INTERVIEW: Chuck D & Kurtis Blow Talk Hip-Hop Ethics, The Problem With Battles, Radio Armageddon + More

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Wake that ass up early in the morning.

Speaker 2 (00:02):
The Breakfast Club Morning, Everybody's dj NV just hilarious. Charlamagne
the guy. We are the Breakfast Club. We got some
special icons and legends in the buildings.

Speaker 1 (00:12):
Morning.

Speaker 2 (00:13):
Now we got the legendary Chuck Da of course from
Public Enemy.

Speaker 3 (00:16):
Welcome brother.

Speaker 1 (00:17):
He loves good seeing y'all.

Speaker 3 (00:19):
Is this is a great surprise.

Speaker 1 (00:21):
Yeah, man, I had to roll up here with the Godfather.
That's right. We have the god fora a.

Speaker 3 (00:25):
Curtis Blow, Welcome brother. How you feeling. I'm feeling mighty fine.
Thank you for having me. Great to see both of you, brothers.

Speaker 1 (00:32):
What does Curtis Blow mean to you? Chuck? But also
the culture of hip hop? He's number one.

Speaker 4 (00:38):
He is the pioneer because he is the first solo
artist to record with a major record label of rap
music and hip hop, and at the same time was
the first to be on a major record label. So
he left that indelible mark nineteen seventy nine.

Speaker 1 (00:57):
And nineteen eighty just you know, and that was the jump.

Speaker 4 (01:01):
And you're talking about the city that has had a
million MC's and rappers and DJs. That's why it's important
to be here in power today just to say everybody
else has been in the city that who has been
born and they have passed on since you know, this

(01:21):
is the city that made it. Just like I had
to represent just for a quick second Nixon. That's because
after my my man Cpter franchise over there. So but
but basically my talk today on the radio station, I cannot,
you know, have the brand associated with all the things
I say. I say, the Godfather's right here, and yeah,

(01:44):
I came up here to talk about you know, a
recording that that was released on Death Jam called Radio Armageddon.

Speaker 1 (01:51):
I'm but I'm over at.

Speaker 4 (01:52):
Death Jam sort of like the Coni Air, like the
like the Tom and the Godfather, you know, like, uh
what Tunji ung gun is done right? And anytime they
run into a situation, I remind uh the major labels
and Death Jam and everybody else.

Speaker 1 (02:10):
You got to accountability of responsibility.

Speaker 4 (02:12):
And nineteen seventy nine this man recorded with Mercury Records.
I had to been, you know, and I've benefited after
that because I did a solo record with Mercury in
nineteen ninety six.

Speaker 3 (02:23):
Thank you, Kurt, You're welcome.

Speaker 4 (02:26):
Man.

Speaker 5 (02:26):
I just want to shout out all the legends who
have pioneered this thing before myself.

Speaker 3 (02:33):
Name Kurt fired me Kurt, people.

Speaker 5 (02:36):
Like Pat, DJ Jones and cool herk Africa, Ban bad A,
grand Master, Flash, Melli Mel you know DJ Hollywood, Love
Buck Starsky Eddie Chiba, the Furious Five, the Funky Four,
the Fantasts to Five, the Treacherous Free, the Feelest for
so many groups. Man, I love you all, man, thank you,

(02:58):
thank you, thank you for inspiring me. And we will
move forward to the future and inspire the future generations
to come.

Speaker 6 (03:08):
I want to ask you, mister Blow, like, what do
you think about Ask both of y'all what do you
think the coach had lost when hip hop went corporate?

Speaker 1 (03:14):
And what do you think it gained? You want to
answer that, well, number one, you know the.

Speaker 4 (03:21):
It grows big on the top heavy side, but all
the bottom in the middle started getting gutted out. Don't
you all get a little envious when you see every
single NBA player, well ninety percent of them. They carried
themselves on interviews. We learned in the beginning when Curtis
Blow did an interview, he spoke for us on TV.
Whether it's don He's the first to get interviewed by

(03:42):
Don Corneelis. He's the first to get interviewed by Dick Clark.
So we coming from the rap circles doing our DJs
and MC and and all that, and here's this man
being interviewed. He's speaking for all of us. Now, he
could go up there on some goon squad issue, right,
but what would that do with that of elevated the
art form into an area where we start to discussing what,

(04:04):
you know, what we gain and what we lost. You know,
every time you look at an NBA player, eighty five
well percent of them, and NFL player or Major League
Baseball player, even if they're doing English or Espanol, and
a lot of it's Espanol, they sell the They have
to sell the game. They have to sell the game

(04:25):
to the fans. And the thing that we've lost, back
to your question to God, is that it's been pissed
poor in public relations and human resources. Every big business
make sure that they're tied and tight with their public
relations and their human resource department. If not, I mean

(04:46):
this radio station probably does it. You know, a letter
from an old lady probably still works in this building.

Speaker 1 (04:53):
The old white lady.

Speaker 6 (04:54):
But it's hard to have that now because it's social media,
because you got human emotion and then the.

Speaker 1 (05:00):
Ability to be able to go directly to the consumer.

Speaker 4 (05:03):
Screen Ages have never been taught Necticutte screen ages. You
don't have citizens today, you have nedicins. They're not citizens anymore,
they're nedicens. There's screen ages. They're engaged by everything in
and out of the screen. That life goes to a screen.
But what what has taught them that, you know, how
to engage on their devices? What has taught them how

(05:26):
to engage on the gadgets? At the end of the day,
there's only two phone companies is Android and Apple. At
the end of the day, they're the keebler ls looking
at everybody. It's like, yeah, you know, saying do whatever
you want, still going to roll down our river. So
when we start to understand, you know what's behind what

(05:46):
you know, we could okay, this is the way everybody lives. Okay,
how do we manage that same thing with life? And
you know, Curtis Blow is instrumental with Scott Exit. He'll
tell you you speak for himself because he taught all
ups the first hip hop union. So the whole thing
is all the information that we say that we have
in these gadgets and devices.

Speaker 1 (06:06):
Oh, we could get it quick and all that.

Speaker 4 (06:08):
You know, we are not equipped on how to navigate
that information.

Speaker 1 (06:14):
Oh Yo, we need a union.

Speaker 4 (06:16):
And I've heard how many people we've heard talk about
we need a union when it's easy to go poop
poop poop hip hop union, hip hop alliance. So we
have these things, we really don't know how to use them.

Speaker 2 (06:28):
Why don't you think it? Why do you think it's
so difficult? Because I think about it all the time.
I think about the sacrifices that you brothers made in
this music industry. Right that a lot of these younger
generations have no ideas, but they eat awful, right, and
they're eating a lot of gun.

Speaker 4 (06:41):
People that play ball all the time. They wear the Kicks. Also,
they wear jerseys. They might not know what Bill Russell
jersey is, Like, Yo, I'm wearing number six.

Speaker 2 (06:51):
But the NBA has they have a union where they
pay back and they make sure that they're athlete.

Speaker 4 (06:55):
Do you think that came from the players or you
think that came from the administrative body that was protecting
diminishing the.

Speaker 1 (07:02):
Players forced it? Huh? I think the players forced it no.

Speaker 4 (07:04):
In nineteen seventy nine, the NBA was almost called the
Nigge Basketball Association. White folks were starting not to come
in the seats. David Stern came along nineteen eighty said,
we got to make some changes. Nineteen eighty four when
this man made the song what's the name of that song?

Speaker 3 (07:22):
Kurtin basket ball.

Speaker 5 (07:25):
Nineteen eighty four, forty years ago last year, and we
actually did a remix of the song or the anniversary
and it's called Basketball two point oh.

Speaker 3 (07:38):
I remember where I'm shouting out.

Speaker 5 (07:40):
The new players today, you know, like Lebron James and
Steph Curry and John and Jailen Brunson and Kat and
all the whole team of today, and it's incredible.

Speaker 4 (07:55):
Nineteen eighty four, David Stern also took the jury off
the player's net and ear rings out because he felt
that there was an overlapping of black culture, especially Northeastern
black culture. He didn't include the West. West wasn't at
that point yet. I gotta take these dukeie you remember
with ball players have Dukie gold chains, Dal Dawkins ear

(08:19):
rings and all that. David Sturry says, we gotta stop
that you're scaring the white folk. So that corporation, which
will probably lead into being fantastic or bigger than ever,
has managed itself. It's governed itself to you know, to
the good and the bad and indifferent. But you're gonna

(08:41):
let the Knicks win the night. You're gonna have fifteen
thousand gooning out over there on Seventh Avenue because and
people gonna be what twelve thirteen years old? They don't
know nothing unless it's taught to them. So yeah, nineteen
ninety nine Alan Houston and all that.

Speaker 1 (08:59):
What does that mean to a fourteen year old?

Speaker 4 (09:02):
Yeah, but you know what, if they really want to
ball out or be considered knowledgeable about ball either they're
gonna learn or they're gonna be fighting.

Speaker 1 (09:11):
That's real, you know. So so hip hop is, you.

Speaker 4 (09:13):
Know, like it's got to come from a responsible administrative
body hasn't been there. You'll name five managements in hip
hop right now. And I didn't come here to bash
hip hop because every generation has its has this thing.

Speaker 1 (09:29):
You know.

Speaker 4 (09:29):
Even kurtse Christmas, rapper said, you know, don't you give
me all that job about things I wrote before you?

Speaker 1 (09:36):
Things you wrote before I was alive because this ain't.

Speaker 3 (09:38):
Eighteen twenty three or even nineteen seventy.

Speaker 4 (09:42):
So every generation has its favorites and has its way.
But if you're going to say I'm doing rap music
and hip hop, and especially you're doing it in New York,
and what's the thing in New York that's teaching you?

Speaker 1 (09:54):
So the union is also.

Speaker 4 (09:55):
A thing that is more than just a union because
we're not came up with the radio Armageddon, which is
basically like the MCDJ aspect of Public Enemy works with that,
and it's a way of introducing people like from Daddy
Oh to Miranda Rights. So it's a quirky project. It's

(10:16):
like like the weirdness in my head. I don't make
records of cell records. I make records that almost like
we're not too far from MoMA, right right, It's got
to be an art and the craft somewhere before everything.

