but like I'm their father first. Yeah,
so it's like I got it. I'm trying not to
embarrass them. I'm trying to I'm trying to do things
that they can look at and go, my dad did
some cool shit so that they can be inspired to
do cool shit.

Speaker 3 (02:16:33):
This this has been a long time coming. Thank you
for having the patience for all the false starts. But
you know you're you're literally you You're God's favorite DJ.
Might be my too, man, Thank you.

Speaker 4 (02:16:51):
Yeah.

Speaker 2 (02:16:52):
You want to know something that's crazy? Quest is it's
certain DJs that I look at and I go, I
wonder if they think I'm good? You know what I'm saying,
because they have their own, their own thing attached to
him that that I look at them and like, now
he's fucking He's fucking ill. Some of the ship he
does is crazy. Like I look at quests like my
question is a really good DJ, Like question is on

(02:17:13):
the short list of DJs that I like, you know
what I'm saying. I look at Jeff like, I like
Jase Jeffson, I like Scratch, I like, you know lou
Louis Vaga. You know what I'm saying. He to me,
to me, he's a wizard. But then I got this
questlove dude, where I think is out of his mind musically,
and I'm like, he thinks I'm a good DJ. Like

(02:17:35):
to me, that's like my worstmore ship when a when
a DJ, I think.

Speaker 3 (02:17:38):
Why do you think we're all together in that in
our thread? Man?

Speaker 2 (02:17:41):
I mean I don't even know. I let's ask going
about that?

Speaker 3 (02:17:49):
Yeah, exactly exactly, No, I mean it's please. I've been
to a gazillion of of your functions, Joe. Now you
get down, man, Now you're you're the greatest clerk.

Speaker 2 (02:17:59):
I appreciate you for doing I appreciate it. And again,
it's an honor to be here because when I look
at some of the people you've spoken to I'm just like, shit,
he wants to talk to me. I hope I could
stand up.

Speaker 3 (02:18:12):
Dog tribe.

Speaker 4 (02:18:13):
It's all the same tribe. You definitely belong. You're talking
about people that affected the culture.

Speaker 2 (02:18:16):
Honey.

Speaker 3 (02:18:17):
It seems like another successful conclusion of the adventures of
DJ Clark, Kent Smoking, Steve and Fanticke a little blue.

Speaker 2 (02:18:31):
Can. I go on record as saying Fante is one
of the best of them. Season around, he is okay, dog
is wild. He's wild like wild. It's funny because be honest,
like when I first heard Little Brother, I was like, oh,
this dude's spitting. And I took some time off because
I was like, they're not doing nothing, and I didn't
realize that he was dropping solo shit. And then I
went back and I was like, oh, fucking nuts. Like

(02:18:56):
I think I tweeted that one day, like Fante Gullo
is fucking amaze.

Speaker 7 (02:19:06):
Like I said, day to day, Fame was the first
tape my own. So DJ Clark can't bring me up
like that's just no, man, thank you so much. That
means the world. I appreciate it.

Speaker 3 (02:19:17):
Good Only Mavericks over here, man. Anyway, Well, we have
a fran Tickeolo, Sugar, Steve, Unpaid, Bill and Layah. I'm
quest Love. Thank you once again, d J Clark Kent.
This is quest Love Supreme and we'll see you on
the next stor down All right, West.

Speaker 1 (02:19:41):
Love Supreme is a production of Iheartened Radio. For more
podcasts from iHeart Radio, visit the iHeart Radio app, Apple Podcasts,
or wherever you listen to your favorite shows.

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Laiya St. Clair

Questlove

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Questlove Supreme: DJ Clark Kent