Speaker 1 (10:30):
Look, Bob Dylan, how long has Bob Dylan been?

Speaker 4 (10:33):
And Kurt recorded with Bob Dylan, So we got to
be no knowledgeable about this fact.

Speaker 1 (10:38):
Bob Dylan has been with Columbia Records.

Speaker 4 (10:42):
I'm sick, I'm gonna be sixty five, DoD Willing, Bob
Dylan has been there.

Speaker 1 (10:48):
For sixty three years. Wow.

Speaker 4 (10:50):
And you know when Bob Dylan releases a record, do
you think he's paying bills in there?

Speaker 1 (10:55):
No, he said, Oh, Bob just turning the masters. So
we just gotta So.

Speaker 4 (10:59):
I think one of the accountabilities and responsibilities in rap
music and hip hop on the recording end is how
do you curate and caretake the masters of the things
that help build it. As far as from the rap
in there's only three majors. There's Sony there used to
be down the street in black Rock where I signed

(11:21):
to where with CBS. There's Universal right which all those
deaf Jam and Mercury and all those masters, and there's
what there's one of time Warner Warler brothers.

Speaker 1 (11:33):
I just say three, what can they do?

Speaker 4 (11:36):
Curate, caretake because if you don't, then what then it's
there for the undertaker and our culture, our music, our
people have been undertaken. So some of the things I
address and when I do music, the ism that has
grown larger than ever. And when everybody's a screenager's agism

(12:00):
like everybody as young as they think they, I mean, yo,
y'all not as young as you. So so the whole
key in life is to maybe give thanks, but also
brag about the currency of the years that you get
in residences around the sun.

Speaker 1 (12:16):
Absolutely, marketing works the all the way around.

Speaker 4 (12:19):
Flip the naive kid, sell them anything because they don't
know enough, Try to sell it to them again. That
has diminishing returns on a society. It has a diminishing
returns in the world because we even see it reflected
in government.

Speaker 6 (12:34):
That's that's how you was able to get the executive
producer of Celebrity Apprentice elected.

Speaker 1 (12:39):
Yeah exactly.

Speaker 6 (12:40):
I want to say I love the song New Generation,
and you say on that song, I've been your age,
you haven't been mine yet. But I wonder, even though
we've been these kids age, we didn't grow up in
their generation, didn't have access to the.

Speaker 1 (12:53):
Things that they have now.

Speaker 6 (12:55):
So how how much can we truly relate even though
we have been their age, just haven't been there aging
this time frame.

Speaker 4 (13:02):
Gotta work on it. I mean, I don't know what
it's like to pull it. You know, egg our chickens
ass either. You know what I'm saying. I mean, to me,
milk means go to the store and get the cut.
And so that generation before me you know, looked at
me like, yo, you don't know what that is. So
we have to do out. We got to do our

(13:23):
best on logic and practical sense. I mean common sens is, rationale,
deductive reasoning and and I forgot that was one right
now because I have.

Speaker 1 (13:32):
Age braive brain lapse.

Speaker 4 (13:33):
But we have to work on these things at all times,
and we can't probably rely on systems and school system
before we had an area of culture that snuck it
in covert hip hop was it was a covert operation, remember,
because at the time they they totally gave up on

(13:54):
school systems. You know, they talk about oh men, Columbine.
But we had a ten to fifteen year period once
guns and drugs came in our community where high school
shootings and major urban cities, especially the United States, they
you know, they they became like a little bit of
an epidemic before it became a national epidemic across the board.

Speaker 1 (14:15):
It's very easy.

Speaker 4 (14:16):
It's a whole years the culture, you know, no, but
there's there's some lapses that you know, planted the seed.
So anyway to bring it full circle, the hip hop
Alliance that I'm involved with, Kurt reached out some years ago.

Speaker 1 (14:30):
Yeah, but you could speak for itself. He reach out.

Speaker 5 (14:32):
Well, you know, the Hip Hop Alliance is just that.
The Alliance is an ororganization that is a labor force organization.
There needs to be a system to monitor, to actually
communicate and educate to the youth through our community, you know,

(14:53):
without on a mission fighting for fear wages and fear
royalties and strong health and retirement benefits for all of
our people. And you know we specialize in IPS and
publishing and trademarks and uh. You can go to hip

(15:14):
Hopolions dot org and check us out. Is free to
join toup port us. We are out there fighting for
you to make sure this journey that you are on
and your career is successful.

Speaker 3 (15:29):
I want to ask with Deaf Jim.

Speaker 2 (15:31):
Of course definitely this project is under deaf Jam. Will
you always sign a deaf Jam or was it a resign?
Have you been with jam that long breakdown?

Speaker 1 (15:39):
At first?

Speaker 4 (15:39):
I was the first rapper. They had a big uh,
they didn't have a bit more, no such thing. I
turned Rick Rubin down for two years. Why I didn't
want to do records, my things radio. We felt my
guys one of the first and Kirk could tell you.
I mean, we broke so many records in Long Island

(16:01):
w B A U. We did records right, We did
hip hop right. We were scientists. We were the espn
of hip hop and rappings. We just ain't from the city,
so we had the outside end. We promoted gigs, concerts,
we did it all. So we used to compensate for
the lack of rap records by making incredible tapes and

(16:22):
promo tapes. And Rick was starting def jam with you know,
Curtis Bow's friend Russell.

Speaker 1 (16:29):
For two years.

Speaker 3 (16:31):
You know he's my friend.

Speaker 1 (16:32):
Oh yeah, Russell's my friend.

Speaker 4 (16:34):
I mean, but he started out with with Kurk matter
of fact, more trivia. Kurt and Russell used to throw
gigs in the seventies under and then Kurt Russell's first artists.

Speaker 5 (16:48):
Yes, yes, we had a club and Hollis Couey. Hollis
called the Night Fever Disco back in nineteen seventy seven
seventy eight, and I was a DJ play every weekend.
And I used to stay at Russell's house over in

(17:08):
Hollis to Fifth Street. And when I was there, I
met his younger brother and he used to beat him
up all the time. I used to protect why my
big brother used to beat me up all the time.

Speaker 3 (17:21):
So I was like, YO, leave him alone. He's a
good kid, you know.

Speaker 5 (17:25):
I took him under my wing and made him the
son of Curtis Blow and that was DJ Run.

Speaker 3 (17:33):
Of course.

Speaker 5 (17:33):
I told him how to DJ and he became incredible
on the mic. He was my DJ when I released
Christmas Rap in nineteen seventy nine.

Speaker 3 (17:43):
And Nasty Too, where we had eight.

Speaker 5 (17:47):
Minion stories about that whole situation. Run was incredible. I
loved the family, Danny, Joey Russell, his dad rest in peace,
his mom rest in peace and peace.

Speaker 3 (18:02):
That was people, the Nice Fever Disco.

Speaker 5 (18:05):
I mean, I remember we bought Flash out to the
Night Fever Disco, the first time Flash ever played in Queens,
and that was incredible just to be that liaison to
the Bronx and represent early early hip hop in Queens
with that whole crew.

Speaker 3 (18:24):
The Hollis Crew. I loved you, guys.

Speaker 1 (18:26):
I want to ask you.

Speaker 6 (18:27):
Blow was ever a time in the eighties where you
knew hip hop was about to explode, but you didn't
feel ready for what came next?

Speaker 4 (18:34):
Oh?

Speaker 5 (18:35):
Yeah, I was definitely a visionary. I hate to talk
and brag about that, but.

Speaker 3 (18:42):
I'll do it.

Speaker 5 (18:44):
It was incredible and just the feeling. I remember Chuck
d saying, Uh, that whole energy.

Speaker 4 (18:52):
That spirit before records.

Speaker 5 (18:55):
Between nineteen seventy five and nineteen seventy nine was the
most incredible spirit. I mean it had spread throughout the
whole five Burroughs, from Harlem to the Bronx to Queen's
to Brooklyn, and it was just an energy that everyone
knew that this is something special, very special, and we

(19:20):
capitalize on it.

Speaker 4 (19:21):
You know, yeah, you couldn't You couldn't even describe it.
It's hard to describe Alreadio that era before records, because
before that it was inconceivable to put rap on records.
You know, it's a three hour thing and like got dancing,
it got all. Now how you put rap on records? Yeah,
you get on the mic, but I mean how long
the record got beat? Three hours?

Speaker 1 (19:41):
You know?

Speaker 4 (19:41):
Like, but then in seventy nine, King Tim the third
sugar Hill Gang, which took two records, not just people,
was like, oh it's a good time. No, it's two
records that made sugar Hill Gang love de Luxe. And
then yeah, Curtis blow with Christmas Wrap, which just took it,

(20:04):
took it into the stratosphere and like I said, back
to your Nugens thing, It's like, youth is an excuse
that I don't let young people do because it's easy.

Speaker 1 (20:14):
You got it. You can't. I mean, I'm triple og.

Speaker 4 (20:19):
There's no way I'm going to convince a person a teenager.
It's like that communication got to come from the next
step up that they want to get to. So all
I do is just I weigh them against themselves. Somebody think, oh,
I'm too young for that, may be sixteen. I'm like, okay,
well your twelve year old brother is going to actually
get all your props and everything that well I earned that.

(20:40):
You know, so everybody in their life wants to use tenure.
You know, the drug game changed all that flipped that
up because they say, oh your overnight boom boom, and
we saw what happened to that and when that was introduced.
A lot of things came during the era R and B.
That's Reagan and Bush and when that. Man, we're still

(21:01):
recovering off of those that scar tissues. But hip hop
is a beautiful thing, man, It's got layers and layers
and like I said, we started from a radio environment.
I mean, I've been running Rap Station for sixteen years.
I've built two apps. One is to Bring the Noise app,
which is it works like TikTok thirty five and over.

(21:22):
Apps are difficult to make, especially when you have e commerce.
I've only built two and I no and I'm not
the guy that just sits in another room. I'm kind of
like checking in with my developer and all. And we
did the rap Station app, which has twelve radio stations,
all dedicated to things around the world of wrapp I've broken.
We've broken at least five hundred thousand songs over sixteen years.

Speaker 6 (21:47):
Wow, So did you did you approach radio againin like
a broadcaster, a profit or a rebel?

Speaker 4 (21:55):
All three man all three all three so dipped in
ascid with wu tang axes in the.

Speaker 1 (22:02):
Back and hammer shoes and all that. You know what
I'm saying. It's like in my head.

Speaker 4 (22:08):
I mean my first record, public Gating Me number one,
which is a tone which is blow your head by
by you know the JB's you know, very familiar breakbeat,
but nobody could figure it out. I'm from skater culture
and not the skater culture today, roller skating culture, roller
rings dominated, so we moved to music, and we didn't

(22:29):
have to move to music. Music moved us. I mean, seriously,
it makes you want to move. I mean Roosevelt roller Ring. Man,
I'm the dude that's skating backwards. I mean I did
the concert and Quick and Cleveland one year, just me
going up in the spot of roller Ring and I
skated backwards doing all my songs where they were skating
towards me. I was that little card in the wallet

(22:52):
that says bad mf one of.

Speaker 3 (22:54):
Those from the hot skates, the Roosevelt Ring. What else
was out there back then?

Speaker 4 (22:59):
Bablon further Avalon you had in Brooklyn? You had?

Speaker 1 (23:04):
I just have? That was?

Speaker 2 (23:07):
What's the one in Brooklyn? Almost Empire? Empire shot up
all the time, Empire.

Speaker 1 (23:10):
And any in other cities.

Speaker 4 (23:12):
I believe, and this depends on the music too, you know,
I believe that skating rinks can be a possibility for
enjoyment of future music and future cardio because one thing
being the screen ager you said in Terry you said
the screen all.

Speaker 1 (23:29):
Day and Terry long, and you'll trust me.

Speaker 4 (23:33):
I mean a song that on the album I wanted
to attack agism and the sedentary life.

Speaker 1 (23:39):
And all that is.

Speaker 4 (23:41):
Black don't dead because you hear the talk we take
for granted you from South Carolina, so you know a
lot of talk of you know, yeah, yeah, black don't crack. Yeah,
but they could die, yeah, but real and and one
of the five things of death diabetes, cancer, hypertension, with stress,
and stroke, you know, heart disease.

Speaker 1 (24:04):
It's like boom.

Speaker 4 (24:05):
So with all this, we do a great job on
the exterior covering up, but it's it's it's a grind,
especially when you have the things out here and you've
got had plenty of people on these shows that that
you bring up here that will tell people like what's
out there and what to avoid and all that.

Speaker 2 (24:25):
Yeah, we try to make sure people know about it
because the worst thing that I always hear is.

Speaker 1 (24:30):
But you wish you could talk twenty four hours a day, toy.

Speaker 2 (24:32):
Yes, when DJs that come up here that I don't
go to the doctor or rappers, I don't go to
the doctor, and then you see them get sick and
you was like, damn, that could have been prevented. So
we try to talk about those things about eating healthy
and all that things that I didn't. I mean, you
grew up in Queens. White Castle was two blocks away.
That's what I hate most of the time, you know
what I mean. So we definitely try to preach to
those people.

Speaker 6 (24:50):
I'm glad you brought that record because I listened to
records like Black Dome Dead, and it makes me wonder
the making radio arm aged and feel like a spiritual
purge or final warning.

Speaker 1 (25:00):
No, none of that. I said that.

Speaker 4 (25:02):
For Public Enemy Record, this is taking a radio and
throwing it down to fly the stands and seeing it
still work. It's not meant for people to likemer I
made Public Enemy Records, man, not for nobody didn't like.

Speaker 1 (25:18):
I didn't. I told Rick Rouven though.

Speaker 4 (25:20):
He's the greatest per Rick Ruve is the greatest, one
of the greatest producers of all time. Yes, whoever told him, no, you,
I was wanted this certain qualities back in the day
that Kurt also knows too. If you didn't have a
voice that rocked the mic, I mean sounded good, you
wasn't getting the mic. I don't care how many verses

(25:42):
you got, bars you got. If you sounded like you
was fifteen years old, you had to take up something else.
You had to dance, maybe DJs and stuff like that.
You had to command the crowd, like Hollywood Curtis Blow,
you know Starsky they command well, Melly Mel when they
grabbed a mic, people just sat down because I don't
I can't sound like that. Studios balance that stuff out

(26:05):
and this and all that. But yeah, so that that's
you know, and your question was again.

Speaker 1 (26:14):
Off final one the people that Yeah. Yeah.

Speaker 4 (26:16):
My point was, it's like I never ever ever made
a song since somebody else to like, that's like asking yourself,
asking somebody else how do I look? After you went
you went to the mirror, brush yourself of them and
asking somebody else how do you look? But being screen
ages people listening with their eyes today a little bit

(26:38):
too much with their eyes. You could tell them they
might listen but didn't hear it. So there's a lot
of covert now happening when you could be told the truth,
but if you don't see it, you know now. It's
it's the flip verse with that. It's like, believe none
of what you see in half of what you hear man,

(26:58):
because people ain't listening, so believe at least half of
what you hear and dissect that. But as far as seeing,
especially with AI, and I've been dancing and boxing with
AI for like the last five years, I'm trying to
tell you it don't go backwards. It ain't gonna get dumber.
And yes, there is an issue there in real life

(27:19):
and regular life and in culture and music and art
and all that. You're not gonna stop it. But you
can dance with it, and you can manipulate it, you
can flip it. But you better know how to dance.
You better know what it is, because.

Speaker 6 (27:32):
I think you can dance with it if you already
have some knowledge yourself, if you already have some information
with your own.

Speaker 4 (27:37):
All better yet, you have an understanding of things before you,
and you have to practice. Like I said, I never
pulled an egg out of chicken, but at least I
know and I've seen it.

Speaker 1 (27:47):
I did it, you know what I'm saying.

Speaker 4 (27:50):
So this is something with AI technology, gadgets, computers, you know,
unfortunately that bumps up in the areas like artillery and
you know all kinds of doom machines and widows that
just think all of a sudden, you know, they got
the mic in the camera for me. Everybody got the
mic in the camera. Everybody got the mic in the

(28:10):
camera at the same damn time. So triple OG's and
OG sometimes with some wisdom, sometimes choose to be silent
because everybody on the mic. Sit my eyes down and listen,
because the key is listening if you're going to even
be able to protect your surroundings. So it's not something
where you know, we were innately born with these qualities

(28:33):
to be leaders and wise people. This came from the
shoulders of giants. We stood on this man made a
sacrifice that I had to take advantage of. But then
it's all about, Okay, you got to break it back.
And when you break it back, then that makes that
side stronger and you and the isms. The agism that's

(28:55):
taking place was intentionally poured over.

Speaker 1 (29:01):
Black life.

Speaker 4 (29:04):
In the modern world, and I think a lot of
it started during you know, like I said, R and
B regging in Bush because I am a product of
the sixties and the seventies and in the seventies with
all the bs that was going on in the United
States at that time. Look, in nineteen seventy four, you
had an impeach president. This country was rocky as hell.

(29:28):
Black folks was figuring it out. We knew like, Okay,
this is.

Speaker 1 (29:32):
What we have. We're gonna make this work.

Speaker 4 (29:35):
We might have not been you know, we might have
been broke, but we wasn't broken.

Speaker 1 (29:41):
That was the key.

Speaker 4 (29:42):
Black folks, right, Black folks were together. No matter what
they threw at us. The only thing they could throw
at us in the eighties was a plethora of guns,
drugs and then also a lot of things they poured
in there to cause division between the young and old.
You go to other societies and that even that start
the crack down because you go to the Amazon and

(30:03):
they screen ages too, and the Amazon so but elders
are revered and it also elders or they don't get
that that term of all, yo, they just bid it
because they ain't getting it. Number one, the old school. Listen,
they didn't measure themselves with money. That's where the term
came from. It's like, I don't want your money, you

(30:23):
know what I'm saying. I mean, I'm saying that the
best New York for Nacola when you go, yo, man,
I want your money. Because their levels, their statuses was different.
Their statuses was like here, it was like deep within
this is the core that no matter what machinery they
came up with, they couldn't penetrate the core here. You know,

(30:46):
you go to places like Philly, it's like, damn man,
wonder when they're gonna get some urban renewal.

Speaker 1 (30:50):
But Philly was called the city of brotherly Love.

Speaker 4 (30:53):
So within all the drama, people like yo, we like
here the Bronx, Bronx was left, the ashes left, the
left for dead.

Speaker 1 (31:02):
What comes up out of that?

Speaker 3 (31:04):
Yip? Yeah, the Bronx is burning.

Speaker 1 (31:09):
Yeah.

Speaker 4 (31:10):
So I mean the eighties came with a whole bunch
of you know. So now it's about like what is
hip hop got in this toolbox? How many tools can
you put in the hip hop toolbox to be able
to to wedge out some future path? And you know
it ain't about going back, Yeah, it's it's all about
going forward.

Speaker 1 (31:28):
Whoever want to go back? Is hip hop still the
best weapon for revolution? No?

Speaker 4 (31:34):
M everybody got a gadget M from your grandmother to
the child being born, something better come through that. We
don't know what that is. Remember I said hip hop
was covert? Was that that that?

Speaker 1 (31:53):
Yeah?

Speaker 4 (31:53):
That was done before fight the power brow became listen,
fight the power became what it was because the Spike Okay,
so I mean who does that plays you know, plays
a song in a movie five hundred times and nobody
did that.

Speaker 1 (32:06):
Yeah, Spike made that record happen.

Speaker 2 (32:09):
Now it was your relationship with Spike for him to
do that, or he just wanted to be.

Speaker 4 (32:12):
Felt at that time in the eighties man, And like
I said, this comes from the sea, the curtains blow.
It was a renaissance period of filmmakers, artists, you know,
hip hop that were all being independently creative and using
those tools out of the ashes that that you know,
was bestowed upon us.

Speaker 1 (32:30):
Look at the kid.

Speaker 4 (32:32):
People talk about fight the Power like because it's because
it's the headline buzzword, you know, you know decades like
oh yeah, yeah, cool, cool. You know, we buy that.
They failed to realize or they wasn't taught. I had
to always tell people there was a first Fight the
Power by the Isisley Brothers in nineteen seventy five that
me and Kirk was influenced by.

Speaker 1 (32:52):
That. Yeah, Fight the Power nineteen seventy five.

Speaker 4 (32:56):
And remember I told you that the country is rocky,
you know, and Iley came up with tied to all
that BS going down. First record I ever heard on
pop radio with a black radio with a curse word
in it.

Speaker 1 (33:08):
Wow?

Speaker 4 (33:08):
Really yeah, I said, whoa be on w w WRL
Super sixteen. And then I'm going to play some fight
up ower people like in the hotel Gary Bird.

Speaker 1 (33:19):
This city right here. It's another thing about old gs,
this city right here.

Speaker 4 (33:24):
When you have a when you have like a tenured
lens of any place you go to, whether it's where
you're from or whatever, queens, you still see the old
buildings that was there. I still see the old buildings
although they've been replaced by new buildings. That's third our vision.

Speaker 1 (33:41):
Man.

Speaker 4 (33:42):
You're able to see the past, present, and the future
that they're building. New heads come along in their generation
probably only can see what they see. That's why it's
you know, deeper than your ear can hear, all your
eye can see. I go around, walk down this street,
I'm saying, oh that the place used to be there.
Boom boom boom. The whole key is that is this
Keep your your your recognition or what they call you

(34:06):
your cognitive.

Speaker 1 (34:07):
Uh cognitive distance. Right, Thank you sir, Keep that because
that will help you.

Speaker 4 (34:13):
Kirk Kurt says, you know, like you know, like I said,
I'm not in the business of wellness. You have people
like you know, Gridful taught wellness for years. You know,
look at Flavor Flavors going through his ninth life.

Speaker 1 (34:25):
You know what I'm saying.

Speaker 4 (34:26):
Like I went down to the Penn station the other
day and ran into the what's the the canes? I
didn't even know what the canes chicken was. Got say,
he's all over the place. But it's so the whole
key is about getting to the one hundred yard line,
not dying at the fifty yard line in football, you
know what I'm saying, getting to the other side of

(34:46):
the scrimmage. And that's what Kurt was talking about. And
so hip hop could be useful and beneficial in adding
some of these things. It's not going to be a
total revolution running through it, because it's it's been ran through.
Anytime they mentioned hip hop, it's always from the catastrophic
end to make its news. Today they called what do

(35:08):
you call it? Brown? They called him a rapper, you know,
because he got in trouble in the UK. Rapper and
it used to call Bobby Brown a rapperup it's very
easy to but okay, if you. If you know what
it is, then try to figure out how you could
run your play.

Speaker 1 (35:29):
I'm a sports head, so my thing is like this.

Speaker 4 (35:31):
Like even like if we roll out as a group,
I said, well, this is the starting lineup.

Speaker 1 (35:35):
You know.

Speaker 4 (35:37):
The rest of the crew gotta figure other things out
to do. That's how the sports were up next man up,
boom boom boom. It's hard sometime with people in the
music business because that sports thing will teach your ass.
I mean, oh yeah, by the way, you're not gonna
make this team you cut when you're gonna come back
and shoot the coaches don't work on your thing, man,

(35:57):
or someone won't come back hip hop work on your thing.
And then I look at here's another thing. It's not
talking about anybody, but the rap battles and beefs. It's like,
you don't want to get into an area where you
you rhyming in circles, man, Rhyming in circles means like
the dog chasing his tail.

Speaker 1 (36:18):
It is rhymes that go nowhere.

Speaker 4 (36:20):
You know, it's cool, it's cool to get into like
lyrical acrobatics and all that, but at the end, you
got to process something or something and if the best
processes is somebody just like seriously disrespecting you. How does
that not leave a staying over decades when the last
time you say, I came from a hip hop song

(36:41):
and this joint was refreshing.

Speaker 1 (36:42):
I mean, P Rock cyl Smooth.

Speaker 4 (36:44):
You thowt P Rock cyl Smooth record on, They're like, yo, man,
this is like nutrition. Troy Rokim has never done a
failing song ever. I've never heard rock Kim do a
song and say but with the support in it, Harris
one is never ever, ever, ever ever lost. But you know,

(37:05):
it's very easy to excuse it because this is what's
happening now and all that cool.

Speaker 6 (37:11):
But I feel like that with a lot of people, though.
I feel like that with Kendrick, I feel like that
with like Rhapsody like this. This week, I was watching
Joey Badass and as Soul and Big Sean do a
cipher and I thought that was I got to you
use the right word.

Speaker 1 (37:24):
I was like, that was refreshing.

Speaker 4 (37:27):
Like l Russell, promoters look back in the day, and
Curtis tell you, promoters will.

Speaker 1 (37:32):
Tell you exactly how it rolls.

Speaker 4 (37:35):
They'll give you your top Let's say you got six
rappers six groups. One of the promoters say, Kurt, the
one that's closing out is the one, the one that
closes out the building, not just because people came to
see because look, there's a difference between spectacle and spectacular.
I tell people this all the time. His big difference,
you know, and the rock guys and them. I was

(37:57):
in ROCKU four years. There's a night and day between
this rap. I don't care how much money of rapper make.
It ain't about the money. It's about how much you
can really put an impact on that building and then
on a fan's head.

Speaker 1 (38:09):
Uh.

Speaker 6 (38:10):
That's why I like seeing Kendrick the other night at Medlife,
Like literally I'm sitting there watching like yo, because he's
just an MC.

Speaker 4 (38:15):
You gottah, you gotta smash a crowd.

Speaker 1 (38:19):
You gotta smash a crowd if you can be an MC.
And at the end of the day.

Speaker 4 (38:25):
Fall the slang that called you know, all the all
the of the goon rhythm. You're like this Bravo like
like Pavarotti, Yo, man, And that's what the rock that's
what the rock boys strive. For me, I'm rapping music
and hip hop. I learned from this man. I'm trying
to beat the ass. The stage is the places where

(38:45):
you really, you know, you gotta you know, take somebody's
crowd and stuff like the battles on wax and all
that stuff.

Speaker 1 (38:51):
It's cutember.

Speaker 4 (38:52):
You can go in the studio, you can record and
think it in front of a person, a human being.
Man on MINEO, let's go, and it could be like
you could be doing the ugliest shit over there, excuse
my language, or somebody else doing something totally different. How
are you gonna win that human being? And that's what

(39:14):
our genre started out as. It didn't start out with
a lot of things in the toolbox, but that at
the same time, they had to what leave the audience
in AWE? That's how you spell audience AWE DNS and
somehow that was also lost because what's the proven ground
and boxing? The proven ground was what person in the ring?

(39:36):
Person in the ring right excuses out the door. Hip
hop's a little different. Promoter's gonna say the one that's
gonna close off the building, the one is the one.
The one that's gonna open up is gonna you know,
hopefully you could get people coming through there and stay
in the seat level. Yeah, you got somebody in the
middle that can't hold it. They off the tour out

(39:57):
of there. Forget how many forget how many records they sold.
If they can't be better than they record out of there,
but audiences and there. It's changed over the years because
they they they're happy. I mean I used to take
my oldest kids to to like Colon see them in
places like that, and they had eight X on the bill,

(40:18):
and I asked, when they all come back in the car,
I ain't going in there with them, and like, if
you like it, you're saying I could, but you know,
like we're not mixing like that.

Speaker 1 (40:27):
There's another thing he would like a Kendrick show.

Speaker 4 (40:31):
I've been.

Speaker 6 (40:34):
To see him perform in front of in that arena,
in that football stadium, just rapping, no gimmicks, no nothing.

Speaker 1 (40:40):
This is the.

Speaker 4 (40:41):
First man that came out as one man, and I
thought being one man could never beat a group.

Speaker 1 (40:46):
And he came out as one man because back.

Speaker 4 (40:48):
In the day it was like what cruise cruise And
then this man begot the next solo MC who was
a superstar as ll COOJP, first.

Speaker 1 (41:00):
Superstar rap, first supertar. Absolutely you make make Prince and
Michael Jackson turn their head.

Speaker 4 (41:06):
Curtis made all the funk bands and all people recognize that. Yo,
this thing is real. I mean, look, why am I
talking for the man? He played with Bob Marley, he
played with the.

Speaker 1 (41:16):
Class and all that.

Speaker 4 (41:17):
He ducked tomatos from rock groups.

Speaker 6 (41:19):
I wanted to ask mister Blow because you know, you
spoke about the Ronald Osley fight the power and my
daddy used to always tell me James Brown was the
first rapper, right, So I think about a song like
say loud, I'm Black and I'm Proud.

Speaker 1 (41:29):
That was revolutionary for his time. Stuff like that.

Speaker 3 (41:31):
Influenced nineteen sixty eight.

Speaker 5 (41:33):
Oh yes, yes, yes, and that's straight out of the
civil rights movement. You know, that inspired all of us
in many ways, multiple number of ways. Not only the lyrics, right,
but the beat. That beat was what we call boom
back today. So it changed the whole sound. It was

(41:55):
a revolution to the motown sound. But to snare every one, two,
three and four, right, but now we have that boom
back boom spapped bat and when James Brown did it,
we lost our minds. Everybody started breakdancing, trying to be
James Brown on the dance floor. With the splits and

(42:18):
the twist and the turns and the flips and everything.
And that's where breakdancing got inspired. But the whole thing
was it was the civil rights movement. So after nineteen
sixty eight into the seventies, we have the flower Childs
and the peace and Love movement, and they get about

(42:43):
your troubles, they get about your cares. We're gonna dance
the night away. And dancing became a nationalal craze.

Speaker 3 (42:51):
Right.

Speaker 5 (42:52):
So then here comes a DJ Curtis blow. All right,
I'm hearing all this stuff. And so I got an
opportunity to make a couple of records Christmas Wrap in
nineteen seventy nine.

Speaker 3 (43:08):
Right. So when I did that song, I was signed
to a major.

Speaker 5 (43:12):
Label over in Chicago. So I went to Chicago, Chicago.
The first flight out of Harlem. I went to Chicago,
and I was there. I was hanging out with the
record company and I did a show, a couple of shows,
and Jesse Jackson came to one of my shows and

(43:34):
he sat me down backstage. She said, Man, I want
to talk to you. I want you to well, I'm
going to say to you. I want you to go
back and tell the rest of your whole crew and everybody.
Now this thing called rap. You guys are the new
icons of our people, the new heroes of the civil

(43:57):
rights movement.

Speaker 3 (43:58):
Wow, and you need to keep.

Speaker 5 (44:01):
It clean if you ever want to see it be
successful on the pop market and be accepted by everyone.
So I was like, oh, wow, Okay, I hear you.

Speaker 3 (44:13):
I hear you. And it was Jesse Jackson. So I'm like, whoa, whoa.

Speaker 5 (44:18):
I went back to the sugar Hill Gang grad Master
Flash Interfurious five. On our first interview, we did national
interview on Radio Scope, and before the interview, I said, man,
I just talk to Jesse Jackson and he told me, man,
we are the new heroes of the black community and
we need to keep it clean if we want to

(44:40):
ever want to see it go far and be successful.
So right then, we had the code of ethics that
we established, like we would not curse, we would not
diss each other, and we would keep it clean.

Speaker 1 (44:57):
Right.

Speaker 3 (44:58):
And that was my sacrifice. That was a sacrifice I made.

Speaker 5 (45:03):
I made two hundred and forty rap song and never
used profanity, And that was my sacrifice to open the
door so everyone else could come in and do what
they're doing AKA Public because of that conversation with j Jackson.

Speaker 4 (45:18):
You got to take the mentorship humbly too. Because I'm
here doing the concert. I'm holding the mic. Kurt says,
you hold the mic so you got it right, right,
So you got it like when when like when the
master teacher teacher. You're always a student and the teachers
always learning. So I you know, And I told Kurt,

(45:39):
I said, you know, one time I was behind ice
Cube leaving and ice Cube backed up in the knee
and my mic chiped my too, So that's why I
hold it like that.

Speaker 1 (45:47):
And Kurt's that I'll give you a pass. I want
to ask about real quick to what he said.

Speaker 2 (45:53):
What I'm talking about the rap battles and how that
made hip hop, how it was right you talk about
We could talk about Koumo D and l Loud.

Speaker 3 (46:00):
We can go further back.

Speaker 1 (46:01):
Because they dealt with vocabulary of vernacular.

Speaker 2 (46:03):
What do you think about the rap battles of today
and how it affects hip hop, like the Kendrick and
Drake and like those big battles that we've seen.

Speaker 1 (46:11):
Is it helpful, is it worse? Does it hurt?

Speaker 4 (46:13):
Does it help the topics ain't vast. My thing is like,
if you want to get at somebody, vasterr topics and
also vast your vocabulary. But then again, I'm from New
York and somebody like a lot of times like for example,
I didn't battle. I was a battle person, but because
I had a voice. So what somebody got to use
like three verses for all I gotta do is say

(46:33):
four sentences. They want to hear me, so I didn't
have to. Like it's more like like in Shock and Basketball,
I ain't got it shit shoot a three, you know,
so I got to do the dunk you. But that's
rap talk, you know what I'm saying. I just think
that Kendrick was very vasto. But you got But look,
you got guys out there like that got twenty albums
that under the radar that should never be under the radar,

(46:54):
especially from New York like sky Zoo Scott Zoo got
twenty seven albums.

Speaker 1 (46:58):
Actually my cousin, that's his cousin. Oh really wow. But
see there you go.

Speaker 4 (47:03):
It's like, okay, so he's out of the he's out
out of the discussion because he doesn't have a rep.

Speaker 1 (47:09):
Bring them the radio stations and stuff like.

Speaker 3 (47:11):
That before a long time ago.

Speaker 4 (47:12):
Yeah, like you got twenty seven albums though, So can
he actually hang with the person that's the anointed one?

Speaker 1 (47:19):
Probably?

Speaker 4 (47:20):
I mean, come on, man, we talked about the city
had The city's had a million rappers MC's since nineteen
seventy four.

Speaker 3 (47:26):
Right, you look, every time.

Speaker 4 (47:29):
You're on the radio, I bet you there's a seventy
year old dude out there like people in fifty five
years old, like that kid's garbage.

Speaker 1 (47:40):
And then you know, and then probably I mean, I
mean people.

Speaker 4 (47:43):
Moms got verses, now they got bars, as they say,
you know what I'm saying.

Speaker 1 (47:47):
So it's a beautiful art for me, will and listen.
It's not to itself.

Speaker 4 (47:52):
It's a culmination of all the arts because it started
from records. So whether it's rock, it's soul, R and B,
not the reagae and bush one you know reggae, but
it started from records. So that's where that mixology comes in.
That's why I try to, you know, do a radio
arm again. You can't listen to that thing for like

(48:13):
ten seconds in a row and think you got a
steady thing happen or not. It's meant to be fragmented
and fragmented brain. It's a fun piece of art for me,
and I will continue to make more radio arm again
and like records as not a solo it's not a
solo album. It's a solo project. But once again, when
you put it out there in the world, you got

(48:33):
to put Chuck Y's name on it to make it
do whatever or stream of get eyeballs.

Speaker 1 (48:39):
I don't care nothing about that. You know what I'm saying.

Speaker 4 (48:41):
In case of emergency, you know tunes, he says, Chuck,
you know break glass. You know what I'm saying, because,
like I said, the comparison is other art forms.

Speaker 1 (48:50):
Bob Dylan, Bob Dylan don't really you know what I mean.

Speaker 4 (48:54):
Whether you show up to Bob Dylan's thing or Bias music,
it don't matter.

Speaker 1 (48:58):
Bob Dylan is Bob Dylan.

Speaker 4 (49:00):
And the day that Bob Dylan transitions on, it's gonna
stop the world.

Speaker 1 (49:04):
For two days.

Speaker 4 (49:06):
In music and culture, we could do the same in
hip hopper revenue. Look look look at you guys. How
long you guys been doing radio sixteen I've.

Speaker 1 (49:13):
Been doing I've been doing twenty seven years. But we've
be doing breaks club alos fifte years.

Speaker 3 (49:16):
Yea, I've been doing it twenty seven years.

Speaker 4 (49:18):
Something like that is revered. Where's it revered other than
the occupation? Where's it embedded into the foundation of New
York radio? Sixth Avenue right there? If you might have
not known the name, but we do. They named it,
you know, sixth Avenue, that part over close to here.
Cousin Bruce Lee Way, did you know that?

Speaker 3 (49:36):
Right right right?

Speaker 1 (49:37):
Cousin Bruceley.

Speaker 4 (49:38):
Bruce Morrow is one of the legends in New York Radio,
got so many records played in this city, Black, white,
and diff whatever you know on WABC seventy seven radio
on AM down in New York, and then went the
WCBS super legends that are revered in the Northeast forever.

Speaker 1 (49:56):
You guys are the same. So the whole thing is.
And also I don't get into the flower talk. I mean,
you could plant flowers and have plastic flowers.

Speaker 4 (50:04):
It's like what it is is certain reverence for necessary
foundations that move our craft forward.

Speaker 1 (50:12):
These are the things we need. Administrators, managements.

Speaker 4 (50:16):
You could build a lamb, You could build a Lamborghini
or have one, right, what good is a Lamborghini on
a mud road or a swamp. People are building great
vehicles in the culture and rap music and hip hop,
the roads are swamp. What Curt has done with Hip
Hop Alliance, we could have some solid ground. Okay, you're
an artist. You don't get a lot of fanfare whatever

(50:39):
you've done five or ten albums. You should be part
of a union. A union comes up, and the thing
about the union, it's not like the thing like we
just started a union. No, it's actually tied in legitimately
to systems that work in the screen. Actors build in Hollywood.
You don't ever hear a person from Hollywood talking about
Oh yeah, it ain't no union. No, they films people.

(51:03):
They might be a bit part, they don't. They don't
play around. They don't play around in Hollywood. That's the
thing that got me also too before I actually have
Kurt explain Hip Hop Alliance because I know where running
out of time.

Speaker 1 (51:16):
And in Hollywood you hear about a lot of things,
how rap rules the world and all that.

Speaker 4 (51:27):
However, when somebody goes to another area they might wild
out and rap.

Speaker 1 (51:33):
They're not wilding out in the other areas. The film.

Speaker 4 (51:37):
Yeah, be on the set six o'clock in the morning,
ain't on the set. Get them out of the head.

Speaker 1 (51:43):
Yeah, because people in the white ice is colder. They
don't act up in front of the white people.

Speaker 4 (51:47):
M hm.

Speaker 1 (51:49):
That's true.

Speaker 4 (51:50):
But I'm saying in all other realms they treat it
seriously if it's white or not. I mean is there's
there's organizations out there that are black. You know, they
don't play that. You know what I'm saying. But you know, Okay,
I won't be part of that. But people say I
want to be in the movies and all that. I
want to be in this thing over here. I want
to be in the NBA and all that. You could
be the best player. But if you're you ain't right

(52:13):
in the NBA. You ain't even making league. Yeah, go overseas,
go to China, and that ain't gonna be easier in
a minute either. So I think in every area, it's
not about you. It's what you can continue to have
the road underneath you. Solid they'll tell him about the
sag after and how.

Speaker 6 (52:30):
It's before we do that, mindell, because you said something
a little while ago to that that I can't not
let this something.

Speaker 1 (52:36):
There's a lot of things, but.

Speaker 6 (52:37):
You said, you said Jesse Jackson told you and that
you and you know the other brothers and sisters and hip.

Speaker 1 (52:44):
Hop were the next lead other South Carolina.

Speaker 6 (52:46):
Yes, that's right, Greenville the new leaders, right, you took
that responsibility series. Yes, well, Malcolm X said, no community
has athletes and celebrities as leaders except for black people,
and he don't.

Speaker 1 (52:59):
He didn't like, I want to I really want to
know what both of y'all think about that.

Speaker 3 (53:02):
Oh my gosh, Actually, who want to shout out his family?
Right now?

Speaker 5 (53:06):
His birthday is coming up on May years No, no,
nonetetehe nineteenth.

Speaker 3 (53:14):
Right, he's going to be one hundred years old. Everyone.

Speaker 1 (53:19):
So we had the minister's birthday on May eleventh, so
that's how close their birthdays.

Speaker 5 (53:25):
I got a shout out to Iliana, Ilia and and
Italia the family. They're doing a big function coming up
on the eighteenth and nineteenth up in Harlem where he
was killed at the Audubond and they're doing a big
function over there celebrating his past and his history and legacy.

Speaker 6 (53:49):
But yeah, what did you think when he said, Because,
like I said, Malcolm said, no community has athletes and
celebrities as leaders.

Speaker 1 (53:57):
He didn't like that.

Speaker 6 (53:58):
But Jesse was telling y'all, no, y'all are the new leaders.
And you took that responsibility serious.

Speaker 5 (54:02):
Well, this was a whole thing about the civil rights
movement from Martin Luther King and to mister Russell, and uh,
John Lewis right, not John Russell.

Speaker 1 (54:19):
You made the King Holiday song four two.

Speaker 5 (54:22):
Right, right right, And so you know that whole mindset
was to reach out to the youth. And it's like
we are fishers of men. This is what Martin Luther
King told and John Russell, I mean John Lewis told

(54:43):
Jesse and he extended that whole mindset of let me
reach out to the youth and tell them, you guys
are the new civil rights movement. And this is where
hip hop came from. And this is our power, this
is our legacy, this is our beginning, the truth of

(55:04):
the beginning. It is an extension of the civil rights movement.
So you know, I love Malcolm. Actually I grew up
right next door in Harlem two sixty Convent Avenue, the
building with ten floors. I lived on the ninth floor.

(55:27):
And when I was like fourteen fifteen, guess who moves
right next door? A Talia Shabbazz Wow, And I had
a big crush on her. She was beautiful, incredible. I
used to see her walking down the hill, you know,
Amsterdam and then Convent. We lived on common with a
little hill, so I used to see her walking down

(55:49):
the block with her bags and everything, and I used
to run and go get the bags and carry in
for her. Or i'd see her come to the building,
I'll open the door, press for the elevator and ride up.

Speaker 1 (56:01):
Still, your wife's sitting right there, my brother.

Speaker 3 (56:09):
A million times.

Speaker 1 (56:10):
It's royalty, right, yeah it is.

Speaker 5 (56:13):
You know.

Speaker 3 (56:14):
It was incredible.

Speaker 5 (56:15):
So I mean, you know, that whole mindset of just
being an activist, being the voice of the people comes
from the Civil rights movement, comes from Malcolm X, comes
from Martin Luther King and Jesse Jackson.

Speaker 4 (56:32):
When you have knowledgeable people, you know, you always could
agree to disagree. You don't have to get in, you know,
like you don't have to have the goon moment. You
gotta look at it, Charlamagne like a toolbox. You know,
if Malcolm's a flathead, then then you know doctor Kings
of Phillips head. What I'm saying, both of them are
screwdrivers that opened up the close the situation and tightened it.

(56:54):
So the toolbox is what you want to have. Back
in the day before before reads. Being well read is
meaning that, okay, you ain't gonna read everything, but one thing,
you just start to learn how to read people. You
be able to get stories that had the head face
to face and you do your reading. But then again,

(57:14):
you know, knowledge is power, but it ain't because if
you can't use it and you can't share it. And
that great that great song that the group Third World
did that Heavy D covered now that we fell love but.

Speaker 1 (57:31):
We talk lover, But what are you gonna do it?

Speaker 4 (57:34):
So so so back in the day, you know words
Smith's people always you always had like the hip cats,
whether they talked in rhymes, whether it was just cool.
I mean back on Roosevelt Long Island, man, Homer, doctor Ja.
I grew up down the street from Eddie and Charlie
Murphy Man. I mean, we just have a whole different

(57:55):
thing in the seventies. But you had guys, it's serious,
big fro ride a stingray backwards right with a record
player in their arm, with a rake in their hair.

Speaker 1 (58:09):
And they you couldn't buy them. You couldn't.

Speaker 4 (58:13):
It wasn't about you couldn't buy their money. They were
just cool and they were stuck in their thing, get
their brew, get their weed. That they that's all they did.
But everybody gravitated to because what they did, they they
reigned with knowledge, wisdom, and understand it.

Speaker 1 (58:29):
Even in the eighties when.

Speaker 4 (58:30):
The five percenters had had more muscle, their whole striving
was to be civilized, even with all the drama that
was bestowed upon them. That's why I don't also make
a mockery of prisons, because that's the beginning of the
mass pushing in of prisons. So don't I don't look
at crime or or the created criminal as a thing

(58:54):
to take lightly. People served real, real time for offenses
that were like, oh, man manipulated their way. Then you
also got people that's gonna do the dirty, because they
do the dirty. But everybody just wasn't. They wasn't dirty,
criminal minded like that, but they were forced in their
situation to be criminal minded.

Speaker 1 (59:12):
Whatever it was. I'm not making excuses for it.

Speaker 4 (59:15):
I just never went that way because it wasn't something
to glamorify, knowing to see that it came from. So
when somebody said gangster, I'm like, they play gangsters. The
real gangster is a government. Yeah, really really and governments plural.
That's why I'm the first probably get to the album
it said the government's responsible plural, not singular.

Speaker 1 (59:42):
Every single one of it.

Speaker 4 (59:43):
I mean, look right now that the games that they're
playing and where people's heads and minds at court cases
or you know, maybe somebody goes around. It's I won't
even even get into the beginning of it because it'd
be sound bites for years.

Speaker 1 (59:57):
But y'all know what's out there. You know what you see.

Speaker 4 (01:00:00):
And once again when I say difference between spectacle and spectacular,
you know what spectacle gets you in the building, spectacularly
keeps you coming back for more.

Speaker 3 (01:00:11):
That's real.

Speaker 4 (01:00:12):
So I probably give me like anytime that me and
flav would say, we could play anywhere in the world.
We could be out on tour six months, We could
play stadiums and arenas. But then again, what kind of
life is that we you know, we we sexagenarians.

Speaker 1 (01:00:26):
Man.

Speaker 4 (01:00:26):
The whole key is being where you gotta be and
then do doing that when you want to do, not
that you have to go around and do that. So
this year we're playing and opening with guns n' Roses.
But I ain't gonna do that for like three months.
I'm gonna do it up till my birthday, break my
ass back home.

Speaker 1 (01:00:43):
Man like people like, oh, man, you gonna build two
Man like, oh, you're coming out this way nine coming out.

Speaker 6 (01:00:50):
Well, you know, I do agree that, you know, hip
hop artists, you definitely are the are the are the leaders,
especially then, and I started paying attention to Minister fare
Come because you because my dad would always try to
get me to watch Minister Pira cons.

Speaker 1 (01:01:04):
You know, you're sit in front of the team, but
you're not really paying attention.

Speaker 6 (01:01:06):
When I heard you say on bringing noise Frara cons
and profit and I think you ought to listen to them.

Speaker 4 (01:01:10):
Oh or don't believe the hype, you know, But that
was my job at that particular time to say in
the midst of R and B were telling you that
was a rain and terror the twelve years, that was
a dozen years, and not to say that. I mean
we had the nineteen ninety six Communications Act where it

(01:01:32):
consolidated and got rid of all the black radio stations.
So that meant that you could not as a company
or music and records could not individually or regionally negotiate
with a region to get your music across. Single handedly
wiped out radio stations, and it wiped out black independent

(01:01:52):
record companies. You had the right kind of got go
down in the swamp level the under under the radar
to be able to get organic growth and music. And
if that's the only thing that's actually getting around, of course,
you know, and this is what I mean about the
positive negative thing plus minus. Let's say, right basketball talk,

(01:02:15):
to go up a hill man takes what energy Inurtia?
You gotta break gravity. That's what making a pos That's
what Kendrim Lamar like, Okay, I'm gonna try to least
go here, I know, I gotta you know, go up
here in a certain way. But yeah, to get to
that mountaintop you gotta break a lot of gravity. But

(01:02:36):
also to come down easy, you can just free fall.
And that's what I thought. That's a lot of times
it's like, yeah, you taking the you taking the free
fall away. I mean, anybody could come up with that
tactic the rhyme about that and to get that ooh.
And then it depends on how mature your audience is.
If you got a whole bunch of eighteen year olds,

(01:02:57):
they're gonna look at it differently. A whole bunch of
thirty six year olds. Seriously. I always used to take
a group of young kids. I said, next time, man,
tell me the amount of time your parents smile. And
that shows you how they ain't playing as many games
as you playing. You know what I'm saying. Just count
their smiles and the older they rank up less and

(01:03:19):
less of Like we have music and culture, man, keep it.
You know the music and culture man used to keep
you smiling just being a fan. And I think that
could come in. It's like and years ago I got
into you know, into it with Hot ninety seven, not
into it because people don't want to get into it.

Speaker 1 (01:03:37):
With me because I left it alone.

Speaker 4 (01:03:38):
But go to you know, do a concert and got
the guys say, yeah, these are the ends to actually
start the revolution. And I'm like, all right, half this
place full of white people over here where they play football,
and they hearing the.

Speaker 1 (01:03:54):
N word right, And not to say that we didn't
use it.

Speaker 4 (01:03:59):
It's just like y, let's what they used to call
pool room language on the streets on the corners.

Speaker 1 (01:04:04):
But now corporate America's gonna use it and not be
accountable for what happens afterwards.

Speaker 4 (01:04:10):
So I had to be able to say, yo, man,
y'all a radio station. Man, y'all, y'all need to be
more accountable in this city with MC's. The million MC's
wouldn't condone that, especially coming out of a white company.

Speaker 1 (01:04:24):
So they introduced y'all like that, Yo man. I let
them know.

Speaker 4 (01:04:27):
That's sure enough, but you know what they're checking it. Well,
we're gonna get any feedback from many kids. Kids ain't
gonna get no feedback. You gotta come in there, said President. Oh,
we just won't play your records no more.

Speaker 1 (01:04:41):
Man.

Speaker 4 (01:04:43):
So you have to say you have to be able
to say your Harry Bellefonte told me, he said, Chuck
Paul Roverson told me this. He said, every generation has
to find for itself. But you can go in there
borrow and also lend. And when you lend, man, don't
try to be hanging with them like you part of
them that you can see you coming a mile away.

(01:05:03):
And last lastly on that it's like the thing that
cracked me up. For all the stuff that's going on.
You got people in their forties and fifties right that
don't think that they old, I said, no matter how
young you look or whatever.

Speaker 1 (01:05:19):
Man, it's like somebody's.

Speaker 4 (01:05:20):
Eighteen twenty twenty one, you hanging with them. They could
see you, they see the age coming at you, so
they you know, I've been your age.

Speaker 1 (01:05:29):
You ain't up in mind.

Speaker 4 (01:05:30):
You can always say that's your currency. That's your currency
is the years that you're able to get and be
lucky at that. And the trouble in fact is that
before used to say, oh yeah, old dude, you got
less years ahead than you got behind you. That's true,
that's that's mathematics. But I don't want to see that
happen with you at forty one and thirty nine and
thirty two and you got all these ailments going on.

Speaker 1 (01:05:52):
It's like that's just something that we all have to
look at for this following generation.

Speaker 4 (01:05:57):
So I really commend you all for being able to
who to issue out like some governance in that, you know,
because I mean, you don't have to do it. But
at the end of the day, everybody turns around said,
damn I could have Damn I could have did that.

Speaker 6 (01:06:12):
We all do that, and trust me, we are the
old guys that they trying to push out. Okay, oh yeah,
they don't. You know, some people have reference for it.
Some people are like, oh my god, they've been around
too long.

Speaker 4 (01:06:22):
But you know what, you know what alleviates that find
out their names. Let everybody know their personal names to
leave a horse.

Speaker 1 (01:06:28):
Hitting your bit.

Speaker 3 (01:06:31):
Jesus Christ, listen, man, listen.

Speaker 1 (01:06:35):
Let me tell you this.

Speaker 4 (01:06:36):
Whenever I say something right, whenever I say something, Chuck
D's name is signed with it. Like there's a whole
bunch of Boss and Celtics fans but hurt because I
told her it was calm and they think I'm talking
about Jason Tatum's injury and I was like, no, I
was talking about their style of play, coward ball, shooting trays.
But they have a oh that's that's some sucker move, Chuck,
they say on X or Twitter or whatever the hell,

(01:06:59):
like they blame me. I said, listen, I own what
I say. I meant when I said, but one thing,
you know that up there Chuck D or might be
an avatar there. I signed everything I say. Everybody that
does everything in this business and not sign their name
next to their word.

Speaker 1 (01:07:20):
That's back in the day, Kurry said, listen.

Speaker 4 (01:07:22):
Number one thing, whether it was somebody on some goonish
or somebody just on straight straight up. They say, your
word gotta be your bond. That's a New York thing.
That's a New York thing. I don't know if it's
an Albany thing. I don't know if it's an eerie thing.
You know what I'm saying, New York, which is the
coolest place you know? Five percent back you say, yo, Mecca,

(01:07:44):
New York. All I said, sitting in the universe and
all that. Okay, But if it is, then okay, what's
the accountability factor that it's gotta role like kings and queens, word.

Speaker 1 (01:07:55):
Is born and your bond is life and you shall
die before your words shall feel.

Speaker 3 (01:08:00):
I heard that before.

Speaker 6 (01:08:01):
Yeah, the alliance in the that's what you're talking about,
the hip hop alliance is well.

Speaker 5 (01:08:09):
First, let me shout out k R rest One, who
is our chairman. Chair on the road for seven months, y'all.

Speaker 2 (01:08:16):
They out in Europe and and and I've just seen
him body somebody in Europe too. I guess the sound
man was messing with the sound. Oh yeah, Chris turned
off the music and did like a seven minute freestyle
just going at him.

Speaker 1 (01:08:28):
Destroyed. It was the crowd was going crazy, but that
was nothing. There's nothing like him.

Speaker 4 (01:08:33):
Christen Man, I've been watching this dude man forty years. Man,
he's the only dude I've ever seen. Only MC, you know,
and also my my, my buddy buddy brother brother is
d really kind of like opened the door to the
scientific execution of a nakulain the vocabulary. Chris Kris one

(01:08:56):
man the only dude I've ever seen that will walk
in the room and Chack is a molecular composition of
the room of MC's.

Speaker 1 (01:09:03):
Because he'll go in the room for no matter what
age is, say yo, who are MC in here?

Speaker 4 (01:09:08):
And everybody's like, nah, y'all just work for you. I
used to do it, but you know, straight up and down.
He'll go in the room and like, who's an MC
in here? And cats will be like, yo, that's the
thing that he do. You know me, I'm a songwriter
and I'm I'm a historian.

Speaker 1 (01:09:28):
I'm a voice person.

Speaker 4 (01:09:30):
I like to consider myself an administrator, a builder, a creator,
and somebody who could bring the ball up and then
divvy out the rock.

Speaker 1 (01:09:40):
That's what I like to do.

Speaker 4 (01:09:42):
And and so we also, you know, I know my lane,
I know my roles and my role when Kurt asked
me to be one of those those people in the
Hip Hop Alliance. Yeah, being a magnet. If people are
gonna ask me, I'm gonna talk about what I'm doing,
But can I actually put a little bit in there?
You know, back in the day the coolie how they say,

(01:10:02):
could you know, put a little bit in and for
the for the for the ones that ain't here, right,
And that was always the ethic of at least the
goal ethic of hip hop to put a little bit
in to say that unionizing is a necessity.

Speaker 1 (01:10:17):
And also the structure that was built.

Speaker 4 (01:10:19):
It's not just talk, it's real and to get those
numbers it might not have a flashy time.

Speaker 1 (01:10:25):
We thank you for the time that was.

Speaker 4 (01:10:27):
He was able you could like yo, I don't know,
we just want to talk to you, Chuck about radio armageddon, right,
and and we're so beyond that. But like I said,
my brother over there at Death Jam and the work
that Tunji as a brother being able to carry the mantlepiece,
we know that it's a shell and they got Justin

(01:10:48):
Bieber and people like that over there. But you know,
but Death Jam, I was there at the be well
not active beginning. This man was there act the beginning.
You've seen the movie CRUs grew all that depth jam.
But my guy, guys, you know the public enemy guys,
Hang Shoctly Flave, you know Terminator all the way down. Well,
I would like to think after LLL we put electure

(01:11:10):
electric fixtures in the building.

Speaker 1 (01:11:12):
You know what I'm saying of.

Speaker 4 (01:11:13):
Also with great Spot, the Beastie boys who never get
enough talk.

Speaker 1 (01:11:17):
Either for what they were able to do.

Speaker 4 (01:11:19):
So being able to take that light, what I've been
able to be in this in this in this industry
is a prism. And if you know anything about a prism,
the light goes to the prism and then it bounces
all different areas. And that's my responsibility, my goal Like
a diamond.

Speaker 1 (01:11:35):
Ye, why did they support the alliance?

Speaker 5 (01:11:37):
And well, well this is Chuck D. Everyone, he is
our president. I just want to say, you know, uh,
I got a call from the founder, one of our founders.
Actually Chuck D is a founder along with myself and
Scott X. So I got a call call from Scott
X who is one of the presidents of the NAACP,

(01:12:00):
and he said, man, we need a union. So I
immediately called Chuck, and we started this thing back in
two thousand and seven, but we got railroaded, we got sidetracked,
and so we started it again about two thousand nineteen
or something, two thousand, well, twenty twenty two, actually we

(01:12:24):
formed the organization. And I want to shout out chub Rock,
who is our vice president.

Speaker 4 (01:12:30):
Chill, Well, there's all people doing real work and on me,
I'm I'm I'm more like a recruiter out there. I
do a lot of things, but this is a thing
when Chuck, you know, try to bring light to the situation,
and I'm involved. Whenever they want to call me winning
emergency break glass.

Speaker 5 (01:12:47):
You got you, yep, yep. So we have a whole
team in Cynthia Horner. You guys know her from a
Right On magazine and Madiutain and right On and Beverly
Page and this Tara Martin. There's so many people that
we have on board helping out with this organization, a

(01:13:09):
labor force organization, and we specialize in ips and trademarks
and publishing, trying to fight for the fair wages and
fair royalties, very very important, and healthcare. You guys were
talking about the black Don't Day track right, and it's
it's it's healthcare is the number one issue out there

(01:13:33):
for all artists across the world right now. These they
have millions of dollars that they're making for record companies
and don't have health care physical and mental, you know,
and as it's critical, it's very important that we established
that that we can find you health care to help

(01:13:54):
you out in your time of need.

Speaker 3 (01:13:56):
So that's the hip Hop Alliance. Hip Hop Alliance dot
org pipelines.

Speaker 5 (01:14:00):
Anything that you need from dealing with your manager, dealing
with your agent, your record company, publishing, streaming, trademarks, you know.

Speaker 3 (01:14:11):
All of that stuff.

Speaker 5 (01:14:12):
We have the experts uh working for you and uh
so just yet with us. Uh it's free to join
right now.

Speaker 1 (01:14:22):
Uh and yeah, what's the website? You have one more
question for jug D number one. My one of my
maintaining year by year goals, it's never to be donkey
of the day. That'll never happen. That My goal is

(01:14:45):
to never be.

Speaker 4 (01:14:47):
Donkey donkey of the day as past addicted to the
screens or screaming for the last you know what I'm saying,
not job be that.

Speaker 6 (01:14:57):
I've learned so much from both of y'all today, man,
I just want to ask, are we in an information
war or a culture war in which one is radio
maged and fighting.

Speaker 4 (01:15:06):
You're in a disinformation age and that started at the
turn of the century, and it's had several different technological
and cultural and also societal bumps in the road. Nobody
really can explain. Nobody can't explain what the pandemic was.
They still people. There's some people out there don't even

(01:15:27):
remember it. That's true, since some people out there and
say they might have been bad. Oh I'm this something
that Yeah, I remember your ass stayed in the cribb
during April twenty twenty. Nah, but when nobody was.

Speaker 1 (01:15:39):
On the block. Yeah, yeah, right. You know.

Speaker 4 (01:15:41):
So you're in a disinformation blizzard of data coming at
the human mind that might not be and has probably
never has been able to handle it. Now, new people
will be born and maybe they'll decipher and handle information
that's coming like a blizz it, But for people from

(01:16:01):
the last century, last centurions, probably not so. The information
and data and all that, it's it's a NonStop blizzard.
And how to navigate that. I think people have to
be taught how to be nedicins, because if they're not
citizens anymore citizens. It is like, hey, Charlotte, Mae, shake

(01:16:21):
your hand. Look you're in an eye my more words,
bond and all that. You got people that think that
it's something right now, you always got to look at
seven year windows.

Speaker 1 (01:16:31):
So the answer to your question is that there's been
some things that's been unexplained.

Speaker 4 (01:16:38):
Usually when I tell people something's for Gayzy, I said,
oh man, it's Butler pa stop, you know, but it's
there's things that we're not going to be able to
come up with answers for that. We got to go
inside ourselves, build a shell and build a tunnel into
those with like mindedness, because you're not going to be

(01:16:59):
a to have your like not minding us get to
somebody's paying you know mine, Mine over matters a terrible
thing sometimes, you know when it's when.

Speaker 1 (01:17:07):
They say you don't matter and they don't mind paying you.
No mine? And what are those books? These books?

Speaker 4 (01:17:13):
I'm an artist, I'm an illustrated it's the beginning of
my and I could get from all my I've created
twelve books. I have one for you, Kurt, seeing the
whole thing. But I have I have twelve art books.
And I started out as an illustrator and all right

(01:17:34):
politically and cartoon wise, I'm actually two artists at the
same time. That's a whole another story. But I by
my company is called Enemy Books. It's a cashick is
a book company that publishes my my book label. And
Johnny Temple is uh is a great guy because he's

(01:17:57):
put out books by Glenn Freeman and Flag and all
that stuff. But he's right there in Brooklyn and I
have had art shows around the world. Look to have
some stuff down in MoMA one year because I like
a lot of people talk pop stuff like bascriat but
know Boscriot, but they'll wear some boscreat because hip cool

(01:18:19):
thing to do. But it has to be made to
be hip and curated to a point where we're like,
oh yeah, I think that's cool. I was, you know,
we're coming up when Bascora was here doing this thing.
More so you because you was in the city. Me
I was at Delphi, and I wanted to just like
I could take that kid. You know, that's that competitive.
I was more. I'm more competitive as an illustrator, and

(01:18:44):
I do kind of like I don't caricatures, like I
don't care if they exact are accurate. I could do
that paint scupe. But it's all about style and art
and everybody has art in them. It doesn't mean that
you're trying to feed against your iPhone and filters. So
I think that also got to be developed. Also, the

(01:19:05):
high schools could do a better job and trying to
curate their drama classes because everybody want to be in
the movies, right, But what happened to you know, the
football or the basketball team gets supported, but the arts
programs don't. But at the end of the day, everybody's
buying art or led to consume art, and you can't

(01:19:27):
have companies and corporations control art, and they don't let
companies and corporations control sports because in the high school
and the college level, although now you have the nil
and stuff like that, but there's always that balance and
there's a flow there and the arts we've seen it truncated,
so the arts, health, union, music. I'm a culturalist, a raptivist,

(01:19:53):
and a culturalist. I am good at the things i'm
good at, and most of the things I am not
good at. So and one thing that saves you most
of the time, that doesn't make you a dunky of
the day asks me a question. It's the thing that
always is cool. I don't know that's right, or or
like I got no words, or when you ain't got

(01:20:15):
nothing to say.

Speaker 3 (01:20:16):
Say nothing. Well, I'll say this that Chuck d is
a great artist.

Speaker 1 (01:20:25):
I have seen his work.

Speaker 5 (01:20:27):
I mean, we have this group chat that we have
for the Hip Hop Alliance, about ten fifteen people on
the group chat, and we're discussing business and or traumatic
situations that happened or who we can help next, and Chuck,
when there's a death in our community, Chuck will do

(01:20:52):
an art piece.

Speaker 3 (01:20:54):
Right quick and post it before we get off the chat. Yeah,
I'm like, this man is incredible.

Speaker 4 (01:21:00):
I don't think it's incredible. I trade myself and I
won't talk long about I trade myself. Back in the day,
be a courtroom artist, and we're starting to see, like
with my man's case, now you're seeing only courtroom drawings.
Back in the day, the courtroom illustrator would have to

(01:21:22):
do the illustration and then jet down to the TV
station to get it for the six o'clock news. But
then now with you know, with phones and gadgets and
you can actually send it to the text and all
that's different. But as you see in the New York case,
no photos, no cameras are allowed, so they still like
in last century on that tip, but what's coming out

(01:21:44):
of there is illustrations. So I trained myself, especially like
this is what you do with toward downtime. But I
create anything. Then again, you have your own style, yesty,
like what I'm seeing. If you have your own style,
nobody can bite you. I mean they got to bite you,
but you're not competing against any right, So yeah, I

(01:22:06):
could do something like draw this whole room off a
memory to the accurate, but you know I ain't spend
a long time doing that.

Speaker 3 (01:22:12):
I mean, Chuck ain't listening on them calls though, do
you know when y'all talking, he just.

Speaker 1 (01:22:17):
Multitask.

Speaker 4 (01:22:18):
Yeah, I musk, I got draw this whole room and
not even look at that or y'all that's crazy because
it's like I could, But then it ain't about me.
On that tip, I just you got my book. I'll
send you all my whole can see you see.

Speaker 3 (01:22:35):
Your book.

Speaker 1 (01:22:36):
That's why let me give you my I got books.

Speaker 2 (01:22:38):
I'll send you guys, Chuck d ladies and gentlemen. Curtis
blow so much for joining us man, and not just for.

Speaker 6 (01:22:44):
Joining us man, just thank you for you know, existing,
and thank you for you know, all of the fights
y'all fought four hip hop, four black people.

Speaker 1 (01:22:51):
We really appreciate y'all absolutely, and y'all appreciate you all
the giants.

Speaker 4 (01:22:55):
And I really appreciate once again for for for being
able to offer your wrong to the Godfather.

Speaker 3 (01:23:01):
Oh Man, no, no, no, my My gratefulness is extended
to you. Guys.

Speaker 5 (01:23:09):
This is the first time I've ever met you in person, Charlemagne,
I think, I think so. Yeah, Yeah, I've heard about you.
You are a big kind, big time cat. Okay, yeah,
and m Vy you know, we go way back, and
my man is good to see you always well, you know,

(01:23:29):
shouting out the five boroughs.

Speaker 3 (01:23:31):
I gotta shout out my knicks, you know.

Speaker 1 (01:23:33):
I just stay off Seventh Avenue in the fourth corners.

Speaker 5 (01:23:41):
I talked to Bernard King the other day and he
is a good cat man. He is a very you know,
he was like MVP for the NBA a couple of years,
and you know, it's just amazing to still be in
touch with people like Patrick Ewing and John Starks and.

Speaker 1 (01:24:04):
Alan Houston, Starbury.

Speaker 3 (01:24:05):
I see over there.

Speaker 5 (01:24:06):
Yeah yeah yeah, Alan Houston, big big shout out to
him and my boy UNC and the New York Knicks.

Speaker 3 (01:24:13):
I hope we get this game six tonight. Everyone.

Speaker 1 (01:24:16):
We got it. When you name check people in basketball,
that had to be something.

Speaker 4 (01:24:20):
When you run into those players and they're like, man,
you name check me, Dominique Wilkins and oh man, yes.

Speaker 5 (01:24:27):
Yes, yes, it's always great to be a part of
that whole scene, you know. So shout out to Jalen
Brunson and Kat and Og my man Og Bridges Man.

Speaker 3 (01:24:39):
What a great team am.

Speaker 4 (01:24:41):
I like to leave a one note just just to
say that we want to be able sometimes to use
social media for all the power that it has been
in its creation. It's always better to shine somebody's day
up by congratulating instead of its being used for hayten,
there you go. I mean the compliment when you receive

(01:25:03):
a compliment, if you can open your day, when you
open up whatever, if you receive a compliment, just give
a compliment on just GP right and y'o, man, I
love that. That's cool. I could dig it like that.
It goes a long way because we're gonna have to
figure out. You know, a certain life cycle with these
gadgets and devices because they here to stay, you know,

(01:25:23):
even when they get in planet into your gums.

Speaker 5 (01:25:26):
Oh that's coming right there, absolutely and shouting out the
five Burroughs, y'all.

Speaker 3 (01:25:32):
We can't forget that, man. I love you all, Queens.
You know my heart is in Queens Long Island, Brooklyn.
I love you Harlem. You know I was born and.

Speaker 1 (01:25:43):
Raised in Connecticut, in Jersey and the Boogie Down.

Speaker 3 (01:25:47):
You know, we can't forget the Boogie Down. Bronx gave
us hip hop this whole move Yes, indeed, and the
future is yours.

Speaker 5 (01:25:55):
I just want to tell all the young people listening,
the future of this planet is in your hands, you know.

Speaker 2 (01:26:03):
And don't forget about staten allanybody.

Speaker 1 (01:26:08):
I was going to say, Richmond County, right right, yeah,
right right.

Speaker 3 (01:26:14):
Curtis blow Chuck d Man. I love you guys, and
thank you, thank you, thank you for the movement, thank
you for the support and hip hop church.

Speaker 4 (01:26:23):
Y'all.

Speaker 3 (01:26:23):
Come in June fifth up in Harlem, uh one sixty
West one and forty sixth Street.

Speaker 5 (01:26:30):
Y'all see the you saw the Godfather Harlem, you know
that building that he lives in uh right next door.
It's a hip hop church, all right, So big shout
out to all my people up in Harlem as well
as the Blue you down.

Speaker 3 (01:26:48):
I love you all.

Speaker 5 (01:26:49):
Let's continue this movement. Hip hop is the number one
stream music around the globe right now. We are the
voice of the people and let's take it further. Let's
leave them with these words of Martin Luther King that
any time is the right time to do the right thing.

Speaker 1 (01:27:09):
That's right.

Speaker 3 (01:27:10):
Breakfast Club, good morning, wake that answer up in the morning.

Speaker 1 (01:27:15):
The Breakfast Club

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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;}INTERVIEW: Chuck D & Kurtis Blow Talk Hip-Hop Ethics, The Problem With Battles, Radio Armageddon + More